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Archive for the ‘Audie Murphy’ Category

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Brian over at Rupert Pupkin Speaks has been running an ongoing series of posts on underrated Westerns, getting lists from all sorts of folks. I was honored to be among those he asked to play along. Be sure to scroll around and see the other lists. Some great stuff. I was really glad to see Joe Dante suggest No Name On The Bullet (1959). He mentioned it in an interview years ago, and it helped start my drive to see as many of these things as I could.

Naturally, I stuck with the 50s and recommended films we’ve gone over here time and time again. Click on De Niro and off you go.

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Robert Wagner and Virginia Leith on location for White Feather (1955). For some reason, this Delmer Daves-scripted picture has been overlooked. Seek it out.

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Barbara Stanwyck and Allan Dwan chat between scenes on Cattle Queen Of Montana (1954). Dwan could do no wrong during this late phase of his incredible career.

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Dan Duryea and Audie Murphy hanging out while making Ride Clear Of Diablo (1954). Both were at the top of their game on this one.

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Russell Johnson, who just everybody in America knows as The Professor from Gilligan’s Island, passed away today at 89.

He’s seen above (center) with Alex Nicol and Ronald Reagan in Law And Order (1953). He appeared in other 50s Westerns such as Rancho Notorious (1952, he runs the chuck-a-luck wheel), Seminole (1953) and Ride Clear Of Diablo (1954).

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The Sony Movie Channel’s Western Round-Up Marathon serves up a weekend full of excellent Westerns featuring folks like Audie Murphy (The Texican, 1966), Lee Marvin, Burt Lancaster and James Garner. Of particular interest to fans of 50s Westerns is a Sunday morning devoted to Randolph Scott.

Sunday, January 26

10 AM The Nevadan (1950) Gordon Douglas directs Scott, Dorothy Malone, Forrest Tucker, Frank Faylen and George Macready. The Cinecolor looks OK, but it takes a lot more than an oddball color process to spoil Lone Pine.

11:30 AM The Tall T (1957) The second of the Scott-Boetticher-Kennedy Ranown Cycle (the first was 1956′s Seven Men From Now) is one of the best, maybe the best. Richard Boone is terrific and Skip Homeier gets his face blown off.

1 PM Comanche Station (1960) The last of the Ranowns, with Boetticher and Charles Lawton Jr. shooting Lone Pine in CinemaScope.  Claude Akins is the bad guy this time, and Skip Homeier’s back for good measure.

While we’re on the subject of Randolph Scott, Henry Cabot Beck brought a Budd Boetticher interview to my attention. Good stuff.

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Harry Keller directing Audie Murphy and Joan O’Brien in Six Black Horses (1962).

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Ray Enright and Dorothy Malone on the set of South Of St. Louis (1949).

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Jesse Hibbs directing Gia Scala (left) and Joanna Moore (right) in the Audie Murphy picture Ride A Crooked Trail (1958).

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Audie Leon Murphy
(June 20, 1925 – May 28, 1971)

Today’s one of those days that ought to be a national holiday.

Audie’s seen here in Duel At Silver Creek (1952), one of his earlier pictures for Universal.

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Directed by Thomas Carr
Produced by Walter M. Mirisch
Screenplay by Martin M. Goldsmith and John McGreevey
Screen story by Martin M. Goldsmith
Based on the novel by Wayne D. Overholser
Director of Photography: Wilfrid M. Cline
Music by Gerard Fried

CAST: Audie Murphy (Matt Brown), Terry Moore (Janet Calvert), John Dehner (Chip Donahue), James Best (Sam Mullen), Rita Lynn (Hortensia), Denver Pyle (Preacher Harrison), Ann Doran (Charlotte ‘Ma’ Calvert).

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For Memorial Day, it made sense to focus on Audie Murphy. So it seemed like a good time to take a look at the DVD of Cast A Long Shadow (1959).

