Redemption Song: John Wayne in ANGEL AND THE BADMAN (Republic 1947)

John Wayne  starred in some of the screen’s most iconic Westerns, but I’ve always had a soft spot in my heart for ANGEL AND THE BADMAN. Perhaps it’s because the film fell into Public Domain in the mid-70’s, and I’ve had the opportunity to view it so many times. Yet I wouldn’t keep coming back to it if it weren’t a really good movie. It’s Wayne’s first film as producer, and though it has plenty of that trademark John Wayne action and humor, it’s a bit different from your typical ‘Big Duke’ film.

Wayne plays Quirt Evans, an outlaw on the run. The wounded Quirt encounters a Quaker family, the Worths, who take him to file a land claim before the big guy finally passes out. They bring him back to their family farm to nurse him back to health, and pretty daughter Penny, unschooled in the ways of the world, falls in love with the mysterious stranger. A romance blooms just as Quirt’s arch-rival Laredo Stevens and his gang ride in. Quirt’s gun has been emptied by the peace-loving Father Worth, but he manages to bluff his way through the encounter in an effectively dark scene.

Also arriving on the scene is the ominous presence of Marshal ‘Wistful’ McClintock, a rifle-toting lawman who’d like nothing better than to put a rope around Quirt’s neck. When Penny and her family take Quirt to meeting, the love among the Quakers gives him cold feet, and he rides off with his old pal Randy to bushwhack Laredo’s crew, who’re plotting to rustle a cattle drive. Quirt relapses to his old ways of wine, women, and song before having a change of heart and returning to Penny. But while the lovers are out picking blackberries, they’re ambushed by Laredo and company, causing their wagon to go over a cliff and grievously injuring Penny. Quirt has to once again strap on his guns, and goes out seeking revenge…

Wayne’s Quirt Evans is not a “good guy”; he’s a killer and a thief who becomes a changed man by the love of Penny and her family. The theme here is spiritual vs secular, with love conquering all in the end, and not in a corny way. Writer/director Grant doesn’t hit the viewer over the head with a Bible to get his point across; he simply and effectively uses the “show, don’t tell” method. Grant was a former Chicago newspaper man who came to Hollywood in the 30’s and worked for MGM. After WWII, he began a long and fruitful collaboration with Wayne, working on ten of Duke’s films, including SANDS OF IWO JIMA , HONDO, THE ALAMO, and MCLINTOCK!. Grant, like most of Duke’s cronies, was a heavy drinker, who fortunately got sober through AA, and became actively involved in the program’s Hollywood chapter.

Not so fortunate was the beautiful but tragic Gail Russell, who sweetly plays the role of Penny. Gail was a Paramount contract player dubbed “The Hedy Lamarr of Santa Monica” by studio publicists. She was also what was then called “painfully shy”, suffering from an acute anxiety disorder. Someone suggested to the young Gail she take a few drinks before going on set to calm her nerves, and soon her alcoholism was off and running. She made a splash in the films THE UNINVITED and OUR HEARTS WERE YOUNG AND GAY before co-starring with Duke in ANGEL AND THE BADMAN; the scenes between the two show an obvious fondness for each other, and rumors of an affair abounded, which the ever-gallant Wayne always denied. They also appear together in WAKE OF THE RED WITCH, but a series of drunk driving charges curtailed her career. Producer Wayne gave her the female lead in Budd Boetticher’s 1956 SEVEN MEN FROM NOW opposite Randolph Scott . She continued to act in low-budget films and television, though by this time her disease was far too powerful for someone of her sensitive nature. In 1961, her body was discovered in her small studio apartment, dead of heart and liver failure, empty bottles strewn all over the place. Gail Russell was just 36 years old.

Duke’s pal Bruce Cabot has the part of rival outlaw Laredo, and mentor Harry Carey Sr. turns up as the marshal. Other Wild West characters dotting the landscape include Symona Boniface , Joan Burton, Lee Dixon, Kenne Duncan, Louis Faust, Paul Fix , Olin Howland (in a great comic relief part), Brandon Hurst, Rex Lease, Tom Powers, Marshall Reed, Irene Rich, and Hank Worden , as well as the beautiful vistas of Monument Valley. The rousing cattle rustling scene and obligatory barroom brawl are well staged by second unit director Yakima Canutt and his ace stunt crew, which included Richard Farnsworth and Ben Johnson .

ANGEL AND THE BADMAN may not be the Greatest Western Ever Made, but it’s as entertaining as all get-out, and as I stated holds a special place in my heart. Those who still believe John Wayne only played one type of character should watch this one, and the chemistry between Duke and the tragic Miss Russell is on a par with the great screen teams of the past. It’s a Western for people who don’t even like Westerns, filled with romance, action, good humor, and, most importantly, redemption. You really don’t want to miss this one, and if, like me, you’ve seen it before… see it again!

ANGEL AND THE BADMAN is now streaming on The Film Detective! 

Yukon Gold: THE SPOILERS (Universal 1942)

What’s this?? A “Northern” Western set in 1900 Alaska Gold Rush territory starring my two favorite cowboys, John Wayne and Randolph Scott ? With the ever-enticing Marlene Dietrich thrown in as a sexy saloon owner? Count me in! THE SPOILERS is a big, brawling, boisterous film loaded with romance, action, and, most importantly,  a sense of humor. It’s the kind of Hollywood entertainment epic that, as they say, “just don’t make ’em like that anymore”. I’ve never been quite sure who “they” are, but in regards to THE SPOILERS, they’re right – and more’s the pity!

Rex Beach’s popular 1906 novel had been filmed three times before (1914, 1923, 1930), and would be one more time after (in 1955), but with The Duke, Rugged Randy, and La Dietrich on board, this has got to be the best of the bunch. Even though audiences were more than familiar with the story, which would be used time and time again unofficially (that is, stolen!) in lesser Klondike films, THE SPOILERS was a big hit, raking in over a million dollars at the box office (a hefty sum at the time!).

Prospector’s claims are being jumped by unscrupulous officials, chief among them new Gold Commissioner Alexander McNamara (Scott). Big Roy Glennister (Wayne), co-owner of the Midas Mining Company, returns from Seattle, smitten with pretty young Helen Chester, niece of new law’n’order Judge Stillman, who’s secretly in cahoots with McNamara. Cherry Malotte (Marlene), operator of The Northern Saloon and Roy’s gal pal, is jealous of the attention her man’s giving Helen, and flirts with McNamara. The two crooked officials make an attempt to wrest The Midas from Roy and his partner, crusty old Al Dextry, through legal chicanery, resulting in Roy jailed on a trumped-up murder charge. Cherry discovers the truth and assists in freeing Roy before the crooks can set him up to be killed, and the entire thing winds up with a knock-down, drag-out, four-minute saloon brawl (yes, I timed it!) between Wayne and Scott (and their stunt doubles Eddie Parker, Allen Pomeroy, Gil Perkins, and Jack Parker, to give credit where credit is due!).

