310 To Yuma Full Movie In Hindi 720p Download
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A small-time rancher agrees to hold a captured outlaw who's awaiting a train to go to court in Yuma. A battle of wills ensues as the outlaw tries to psych out the rancher.
An honest, hard-working farmer agrees to assist in escorting an outlaw to a distant town in exchange for money to pay off his debt and start a new life. Hidden motives are revealed as the two partake in an ever-evolving game of cat-and-mouse.
Let's ignore the fact that Crowe's beard looks like it received attention from a Norelco trimmer just before every shot; let's ignore Bale's 19th century prosthetic, which somehow allows him to leap across rooftops and sprint a slalom under fire. And, with some reservations, let's try and allow for an Apache night raid (not terribly historically accurate, according to most sources) by Indians who look more Sioux than Apache (feathers in their hair? this is a plains Indian thing, Mr Mangold.)
But what's utterly unacceptable is a line like "Because you're not all bad!" What's utterly unacceptable is the most dangerous killer alive getting guilted into putting himself at great risk of multiple GSWs, just so some gimpy rancher can look good in his kid's eyes. What's utterly unacceptable is James Mangold, who apparently knows what he knows about the Old West exclusively from watching (not very closely) some late-century movies, wasting two fine actors on this dumb circus. And as far as the extensive visual quotes from "Butch Cassidy and the Sundance Kid" - buddy, if you're gonna quote a Western, may I suggest that that ain't the one.
However, Crowe killing his whole gang in about one second is very cool, as is the throwing of Peter Fonda off a cliff. The single appropriate use of this Fonda in a movie is as a ridiculous parody of himself in "The Limey."
To all the benighted souls who hail this as "the greatest Western since Unforgiven": check out "The Proposition." That's a Western. Hell, it's more than that: it's a good movie. "3:10 to Yuma" merely solidifies the status of "Hombre" as the best Western use of Elmore Leonard source material.
Ah, the Western. The mere mention of that genre evokes thoughts of heroic sheriffs, quick-drawing gunslingers, and villainous outlaws. That is the traditional version. James Mangold's remake of "3:10 to Yuma" delivers a Western that is not merely a shoot 'em up but also a great study of its characters. It is Mangold's masterful storytelling and direction that draws in the audience more deeply into the story and characters. This is accompanied by the fantastic performances of Russell Crowe and Christian Bale who prove that heroes and villains have more underlying reasons for their actions than simply money or vengeance.
Former Civil War soldier Dan Evans (Christian Bale) is a down-on-his-luck farmer. He has only one leg, his children don't respect him, and he is heavily in debt. While rounding up his cattle, he comes across notorious outlaw Ben Wade (Russell Crowe) who has just finished his latest holdup. Their destinies intertwine in the local saloon where Evans volunteers to accompany a posse to ensure Wade gets on the 3:10 train to Yuma where he'll be sent to prison and hanged. The group must survive the vicious loyalty Wade's men have for their leader and other vigilantes looking for vengeance against the outlaw if they are going to make their goal.
The film would have been ordinary and average if it not for the masterful storytelling ability of James Mangold. When he introduces the characters, Evans is shown trying to live a just life and do things the right way whereas Wade is carefree and cavalier about his life. It is a great dichotomy of the honest man who struggles through life and the evil man who breaks the rules and lives free and easy. Mangold's timing is perfect in setting up the characters before he connects their fates. There is an imagery of a split screen and the audience experiences everything happening all at once. Mangold's ability to draw in the audience makes them feel as they were right in the picture. This is especially true in his slow close-ups during Evans' and Wade's different monologues. The delivery by the actors is flawless but it is through Mangold that movie goers really feel the experience. His direction makes the audience feel they are being addressed rather than the supporting actors.
The terrific screenplay of Halsted Welles, Michael Brandt, and Derek Hass is adapted by Elmore Leonard's short story. Welles, Brandt, and Haas create multidimensional heroes and villains and show the grey areas between black and white. The trio dedicates equal time in introducing Evans and Wade before tying their fates. They have a great sense for how much to divulge to the audience before bringing the hero and villain together. The team also brings out the unique characteristics of Evans and Wade and supplies them with thought-provoking ideas about the thin line between right and wrong.
Without a doubt, this is one of Russell Crowe's best performances a he fits so smoothly into the role of outlaw Ben Wade. Crowe does not play Wade as the typical heartless gunslinger that would shoot a man just for being looked at funny. Rather, he is cool-headed and only kills for survival. This is best viewed by reading Crowe's eyes as he moves an entire scene with a simple look. Crowe has a lot of fun with his character's malevolent ways that there is a charisma about Wade that almost makes you cheer him on. Crowe's performance radiates is so well done that audiences have to remind themselves that he is a murderer and a thief. Christian Bale is also outstanding as the long suffering Dan Evans. As with Crowe, he tells his life story with his eyes. Whereas Wade's are shown to be carefree and hopeful, Bale shows Evans' beaten down and ravaged by all he has suffered. Bale is so talented in his role that he truly makes the audience feel his pain and need to do the right thing. He creates the kind of character who becomes a hero not because he wants to but because nobody else can. The film is also filled with several superb supporting roles such as Peter Fonda as bounty hunter Byron McElroy, Ben Foster as Wade's second-in-command Charlie Prince, and Logan Lerman as Evans' son William. Each actor brings something to story and plot no matter how small the role may be. Fonda shows he still has something to offer as the relentless McElroy. But it is the performances of Foster and Lerman that have the most depth. Foster plays Prince as quite the opposite of Wade. He is quick to shoot first and ask questions later before shooting again. But as Foster shows, Prince is not an ordinary sidekick. He has a deep devotion to his leader that Foster brings out in moments of fury and dedication. Lerman's role as William Evans has the most depth and transition of character and it is a task that is expertly handled. As William, Lerman exhibits the rebelliousness attitude that is common among teenagers. But like his father, it is his need to do the right thing that drives him. Lerman uses this to show William's transformation from irritable boy to courageous man.
"3:10 to Yuma" has all the elements of a perfect film. It has a great cast, terrific story, and a director with an eye for action. In a summer where special effects are king, "Yuma" offers action and humanity. It truly fires off all the right shots.
GRADE: A+
Under Mangold’s sure if uninspired hand, the new Yuma is reasonably exciting and terse, and, like its predecessor, built around a memorable villain of ambiguous villainy.
Enjoyed my liberty.
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