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:

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Hell Bent for Vengeance: Randolph Scott in DECISION AT SUNDOWN (Columbia 1957)

I seem to have gained some new channels along with my new DirecTV receiver. I’m not sure why, but I won’t argue…  at least until I see the bill! One of them is Sony Movie Channel, featuring the Columbia Pictures catalog, and I recently viewed DECISION AT SUNDOWN, the third of seven Western collaborations between star Randolph Scott  and director Budd Boetticher. The plot and setting are simple, yet within that framework we get a tense psychological drama about a man consumed by vengeance and hatred.

Scott, still cutting a dashing figure at age 59, plays Bart Allison, who along with his pal Sam, ride into the town of Sundown on the day of Tate Kimbrough’s wedding to Lucy Summerton. Bart’s not there to offer his congratulations though; he announces his intention to kill town boss Tate. The reason: Bart holds Tate responsible for his wife’s suicide three years ago. Bart and Sam then hole up in the livery stable while Tate’s hand-picked sheriff and his men force a stand-off.

To reveal any more of the narrative would be doing a disservice to those who haven’t seen this little gem. Suffice it to say, there’s more to the story than meets the eye. The film is expertly put together by Boetticher, DP Burnett Guffey (Oscar winner for FROM HERE TO ETERNITY and BONNIE & CLYDE), and editor Al Clark (ALL THE KING’S MEN, 3:10 TO YUMA ), keeping the suspense tight as possible. Boetticher was a talented director who marched to the beat of his own drum. A trained bullfighter, his breakthrough film was 1951’s THE BULLFIGHTER AND THE LADY. He directed the frequently overlooked noir THE KILLER IS LOOSE (1956) before embarking on his seven Scott Westerns, then spent over a decade filming and finding financing for his documentary on Mexican matador Carlos Arruza, finally getting a 1972 release. An most interesting man, Boetticher died in 2001.

Scott gives an outstanding performance as Allison, driven by his lust for vengeance. Bart Allison is both a man of principal and tragic figure, and Scott maintains his balance between the two using few words, showing not telling. It’s a difficult role, but Randolph Scott pulls it off in his own inimitable style. His chemistry with Noah Beery Jr, playing loyal friend Sam, is palpable; one can only wish they’d made more films together. Tate Kimbrough is played by John Carroll, who looked and sounded so much like Clark Gable that MGM once tried to promote him as The Next Big Thing. He never quite caught on, probably because the resemblance was too close, and one Gable in Hollywood was enough. Carroll could hold his own in the acting department though, his best known films are probably GO WEST (with the Marx Bros), FLYING TIGERS (with John Wayne), and the Republic serial ZORRO RIDES AGAIN.

Rounding out the cast are Karen Steel (MARTY) as Lucy, Valerie French (JUBAL) as Tate’s former lover Ruby, John Archer ( ROCK AROUND THE CLOCK ) as the sympathetic town doctor, and Andrew Duggan ( THE INCREDIBLE MR. LIMPET ) as the sheriff. Familiar Faces around town include veteran John Litel as Lucy’s father, Richard Deacon, Abel Fernandez, Bob Steele, Vaughn Taylor, Ray Teal, James Westerfield, and H.M. Wynant. If you haven’t watched any of the seven Scott/Boetticher Westerns, you’re missing out on some great filmmaking, and DECISION AT SUNDOWN makes a good  place to start.

 

Hittin’ the Dusty Trail with THE DESPERADOES (Columbia 1943)

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There’s a lot to like about THE DESPERADOES. Not that it’s anything groundbreaking; it’s your standard Western outing with all the standard clichés. you’ve got your two pals, one the sheriff (Randolph Scott ), the other an outlaw (Glenn Ford ). You’ve got your gambling hall dame (Claire Trevor ) and sweet young thing (Evelyn Keyes) vying for the good/bad guy’s attention. You’ve got your goofy comical sidekick (Guinn ‘Big Boy’ Williams). You’ve got your  supposedly respectable heavy (Porter Hall ), a mean heavy (Bernard Nedell), and a heavy who has a change of heart (Edgar Buchanan). What makes this one different is the movie seems to know it’s clichéd, giving a nod and a wink to its audience as it merrily makes its way down that familiar dusty trail.

