Turner Classic Movies and Universal have come through with exactly the kind of set many of us have been waiting for. Western Horizons: Universal Westerns Of The 1950s brings together five excellent examples of why Universal was top gun in Hollywood in the 50s. The absolutely essential set, slated for release on February 18, 2013, will include:
Horizon’s West (1952) stars Robert Ryan and Rock Hudson as brothers on opposite sides of the law. Directed by Budd Boetticher, it costars Julie Adams.
Saskatchewan (1954) gives us Alan Ladd, Shelley Winters, J. Carrol Naish and Jay Silverheels in a Canadian mounties picture directed by Raoul Walsh.
Dawn At Socorro (1954) stars Rory Calhoun, Piper Laurie, Lee Van Cleef and Skip Homeier and was directed by George Sherman. (Love that Reynold Brown artwork, above.)
Backlash (1956) puts Richard Widmark, Donna Reed, William Campbell, and Edgar Buchanan in the capable hands of John Sturges.
Pillars Of The Sky (1956) from George Marshall is a CinemaScope cavalry picture with Jeff Chandler, Dorothy Malone, Ward Bond and Lee Marvin.
Universal made so many worthwhile cowboy movies in the 50s — and this is a good lineup. Let’s hope it’s the first of many.
Well, this is certainly exciting and encouraging news!! Thanks much!
I think they could do better with the tentative box art, though:
http://shop.tcm.com/western-horizons-universal-westerns-of-the-1950s-dvd/detail.php?p=430925
Let’s hope it’s a big seller, with more to come!
Best wishes,
Laura
Very nice set. However, since I’m only missing Dawn at Socorro from that lot I won’t be indulging myself.
I’ve been waiting quite a while for Horizons West alone, but the others titles sound just as promising. I’ll be picking this set up for sure.
Colin,
In the past Universal/TCM have later released box set titles as stand
alone single DVDs;at least that is what they did with the recent
Audie Murphy and Joel McCrea sets.
Like you, the only title I am missing as an “official” release is
DAWN AT SOCORRO having already got the others mostly from Koch
in Germany. I hope DAWN AT SOCORRO gets a single release as its the
best of a very strong bunch.
For Volume two I hope they hone in on films that have never appeared
on DVD anywhere on the Planet.
Some suggestions:
SADDLE TRAMP
THE LONE HAND
WILD AND THE INNOCENT
SLIM CARTER
A DAY OF FURY
THE YELLOW MOUNTAIN
FOUR GUNS TO THE BORDER
RAILS INTO LARAMIE
DAY OF THE BADMEN
WYOMING MAIL
I wonder if the cats at Universal/TCM have been reading Tobys Blog?
John, I expect Dawn at Socorro will get an individual release, and I’d be surprised if it doesn’t turn up in Europe too at some point.
Even though I won’t be buying this set myself I do hope it sells well and leads to more of the same.
Oooh, that looks like a wonderful set, of 5 films that I’ve never seen to boot! All over this – thanks a bunch for the heads-up, Toby! Just one reason why your blog is essential reading.
I just knew I had left one film off my list above:
RAW EDGE
Rory Calhoun,Yvonne De Carlo,Rex Reason,Neville Brand,Mara Corday,
Herbert Rudley.
Sure hope someone puts that one out sooner rather than later.
All these would be great, One I would add is “ROAD TO DENVER” with John Payne, Skip Homier, Lee Van Cleef, Lee.J.Cobb and Glenn Strange
Bruce,
ROAD TO DENVER is a Republic Western.Having said that I would love
to see it released on DVD as its one of John Paynes very best.
Sadly John Payne is not on Olive Films radar; they being the ones who
are releasing lots of (post 1950) Paramount titles.I would have thought
some of the many films Payne made for Pine-Thomas/Paramount would
be worthy of a DVD release especially the ones with Rhonda Fleming
(EAGLE & THE HAWK,CROSSWINDS) They are releasing lots of Republic
titles (via Paramount) but I doubt if they will include ROAD TO DENVER
and SANTA FE PASSAGE.
ROAD TO DENVER has,I think been released on DVD in Spain,though
I understand the picture quality is none too good.
Spain has just released SOUTH OF ST LOUIS,does anyone know what
the quality is like?
.
The company that has released South of St. Louis in Span is Regasa Clau, one of the worst in the spanish market. Their copies are almost always pirate rips downloaded from internet an upgraded to DVD, so the quality is always an absolute CRAP.
Three of the set have already been released on stand alone DVDs in the UK, “Saskatchewan” (O’Rourke of the Royal Mounted); “Backlash” and “Pillars of the Sky” (The Tomahawk and The Cross). But still no sign of Rory Calhoun in “Red Sundown” and “The Saga of Hemp Brown” (CinemaScope); Jock Mahoney in “Last of the Fast Guns” (CinemaScope) and two Audie Murphy Westerns “Seven Ways From Sundown” and “Hell Bent For Leather” (CinemaScope). There are a lot more that have so far never made it to DVD.
I’m glad this thread is still here after a few days because I wanted to add a few comments and responses. First, to echo Toby, he’s absolutely right in saying “exactly the kind of set many of us have been waiting for.”
The difference between this and previous stateside releases as far as the set is concerned (as opposed to individual titles like QUANTEZ) is that those were built around a single male star, and sometimes the titles seemed arbitrarily chosen, like the Joel McCrea group which left out what most here feel are the best ones SADDLE TRAMP and THE LONE HAND.
In the present set, there are different stars in each movie, and no common theme–only what seems to be a real effort to put together a representative set for the studio and time of especially good Westerns. When the least of the five is directed by Budd Boetticher, it’s a good indication of a very high level.
And I feel that’s the case. But even if it were less than it is, given what it is, I plan to buy and encourage anyone else who doesn’t have the individual titles to do it. Because if it sells, they will hopefully put out more collections like this and cover the other titles mentioned.
I almost agree that DAWN AT SOCORRO is best of the five, and I’m known to favor George Sherman–this is among his best films, very imaginative reworking of the Doc Holliday character with an OK Corral variation at the beginning and then follows its own story. It’s incredibly stylish visually and the characters played by Rory Calhoun, Piper Laurie and Alex Nicol are all more than usually interesting. I haven’t seen this in awhile but still find haunting the way Calhoun and Laurie first see each other. He is moving out into that gunfight in the first part of the film and looks up as she look out while pacing in front of her hotel window and they briefly exchange a glance. It’s unusual, beautifully staged and filmed, and characteristic of the movie.
