Paul Colt's Blog, page 24
April 24, 2021
Dances With Wolves
Dances with Wolves produced, directed, and starred Kevin Costner. Overall critical reviews were favorable. They should be for a film that won seven Academy Awards including Best Picture, Best Director and Best Adapted Screenplay. The Screen play is based on a novel by Michael Blake. Blake originally wrote it as a screenplay. Hollywood panned it. Costner told him to write the novel to improve its film chances. Costner then optioned the book and made the film based on Blake’s screen play. As an author, that is unheard of! The film was a box office smash, earning $424.2 million on a $15 million budget.
In 1863 Union Army Lieutenant John J. Dunbar (Costner) is wounded in battle and sent to a deserted outpost on the western frontier. He begins the solitary work of restoring his fort, where he befriends a wolf, he names Two Socks. A series of encounters with Lakota neighbors leads to friendly relations. Dunbar finds Stands With Fist (Mary McDonnell), Medicine Man Kicking Bird’s (Graham Greene) adopted white daughter, near death in mourning for her husband. He returns her to the tribe and gains acceptance. As he spends time in the Lakota camp, friendships deepen including a romantic relationship with Stands With Fist.
When the tribe plans a move to winter camp, Dunbar, now known as Dances With Wolves for his friendship with Two Socks, determines to go with them. He returns to the Fort for his diary, to find it reoccupied. He is arrested for desertion and sent east for court martial under guard. Two Sock follows the convoy and is killed by the guards. Tribal brothers attack the convoy and free Dances With Wolves. In winter camp, Dunbar realizes his presence poses a threat to the people. He and Stands With Fist leave to the epilog, ending the old ways of the people.
Much of the dialog in the film is spoken in Lakota with subtitles. The authenticity is poignant, unless you are Lakota. The language has a male gendered voice and a female gendered voice. The consultant employed on the film was female. You can guess what happened. Some criticize the film for the heroic white pose struck by the Dunbar role. Others criticize the idyllic portrayal of the Sioux. The film is listed in the Library of Congress National Film Registry.
Next Week: Unforgiven
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Ride easy,
Paul
In 1863 Union Army Lieutenant John J. Dunbar (Costner) is wounded in battle and sent to a deserted outpost on the western frontier. He begins the solitary work of restoring his fort, where he befriends a wolf, he names Two Socks. A series of encounters with Lakota neighbors leads to friendly relations. Dunbar finds Stands With Fist (Mary McDonnell), Medicine Man Kicking Bird’s (Graham Greene) adopted white daughter, near death in mourning for her husband. He returns her to the tribe and gains acceptance. As he spends time in the Lakota camp, friendships deepen including a romantic relationship with Stands With Fist.
When the tribe plans a move to winter camp, Dunbar, now known as Dances With Wolves for his friendship with Two Socks, determines to go with them. He returns to the Fort for his diary, to find it reoccupied. He is arrested for desertion and sent east for court martial under guard. Two Sock follows the convoy and is killed by the guards. Tribal brothers attack the convoy and free Dances With Wolves. In winter camp, Dunbar realizes his presence poses a threat to the people. He and Stands With Fist leave to the epilog, ending the old ways of the people.
Much of the dialog in the film is spoken in Lakota with subtitles. The authenticity is poignant, unless you are Lakota. The language has a male gendered voice and a female gendered voice. The consultant employed on the film was female. You can guess what happened. Some criticize the film for the heroic white pose struck by the Dunbar role. Others criticize the idyllic portrayal of the Sioux. The film is listed in the Library of Congress National Film Registry.
Next Week: Unforgiven
Return to Facebook to comment
Ride easy,
Paul
April 17, 2021
Young Guns II
Did Pat Garrett kill Billy the Kid July 14, 1881? A controversy over that has stubbornly persisted for one hundred forty years. To those who come down on the side Garrett killed The Kid, the history is settled; because Garrett said he did. His book, The Authentic Life of Billy The Kid is the accepted historical record. Still there are those who wonder. Why?
Young Guns II picks at Billy’s story starting with Brushy Bill Roberts, who surfaced in 1950, claiming to be Billy the Kid (Emilio Estavez). In the film Roberts recounts the Kid’s outlaw exploits with a generous helping of Hollywood blended into the historical mix. The basics are there. Governor Lew Wallace promises to pardon The Kid for his part in the Lincoln County War, if he testifies against the Murphy Dolan faction. The Kid takes the deal, gets cold feet and decides to make a run for Mexico. He and his gang rustle some cattle to pay for their escape.
Cattle baron John Chisum, angered by the rustling, convinces Pat Garrett to take the job as Lincoln County Sheriff to track down the Kid. Hollywood gun scrapes later, Garrett eventually captures the Kid. He is tried for murder and sentenced to hang. The Kid breaks out of jail, killing two deputies and heads for Fort Sumner. That’s where Garrett catches up with him. In the film, Garrett lets the Kid escape, claiming he killed him, complete with a fake funeral.