Producer Walter Mirisch: “Audie Murphy had made a long series of successful Western pictures for Universal-International, and Cast A Long Shadow was made to fit into the mold of those films. It was intended to be a program picture, not terribly expensive, and was shot in black-in-white.”

In an arrangement similar to the deal Mirisch made with Joel McCrea, Audie was given a percentage. Murphy was not happy when he found out the picture wasn’t to be in color. (By the way, this film was sandwiched between two of Murphy’s best: No Name On The Bullet (1959) and The Unforgiven (1960).

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Murphy is Matt Brown, a bitter young man who inherits a sprawling ranch from the man he believes is his father. His windfall comes with a challenge — in order to clear up some old debt, he has to get his herd to market in just a few days. Naturally, there are some guys who want to prevent Murphy from getting his cattle in on time.

Joining Audie Murphy are Terry Moore as the sweethheart he left behind, John Dehner as one of the few people on Murphy’s side and Denver Pyle as a preacher. James Best is one of Murphy’s rivals, scheming to get Murphy’s ranch.

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Mirisch: “It was directed by Tom Carr, who had worked with me at Allied Artists and had directed The Tall Stranger (1957) with Joel McCrea. The screenplay was by Martin Goldsmith, who had written Fort Massacre (1958), and John McGreevey did a rewrite on Goldsmith’s script… Richard Heermance edited Cast A Long Shadow, as he had Man Of The West (1958).”

Cast A Long Shadow was shot by Wilfrid M. Cline, who’d just finished one of my favorite films, William Castle’s The Tingler (1959). And it was scored by Gerard Fried, whose credits include Stanley Kubrick’s The Killing (1956).

With so many pros working on it, it’s a shame Cast A Long Shadow isn’t better than it is. Sometimes, a cast and crew can rise above a meager budget through ingenuity and determination. Other times, they can’t. This is one of the latter times. You’re constantly reminded that this is a low-budget movie. Stock footage abounds in the cattle drive scenes, with long shots of thousands of head of cattle cut in with tighter shots of Murphy, Dehner and a couple cows. What’s more, Fried’s score is simply over the top — way too dramatic for this modest film. And Murphy’s character is hard to pull for.

But for those of us with a soft spot for these things, these criticisms are not meant to prevent you from adding this one to your collection. Not at all. A Murphy picture is always worth the time, and the DVD from Timeless Media Group is lovely — and you can find it for as little as $5. The 1.85 aspect ratio is correct, the sound has plenty of punch, the picture on the whole is sharp and clear, and the contrast ranges from perfect in one scene, and too dark and a bit flat in the next. I have a feeling that comes from the original elements — that’s what happens when you make a movie on the quick and the cheap.

SOURCE: I Thought We Were Making Movies, Not History by Walter Mirish.

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You’ve got till 4/6 at 11:59PM PST to head ‘em off at the pass. Mount up!

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All this debate about colorization and Shane in 1.66 is making me tired.

So here’s a picture of Eddie Arnold, Roy Rogers and Audie Murphy. We believe it’s from a 1959 episode of The Chevy Show. Eddy Arnold and Audie Murphy were Roy and Dale’s guests. A quick check shows that a copy sits in the Library Of Congress.

Thanks to Mike Richards for sorting this out.

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We walked around Arlington National Cemetery this afternoon — it was a beautiful day. While there, we paid a visit to a few of our heroes.

We were told there was a desire to give Audie Murphy his own monument at Arlington. But in his will, he requested that he be buried just like his buddies.

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Lee Marvin is buried next to boxer Joe Louis. The nice lady in the Visitor’s Center knew exactly where Marvin was, rattling off his location (Section 7A, grave 176) in a split second. He’s a popular one, she says.

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Burt Kennedy is also in Section 7A (grave 15). Took these with my cell phone, so I apologize for the quality. Also, the subject line is lifted from Harry Carey Jr.’s book.

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