Paul Colt's Blog, page 4
February 9, 2025
Badman's Territory
Badman’s Territory, 1946 packed more bad men into a veritable owl hoot’s Who’s Who than the Oklahoma Territory could hold. For that you need law men. Randolph Scott as good guy lawman Mark Rowley and bad guy lawman, U.S. Marshall Bill Hampton (Morgan Conway). With statehood on the line for a law and order prize, newspaper editor, statehood advocate, and Rowley romantic interest, Henryetta Alcot (Ann Richards) filled the bill. Team Rowley with Coyote (Gabby Hayes) and you are ready for outlaws.
Did Badman’s Territory have ‘em. Start with the James Gang, Jesse and Frank. Then bring on the Dalton’s, Bob, Grat, and Bill. Throw in Ben Wade before Yuma had a 3:10 or Sam Bass to rob it. And what would a bevy of bad men be without a Belle Star holding up the feminine side of bad? Could the west could have survived all that bad in one place? Not to worry. Enough law and order was won for statehood to arrive, and you guessed it . . . Randolph got the girl.
Among the amazing things about this 1hr and 38min production was the cast. Thirty-nine strong. They must not have had enough film to finish the credits. Fully half of the roles, nineteen to be exact, went uncredited. With all that credit outstanding, 2hrs and 54mins of film remained to be divided between two sequels.
Return of the Bad Men 1948, returns to Oklahoma Territory (statehood having been delayed for some reason) with a whole new cast of bad guys to test Scott’s role as lawman Vance. The bad started with The Sundance Kid (Robert Ryan) before Butch had a Hole in the Wall. Ready for anything Vance and sidekick “Gabby” again took on the Younger’s Cole, Jim, and John, along with the Dalton’s Emmett, Bob, and Grat. If that weren’t hands full enough, bring it . . . Billy The Kid and Wild Bill Doolin. Bad as this gets the likes of Curly Bill Brocious and John Ringo must feel left out.
We said there were two sequels. Best of the Badmen, 1951 rounds out the trilogy without Scott. Robert Ryan Joins the Clanton’s as Jeff, sharing bad with the James boys, Younger’s, and wait for it – a character named Curly Ringo, sentimental salve for history’s forgotten forlorn.
Next Week: Quintessential Sidekick
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Ride easy,
Paul
Did Badman’s Territory have ‘em. Start with the James Gang, Jesse and Frank. Then bring on the Dalton’s, Bob, Grat, and Bill. Throw in Ben Wade before Yuma had a 3:10 or Sam Bass to rob it. And what would a bevy of bad men be without a Belle Star holding up the feminine side of bad? Could the west could have survived all that bad in one place? Not to worry. Enough law and order was won for statehood to arrive, and you guessed it . . . Randolph got the girl.
Among the amazing things about this 1hr and 38min production was the cast. Thirty-nine strong. They must not have had enough film to finish the credits. Fully half of the roles, nineteen to be exact, went uncredited. With all that credit outstanding, 2hrs and 54mins of film remained to be divided between two sequels.
Return of the Bad Men 1948, returns to Oklahoma Territory (statehood having been delayed for some reason) with a whole new cast of bad guys to test Scott’s role as lawman Vance. The bad started with The Sundance Kid (Robert Ryan) before Butch had a Hole in the Wall. Ready for anything Vance and sidekick “Gabby” again took on the Younger’s Cole, Jim, and John, along with the Dalton’s Emmett, Bob, and Grat. If that weren’t hands full enough, bring it . . . Billy The Kid and Wild Bill Doolin. Bad as this gets the likes of Curly Bill Brocious and John Ringo must feel left out.
We said there were two sequels. Best of the Badmen, 1951 rounds out the trilogy without Scott. Robert Ryan Joins the Clanton’s as Jeff, sharing bad with the James boys, Younger’s, and wait for it – a character named Curly Ringo, sentimental salve for history’s forgotten forlorn.
Next Week: Quintessential Sidekick
Return to Facebook to comment
Ride easy,
Paul
February 2, 2025
Abilene Town
Abilene Town portrays a town divided by homesteaders encroaching on ranching interests in cattle country. A conflict more typically associated with events taking place further west in Wyoming some ten years after the film setting. The town is literally divided down ‘Front Street’ to borrow a street name from similarly divided Dodge City, where cowboys and cattle men controlled one side of the street, while respectable citizens controlled the other.
Randolph Scott plays town marshal Dan Mitchell who keeps the peace in a tense situation, while struggling with his own tensions. Mitchell’s heart is torn between saloon entertainer Rita (Ann Dvorak) on one side of the street – guess which – and church going shopkeeper’s daughter Sherry (Rhonda Fleming) on the other. Mitchell keeps peace between the cowboys and good people of Abilene with no help from county sheriff Bravo Trimble (Edgar Buchanan), who regularly reports for work on pay day. The standoff is stable until a growing homesteader presence sides with the citizens. The homesteaders are led by Henry Dreiser (Lloyd Bridges). Tensions build to the inevitable showdown, shoot out, and happily ever after ending.
