Paul Colt's Blog, page 29
May 22, 2020
Memorial
My book, Boots and Saddles: A Call to Glory is dedicated to Dick Jackson’s memory. With the help of readers of these pages, we were able to locate Dick’s sister and mother over the Memorial Day weekend a few years ago and send them a book, dedicated to the hero we lost.
Dedication
For Jack
For duty, honor and sacrifice for another. For the letter in the mailbox the day we laid you to rest. The canceled “stamp,” written in your hand reads, “Free.” I have it. I’ll not forget. For you and all those whose names are etched on that black marble wall; and for all those who have or will defend our freedom; your courage and sacrifice preserve us. We remember. We owe you no less.
In Memory:
Sgt. Richard T. Jackson
And who better to celebrate Memorial Day than the late great Kate Smith. God Bless America.
Kate Smith introduces God Bless America - YouTub
Image attribution: Share Alike 4.0 International
Dedication
For Jack
For duty, honor and sacrifice for another. For the letter in the mailbox the day we laid you to rest. The canceled “stamp,” written in your hand reads, “Free.” I have it. I’ll not forget. For you and all those whose names are etched on that black marble wall; and for all those who have or will defend our freedom; your courage and sacrifice preserve us. We remember. We owe you no less.
In Memory:
Sgt. Richard T. Jackson
And who better to celebrate Memorial Day than the late great Kate Smith. God Bless America.
Kate Smith introduces God Bless America - YouTub
Image attribution: Share Alike 4.0 International
May 9, 2020
Kevin Costner
Kevin Costner’s western film credits start with Dances with Wolves (90), a solid entry on anybody’s list of all-time great western films, including mine. Costner starred and directed. The film netted 12 Academy Award nominations, winning seven total with Costner personally picking up Oscars for Best Picture and Best Director. It is one of those films you can watch time and again and be enthralled by the elegant simplicity of the story and blown away by the cinematography.
Costner’s next trip west came as Wyatt Earp (94). As I said in our profile of Kurt Russell, Costner’s portrayal of Wyatt had an authenticity to place it squarely in the conversation for Best Wyatt Ever. It comes on the heels of his performance in Dances with Wolves to level his body of work in the discussion with Russell’s Miracle on Ice. As I said a few weeks ago, Best Wyatt Ever for me, too close to call.
Open Range pairs Costner and Robert Duvall in a fine western picture perfectly suited to the theme of keeping the western genre alive in a well-made film. Costner cast Duvall in the title role. He reportedly said that if Duvall had not accepted the part, he probably wouldn’t have made the movie. Fortunately for western film fans, Duvall never hesitated.
Costner’s western outings on the small screen begin with the legendary Hatfield & McCoy feud (2012). Ok so West Virginia and Kentucky are east of the Mississippi, tune into the action and the show rides and shoots like a western. Forget the zip codes. Enjoy the feud. More recently, his contemporary western, Yellowstone (2018), reflects the fact westerns today are more than stories set in the nineteenth century. Kevin Costner understands the genre. He understands what is happening in western literature and takes advantage of the rich diversity in film.
Next Week: Gene Hackman
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Ride easy,
Paul
Costner’s next trip west came as Wyatt Earp (94). As I said in our profile of Kurt Russell, Costner’s portrayal of Wyatt had an authenticity to place it squarely in the conversation for Best Wyatt Ever. It comes on the heels of his performance in Dances with Wolves to level his body of work in the discussion with Russell’s Miracle on Ice. As I said a few weeks ago, Best Wyatt Ever for me, too close to call.
Open Range pairs Costner and Robert Duvall in a fine western picture perfectly suited to the theme of keeping the western genre alive in a well-made film. Costner cast Duvall in the title role. He reportedly said that if Duvall had not accepted the part, he probably wouldn’t have made the movie. Fortunately for western film fans, Duvall never hesitated.
Costner’s western outings on the small screen begin with the legendary Hatfield & McCoy feud (2012). Ok so West Virginia and Kentucky are east of the Mississippi, tune into the action and the show rides and shoots like a western. Forget the zip codes. Enjoy the feud. More recently, his contemporary western, Yellowstone (2018), reflects the fact westerns today are more than stories set in the nineteenth century. Kevin Costner understands the genre. He understands what is happening in western literature and takes advantage of the rich diversity in film.
