He’s an ass.
Described as “the man with the barbed wire soul,” the title character makes life miserable for everyone around him on the cattle ranch he calls home.
Fighting with his father, assaulting the housekeeper, attempting to spread his moral rot to his nephew, Hud oozes self-pity, bile, and anger in equal parts.
And what’s great about Martin Ritt’s film, shot in stunning black-and-white by all-time great cinematographer James Wong Howe, is it doesn’t attempt to force a fake “come to Jesus” moment on Paul Newman’s Hud.
He enters as a jerk, he exits as an even-bigger one.