Critics generally gave the film favorable reviews for tense action, a tight screen play, and an excellent cast. Variety called it “rip-snorting, spectacular.” Chicago Tribune’s movie critic gave it credit for authenticity, though thought the ending let the film down for being a bit too formulaic. The film marked Lloyd Bridges return from Hollywood’s blacklist where he was briefly censored for having been tangentially associated with a theater group found to have ties to the communist party by Joe McCarthy’s infamous House Committee on Unamerican Activities. Could old Joe be haunting the halls of congress?
Abilene Kansas got its Cowtown reputation as the early eastern railhead for Texas cattle driven up the Chisholm trail, opening vast eastern markets for beef. The film inspired country singing star George Hamilton IV to record the song Abilene released in 1963. The song went to number one on the country charts. Among all the accolades the song and artist received, one is near and dear to my heart. George Hamilton’s Abilene holds the distinction of being the first 45 rpm record purchased for what became . . . my collection.
Next Week: Badman’s Territory
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Ride easy,
Paul
Randolph Scott plays town marshal Dan Mitchell who keeps the peace in a tense situation, while struggling with his own tensions. Mitchell’s heart is torn between saloon entertainer Rita (Ann Dvorak) on one side of the street – guess which – and church going shopkeeper’s daughter Sherry (Rhonda Fleming) on the other. Mitchell keeps peace between the cowboys and good people of Abilene with no help from county sheriff Bravo Trimble (Edgar Buchanan), who regularly reports for work on pay day. The standoff is stable until a growing homesteader presence sides with the citizens. The homesteaders are led by Henry Dreiser (Lloyd Bridges). Tensions build to the inevitable showdown, shoot out, and happily ever after ending.
Critics generally gave the film favorable reviews for tense action, a tight screen play, and an excellent cast. Variety called it “rip-snorting, spectacular.” Chicago Tribune’s movie critic gave it credit for authenticity, though thought the ending let the film down for being a bit too formulaic. The film marked Lloyd Bridges return from Hollywood’s blacklist where he was briefly censored for having been tangentially associated with a theater group found to have ties to the communist party by Joe McCarthy’s infamous House Committee on Unamerican Activities. Could old Joe be haunting the halls of congress?
Abilene Kansas got its Cowtown reputation as the early eastern railhead for Texas cattle driven up the Chisholm trail, opening vast eastern markets for beef. The film inspired country singing star George Hamilton IV to record the song Abilene released in 1963. The song went to number one on the country charts. Among all the accolades the song and artist received, one is near and dear to my heart. George Hamilton’s Abilene holds the distinction of being the first 45 rpm record purchased for what became . . . my collection.
Next Week: Badman’s Territory
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Ride easy,
Paul
January 26, 2025
Belle of the Yukon
Belle of the Yukon is a Randolph Scott musical comedy western unique enough it its own right. Throw in belles casting for music and comedy and you take unique to the next level. Start with the music, casting America’s sweetheart Dinah Shore as the romantic interest saloon manager’s daughter. Nice wholesome start. Next cast a comedy character known – more or less - for edgy humor and you get none other than Gypsy Rose Lee.
Scott plays saloon owner “Honest” John Calhoun, a.k.a. conman Gentleman Jack, romantic ex to show girl, Belle De Valle (Lee). John or Jack, as the case may be is planning a bank gold swindle. Keeping romantic interest G rated, Lovely Lettie (Shore) is attracted to the handsome young saloon piano player. “Honest” John gets himself appointed bank president on the way to his swindle much to Belle’s suspicion. She foils John Jack’s scheme, starting a run on the bank to withdraw the proceeds before Jack can make off with the loot. Reformed, John mends his ways. Lettie weds her piano player. The end.
We know Dinah Shore’s story. She launched her singing career in the Big Band era. When she didn’t catch on with the likes of Benny Goodman or the Dorsey brothers, she went solo to smashing success, charting one hit after another from 1940 to the mid 1950’s. She made a handful of films in the ‘40’s, Bell of the Yukon among them. In due course she took to the small screen with a popular variety show and sponsorship of an LPGA golf tournament.
Lee’s career came up so-to-speak on the other side of the tracks. Starting in a singing and dancing Vaudeville act with her sister. The act faltered when her sister eloped, leaving then known Louise to her fate. Fate launched new possibilities with a ‘wardrobe malfunction’ when a shoulder strap on her gown broke. Official wardrobe recognition would await Janet Jackson, but Gypsey Rose Lee was born, covering her embarrassed condition with humor. The audience loved it. The trick became a signature element of her act, part “ecdysiast” as H.L. Mencken dubbed “high class” exotic dance and part standup comic. During the depression Gypsy took to labor activism, drawing large crowds to her . . . ‘eh hmm . . . speeches.