Based on a novel by pulp writer Max Brand (who also created the Dr. Kildare series), this was one of Columbia’s big releases of the year, and their first in Technicolor. Charles Vidor, not usually associated with the sagebrush genre, directs with a light touch, even having some of his characters break the Fourth Wall on a couple of occasions. Robert Carson’s screenplay has a sense of humor and a definite touch of playfulness to . But don’t misunderstand, THE DESPERADOES is not a parody, the story’s taken seriously, and there’s plenty of action including a barroom brawl and a wild horse stampede. It just doesn’t take itself too seriously, and that’s the key to its success.

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Randolph Scott is stalwart as always as the hero sheriff. By this time, he was already well-established as a Western star. This was his first film for producer Harry Joe Brown, and the pair would collaborate on a series of oaters in the late 1950’s that are among the genre’s best (THE TALL T, RIDE LONESOME, COMANCHE STATION). Most of those were directed by Budd Boetticher, who worked as an assistant director on this film.

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A still-wet-behind-the-ears Glenn Ford plays the good/bad guy Cheyenne, alias ‘Bill Smith’. Ford was definitely on his way up in movies and, after serving in World War II, hit the jackpot with his role in another Vidor directed film, GILDA. Claire Trevor as The Countess does her patented bad-girl-with-a-heart-of-gold routine as Ford’s ex-gal, while Evelyn Keyes is her rival for his affections. Keyes would also win her man in real life, marrying director Vidor later that year. Edgar Buchanan had his loveable scoundrel part down pat by this time, a role he later perfected on TV’s PETTICOAT JUNCTION. Williams is goofy as ever, Hall as weaselly as ever, and there are fine bits by Raymond Walburn as a ‘hanging judge’ who loves his work so much he builds his own gallows, and Irving Bacon as the local bartender whose saloon gets wrecked more than his patrons.

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The movie features some gorgeous Technicolor shots of Kanab, Utah’s beautiful landscapes by DP George Meehan, though most of it was filmed at the famed Corriganville Western Ranch. Familiar Faces like Joan Woodbury, Glenn Strange , Chester Clute, Francis Ford , Charles King, and a host of others dot the landscape as well. The cast of pros in gorgeous Technicolor and good-natured humor make THE DESPERADOES a must for classic movie lovers, even those non-Western fans among you. Just sit back and enjoy the ride, pardners.

 

Rally ‘Round The Flag: Errol Flynn in VIRGINIA CITY (Warner Brothers 1940)

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VIRGINIA CITY is a big, sprawling Western, filled with action, humor, and star quality. It’s the kind of movie they used to show around these parts every afternoon at 4 O’clock on DIALING FOR DOLLARS (George Allen was the local host), helping to spark my interest in classic films past, a flame which still burns bright today, two hours of pure entertainment, with square-jawed Errol Flynn going against square-jawed Randolph Scott backed by a Civil War setting and yet another sweepingly epic Max Steiner score.

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We’re told “only the characters are fictional… The story is true” as we watch Union Captain Kerry Bradford (Flynn) and his two buddies Moose and Marblehead (Errol’s frequent co-stars/offscreen drinking compadres Alan Hale Sr and Guinn ‘Big Boy’ Williams) attempt to tunnel their way out of Libby Prison, aka ‘The Devil’s Warehouse’, when they’re caught by commanding Captain Vance Irby (Scott). He tells them Confederate troops are ready to shoot to kill wherever they pop up, then leaves them to their fate, as he has a visitor, former flame Julia Hayne (Miriam Hopkins ). Miss Julia knows the South is losing the war and virtually bankrupt to boot, but has some exciting news: rich Southern sympathizers in Virginia City, Nevada, have put up five million in gold for the cause. Vance goes to see President Jefferson Davis himself with a plan to transport the loot to Texas and help save the Confederacy.