Next Week: Gene Hackman
Return to Facebook to comment
Ride easy,
Paul
May 3, 2020
Wes Studi
Wes Studi was born to Cherokee parents near Tahlequah, Oklahoma. He learned to talk in the Cherokee language, learning English when he entered school. He entered the National Guard on graduation from High School, serving an eighteen month tour in Vietnam. He took up acting following his discharge.
Studi got his first break in the role of Long Runner in The Trial of Standing Bear (’88). He appeared as a Pawnee in Dances with Wolves (’90) opposite Kevin Kostner. Studi had the title role of Magua in The Last of the Mohicans (’92). The following year he again had the title role in Geronimo: An American Legend. Other film credits include The New World (’05) and Bury My Heart at Wounded Knee (’07). His most recent big screen roles cast him as Cochise in A Million Ways to Die in the West (’14) and Cheyenne Chief Yellow Hawk in Hostiles (’17).
Studi has been a politically active advocate for American Indians both on and off the screen. Made for TV documentaries include The Trail of Tears: Cherokee Legacy and Images of Indians: How Hollywood Stereotyped the Native American. Studi’s made for TV movie credits include his role as Red Cloud in Crazy Horse (’97), The Lone Ranger (’03), Comanche Moon (’08) and Hell on Wheels (’11).
Wes, along with cast and crew, won a Western Heritage Award in 1994 for Geronimo: An American Legend. Wes Studi is recognized in the Hall of Great Western Performers at the National Cowboy and Western Heritage Museum in Oklahoma City, Oklahoma.
Next Week: Kevin Costner
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Photo-art by Jim Hatzell
https://www.flickr.com/photos/fiddler...
Ride easy,
Paul
Studi got his first break in the role of Long Runner in The Trial of Standing Bear (’88). He appeared as a Pawnee in Dances with Wolves (’90) opposite Kevin Kostner. Studi had the title role of Magua in The Last of the Mohicans (’92). The following year he again had the title role in Geronimo: An American Legend. Other film credits include The New World (’05) and Bury My Heart at Wounded Knee (’07). His most recent big screen roles cast him as Cochise in A Million Ways to Die in the West (’14) and Cheyenne Chief Yellow Hawk in Hostiles (’17).
Studi has been a politically active advocate for American Indians both on and off the screen. Made for TV documentaries include The Trail of Tears: Cherokee Legacy and Images of Indians: How Hollywood Stereotyped the Native American. Studi’s made for TV movie credits include his role as Red Cloud in Crazy Horse (’97), The Lone Ranger (’03), Comanche Moon (’08) and Hell on Wheels (’11).
Wes, along with cast and crew, won a Western Heritage Award in 1994 for Geronimo: An American Legend. Wes Studi is recognized in the Hall of Great Western Performers at the National Cowboy and Western Heritage Museum in Oklahoma City, Oklahoma.
Next Week: Kevin Costner
Return to Facebook to comment
Photo-art by Jim Hatzell
https://www.flickr.com/photos/fiddler...
Ride easy,
Paul
April 25, 2020
Robert Duval
Robert Duval began his acting career in the late 50’s on stage. Film and television roles followed in the 60’s and beyond. He enjoyed a prolific film career lending his talents as an actor to a wide variety of roles. Colleagues said of his portrayals, Duval had the ability to thoroughly “inhabit” a character such that he became the character he played. One co-star said she never got to know Robert Duval, only his character.
Robert Duval’s contributions to Western film over the course of his career are considerable. He got his start in 1969, playing “Lucky” Ned Pepper to John Wayne’s Rooster Cogburn in True Grit. Who can forget that thrilling “Fill your hands, you . . . “, reins in their teeth, gun down gallop? Lawman (’71) came next, followed by The Great Northfield Minnesota Raid and Joe Kidd (’72).
Lonesome Dove hit our screens in ’89. OK, OK, I know this is a big screen post series and Lonesome Dove is a little screen miniseries, but some of those little screens are pretty big these days and was there ever a little screen Western as big as Lonesome Dove? I don’t think so. So Lonesome Dove belongs here. Duval won a Golden Globe for his portrayal of retired Texas Ranger Captain Agustus “Gus” McCrae. Paired with Tommy Lee Jones as the dour Woodrow Call, Gus and Call make two of the most compelling pards to ride down the Western film trail.
