The Dollars Trilogy Pt 3: THE GOOD, THE BAD, & THE UGLY (United Artists 1966)

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THE GOOD, THE BAD, AND THE UGLY is the GONE WITH THE WIND of Spaghetti Westerns, Sergio Leone’s masterpiece, and definitely in my Top 5 Favorite Films. After turning the genre upside down with A FISTFUL OF DOLLARS and inside out with FOR A FEW DOLLARS MORE, Leone’s final entry in his triptych of films starring Clint Eastwood as The Man With No Name is an ambitious epic about greed, revenge, and the futility of war, told with a warped sense of humor and plenty of action. Besides Eastwood and FEW DOLLARS co-star Lee Van Cleef, Eli Wallach joins the cast in a performance that should have won the Oscar.

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We’re first introduced to Angel Eyes (Van Cleef), who’s one mean mutha. Sent to find information on the location of stolen Confederate gold, he kills his informant, then kills the man who hired him, and begins his search for “Bill Carson”. Meanwhile, bounty hunter ‘Blondie’ (Eastwood) turns in the bandit Tuco (Wallach) for reward money. Tuco is wanted for a laundry list of nefarious deeds and sentenced to hang. But at the hanging, Blondie shoots the rope, freeing Tuco, and the two escape, forming an alliance to scam the law with their rope trick.

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Blondie gets sick of Tuco’s bitching and ends their partnership by abandoning him in the desert. Tuco survives, and reunites with his former gang members to kill Blondie. The pistoleros are no match for Blondie and all wind up dead, but Tuco sneaks in from behind. The bandit forces Blondie to wear a noose and stand on a chair, just when the Union Army decides to bomb the town, sending the rooming house crashing in a heap. Blondie escapes, but Tuco catches up with him and forces the bounty hunter to walk across the scorching desert without food or water as he sadistically lords over him.

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Just when Blondie’s about had it, a six-horse coach comes careening across the desert landscape. Curious Tuco stops the runaway horse and finds the coach full of dead Confederate soldiers. Not one to waste an opportunity, he lifts the corpses’ wallets and watches, only to discover one of them’s still alive. It’s “Bill Carson”, who tells Tuco the name of the cemetery where $200,000 in gold is buried. Tuco goes to get “Carson” some water, but when he returns the man is dead. However, Blondie has managed to crawl over, and now is the only person alive who knows the name of the grave where the gold is hidden.

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The two mortal enemies are now partners again. Donning the Confederate uniforms, they make their way to a mission run by Tuco’s brother, where Blondie can convalesce. The pair then hit the road, but are captured by Union forces and sent to a POW camp. Tuco has taken the identity of “Bill Carson”, which sparks the interest of the camp’s sergeant…. Angel Eyes!

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Eli Wallach totally steals the show as Tuco. A foul-mouthed, feral animal who’s not as dumb as he looks, Tuco is alternately funny and cruel, sly as a fox and twice as dangerous. Wallach has a field day in the role, and the character is more fully fleshed out than either Eastwood or Van Cleef’s archetypes. The scene where Tuco is bathing when a bounty hunter tries to take him by surprise, delivering the line “When you have to shoot, shoot- don’t talk!”, is a classic, as is the one with Tuco in the gun shop. Wallach wasn’t even nominated for the Supporting Actor Oscar (Walter Matthau won for THE FORTUNE COOKIE), but the film itself wasn’t released in the U.S. until 1967. That year George Kennedy won for COOL HAND LUKE, but Wallach should’ve been a shoe-in either year.

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There are so many big set-pieces in THE GOOD, THE BAD, AND THEN UGLY, none more famous than the three-way showdown between Eastwood, Van Cleef, and Wallach. Leone’s wide-angle shots and deep close-ups are interspersed with a spinning camera effect, edited to perfection, all while Ennio Morricone’s music builds to a crescendo. Speaking of the maestro, this is my favorite of his scores, a musical masterpiece on its own that was turned into a hit record by Hugo Montenegro in 1968, reaching #2 on the Billboard charts:

And yes, I still have the 45 lying around somewhere in the basement!

Sergio Leone’s THE GOOD,THE BAD, AND THE UGLY never gets old. I watch it a least once a year, and always marvel at something I didn’t quite pick up on before. Even if you’re not a fan of Spaghetti Westerns, the film transcends the genre into cinematic art by one of the screen’s true masters. Now if you’ll excuse me, I think I’ll go downstairs and look for that 45….