Duke only gets third billing behind Marlene and Scott, even though he’s really the star of the show, mainly because he was on loan from Republic Pictures, while Randolph was under a Universal contract, and Marlene was… well, Marlene! Wayne and Dietrich were in the midst of a torrid affair begun while shooting 1940’s SEVEN SINNERS together, and you can practically feel the heat between them rising from the screen, giving the sexual innuendos they throw at each other (courtesy of screenwriters Lawrence Hazard and Tom Reed) a little extra zip! When Duke tells Marlene (use your inner John Wayne voice here), “I imagine that dress is supposed to have a chilling effect. Well, if it is, it isn’t working – cause you’d look good to me, baby, in a burlap bag”, his eyes tell you he means it!

Randolph Scott turns his syrupy Southern charm to The Dark Side, and makes for an oily villain. Scott had played shady characters before, but none as the out-and-out bad guy of the piece, and wouldn’t again until his last film, 1962’s RIDE THE HIGH COUNTRY. Another actor usually on the right side of the law, Samuel S. Hinds , is the crooked judge. Harry Carey (Sr) plays Wayne’s partner Dextry, mentoring the younger man onscreen much as he did off it. Margaret Lindsay gets the thankless part of Helen – sorry, but she’s no match for Marlene! Former D.W. Griffith star Richard Barthelmess does good work as saloon card dealer The Bronco Kid, who carries a torch for his boss Cherry.

Three Cowboys: Harry Carey, John Wayne, William Farnum

There are other interesting casting choices in THE SPOILERS. William Farnum , who starred in the 1914 original, is on hand as a lawyer on the side of the good guys. Hollywood’s perennial souse Jack Norton plays the town drunk, and gets to perform some heroics for a change! Robert W. Service, a real life poet who wrote about the Yukon Gold Rush days, has a brief bit as (what else?) a poet (you can read his most famous, “The Shooting of Dan McGrew”, by clicking on this link ). George Cleveland and Russell Simpson are a pair of grizzled old miners, and oh-so-many other Familiar Faces appear: Irving Bacon, Marietta Carey (as Cherry’s maid Idabelle), Willie Fung , weaselly Charles Halton, Bud Osbourne – happy hunting!

Director Ray Enright keeps the pace brisk and the comedy breezy, like when Idabelle runs into Roy wearing blackface – wait, I didn’t tell you The Duke appears in blackface? Don’t worry, it’s all part of the plot, as is when he comes out wearing one of Marlene’s feathery nightgowns. Wait, I didn’t tell you he appears in semi-drag, too? Well, if your appetite isn’t whetted enough by now to watch THE SPOILERS, then I guess there’s no hope for you. If it is, strap yourselves in, because you’re about to go on one hell of an entertaining ride!

Special Veterans Day Edition: John Wayne in SANDS OF IWO JIMA (Republic 1949)

Critics of John Wayne gave him a lot of flak for not serving his country during World War II, especially in the turbulent 1960’s, labeling him a phony patriot and celluloid warrior. The truth is Wayne DID try to get into the war, but was stymied in his attempts on two fronts: Republic Studios boss Herbert Yates, who filed for deferments so he wouldn’t lose his cash cow, and Wayne’s first wife Josie, who failed to forward letters from OSS Chief Wild Bill Donovan’s office. Be that as it may, The Duke was no phony, and did what he could on the home front for the war effort.

SANDS OF IWO JIMA was made four years after the war as a tribute to the brave souls of the United States Marine Corps who fought against the Japanese in the South Pacific. Wayne plays the tough top kick Sgt. John Stryker, charged with molding a batch of new recruits into a fighting Marine Rifle Squad. Among them are Conway (John Agar ), the resentful son of Stryker’s former C.O.; Thomas (Forrest Tucker ), an ex-sergeant with a grudge against Stryker; Regazzi (Wally Cassell ), the obligatory hustler from Brooklyn; and the battling Flynn brothers (Richard Jaeckel , Bill Murphy).

Stryker’s hard-ass attitude causes many to dislike him, but the Marine lifer cares about the men’s safety and wants them all to come back alive. When the men are granted a brief leave, Conway meets and falls in love with Allison (Adele Mara ) at a dance, and marries her. But the honeymoon’s a short one as the squad is shipped to Tarawa, where a fierce battle is being fought. The island is taken, but at a deadly cost, as Stryker’s battlefield heroics saves the lives of many (but not all) of his squad, and Thomas’s slacking off to drink coffee gets one killed and another seriously wounded.

When Stryker finds out about Thomas’s lollygagging, they have it out in a knock-down, drag-out brawl that almost gets the sarge locked up, but Thomas turns out to be a stand-up guy, and his remorse is evident. After a brief stopover in Hawaii, their next mission is Iwo Jima, a raging battle that goes on for days and results in many casualties before they finally take Mt. Suribachi. But Stryker doesn’t live to see the iconic flag raising as he’s cut down by a sniper’s bullet. The men gather around their fallen leader, and Thomas reads an unmailed  letter Stryker wrote to his estranged ten year old son (and if your eyes don’t well up with tears during this scene, there’s something wrong with you). The flag is raised, and Conway calls the men back to battle using Stryker’s favorite saying – “Saddle up!”.

Wayne’s Sgt. Stryker is a contradiction in terms. He’s tough and relentless with his men for a reason – he wants to give them the tools to survive the brutal war. He’s a Marine Corps lifer whose dedication to service cost him his wife and child, and that in turn caused him to hit the bottle hard. The scene where, while on leave in Honolulu, he picks up a bar girl (Julie Bishop ) and goes back to her place, only to discover she’s doing what she does to feed her fatherless child, is a tender moment in a tough film, and went a long way to help Wayne receive his first Oscar nomination.