Next Week: Abileene Town
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Ride easy,
Paul
Scott plays saloon owner “Honest” John Calhoun, a.k.a. conman Gentleman Jack, romantic ex to show girl, Belle De Valle (Lee). John or Jack, as the case may be is planning a bank gold swindle. Keeping romantic interest G rated, Lovely Lettie (Shore) is attracted to the handsome young saloon piano player. “Honest” John gets himself appointed bank president on the way to his swindle much to Belle’s suspicion. She foils John Jack’s scheme, starting a run on the bank to withdraw the proceeds before Jack can make off with the loot. Reformed, John mends his ways. Lettie weds her piano player. The end.
We know Dinah Shore’s story. She launched her singing career in the Big Band era. When she didn’t catch on with the likes of Benny Goodman or the Dorsey brothers, she went solo to smashing success, charting one hit after another from 1940 to the mid 1950’s. She made a handful of films in the ‘40’s, Bell of the Yukon among them. In due course she took to the small screen with a popular variety show and sponsorship of an LPGA golf tournament.
Lee’s career came up so-to-speak on the other side of the tracks. Starting in a singing and dancing Vaudeville act with her sister. The act faltered when her sister eloped, leaving then known Louise to her fate. Fate launched new possibilities with a ‘wardrobe malfunction’ when a shoulder strap on her gown broke. Official wardrobe recognition would await Janet Jackson, but Gypsey Rose Lee was born, covering her embarrassed condition with humor. The audience loved it. The trick became a signature element of her act, part “ecdysiast” as H.L. Mencken dubbed “high class” exotic dance and part standup comic. During the depression Gypsy took to labor activism, drawing large crowds to her . . . ‘eh hmm . . . speeches.
Next Week: Abileene Town
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Ride easy,
Paul
January 19, 2025
Desperadoes
Desperadoes, filmed in 1943, tells the tale of bank robber Cheyenne Rogers, names with decades long western echoes, (Glenn Ford) who hits town after the bank has been robbed. He rides into town on a horse stolen from Sheriff Steve Upton (Randolph Scott), who is an old friend. The robbery was planned by a crooked banker and livery stable owner Uncle Willie (Edgar Buchanan). Rogers goes straight, falls in love with Uncle Willie’s daughter only to get framed for another robbery. Upton arranges a jail break for Rogers for which the sheriff ends up in jail. Rogers returns the jail break favor. Gunfight rights wrongs. Rogers weds his love, happily ever after. The end. So, other than Scott, what make this film remarkable?
The film is based on a book by western writer Max Brand. Chances are you’ve wandered by a paperback rack or a few, stocked with a Max Brand title or two. Good reason for that. The man wrote (by my count) one-hundred-seventeen novels, mostly westerns. That’s an amazing number, even in dime novel pulp terms. I ran my finger down the list looking for Desperadoes. Closest I could come was 1924’s The Smiling Desperado, checking in at number seventy. Don’t know if that’s the book the film is based on, but when it comes to needles in haystacks, we do the best we can. Brand wasn’t through with books making it to film either.
The classic western Destry Rides Again owes its literary credit to a Max Brand title. In a significant departure from westerns, Brand also created Dr. Kildare, a character that had his own run in a book series followed by a popular tv series by the same name. So much for this second trip down the writer’s rabbit hole.
Speaking of series . . . Desperadoes introduced Randolph Scott to director Charles Vidor’s assistant director Oscar Boetticher, Jr. Fourteen years later Scott and . . . Bud Boetticher would team up to produce the classic western film series we know as the Ranown cycle, previously profiled on these pages.
Next Week: Belle of the Yukon
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Ride easy,
Paul
The film is based on a book by western writer Max Brand. Chances are you’ve wandered by a paperback rack or a few, stocked with a Max Brand title or two. Good reason for that. The man wrote (by my count) one-hundred-seventeen novels, mostly westerns. That’s an amazing number, even in dime novel pulp terms. I ran my finger down the list looking for Desperadoes. Closest I could come was 1924’s The Smiling Desperado, checking in at number seventy. Don’t know if that’s the book the film is based on, but when it comes to needles in haystacks, we do the best we can. Brand wasn’t through with books making it to film either.
The classic western Destry Rides Again owes its literary credit to a Max Brand title. In a significant departure from westerns, Brand also created Dr. Kildare, a character that had his own run in a book series followed by a popular tv series by the same name. So much for this second trip down the writer’s rabbit hole.
Speaking of series . . . Desperadoes introduced Randolph Scott to director Charles Vidor’s assistant director Oscar Boetticher, Jr. Fourteen years later Scott and . . . Bud Boetticher would team up to produce the classic western film series we know as the Ranown cycle, previously profiled on these pages.