Duval went back to the big screen in 1993 opposite the incomparable Wes Studi in Geronimo: An American Legend. The films that followed kept Westerns alive and relevant in a new millennium. Duval played General Robert E. Lee in Gods and Generals (’03), a fitting role for a man whose maternal ancestors include the General himself. Open Range followed later that year. A Night in Old Mexico (’14) and Wild Horses (’15) round out the body of work.
Robert Duval is still making films. With luck, we may yet get another Western. These days he and fourth wife, Pedraza are involved with a children’s charitable foundation in her native Argentina.
Next Week: Wes Studi
Return to Facebook to comment
Ride easy,
Paul
Robert Duval’s contributions to Western film over the course of his career are considerable. He got his start in 1969, playing “Lucky” Ned Pepper to John Wayne’s Rooster Cogburn in True Grit. Who can forget that thrilling “Fill your hands, you . . . “, reins in their teeth, gun down gallop? Lawman (’71) came next, followed by The Great Northfield Minnesota Raid and Joe Kidd (’72).
Lonesome Dove hit our screens in ’89. OK, OK, I know this is a big screen post series and Lonesome Dove is a little screen miniseries, but some of those little screens are pretty big these days and was there ever a little screen Western as big as Lonesome Dove? I don’t think so. So Lonesome Dove belongs here. Duval won a Golden Globe for his portrayal of retired Texas Ranger Captain Agustus “Gus” McCrae. Paired with Tommy Lee Jones as the dour Woodrow Call, Gus and Call make two of the most compelling pards to ride down the Western film trail.
Duval went back to the big screen in 1993 opposite the incomparable Wes Studi in Geronimo: An American Legend. The films that followed kept Westerns alive and relevant in a new millennium. Duval played General Robert E. Lee in Gods and Generals (’03), a fitting role for a man whose maternal ancestors include the General himself. Open Range followed later that year. A Night in Old Mexico (’14) and Wild Horses (’15) round out the body of work.
Robert Duval is still making films. With luck, we may yet get another Western. These days he and fourth wife, Pedraza are involved with a children’s charitable foundation in her native Argentina.
Next Week: Wes Studi
Return to Facebook to comment
Ride easy,
Paul
April 18, 2020
Emelio Estavez
Emilio Estavez’ western creds are thin. Aside from Young Guns and the sequel the only other is Dollar for the Dead spaghetti western. Estavez role as Billy the Kid in Young Guns and Young Guns II earns Estavez his prominence in this series. Billy the Kid is a character portrayed in countless films by countless actors, some of them quite talented; but from my perspective, Emilio Estavez’ Billy is the ‘Best Billy the Kid Ever’.
The Young Guns films recount the outlaw career of Billy the Kid, beginning with the Lincoln County War. The films cover the period and events of my Bounty Trilogy. I researched those characters and events for my books. I’ve walked the street in Lincoln (there is only one). Put my finger in the bullet hole in the wall made when the Kid shot Deputy Bell, while breaking out of jail. I landscaped those books from the saddle of a gaited horse named Grant. In addition to firsthand knowledge, we have the considerable professional opinion of Billy the Kid expert, Paul Andrew Hutton, Distinguished Professor of History at the University of New Mexico. Paul, who you may recognize from numerous made for television historical documentaries, holds Young Guns “The most historically accurate” of all the Billy the Kid films.
Emilio Estavez nailed Billy the Kid. Billy is a complex character, part fun-loving friendly boy next door, part misguided mischievous pecks bad boy, part psychopathic killer. He’s also controversial. There are plenty of folks who see one side of his persona or the other and stop there, unable to distinguish the cold blooded killer from the troubled young man beloved by a legion of friends. Emilio Estavez captured it all.
Like the ‘Best Ever’ portrayals previously discussed in our Tombstone posts, Estavez’ Billy benefitted from a strong supporting cast including, Kiefer Sutherland (Doc Scurlock), Lou Diamond Phillips (Jose Chavez), Charlie Sheen (Estavez’ brother as Dick Brewer), Brian Keith (Buckshot Roberts) and Jack Palance (Lawrence Murphy). Phillips would go on to co-star as Henry Standing Bear in the hit TV series, Longmire. The ensemble completed an authentic portrayal of a complex chapter in history.