But I might give the edge to PILLARS OF THE SKY even over this. Director George Marshall, though he made many Westerns and certainly his share in the 50s is probably least thought of as a genre specialist of the five directors here–most would cite him as a comedy specialist, and that goes for many of his Westerns too, from DESTRY RIDES AGAIN (overrated for me and I prefer his own 50s remake DESTRY) to ADVANCE TO THE REAR in 1964 (one gag involving spy Stella Stevens escaping on a raft that’s worthy of Keaton) by way of what is for me his best Western comedy THE SHEEPMAN (1958). But PILLARS is not a comedy at all, instead a serious film in the Indian cycle, unusually thoughtful and very interesting with its aspects of Christianity and adultery, complex hero played by Jeff Chandler, even a near Fordian feeling at times (perhaps it’s the presence of Ward Bond in the kind of role he’d do for Ford that suggests this). It shows Marshall actually had a lot of range.
SASKATCHEWAN is also a beautiful movie, shot on location in Canada. Even if it’s a fairly simple and pretty familiar story, it’s dramatically solid and the action has tremendous energy as always with Raoul Walsh. Walsh too maybe can’t be called a Western specialist like Sherman, Sturges or Boetticher but that’s only because he’s a master of all the genres he did and made so many movies. There’s a strong share of Westerns there and as a group makes him one of the Western’s absolute greatest masters–I’d rank this around the middle for him.
I also like very much BACKLASH, with Borden Chase’s script echoing in structure the earlier and superior WINCHESTER ’73 though this stands on its own and the dramatic payoff in the last reels is pretty powerful. And this has Richard Widmark, one of my favorite actors in Westerns, or any kind of film, whether as a good guy or bad guy or something in between. I’m sure Toby did not mean to neglect in the cast John McIntire, who makes that crucial late film appearance (but will give no spoilers here on who he plays).
I have to say I like all Sturges’ 50s Westerns–very good period for him.
That leaves HORIZONS WEST, which I do find a relatively minor Boetticher but I think everyone here knows I am devoted to Budd Boetticher. It’s not that this isn’t well-done and it is unmissable. Somehow, though I like flawed or ambivalent heroes in Westerns especially, it’s hard for a Western to follow a narrative curve in which the protagonist (here Robert Ryan) becomes corrupt and villainous, nor does sympathy for his brother change this. I have this problem also with Walsh’s superior SILVER RIVER (1948), but that one is better for me because Errol Flynn’s character is initially well-motivated and also has a touch of redemption at the end after his misdeeds, so a more complex movie.
Just to mostly second John Knight’s list on 11/29 (I’d especially like to see THE YELLOW MOUNTAIN with Mala Powers again), though for me WYOMING MAIL is distinctly lesser and a relatively weak U-I Western. But for my choices I’d emphasize the CinemaScope movies (some of which are on his list and others mentioned by David Rayner today. When these show up on the Western Channel they are pan and scan so most need a dvd release. Of the ones not given Region 1 release by Universal, those not yet mentioned are:
CHIEF CRAZY HORSE
WALK THE PROUD LAND
WILD HERITAGE
MONEY, WOMEN AND GUNS
Not so many overall of the Scope films–I’m pretty strong on these and very much on the four titles I just mentioned. RIDE A CROOKED TRAIL is in the Audie Murphy set and QUANTEZ and GUN FOR A COWARD separate and NIGHT PASSAGE long available in James Stewart packages and separately too. And will just add that although I do like the non-theme/non-star aspect of the present package for future collections, I would still welcome a star package if it’s Jock Mahoney and has THE LAST OF THE FAST GUNS
(and JOE DAKOTA and MONEY, WOMEN AND GUNS too).
The most important thing though is that it feels like in this 100th anniversary someone at Universal is finally realizing what a treasure trove they have and is at last starting to set these films free. Hopefully, that will continue, for the Westerns and for so many other wonderful films they made too, especially in the 1950s.
But wish they’d take some inspiration for the artwork from Reynold Brown!
Many, many good points here. I’d agree that Pillars Of The Sky is the best picture here. It’s one that never ceases to impress me, from the action scenes to the performances to how skillfully the religious aspects are handled. It is rather Fordish, with Bond a bit similar to his role in The Searchers. I’ve come across it a couple times, and can’t decide if I believe it, but some sources say Ford and Wayne were approached for it. I’m not much of a George Marshall fan, but he knocks this one out of the park — he uses CinemaScope very well on this one.
Haven’t seen Dawn At Socorro in quite a while, long before I declared my undying love for George Sherman. I’m really excited about seeing this one again.
Didn’t mean to leave McIntire out of my Backash list. I wanted to get that set posted as soon as I could, and I did most of it from memory. He’s got a cool part in that one.
Like you, Blake, I find Horizons West one of Budd’s lesser Westerns. But it’s got Julie Adams, and that’s enough.
OK, so now comes the time when you all decide you hate me — and that my blog and I are worthless. You see, I’m not much of a fan of Alan Ladd in Westerns. Not sure why, since I love him in all that noir stuff. Even Shane — which is a great, great film — that to me is a Van Heflin picture. He’s so real, in a way those Method cats could never touch. So now I’m thinking about Gunman’s Walk…
For me, the Universals I want are the other McCreas, The Last Of The Fast Guns, Four Guns To The Border, Apache Drums, Rails Into Laramie (which I watched half of today) and Star In The Dust. There’s something about that last one — it’s really growing on me.
Can’t tell you how much I love the discussions here. 🙂 I’m reading and rereading all the comments above, absorbing thoughts on films I’ve seen and on the titles I’m not familiar with. Very excited to see the three new-to-me films in this set.
John McIntire has to be one of the very best things about the ’50s Universal Western. He brings something different to each appearance.
I’m curious about a Boetticher Universal film he made with John Lund, BRONCO BUSTER (1952). Scott Brady, Joyce Holden & Chill Wills in the cast. Has anyone seen it? Thoughts? As a fan of both Boetticher and the underrated Lund I’m quite interested in seeing it, if it can be found! Maybe it’s not a traditional Western, but with a rodeo story, close enough. 🙂
Best wishes,
Laura
Toby, I think you know better about how we all feel about you and this blog.
Yes, it’s a risk on a Western blog to say you’re not a fan of Alan Ladd in Westerns. But I’ve heard it before. It’s been said many times that he is wooden. And some like him in SHANE but none of the others.
I will say I do like Ladd in Westerns. Did others here read Colin in Ridin’ the High Country in his WHISPERING SMITH piece? I think he characterized him well, and especially noting that along with a quiet toughness, there is a sadness about Ladd that’s always there and seems to come from the real guy. Some roles really tap this–SHANE especially does. I won’t go into too much detail about it here but for me, it helps me to understand the film, in which the character is not some pure hero but a deeply melancholy one who wants a life other than the one he’s had and finally realizes he will never have it. And that’s the shared understanding he and the boy Joey have in what is for me a magnificent final scene, because Joey still responds to Shane in a human way even though he has grasped, as we have, that Shane is really best at one thing–gunfighting, which means killing people–and really made for that, no matter what his more sensitive impulses.