 

 

The Dollars Trilogy Pt 2: FOR A FEW DOLLARS MORE (United Artists 1965)

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After the huge international success of his A FISTFUL OF DOLLARS , Sergio Leone was red hot. Another Spaghetti Western was hastily written by Leone and Luciano Vincenzoni (and an uncredited assist from Sergio Donati), but FOR A FEW DOLLARS MORE is pure Leone, from the visual style to the bits of humor interspersed between the violence. Clint Eastwood returned as The Man With No Name, paired this time with veteran Western heavy Lee Van Cleef as the beady-eyed Colonel Mortimer.

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Eastwood’s character (briefly referred to as ‘Manco”) is a fast-drawing bounty hunter. He’s interested in the $10,000 reward for escaped killer/outlaw Indio. Mortimer is also interested in Indio, but has another motive: a young Indio raped his sister, resulting in her suicide during the act. The two meet up in El Paso, where Indio plans to rob the bank’s estimated one million dollars, kept in a secret cabinet. Manco and Mortimer engage in pissing contest in the street, shooting each other’s hats, but soon form an uneasy alliance to split the reward money. Manco infiltrates Indio’s gang, but the robbery is successful. Mortimer shows up as a safecracker willing to help for a price, followed by treachery at every turn until the final shootout between Mortimer and Indio, filmed as a warmup to the more heralded scene in THE GOOD, THE BAD, AND THE UGLY.

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Lee Van Cleef became a star at age 40 thanks to this film. The actor had struggled for years in Hollywood, playing Western henchmen (HIGH NOON, THE MAN WHO SHOT LIBERTY VALANCE), noir goons (KANSAS CITY CONFIDENTIAL), even sci-fi villains (IT CONQUORED THE WORLD), but after an uncredited role in 1962’s all-star HOW THE WEST WAS WON, he was absent from the big screen until Leone came calling. From the opening panoramic shot of him nailing a rider with his rifle, Van Cleef’s persona as one scary dude not to be messed with was established. Suddenly, after all the struggles, he was a star, and made Spaghetti Westerns right until the craze died down in the 1970’s. Van Cleef continued to work steadily in films, from his role in John Carpenter’s ESCAPE FROM NEW YORK to costarring in the television ninja series THE MASTER, right up until his death in 1989.

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Gian Maria Volonte (Ramon Rojos in A FISTFUL OF DOLLARS) plays Indio as the meanest, craziest bandito the West has ever seen. This nut makes Liberty Valance look like a boy scout! He’s always smoking weed to obliterate the memory of what happened that night with Mortimer’s sister, and carries a chiming pocketwatch with her picture (Mortimer has one, too). Many of the cast of Leone’s previous film appear, as does another Familiar Face: German actor Klaus Kinski, making his Spaghetti debut as the hunchbacked outlaw Wild.

Lee Van Cleef (Col. Douglas Mortimer) is not interested in collecting the bounty on El Indio and his gang, motivated solely by retribution. Clint Eastwood (Manco) can collect the money.

Ennio Morricone’s music is back, a staple of these films. The hauntingly whistled theme, with it’s by now familiar whipcracks and wordless chorus, is a classic in its own right. The camerawork by Massimo Dallamano, a standout in FISTFUL, is excellent, guided by Leone’s painterly eye. FOR A FEW DOLLARS MORE was another worldwide hit, but like it’s predecessor not released in the U.S. until 1967. Leone’s next film would be what I consider his greatest, the final chapter in the Dollars Triolgy, THE GOOD, THE BAD, AND THE UGLY.

(to be continued… )

 

The Dollars Trilogy Pt 1: A FISTFUL OF DOLLARS (United Artists 1964)

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If the American Western film wasn’t completely dead in 1964, it was surely on life support. Television had saturated the market with weekly oaters to the point of overkill. John Wayne’s starring vehicles were still making money, but the rest of Hollywood’s big screen Westerns were mainly made to fill the bottom half of double feature bills, from Audie Murphy outings to the low budget, veteran laden films of producer A.C. Lyles.

Meanwhile in Italy, writer/director Sergio Leone was as tired of the sword & sandal films he was making as was his audience. He had a notion to revitalize the failing western genre by giving it a new, European perspective. Leone grew up on Hollywood westerns, and wanted to turn them on their ear by showing a more realistic, grittier version of the Old West. Searching high and low for an American name actor to star, Leone was turned down by the likes of Charles Bronson, James Coburn, and Rory Calhoun before finally settling on a young television actor named , Clint Eastwood co-star of the series RAWHIDE. The result was A FISTFUL OF DOLLARS, the first true “Spaghetti Western” and a bona fide film classic.