Next Week: Robert Duval
Return to Facebook to comment
Ride easy,
Paul
The Young Guns films recount the outlaw career of Billy the Kid, beginning with the Lincoln County War. The films cover the period and events of my Bounty Trilogy. I researched those characters and events for my books. I’ve walked the street in Lincoln (there is only one). Put my finger in the bullet hole in the wall made when the Kid shot Deputy Bell, while breaking out of jail. I landscaped those books from the saddle of a gaited horse named Grant. In addition to firsthand knowledge, we have the considerable professional opinion of Billy the Kid expert, Paul Andrew Hutton, Distinguished Professor of History at the University of New Mexico. Paul, who you may recognize from numerous made for television historical documentaries, holds Young Guns “The most historically accurate” of all the Billy the Kid films.
Emilio Estavez nailed Billy the Kid. Billy is a complex character, part fun-loving friendly boy next door, part misguided mischievous pecks bad boy, part psychopathic killer. He’s also controversial. There are plenty of folks who see one side of his persona or the other and stop there, unable to distinguish the cold blooded killer from the troubled young man beloved by a legion of friends. Emilio Estavez captured it all.
Like the ‘Best Ever’ portrayals previously discussed in our Tombstone posts, Estavez’ Billy benefitted from a strong supporting cast including, Kiefer Sutherland (Doc Scurlock), Lou Diamond Phillips (Jose Chavez), Charlie Sheen (Estavez’ brother as Dick Brewer), Brian Keith (Buckshot Roberts) and Jack Palance (Lawrence Murphy). Phillips would go on to co-star as Henry Standing Bear in the hit TV series, Longmire. The ensemble completed an authentic portrayal of a complex chapter in history.
Next Week: Robert Duval
Return to Facebook to comment
Ride easy,
Paul
April 4, 2020
Kurt Russell
Kurt Russell brought a passel of western creds to the role of Wyatt Earp in Tombstone, though most of them amassed as a child star, starting with The Travels of Jaimie McPheeters TV series (’63-’64). Others included guest episodes on The Virginian, Gunsmoke, Legend of Jesse James, Laredo, The Road West and Disney’s Mosby’s Raiders. In 1963 he waded into the role of Wyatt Earp in Tombstone.
Like Val Kilmer’s Doc Holiday in the same film, Russell’s portrayal of Wyatt stacks up against some talented competition. Randolph Scott played Wyatt in Frontier Marshal (’39), Henry Fonda in My Darling Clementine (’46) and Burt Lancaster in Gunfight at the O.K. Corral (’57). For me, the conversation about ‘Best Wyatt Ever’ comes down to Russell and Kevin Costner for his Wyatt Earp (’94). So how does Russell get into that conversation?
Russell is a great actor. His performance in Tombstone foreshadowed his performance as U.S. Olympic Hockey Coach, Herb Brooks in 2004’s Miracle on Ice. I grew up playing hockey through college. Certainly not at the level depicted in the film; but enough to have an appreciation for what they did and how they did it. Russell’s Herb Brooks made the achievement real. His Wyatt Earp came across with the same authenticity.
So how does that play out in the ‘Best Wyatt Ever’? Much as I admire Russell’s Wyatt through the prism that would later depict Herb Brooks, I can make a similar case for Costner’s epic performance in Dances with Wolves. Costner likewise brought authenticity to his portrayal of Wyatt. So which one takes the ‘Best Ever’ prize? Setting aside my lean toward Herb Brooks and the excellent Tombstone supporting cast, I couldn’t call a Costner choice wrong. Best Wyatt Ever for me? Too close to call.
Next Week: Emilio Estavez
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Ride easy,
Paul
Like Val Kilmer’s Doc Holiday in the same film, Russell’s portrayal of Wyatt stacks up against some talented competition. Randolph Scott played Wyatt in Frontier Marshal (’39), Henry Fonda in My Darling Clementine (’46) and Burt Lancaster in Gunfight at the O.K. Corral (’57). For me, the conversation about ‘Best Wyatt Ever’ comes down to Russell and Kevin Costner for his Wyatt Earp (’94). So how does Russell get into that conversation?