I don’t know that I think Alan Ladd is the actor that Van Heflin was–and it is amazing the number of 50s Westerns in which Heflin’s presence is essential, 3:10 TO YUMA even more than SHANE, and also GUNMAN’S WALK and the Civil War movie THE RAID. He is just supremely real.
But Toby, could you have Heflin and Ladd effectively change roles in SHANE?
I don’t think it would have worked nearly as well, so that means they are both well-cast. For that matter, I wouldn’t have put Jack Palance in either of their roles but he is quite memorable as the darker double on Shane’s gunfighter.
Though it was immediately hailed as a classic, SHANE weathered really bad times with plenty of aficionados of Westerns in its soon to be 60 years. And I’ve never finished an argument with fellow Western lovers with whom I share a lot of mutual respect as to whether it is a great Western. But although I understand how it can be found overdeliberated, that doesn’t mean the deliberation didn’t result in something really beautiful. And I do think it’s one of the great Westerns–and a very moving one. Maybe being Joey’s age when it first came out was something that made me feel always close to it.
So I guess Alan Ladd would have a place for me just for this, because it wouldn’t work at all if his role didn’t. His others–well as I said his sad or melancholy aspect can do a lot for his characters. So I really like BRANDED, and also WHISPERING SMITH. I think a movie like THE PROUD REBEL is helped by this and also THE BIG LAND–not to say these are major but they are satisfying. Of other Ladd Westerns, I’m keen to get back to DRUM BEAT, and have it recorded letterboxed. I don’t know that this or SASKATCHEWAN make as strong a use of his persona, though he settles comfortably into the roles, but these are movies with other virutes in any event. Walsh makes any Western work for me–that doesn’t mean they are all COLORADO TERRITORY.
Well, OK, a little defense of Alan Ladd, and I’d sure be interested in how others here feel about him.
I think you nailed why Ladd works so well in Shane. It’s a bit like Audie Murphy in No Name On The Bullet — there’s a lot of the real guy peaking through. And the sadness you mention with Ladd is always there. Because of that, Ladd and Heflin could not have changed parts.
It was so smart to not give Shane much backstory. Ladd’s melancholy tells us about all we need to know.
I saw Shane a million times as a kid, in a gorgeous dye-transfer 16mm print. What always knocks me out with it is its audio, The guns are so loud and the thuds and thumps of the fights are unlike anything from the period. Gosh-o-mighty indeed!
As always, Colin was dead on with Whispering Smith.
Laura, BRONCO BUSTER is the one Boetticher I most want to see again. I did possibly see it as a kid but I’m not sure about this–and saw it on TV when I only had a black and white set, and seemed very good. I wish that Universal would release that one.
That said, there were a number of rodeo pictures in that 1952/53 period for some reason, all with common elements (somehow it happened again twenty years later), and this isn’t the one anyone most needs to see. That’s definitely THE LUSTY MEN–it towers over the others and for me over most other movies.
Yes, I know I’ve said that before. But it’s worth saying it again.
I’ve never seen Bronco Buster. It’s way up there on my wanna-see list.
The rodeo movie boom of 52/53 was sorta duplicated in the early 70s with Junior Bonner (what a movie!), The Honkers and JW Coop. Funny how that worked out.
Thanks to you both for the BRONCO BUSTER feedback. Sure hope it turns up sooner rather than later.
Need to move THE LUSTY MEN up on my viewing list. Love the cast.
I really need someone to pay me to watch movies all day — don’t we all? LOL.
Best wishes,
Laura
This what what I was referring to in “twenty years later” Toby. But I think you left out the best of the bunch–WHEN THE LEGENDS DIE (the first of only two movies directed by producer Stuart Millar) with Fredric Forrest as an Indian trying to come into the white world who is mentored to be a rodeo star by an aging, volatile alcoholic, played by Richard Widmark in one of his greatest performances ever.
When I read your comment, I missed the 20-year thing entirely. Sorry about that.
I’ve never ween When The Legends Die. Have heard nothing but good things.
First things first;in my list of unreleased films I meant films that have NOT
been released on DVD in ANY territory.
RED SUNDOWN has been released in France by Sidonis (forced subs)
but in lovely widescreen.
Llamentol in Spain I believe have also released this film
SAGA OF HEMP BROWN is due for release by Sidonis sometime in 2013
no firm date yet;it was withdrawn from their 2012 schedule possible due
to remastering issues.
Llamentol normally release the Sidonis titles at a later date and do not have
those horrible “forced” subs.
LAST OF THE FAST GUNS is available from Sidonis in a brilliant
good as it gets widescreen transfer.I understand Llamentol have also
released this film.
JOE DAKOTA is available from Sidonis; transfer OK not great but I
feel the master material may not be in good shape.Imperfection free but
rather garish color hues.
MONEY WOMEN & GUNS available from Sidonis;very nice widescreen
transfer.
SEVEN WAYS FROM SUNDOWN is available from Sidonis
very good transfer.
HELL BENT FOR LEATHER is available from Koch in Germany in a
knockout widescreen transfer.
WALK THE PROUD LAND is available from Bounty in Australia and
Odeon in the UK
CHIEF CRAZY HORSE is available from Koch in Germany in stunning
widescreen and i understand Universal in France have also released
this film.
Sidonis also have the following Murphy titles slated for early 2013
THE KID FROM TEXAS
TUMBLEWEED
GUNSMOKE
GUNPOINT
ALL making their Worldwide DVD debut.
Also slated is Edgar Ulmers THE NAKED DAWN
Some of us just cannot wait for some of these great Universal titles
so are forced to trawl all over the Planet for them!.
Regarding Ladd.
Firstly let me say I REALLY like Alan Ladd.
SASKATCHEWAN is great with some of the most jaw-dropping scenery
you will ever see in a Western.
BRANDED I also like a lot; Rudy Mates finest Western by a long way.
RED MOUNTAIN is also top-notch and its a crime that this film is not
available on DVD. Its not as if it lacks star-power.
Cannot understand how Olive Films can give preference to inferior
titles like THE HANGMAN or THE JAYHAWKERS over this.
THE BIG LAND has its moments too classic gunfight between Ladd and
Tony Caruso and James Anderson;scene just crackles with tension.
Ladd knew Caruso from way back and always tried to get him roles in his
pictures.
DRUM BEAT (available from Bounty Australia in widescreen) is one of
Delmer Daves very best.Lovely interplay between Ladds Indian fighter
and outstanding Charles Bronson as the doomed Captain Jack.
Regarding SHANE George Stevens wanted Joel McCrea for the Heflin role.