Old Brushy Bill’s claim has since been discredited; but the controversy persists. I explore it in my book A Question of Bounty: The Shadow of Doubt. John Poe, Garrett’s deputy on the scene the night Garrett claims he killed the Kid, left a memoir. His version of the events that night doesn’t agree with Garrett’s account in his book. In fact, Garrett’s book doesn’t agree with an interview he gave to a Las Vegas New Mexico newspaper shortly after the Kid’s death. The interview account agrees with Poe’s memoir. A Question of Bounty starts with Poe’s account and pieces together a host of irregularities to make a plausible case, Garrett killed the wrong man and covered it up. That trail leads to a man named John Miller, who appeared on the planet weeks after the Kid’s death. Miller went to his grave in the ‘30’s denying he was Billy the Kid. His wife and close friends said otherwise. Can you prove it? No. Can you prove Garrett’s claim?
Next Week: Dances with Wolves
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Ride easy,
Paul
Young Guns II picks at Billy’s story starting with Brushy Bill Roberts, who surfaced in 1950, claiming to be Billy the Kid (Emilio Estavez). In the film Roberts recounts the Kid’s outlaw exploits with a generous helping of Hollywood blended into the historical mix. The basics are there. Governor Lew Wallace promises to pardon The Kid for his part in the Lincoln County War, if he testifies against the Murphy Dolan faction. The Kid takes the deal, gets cold feet and decides to make a run for Mexico. He and his gang rustle some cattle to pay for their escape.
Cattle baron John Chisum, angered by the rustling, convinces Pat Garrett to take the job as Lincoln County Sheriff to track down the Kid. Hollywood gun scrapes later, Garrett eventually captures the Kid. He is tried for murder and sentenced to hang. The Kid breaks out of jail, killing two deputies and heads for Fort Sumner. That’s where Garrett catches up with him. In the film, Garrett lets the Kid escape, claiming he killed him, complete with a fake funeral.
Old Brushy Bill’s claim has since been discredited; but the controversy persists. I explore it in my book A Question of Bounty: The Shadow of Doubt. John Poe, Garrett’s deputy on the scene the night Garrett claims he killed the Kid, left a memoir. His version of the events that night doesn’t agree with Garrett’s account in his book. In fact, Garrett’s book doesn’t agree with an interview he gave to a Las Vegas New Mexico newspaper shortly after the Kid’s death. The interview account agrees with Poe’s memoir. A Question of Bounty starts with Poe’s account and pieces together a host of irregularities to make a plausible case, Garrett killed the wrong man and covered it up. That trail leads to a man named John Miller, who appeared on the planet weeks after the Kid’s death. Miller went to his grave in the ‘30’s denying he was Billy the Kid. His wife and close friends said otherwise. Can you prove it? No. Can you prove Garrett’s claim?
Next Week: Dances with Wolves
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Ride easy,
Paul
April 10, 2021
Young Guns
As with The Outlaw Josey Wales post set against historical events I wrote about in Sycamore Promises, Young Guns is based on events of the Lincoln County War I wrote about in my Bounty trilogy. Noted New Mexico Historian, Dr. Paul Andrew Hutton touts Young Guns as the most historically accurate of all the Billy the Kid films.
What numbers Young Guns among my favorite western films is the cast. That starts with Emilio Estevez as Billy the Kid. Regular readers of these pages know I consider his portrayal the best Billy ever. Add to Billy, Kiefer Sutherland as Doc Scurlock, Lou Diamond Phillips as Jose Chavez, Charlie Sheen as Dick Brewer, Terence Stamp as John Tunstall, Jack Palance as Lawrence Murphy and Brian Keith as Buckshot Roberts and you have a star-studded galaxy.
The Lincoln County War was fought over commercial control of Lincoln County New Mexico. The film pits Lawrence Murphy’s interest against upstart John Tunstall. The film centers the dispute on ranching. While ranching played a part, it was a relatively small part. The bigger part was mercantile monopoly. Murphy and his partner James Dolan owned ‘The House’ and with it the county. Tunstall opened a mercantile store, introducing competition, for which Dolan had him killed. By the time the war broke out, Murphy had left the scene due to ill health.
Billy the Kid worked for Tunstall, revering him almost as a father figure. The Kid vowed to avenge Tunstall’s murder. Tunstall lawyer, Alexander Mc Sween, gets Tunstall men Brewer, Scurlock, Chavez and the Kid deputized, with warrants for the killers. Calling themselves Regulators the boys round up the accused. Billy guns them down as fast as they catch them.