Director Alan Dwan was an old pro who made his first film in 1913. While not a stylist like Wayne directors John Ford or Howard Hawks, Dwan was more than competent in any genre, and his action scenes are second to none. Among his many film credits are the 1922 ROBIN HOOD, REBECCA OF SUNNYBROOK FARM, THE THREE MUSKETEERS (’39 version) , BREWSTER’S MILLIONS, THE WILD BLUE YONDER, CATTLE QUEEN OF MONTANA, and THE RESTLESS BREED. Actual newsreel footage of the battles of Tarawa and Iwo Jima are cut into the film to match DP Reggie Lenning’s studio-lensed shots, and editor Richard Van Enger’s work earned an Academy Award nomination, as did T.A. Carmen and Howard Wilson for their use of sound. Harry Brown’s original story was also nominated; he cowrote the screenplay with Wayne’s personal writer James Edward Grant. Besides those previously mentioned, the cast includes James Brown, Peter Coe , Hal Feiberling (later Baylor), Arthur Franz , Don Haggerty, Martin Milner , William Self, George Tyner, Richard Webb, and Dick Wessel.

Joe Rosenthal’s Pulitzer Prize-winning photograph

Also in the film are Rene Gagnon, Ira Hayes, and John Bradley, recreating that famous flag raising moment caught on camera for all eternity by photographer Joe Rosenthal. Real-life Marines 1st Lt. Harold Schrier, Col. David M. Shoup, Lt. Col. Henry P. Crowe, and Lt. Gen. Holland Smith make appearances as themselves. These men are the real heroes of the battle of Iwo Jima, and today we honor their memories, as well as the memories of all who fought and died in the service of our country, men like 94-year-old Hershel “Woody” Williams, the last surviving Medal of Honor recipient from that grueling battle of Iwo Jima, which resulted in 26,000 American casualties and 6,800 dead…

Semper fi, Marine!

Wherever you are here in America, take the time to stop and thank a vet for their service. And keep those you love close at heart.

Familiar Faces #7: Gordon Jones, Working Class Hero

Brawny actor Gordon Jones (1911-1963) was never a big star, but an actor the big  stars could depend on to give a good performance. Stars like John Wayne, Roy Rogers, and Abbott & Costello knew Gordon could deliver the goods in support, and he spent over thirty years as a working class actor. Not bad for a small town kid from Alden, Iowa!

Gordon as The Green Hornet with Keye Luke as Kato

Jones originally came to California on a football scholarship, playing guard for UCLA. Like his fellow Iowan John Wayne , Gordon began his film career in uncredited parts, and soon moved up in casts lists with films like RED SALUTE (1935), STRIKE ME PINK (1936), and THERE GOES MY GIRL (1937). Gordon’s big lug persona made him ideal for second leads as the hero’s pal, though he did get some leading roles in Poverty Row vehicles like THE LONG SHOT (1938), opposite Marsha Hunt. His big break came in the title role of THE GREEN HORNET, a 1940 serial based on the popular radio program, with Charlie Chan’s #1 Son Keye Luke playing his aide Kato.

‘The Wreck’ menaces Richard Quine as Janet Blair & Rosalind Russell look on in “My Sister Eileen”

Gordon displayed a flair for comedy, and one of his best parts was in 1941’s MY SISTER EILEEN as “The Ramblin’ Wreck from Georgia Tech”, neighbor to sisters Rosalind Russell and Janet Blair. He made his first film with The Duke in 1943’s FLYING TIGERS as Alabama, a member of Wayne’s volunteer squadron fighting the Japanese in China before the onset of Pearl Harbor. Like many actors of the era, Jones served in WWII, and returned to the screen with 1947’s THE SECRET LIFE OF WALTER MITTY, starring Danny Kaye as James Thurber’s notorious daydreamer.

Gordon as Mike the Cop on “The Abbott & Costello Show”

Also in 1947, Jones made his first appearance with Abbott & Costello in THE WISTFUL WIDOW OF WAGON GAP, with Marjorie Main co-starring. Gordon’s the comic villain of the piece, and his work here led to his being cast as antagonist Mike the Cop in the team’s TV series. He makes the perfect foil for Costello’s zany antics, becoming more frustrated and exasperated every time Costello does something stupid… which is always! Jones was one of two cast members retained after A&C revamped the show in its second season, along with vaudeville vet Sidney Fields, a sure sign the boys appreciated his talents.

Lobby card from 1950’s “Sunset in the West”

Along came Roy Rogers, who employed Gordon as a comic sidekick in six of his cowboy movies. Jones played the character ‘Splinters’ McGonigle in TRIGGER JR, SUNSET IN THE WEST, NORTH OF THE GREAT DIVIDE, TRAIL OF ROBIN HOOD (all from 1950), SPOILERS OF THE PLAINS, and HEART OF THE ROCKIES (1951). TRIGGER JR. is considered by many sagebrush aficionados to be Roy’s best, while TRAIL OF ROBIN HOOD is an All-Star ‘B’ Western featuring veteran cowboys Rex Allen, Ray “Crash” Corrigan, George Chesebro, William Farnum, Monte Hale, Jack Holt, Tom Keene, Kermit Maynard, and Tom Tyler all playing themselves, as Roy and Gordon help save Holt’s Christmas Tree farm from poachers!

The 1950’s found Gordon again supporting John Wayne in the anti-Communist film BIG JIM MCLAIN (1952) and William Wellman’s plane crash drama ISLAND IN THE SKY (1953), but most of his work was now on television. Besides the Abbott & Costello show, Gordon had recurring roles in three other sitcoms: MEET MR. MCNULTEY (also known as THE RAY MILLAND SHOW) cast him as a friend of Ray’s all-girls-college professor; SO THIS IS HOLLYWOOD found him as the stuntman boyfriend of Hollywood hopeful Mitzi Green; and he was one of a succession of neighbors to OZZIE AND HARRIET. Of course, there were plenty of guest shots, too: THE GENE AUTRY SHOW, MY LITTLE MARGIE, WYATT EARP, LARAMIE, HAWAIIAN EYE, SURFSIDE-6, PERRY MASON, THE RIFLEMAN, THE REAL MCCOYS, MAVERICK, etc, etc.

Gordon and Strother Martin in 1963’s “McLintock!”

Jones made his Disney debut in 1959’s THE SHAGGY DOG as a police captain, and followed it with THE ABSENT MINDED PROFESSOR (1961) and it’s sequel SON OF FLUBBER (1963), playing the football coach in both. His last role was again with The Duke, as the smarmy land agent Douglas in 1963’s MCLINTOCK. This comedy Western features another All-Star cast (Maureen O’Hara, Stefanie Powers, Chill Wills, Jerry Van Dyke, Yvonne DeCarlo, Edgar Buchanan), and Gordon’s right in the thick of things. Unfortunately, Gordon Jones was felled by a heart attack five months before the film’s premiere, passing away at age 52.