McCrea turned it down because Ladd was his pal and he knew this was
his show.Also McCrea did not feel this was the right time for him to take
supporting roles.Besides the ever modest McCrea did not think he could
have been as good as Heflin when he saw the film. Maybe not but I feel
McCrea would have been wonderful in the Hefiln role and the fact that
the film was a global smash it would have given McCrea one hell of a boost.
At any rate it might have meant McCrea would not have been reduced to
appearing in such career killers as TROOPER HOOK and GUNSIGHT
RIDGE.
Interesting aside; the insecure Ladd once asked McCrea what do you do
when the phone does not ring;when nobody wants you?
Joel quipped “I slap my wife on the butt;jump on my horse and ride
around the ranch”
Guilty pleasure: I so want Sony to release Ladds THE BLACK KNIGHT
just love that film.
I’ve never seen Red Mountain.
Drum Beat’s really good.
All this Ladd-y back-and-forth has me thinking it’s time for a bit of an Alan Ladd Western marathon. You people know what you’re talking about and you’ve certainly made me rethink plenty of stuff along the way.
I am so glad Blake Lucas that you prefer the Murphy DESTRY to the
Stewart version;I totally agree but I am afraid we are in the minority.
Its funny how we differ on these lovely Universal Westerns. For instance
I regard HORIZONS WEST one of the very best Universal Boettichers.
(WINGS OF THE HAWK is the weakest IMO)
As an empire building in the West saga I would rate it above Walshs
turgid SILVER RIVER.Love the early stages of the film where slimy
Raymond Burr tells Robert Ryan that hes mixing with people above his
class.Vintage British films are riddled with the “class” thing;interesting to
see it pop up in a Fifties Universal Western.
Great fun to see James Arness and Dennis Weaver pre GUNSMOKE.
PILLARS OF THE SKY is a bit flabby for my taste;again I really like
Jeff Chandler but his “starring” Westerns are an odd bunch.
Dorothy Malone looks in remarkable shape considering she has been
held captive by the Indians for some time.
Totally agree about the fine use of widescreen in this film;lovely locations
too.Ward Bond and religion;a deadly combo for me Im afraid.
BACKLASH is fast moving fun but a minor entry in the Sturges portfolio;
at least as far as the Fifties go.
Which leaves DAWN AT SOCORRO way ahead of the pack IMHO,of
course.
John, I had got that about your list being movies not released on DVD anywhere in the world so specified Region 1 meaning by Universal itself.
As much as I want THE LAST OF THE FAST GUNS, and believe you and everyone on the beautiful transfer by Sidonis, I’m still hesitating over forced subs.
So hope this explains why I cited the titles I did. I’ve kept track of the foreign releases and am thinking about them anyway.
It’s interesting info about SHANE and McCrea in the Heflin role. I had only heard George Stevens Jr. say that Stevens first wanted Montgomery Clift (the Ladd role) and Burt Lancaster (the Heflin role) and I think it was someone else
for Jean Arthur’s role, but they all dropped out or something and he went readily went to the people who are in it now. I think these were the best possible choices–I always like McCrea but it’s harder to imagine him second to the male lead even as a character who is brave and heroic, and Ladd/Heflin chemistry seems ideal, as also both with Jean Arthur.
My favorite Boettichers from his Universal-International period are SEMINOLE and THE MAN FROM THE ALAMO, followed by THE CIMARRON KID.
I, too would like some of the Sidonis releases, but the burned in subtitles put me off, because they’re so distracting. It puzzles me why Universal allow their 1950s Westerns to be released in Germany and France, but not in the US or the UK. Why do they think that the Germans and the French would want to buy them, but we wouldn’t?
Firstly, I want to say thanks to both Blake and Toby for their kind words on my piece on Whispering Smith – really appreciate that guys.
Also, for those put off by the forced subs issue with Sidonis DVDs from France, i can heartily recommend the Spanish releases (with no subtitle issues whatsoever) of Last of the Fast Guns, Joe Dakota, Red Sundown and Money, Women and Guns/strong> – buy with confidence.
Reading back, I see this is Llamontol that John K. made reference to with a number of titles. Sorry I wasn’t paying more attention. Thanks for underscoring the point, Colin, especially with those four titles, all among the ones I want most.
I was expecting a bit more flak regarding my comments on PILLARS OF THE SKY. I saw it years ago (circa 1960) on a double bill with THE INCREDIBLE
SHRINKING MAN. Loved the film at the time on the giant scope screen.
Trying to find if the film was out on DVD I stumbled across Tobys blog so,
the film has a lot to answer for. Finally getting my hands on the lovely
remastered Koch version I must say i was underwhelmed by the film.
First the location work is top-drawer the set pieces fine. Its the studio
stuff that seems so clunky.The romantic triangle between Jeff Chandler,
Dorothy Malone and Keith Andes is tedious soap opera filler. The
actors seem to know it;they phone in their lines.
The shift from location work to studio shot outdoor scenes is below par;
you just cannot get away with that in widescreen.The night-time studio
stuff looks cheap and tacky;not what we expect from Universal.
Just look at the much cheaper scope film CATTLE EMPIRE the night time
studio stuff looks great in that film.
The religious sub-text is clumsy and obvious;I vote this title the least of
the five in the fine Universal set.I guess its just me;more and more I am
avoiding the big “star vehicle” widescreen Westerns. I tend to go for
smaller A- B+ programmers or whatever you wish to call them.
I am talking films like the Boetticher Ranowns of course plus gems like
APACHE DRUMS.THE LAST POSSE,THE HARD MAN,REPRISAL,
RED SUNDOWN and of course A DAY OF FURY;how on earth did I leave
that one off my list!
The bloated overblown stuff like THE VIOLENT MEN,THREE VIOLENT
PEOPLE,THE JAYHAWKERS; I tend to avoidthese days.
Since I voted PILLARS OF THE SKY the best of the five, seems like a reply is in order. It’s interesting–it occurred to me that Marshall is definitely my least favorite of the five directors overall, even if he’s not negligible, so it’s not that that I’m that invested in it. But anyway–
1–If you first saw it with THE INCREDIBLE SHRINKING MAN I don’t know how it could have made any impression at all. I immediately forgot the co-feature I saw that with, I’VE LIVED BEFORE, which ran first, even though as usual with Richard Bartlett/Jock Mahoney it’s an interesting film and an unusual one (and this was actually an ingeious idea for a double bill). But THE INCREDIBLE SHRINKING MAN is one of the great masterpieces of all time IMHO so PILLARS had it’s work cut out for it that day.
