3:10 to Yuma poster & wallpaper

Felicia Farr, Glenn Ford, Henry Jones

A rancher struggles to support his ranch and family during a long draught. Desperately needing money to build a well, he takes an assignment to transport a notorious felon, in the hands of authorities...( read more  read more... ), to Yuma for imprisonment. But, once the two meet, the criminal tries to tempt him with--in exchange for allowing him to escape--an offer of much more money than the rancher ever expected, the result of a hidden loot.

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70% liked it

7,041 ratings

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95% liked it

21 critics

Unrated, 1 hr. 32 min.

Directed by: Delmer Daves

Release Date: August 7, 1957

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DVD Release Date: April 2, 2002

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3:10 to Yuma Poster 3:10 to Yuma Leora Dana and Van Heflin 3:10 to Yuma 3:10 to Yuma 3:10 to Yuma 3:10 to Yuma 3:10 to Yuma Poster 3:10 to Yuma 3:10 to Yuma Robert Emhardt and Van Heflin Felicia Farr and Glenn Ford 3:10 to Yuma 3:10 to Yuma 3:10 to Yuma 3:10 to Yuma
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Flixster Reviews (520)

  • pier007
    August 18, 2009
    pier007
    Near perfect psychological western. Great confrontational scenes between Van Heflin and Glenn Ford, and pure suspense from start to finish.
  • flixsterman
    January 17, 2009
    flixsterman
    Daring for a 1957 western. Off-beat and interesting, worth a watch, even if you're not a fan of the genre.
  • stopitgoaway
    January 10, 2009
    stopitgoaway
    This is one of the best westerns ever made, a good blend of subtle psychology and action with some taut editing. There isn't one moment of film wasted in this one.

    I also believe that this is Van Heflin's best screen performance. His Dan Evans is an everyman in the west. A ranch...( read more)er struggling to get by and support his family, he happens to be a dead shot and together with that and his need for money, he agrees to take outlaw Ben Wade to Yuma Territorial Prison.

    Glenn Ford's Ben Wade is a complex man. He's an outlaw and a killer, the first few minutes of the film establish that. But he's tired. He can easily get away. But the sight of Felicia Farr at that saloon, makes him pause and linger when he should be skedaddling with the rest of his gang. They shouldn't have been stopping at the saloon in the first place. But Ford needed some quiet time and his acting does convince you of his need for a breather.

    Anyway Ford's nabbed and stage line owner Butterfield, played by Robert Emhardt offers a reward and Heflin needs the money. The only other one aiding Heflin is Henry Jones playing Alex Potter the town drunk. He's a comic character, when they stop at Heflin's ranch, Jones inquires of his two sons where Heflin might keep a jug handy. You laugh but Delmar Daves is very subtly setting you up for later heroics.

    Ford and Heflin are together most of the film and they have good chemistry. Ford works on Heflin, he'd just as soon offer a bribe to get out of his fix and Heflin comes close to taking it.

    The best scene in the film is when Heflin's wife Leora Dana comes after Heflin. She finds him hold up in a hotel with Ford handcuffed to the bed just after a shootout in which Henry Jones was killed. They talk, Heflin's not sure he's coming out of this and Dana tries to tell him to give it up. Earlier Robert Emhardt has also told him to give it up. But Heflin's sticking to his duty now. The comical town drunk has just been killed in a very brutal fashion for standing up for law and order and he couldn't look himself in the face if he shirked his responsibility.

    Remember Heflin is no John Wayne type hero. He's your everyman citizen taking on responsibility for his community's safety. He and Dana play this beautifully and if you don't get an emotional response you are made of stone.

    Van Heflin had already gotten an Oscar for Johnny Eager. But I think his performance here is even better. Why he was overlooked in the Academy sweepstakes in 1957 is beyond belief. It's Heflin's film and it's a great tribute to a very underrated actor.
  • PvtCaboose91
    July 6, 2008
    PvtCaboose91
    "Well, the street seems to be clear and everybody's going inside. I guess they figure a storm is blowin' up, huh Dan?"


    3:10 to Yuma maintains the tradition of brilliant 1950s westerns. People such as Gary Cooper and John Wayne materialised as the luminaries of

    ...( read more) the genre. Cooper is still affectionately remembered for his striking performance in High Noon, whereas John Wayne is chiefly remembered for such films as The Searchers and The Man Who Shot Liberty Valance. In amidst all this Hollywood enthusiasm with the genre, Delmer Daves came into the spotlight with this riveting western: a deep, challenging character examination revealing strength of character, deception, allegiances and treachery. The film presents itself as a sombre scrutinisation of the temperament of intrepidness in a simple, mundane man in control of a dangerous outlaw. This film is primarily a distinguished psychological drama executed in the claustrophobic location of a hotel under mental and physical siege. It concerns two unreservedly contrasting characters locked together in a secluded space where director Daves' camera shifts incessantly on their course of action. Daves' 3:10 to Yuma is a terrific blend of subtle psychology and action with taut editing. Although the pacing is sluggish, there is never a needless frame present. Every scene is imperative for the development of the characters and the plot in the lead-up to the final, intense stand-off.

