Paul Colt's Blog, page 26
December 12, 2020
The Alamo
John Wayne decided the only way to get The Alamo made according to his vision, was to produce and direct himself. The investor group he led insisted the film be made in Texas and that Wayne, a box office guarantee, play a leading role. He cast himself as Davy Crockett, heading an all-star cast that included Richard Widmark, Laurence Harvey, Frankie Avalon, Linda Crystal, Chill Wills, Ken Curtis, Richard Boone and Denver Pyle.
Texas is fighting for independence from Mexico. They face numerically superior, regular army forces under the command of Generalissimo Santa Anna. Sam Houston (Boone) needs time to raise a volunteer army. He orders Lieutenant Colonel William Travis (Harvey) to defend the Alamo, a mission positioned to blunt Santa Anna’s advance. Travis is joined by Jim Bowie (Widmark) and a band of Texican volunteers. Legendary Davy Crockett (Wayne) leads a band of Tennessee volunteers to the Texan’s standard. Regular army commander Travis and Texican Bowie clash from the outset. Crockett is thrust into patching the cracks.
Santa Anna lays siege to the mission. He offers ‘terms’ of surrender. Travis responds, touching off a cannon. Santa Anna assaults the mission. His forces take heavy losses and fall back. The Texicans sortie by night to successfully spike Mexican cannon. Travis is promised a relief column under the command of Colonel James Fannin to break the siege. All is lost when he learns Fannin and his command have been slaughtered. With the outcome no longer in doubt, Travis offers Bowie and Crockett’s volunteers the option to leave. Both refuse.
Santa Anna mounts an all-out assault. They breach the mission walls, overwhelming the defenders. Travis falls, followed by a wounded Bowie. Crockett, mortally wounded, takes a match to the powder magazine, inflicting series set-back in the guise of Santa Anna’s victory.
The film was shot on a Texas ranch. The set, hailed as one of the most authentic sets ever made, featured a three-quarter scale replica of the actual mission. The film about broke even at the box office owning to high production costs. Critically the film received mixed reviews. Historians panned the dramatization for lack of authenticity.
Next Week: The Magnificent Seven (’60)
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Ride easy,
Paul
Texas is fighting for independence from Mexico. They face numerically superior, regular army forces under the command of Generalissimo Santa Anna. Sam Houston (Boone) needs time to raise a volunteer army. He orders Lieutenant Colonel William Travis (Harvey) to defend the Alamo, a mission positioned to blunt Santa Anna’s advance. Travis is joined by Jim Bowie (Widmark) and a band of Texican volunteers. Legendary Davy Crockett (Wayne) leads a band of Tennessee volunteers to the Texan’s standard. Regular army commander Travis and Texican Bowie clash from the outset. Crockett is thrust into patching the cracks.
Santa Anna lays siege to the mission. He offers ‘terms’ of surrender. Travis responds, touching off a cannon. Santa Anna assaults the mission. His forces take heavy losses and fall back. The Texicans sortie by night to successfully spike Mexican cannon. Travis is promised a relief column under the command of Colonel James Fannin to break the siege. All is lost when he learns Fannin and his command have been slaughtered. With the outcome no longer in doubt, Travis offers Bowie and Crockett’s volunteers the option to leave. Both refuse.
Santa Anna mounts an all-out assault. They breach the mission walls, overwhelming the defenders. Travis falls, followed by a wounded Bowie. Crockett, mortally wounded, takes a match to the powder magazine, inflicting series set-back in the guise of Santa Anna’s victory.
The film was shot on a Texas ranch. The set, hailed as one of the most authentic sets ever made, featured a three-quarter scale replica of the actual mission. The film about broke even at the box office owning to high production costs. Critically the film received mixed reviews. Historians panned the dramatization for lack of authenticity.
Next Week: The Magnificent Seven (’60)
Return to Facebook to comment
Ride easy,
Paul
December 5, 2020
3:10 Reprise (2007)
The remake stars Russell Crowe as Ben Wade and Christian Bale as Dan. The screen play credits Halsted Welles along with Michael Brandt and Derek Haas. The remake, directed by James Mangold, is based on the classic movie rather than Leonard’s story.
Changes to the screen play felt like they were made for the sake of making changes. The stage robbed in the opening is armored and heavily defended, including a Gatling gun. A Civil War legacy comes out that has no precedent in either Leonard’s story or the original Welles screen play. A chase scene through a railroad tunnel construction site with a Chinese labor force is historically, geographically, and logically obscure.