2–at this point (1956), it’s very common to see a mix of much location work, studio interiors and very artificial studio exteriors too, sometimes for night scenes but often no special rhyme or reason and the location and studio exteriors can be in the same scene. I know some people have a problem with this now, but I don’t. Movies are works of art (or at least artful works) and not slices of life and don’t owe anything on this point. So, John, I don’t buy this complaint because stylistically the film is of a piece to me, but even if you think it’s not I’ll support my point here with what many people including me would likely name as the best Western ever if they have to choose–that’s
THE SEARCHERS (same year). Ford’s strategies with the location and studio work could really put you off if you wanted them to, and they are often quite bold, but I would say very beautiful, the work of master, confident enough to follow his impulses, possibly creating scenes after the location work was done and just finding a way to do them back in Hollywood. Because I understand from someone who worked on it that he was working creatively on the film until it was done and the script never in its final form until then. John, I know you agree the ‘Scope compositions for exteriors were visually beautifully so just think about maybe there is a possible wider aesthetic argument along the lines I’m suggesting.
2–The romantic triangle. Guess I can’t argue the point too much–either they convince you or they don’t but I think all three actors play this believably and make it real, and moreover it’s an interesting triangle because not all that conventional, Malone having a genuine pull to both men.
3-The religious aspect. Maybe it’s just something you don’t like to see in a Western, but I do if it’s interesting. The idea of Christianizing the Indians and what their path should be as the West is settled is a provocative one and the movie doesn’t try to simplify that. And even more, Chandler’s character, his atheism and where this ends within the whole drama–this to me makes the film, and especially the last scene and movingly composed and filmed final shot where he has found his way and become the man he was meant to be in a perfect coda to the larger historical drama.
Well, that’s how I see it. Hey, there was a time when most people would say a movie like this wasn’t even worth a passing thought, so it’s nice to be somewhere where it can be argued this way.
The way I see it, y’all are both right when it comes to Pillars Of The Sky.
Before I get into it, I’m jealous of anyone that got to see those fabulous Jack Arnold movies in a theatre. Guess I was born too late.
Pillars is a flawed film, for sure. And John’s points are good ones. But to me, that don’t wreck the film.
The interior/exterior thing is pretty common in Scope pictures of the period. Universal was pretty good at avoiding it, but not on this one. It doesn’t mix them as well as, say, Quantez which becomes very stylized at times. Boy, do I love that movie!
The romantic triangle thing is pretty hokey, and the actors seem to be embarrassed by it. I like the cast to this one, so I let it go.
John, you mentioned that Dorothy Malone looks really good after years as a captive. Miss Malone would look good if she’d crawled out of a grave, so what’s your point?
I agree with Blake that the religious stuff is a matter of taste. It seems to be the primary reason for this picture’s existence (I haven’t read the book to know how it’s handled there), and everyone seems very sincere about it. I also think Chandler did a good job. I have a soft spot for the spiritual stuff in these films, with Hellfire (1949) being one of my top-five favorite Westerns. Poorly done, however, it can be hard to take.
It’s funny, we’re giving this film a hard time and loving it at the same time, and now I’m dying to watch it again. Suddenly February seems to far away.
It occurred to me later I wanted to make a further reply to the end of this post, and John, I’m already anticipating that you’ll say studio exterior stylization in THE SEARCHERS is way over PILLARS OF THE SKY. I’m not arguing that PILLARS does it quite on that same level, but I was satisfied with it (only saw it once on the big screen in ’56 and also had a Jack Arnold co-feature but it was OUTSIDE THE LAW), then a time or two on TV and AMC did show it letterboxed once, thankfully. I don’t remember CATTLE EMPIRE except that it was dull at the time for me (probably better than that), but your comment indicates you aren’t against readily apparent studio exteriors in theory. How real/stylized we are willing for it to look may be a point of disagreement.
You know when you say here that you “A- B* programmers or whatever you want to call them” are finding more favor with you these days you are talking to a lot of people here who are going to be sympathetic on the point, including me. The Ranowns and the next six films you list are a first-rate group of Westerns I would not want to be without (and generally favored on this blog too) and for me all superior to the three you describe as “bloated overblown.”
But I think you weighted this just a little as those three are maybe more like A movies, but in 50s Westerns, these categories run close together–they are still all basically double feature material and non-prestige seeking. And why the prejudice against Rudolph Mate (2 out of 3) after you had earlier praised his excellent BRANDED (and just a reminder he also directed the very beautiful THE MISSISSIPPI GAMBLER).? I actually consider THREE VIOLENT PEOPLE especially weak for him and among those three films and 50s Westerns generally, kind of liking the other two though much less than the relatively more modest group you name before.
The point is this–BRANDED, for example, would go with the last three films but I’d put it about on par with say APACHE DRUMS from the same year of 1951, its artfulness and resourcefulness less obvious on a bigger budget but doesn’t make it less of a well-wrought Western.
Just to name as many that are more in the A category–the Mann/Stewart cycle–THE LAST HUNT, THE WONDERFUL COUNTRY, THE BRAVADOS, THE HANGING TREE, THE TALL MEN, LAST TRAIN FROM GUN HILL are surely at least a strong a group of Westerns. And note that though I tapped both masterpieces and great directors in the genre here, I did do it without mentioning either THE SEARCHERS or RIO BRAVO.
There’s everything to be said for a Gerd Oswald getting a week and a few dollars to make FURY AT SHOWDOWN and make every shot expressive, and that’s one of the glories of the plateau the genre reached in the late 50s. But I maintain this glory is shared at different levels of production.
From A to B, they pretty much have in common that they are rarely prestige-seeking. A rare exception might be THE BIG COUNTRY, its size and length positioning it as a film that wants to be great–and for me it misses this, but not without some real virtues like one of the best musical scores ever for a Western, beautiful photography, a first-rate cast, so nothing to complain about in its specifics except that it does become overblown. But this is pretty unusual. I’d just remind that even what we might call A Westerns in the 50s rarely went up for Oscars–and that even goes for THE SEARCHERS, which most people now would agree should have easily won Best Picture, Director, Actor…
The main point is this, and the most amazing thing about the genre–it did hit the heights, many times and in many films, but no matter how much is in those films, and how artistically expressive they are, the best as well as the least have in common that they are never pretentious. They all stick with the conventions, the iconography, so many things we expect and take pleasure in when we love Westerns–and so easily and gracefully leave it up to us to see what is there.
The resourcefulness you mention (perfect word), Blake, is one of the things that makes me really appreciate the cheaper Westerns of the 50s, much like I appreciate a good low-budget noir or monster movie.
In a good B, you can feel the energy and dedication that’s putting a good movie on the screen. Fury At Showdown, which you mentioned, is as good an example of this as I can think of. You all know how much I love that film (and are probably sick of hearing about it). Of course, Boetticher stripped his films down to almost minimalism, then stuck everything outside — and God is the greatest set dresser of them all. I’m convinced that if he’d had more money, his movies wouldn’t have been as good.