Next Week: Belle of the Yukon
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Ride easy,
Paul
January 12, 2025
Desperado Spoilers
Topline research suggested we could do both films in one post. Then research went deeper, and one became two. Welcome to the Spoilers 1942. The film stars Randolph Scott (you’re welcome, ladies), Marlene Dietrich, John Wayne and Margret Lindsey. The film is based on a novel by five-time lottery winner, Rex Beach. I’ll explain in due course. The story revolves around a government run gold mine swindle set in Nome Alaska circa 1900. A corruption plot ahead of its time. I digress. It features a love triangle, betrayal, reconciliation, and right triumph over wrong. The End.
The story sets the stage for this post. It features four central characters. Saloon owner, Cherry Malotte (Dietrich), Roy Glennister (Wayne), former mine swindle victim Al Dextry’s partner and Malotte’s former beau. Got all that so far? Next comes Helen Chester (Lindsay), niece to a corrupt judge in league with, last but not least, crooked Gold Commissioner Alex McNamara (Scott). Actually Scott’s role might be not only last but also least. He received top billing over Wayne who had the lead role. This turn of tinsel-town etiquette occasioned by Scott being under contract to Universal while Wayne was on loan from Republic. What would Emily Post say?
Which brings us to five-time lottery winner, novelist Beach. This is the research twist that derailed the two-fer treatment for both films. (It’s what you get with a writer writing these posts.) As I have lamented more than a few times on these pages, selling a book to film is luck of the lottery. A five-time winner with the same book? Please. ‘Spoiler’ alert, here it is. First filmed in 1914, there is not much to report on that film. Thereafter we have a cavalcade of stars.
The Spoilers 1923 cast Noah Berry Sr. as McNamara with Anna Q. Nilsson as Malotte. Roles in 1930 cast Gary Cooper as Glennister with Betty Compson as Malotte. Notably the only time Cooper and Wayne were ever cast in the same role. We’ll leave it to their fans to award the better portrayal. Reprise ‘55 gave us Jeff Chandler as Glennister, Rory Calhoun as McNamara, with Ann Baxter as Malotte with Barbara Britton as Chester. Five-time winner. Go figure.
The ‘42 film that started us down this path to extraordinary royalties did OK too, receiving an Oscar nomination for Best Art Direction and $1.1M lottery win at the box office.
Next Week: The Desperados
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Ride easy,
Paul
The story sets the stage for this post. It features four central characters. Saloon owner, Cherry Malotte (Dietrich), Roy Glennister (Wayne), former mine swindle victim Al Dextry’s partner and Malotte’s former beau. Got all that so far? Next comes Helen Chester (Lindsay), niece to a corrupt judge in league with, last but not least, crooked Gold Commissioner Alex McNamara (Scott). Actually Scott’s role might be not only last but also least. He received top billing over Wayne who had the lead role. This turn of tinsel-town etiquette occasioned by Scott being under contract to Universal while Wayne was on loan from Republic. What would Emily Post say?
Which brings us to five-time lottery winner, novelist Beach. This is the research twist that derailed the two-fer treatment for both films. (It’s what you get with a writer writing these posts.) As I have lamented more than a few times on these pages, selling a book to film is luck of the lottery. A five-time winner with the same book? Please. ‘Spoiler’ alert, here it is. First filmed in 1914, there is not much to report on that film. Thereafter we have a cavalcade of stars.
The Spoilers 1923 cast Noah Berry Sr. as McNamara with Anna Q. Nilsson as Malotte. Roles in 1930 cast Gary Cooper as Glennister with Betty Compson as Malotte. Notably the only time Cooper and Wayne were ever cast in the same role. We’ll leave it to their fans to award the better portrayal. Reprise ‘55 gave us Jeff Chandler as Glennister, Rory Calhoun as McNamara, with Ann Baxter as Malotte with Barbara Britton as Chester. Five-time winner. Go figure.
The ‘42 film that started us down this path to extraordinary royalties did OK too, receiving an Oscar nomination for Best Art Direction and $1.1M lottery win at the box office.
Next Week: The Desperados
Return to Facebook to comment.
Ride easy,
Paul
January 5, 2025
Belle Starr
The 1941 film Belle Starr is loosely based on the life and times of the larger than life historical character. The film stars Randolph Scott as outlaw Sam Starr, Gene Tierney as Bandit Queen Belle Starr (those who follow these posts on Facebook will notice the resemblance), and Dana Andrews as Union Major Thomas Crail. The film takes place in civil war torn Missouri with the Starr's aligned with southern sympathizing guerilla rebels, who after the fashion of the James and Younger gangs, fight on after the war to tragic conclusion.
The film glamorizes Belle with a romantic portrait irresistible to film makers and TV producers for decades. Belle Starr has been featured in 21 movies and television productions from 1928 silent film to productions as recent as 2015. Why you ask? Picture a two gun packing, black velvet clad bandit queen, sitting her horse sidesaddle with a rakish ostrich plumbed hat and your off to a good start. Throw in litany of bad boy boyfriends and husbands ending in unsolved murder and there you have it – fact stranger than fiction.