Gordon Jones may not have been a big star, but his contributions to film and television did not go unnoticed: That’s right, he has his own star on the fabled Hollywood Walk of Fame! Like I said earlier, not bad for small town kid from Alden, Iowa!

Dear Old Alma Mater: John Wayne in TROUBLE ALONG THE WAY (Warner Brothers 1953)

Tomorrow’s the big night, as my New England Patriots go up against the tough defense of the Philadelphia Eagles in Super Bowl LII. Tom Brady and company will be going for Ring #6, and everyone here in Southern New England is super excited, looking forward to another victory celebration! I’ll be attending a huge party with plenty of food, big screen TV’s, raffles, squares, and like-minded fans, but before the festivities begin, let’s take a look at TROUBLE ALONG THE WAY, a football-themed film starring none other than Big John Wayne !

St. Anthony’s College is a struggling Catholic university run by sweet old Father Burke, who’s getting to be as decrepit as the school itself. The powers-that-be want to close his beloved St. Anthony’s, seeing how the school’s $170,000 in debt, but old Father Burke comes up with an idea. Citing Deuteronomy 32:15 (“The beloved grew fat and kicked”), the padre decides what St. Anthony’s needs is a winning football program, and sets about to hire a new coach.

This leads him to a pool hall, where he finds Steve Williams, a hard-drinking ex-coach, part-time bookie and ladies man banned from the sport for recruitment violations. Steve’s down on his luck, and his cheating ex-wife Ann is trying to gain custody of their daughter Carole out of pure spite. Pretty but no-nonsense child welfare officer Alice Singleton is sent to Steve’s humble hovel to investigate, and the free-spirited Steve finds himself at odds with the all-business Miss Singleton.

So Steve, needing to show gainful employment, takes Father Burke up on his offer, and he and Carole move into a room under the school’s bell tower. The elderly Burke pulls some strings with his old student, now Cardinal O’Hara, and gets St. Anthony’s scheduled against powerhouses Santa Carla, Holy Cross, Villanova, and Notre Dame. Realizing what a sorry excuse for a team he’s inherited (“You couldn’t beat Vassar at tiddlywinks!”), Steve is up to his old tricks, bringing in a bunch of ringers and wheeling and dealing his way to free equipment and a spot playing at the Polo Grounds. But resentful Ann is determined to take Steve down at any cost…

TROUBLE ALONG THE WAY is a gentle, sentimental tale with Wayne likeable as the not-so-honest but well-meaning coach. Duke knew a thing or two about football, having played for USC, and makes Steve a totally believable character. He’s a loving father to Sherry Jackson’s Carole, and the two have an undeniable chemistry (Wayne always seems to work well with kids). Jackson went on to costar in the Danny Thomas sitcom MAKE ROOM FOR DADDY, and a bunch of episodic TV and low-budget films (WILD ON THE BEACH, THE MIN-SKIRT MOB, THE MONITORS) followed.

Veteran Charles Coburn plays the warm Father Burke in his own inimitable style. Donna Reed is welfare officer Alice, and you know she’s gonna end up with Duke by film’s end. Noir dame Marie Windsor is the spiteful Ann, and the rest of the cast includes a young, crew-cutted Chuck Connors as one of Steve’s assistant coaches, Frank Ferguson, Dabbs Greer , Ned Glass, Lester Matthews , Olan Soule, and Tom Tully. Familiar Face spotters will want to keep a sharp eye out for James Dean as a spectator during the big game.

Michael Curtiz  directed from a script by Melville Shavelson and Jack Rose, with music by Max Steiner . The football scenes are well-staged, and everyone gives 110%, but despite the talents in front and behind the camera, TROUBLE ALONG THE WAY is a minor film that’s enjoyable but harmless. Those who like football and/or John Wayne will like this agreeable little entry. In fact, I know two critics who give the movie two big Thumbs Up, and they’re not Siskel & Ebert:

All together now: LET’S GO PATRIOTS!!

 

Young Frontier: John Wayne in THE COWBOYS (Warner Brothers 1972)

THE COWBOYS is not just another ‘John Wayne Movie’ from the latter part of his career. Not by a long shot. Duke had read the script and coveted the part of Wil Andersen, who’s forced to hire a bunch of wet behind the ears adolescents for a 400 mile cattle drive across the rugged Montana territory. Director Mark Rydell wanted George C. Scott for the role, but when John Wayne set his sights on something, he usually got what he wanted. The two men were at polar opposites of the political spectrum, and the Sanford Meisner-trained Rydell and Old Hollywood Wayne were expected to clash. They didn’t; putting their differences aside, they collaborated and cooperated  to make one of the best Westerns of the 70’s.

Andersen’s regular hands have all deserted him when gold is discovered nearby, leaving the aging rancher in the lurch. He heads for Boseman to look for recruits and, finding none, takes the advice of his old friend Anse (western vet Slim Pickens) and puts out the call at the local schoolhouse. Ten boys show up, green as grass but willing and eager to learn the ropes. An eleventh, the “mistake of nature” Cimarron, rides in, but after getting into a fight with another boy and pulling a weapon, Andersen refuses to take him along. Some older men, led by “Long Hair” Asa Watts, ask to join the drive, but when Andersen catches him in a lie he sends them packing.

Andersen’s in for another surprise when the cook he hired turns out to be a black man, Jebediah Nightlinger. The boys soon learn life on a cattle drive is no Sunday school picnic, and hardships are plentiful. Slim almost drowns crossing the river, until who rides up to save him but Cimarron. The wild child is then given a spot on the drive by Andersen, but there’s more hardship to come: Long Hair and his rustlers are following the herd, waiting for the right moment to strike…

Wayne’s Wil Andersen is an ornery cuss, tough as leather from his years as a cattleman, yet he shows a surprising tenderness toward the boys. The aging Duke gives yet another fine performance, and does marvelous work with his neophyte costars. Can you imagine being one of them, working with the legendary John Wayne! I would have killed for an opportunity like that! Wayne also works well with Roscoe Lee Browne (Nightlinger); the two have a grudging respect for each other that turns into something resembling friendship. Offscreen, the two actors discovered a mutual love for poetry – bet you didn’t know that about big, macho John Wayne!