Much of the drama in the hotel scenes where Wade plays on Dan’s fears is squandered by introducing some of it into the trail ride to Contention. Spreading it out over an extended period of time dilutes the drama and intensity of the original film. Part of that is Crowe’s Wade versus Ford’s. Russell Crowe is the cool, cocky tough guy. Ford is more subtle, calculating and manipulative. Christian Bale lacked Van Heflin’s depth in dealing with his demons.
The showdown gun walk to the train is well done down to the climax. Wade and Dan forge the odd partnership that allows them to reach the train where Wade’s gang confronts them. All Wade has to do is step aside and Dan is a dead man. Instead Wade grabs a gun and kills his own men. (Really?) Dan’s fourteen-year-old son appears and gets the drop on Wade. (Really?). Good thing they started with Welles screen play. They should have stayed with it.
Comedic redemption comes in the last ten seconds. As the train pulls out for Yuma, Ben Wade can be heard to whistle. His horse bolts from the hitch rack and gallops after the train. Ben Wade has broken out of Yuma prison before. Best western sight gag since Lee Marvin’s drunk horse in Cat Ballou.
Next Week: The Alamo
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Ride easy,
Paul
Changes to the screen play felt like they were made for the sake of making changes. The stage robbed in the opening is armored and heavily defended, including a Gatling gun. A Civil War legacy comes out that has no precedent in either Leonard’s story or the original Welles screen play. A chase scene through a railroad tunnel construction site with a Chinese labor force is historically, geographically, and logically obscure.
Much of the drama in the hotel scenes where Wade plays on Dan’s fears is squandered by introducing some of it into the trail ride to Contention. Spreading it out over an extended period of time dilutes the drama and intensity of the original film. Part of that is Crowe’s Wade versus Ford’s. Russell Crowe is the cool, cocky tough guy. Ford is more subtle, calculating and manipulative. Christian Bale lacked Van Heflin’s depth in dealing with his demons.
The showdown gun walk to the train is well done down to the climax. Wade and Dan forge the odd partnership that allows them to reach the train where Wade’s gang confronts them. All Wade has to do is step aside and Dan is a dead man. Instead Wade grabs a gun and kills his own men. (Really?) Dan’s fourteen-year-old son appears and gets the drop on Wade. (Really?). Good thing they started with Welles screen play. They should have stayed with it.
Comedic redemption comes in the last ten seconds. As the train pulls out for Yuma, Ben Wade can be heard to whistle. His horse bolts from the hitch rack and gallops after the train. Ben Wade has broken out of Yuma prison before. Best western sight gag since Lee Marvin’s drunk horse in Cat Ballou.
Next Week: The Alamo
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Ride easy,
Paul
November 28, 2020
3:10 to Yuma ('57)
The film is based on a short story was written by Elmore Leonard, a highly respected best-selling author. Imagine my surprise when I read the story and found myself incredulous. ‘This made it across the chasm from print to film . . . twice?’ Now I’m not the greatest authority on short stories. I’ve sold two. That’s it. I’m sorry, Leonard’s story did nothing for me. I’d seen the movie remake. I enjoyed it; but how do you get that out of this story?
The Leonard story has deputy lawman Paul Scallon escorting outlaw Jim Kidd from Bisbee Arizona to Contention where he and his prisoner will board the 3:10 train to the penitentiary at Yuma. Scallon is on his own with the prisoner. Fearing Kid’s gang will try to free him on the way to Yuma, a heavily guarded decoy is sent by another route. Scallon hides his prisoner in a hotel room. They spend the day waiting for the train. The Kid is confident his gang will break him out. He picks at Scallon’s nerves, urging the deputy to let him go before he ends up a dead man. In High Noon style the clock ticks down to 3:10 and a show down walk to the train.
The original film, stars Glen Ford as Ben Wade (Jim Kidd) and Van Heflin as Dan (Paul Scallon). The screen play was written by Halsted Welles and directed by Delmer Daves. Dan is a family man, citizen volunteer who needs the money to save his farm. He has a wife and two sons. The film begins with a stage robbery by Ben Wade and his gang. The gang divides the loot and separates. Wade is captured and the decoy transfer to Yuma is arranged. Curiously, no trial.
Welles screen play creates tension in the hotel wait scenes the original story did not. Glen Ford’s performance as the manipulative Ben Wade makes the story compelling. Van Heflin sweats his life or death with honor choice convincingly. The hardened Wade reaches a connection with the farmer. In the showdown walk to the train, Wade becomes oddly cooperative with his captor. Dan survives a gun battle with Wade’s gang and succeeds in putting Wade on the train. The farm is saved. Wade claims he’s broken out of Yuma before.