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Clint, with his iconic serape and cheroot, plays The Man With No Name, who arrives in the Mexican border town of San Miguel. Two rival factions, the Rojos and the Baxters, rule the roost, with violence and death as commonplace in the town as its dusty streets. He kills four Baxters and signs on with the Rojos, but ultimately plays both sides against the middle. Eastwood helps the beautiful young Marisol escape the clutches of the murderous Ramon Rojos and flee with her husband and son, only to be beaten and tortured for his troubles.  But of course, Clint escapes and returns for his revenge in a bloody five against one conclusion.

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If this sounds familiar, you’re probably thinking of Akira Kuroswa’s samurai epic YOJIMBO (1961), of which this film’s a remake, in the way THE MAGNIFICENT SEVEN was a remake of SEVEN SAMURAI. Only Leone didn’t credit it as such, and a lawsuit was pressed by Kurosawa, who said it was “a fine movie, but it was MY movie”* (the suit was eventually settled out of court). Leone was also obviously influenced by the films of John Ford, with beautifully framed shots of Spain’s Tabernas Desert and Cabo de Gata-Najir National Park standing in for Ford’s beloved Monument Valley, all captured by DP Massimo Dallamano. Those trademark Leone close-ups are in evidence here, a tactic reused by virtually every man who ever helmed a Spaghetti Western. The violence is swift and unromanticised, another Leone trademark that would later be usurped by a score of directors, especially Sam Peckinpah.

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Another Leone trademark began here, his collaboration with composer Ennio Morricone. Right from those animated opening credits, we hear something out of the ordinary, as budget constrictions (the entire film only cost around $200,000) caused Morricone to improvise, using whipcracks, gunshots, a chorus, and that twanging Fender guitar to create a unique, memorable score. Morricone woud work on all of Leone’s Westerns and soon became the most sought-after film composer on both sides of the Atlantic, finally receiving his due with an Oscar for THE HATEFUL EIGHT in 2016.

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A FISTFUL OF DOLLARS made Clint Eastwood an international star, and Spaghetti Western aficionados will recognize many Faces that may not be Familiar to most film fans: there’s Gian Maria Volonte (Ramon), Marianne Koch (Marisol), Jose Calvo, Sighardt Rupp, Mario Brega, Benito Stefanelli, Aldo Sambrell, Lorenzo Robledo, Antonio Molina Rojo, and Jose Canalejas, all of whom pop up in dozens of other Italian horse operas, including Leone’s. It became Italy’s highest grossing film ever, but wasn’t released in the U.S. until 1967. It was a huge success stateside as well, and a few months later Leone’s sequel, FOR A FEW DOLLARS MORE, opened in America. We’ll take a look at that one next time…

*quote taken from The Emperor and The Wolf (2001) by Stuart Galbraith IV, New York: Faber and Faber.

The Game’s Afoot: THE SEVEN-PER-CENT SOLUTION (Universal 1976)

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Sherlock Holmes has long been a favorite literary character of mine. As a youth, I devoured the Sir Arthur Conan Doyle stories, marveling at the sleuth’s powers of observation and deduction. I reveled in the classic Universal film series starring Basil Rathbone and Nigel Bruce as Holmes and Watson, and still enjoy them today. I read Nicholas Meyer’s 1974 novel “The Seven-Per-Cent Solution” as a teen, where a coked-out Holmes is lured by Watson to Vienna to have the famed Sigmund Freud cure the detective of his addiction, getting enmeshed in mystery along the way. I’d never viewed the film version until recently, and while Meyer’s screenplay isn’t completely faithful to his book, THE SEVEN-PER-CENT SOLUTION is one of those rare instances where the movie is better than the novel.

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This is due in large part to a pitch-perfect cast, led by Nicol Williamson’s superb performance as Sherlock. We see Holmes at his worst, shooting coke like a maniac, jittery and on edge, babbling with wild-eyed intensity about “my nemesis, my evil genius”, the criminal mastermind Professor Moriarty. He’s paranoid and delusional, and Williamson brilliantly captures a man in the throes of cocaine-induced mania (trust me on this). Slowly but surely, with the help of the equally brilliant Freud, Holmes regains his sanity, and his deductive reasoning returns strong as ever. Williamson’s Holmes recalls the great Rathbone’s interpretation of the sleuth; indeed, the film as a whole will remind you of those 40’s films, albeit with a much, much larger budget.