Belle, then known as Myra Shirley, did get her start looking after Missouri civil war guerillas known as bushwhackers, her brother being one among them until killed near the end of the war. The family moved to Texas. In 1880 She married Sam Starr, an outlaw of Cherokee heritage, the couple settled in Indian Territory in what is now Oklahoma and took up rustling, bootlegging, and horse theft. In 1882 Belle and Sam were charged with horse stealing. Both were found guilty. In a stroke of luck, “Hanging Judge” Isaac Parker sentenced the pair to nine month in prison. Sam was killed in a gunfight soon after his release, ending Belle’s Bandit Queen reign.
Widowhood didn’t wear well on Belle. She went through partners faster than passing fancies with the likes of Jack Spaniard, Jim French, and Blue Duck before marrying Jim July, a relative of Sam’s, fifteen years her junior. Who knew, Belle Starr a cougar too? Which brings us to the tail of Belle’s untimely demise.
Returning home from a dance at a friends home 1889, Belle Starr was gunned down from ambush. Suspects with motive included her husband, two children, and sharecropper Edgar Watson with whom she had refused to dance. Legends (two) have it Watson was tried, convicted and hanged; or tried and acquitted for lack of evidence. The official finding, unsolved murder.
Next Week: Desperado Spoilers
Return to Facebook to comment.
Ride easy,
Paul
The film glamorizes Belle with a romantic portrait irresistible to film makers and TV producers for decades. Belle Starr has been featured in 21 movies and television productions from 1928 silent film to productions as recent as 2015. Why you ask? Picture a two gun packing, black velvet clad bandit queen, sitting her horse sidesaddle with a rakish ostrich plumbed hat and your off to a good start. Throw in litany of bad boy boyfriends and husbands ending in unsolved murder and there you have it – fact stranger than fiction.
Belle, then known as Myra Shirley, did get her start looking after Missouri civil war guerillas known as bushwhackers, her brother being one among them until killed near the end of the war. The family moved to Texas. In 1880 She married Sam Starr, an outlaw of Cherokee heritage, the couple settled in Indian Territory in what is now Oklahoma and took up rustling, bootlegging, and horse theft. In 1882 Belle and Sam were charged with horse stealing. Both were found guilty. In a stroke of luck, “Hanging Judge” Isaac Parker sentenced the pair to nine month in prison. Sam was killed in a gunfight soon after his release, ending Belle’s Bandit Queen reign.
Widowhood didn’t wear well on Belle. She went through partners faster than passing fancies with the likes of Jack Spaniard, Jim French, and Blue Duck before marrying Jim July, a relative of Sam’s, fifteen years her junior. Who knew, Belle Starr a cougar too? Which brings us to the tail of Belle’s untimely demise.
Returning home from a dance at a friends home 1889, Belle Starr was gunned down from ambush. Suspects with motive included her husband, two children, and sharecropper Edgar Watson with whom she had refused to dance. Legends (two) have it Watson was tried, convicted and hanged; or tried and acquitted for lack of evidence. The official finding, unsolved murder.
Next Week: Desperado Spoilers
Return to Facebook to comment.
Ride easy,
Paul
December 29, 2024
Western Union
Western Union is an early creative triumph in Randolph Scott’s career. The film is loosely based on civil war era construction of transcontinental telegraph service, loosely based on a Zane Grey novel of the same title. Completed in October 1861, telegraph service brought an end to the brief colorful service we knew as the Pony Express.
Creative distinctions are attributed to early production in color by technicolor. Filming gave panoramic grandeur to a viewing experience of the west as it was. Critics haled performances by a notable cast that included Robert Young, Chill Wills, and Virginia Gilmore. Dean Jagger was singled out for his portrayal of chief engineer Edward Creighton, historically accurate architect of the line. Critics praised Jagger’s role as a credit to Creighton’s legacy. Unfortunately that is as far as historical accuracy traveled with the film. Critics called Scott’s performance as Vance Shaw, outlaw turned scout for the project “one of the truest and most appreciable characters of his career.” Here we need to remember the film released in 1941. Likely a high water mark in Scott’s career to that point with decades of water marks yet to be set.
Premise of the film is to connect east coast telegraph service to emerging service in California with a line from Omaha to Salt Lake City. Historically so far so good. Conflict arises when Shaw’s old gang throws in with the Confederacy to sabotage the project seen as Union initiative. They do so, disguised as Indians to foment yet more hostility. Conflict gains complexity when Shaw discovers the marauding Indians are his old gang headed by Jack Slade. Curiously Shaw does not expose Slade and his men.
Bogus Indian hostility ultimately leads actual Indian trouble, another departure from history. The plains tribes did not oppose Creighton’s ‘talking wire’ due to his even handed handling of the situation. Returning to the film storyline, Creighton smooths over the risk of hostility allowing the line to pass through Indian land.