Last Train From Gun Hill, which you also mentioned, is an interesting one. It’s one of my favorite 50s Westerns, and it was obviously a big- budget picture — that cast, Technicolor, VistaVision, putting a train in the middle of Paramount’s Western street. But to me, it’s a nasty little B movie at heart, which is probably why I love it so. It doesn’t have the scope of its sister-film Gunfight At The OK Corral, which is an A that I love in spite of its many problems.
I guess my point here is that A vs. B seems to be more than a matter of money. And it has nothing to do with quality. This is something I’ve been wrestling with as I work on my book (how to talk about it, where to put it, etc.).
I’ve said this before but I’m gonna bring it up again. My bias against epics was squashed by the many folks here who basically told me I was an idiot for not giving The Big Country another shot. You were right, I was wrong. It’s terrific, and it remains one of the few epic/ roadshow things that doesn’t come close to collapsing under its own weight.
(Ray’s King Of Kings would be another, but it doesn’t have cowboys in it. Which reminds me, I need to upgrade to Blu-ray on that one before Christmas. My daughter hasn’t seen it.)
Am I allowed to be really cheeky and drop Toby a hint?
Its Rod Camerons birthday on Friday.
I thought I would mention this because I have finally got hold of one of
my Holy Grails a color copy of DAKOTA LIL indirectly via this site I
may add.
This one did not disappoint in fact its better than I remember.
Sadly not a Universal Western;one of those Alperson independent
productions originally released by Fox.
Its top-draw Lesley Selander and I must say that he was doing some
outstanding work in the late Forties,early Fifties.
Marie Windsor a typical forceful Selander heroine plays the title role.
George Montgomery is the stalwart hero. Rod Cameron is the brutal
bad guy;he likes to throttle his victims.Not only that he is a rabid MCP
to boot! Rod to Marie: “never believed in schooling for females”
Marie to Rod:”looking at your handwriting you dont believe in schooling
for males either”
The script (Maurice Geraghty) is a cracker full of wit and great one liners.
It gets pretty risque at times too.
Rod to Marie “got any riding duds Ive sorted out a nice gentle horse
for you”
Marie to Rod: “not too gentle…. I like to show them whos boss”
Add to this great support from Wallace Ford,John Emery and Jack
Lambert plus a score by Dimitri Tiomkin,no less and you have a great
Western.Selander,Windsor,Montgomery and Cameron all at the top
of their game for me equals FiftiesWesternHeaven.
One day either via TCM/Universal, Universal Vault and Europe all of
those Universal Westerns we crave will turn up on DVD.
Sadly the possibility of DAKOTA LIL turning up on DVD is very unlikely.
A shame because the film deserves to be far more well-known.
Birthday hint noted!
In case anyone is interested I have “stumbled” upon a great site
that keeps you updated on whats happening in Spain.
http://www.latrastiendaclasica.blogspot.com
Its full of great cover art and just click onto the llamentol link
to see some of the titles we have been talking about.
They also list this most interesting new Spanish Sony imprint.
HAPPY SURFING!
Llamentol also have a good wide screen DVD of Lex Barker’s The Man From Bitter Ridge, not one Universal’s best, but we do get good support from Stephen McNally and the lovely Mara Corday.
Now that Pegasus DVD in UK has finished, mainland Europe is the best destination for us to go for Universal International westerns.
Though we can look forward to Audie Murphy’s Cast A Long Shadow from Shout Factory in USA early next year.
I’ve become a big fan of Rod Cameron in just the past 2 years. I had heard of him before, but was not familiar with his work. I started watching “Coronado 9” and I instantly became a fan of his style and his built in earnestness. He’s really good as a good guy, I don’t like to see him playing bad guys. I’m currently watching on a weekly basis his “State Trooper” series, not as good as Coronado, but still really great ’50’s TV filled with great ’50’s actors. Since then I’ve branched out into his westerns and action movies and was surprised that he was once a bit of a Roy Rogers type cowboy, making hour long westerns during the same time period. He was good in these too. A lady I have traded with told me her mother was a big fan of Rod’s and knew him in his latter days when he lived in North (or was it South,don’t remember) Carolina, she said he had snow white hair at this time and was always the gentle gentleman. Rod is tops in my book. And to John K, glad you enjoyed that color Rod film as much as I did when I traded with our mutual friend. I see it has made it’s way into good hands.
As long as a lot of films have been mentioned here, how about a rarely seen Buster Crabbe picture “Gentlemen With Guns”, it’s a movie I’ve been waiting to see for a while now, it’s going to be on Encore westerns later today. I can’t wait to see it.
Firstly.Toby and Blake let me say how much I value your comments and
your feedback.
It would be a very boring world if we all liked the same stuff.
I guess I am being a little hard on PILLARS OF THE SKY but to me
TCM/Universal are giving us a lesson into how and how not to make a
Western putting it in the same set as the wonderful DAWN AT SCCORRO.
You probably get the impression i hate A Westerns;;its just that I feel there
is nothing more I can add to comments regarding films like RED RIVER,
THE SEARCHERS and WINCHESTER 73.
I do like to bring peoples attention to minor or unheralded films like the
aforementioned DAKOTA LIL for instance.
The A Westerns you mention are fine I really like LAST TRAIN FROM GUN
HILL a whole heap.THE BRAVADOS I like too but it pales beside the previous
King/Peck masterwork THE GUNFIGHTER one of the greatest Westerns
ever;one that continues to reward no matter how many times you see it.
Just think how much better THE BRAVADOS would be if we had Felicia
Farr in the Joan Collins role;no arguments there guys!
I also like the much maligned NIGHT PASSAGE many say Mann would
have made a much tighter film but I do hot buy this especially having seen
THE LAST FRONTIER which I also like;up to a point.
NIGHT PASSAGE gives us back the Jimmy we all know and love,gone
is the misanthrope/borderline sociopath from Manns films.Not that I am
knocking it but you can make too many trips to the well.
James Neilson did a real good job IMO and the film looks stunning.
In any case haw could the Jimmy/Murphy/Duryea combo fail!
As this is basically a Univeral thread I thought I would treat myself to
another genre they did so well:Fifties sci-fi.
Last night I ran THE MONOLITH MONSTERS;have not seen that one
for ages. I forgot Trevor Bardette was in the film.Remember the scene
in RED SUNDOWN where Grant Williams nasty gunslinger wreaks havoc
in sweet-natured Bardetts home,smashes the prize china rips up the
tablecloth.
With that scene in mind it was great fun seeing them team up again to
save America from those nasty MONOLITH MONSTERS!
Toby and Blake,a few more comments regarding previous threads.