Russell is a great actor. His performance in Tombstone foreshadowed his performance as U.S. Olympic Hockey Coach, Herb Brooks in 2004’s Miracle on Ice. I grew up playing hockey through college. Certainly not at the level depicted in the film; but enough to have an appreciation for what they did and how they did it. Russell’s Herb Brooks made the achievement real. His Wyatt Earp came across with the same authenticity.
So how does that play out in the ‘Best Wyatt Ever’? Much as I admire Russell’s Wyatt through the prism that would later depict Herb Brooks, I can make a similar case for Costner’s epic performance in Dances with Wolves. Costner likewise brought authenticity to his portrayal of Wyatt. So which one takes the ‘Best Ever’ prize? Setting aside my lean toward Herb Brooks and the excellent Tombstone supporting cast, I couldn’t call a Costner choice wrong. Best Wyatt Ever for me? Too close to call.
Next Week: Emilio Estavez
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Ride easy,
Paul
March 28, 2020
Kenny Rogers Memoriam
Kenny Rogers is a giant in the world of music, selling 100 million records over the course of his career with titles like Reuben James, Ruby, Don’t Take Your Love to Town, Islands in the Stream, Lady, Through the Years and so many more. He was a member of the New Christy Minstrels, headlined Kenny Rogers and the First Edition before going solo. He collaborated with talents including Lionel Richie, Barry Gibb, Dolly Parton and Toby Keith.
We’ll focus on Kenny Rogers’ signature film and recording blockbuster, The Gambler. The Gambler released in 1978, received a Grammy Award and was selected for preservation in the Library of Congress National Recording Registry. Kenny adapted The Gambler character for a successful series of made for TV movies, premiering on CBS in April 1980.
In the first film, Kenny Rogers as The Gambler, introduced Brady Hawkes (Rogers) in the title role. Set on a train bound for Yuma, in a theme reminiscent of the song lyrics, Hawkes encounters young, would-be professional poker player, Billy Montana (Bruce Boxleiter). Hawkes is on his way to meet a son he has never met. Brady and Billy develop a friendship while coming to the aid of prostitute Jennie Reed (Lee Purcell), in trouble with a railroad baron. A film franchise is born “Sittin’ at the table”.
Kenny Rogers as The Gambler: The Adventure Continues with a sequel in 1982. Billy Montana and Brady Hawkes along with son Jeremiah head to San Francisco by train for a high stakes poker game. Jeremiah is kidnapped by train robbers. Brady and Billy set out to rescue the boy aided by bounty hunter, Kate Muldoon (Linda Evans), the fastest girl-gun in the west.
Brady and Billy’s adventures would continue with The Legend Continues (1987) and The Luck of the Draw (1991). This last film features a cavalcade of cameos by TV western heroes including Gene Barry as Bat Masterson, Hugh O’Brien as Wyatt Earp, Clint Walker as Cheyenne, Chuck Connors as the Rifleman and James Drury as the Virginian. Kenny finished his western credits ’91-’94, hosting The Real West on A&E and History Channel. “. . . The Gambler, he broke-even.”
Next Week: Kurt Russell
Return to Facebook to comment
Ride easy,
Paul
We’ll focus on Kenny Rogers’ signature film and recording blockbuster, The Gambler. The Gambler released in 1978, received a Grammy Award and was selected for preservation in the Library of Congress National Recording Registry. Kenny adapted The Gambler character for a successful series of made for TV movies, premiering on CBS in April 1980.
In the first film, Kenny Rogers as The Gambler, introduced Brady Hawkes (Rogers) in the title role. Set on a train bound for Yuma, in a theme reminiscent of the song lyrics, Hawkes encounters young, would-be professional poker player, Billy Montana (Bruce Boxleiter). Hawkes is on his way to meet a son he has never met. Brady and Billy develop a friendship while coming to the aid of prostitute Jennie Reed (Lee Purcell), in trouble with a railroad baron. A film franchise is born “Sittin’ at the table”.