The original 3:10 to Yuma has its place in the U.S. Library of Congress National Film Registry.
Next Week: 3:10 Reprise
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Ride easy,
Paul
The Leonard story has deputy lawman Paul Scallon escorting outlaw Jim Kidd from Bisbee Arizona to Contention where he and his prisoner will board the 3:10 train to the penitentiary at Yuma. Scallon is on his own with the prisoner. Fearing Kid’s gang will try to free him on the way to Yuma, a heavily guarded decoy is sent by another route. Scallon hides his prisoner in a hotel room. They spend the day waiting for the train. The Kid is confident his gang will break him out. He picks at Scallon’s nerves, urging the deputy to let him go before he ends up a dead man. In High Noon style the clock ticks down to 3:10 and a show down walk to the train.
The original film, stars Glen Ford as Ben Wade (Jim Kidd) and Van Heflin as Dan (Paul Scallon). The screen play was written by Halsted Welles and directed by Delmer Daves. Dan is a family man, citizen volunteer who needs the money to save his farm. He has a wife and two sons. The film begins with a stage robbery by Ben Wade and his gang. The gang divides the loot and separates. Wade is captured and the decoy transfer to Yuma is arranged. Curiously, no trial.
Welles screen play creates tension in the hotel wait scenes the original story did not. Glen Ford’s performance as the manipulative Ben Wade makes the story compelling. Van Heflin sweats his life or death with honor choice convincingly. The hardened Wade reaches a connection with the farmer. In the showdown walk to the train, Wade becomes oddly cooperative with his captor. Dan survives a gun battle with Wade’s gang and succeeds in putting Wade on the train. The farm is saved. Wade claims he’s broken out of Yuma before.
The original 3:10 to Yuma has its place in the U.S. Library of Congress National Film Registry.
Next Week: 3:10 Reprise
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Ride easy,
Paul
November 21, 2020
The Searchers
Based on an Alan Le May novel (’54) inspired by Comanche abduction of Cynthia Ann Parker in 1836, The Searchers (’56) pairs John Wayne and John Ford to create western movie magic. In addition to Wayne the film stars Jeffery Hunter, Natalie Wood, Vera Miles and Ward Bond. Set in northwest Texas staked plains, Ford filmed in his signature setting Monument Valley.
Confederate civil war veteran Ethan Edwards (Wayne) returns to his brother’s ranch. He joins a Texas Ranger company, under the command of Captain Samuel Clayton (Bond), in pursuit of Comanche raiders wanted for stealing cattle. The raid proves a diversion. Ethan returns to find his brother, wife and son killed, the ranch burned and daughters, Debbie (Wood) and Lucy missing, presumably captive.
Ethan is joined by Lucy’s fiancé Brad Jorgensen and Debbie’s adopted brother, Martin Pawley (Hunter) in pursuit of the Comanche leader Scar and his band. The first encounter ends tragically with the discovery of Lucy’s mutilated body. Insane with grief, Brad attacks the encamped band and is killed.
Five years go by when Ethan receives word of Scar’s whereabouts and learns he has taken Debbie for one of his wives. As Ethan and Martin approach Scar’s camp, Debbie comes out to meet them. She informs them she is Comanche now and does not wish to return to white ways. Ethan would rather see her dead than Comanche. He means to kill her when Martin steps between them. Ethan is wounded by a Comanche and is forced to withdraw.
The next time they learn where to find Scar, they go with Captain Clayon’s Rangers. Martin sneaks into the village to warn Debbie before the Rangers attack. Debbie runs. Martin kills Scar in the ensuing battle. Ethan tracks down Debbie, carrying her off with the line, “Let’s go home”.
The American Film Institute considers The Searchers the greatest American western, placing it 12th on the 100 greatest American films of all time. Entertainment Weekly named it the greatest American western. It is listed in the U. S. Library of Congress, National Film Registry.
Next Week: 3:10 to Yuma (’57)
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Ride easy,
Paul
Confederate civil war veteran Ethan Edwards (Wayne) returns to his brother’s ranch. He joins a Texas Ranger company, under the command of Captain Samuel Clayton (Bond), in pursuit of Comanche raiders wanted for stealing cattle. The raid proves a diversion. Ethan returns to find his brother, wife and son killed, the ranch burned and daughters, Debbie (Wood) and Lucy missing, presumably captive.