Murphy in the film (Dolan) uses political influence to call out the U. S. Army against Mc Sween and the regulators. This sets up what became known as the battle for Lincoln with The Kid and his gang holed up in the Mc Sween house. A stand-off ends with the house set afire. The Kid and his band escape. Murphy (Dolan) wins the war, though in the film the Kid kills him.
The film opened to mixed critical reviews (probably due to uncharacteristic historical accuracy), though it struck gold at the box office returning $45million on a budget of $11 milliion.
Next Week: Young Guns II
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Ride easy,
Paul
What numbers Young Guns among my favorite western films is the cast. That starts with Emilio Estevez as Billy the Kid. Regular readers of these pages know I consider his portrayal the best Billy ever. Add to Billy, Kiefer Sutherland as Doc Scurlock, Lou Diamond Phillips as Jose Chavez, Charlie Sheen as Dick Brewer, Terence Stamp as John Tunstall, Jack Palance as Lawrence Murphy and Brian Keith as Buckshot Roberts and you have a star-studded galaxy.
The Lincoln County War was fought over commercial control of Lincoln County New Mexico. The film pits Lawrence Murphy’s interest against upstart John Tunstall. The film centers the dispute on ranching. While ranching played a part, it was a relatively small part. The bigger part was mercantile monopoly. Murphy and his partner James Dolan owned ‘The House’ and with it the county. Tunstall opened a mercantile store, introducing competition, for which Dolan had him killed. By the time the war broke out, Murphy had left the scene due to ill health.
Billy the Kid worked for Tunstall, revering him almost as a father figure. The Kid vowed to avenge Tunstall’s murder. Tunstall lawyer, Alexander Mc Sween, gets Tunstall men Brewer, Scurlock, Chavez and the Kid deputized, with warrants for the killers. Calling themselves Regulators the boys round up the accused. Billy guns them down as fast as they catch them.
Murphy in the film (Dolan) uses political influence to call out the U. S. Army against Mc Sween and the regulators. This sets up what became known as the battle for Lincoln with The Kid and his gang holed up in the Mc Sween house. A stand-off ends with the house set afire. The Kid and his band escape. Murphy (Dolan) wins the war, though in the film the Kid kills him.
The film opened to mixed critical reviews (probably due to uncharacteristic historical accuracy), though it struck gold at the box office returning $45million on a budget of $11 milliion.
Next Week: Young Guns II
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Ride easy,
Paul
April 3, 2021
Ulzana's Raid
The film, according to screen play author Alan Sharp, was a Vietnam era anti-war commentary at a time when you just weren’t cool if you weren’t. Sharp also claims the film was inspired by John Ford’s classic, The Searchers. Lofty company self-selected.
Chiricahua Apache chief Ulzana rebels against Indian agency abuse at San Carlos and jumps the reservation to lead his band on a killing spree. Troopers sent from Fort Lowell to warn settlers are ambushed. One trooper kills the woman he is escorting to safety before killing himself. The Apaches play catch with his heart.
Aging army scout McIntosh (Bert Lancaster) is sent with a detachment of soldiers under inexperienced Lieutenant Garnet DeBuin (Bruce Davison), guided by Apache scout Ke-Ni-Tay (Jorge Luke). DeBuin is shocked by the brutality of the attacks. Ulzana feels the pressure of pursuit. He and his warriors use their ponies as a decoy, sending them one way while they go another on foot. The ploy fails when Ke-Ni-Tay reads the sign. The ponies have no riders. McIntosh pursues the ponies, killing the two Apache leading them. One is Ulzana’s son.
Ulzana raids another farm, burning the homesteader and raping his wife. They leave her alive, reckoning the cavalry will divide their strength to give the woman an escort to safety. An escort they can ambush for their ponies. McIntosh recognizes the plan. The escort becomes decoy to a counter-attack. The Apache attack. DeBuin is late with his counter-attack. McIntosh is mortally wounded. Ke-Ni-Tay confronts Ulzana with the news his son has been killed. Ulzana drops his weapons, singing his death song Ke-Ni-Tay kills him and buries him.
DeBuin and the remainder of his command return to Fort Lowell. McIntosh, knowing he won’t survive, remains behind to die alone.
The story is fiction, though Sharp maintains it has “factual equivalents” and is therefore authentic. The film lost money, though Sharp remained proud of it. It received some critical acclaim though it didn’t need any. Sharp had a high enough opinion of it all by himself.
Next Week: The Outlaw Jose Wales
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Ride easy,
Paul
Chiricahua Apache chief Ulzana rebels against Indian agency abuse at San Carlos and jumps the reservation to lead his band on a killing spree. Troopers sent from Fort Lowell to warn settlers are ambushed. One trooper kills the woman he is escorting to safety before killing himself. The Apaches play catch with his heart.