Kenny Rogers as The Gambler: The Adventure Continues with a sequel in 1982. Billy Montana and Brady Hawkes along with son Jeremiah head to San Francisco by train for a high stakes poker game. Jeremiah is kidnapped by train robbers. Brady and Billy set out to rescue the boy aided by bounty hunter, Kate Muldoon (Linda Evans), the fastest girl-gun in the west.
Brady and Billy’s adventures would continue with The Legend Continues (1987) and The Luck of the Draw (1991). This last film features a cavalcade of cameos by TV western heroes including Gene Barry as Bat Masterson, Hugh O’Brien as Wyatt Earp, Clint Walker as Cheyenne, Chuck Connors as the Rifleman and James Drury as the Virginian. Kenny finished his western credits ’91-’94, hosting The Real West on A&E and History Channel. “. . . The Gambler, he broke-even.”
Next Week: Kurt Russell
Return to Facebook to comment
Ride easy,
Paul
March 21, 2020
Val Kilmer
Val Kilmer appeared in one western over the course of a distinguished acting career. That western just happened to be 1993’s Tombstone which shows down against at least four classic portrayals of Wyatt Earp’s story. Cast as Doc Holiday opposite Kurt Russell as Wyatt, Kilmer faces off against Holiday interpretations by Cesar Romero, Frontier Marshal (’39), Victor Mature, My Darling Clementine (‘46), Kirk Douglas, Gunfight at the OK Corral (’57) and Denis Quaid, Wyatt Earp (94).
Given what we know of Holiday’s history, tubercular dentist turned mercurial gambler gunfighter and drunken sot product of the old south, Romero and Mature seem miscast in the roll, even with John Ford’s directing touch for Mature in My Darling Clementine. Quaid gave a fine performance opposite Kevin Kostner’s Wyatt Earp in 1994. Imagine taking that role only to have Kilmer’s decimated Doc hit the big screen months before your portrayal. Good as Quaid’s Doc was, for my money Kilmer takes the Best Doc Ever blue ribbon hands down.
How did Kilmer pull it off? To get some insight into that question, we looked at Kilmer’s role as Jim Morrison in The Doors (91). Some of us remember The Doors, though that was the 70’s so not as many of us who should do. I digress. Start with Kilmer’s Julliard stage training. He was an accomplished actor, a consummate professional. When cast for the Morrison role he spent a year in preparation. Kilmer could sing. He memorized all Morrison’s song leads with the band. He attended Doors tribute concerts, dressed like Morrison and frequented Morrison’s L.A. haunts to get into the character. He did such a thorough job with the role, surviving band members who saw the film could not distinguish Kilmer’s voice from Morrison’s.
It is easy to imagine Kilmer applying similar methodology to Doc Holiday. Studying Doc’s biography and the advanced effects of tuberculosis, a disease largely eliminated in modern times. He gave Doc a distinctive persona with mannerisms, whether factual or imagined, in keeping with the character. Something on the order of George C. Scott’s iconic portrayal of George Patton. In Kilmer’s creative interpretation, Morrison’s gravely-voice melted into a buttery Georgia-southern drawl with a patina of sweat. Listen. “I’m your huckleberry.”
Next Week: Kurt Russell
Return to Facebook to comment
Ride easy,
Paul
Given what we know of Holiday’s history, tubercular dentist turned mercurial gambler gunfighter and drunken sot product of the old south, Romero and Mature seem miscast in the roll, even with John Ford’s directing touch for Mature in My Darling Clementine. Quaid gave a fine performance opposite Kevin Kostner’s Wyatt Earp in 1994. Imagine taking that role only to have Kilmer’s decimated Doc hit the big screen months before your portrayal. Good as Quaid’s Doc was, for my money Kilmer takes the Best Doc Ever blue ribbon hands down.
How did Kilmer pull it off? To get some insight into that question, we looked at Kilmer’s role as Jim Morrison in The Doors (91). Some of us remember The Doors, though that was the 70’s so not as many of us who should do. I digress. Start with Kilmer’s Julliard stage training. He was an accomplished actor, a consummate professional. When cast for the Morrison role he spent a year in preparation. Kilmer could sing. He memorized all Morrison’s song leads with the band. He attended Doors tribute concerts, dressed like Morrison and frequented Morrison’s L.A. haunts to get into the character. He did such a thorough job with the role, surviving band members who saw the film could not distinguish Kilmer’s voice from Morrison’s.