Bruce Dern  was an actor on the rise when he made THE COWBOYS, and he’s one scary hombre. His character is mean as hell, bullying one of the kids he catches alone, threatening to slit his throat if the boy dares tells Andersen he’s being followed. When he rides into camp and menaces the youngster, Andersen loses his cool, and the two men engage in a brutal brawl.  Andersen, trouncing the younger man,  turns his back on Watts, who in a rage shoots the older man in the back five times… AND BECOMES THE MOST HATED MAN IN CINEMA HISTORY! Believe me, it was a shock to see Duke get killed on the screen back in 1972, and to this day, there are fans who’ve never forgiven Bruce Dern for murdering John Wayne – after watching that scene, I hated him for years! (But enough time has passed, Bruce – all is forgiven!)

The cowboys themselves are played by Alfred Barker Jr (Fats), Nicholas Beauvy (Dan), Steve Benedict (Steve), Robert Carradine (making his film debut as Slim), Norman Howell (Weedy), Stephen Hudis (Charlie Schwartz), Sean Kelly (Stuttering Bob), A Martinez (Cimarron), Clay O’Brien (Hardy), Sean O’Brien (Jimmy), and Mike Pyeatt (Homer). They’re all good, especially when they stumble upon an encampment of whores led by Colleen Dewhurst, a scene that’s both funny and poignant. After the death of Wil Andersen, the boys decide “we’re gonna finish the job”, and THE COWBOYS becomes a revenge tale, picking off their adversaries one by one until the violent climax where Bruce Dern gets his just desserts!

Director Rydell learned his craft in the world of episodic TV (BEN CASEY, I SPY, GUNSMOKE), and had previously made THE REIVERS with Steve McQueen . Rydell had his own personal vision of what the film should be and Wayne, whose clout was enormous and easily could’ve taken control of the production over, stepped back and just acted as part of the ensemble. For his part, Rydell and cinematographer Robert Surtees paid homage to Wayne’s films with John Ford in the composition of many shots; there’s even the familiar door motif from THE SEARCHERS, and a scene of Andersen at his own children’s gravesite that echoes SHE WORE A YELLOW RIBBON . John Williams , as he did for Rydell’s previous film, contributes a memorably majestic score.

Big John Wayne was nearing the end of the trail when he made THE COWBOYS. Of his six remaining films, only THE SHOOTIST stands out as a quality piece of filmmaking. THE COWBOYS is yet another testament to his acting ability, and a damn good movie. Surrounded by an unfamiliar cast and crew, ailing from the cancer that eventually killed him, Wayne is out of his comfort zone, and gives his all in the role of Wil Andersen. It’s not a “John Wayne Movie”, it’s a movie featuring John Wayne, actor. As it turns out, THE COWBOYS is one of his best 70’s cinematic outings, and a movie I can still watch and enjoy over and over.

Ride Away: John Wayne in John Ford’s THE SEARCHERS (Warner Brothers 1956)

John Ford’s  THE SEARCHERS is without question an American Film Classic. I’d even go as far as saying it’s my second all-time favorite film, directly behind CASABLANCA. Every shot is a Remington Old West masterpiece, every actor perfect in their role, large or small, and not a minute of footage is wasted. The film has also stirred up quite a bit of controversy over time for John Wayne’s portrayal of the main character Ethan Edwards.

The plot is structured like Joseph Campbell’s “Hero’s Journey”, but let’s get it out of the way right now: Ethan Edwards is no hero. He’s a mean, bitter, unreconstructed Confederate who’s been on the shady side of the law since war’s end. When he returns to his brother Aaron’s homestead, he makes no bones about his distaste for “half-breed” Martin Pawley (really an eighth Cherokee). His hatred of Native Americans even extends to their dead, as we see him shoot out the eyes of a Comanche corpse so his soul “must wander the spirit world between the winds”. He taunts Martin when the young man unwittingly marries the squaw Look, derisively referring to her as “Mrs. Pawley”.

Ethan is a hard man to get along with, yet for all his macho bravado (“That’ll be the day”, he intones whenever someone challenges him), he shows signs of compassion throughout the film. He’s tender with his nieces and nephews (and sister-in-law Martha; there’s a suggestion that they were once more than friends). He spares Martin the agony of looking into the burned out homestead to gaze upon the bodies of his loved ones. His love for family is delineated as he tries to shield niece Lucy’s grim fate from Martin and young Brad Jorgensen, and his response when Brad asks what happened is tortured: “What do you want me to do, draw you a picture? Spell it out? Don’t ever ask me! Long as you live, don’t ever ask me”.

Ethan’s search for surviving niece Debbie, captured by the renegade Comanche Scar, has a murderous purpose; he intends to kill the despoiled girl to save her from what he considers a fate worse than death – miscegenation. Yet when he finally tracks her down, blood in his eyes, he has a change of heart, and the softly spoken, haunting words, “Let’s go home, Debbie” never fail to mist me up. Ethan Edwards is a complex character, Kris Kristofferson’s “walking contradiction” come to life, as imperfect and flawed as the rest of us. It is indisputably John Wayne’s finest screen performance; the fact he wasn’t even nominated for the Academy Award is another in the long list of Oscar crimes.

Wayne’s dark Ethan Edwards is counterbalanced by Jeffrey Hunter’s sweet-natured Martin Pawley. A somewhat naïve young man, Martin longs for acceptance by ‘Uncle’ Ethan (Edwards disdains the term when Martin uses it), and is as dogged in his determination to find Debbie as the older man, though his intentions are more altruistic. Martin’s letters home to his sweetheart Laurie (played by Vera Miles) serve as narration to the story, and the scenes they share together as comic interludes to the film’s heavy tone. A 20th Century-Fox contract player, Hunter got his big break with THE SEARCHERS, and plays well off Wayne’s Edwards (Ford used the actor again in both THE LAST HURRAH and SERGEANT RUTLEDGE). Two of his most famous roles were in Nicholas Ray’s 1961 Biblical drama KING OF KINGS (which Hunter referred to as ” I Was a Teenage Jesus”) and the pilot episode of STAR TREK as Enterprise Commander Christopher Pike, later reworked into a two-part episode titled “The Menagerie”. Jeffrey Hunter continued his career in Europe, including a pair of Spaghetti Westerns (THE CHRISTMAS KID, FIND A PLACE TO DIE) before succumbing to a brain hemorrhage in 1969 at age 42.

By far my favorite character in THE SEARCHERS is the slightly crazy Ol’ Mose Harper, played by sagebrush vet Hank Worden. Long a Ford favorite, this was Worden’s biggest role, and he surely takes the tommyhawk and runs with it! The simplistic Mose greets every insult to his intelligence with a hearty, “Thank ya kindly!”, and holds the key to finding Debbie, wanting only in return “Just a roof over Ol’ Mose’s head, and a rockin’ chair by the fire – my own rockin’ chair”. Worden, best known to modern-day viewers as the waiter on the original TWIN PEAKS, was a member in good standing of the Ford Stock Company, and was used by Wayne in many of his later films (you can read my piece on Hank Worden’s career by clicking this link ).