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Kerry and his crew keep digging, right below the munitions dump, which they blow up and escape (a little foreshadowing here). They make it to General Meade’s camp and tell him they suspect a plot in Virginia City, so he sends them west by stage, which coincidentally also carries Julia. Riding along is bandit John Murrell (Humphrey Bogart , sporting a pencil-thin moustache and terrible Mexican accent!), who tries to hold them up but is foiled by I’m-smarter-than-you Kerry. They all make it to Virginia City (except Bogie, who’ll pop up again later), and Kerry and Vance run into each other at the Sazerac Saloon, where Julia works as a dance-hall singer, and seems to be smitten with both of them.

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The players are all in place, and the stage is set for action, romance, and intrigue, as Vance tries to move the gold out of Nevada, Kerry tries to stop him, Julia is torn between two lovers, and Murrell has plans of his own. There’s danger and excitement at every turn, with Vance forming a wagon train full of gold across the desert, Kerry and company in hot pursuit. Director Michael Curtiz uses some interesting lighting and shot selection to tell the tale, and there’s some fine stuntwork by Yakima Canutt, including one that echoes the previous year’s STAGECOACH . Curtiz was a master film storyteller, not only visually but utilizing strong characterizations to get his story across to the viewer. I know I’ve said it before, but Michael Curtiz is one of the most underrated directors in the Golden Age of Hollywood films.

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The ever-gallant Errol Flynn is always the good guy no matter what side he’s on, whether as a Yankee captain here, or portraying Jeb Stuart in SANTA FE TRAIL. His gallantry is equally matched by Randolph Scott, my second-favorite Western star (you regular readers know my first by now!). This is the only film the two appeared in together, and their chemistry made me wish there were more. Most reviewers pan Miriam Hopkins’ performance as Julia, but I thought she was more than adequate, with just the right amounts of proper Southern belle and sexy dance-hall floozie, though her emoting can become a bit too much. It’s Bogart’s last Western, unless you count TREASURE OF SIERRA MADRE, and stardom was lurking just around the corner, so the less said about his role here, the better!

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Flynn, Hale, and Williams always seem to be having a grand old time onscreen together, probably because they were all buddies offscreen, or maybe they were passing a bottle of hootch around between takes! The two sidekicks add solid comic relief to the proceedings, as does Frank McHugh as a fellow stagecoach passenger. There’s more Familiar Faces than you can shake a stick at, including Ward Bond Douglass Dumbrille , Paul Fix, Thurston Hall, Charles Halton, Russell Hicks, William Hopper, Dickie Jones (later of TV’s THE RANGE RIDER and BUFFALO BILL JR), John Litel, Charles Middleton (as Jeff Davis), Moroni Olsen, George Reeves, Russell Simpson, and Frank Wilcox.

Victor Kilian appears at the end as Abe Lincoln and gives an impassioned speech that seems appropriate in these tumultuous political times: “We’re not enemies but friends… there is no spirit of revenge in our victory, there must be no harboring of hatred in their defeat… We’re now one people, united by blood and fire, and at that from this day forward our destiny is indivisible, with malice toward none, with charity for all… let us now strive to bind up the nation’s wounds”.

Couldn’t have said it better myself, Mr. Lincoln. Now let’s all dust ourselves off, go forward together, and watch an exciting classic movie like VIRGINIA CITY!

CLEANING OUT THE DVR Pt 2: Five Films From Five Decades

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Well, it’s time once again to get rid of some movies on my DVR so I can make room for more movies! Last night I had myself a mini-movie marathon watching four in a row (the fifth I’d already screened and jotted down some notes on it). So here, for your education and edification, are five films from five decades:

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THE RETURN OF DR. X (Warner Brothers 1939; director Vincent Sherman)

Despite the title, this is not a sequel to 1932’s DOCTOR X starring Lionel Atwill. This one’s all about a reporter (Wayne Morris) and a doctor (Dennis Morgan) investigating a string of murders where the bodies have been drained of blood. Humphrey Bogart plays Dr. Quesne, alias the mad Dr. X, in pasty white make-up and a streak of white in his hair. Seems he’s been brought back from the dead by Dr. Flegg (John Litel) after being electrocuted and now needs human blood to survive. It’s no wonder Bogie hated this film, playing a role more suitable for Bela Lugosi in his Monogram days. Fun Fact: Dead End Kid/Bowery Boy Huntz Hall plays newsroom boy Pinky in a rare solo appearance.

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