It is easy to imagine Kilmer applying similar methodology to Doc Holiday. Studying Doc’s biography and the advanced effects of tuberculosis, a disease largely eliminated in modern times. He gave Doc a distinctive persona with mannerisms, whether factual or imagined, in keeping with the character. Something on the order of George C. Scott’s iconic portrayal of George Patton. In Kilmer’s creative interpretation, Morrison’s gravely-voice melted into a buttery Georgia-southern drawl with a patina of sweat. Listen. “I’m your huckleberry.”
Next Week: Kurt Russell
Return to Facebook to comment
Ride easy,
Paul
March 14, 2020
Maureen O'Hara
Born in Dublin Ireland, Maureen O’Hara had acting in her Irish DNA. She was a heroine’s heroine, an outspoken perfectionist who said what she meant and meant what she said. As a child, she described herself as “blunt”. She meant it as we shall see.
She got her start in Western film in 1944 opposite Joel McCrea in William Wellman’s bio pic Buffalo Bill. O’Hara didn’t think McCrea “rugged enough” for the part of William F. Cody. Critics and the box office patrons didn’t agree. No matter. O’Hara’s Western career got in high gear with Comanche Territory, where her work was noticed by John Ford. She played a feisty saloon keeper who dressed and fought like a man. She learned to crack a bull whip for the part, a skill some thought suited her personality.
John Ford cast O’Hara opposite John Wayne in Rio Grande, the third film in Ford’s cavalry trilogy. Wayne and O’Hara sparked a chemistry that made a lasting imprint on both. They were so good together on the screen, many thought they were married. Ford would pair O’Hara and Wayne again in McLintock! (’63) and Big Jake (’71).
Ford, Wayne and O’Hara made an interesting personal triangle. Ford believed O’Hara to be the “finest actress in Hollywood”, though loath to admit such a thing in her presence. Ford’s volatile temperament and O’Hara’s Irish made for a turbulent relationship. O’Hara said Wayne made her “comfortable”. In turn Wayne referred to O’Hara as “the greatest guy I ever met”. Following Wayne’s death she said, “John Wayne is the United States of America.”
O’Hara’s western credits include The Redhead from Wyoming, a film she characterized as a “stinkeroo”. Following War Arrow with Jeff Chandler, O’Hara, who liked Chandler personally, said as an actor he resembled a “broomstick.” She did The Deadly Companions in ’61 for Sam Peckinpah, who she said was “one of the most objectionable people she ever worked with”.
Maureen O’Hara died of natural causes at 95. She is enshrined in Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum.
Next Week: Val Kilmer
Return to Facebook to comment
Ride easy,
Paul
She got her start in Western film in 1944 opposite Joel McCrea in William Wellman’s bio pic Buffalo Bill. O’Hara didn’t think McCrea “rugged enough” for the part of William F. Cody. Critics and the box office patrons didn’t agree. No matter. O’Hara’s Western career got in high gear with Comanche Territory, where her work was noticed by John Ford. She played a feisty saloon keeper who dressed and fought like a man. She learned to crack a bull whip for the part, a skill some thought suited her personality.
John Ford cast O’Hara opposite John Wayne in Rio Grande, the third film in Ford’s cavalry trilogy. Wayne and O’Hara sparked a chemistry that made a lasting imprint on both. They were so good together on the screen, many thought they were married. Ford would pair O’Hara and Wayne again in McLintock! (’63) and Big Jake (’71).
Ford, Wayne and O’Hara made an interesting personal triangle. Ford believed O’Hara to be the “finest actress in Hollywood”, though loath to admit such a thing in her presence. Ford’s volatile temperament and O’Hara’s Irish made for a turbulent relationship. O’Hara said Wayne made her “comfortable”. In turn Wayne referred to O’Hara as “the greatest guy I ever met”. Following Wayne’s death she said, “John Wayne is the United States of America.”
O’Hara’s western credits include The Redhead from Wyoming, a film she characterized as a “stinkeroo”. Following War Arrow with Jeff Chandler, O’Hara, who liked Chandler personally, said as an actor he resembled a “broomstick.” She did The Deadly Companions in ’61 for Sam Peckinpah, who she said was “one of the most objectionable people she ever worked with”.
