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Archive for the ‘Burt Kennedy’ Category
Posted in Andre de Toth, Audie Murphy, Budd Boetticher, Burt Kennedy, Charlton Heston, Delmer Daves, DVD reviews, releases, TV, etc., Fred MacMurray, Gary Cooper, George Montgomery, Glenn Ford, Jeff Chandler, Jeffrey Hunter, Joel McCrea, John Ireland, Johnny Mack Brown, Kirk Douglas, Lee Van Cleef, Lesley Selander, Randolph Scott, Robert Mitchum, Robert Ryan, Robert Taylor, Rory Calhoun, Tim Holt, William Castle, William Elliott on April 4, 2013 | Leave a Comment »
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.
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.
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.
Posted in 1952, 1953, 1954, 1956, 1957, Anthony Mann, Budd Boetticher, Burt Kennedy, Delmer Daves, Gary Cooper, Glenn Ford, Howard Hawks, Jimmy Stewart, John Ford, John Wayne, Nicholas Ray, Randolph Scott, Sterling Hayden, Van Heflin on December 21, 2012 | 18 Comments »
Blake Lucas pointed this out, and it’s certainly worth highlighting here — 3:10 To Yuma (1957) has been added to the National Film Registry by the Library Of Congress.
It’s the seventh 50s Western to make the Registry, the others being High Noon (1952), Shane (1953), The Naked Spur (1953), Johnny Guitar (1954), The Searchers (1956) and The Tall T (1957). While you can maybe argue the titles (I would’ve gone with Winchester ’73), you certainly can’t complain about the directors they’ve chosen to honor.
So when’s Rio Bravo (1959) gonna get in there?
UCLA Film & Television Archive and
the Hugh M. Hefner Classic American Film Program present
Ride Lonesome: The Films Of Budd Boetticher
The Billy Wilder Theater
July 13, 2012 – August 12, 2012
10899 Wilshire Boulevard, Los Angeles, CA 90024
The Summer Movie Blog-A-Thon presents this charge: “Summer brings with it an air of nostalgia — not just of ice cream trucks, swing sets and pool parties, but of the movies we grew up with during summer vacation… write about our favorite summer childhood movies and memories.” Here’s mine.
Being a movie-collecting family, and this being the pre-home video 1970s, we always packed a 16mm projector and stack of prints for the trip. One particular summer, when I was 10 or 11, two of the films that made the trek (in a Chevrolet station wagon) were Budd Boetticher’s Buchanan Rides Alone (1958) and Roger Corman’s Pit And The Pendulum (1961). This trip was one of the best times of my life. And those two films remain among my favorites.
Strawn is a tiny town of about 800 or so people — a couple hours West of Dallas. My grandmother, Zelma McCullough, worked in the lone grocery store. At least once a day, my cousins and I would walk into town to visit her, get a Dr. Pepper and a pack of Odd Rods bubble gum cards. Then we’d stop by my grandpa’s barn — and grab another Dr. Pepper and a handful of pecans. (The barn’s refrigerator seemed to contain nothing but Dr. Pepper and pharmaceuticals for the horses.) Along the way, there was always an old rusted Ford or something to climb on.
Summers in Strawn get really, really hot. And sitting under the window-unit air conditioner watching a Randolph Scott movie, projected onto the bright white living room wall, was a nice way to beat the heat. That’s how I first saw Buchanan Rides Alone. Several times over those two-to-three weeks. I remember the projector we ran it on — one of those green Bell & Howells many people remember from high school. I can hear its clicky purr mixed with the hum of the A/C. I can recall the brownish color of the slightly-faded print. (No telling what it looks like now.) And I can still recite a lot of its dialogue. Same goes for Pit And The Pendulum. With it, I also came to appreciate how widescreen (Panavision, in this case) can be used to startling effect.
I also recall thinking Randolph Scott, as Buchanan, was the coolest thing I’d ever seen. He looked cool (though I didn’t like the hat they gave him to wear). He got to say cool, smart-ass things (courtesy of writers Charles Lang and an uncredited Burt Kennedy) and shoot people. Plus, he had a Southern accent, which made me feel better about mine.
You read a lot about the cinematic experience — film, in a theater, with an audience. That’s how we’re meant to see these things. But film, at my grandmother’s house, with a cousin or two — that’s pretty good, too. So while Buchanan isn’t as good a picture as, say, Seven Men From Now (1956) or Ride Lonesome (1959), it has that summer in Strawn going for it — which makes it a great great film indeed.