Ethan is joined by Lucy’s fiancé Brad Jorgensen and Debbie’s adopted brother, Martin Pawley (Hunter) in pursuit of the Comanche leader Scar and his band. The first encounter ends tragically with the discovery of Lucy’s mutilated body. Insane with grief, Brad attacks the encamped band and is killed.
Five years go by when Ethan receives word of Scar’s whereabouts and learns he has taken Debbie for one of his wives. As Ethan and Martin approach Scar’s camp, Debbie comes out to meet them. She informs them she is Comanche now and does not wish to return to white ways. Ethan would rather see her dead than Comanche. He means to kill her when Martin steps between them. Ethan is wounded by a Comanche and is forced to withdraw.
The next time they learn where to find Scar, they go with Captain Clayon’s Rangers. Martin sneaks into the village to warn Debbie before the Rangers attack. Debbie runs. Martin kills Scar in the ensuing battle. Ethan tracks down Debbie, carrying her off with the line, “Let’s go home”.
The American Film Institute considers The Searchers the greatest American western, placing it 12th on the 100 greatest American films of all time. Entertainment Weekly named it the greatest American western. It is listed in the U. S. Library of Congress, National Film Registry.
Next Week: 3:10 to Yuma (’57)
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Ride easy,
Paul
November 14, 2020
Johnny Guitar
Johnny Guitar (1954) is considered a classic western film. It is preserved in the United States Library of Congress, National Film Registry. The film stars Joan Crawford, Ward Bond, Mercedes McCambridge and lesser known Sterling Hayden and Scott Brady in a screen play based on a novel by Roy Chanslor. Classic? I never heard of it.
Crawford plays Vienna, tough-minded saloon-keeper in an Arizona cow town. She favors a railroad opposed by powerful local rancher John McIvers (Bond). She makes matters worse with respectable townsfolk led by outspoken Emma Small (McCambridge) by allowing notorious former lover Dancin’ Kid and his gang to frequent her saloon. The plot thickens with arrival of Johnny Guitar, another former lover and professional gunfighter.
When The Kid and his gang are accused of a stage robber, Emma agitates to have the lot of them run out of town. The Kid and his gang rob the bank to finance their get-away, which is blocked when the railroad crew dynamites a pass to escape. They hide out in a cave behind a waterfall.
McIvers orgainizes a posse to pursue the robbers. Emma convinces him, Vienna is implicated. They ride to her saloon where one of The Kid’s gang is found hiding under a table. The posse burns down the saloon and prepares to hang Vienna and the gang member. Johnny Guitar rescues Vienna. They escape to The Dancin’ Kid’s hideout. Emma and McIver’s posse arrive for the showdown. Emma wounds Vienna in the shoot out before killing The Kid. Vienna gets her revenge, killing Emma. Vienna and Johnny ride off together.
Off camera, Crawford and McCambridge had a quarrelsome relationship with McCambridge declaring there wasn’t enough money to induce her to make another film with Crawford. Crawford responded she had four children already and didn’t need a fifth. The film opened to negative reviews. One critic opined Crawford was as romantic as unwrapped razor blades.
A classic film if there ever was one . . . I guess.
Next Week: The Searchers
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Ride easy,
Paul
Crawford plays Vienna, tough-minded saloon-keeper in an Arizona cow town. She favors a railroad opposed by powerful local rancher John McIvers (Bond). She makes matters worse with respectable townsfolk led by outspoken Emma Small (McCambridge) by allowing notorious former lover Dancin’ Kid and his gang to frequent her saloon. The plot thickens with arrival of Johnny Guitar, another former lover and professional gunfighter.
When The Kid and his gang are accused of a stage robber, Emma agitates to have the lot of them run out of town. The Kid and his gang rob the bank to finance their get-away, which is blocked when the railroad crew dynamites a pass to escape. They hide out in a cave behind a waterfall.
McIvers orgainizes a posse to pursue the robbers. Emma convinces him, Vienna is implicated. They ride to her saloon where one of The Kid’s gang is found hiding under a table. The posse burns down the saloon and prepares to hang Vienna and the gang member. Johnny Guitar rescues Vienna. They escape to The Dancin’ Kid’s hideout. Emma and McIver’s posse arrive for the showdown. Emma wounds Vienna in the shoot out before killing The Kid. Vienna gets her revenge, killing Emma. Vienna and Johnny ride off together.
Off camera, Crawford and McCambridge had a quarrelsome relationship with McCambridge declaring there wasn’t enough money to induce her to make another film with Crawford. Crawford responded she had four children already and didn’t need a fifth. The film opened to negative reviews. One critic opined Crawford was as romantic as unwrapped razor blades.