Aging army scout McIntosh (Bert Lancaster) is sent with a detachment of soldiers under inexperienced Lieutenant Garnet DeBuin (Bruce Davison), guided by Apache scout Ke-Ni-Tay (Jorge Luke). DeBuin is shocked by the brutality of the attacks. Ulzana feels the pressure of pursuit. He and his warriors use their ponies as a decoy, sending them one way while they go another on foot. The ploy fails when Ke-Ni-Tay reads the sign. The ponies have no riders. McIntosh pursues the ponies, killing the two Apache leading them. One is Ulzana’s son.
Ulzana raids another farm, burning the homesteader and raping his wife. They leave her alive, reckoning the cavalry will divide their strength to give the woman an escort to safety. An escort they can ambush for their ponies. McIntosh recognizes the plan. The escort becomes decoy to a counter-attack. The Apache attack. DeBuin is late with his counter-attack. McIntosh is mortally wounded. Ke-Ni-Tay confronts Ulzana with the news his son has been killed. Ulzana drops his weapons, singing his death song Ke-Ni-Tay kills him and buries him.
DeBuin and the remainder of his command return to Fort Lowell. McIntosh, knowing he won’t survive, remains behind to die alone.
The story is fiction, though Sharp maintains it has “factual equivalents” and is therefore authentic. The film lost money, though Sharp remained proud of it. It received some critical acclaim though it didn’t need any. Sharp had a high enough opinion of it all by himself.
Next Week: The Outlaw Jose Wales
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Ride easy,
Paul
March 27, 2021
Blazing Saddles
Put five comedy writers including Mel Brooks and Richard Pryor in a room under the banner “Do not write a polite script” and turn loose a writing process Brooks described as “a drunken brawl” and you get – Blazing Saddles. It was a shouting match of ideas with director Brooks owning the referee’s striped shirt. Oh, and the title? Came to Brooks in the shower. TMI.
Start with a railroad forced to reroute around quicksand through Rock Ridge, a point-less speck of a town about to become land worth a fortune. Add a ruthless Attorney General with land-speculator aspirations, Hedley Lamar (Harvey Korman) and you have the basic recipe. The AG sends chief thug Taggart (Slim Pickens) to kill the sheriff and trash the town thinking he’ll pick up the place at ghost-town prices. Townspeople turn to the Governor Le Petomane (Brooks) to appoint a new sheriff. With his plot in peril, AG Lamar convinces the Gov. to appoint Bart, a black sheriff (Cleavon Little), in the all-white town.
Bart deputizes alcoholic gunfighter, Waco Kid (Gene Wilder). They discover the planned rail route through town and the expected land boom. Lamar then dispatches lovely Lili von Shtupp to seduce Bart, who upsets the plan when Lili falls for him. Back to the rough stuff, Taggart and his gang show up only to be shot-up by Waco. Furious, Lamar recruits an army of comic construction to march on the town.
Bart convinces the townspeople and railroad crew to construct a decoy town, filled with booby trapped bodies. Knowing this will only slow the bad guys down, Bart convinces the governor to authorize a toll-road to Rock Ridge. This forces Lamar’s army to turn back for lack of change. The final brawl between Lamar’s forces, townspeople and railroad workers crashes through walls onto a neighboring movie set. From there the action spills onto the streets of L.A. with a mixture of chauffeur driven limousine and horse travel leading to the premier screening of the film at Grauman’s Chinese Theater. From there Bart and Waco ride off into the sunset.
The film, now considered a classic comedy, enshrined in the Library of Congress National Film Registry, opened to mixed reviews. Roger Ebert called it a “Crazed grabbag”. Another critic described it as an over long TV comedy skit.
Next Week: Ulzana’s Raid
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Ride easy,
Paul
Start with a railroad forced to reroute around quicksand through Rock Ridge, a point-less speck of a town about to become land worth a fortune. Add a ruthless Attorney General with land-speculator aspirations, Hedley Lamar (Harvey Korman) and you have the basic recipe. The AG sends chief thug Taggart (Slim Pickens) to kill the sheriff and trash the town thinking he’ll pick up the place at ghost-town prices. Townspeople turn to the Governor Le Petomane (Brooks) to appoint a new sheriff. With his plot in peril, AG Lamar convinces the Gov. to appoint Bart, a black sheriff (Cleavon Little), in the all-white town.
Bart deputizes alcoholic gunfighter, Waco Kid (Gene Wilder). They discover the planned rail route through town and the expected land boom. Lamar then dispatches lovely Lili von Shtupp to seduce Bart, who upsets the plan when Lili falls for him. Back to the rough stuff, Taggart and his gang show up only to be shot-up by Waco. Furious, Lamar recruits an army of comic construction to march on the town.