Shaw receives word Slade wants to see him. Slade wants Shaw out of the way while he and his men burn down the Western Union camp. Shaw escapes. Slade and his men are run off. Shaw follows them to a showdown, letting it be known Slade is actually his brother. Shaw is killed in the shootout that follows. The film ends celebrating line completion, absent Shaw.
Next Week: Belle Star
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Ride easy,
Paul
Creative distinctions are attributed to early production in color by technicolor. Filming gave panoramic grandeur to a viewing experience of the west as it was. Critics haled performances by a notable cast that included Robert Young, Chill Wills, and Virginia Gilmore. Dean Jagger was singled out for his portrayal of chief engineer Edward Creighton, historically accurate architect of the line. Critics praised Jagger’s role as a credit to Creighton’s legacy. Unfortunately that is as far as historical accuracy traveled with the film. Critics called Scott’s performance as Vance Shaw, outlaw turned scout for the project “one of the truest and most appreciable characters of his career.” Here we need to remember the film released in 1941. Likely a high water mark in Scott’s career to that point with decades of water marks yet to be set.
Premise of the film is to connect east coast telegraph service to emerging service in California with a line from Omaha to Salt Lake City. Historically so far so good. Conflict arises when Shaw’s old gang throws in with the Confederacy to sabotage the project seen as Union initiative. They do so, disguised as Indians to foment yet more hostility. Conflict gains complexity when Shaw discovers the marauding Indians are his old gang headed by Jack Slade. Curiously Shaw does not expose Slade and his men.
Bogus Indian hostility ultimately leads actual Indian trouble, another departure from history. The plains tribes did not oppose Creighton’s ‘talking wire’ due to his even handed handling of the situation. Returning to the film storyline, Creighton smooths over the risk of hostility allowing the line to pass through Indian land.
Shaw receives word Slade wants to see him. Slade wants Shaw out of the way while he and his men burn down the Western Union camp. Shaw escapes. Slade and his men are run off. Shaw follows them to a showdown, letting it be known Slade is actually his brother. Shaw is killed in the shootout that follows. The film ends celebrating line completion, absent Shaw.
Next Week: Belle Star
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Ride easy,
Paul
December 15, 2024
Enter the '40's Virginia City
One thing we learned from Randolph Scott’s work in the ‘30’s is Scott’s filmography is a story unto itself. It is not only the films themselves, it is the casts, directors, critics, stories, and cinematography that comprise such a significant history of the western film genre. Over the balance of this series we will attempt to tease out these stories within the story of Randolph Scott’s contributions to western film. Not our usual fare, but intriguing, nonetheless.
We begin with Virginia City, a civil war set film in which Scott plays a supporting role to Errol Flynn’s lead, joined in support by Humphrey Bogart. Quite a cast. Flynn plays Union Captain Kerry Bradford to Scott’s Confederate Captain Vance Irby. Dancehall girl confederate spy Julia (Miriam Hopkins) provides romantic tension while Bogart’s John Murrell and his gang of bandits add villainous element to the plot.
The plot revolves around $5,000,000 in Virginia City gold needed to shore up a weakened confederacy in the waning stages of the war. Bradford is sent to find the gold and stop it from reaching Richmond. Bradford makes chance romantic connection with Julia, traveling west by stage. The gold shipment is under the command of Irby. Irby manages to hide the gold under false bottoms of freight wagons. Irby pays Morrell and his bandits to attack the Union garrison, distracting the army while he and his wagons slip out of Virginia City.
With the Morrell’s attack run off, Bradford sends for reinforcements. Cavalry arrives under command of a Major Drewery who has his own ideas about where to track the gold train. Bradford persuades the major to give him a small detachment to pursue his hunch. Bradford and his men reach Irby’s gold train, which is now under attack by Morrell. Bradford and his men ride to rescue the rebels. With the bandits run off, a mortally wounded Irby hands his command over to Bradford. Bit of a reach there seems to be.
Bradford, thinking the gold better spent reconstructing the post-war south, buries it. When Drewery arrives with his men, Bradford refuses to tell him where the gold is hidden. Bradford is arrested, tried and convicted of treason. If that’s not enough, as the war ends Julia persuades Lincoln to pardon Bradford as a gesture of reconciliation to the south.
Next Week: Western Union
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Ride easy,
Paul
We begin with Virginia City, a civil war set film in which Scott plays a supporting role to Errol Flynn’s lead, joined in support by Humphrey Bogart. Quite a cast. Flynn plays Union Captain Kerry Bradford to Scott’s Confederate Captain Vance Irby. Dancehall girl confederate spy Julia (Miriam Hopkins) provides romantic tension while Bogart’s John Murrell and his gang of bandits add villainous element to the plot.