A classic film if there ever was one . . . I guess.
Next Week: The Searchers
Return to Facebook to comment
Ride easy,
Paul
November 7, 2020
Shane
Enigmatic gunfighter, Shane (Alan Ladd) drifts into a Wyoming homestead caught up in conflict with powerful rancher Rufus Ryker’s interests over open range land and water rights. The homesteader, Joe Starrett (Van Heflin), hires Shane as a farm hand. Starrett’s young son, Joey (Brandon de Wilde) idolizes the gunfighter over his mother’s disapproval. Marion Starrett played by Jean Arthur.
Conflict with Ryker and his men escalates from taunts Shane ignores to a barroom brawl. Shane and Joe Starrett best Ryker’s men. Ryker threatens the next fight will be settled with guns. He hires gunman Jack Wilson (Jack Palance). Shane demonstrates his gun hand, impressing young Joey. Wilson goads a homesteader into a fight and kills him. The settlers are intimidated and ready to quit the valley. Shane encourages them to stand their ground. Ryker invites Starrett to town for the purpose of having him killed.
Shane is warned of the plot. He and Starrett argue over who should face Wilson. Shane knocks Starrett out in a fight and rides into town. Joey follows to watch. Shane kills Wilson and Ryker. In the final scene Shane takes his leave, riding off to Joey’s cry “Shane, come back!”
Premise of the story resonated with some research I am doing for a forthcoming book set against a backdrop of Wyoming’s 1892 Johnson County War. Turns out, that was the inspiration for Shane. Filmed in Wyoming, Paramount shot the film in a new wide screen format, accenting the vistas and grandeur of mountains and plains. The cinematography worked netting director George Stevens and Oscar. Shane ranks third in AFI’s top ten western films.
Behind the scenes, Alan Ladd didn’t like guns. The gun handling scene for young Joey required more than a hundred takes. The gunfight scenes in the films climax don’t pass the eye test for realism. Not to be outdone Jack Palance didn’t like horses. He had trouble mounting and dismounting. After countless takes he managed a smooth dismount which was then used for all his dismounts in the film and run backward for his mounts.
Next Week: Johnny Guitar
Return to Facebook to comment
Ride easy,
Paul
Conflict with Ryker and his men escalates from taunts Shane ignores to a barroom brawl. Shane and Joe Starrett best Ryker’s men. Ryker threatens the next fight will be settled with guns. He hires gunman Jack Wilson (Jack Palance). Shane demonstrates his gun hand, impressing young Joey. Wilson goads a homesteader into a fight and kills him. The settlers are intimidated and ready to quit the valley. Shane encourages them to stand their ground. Ryker invites Starrett to town for the purpose of having him killed.
Shane is warned of the plot. He and Starrett argue over who should face Wilson. Shane knocks Starrett out in a fight and rides into town. Joey follows to watch. Shane kills Wilson and Ryker. In the final scene Shane takes his leave, riding off to Joey’s cry “Shane, come back!”
Premise of the story resonated with some research I am doing for a forthcoming book set against a backdrop of Wyoming’s 1892 Johnson County War. Turns out, that was the inspiration for Shane. Filmed in Wyoming, Paramount shot the film in a new wide screen format, accenting the vistas and grandeur of mountains and plains. The cinematography worked netting director George Stevens and Oscar. Shane ranks third in AFI’s top ten western films.
Behind the scenes, Alan Ladd didn’t like guns. The gun handling scene for young Joey required more than a hundred takes. The gunfight scenes in the films climax don’t pass the eye test for realism. Not to be outdone Jack Palance didn’t like horses. He had trouble mounting and dismounting. After countless takes he managed a smooth dismount which was then used for all his dismounts in the film and run backward for his mounts.
Next Week: Johnny Guitar
Return to Facebook to comment
Ride easy,
Paul
October 31, 2020
Hondo
Hondo is based on a Louis L’Amour short story directed by John Farrow, with finishing scenes directed by John Ford as a favor to star John Wayne. Farrow had to leave the director’s chair when filming ran over schedule due in large measure to the technological foibles of early 3D.
The story centers on army scout Hondo Lane (Wayne), homesteader Angie Lowe (Geraldine Page) estranged from her husband and her young son. Hondo arrives at Angie’s ranch, having escaped a failed fight with Apache’s. Angie loans him a horse to return to his post. Angie’s young son, Johnny is befriended by Apache Chief Vittorio over an altercation with Silva a member of his band. Vittorio insists the boy needs a father.