Bart convinces the townspeople and railroad crew to construct a decoy town, filled with booby trapped bodies. Knowing this will only slow the bad guys down, Bart convinces the governor to authorize a toll-road to Rock Ridge. This forces Lamar’s army to turn back for lack of change. The final brawl between Lamar’s forces, townspeople and railroad workers crashes through walls onto a neighboring movie set. From there the action spills onto the streets of L.A. with a mixture of chauffeur driven limousine and horse travel leading to the premier screening of the film at Grauman’s Chinese Theater. From there Bart and Waco ride off into the sunset.
The film, now considered a classic comedy, enshrined in the Library of Congress National Film Registry, opened to mixed reviews. Roger Ebert called it a “Crazed grabbag”. Another critic described it as an over long TV comedy skit.
Next Week: Ulzana’s Raid
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Ride easy,
Paul
March 20, 2021
Monte Walsh
Monte Walsh is a 1970 western film starring Lee Marvin and Jack Palance. The film got its title from a novel by Jack Schaefer, though the title is about all it got. Set in Arizona, it tells the tale of three aging cowboys at the end the age when the west was wild. Monte Walsh (Marvin) and Chet Rollins (Palance) have spent their lives working open range from the back of a horse. Work grows scarce as ranching changes with the end of an era coming into sight.
They land a job on one last spread where they encounter old friend and fellow cowboy, Shorty Austin. Together they face the question, what next? Their answers lead in different directions. Chet falls in love with Mary Eagle, a widow and hardware store owner. They marry and Chet takes up shop keeping. He tells Monte the old way is disappearing, time to move on. Shorty gets fired and takes up rustling, killing a lawman in a gun scrape.
Faced with the fact his cowboy days are done, Monte turns to his longtime lover, saloon girl and prostitute, Martine who suffers from tuberculosis. He proposes and they marry, though soon after his beloved Martine succumbs to her illness. Monte spirals down from the life he loves, drinking heavily. Seeking some excitement, he rides a wild horse through town causing considerable disturbance and damage. A rodeo owner notices the riding exhibition and offers Monte a job. The pay is good. The work looks like a Wild West show. Monte says no.
Shorty robs the hardware store, killing Chet. Distraught at the loss of his wife, Monte determines to go after Shorty. They meet to a showdown in a slaughterhouse. Monte is wounded in their gunfight but manages to get the drop on Shorty. Shorty surrenders and drops his gun. Monte kills him. So much for musical comedy.
The film received positive reviews. Roger Ebert thought it beautifully done. A made for TV remake was done starring Tom Selleck.
Next Week: Blazing Saddles
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Ride easy,
Paul
They land a job on one last spread where they encounter old friend and fellow cowboy, Shorty Austin. Together they face the question, what next? Their answers lead in different directions. Chet falls in love with Mary Eagle, a widow and hardware store owner. They marry and Chet takes up shop keeping. He tells Monte the old way is disappearing, time to move on. Shorty gets fired and takes up rustling, killing a lawman in a gun scrape.
Faced with the fact his cowboy days are done, Monte turns to his longtime lover, saloon girl and prostitute, Martine who suffers from tuberculosis. He proposes and they marry, though soon after his beloved Martine succumbs to her illness. Monte spirals down from the life he loves, drinking heavily. Seeking some excitement, he rides a wild horse through town causing considerable disturbance and damage. A rodeo owner notices the riding exhibition and offers Monte a job. The pay is good. The work looks like a Wild West show. Monte says no.
Shorty robs the hardware store, killing Chet. Distraught at the loss of his wife, Monte determines to go after Shorty. They meet to a showdown in a slaughterhouse. Monte is wounded in their gunfight but manages to get the drop on Shorty. Shorty surrenders and drops his gun. Monte kills him. So much for musical comedy.
The film received positive reviews. Roger Ebert thought it beautifully done. A made for TV remake was done starring Tom Selleck.
Next Week: Blazing Saddles
Return to Facebook to comment
Ride easy,
Paul
March 13, 2021
Little Big Man
Poor Dustin Hoffman. He’s a great actor. Cast him as 121-year-old Jack Crabb in Little Big Man and his talent is squandered on a ridiculous mess of historical hash. The film got its share of critical acclaim, so it may just be me. I expect Hollywood to play fast and loose with history; but this one threw the record book out the window to no identifiable purpose.
Hoffman’s character, Little Big Man, had nothing to do with any of the events depicted. It is said the character is loosely based on Custer’s Crow Curly. Let’s see. Little Big Man was Sioux, Curly was Crow, Jack Crabb was white, kidnapped and raised by Cheyenne. The only thing Crabb and Curly have in common is Scouting for Custer and surviving Greasy Grass (Custer’s Last Stand). Crabb remembers he’s white when he is captured by the cavalry. He’s fostered to a preacher with a randy wife, he leaves to try his hand hawking snake oil. Befriended by Wild Bill Hickok he tries gun slinging, until he realizes guns are for fighting.