The plot revolves around $5,000,000 in Virginia City gold needed to shore up a weakened confederacy in the waning stages of the war. Bradford is sent to find the gold and stop it from reaching Richmond. Bradford makes chance romantic connection with Julia, traveling west by stage. The gold shipment is under the command of Irby. Irby manages to hide the gold under false bottoms of freight wagons. Irby pays Morrell and his bandits to attack the Union garrison, distracting the army while he and his wagons slip out of Virginia City.
With the Morrell’s attack run off, Bradford sends for reinforcements. Cavalry arrives under command of a Major Drewery who has his own ideas about where to track the gold train. Bradford persuades the major to give him a small detachment to pursue his hunch. Bradford and his men reach Irby’s gold train, which is now under attack by Morrell. Bradford and his men ride to rescue the rebels. With the bandits run off, a mortally wounded Irby hands his command over to Bradford. Bit of a reach there seems to be.
Bradford, thinking the gold better spent reconstructing the post-war south, buries it. When Drewery arrives with his men, Bradford refuses to tell him where the gold is hidden. Bradford is arrested, tried and convicted of treason. If that’s not enough, as the war ends Julia persuades Lincoln to pardon Bradford as a gesture of reconciliation to the south.
Next Week: Western Union
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Ride easy,
Paul
December 8, 2024
Other '30's Scott Notables
Frontier Marshal ’39 became one of Randolph Scott’s more notable films of the ‘30s. The film is a remake of a 1934 film by the same name, both based on Stuart Lake’s fictional ‘biography’ of Wyatt Earp. Frontier Marshal would be remade again in 1946 by John Ford, this time titled the better known, My Darling Clementine. What sets Frontier Marshal apart as notable? Litigation.
Scott is cast as Wyatt Earp with Cesar Romero cast as ‘Doc Halliday.’ No that is not a typo. Doc’s character name was changed to avoid a lawsuit threatened by the Holliday family. Even the film title attracted litigious interest. Lake’s book, Wyatt Earp: Frontier Marshal was so fictionalized as to offend Wyatt’s wife Josephine. (Thought about using her tintype as the Facebook visual, but this is a family friendly post.) Josie sued to force the ’34 film to drop Wyatt’s name from the title. She filed suit to stop the ’39 remake altogether, that suit settled out of court for financial consideration and removal of Wyatt’s name. Lake’s libertine treatment of Earp’s life story proved a financial boon … for lawyers.
Casting too comes in for some ’39 notability. Starting with Romero as Doc, ‘Halliday’ or not. Really? Most definitely no Val Kilmer. Eddy Foy appears among the supporting characters in the film. My books, Friends Call Me Bat and Lunger: The Doc Holliday Story both recount comic Eddie Foy having played Dodge City during Wyatt’s time there. What becomes notable about Foy’s role in the film is the actor who played him. Eddie Foy Jr., his son. Then we have Ward Bond who appeared in all three films, cast as Morgan Earp in Ford’s ’46 version.
While we are on the subject of notable talent, along comes ‘37’s High Wide and Handsome. A musical western for Scott, paired with Dorthy Lamour no less (not based on a novel by the other L’Amour), and Charles Bickford. If you are going to do a musical who better to write and compose than Oscar Hammerstein and Jerome Kern? Variety panned the film for “Hollywood hokum,” if you can imagine that. Hokum aside, The New York Times called it “Richly spectacular” and among “The season’s best we are likely to see on Broadway.”
Sticking with critical acclaim blame we come to Wagon Wheels. A ’34 remake of ‘31’s Fighting Caravans based on a ’29 novel of the same name by (who else?), Zane Grey. Using stock footage from the earlier version, The Times saw “Pallid regret … for what might have been.”
Next Week: Enter the ‘40’s Virginia City
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Ride easy,
Paul
Scott is cast as Wyatt Earp with Cesar Romero cast as ‘Doc Halliday.’ No that is not a typo. Doc’s character name was changed to avoid a lawsuit threatened by the Holliday family. Even the film title attracted litigious interest. Lake’s book, Wyatt Earp: Frontier Marshal was so fictionalized as to offend Wyatt’s wife Josephine. (Thought about using her tintype as the Facebook visual, but this is a family friendly post.) Josie sued to force the ’34 film to drop Wyatt’s name from the title. She filed suit to stop the ’39 remake altogether, that suit settled out of court for financial consideration and removal of Wyatt’s name. Lake’s libertine treatment of Earp’s life story proved a financial boon … for lawyers.
Casting too comes in for some ’39 notability. Starting with Romero as Doc, ‘Halliday’ or not. Really? Most definitely no Val Kilmer. Eddy Foy appears among the supporting characters in the film. My books, Friends Call Me Bat and Lunger: The Doc Holliday Story both recount comic Eddie Foy having played Dodge City during Wyatt’s time there. What becomes notable about Foy’s role in the film is the actor who played him. Eddie Foy Jr., his son. Then we have Ward Bond who appeared in all three films, cast as Morgan Earp in Ford’s ’46 version.