Back at his post, Hondo encounters a man believed to be Angie’s wayward husband. A fight breaks out in which Hondo bests Ed Lowe. Hondo leaves the fort to return Angie’s horse. He camps for the night; but detects he is being followed and leaves his camp. A vengeful Ed Lowe and his tracker enter Hondo’s camp. Two hostile Apaches attack. They kill the tracker before Hondo kills them both saving Lowe. Lowe doesn’t let gratitude get in the way of vengeance. His attempt to shoot Hondo in the back earns him Hondo’s kill shot. He finds a picture of Johnny.
Continuing on his way, Hondo is captured by Apache. When Vittorio arrives, he finds the picture of Johnny and assumes Hondo is Angie’s husband. Silva demands a blood right to Hondo who killed his brother in the fight at the camp. Hondo wins submission in a knife fight. Vittorio returns Hondo to Angie who claims he is her husband. Romance ensues. Hondo fesses up about Ed, who was estranged enough not to matter. John Ford sits down in the director’s chair just in time for a cavalry show down with the Apache. Hondo finishes his business with Silva. Hondo, Angie and Johnny ride off to happily-ever-after.
Malfunctions with the 3D camera’s caused shooting delays that necessitated the change in director. Ironically the film uses little 3D gimmickry associated with scary things coming off the screen into the audience. Instead 3D was used to give depth and breadth to landscapes. In an unusual artistic twist, Louis L’ Amour received rights to a novel based on the film. Go figure.
Next Week: Shane
Return to Facebook to comment
Ride easy,
Paul
The story centers on army scout Hondo Lane (Wayne), homesteader Angie Lowe (Geraldine Page) estranged from her husband and her young son. Hondo arrives at Angie’s ranch, having escaped a failed fight with Apache’s. Angie loans him a horse to return to his post. Angie’s young son, Johnny is befriended by Apache Chief Vittorio over an altercation with Silva a member of his band. Vittorio insists the boy needs a father.
Back at his post, Hondo encounters a man believed to be Angie’s wayward husband. A fight breaks out in which Hondo bests Ed Lowe. Hondo leaves the fort to return Angie’s horse. He camps for the night; but detects he is being followed and leaves his camp. A vengeful Ed Lowe and his tracker enter Hondo’s camp. Two hostile Apaches attack. They kill the tracker before Hondo kills them both saving Lowe. Lowe doesn’t let gratitude get in the way of vengeance. His attempt to shoot Hondo in the back earns him Hondo’s kill shot. He finds a picture of Johnny.
Continuing on his way, Hondo is captured by Apache. When Vittorio arrives, he finds the picture of Johnny and assumes Hondo is Angie’s husband. Silva demands a blood right to Hondo who killed his brother in the fight at the camp. Hondo wins submission in a knife fight. Vittorio returns Hondo to Angie who claims he is her husband. Romance ensues. Hondo fesses up about Ed, who was estranged enough not to matter. John Ford sits down in the director’s chair just in time for a cavalry show down with the Apache. Hondo finishes his business with Silva. Hondo, Angie and Johnny ride off to happily-ever-after.
Malfunctions with the 3D camera’s caused shooting delays that necessitated the change in director. Ironically the film uses little 3D gimmickry associated with scary things coming off the screen into the audience. Instead 3D was used to give depth and breadth to landscapes. In an unusual artistic twist, Louis L’ Amour received rights to a novel based on the film. Go figure.
Next Week: Shane
Return to Facebook to comment
Ride easy,
Paul
October 24, 2020
High Noon
High Noon is both classic and controversial. Classic when a film earns four Academy Awards, four Golden Globes and a place in the Library of Congress National Film Registry. Controversial when critics label it an assault on Hollywood blacklisting under Joe McCarthy’s House Un-American Activities Committee; and none other than John Wayne, calls it “Un-American”. So how do you get all that from a cast that included Gary Cooper (best actor), Grace Kelly, Lee Van Cleef and Lloyd Bridges?
You start with a plot that turned some people off. Small town Marshal Will Kane (Cooper) plans to give up law-dogging for shopkeeping for new pacifist Quaker wife Amy (Grace Kelly). Word arrives outlaw Jack Miller has been released from the prison Kane sent him to; and is headed for town on the noon train with revenge on his mind. Amy tells Will, she’s leaving town with or without him. Will sees a duty and is reluctant to run. He spends most of the movie trying to find deputies to back him. No one can or will, leaving him to face Miller and his gang alone. Some of the controversy surrounding the story revolves around the cowardice displayed by townsfolk in general and Kane’s friends, and associates in particular.