Robert Duvall (Dr. John H. Watson) wants to dedfend the honor of Alan Arkin (Dr. Sigmund Freud).

Robert Duvall  gives a different take on Dr. John Watson than jolly old Nigel Bruce, far less of a bumbler and more athletic here despite the cane and limp. Alan Arkin makes a fine Sigmund Freud, and though the thought of the father of modern psychology as action hero may sound ludicrous, Arkin’s cerebral acting makes it work. Laurence Olivier is on hand briefly as Professor Moriarty, persecuted by the cocaine-demented Holmes. Vanessa Redgrave makes a lovely damsel in distress, playing the operatic diva Lola Devereaux. Charles Gray plays Holmes’ brother Mycroft, as he would later in the long-running British TV series starring Jeremy Brett. Jeremy Kemp exudes continental evil as the villainous Baron Leisdorf. All-star Familiar Faces Joel Grey, Samantha Eggar, Anna Quayle, Jill Townsend, and famed French discotheque’ matron Regine add to the fun.

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Besides the acting, this film is visually beautiful, with a lavish production design by Ken Adam, art direction by Robert Lamont, and Oscar nominated costuming by Alan Barrett, all stunningly filmed by cinematographer Oswald Morris, whose credits include MOBY DICK, HEAVEN KNOWS MR. ALLISON, THE GUNS OF NAVARONE, LOLITA, and OLIVER!. Producer/director Herbert Ross’s background as a former choreographer comes in handy, gracefully guiding the players through their paces. Ross never really got the acclaim other directors of his era did, despite a solid track record of hit comedies (THE OWL AND THE PUSSYCAT, THE SUNSHINE BOYS, THE GOODBYE GIRL), musicals (FUNNY LADY, FOOTLOOSE), and dramas (THE TURNING POINT, STEEL MAGNOLIAS).

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There are references to the Doyle stories peppered throughout the film for Sherlockphiles, and the climactic train chase, complete with a fencing duel atop a speeding locomotive, is loads of fun. Anyone who enjoys the current BBC version starring Benedict Cumberbatch or the CBS adaptation ELEMENTARY will have a grand old time viewing THE SEVEN-PER-CENT SOLUTION.

Lunatic Fringe: Wheeler & Woolsey in HOLD ‘EM JAIL (RKO 1932)

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The comedy team of Wheeler & Woolsey is pretty esoteric to all but the most hardcore classic film fans. Baby-faced innocent Bert Wheeler and cigar-chomping wisecracker Robert Woolsey made 21 films together beginning with 1929’s RIO RITA (in which they’d starred on Broadway), up until Woolsey’s untimely death in 1937. I had heard about them, read about them, but never had the chance to catch one of their films until recently. HOLD ‘EM JAIL makes for a good introduction to W&W’s particular brand of lunacy, as the boys skewer both the prison and college football genres, aided by a top-notch comic supporting cast that includes a 16-year-old Betty Grable.

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Football crazy Warden Elmer Jones (slow-burn master Edgar Kennedy ) is the laughing-stock of the Prison Football League. His team hasn’t had a winning season in years, and he sends a message to the president of “the alumni association” to send some new recruits “for the old alma mater”. He goes to the president’s office, and enter Wheeler and Woolsey, two novelty salesmen who proceed to drive him crazy. When he leaves, the real “alumni” show up, and after the boys brag about their gridiron prowess, they’re set up to stick up the joint with real guns instead of their water pistols.

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Of course, the framed fools are sent to Bidemore, where Spider trades barbs with the warden’s spinster sister Violet (the marvelous Edna May Oliver ) and Curley tries to romance daughter Barbara (Miss Grable). They continue to infuriate the poor warden with their antics, especially when Violet has them made trustees. When Bidemore’s star quarterback gets paroled, Woolsey touts Wheeler as a superstar. Let’s just say Tom Brady, he ain’t!! This all culminates in the most improbable victory since Super Bowl LI , with Bidemore winning the game and getting cleared of the frame-up to boot.