Henry Brandon as Comanche war chief Scar is Ethan’s opposite number; he’s as filled with hatred for the white race as Edwards is for the Indians. Unlike the noble opponents found in many Wayne Westerns (SHE WORE A YELLOW RIBBON,  MCLINTOCK!), Scar is as ruthless and uncompromising in his hostility as Edwards, and his reaction to the white man’s hatred and oppression is hatred and oppression of his own, which only serves to fan the flames of discord between the races. It’s a lesson neither Scar nor Ethan ever learn, and continues today on the extremes of the political spectrum (Left and Right).

The rest of the cast is equally superb, including Natalie Wood as Debbie, Ward Bond as Reverend/Texas Ranger Samuel Clayton Johnson, Ken Curtis as Martin’s love rival Charlie (they engage in a comic brawl over Vera Miles’ affections), John Qualen as Lars Jorgensen, and Harry Carey Jr as Brad. Harry’s mother Olive Carey is cast as Mrs. Jorgensen, and in that famous final shot in the doorway Duke pays homage to her late husband Harry Carey Sr. by grasping his right arm at the elbow, a pose Carey struck in many a Western. Wayne’s son Patrick appears toward the end as callow Lt. Greenhill, and it’s fun to watch The Duke watching Pat act opposite Bond; that bemused look on his face is priceless! There are other Familiar Faces dotting the landscape as well, Danny Borzage, Dorothy Jordan, Mae Marsh, Antonio Moreno, Chief Thundercloud, and Natalie’s sister Lana Wood (playing Debbie as a child) among them.

 Speaking of landscapes, DP Winton Hoch beautifully brings Ford’s favorite shooting canvas Monument Valley to life in breathtaking VistaVision and Technicolor. Additional location footage was shot in California, Utah, and Alberta, Canada, as well as Hollywood’s soundstages, all blended brilliantly by editor Jack Murray. And no one other than the great Max Steiner could do justice to a film of this magnitude; his score ranks among his all-time best.

As for the Old Master himself, John Ford was at the peak of his creative talent, his keen eye for detail making every shot a work of art. But THE SEARCHERS would be his last great masterpiece (though a case could be made for THE MAN WHO SHOT LIBERTY VALANCE). Ford was 66 years old, his eyesight failing, and his years of alcohol abuse were beginning to take their deadly toll. His pictures after this seemed to be losing their vibrancy, that distinctive John Ford touch. Thus it is that THE SEARCHERS is the note the director should’ve ended on artistically, but unfortunately life never truly imitates art, does it? It’s a film that consistently ranks high in critic’s and filmmaker’s top tens, and one worth repeated viewings to soak in all the nuances of characterization and mise en scene. THE SEARCHERS is a film I don’t just recommend, I implore you to watch. It is truly that damn good.

 

Sail Away: John Wayne in John Ford’s THE LONG VOYAGE HOME (United Artists 1940)

This is my third year participating in the TCM Summer Under the Stars blogathon hosted by Kristen at Journeys in Classic Film , and second entry spotlighting Big John Wayne . The Duke and director John Ford made eleven films together, from 1939’s STAGECOACH to 1963’s DONOVAN’S REEF.  Wayne’s role in the first as The Ringo Kid established him as a star presence to be reckoned with, and the iconic actor always gave credit to his mentor Ford for his screen success. I recently viewed their second collaboration, 1940’s THE LONG VOYAGE HOME, a complete departure for Wayne as a Swedish sailor on a tramp steamer, based on four short plays by Eugene O’Neill, and was amazed at both the actor’s performance and the technical brilliance of Ford and his cinematographer Gregg Toland  , the man behind the camera for Welles’ CITIZEN KANE.

THE LONG VOYAGE HOME is a seafaring saga detailing the lives of merchant marines aboard the ship Glencairn  on the cusp of World War II. The film is episodic in nature, as screenwriter Dudley Nichols wove the four one-act plays into a cohesive narrative. Duke is ‘Ole’ Olsen (no relation to the great vaudevillian), a sweet-natured young buck longing to return to his homeland and his elderly mother. Ole is a gentle giant of a man, whom the hardened sailors look out for, treating him as a kid brother. The naïve Ole has been out at sea ten years, trapped as the others are in a cycle of time on the ocean followed by spending all their dough on liquor and women when they hit port, forcing them to return to their cruel master the sea. This time around, they’re determined to make sure Ole gets back to his farm in Sweden, to break free of the lifestyle they are all caught in by fate and misfortune.

Wayne’s much-maligned Swedish accent isn’t all that bad, as some critics have harped on. Duke was nervous about doing the part justice, and had Danish actress Osa Massen (A WOMAN’S FACE, YOU’LL NEVER GET RICH) coach him with the rhythm and cadence of the language. His big scene at the bar, where he’s being set up to be shanghaied by the ship Amindra’s salty crew, shows Wayne’s accent was more than passable, and once again proves to the audience he could do more than just sit tall in the saddle and throw a mean punch at the bad guys. John Wayne, when the occasion called for it, could act.

Due to the structure of the screenplay however, Wayne doesn’t have to carry the film on his broad shoulders. Though ‘Ole’ is the glue that holds the film together, the rest of the ensemble all take their turns in the spotlight. The standout here is Thomas Mitchell , winner of the previous year’s Best Supporting Actor Oscar for STAGECOACH, as the boisterous veteran seaman Driscoll, a two-fisted Irishman whose sad fate at film’s end will haunt you. Ian Hunter, an underappreciated actor, plays the role of Smitty, whom the others suspect of being a Nazi spy, but instead harbors another dark secret. Ward Bond , the rowdy Yank, is given a solemn death bed scene, and gets a chance to show off his own acting chops. Barry Fitzgerald seems to be preparing for his role as Micheleen in THE QUIET MAN as Cocky. Fitzgerald’s brother Arthur Shields is the philosophical Donkeyman, who never leaves the ship for fear of triggering his alcoholism. Mildred Natwick makes her film debut as the prostitute Freda, charged with the task of seducing Ole before he’s shanghaied. John Qualen does his own inimitable Swedish part as Axel, mentor and protector to Ole. Familiar Faces Billy Bevan, Danny Borzage, James Flavin, J.M. Kerrigan, Wifred Lawson, Cyril McLaglen (brother of Victor), Jack Pennick, and Joe Sawyer round out the rugged cast; most were members in good standing of Ford’s stock company.