First studio shot outdoor scenes;by the time widescreen arrived A
Westerns tried to avoid too many daytime studio shot outdoor scenes.
They could get away with the night-time stuff;up to a point.
Wait till you guys catch up with THE OREGON TRAIL and how dreadful
the studio backdrops look,in widescreen.
Regarding Rudolph Mate;I have nothing against him at all Blake,its just
that he was let down by clunky scripts during the time he was making
A features. BRANDED showed what he could do with a good script.
The Spanish DVD of MISSISSIPPI GAMBLER (released by Universal
I believe) generated a lot of flak quality wise so I avoided getting the
DVD. I am sure Universal would have released the film in America if
the master material was up to standard.Was this not the first film where
an actor earned $1 million bucks;in Universal attempts to entice Tyrone
Power away from Fox. At any rate it confirms Mates stature in the industry
at the time.
I have no problem with religion in Westerns or any other genre for that
matter With STARS IN MY CROWN;not a Western by the way;we are
in the hands of a master film-maker. Tourneur knows there has to
be darkness (lots of it) before we see the light.
I am curious about two oddities with religious sub-texts that I have never
seen. First TWINKLE IN GODS EYE with Mickey Rooney of all people
spreading the Good Word in the West. Film co-stars Coleen Gray
so I am already there!
Second,the even more interesting sounding THE PEACEMAKER with
Broadway dancer James Mitchell (COLORADO TERRITORY,STARS
IN MY CROWN) converting the masses.Early effort from Ted Post best
known for his Eastwood connection (24 RAWHIDE episodes,HANG EM
HIGH,MAGNUM FORCE) Anyone out there seen these two very obscure
films.
Now finally;I have written lots about Lesley Selander not only in this thread
and one a few items back;no feedback from Blake on his take on this.
Toby i know that you are a Selander fan but I would love to know how Blake
feels.Although we differ on many things I really value your opinions.
Perhaps you judge him by his later stuff (A.C.Lyles and the like)
or perhaps you just feel he made too many films.
At any rate I feel films like PANHANDLE,SHORT GRASS,
BELLE STARRS DAUGHTER,DAKOTA LIL ARROW IN THE DUST,
WAR PAINT and SHOTGUN are all top-drawer.
John, I actually have found we agree more than we disagree–I think the disagreements might jump out a little more for you.
I don’t know Selander as well as some other directors but do like most earlier stuff I’ve seen, especially WAR PAINT which was probably his best for me. PANHANDLE and STAMPEDE, with early scripts by Blake Edwards, are on my must list–haven’t seen either one. I’m meaning to catch up with SHOTGUN again, good memory of that but has been a long time.
I don’t judge anyone by their Lyles movies–I just watched R. G. Springsteen’s COLE YOUNGER, GUNFIGHTER–Frank Lovejoy’s last film and liked it a lot, even though it’s a remake of Thomas Carr’s even better THE DESPERADO from four years earlier. And even Springsteen’s mid-60s Gordon Kay produced movies at Universal, especially the two with Audie Murphy though the ones with Tony Young and Dan Duryea are not bad, are solid Westerns.
Anyway, I know Selander’s reputation is good with most Western buffs but I need to get more feeling for him like I have for say George Sherman, though doubt I’d like Selander quite that well.
By the way, long gone missing of Universal-International Westerns is Selander’s
only film there THE RAIDERS (1952). Because of the 1964 movie of that title–which I believe may have been made for TV but then given to theatres–the title of Selander’s was changed to RIDERS OF VENGEANCE. I really want to see this again; I only saw it on TV in black and white a long time ago. Anyone know the film better?
John, I sure hope you’re wrong about source materials for THE MISSISSIPPI GAMBLER and that it will turn up on DVD, one of the studio’s most beautiful movies as I’ve said before.
As always Blake many thanks for your feedback.
You certainly have some interesting viewing ahead if you intend to catch
up with some of those Selander pictures.
Apart from the titles I have already mentioned here are some viewing
tips which I hope that you will find useful.
For Allied Artists/Mirisch Selander made several non-Westerns including
some war pictures a couple starring Sterling Hayden. There was also a
Sci-Fi film in the mix too! (FLIGHT TO MARS)
FORT VENGEANCE, a Mountie movie is OK but is spoiled by portraying
Sitting Bull as a bad guy;and casting Michael Granger in the part is
ridiculous. If you can overlook this its not a bad little Cinecolor Western.
Then there is his only Randolph Scott picture TALL MAN RIDING
which is pretty sturdy.
After WAR PAINT did so well for Bel-Air it enabled them to form a distribution
deal with United Artists;Selander more or less became their “house”
director for their Westerns.
The fast and furious YELLOW TOMAHAWK had a lot of censor trouble
a lot of the violence was cut. Furthermore Peggie Castle felt that she
was showing too much in a bathing scene;the prints had to be darkened.
This was Rory Calhouns only feature with Selander,a pity.
Dynamite supporting cast too. Sadly color prints no longer exist.
FORT YUMA is tough and gritty too.
Two Westerns scripted by the excellent John C Higgins forgo the violence
in favor of Higgins dry humor.In spite of what you may have heard,Tony
Martin is excellent in the title role of QUINCANNON FRONTIER SCOUT.
Great support from Peggie Castle too.
The other Selander/Higgins film THE BROKEN STAR is excellent,actually
a thriller in a Western setting. Howard Duff a standout in the lead. Strong
support from Lita Baron,Bill Williams,Addison Richards and Douglas Fowley.
Henry Calvin plays a rather fair minded ruthless land baron. He is
hindered by two incredibly inept bully-boy henchmen (John Pickard,
Joel Ashley.) Or as Calvin likes to put it “two pumpkinheads incapable
of driving a steel spike into snow.”
OUTLAWS SON is less impressive very slow going for Selander and Bel-
Air.Dane Clark tries very hard to make it work but the vehicle is just not
strong enough. Apart from the leads, (Clark,Ben Cooper,Ellen Drew
and Lori Nelson) supporting cast is very weak. Wheres John Dehner and
Lee Van Cleef when you really need them.
Ive never seen REVOLT AT FORT LARAMIE but would like too because
it has a rare lead role for John Dehner.
Another Selander oddity is TAMING SUTTONS GAL one of those strange
and obscure B pictures (in Naturama) made in the last-gasp days of
Republic.I would like to see that one purely because Jack Kelly
and Gloria Talbott are in the cast.
Just to backtrack somewhat there are a few Selander non-Westerns that
are worth a mention. THE HIGHWAYMAN;which I have spoke about
before is more than worth a look. An independent production released
by Allied Artists this is a really good swashbuckler;pretty dark in tone.
I do hope Warner Archive hold the rights to this one.
Another Allied Artists oddity is RETURN FROM THE SEA with Jan
Sterling and Neville Brand;do not know too much about it except it
would seem to be Selander in more sensitive mode.