Maureen O’Hara died of natural causes at 95. She is enshrined in Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum.
Next Week: Val Kilmer
Return to Facebook to comment
Ride easy,
Paul
March 7, 2020
John Wayne (ll)
John Wayne post war work produced some of his finest Western films. He benefitted by working with some talented directors, notable among them in addition to John Ford, Howard Hawks and Henry Hathaway. Films in this period include Dakota (’45), Angel and the Bad Man (’47), Red River (’48), The Fighting Kentuckian (’49), Hondo (’53), Rio Bravo (’59), The Alamo & North to Alaska (’60), The Comancheros (’61), McLintock! (’63), The Sons of Katie Elder (’65), El Dorado (’66), The War Wagon (’67), The Undefeated (’69), Chisum & Rio Lobo (’70), The Cowboys (’72), Cahill U. S. Marshal (’73) and Rooster Cogburn (’75).
True Grit (’69) garnered Wayne his only Oscar for Best Actor. In it, Henry Hathaway’s screen play departed from the poignant ending of Charles Portis’ book where the now adult Maddie claims Cogburn’s remains to bury in the family plot beside her father. I suspect it had something to do with plans for the Rooster Cogburn (’75) sequel. They should have stayed with the book.
Consider the singular body of work John Wayne amassed under the brilliant direction of John Ford following their Stagecoach reunion in 1939. Classics include She Wore a Yellow Ribbon (’49), The Searchers (’56) rises to the top of more than a few best all time lists, The Horse Soldiers (’59), The Man Who Shot Liberty Valence and How the West Was Won (’62). Others with Ford you may remember include Fort Apache (’48), Rio Grande (’50) and Wagon Train (’60). Many could call Wayne’s collaboration with Ford a career.
John Wayne’s last Western and fittingly last film, The Shootist (’76) told the story of aging gunfighter J. B. Books, dying of cancer. In a case of art mimicking life, Wayne shot the film suffering from cancer and complications that would claim his life three years later. John Wayne lived his life the way he played his characters, straight from the hip. He knew no other way. He was outspoken and unapologetic in views that rubbed some the wrong way. He was married three times and liked his bourbon well enough to brew his own small batch. He found solace late in life, embracing Catholicism before he died. The inscription on his headstone reads: Tomorrow is the most important thing in life. Comes into us at midnight very clean. It’s perfect when it arrives and puts itself in our hands. It hopes we’ve learned something from yesterday.
Next Week: Maureen O’Hara
Return to Facebook to comment
Ride easy,
Paul
True Grit (’69) garnered Wayne his only Oscar for Best Actor. In it, Henry Hathaway’s screen play departed from the poignant ending of Charles Portis’ book where the now adult Maddie claims Cogburn’s remains to bury in the family plot beside her father. I suspect it had something to do with plans for the Rooster Cogburn (’75) sequel. They should have stayed with the book.
Consider the singular body of work John Wayne amassed under the brilliant direction of John Ford following their Stagecoach reunion in 1939. Classics include She Wore a Yellow Ribbon (’49), The Searchers (’56) rises to the top of more than a few best all time lists, The Horse Soldiers (’59), The Man Who Shot Liberty Valence and How the West Was Won (’62). Others with Ford you may remember include Fort Apache (’48), Rio Grande (’50) and Wagon Train (’60). Many could call Wayne’s collaboration with Ford a career.
John Wayne’s last Western and fittingly last film, The Shootist (’76) told the story of aging gunfighter J. B. Books, dying of cancer. In a case of art mimicking life, Wayne shot the film suffering from cancer and complications that would claim his life three years later. John Wayne lived his life the way he played his characters, straight from the hip. He knew no other way. He was outspoken and unapologetic in views that rubbed some the wrong way. He was married three times and liked his bourbon well enough to brew his own small batch. He found solace late in life, embracing Catholicism before he died. The inscription on his headstone reads: Tomorrow is the most important thing in life. Comes into us at midnight very clean. It’s perfect when it arrives and puts itself in our hands. It hopes we’ve learned something from yesterday.
Next Week: Maureen O’Hara
Return to Facebook to comment
Ride easy,
Paul