The real star of THE LONG VOYAGE HOME is Gregg Toland, who Ford had compete trust in to create the film’s visual mood. Toland’s experimental deep-focus style, utilizing back projection, makes the film an illusion of reality, his heavy shadows and dramatic lighting schemes a definite precursor to what would become the film noir style. John Ford was no stranger to making art films, and together with Toland certainly achieves success. Orson Welles once said he watched STAGECOACH over 40 times before filming CITIZEN KANE; there’s no doubt in my mind he did the same with THE LONG VOYAGE HOME.

While it’s not the type of film one would normally associate with the John Wayne/John Ford canon, THE LONG VOYAGE HOME should be watched by fans of both men’s work. The somber mood is laced with black humor, the cast is superb, Toland’s influential camerawork is a marvel to behold, and it’s a chance to see a different side of John Wayne. Sandwiched between STAGECOACH and THE GRAPES OF WRATH, THE LONG VOYAGE HOME doesn’t get the attention the other two attract, but deserves a place in the pantheon of John Ford’s masterful film classics.

Cleaning Out the DVR Pt 13: ALL-STAR WESTERN ROUNDUP!

Major League Baseball’s All-Star Game is tomorrow night, and in honor of that All-American pastime I’ve corralled an All-Star lineup of (mostly) All-American Westerns filled of blazing six-guns, galloping horses, barroom brawls, sexy saloon gals, and wide-open spaces. Hot damn, that DVR sure enough gets filled up mighty fast! Saddle up and enjoy these capsule looks at one of my favorite genres, the Western:

THE CARIBOO TRAIL (20th Century-Fox, 1950; D: Edwin L. Marin) – Randolph Scott   rides tall in the saddle driving his cattle to Vancouver gold rush country in this exciting oater filled with stampedes, Indian attacks, bad hombres, shoot outs, and fisticuffs. There’s a pretty saloon keeper (Karin Booth), a mean town boss (Victor Jory), and Scott’s bitter ex-pardner (Bill Williams), who had to have his arm amputated along the trail. Scenic Colorado stands in for Canada’s Great Northwest, shot in gorgeous Cinecolor by DP Fred Jackman Jr. Look for young Jim Davis and Dale Robertson in supporting parts. The movie doesn’t break any new ground, but for genre fans it’s a real treat! Fun Fact: The always delightful Gabby Hayes plays loveable old windbag Grizzly in his final feature film appearance.

FACE OF A FUGITIVE (Columbia 1959; D: Paul Wendkos) – Escaped outlaw on the run Fred MacMurray settles in the town of Tangle Blue, where he gets tangled up with pretty shopkeeper Dorothy Green, her sheriff brother Lin McCarthy, and evil landowner Alan Baxter. Routine ‘B’ Western elevated somewhat by MacMurray’s low-key performance, Wendkos’ taut direction, and Wilfred M. Cline’s moody cinematography. Fred is always watchable. Fun Fact: Young James Coburn   makes his second film appearance as one of Baxter’s hired hands.

ARIZONA RAIDERS (Columbia 1965; D: William Whitney) – Above-average Audie Murphy   ‘B’ outing, with the star and his pal Ben Cooper a pair of ex-Quantrill Raiders sprung from prison by the newly appointed head of the Arizona Rangers to hunt down some remaining guerillas terrorizing the territory. Some well-staged action by director Whitney, a veteran of Republic Pictures serials and sagebrush sagas. It’s fun to see another serial & sagebrush vet, the great Buster Crabbe as Ranger Captain Andrews, and the supporting cast features slimy baddies Michael Dante and George Keymas, Gloria Talbott as an Indian maiden, and Ray Stricklyn as Audie’s kid bro. I could’ve done without the opening exposition by Booth Colman as a newspaper editor talking directly to the camera; otherwise this is highly recommended! Fun Fact #1: Unintentionally funny line – Stricklyn (while lying mortally wounded): “Clint, it’s… it’s getting kinda dark” Murphy: “Well, it’s a little cloudy, Danny”! Fun Fact #2: Miss Talbott is well-known to horror genre buffs for her roles in DAUGHTER OF DR. JEKYLL, THE CYCLOPS, and I MARRIED A MONSTER FROM OUTER SPACE!

RIDE BEYOND VENGEANCE (Columbia 1966; D; Bernard McEveety) – An interesting if flawed attempt at a psychological Western, aided by a solid supporting cast. A modern-day bartender in Cold Iron, Texas (Arthur O’Connell) relates to a census taker (James MacArthur) the legend of “The Day of the Reprisals”, a fateful night in town history. Flashbacks take us to 1884, when buffalo hunter Jonas Trapp (Chuck Connors), returning home to his wife (Kathryn Hays) after 11 years, gets bushwhackers by a trio of nasties (Michael Rennie, Claude Akins, Bill Bixby), who brand him with a red-hot iron and steal his $17,000 savings. Now Jonas goes out for revenge to reclaim both his money and his wife. The mainly backlot sets and a sometimes weak script keep this strictly ‘B’ level, but a game attempt nonetheless. The impressive cast features Buddy Baer, Joan Blondell , Jamie Farr, Paul Fix (Chuck’s RIFLEMAN costar), Frank Gorshin, Gloria Grahame , Robert Q. Lewis, Gary Merrill, and Ruth Warrick. Folk singer Glenn Yarbrough (“Baby, the Rain Must Fall”) sings the title tune. Not a classic, but definitely worth a look. Fun Fact: Production company Goodson/Todman were better known for their myriad TV game shows – BEAT THE CLOCK, FAMILY FEUD, MATCH GAME, PRICE IS RIGHT, WHAT’S MY LINE, et al.

CHISUM (Warner Bros 1970; D: Andrew V. McLaglen) – Cattle baron John Wayne takes on rival town boss Forrest Tucker during the famous Lincoln County Cattle War, with William Bonney, aka Billy the Kid (Geoffey Deuel) thrown in for good measure. This will seem like a rehash to fans of Duke’s older, better movies, with so many Familiar Faces from previous vehicles ( John Agar , Christopher George, Richard Jaeckel , Hank Worden , etc etc) the set must’ve seemed like old home week. Ben Johnson adds some spice as Wayne’s mumbling, grumbling sidekick Pepper, William Clothier’s shots of scenic Durango, Mexico are breathtaking, and the finale (featuring a cattle stampede through town and a knock-down, drag-out brawl between Wayne and Tucker) is fairly exciting. Not one of his best outings, but hey… it’s a John Wayne Movie! That alone makes it worth watching! Fun Fact: Country star Merle Haggard   sings the tune “Turn Me Around”, and actor William Conrad does a hip-hop rap over the title credits. Just kidding about that last tidbit, I wanted to make sure you were still paying attention!