    The story is concerned with infamous figure Ben Wade (Ford): a notorious criminal who commands a fierce loyal gang of outlaws. After holding up a stage coach that results in the murder of two men, Wade is eventually caught by the authorities. Small-time everyman rancher Dan Evans (Heflin) witnessed the crime at the stage coach but did not desire to get himself caught up in the crimes that unfolded. However he and his family are in a dire crisis due to a prolonged drought. Evans is in need of funds to continue supporting his wife and children, and the solution presents itself to him: the authorities persuade Evans to transfer Ben Wade to the prison in Yuma. For fulfilling this mission he will be rewarded. Driven by the promise of money and the thought of sustaining his morals, Evans agrees to transport Wade on the 3:10pm train to Yuma (therein lies the title). While the two men await the arrival of a train in a hotel room as the clock slowly ticks by, Wade's gang of cohorts close in on the town. In an isolated room, a battle of wills unfolds between the struggling rancher and the infamous criminal.

    3:10 to Yuma flaunts remarkable acting and realistic dialogue. The two protagonists are absorbing when alone in a room together. Van Heflin represents an ordinary everyman trying to do what's best for his community and his family. Unlike John Wayne or Gary Cooper, Heflin is just another bloke who shows vulnerability and weakness. Glenn Ford is outstanding as Ben Wade. The character of Ben Wade is complex: an outlaw and a killer whose motivations are never shown until the unexpected conclusion. The chemistry between the two leads is spellbinding! The dialogue becomes meaningful and clever. Despite being very talky, the story is kept tense and is steadily paced. This is also a deep lesson on creating brilliance out of simplicity. The film is held together by a straightforward, devilishly clever plot. The visuals are especially outstanding here. The authenticity in the costumes and props are a treat for the eye. Also a sound mix that creates a realistic atmosphere. The mournful theme song is also extremely haunting. The film's final 15 minutes turn into a tense, nail-biting climax that is brought to a wholly satisfying conclusion. It's unexpected, and it shows the strength in the characterisations of the protagonists.

    Overall, 3:10 to Yuma is one of the greatest westerns of the 1950s. Before Clint Eastwood and Sergio Leone, the American westerns were ripe and successful. This superlative adult western draws its mesmeric drama and power from the interaction of well-drawn characters rather than gun-blazing action, which is still impressively filmed and laced with outlandish stunts. They just don't make westerns like this anymore. Highly recommended! Remade in 2007.
  • Jungian
    April 5, 2008
    Jungian
    I really enjoyed this movie. One of the better westerns I've seen.
  • ghettoqueen747
    November 3, 2009
    ghettoqueen747
    Loved the Russel Crowe version, no need to see this one
  • dukeakasmudge
    October 13, 2009
    dukeakasmudge
    Forget the garbage with Russell Crowe.Stick with the original
  • doctordoom
    September 27, 2009
    doctordoom
    The original 3:10 to Yuma is a great western from the 50's. I watched the remake with Russell Crowe and Christian Bale before I watched this original. I was quite impressed that some of the lines from this film was used word for word for the remake. Sure some of the characters ba...( read more)ckgrounds and action scenes are not as good as the remake. And this film didn't have some of the same characters as the remake. And the remake is much darker with a different ending then this one. But still a solid western that was fun to watch. Glenn Ford is great as outlaw Ben Wade. Van Heflin was solid as rancher turned deputy Dan Evans. I prefer the remake but this was still worth watching.
  • ElCochran90
    September 18, 2009
    ElCochran90
    This is a fine and modest classic of what a good Western actually is. The characters and the performances were all great, as expected from such a brilliant cast. The story is pretty much fun and interesting to see and is one of the most decent Westerns I've seen from the 50's, be...( read more)ing the best High Noon (1952). I haven't seen the remake and I don't even know if I should, but I don't really think I'll end up liking it more over the original. A fun little film to watch.

    83/100
  • pvtr1suwardi
    August 16, 2009
    pvtr1suwardi
    i don't know the old version movie but i like the new one

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Critic Reviews

September 9, 2007
Nick Schager, Lessons of Darkness

No amount of climactic train smoke can mask the fact that the finale is fancifully optimistic gibberish. full review

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