The story, fillmed in black and white, moves along to an Oscar winning score and a clock ticking relentlessly toward high noon. Kane faces Miller and his gang alone on a deserted street. He kills two of the gang before being wounded. Amy, hearing the shootout, leaves the train, grabs a gun in Kane’s office and shoots one of the gang in the back. Miller grabs her for a shield. She claws her way free and Will guns Miller down. Happily-ever-after.
Gary Cooper had an Oscar winning role in Will Kane, a part it seems no one wanted to play. The role was offered to John Wayne, Gregory Peck, Marlon Brando, Montgomery Clift and Charlton Heston, all of whom turned it down. The Oscar winning title song, High Noon, also known as Do Not Forsake Me Oh My Darling, was a hit on the country charts for Tex Ritter and also hit the pop charts with Frankie Lane, one of my personal favorites.
Next Week: Hondo
Return to Facebook to comment
Ride easy,
Paul
You start with a plot that turned some people off. Small town Marshal Will Kane (Cooper) plans to give up law-dogging for shopkeeping for new pacifist Quaker wife Amy (Grace Kelly). Word arrives outlaw Jack Miller has been released from the prison Kane sent him to; and is headed for town on the noon train with revenge on his mind. Amy tells Will, she’s leaving town with or without him. Will sees a duty and is reluctant to run. He spends most of the movie trying to find deputies to back him. No one can or will, leaving him to face Miller and his gang alone. Some of the controversy surrounding the story revolves around the cowardice displayed by townsfolk in general and Kane’s friends, and associates in particular.
The story, fillmed in black and white, moves along to an Oscar winning score and a clock ticking relentlessly toward high noon. Kane faces Miller and his gang alone on a deserted street. He kills two of the gang before being wounded. Amy, hearing the shootout, leaves the train, grabs a gun in Kane’s office and shoots one of the gang in the back. Miller grabs her for a shield. She claws her way free and Will guns Miller down. Happily-ever-after.
Gary Cooper had an Oscar winning role in Will Kane, a part it seems no one wanted to play. The role was offered to John Wayne, Gregory Peck, Marlon Brando, Montgomery Clift and Charlton Heston, all of whom turned it down. The Oscar winning title song, High Noon, also known as Do Not Forsake Me Oh My Darling, was a hit on the country charts for Tex Ritter and also hit the pop charts with Frankie Lane, one of my personal favorites.
Next Week: Hondo
Return to Facebook to comment
Ride easy,
Paul
October 17, 2020
Winchester '73
Summarizing the Winchester ’73 plot made me wonder how they pulled it off to five-star reviews and a listing in the Library of Congress National Film Registry. The original story had the iconic rifle serving as the source of Lin McAdam’s (Jimmy Stewart) strength, ala Sampson’s hair. In rewrite the rifle became a character on an ownership odyssey. The result is a story with a legion of characters and more twists and turns than a thirteen-week Saturday morning serial.
McAdam and partner arrive in Dodge in time to see Wyatt Earp run saloon sweetie Lola Manners (Shelley Winters) out of town. They are on the trail of bad guy Dutch Brown with whom Lin has a score to settle. Lin and Dutch face off in a shooting contest, the prize for which is- you guessed it- a one-in-one-thousand Winchester ’73. Lin wins, only to have Dutch steal the prize. Pursuit follows.
Dutch loses the Winchester to an Indian trader in a poker game. The Indian trader loses his hair and the rifle to one of his clients, Young Bull (Rock Hudson – really).
With Indians on the warpath, Lola and her fiancé seek protection from a cavalry troop. Lin and his partner join up for protection. Lin gives Lola his pistol for her use of the last bullet. The Indians attack. Young Bull is killed, and the Winchester ends up with Lola’s fiancé.
Lola and her fiancé get to their new home where they are confronted by outlaw Waco Johnny Dean (Dan Duryea). Waco whacks fiancé grabbing Lola and the rifle, not necessarily in that order. Dutch joins Waco’s band for a robbery. The robbery goes bad when Lin arrives and Lola tips him off to the heist. Lin pursues Dutch out of town. The shootout ends badly for Dutch.
Back in town it is revealed Dutch is Lin’s brother wanted for killing their father. Lin comes back to town with his Winchester ’73 and dead brother. Lin, Lola and rifle, not necessarily in that order, ride off to happily ever after.
Shelley Winters hated her role as Lola. ‘With all these men lusting after a gun, who knew I even had a part in the film.’ (We cleaned up the language for general audience consumption.)