The deliriously funny script is by S.J. Perelman, Walter Deleon, and Eddie Welch. Perelman was a writer for The New Yorker magazine, and one of the early 20th century’s best known humorists. He wrote two of the Marx Brothers movies (MONKEY BUSINESS and HORSE FEATHERS), the stage and screen versions of ONE TOUCH OF VENUS, and won an Oscar for his screenplay AROUND THE WORLD IN 80 DAYS. His fingerprints are all over the film’s dialog, as in this exchange between Woolsey and Oliver- Edna: “I spent four years in Paris. Of course, I’m not a virtuoso”. Woolsey: “Not after four years in Paris”. Edna (pausing a beat): “I trust we’re talking about the same thing!”. Earlier in the film, W&W get booted out of a swanky nightclub on their keisters, followed by this-  Wheeler: “You know, I met that bouncer’s foot before”. Woolsey: “Yeah, I met it behind”.

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Deleon was no slouch when it came to comedy either, having written films for W.C. Fields , Bob Hope, Jack Benny Abbott & Costello , and Martin & Lewis. Welch seems to be a kind of “comedy doctor”, with three other W&W films to his credit, and an uncredited contribution to Laurel & Hardy’s SONS OF THE DESERT . All this madness was directed under the deft hand of Norman Taurog, who began in films in 1912, won an Oscar for 1931’s SKIPPY, and directed all the great comics of the classic era. Wheeler & Woolsey’s slapstick sight gags and pun-tastic wordplay are on a par with other teams of the time, and are worth rediscovering. Start right here with HOLD ‘EM JAIL.

 

Fall in Love with LAURA (20th Century Fox 1944)

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If you’re like me, you’ve probably watched LAURA more than once. It’s one of the top film noirs, indeed one of the top films period of the 1940’s. LAURA is unquestionably director Otto Preminger’s greatest achievement; some may argue for ANATOMY OF A MURDER or even ADVISE AND CONSENT, and they’re entitled to their opinions. But though both are great films, only LAURA continues to haunt the dreams of classic movie lovers, its main themes of love and obsession transferring to its fans even 73 years after its initial release.

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Preminger, along with scenarists Jay Dratler, Samuel Hoffenstein, and Betty Reinhart, weave an intricate, sinister tapestry around the violent death of beautiful New York ad exec Laura Hunt. Cynical police detective Mark McPherson is determined to solve this particularly gruesome murder; Laura was killed at close range by a buckshot-loaded shotgun blast to the face. McPherson begins by questioning Waldo Lydecker, the acerbic newspaper columnist who relates via flashback how he “discovered” Laura and became her mentor, aiding her career and introducing her in high society circles, circles that contain lowlifes like the freeloading Shelby Carpenter, living off Laura’s Aunt Ann’s ‘generosity’ while becoming Laura’s fiancé.

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McPherson grills both Shelby and Ann, as well as Laura’s loyal housekeeper Bessie. He reads her intimate diary and letters from admirers, immersing himself in Laura’s life so deeply he becomes obsessed, falling in love with the dead woman. Waldo calls him on it, and McPherson lets on he’s uncovered Waldo’s own obsession and outright jealousy through the letters. McPherson gets drunk, falling asleep in the chair under a huge portrait of Laura.

Then Laura Hunt walks through the door, alive and well, and his entire world turns upside down….

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Now the fun really begins, as McPherson must discover who the dead girl was, and who knew what. The first comes easy, the second a bit more complicated. In the midst of all this mystery, McPherson and Laura fall in love, and the killer shows his hand in the exciting conclusion. LAURA has more twists than a pretzel, and is twice as tasty in its unfolding of the tale. The dark, moody cinematography by Joseph LaShelle deservedly won the Oscar that year; LaShelle was also nominated eight other times for films like MARTY, THE APARTMENT, and THE FORTUNE COOKIE. David Raskin’s haunting score includes Laura’s theme, which became a 40’s juke box hit with added lyrics by Johnny Mercer. Louis Loeffler’s skillful editing aids in ratcheting up the suspense.

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Dana Andrews and Gene Tierney are the most romantic couple in noir, and both became genre icons. The pair again teamed with Preminger for 1950’s WHERE THE SIDEWALK ENDS. Vincent Price is the sleazy gigolo Shelby, and Judith Anderson is good as Ann. But it’s Clifton Webb’s portrayal of the acid-tongued Waldo Lydecker who walks away with acting honors. The columnist “with a goose-quill dipped in venom” is simply stunning to watch as a man obsessed, going to any lengths to make Laura his and his alone, resorting to murder to achieve his goal. Webb had appeared in a handful of silent films, but this was his first foray to Hollywood since 1930, and he totally dominates every scene he’s in. He was nominated for, but did not win, Best Supporting Actor; the Oscar went to Barry Fitzgerald for GOING MY WAY. But LAURA put Webb on the map in Hollywood, and he went on to star in films like THE DARK CORNER,   THE RAZOR’S EDGE, TITANIC, THREE COINS IN THE FOUNTAIN, and his signature role as Mr. Belvedere in three film beginning with SITTING PRETTY.