Jack joins up with Custer as a mule skinner. When Custer’s Seventh attacks a peaceful Cheyenne village at Sand Creek, slaughtering women and children, Jack remembers he was Cheyenne. He rejoins the tribe until Custer attacks their camp on the Washita River. Sand Creek was attacked by Colorado Militia not Custer. He did preside over the Washita massacre in 1868.
Disillusioned, Jack winds up a town drunk in Deadwood, where he is reunited with Hickock who meets his demise with no pretense to history. Jack straightens up to settle his score with Custer. Custer takes him on as a scout, leading to his survival at the Little Big Horn.
There’s more to this smorgasbord spread. A couple of wives, time as a hermit tempted to suicide. The only historical credit I give the film is the Little Big Horn battle scenes were shot at Crow Agency, Montana not far from the actual battle sight. The Kicking Bird Crow family stages reenactments at the site. We attended one while researching my recently released, first time in print, Grasshoppers in Summer. I know this history. Maybe that’s why I can’t suspend disbelief to appreciate the film.
Next Week: Monte Walsh
Return to Facebook to comment
Ride easy,
Paul
Hoffman’s character, Little Big Man, had nothing to do with any of the events depicted. It is said the character is loosely based on Custer’s Crow Curly. Let’s see. Little Big Man was Sioux, Curly was Crow, Jack Crabb was white, kidnapped and raised by Cheyenne. The only thing Crabb and Curly have in common is Scouting for Custer and surviving Greasy Grass (Custer’s Last Stand). Crabb remembers he’s white when he is captured by the cavalry. He’s fostered to a preacher with a randy wife, he leaves to try his hand hawking snake oil. Befriended by Wild Bill Hickok he tries gun slinging, until he realizes guns are for fighting.
Jack joins up with Custer as a mule skinner. When Custer’s Seventh attacks a peaceful Cheyenne village at Sand Creek, slaughtering women and children, Jack remembers he was Cheyenne. He rejoins the tribe until Custer attacks their camp on the Washita River. Sand Creek was attacked by Colorado Militia not Custer. He did preside over the Washita massacre in 1868.
Disillusioned, Jack winds up a town drunk in Deadwood, where he is reunited with Hickock who meets his demise with no pretense to history. Jack straightens up to settle his score with Custer. Custer takes him on as a scout, leading to his survival at the Little Big Horn.
There’s more to this smorgasbord spread. A couple of wives, time as a hermit tempted to suicide. The only historical credit I give the film is the Little Big Horn battle scenes were shot at Crow Agency, Montana not far from the actual battle sight. The Kicking Bird Crow family stages reenactments at the site. We attended one while researching my recently released, first time in print, Grasshoppers in Summer. I know this history. Maybe that’s why I can’t suspend disbelief to appreciate the film.
Next Week: Monte Walsh
Return to Facebook to comment
Ride easy,
Paul
March 7, 2021
True Grit (1969, 2010)
Like a lot of folks, my practice is if I read the book, I skip the movie; and vice versa. When it comes to a Crossing the Chasm story like True Grit or 3:10 to Yuma, I make exceptions. I’d seen both the original film and the remake when I read Charles Portis’ wonderful book. It’s a credit to the author, both films used his excellent dialog almost word for word. I love great dialog. I work hard on mine, so I really appreciate it when I find strong dialog in my reading. With dialog as a base line, comparing the two films is very enlightening. I focus on what I call creative abstractions. How does the screen play depart from the book? How do the actors interpret the characters? Answers to these questions make for interesting comparisons.
Stephen Spielberg and the Cohen Brothers screen play follows the book ending. Remember that poignant scene where the one-armed, adult Mattie Ross comes looking for Rooster at the Wild West show where he has been performing. She learns Rooster has just passed away. She takes his body home and buries him beside her father. Contrast that with Henry Hathaway’s original screen play. In the final scene Mattie, is seen tending her father’s grave. Rooster rides up, bids her farewell and rides off. The ending set the stage for a sequel. It also weakened the film.
Now for the actors. Jeff Bridges is a fine actor. He did a good job in the remake; but John Wayne owns Rooster Cogburn. I enjoyed Glen Campbell as a singer, as the Texas Ranger, La Boeuf, he should have stuck with his guitar. Matt Damon was a big upgrade in that role. Barry Pepper wasn’t a bad “Lucky” Ned Pepper; he just couldn’t “Fill your hand, you son of . . .” quite as full as Robert Duvall. Which brings us to Mattie Ross. Kim Darby couldn’t do fourteen. It led to the suggestion of romance with La Boeuf which didn’t fit the story. Hailee Steinfeld was fourteen. More than that, for my two cents, her Mattie Ross carried the film and deserved an Oscar.