While we are on the subject of notable talent, along comes ‘37’s High Wide and Handsome. A musical western for Scott, paired with Dorthy Lamour no less (not based on a novel by the other L’Amour), and Charles Bickford. If you are going to do a musical who better to write and compose than Oscar Hammerstein and Jerome Kern? Variety panned the film for “Hollywood hokum,” if you can imagine that. Hokum aside, The New York Times called it “Richly spectacular” and among “The season’s best we are likely to see on Broadway.”
Sticking with critical acclaim blame we come to Wagon Wheels. A ’34 remake of ‘31’s Fighting Caravans based on a ’29 novel of the same name by (who else?), Zane Grey. Using stock footage from the earlier version, The Times saw “Pallid regret … for what might have been.”
Next Week: Enter the ‘40’s Virginia City
Return to Facebook to comment.
Ride easy,
Paul
December 1, 2024
Randolph Scott '30's
Randolph Scott made fourteen western films in the decade of the 1930’s. While the occupant of the director’s chair changed over that period the first five not so classics were directed by Henry Hathaway based on novels by Zane Grey. One wonders what might have come of Scott’s film career if it hadn’t been for Grey.
Heritage of the Desert ’32 claims first film of note, kicking off partnership between Hathaway, Grey, and Scott in a string of films produced for Paramount. Heritage of the Desert was a talkie remake of a 1924 silent version of Grey’s story, setting a remake pattern for films to follow. Having a film made of a book is like winning the lottery for the author. Then you have Grey who probably ended up owning the lottery.
The following year gave us another remake, this one The Thundering Herd tale of two buffalo hunters played by Scott and Harry Carey. The film is notable on several accounts. It marked the beginning of something of an ensemble cast including Buster Crabbe, Noah Berry, and Ray Hatton. The remade 1925 silent film reused scenes from the original to hold down production costs. This had Scott cast in the role played by Jack Holt in the original. Scott was made to pass for Holt by darkening his hair and growing a moustache. Variety thought the film a cut above the usual western fare, though for all its admirable qualities, “A western unable to live it down.” Critics, what would we do without them? Leave ourselves to count box office receipts.
1933 brought Hathaway, Grey, Scott, and cast together for To The Last Man, a ‘Hatfields and McCoys’ style family feud set against a post-civil war backdrop. Themes included vigilantism vs law and order with star crossed lovers tangled from both sides of the fight. Uncredited roles were played by John Carradine and Shirley Temple as a five year old child whose doll’s head is shot off. Those bad guys were really bad. Critics found more to like with a cast rated worthy of an ‘A’ feature film, a story to model the best in western genre under Hathaway’s creative direction.
Other titles in Scott’s ‘30s include Wild Horse Mesa ’32, Sunset Pass ’33, Last Round-Up, Home on the Range and Rocky Mountain Mystery ’35, and The Texans ’38. Of these, little record of note remains.
Next Week: Other Scott Notables of the ‘30s
Return to Facebook to comment.
Ride easy,
Paul
Heritage of the Desert ’32 claims first film of note, kicking off partnership between Hathaway, Grey, and Scott in a string of films produced for Paramount. Heritage of the Desert was a talkie remake of a 1924 silent version of Grey’s story, setting a remake pattern for films to follow. Having a film made of a book is like winning the lottery for the author. Then you have Grey who probably ended up owning the lottery.
The following year gave us another remake, this one The Thundering Herd tale of two buffalo hunters played by Scott and Harry Carey. The film is notable on several accounts. It marked the beginning of something of an ensemble cast including Buster Crabbe, Noah Berry, and Ray Hatton. The remade 1925 silent film reused scenes from the original to hold down production costs. This had Scott cast in the role played by Jack Holt in the original. Scott was made to pass for Holt by darkening his hair and growing a moustache. Variety thought the film a cut above the usual western fare, though for all its admirable qualities, “A western unable to live it down.” Critics, what would we do without them? Leave ourselves to count box office receipts.
1933 brought Hathaway, Grey, Scott, and cast together for To The Last Man, a ‘Hatfields and McCoys’ style family feud set against a post-civil war backdrop. Themes included vigilantism vs law and order with star crossed lovers tangled from both sides of the fight. Uncredited roles were played by John Carradine and Shirley Temple as a five year old child whose doll’s head is shot off. Those bad guys were really bad. Critics found more to like with a cast rated worthy of an ‘A’ feature film, a story to model the best in western genre under Hathaway’s creative direction.
Other titles in Scott’s ‘30s include Wild Horse Mesa ’32, Sunset Pass ’33, Last Round-Up, Home on the Range and Rocky Mountain Mystery ’35, and The Texans ’38. Of these, little record of note remains.
Next Week: Other Scott Notables of the ‘30s
Return to Facebook to comment.
Ride easy,
Paul