       

ADIOS, SABATA (United Artists 1971; D: Gianfranco Parolini) –  Lesser but highly enjoyable entry in the Spaghetti Western canon. This is the second of Parolini’s Sabata Trilogy, with black-clad Yul Brynner taking over for Lee Van Cleef in the title role (Van Cleef returned for the final film). “Soldier of Fortune” Sabata teams with frenemy Ballantine and a colorful band of Mexican revolutionaries to steal Emperor Maximilian’s gold and defeat the sadistic Colonel Skimmel. The bare-bones plot is just an excuse for Parolini (billed in the U.S. print as “Frank Kramer”) to assault our senses with an almost non-stop barrage of violent set pieces, well shot by DP Sandro Mancori. Yul gets off some snappy one-liners, and his sawed-off repeating rifle is way cool, as is Bruno Nicolai’s ersatz Ennio Morricone score. Kick back, pop open an adult beverage, and enjoy the action! Fun Fact: Minor late 50s/early 60s teen idol Dean Reed, who embraced leftist politics and became more successful as an ex-pat entertainer, plays the part of Ballantine.      

Ride along with other “Cleaning Out the DVR” posts:

• Pt 1: Five Films From Five Decades
• Pt 2: Five Films From Five Decades 2
• Pt 3: Those Swingin’ Sixties
• Pt 4: B-Movie Roundup!
• Pt 5: Fabulous 40’s Sleuths
• Pt 6: All-Star Horror Edition!
• Pt 7: Film Noir Festival
• Pt 8: All-Star Comedy Break
• Pt 9: Film Noir Festival Redux
• Pt 10: Halloween Leftovers
• Pt 11: Five From The Fifties
• Pt 12: Too Much Crime On My Hands

Pre Code Confidential #8: Barbara Stanwyck in BABY FACE (Warner Brothers 1933)

Barbara Stanwyck uses sex as a weapon and screws her way to the top in BABY FACE, an outrageously blatant Pre-Coder that had the censors heads spinning back in 1933. Miss Stanwyck plays Lily Powers, a young woman who works in her Pop’s speakeasy in smog-filled Erie, PA, where Pop’s been pimping her out since she was 14. Lily has a black female friend named Chico who seems to be more than just a friend (though it’s never stated, the implication’s definitely there). All the men paw over her like dogs with a piece of raw meat except the elderly Mr. Cragg, who gives her a book by Fredrich Nietzche along with some advice: “You have power… you don’t realize your potentialities… you must use men, not let them use you… exploit yourself, use men! Be strong, defiant!”.

When Pop’s still blows to smithereens, taking Pop with it, Lily and Chico hop a freight train to New York City. It’s here she first tries out Cragg’s advice by seducing the railman who tries to throw them off. Arriving in The Big Apple, Lily and Chico stop outside the Gotham Trust Company, a huge skyscraper that’s an obvious phallic symbol. Lily quickly lands a job by seducing an office boy and begins her climb to the top. One of her first victims is a young John Wayne , an innocent sheep to Lily’s ravenous wolf. Wayne introduces her to Douglass Dumbrille , who’s been around enough to know better, but inevitably succumbs to Lily’s carnal charms.

Lily and her boss get caught together in the lady’s room by his boss, Stevens (Donald Cook); he’s dismissed, but sly Lily gives a sob story about the rat forcing himself on her, and the gullible Stevens makes her his secretary. If you guessed Stevens is next on Lily’s list, give yourself a hand! However, Stevens is engaged to bank VP Carter’s daughter, who catches the two fooling around in his office, and she flees up to Daddy’s suite. Big Daddy Carter orders Stevens to fire Lily, but the jerk can’t bring himself to do it. Lily’s called up to see Carter and gives him another sob story claiming she didn’t know about the engagement. Carter then axes Lily, but sets her up in a lavish penthouse to become his mistress! Stevens loses his cool, barging in on them and shooting his former future Father-in-law, then committing suicide in Lily’s boudoir!

This headline-inducing scandal results in the Board of Directors terminating the bank’s president and bringing in the founder’s grandson Courtland Trenholm (George Brent). “a playboy… society globetrotter” with no experience whatsoever. But Courtland’s no dummy; after Lily demands $15 Grand for her diary (the newspaper’s have offered ten), Courtland refuses, not buying her story (“I’m a victim of circumstance!”) and shipping her off to their Paris branch under an assumed alias. Courtland thinks he’s solved he problem, but when he arrives in Gay Paree, there’s Lily, and yep, he falls for her, this time actually marrying Lily, resulting in another scandal that forces the bank’s closure, an indictment for Courtland, and a suicide attempt.

I’ve gotta say, the men in BABY FACE act like complete idiots, practically driven to the brink of madness by Lily’s sexual prowess. She must be really good to elicit that kind of response! This kind of sex scandal isn’t unheard of in real life,  especially among the rich and powerful (hello, Anthony Weiner!), which leads me to conclude the more money and fame you have, the stupider you get! Stanwyck is really good as Lily, the original Material Girl, who goes after what she wants using what she has. Equally good is Theresa Harris as Lily’s companion, Chico, who spends much of the film singing “St. Louis Blues”. Harris was an African-American actress and singer who’s featured in many classic films of the 30’s and 40’s, and doesn’t play to the stereotype of the times, but rather as an equal. Other Familiar Faces dotting the cast (besides those mentioned) are Robert Barratt, Henry Kolker, Margaret Lindsay , Nat Pendleton , Harry Gribbon , and Edward Van Sloan .

Director Alfred E. Green keeps things moving as fast as Lily herself. His fifty year career in films includes directing two stars to Oscars (George Arliss in DISRAELI, Bette Davis in DANGEROUS), but he’s most remembered for THE JOLSON STORY. Gene Markey and Kathryn Scola based their sordid little screenplay on a story from Daryl F. Zanuck, shortly before he moved over to Twentieth Century Pictures. The cinematography by veteran James Van Trees is superb, as is Anton Grot’s amazing art direction. BABY FACE contributed mightily to the formation of the Hays Code, its frank look at a wanton woman causing blood vessels to pop in prudes across the country. It’s a film of its time, when the Great Depression caused desperate people to take desperate measures, and a must-see for lovers of Pre-Code films.