Here’s the best part. As I read Portis’ book, I had John Wayne voicing Rooster in one ear with Hailee Steinfeld doing Mattie in the other. In the theater of the imagination, casting is perfect.
PS – People sometimes ask if I’ll ever have a book made into a movie. My reply: Why would I wish for that? Lottery tickets are so cheap . . .
Next Week: Little Big Man
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Ride easy,
Paul
Stephen Spielberg and the Cohen Brothers screen play follows the book ending. Remember that poignant scene where the one-armed, adult Mattie Ross comes looking for Rooster at the Wild West show where he has been performing. She learns Rooster has just passed away. She takes his body home and buries him beside her father. Contrast that with Henry Hathaway’s original screen play. In the final scene Mattie, is seen tending her father’s grave. Rooster rides up, bids her farewell and rides off. The ending set the stage for a sequel. It also weakened the film.
Now for the actors. Jeff Bridges is a fine actor. He did a good job in the remake; but John Wayne owns Rooster Cogburn. I enjoyed Glen Campbell as a singer, as the Texas Ranger, La Boeuf, he should have stuck with his guitar. Matt Damon was a big upgrade in that role. Barry Pepper wasn’t a bad “Lucky” Ned Pepper; he just couldn’t “Fill your hand, you son of . . .” quite as full as Robert Duvall. Which brings us to Mattie Ross. Kim Darby couldn’t do fourteen. It led to the suggestion of romance with La Boeuf which didn’t fit the story. Hailee Steinfeld was fourteen. More than that, for my two cents, her Mattie Ross carried the film and deserved an Oscar.
Here’s the best part. As I read Portis’ book, I had John Wayne voicing Rooster in one ear with Hailee Steinfeld doing Mattie in the other. In the theater of the imagination, casting is perfect.
PS – People sometimes ask if I’ll ever have a book made into a movie. My reply: Why would I wish for that? Lottery tickets are so cheap . . .
Next Week: Little Big Man
Return to Facebook to comment
Ride easy,
Paul
March 6, 2021
True Grit (1969, 2010)
Like a lot of folks, my practice is if I read the book, I skip the movie; and vice versa. When it comes to a Crossing the Chasm story like True Grit or 3:10 to Yuma, I make exceptions. I’d seen both the original film and the remake when I read Charles Portis’ wonderful book. It’s a credit to the author, both films used his excellent dialog almost word for word. I love great dialog. I work hard on mine, so I really appreciate it when I find strong dialog in my reading. With dialog as a base line, comparing the two films is very enlightening. I focus on what I call creative abstractions. How does the screen play depart from the book? How do the actors interpret the characters? Answers to these questions make for interesting comparisons.
Stephen Spielberg and the Cohen Brothers screen play follows the book ending. Remember that poignant scene where the one-armed, adult Mattie Ross comes looking for Rooster at the Wild West show where he has been performing. She learns Rooster has just passed away. She takes his body home and buries him beside her father. Contrast that with Henry Hathaway’s original screen play. In the final scene Mattie, is seen tending her father’s grave. Rooster rides up, bids her farewell and rides off. The ending set the stage for a sequel. It also weakened the film.
Now for the actors. Jeff Bridges is a fine actor. He did a good job in the remake; but John Wayne owns Rooster Cogburn. I enjoyed Glen Campbell as a singer, as the Texas Ranger, La Boeuf, he should have stuck with his guitar. Matt Damon was a big upgrade in that role. Barry Pepper wasn’t a bad “Lucky” Ned Pepper; he just couldn’t “Fill your hand, you son of . . .” quite as full as Robert Duvall. Which brings us to Mattie Ross. Kim Darby couldn’t do fourteen. It led to the suggestion of romance with La Boeuf which didn’t fit the story. Hailee Steinfeld was fourteen. More than that, for my two cents, her Mattie Ross carried the film and deserved an Oscar.
Here’s the best part. As I read Portis’ book, I had John Wayne voicing Rooster in one ear with Hailee Steinfeld doing Mattie in the other. In the theater of the imagination, casting is perfect.
PS – People sometimes ask if I’ll ever have a book made into a movie. My reply: Why would I wish for that? Lottery tickets are so cheap . . .
Next Week: Little Big Man
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Ride easy,
Paul
Stephen Spielberg and the Cohen Brothers screen play follows the book ending. Remember that poignant scene where the one-armed, adult Mattie Ross comes looking for Rooster at the Wild West show where he has been performing. She learns Rooster has just passed away. She takes his body home and buries him beside her father. Contrast that with Henry Hathaway’s original screen play. In the final scene Mattie, is seen tending her father’s grave. Rooster rides up, bids her farewell and rides off. The ending set the stage for a sequel. It also weakened the film.