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LAURA was also nominated for Preminger’s direction, Best Adapted Screenplay, and Best Black & White Art Direction, for a total of five. It should have won more, but Leo McCarey’s sentimental GOING MY WAY dominated the Oscars that year. Both are classics, but for my money LAURA’s the better film, its dark look at love, lust, and obsession way ahead of its time. This is Otto Preminger’s masterpiece, a true cinema classic that stands up to the test of time and deserves its reputation. Definitely must viewing for readers of this blog!

 

 

 

The Perfect Crime Film: KANSAS CITY CONFIDENTIAL (United Artists 1952)

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My friend Rob suggested I review KANSAS CITY CONFIDENTIAL awhile back, and I’m sorry I waited so long. This is a film noir lover’s delight, packed with tension, violence, double-crosses, and a head-turning performance by John Payne in the lead. Made on an economical budget like the same year’s THE NARROW MARGIN , director Phil Karlson and George Diskant create a shadowy, claustrophobic atmosphere brimming with danger at every turn.

I knew Payne mainly from his 40’s musicals and his idealistic lawyer opposite Maureen O’Hara in MIRACLE ON 34TH STREET, but he’s a revelation here as Joe Rolfe, a florist truck driver who’s set up as a patsy by a gang of armored car robbers. He can dish out (and take) beatings with the best them, and delivers the tough-talking dialog with aplomb. KANSAS CITY CONFIDENTIAL helped Payne shed his lightweight image, and he went on to do other dark crime films and rugged Westerns. I’ll definitely be keeping an eye out for them!

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The plot isn’t overly complex: ex-cop Tim Foster. aka ‘Mr.Big’, hires three hoods to commit “the perfect crime”, a meticulously planned robbery in broad daylight. He insists all four of them wear masks so no one knows the other’s identity except himself. Timed to the last second, the caper goes off without a hitch, and Foster gives the goons each a torn-in-half king playing card, telling them he’ll contact them after the heat dies down to split the loot. Rolfe is grilled by the police, but ultimately let go when his alibi checks out.

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But he’s lost his job, and the now destitute Rolfe discovers there’s a 25% reward for finding the missing $1.2 million stolen in the robbery. Getting a hot tip from his bartender buddy, Rolfe flies to Tijuana and shadows Pete Harris, a degenerate gambler who may have been involved. He confronts Harris and beats the truth out of him, and is about to accompany the crook to Barados when Pete’s gunned down by the Mexican police at the airport. Rolfe then decides to impersonate Harris, since the gang have never laid eyes on one another.

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There he encounters Tony Romano and Boyd Kane, and after a suspicious Romano tosses his room, learns the pair were in on the heist. Foster is also at the resort, and we learn why he planned it all: after being forced to retire for backing the wrong politician, Foster plans to swerve the crooks and collect that  reward himself. Complicating things is Helen, Foster’s law student daughter, who arrived on the plane with Rolfe and is romantically interested in him.

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The violence is both realistic and graphic. I found the scene where Rolfe has Romano in a stranglehold, shoving a pistol under his chin, particularly brutal. Editor Buddy Small, son of producer Edward, keeps things tight, and Diskant’s black & white photography shows why he was one of the great noir cinematographers. Phil Karlson learned his craft directing Charlie Chan and Bowery Boys entries at Monogram, and made some solid 50’s noirs, including the ferocious THE PHENIX CITY STORY . He later remade KID GALAHAD with Elvis Presley, did a pair of Dean Martin/Matt Helm flicks, and the classic 1973 WALKING TALL. His career is well worth a look for film fans.

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KANSAS CITY CONFIDENTIAL costars four of the screen’s baddest bad guys. Veteran Preston Foster gives heft to the role of Mr. Big, Jack Elam plays the chain-smoking Harris, oily Lee Van Cleef is womanizer Romano, and Neville Brand is chilling as the gum-chewing Kane. Pretty Coleen Gray rounds out the cast as Foster’s daughter Helen. Some of the plot elements here were reworked into Quentin Tarantino’s 1992 debut RESERVOIR DOGS; much as I liked that film, I think KANSAS CITY CONFIDENTIAL surpasses it. Thanks for the recommendation, Rob!