His only Bel-Air non Western and probably their most ambitious
production is the Foreign Legion adventure DESERT SANDS filmed
in color and Superscope.
I do not know anyone who has seen it but the cast at least is
first-rate.
Blake,you mentioned R.G.Springsteen who by the way was a good
friend of Selander.I thought Springsteens masterpiece was
COME NEXT SPRING a lovely piece of Americana.
Oddly enough one of the most unusual films in the Springsteen
oeuvre has just been released by Warner Archive:OPERATION
EICHMANN.A rare main feature for the director and a rare leading
role for that excellent unheralded actor Donald Buka who plays an
Israeli agent.
John, I responded about Selander without looking at his filmography. I’ve seen TALL MAN RIDING and THE YELLOW TOMAHAWK but only in black and white. I did have a good impression of both, especially the second (I do like Peggie Castle as well as Calhoun and Lee Van Cleef’s role as an Indian was a pretty good one), but it’s my understanding TOMAHAWK doesn’t exist in color anymore (though we used to hear this about STRANGER ON HORSEBACK too so maybe there’s hope) so don’t know if I’d go back to it. But I do want to get back to TALL MAN RIDING in color and know it has turned up on the Western Channel and will again. Also, I saw THE BROKEN STAR not too long ago and liked that too–Howard Duff, who can play good or bad or in between, is always an asset and this was an interesting Western, and must be close to Selander’s best though I don’t know if it’s better than WAR PAINT. Of course, Higgins is an outstanding writer and a key figure in the career of Anthony Mann earlier as I’m sure all here know.
The Selander film I most want to see–and have long wanted to–is one you mention, RETURN TO THE SEA. The idea of a Neville Brand/Jan Sterling love story is just captivating to me.
Saw ARROW IN THE DUST when it came out and also COW COUNTRY and I don’t remember these now, but I guess I’m light on his other non-Westerns along with aforementioned RETURN FROM THE SEA.
And speaking of non-Westerns, yes COME NEXT SPRING is surely Springsteen’s best movie though the print I saw on tape was pretty washed out so I’m looking out for a better one some time.
I don’t want to hit this too hard but it’s difficult to see these directors winding up their careers with those Lyles films–but then, so many iconic actors also did and can be hard to see them looking worn out and going through their paces.
Blake, TALL MAN RIDING is available on DVD from Warners and is an excellent transfer in WarnerColor. I bought it some time ago. There are three Randolph Scott Westerns on the disc. Here is the amazon link:
I meant to type ‘discs’. as the films are spread over two discs.
Just as I found a color version of “Dakota Lil” I also have a color version of “Yellow Tomahawk”, I believe that all these so-called “lost” color films do exist, they’re just hidden in an attic or basement somewhere. I would love to find the color versions of those 6 or so Roy Rogers color movies that are “lost”, I just know they’re somewhere.
Thanks David–yes I was aware of this and other Randolph Scott releases of his Warners movies. I finally saw FORT WORTH very recently and COLT .45 fairly recently too, liking the second of those somewhat better than the first but not enough to buy the set. If TALL MAN RIDING doesn’t surface on Western Channel fairly soon I’ll go and rent it.
I’m a Randolph Scott completist, at least from ABILENE TOWN on and only missing a few now as I posted on another occasion. I’ve found in his ascent from 1946 to the Ranowns as he gradually became a greater actor and finally reached sublimity, there are plenty of good ones along way the better ones of these (at least the ones I most favor) tend to be within the Columbias Scott himself produced with Brown.
Wanting to see them all doesn’t mean I want to own them all. I tend to give extra consideration to most of the things I let myself put in my permanent collection or I’d just go crazy buying stuff. If I know I’ll go back to it that’s the main test–there are a fair number of Randolph Scott movies in this category so I do have more to get with him. I know some people want everything, or everything in a given genre, and if they can get it, of course they should have it.
Johnny G.–I assume color YELLOW TOMAHAWK will float up and I’m not too anxious because I saw it so recently but would be interested to know where you got it from (probably others would too).
WAR PAINT,YELLOW TOMAHAWK and FORT YUMA form part of
Selanders Bel-Air “cavalry trilogy”.
All very tough gritty Westerns. Selander seemed to prefer to work on
location and the Bel-Air stuff suited him well. (mostly filmed in Kanab Utah.).
FORT YUMA is interesting because its another of those racist on a
learning curve Westerns (SANTA FE PASSAGE,APACHE RIFLES.)
In the two Witney movies the “anti-hero” feels betrayed when he discovers
the woman he fancies is of mixed race.
In FORT YUMA Peter Graves equally racist character is very happy to form
a relationship with Indian woman Joan Taylor (well who wouldnt)
This does not alter his attitude however and its not until the end of the film
(as in the two Witney pictures) he is forced to confront his previous stance.
Nice contrast between Taylor, your typical strident Selander heroine and
Joan Vohs oh so sincere “do-gooder”
This is light years away from Vohs stunning turn as an alcoholic in
Mark Stevens blistering Noir CRY VENGEANCE.
Would like to check out other films with Vohs,she is pretty impressive.
Blake,I am totally on your side regarding Howard Duff. In fact John C Higgins
Noir credentials are stamped all over THE BROKEN STAR.
I love the scene where Duff is trying to crawl out of the ever deepening
hole he as dug for himself as he confronts Henry Calvin,who happens to
be acting as “caller” at one of his square dances.The two actors play the
scene brilliantly.
Furthermore Blake,I do hope that you are able to check out some of
Selanders earlier work with Rod Cameron;SHORT GRASS,BELLE STARRS
DAUGHTER and DAKOTA LIL are outstanding IMHO.These films
demonstrate what a tremendous feeling Selander had for the West.
Just come across a most interesting thing on imdb regarding FORT YUMA.
The Production Code really got on Bel-Airs case for this one.
They said the film contained excessive sadism and gruesomeness!
The number of killings had to reduced from 24 to 10 including a a scene
where a spread-eagled man is torn apart by horses.
It certainly shows an increasingly violent streak in Selanders films.
Anyone ever seen CURTAIN CALL AT CACTUS CREEK (1950) with Donald O’Connor, Walter Brennan and Gale Storm? It seems that Universal has never released it on DVD; I’ve just watched a very poor TV copy but I enjoyed this amusing comedy western tremendously and would love to see it in good quality.
Like you Mel I’ve seen a poor TV copy and would love to see a good one. Definitely my favorite of director Charles Lamont–the subject of theatre troupe out West anticipates George Cukor’s HELLER IN PINK TIGHTS (1960), an outstanding Western (also with comedy elements, though not as emphatically) and probably better than this one but doesn’t take anything away from it.