Now for the actors. Jeff Bridges is a fine actor. He did a good job in the remake; but John Wayne owns Rooster Cogburn. I enjoyed Glen Campbell as a singer, as the Texas Ranger, La Boeuf, he should have stuck with his guitar. Matt Damon was a big upgrade in that role. Barry Pepper wasn’t a bad “Lucky” Ned Pepper; he just couldn’t “Fill your hand, you son of . . .” quite as full as Robert Duvall. Which brings us to Mattie Ross. Kim Darby couldn’t do fourteen. It led to the suggestion of romance with La Boeuf which didn’t fit the story. Hailee Steinfeld was fourteen. More than that, for my two cents, her Mattie Ross carried the film and deserved an Oscar.
Here’s the best part. As I read Portis’ book, I had John Wayne voicing Rooster in one ear with Hailee Steinfeld doing Mattie in the other. In the theater of the imagination, casting is perfect.
PS – People sometimes ask if I’ll ever have a book made into a movie. My reply: Why would I wish for that? Lottery tickets are so cheap . . .
Next Week: Little Big Man
Return to Facebook to comment
Ride easy,
Paul
February 27, 2021
The Wild Bunch
Set in Mexico along the U. S. Border in 1913, The Wild Bunch tells the story of an aging outlaw gang coming to terms with a world passing them by. Determined to retire on one last score, gang leader Pike Bishop (Wm Holden) and his gang rob a railroad office believed to hold a fortune in silver. In a twist reminiscent of Butch Cassidy and the Sun Dance Kid, which it was, a posse of bounty hunters hired by the railroad break-up the heist in a bloody gunfight. Bishop’s gang takes heavy losses. The posse is headed Bishop’s former partner, Deke Thornton (Robert Ryan). Bishop, gang member Dutch Engstrom (Ernest Borgnine) and three others escape across the border into Mexico.
The gang hides out in gang member Angel’s home town, Agua Verde. There they discover their ‘loot’ is a sack of washers. The town, torn in the midst of Mexico’s revolution is under the control of vicious Federal General Mapache and his German military advisors. Mapache enlists the gang to rob a U. S. train carrying rifles and ammunition with a promise of gold. The robbery goes off as planned until Thorton’s posse arrives once again. The gang escapes, blowing up a bridge and dumping Thornton and his men in the Rio Grande.
Angel convinces Bishop to turn over one case of rifles and ammunition to rebels who oppose Mapache. Mapache finds out. He captures and tortures Angel when the weapons are delivered. Bishop and Engstrom attempt to rescue Angel. When Mapache slits Angel’s throat, Bishop kills him and his German advisor in front of Mapache’s troops. The troops open fire, killing the gang. Thornton arrives with his posse. He sends his men to collect bounty on the gang remains. The posse is attacked by rebels and slaughtered. Thornton joins the revolution.
The Wild Bunch was cinematically innovative using editing techniques that mixed cuts shot from different angles at speeds to drive kaleidoscopic visual images. The technique would change the way films are made. The screen play, musical score, Peckinpah’s direction and of course cinematography all came in for award nominations with the latter winning its category. The American Film Institute ranks The Wild Bunch sixth in Best Western. The film is listed in the Library of Congress, U.S. National Film Registry.
Next Week: True Grit (’69)
Return to Facebook to comment
Ride easy,
Paul
The gang hides out in gang member Angel’s home town, Agua Verde. There they discover their ‘loot’ is a sack of washers. The town, torn in the midst of Mexico’s revolution is under the control of vicious Federal General Mapache and his German military advisors. Mapache enlists the gang to rob a U. S. train carrying rifles and ammunition with a promise of gold. The robbery goes off as planned until Thorton’s posse arrives once again. The gang escapes, blowing up a bridge and dumping Thornton and his men in the Rio Grande.
Angel convinces Bishop to turn over one case of rifles and ammunition to rebels who oppose Mapache. Mapache finds out. He captures and tortures Angel when the weapons are delivered. Bishop and Engstrom attempt to rescue Angel. When Mapache slits Angel’s throat, Bishop kills him and his German advisor in front of Mapache’s troops. The troops open fire, killing the gang. Thornton arrives with his posse. He sends his men to collect bounty on the gang remains. The posse is attacked by rebels and slaughtered. Thornton joins the revolution.
The Wild Bunch was cinematically innovative using editing techniques that mixed cuts shot from different angles at speeds to drive kaleidoscopic visual images. The technique would change the way films are made. The screen play, musical score, Peckinpah’s direction and of course cinematography all came in for award nominations with the latter winning its category. The American Film Institute ranks The Wild Bunch sixth in Best Western. The film is listed in the Library of Congress, U.S. National Film Registry.
Next Week: True Grit (’69)
Return to Facebook to comment
Ride easy,
Paul