Next Week: High Noon
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Paul
McAdam and partner arrive in Dodge in time to see Wyatt Earp run saloon sweetie Lola Manners (Shelley Winters) out of town. They are on the trail of bad guy Dutch Brown with whom Lin has a score to settle. Lin and Dutch face off in a shooting contest, the prize for which is- you guessed it- a one-in-one-thousand Winchester ’73. Lin wins, only to have Dutch steal the prize. Pursuit follows.
Dutch loses the Winchester to an Indian trader in a poker game. The Indian trader loses his hair and the rifle to one of his clients, Young Bull (Rock Hudson – really).
With Indians on the warpath, Lola and her fiancé seek protection from a cavalry troop. Lin and his partner join up for protection. Lin gives Lola his pistol for her use of the last bullet. The Indians attack. Young Bull is killed, and the Winchester ends up with Lola’s fiancé.
Lola and her fiancé get to their new home where they are confronted by outlaw Waco Johnny Dean (Dan Duryea). Waco whacks fiancé grabbing Lola and the rifle, not necessarily in that order. Dutch joins Waco’s band for a robbery. The robbery goes bad when Lin arrives and Lola tips him off to the heist. Lin pursues Dutch out of town. The shootout ends badly for Dutch.
Back in town it is revealed Dutch is Lin’s brother wanted for killing their father. Lin comes back to town with his Winchester ’73 and dead brother. Lin, Lola and rifle, not necessarily in that order, ride off to happily ever after.
Shelley Winters hated her role as Lola. ‘With all these men lusting after a gun, who knew I even had a part in the film.’ (We cleaned up the language for general audience consumption.)
Next Week: High Noon
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Ride easy,
Paul
October 10, 2020
Blood on the Moon
Tate Riling (Robert Preston) and crooked Indian Agent Jake Pindalest plot to defraud cattleman John Lufton out of the value of his heard, obtaining a government order to remove his herd from reservation grazing land on short notice. The move they reckon to cause Lufton to sell the herd rather than risk losing all. Lufton is pressured to sell; but never to Riling. Riling sends for his old friend, Jim Gerry (Robert Mitchum) offering to cut him in if he buys Lufton’s herd with government money only to turn around and sell the herd back to the government at an inflated price.
Gerry reaches out to Lufton, who has two daughters, Amy and Carol. Amy (Barbara Bel Geddes) doesn’t trust Gerry, believing he is working for Riling. Lufton manages to remove his herd from the reservation in time, seemingly foiling the plot. Riling and his men stampede the herd back onto the reservation where it is once again scattered beyond compliance with the removal order.
Gerry is angered when a young man is killed in the stampede. He persuades Pindalest to petition for an extension of the government deadline. He then takes Pindalest into custody and hides out at Kris Bardon’s cabin (Walter Brennan), father of the young man killed in the stampede. He is joined there by Amy Lufton, who has come to trust Gerry after he saves her from two of Riling’s men.
Riling follows Gerry to the cabin where a gunfight sets up a standoff. Gerry slips out at night, picking off Riling’s men until only his old friend remains. The two men face each other. Riling is mortally wounded. With Pindalest under arrest, Gerry decides to end his wandering ways for happily ever after with Amy.
Blood on the Moon received critical acclaim for screen play and acting, with both Mitchum and Bel Geddes singled out for special mention.
Next Week: Winchester ‘73
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Ride easy,
Paul
Gerry reaches out to Lufton, who has two daughters, Amy and Carol. Amy (Barbara Bel Geddes) doesn’t trust Gerry, believing he is working for Riling. Lufton manages to remove his herd from the reservation in time, seemingly foiling the plot. Riling and his men stampede the herd back onto the reservation where it is once again scattered beyond compliance with the removal order.
Gerry is angered when a young man is killed in the stampede. He persuades Pindalest to petition for an extension of the government deadline. He then takes Pindalest into custody and hides out at Kris Bardon’s cabin (Walter Brennan), father of the young man killed in the stampede. He is joined there by Amy Lufton, who has come to trust Gerry after he saves her from two of Riling’s men.
Riling follows Gerry to the cabin where a gunfight sets up a standoff. Gerry slips out at night, picking off Riling’s men until only his old friend remains. The two men face each other. Riling is mortally wounded. With Pindalest under arrest, Gerry decides to end his wandering ways for happily ever after with Amy.
Blood on the Moon received critical acclaim for screen play and acting, with both Mitchum and Bel Geddes singled out for special mention.
Next Week: Winchester ‘73
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Ride easy,
Paul
