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Archive for the ‘Forrest Tucker’ Category

Gunsmoke in tucson ad 11 58

Directed by Thomas Carr
Produced by William D. Coates
Screenplay by Paul Leslie Peil & Robert Joseph
Story by Paul Leslie Peil
Director Of Photography: William Whitley, ASC
Film Editor: George White
Music Composed by Sid Cutner

CAST: Mark Stevens (Chip Coburn), Forrest Tucker (John Brazos), Gail Robbins (Lou Crenshaw), Vaughn Taylor (Ben Bodeen), John Ward (Slick Kirby), Kevin Hagen (Clem Haney), John Cliff (Sheriff Cass), Gail Kobe (Katy Porter), George Keymas (Hondo), Richard Reeves (Notches Pole), Bill Henry (Sheriff Blane).

__________

As the titles roll, we’re looking up into a large tree. Once “Directed by Thomas Carr” dissolves away, a noose is tossed over a branch of the tree, and the camera pans down for an establishing shot of a lynching, all in CinemaScope and nicely-preserved DeLuxe Color. It’s a stylish way to open Gunsmoke In Tucson (1958), an Allied Artists Western that really delivers—and maintains that visual flair and creativity throughout its running time.

Mark Stevens and Forrest Tucker are brothers on opposite sides of the law. Stevens is Chip Coburn, who wants to put his outlaw ways behind him and settle on a ranch of his own. Tucker is John Brazos, a marshal who doubts his brother will stay on the straight and narrow. Chip winds up in the middle of a rancher-farmer dispute and his forced to pick up his guns again.

Gunsmoke In Tucson cropped

Story-wise, it’s nothing new, but the writers—Paul Leslie Peil and Robert Joseph—manage to keep things fresh. As we all know, Westerns work well when they use one of the genre’s standard plots (or plots, in this case) as a springboard. Mark Stevens is really good at the intense, brooding, tortured tough guy, whether in Westerns like this one and Jack Slade (1953) or noir stuff like the excellent Cry Vengeance (1954), which he also directed. Of course, Forrest Tucker is always terrific. His 50s Western filmography is second to none. Gale Robbins is good as Lou, Chip’s saloon girl girlfriend. Gail Kobe’s part, as the good girl who’s loved Chip all along, doesn’t give her much to do. And Kevin Hagan, who plays farmer Clem Haney, is known the world over as Doc Baker on Little House On The Prairie. He does a good job, even though he’s forced to wear a lousy fake beard.

The bond, or conflict, between brothers was a common theme in 50s Westerns. It can be found in pictures like Horizons West (1952), Rage At Dawn (1955), The True Story Of Jesse James (1957), Night Passage (1957), Fury At Showdown (1957) and Face Of A Fugitive (1959, though Fred MacMurray’s brother doesn’t make it past the first reel). Forrest Tucker does a good job in Gunsmoke In Tucson, striking just the right tone in his brother-or-duty scenes and keeping the dialogue from coming off hokey.

Gunsmoke In Tucson 2

Old Tucson was a busy place in 1958 and ’59. Buchanan Rides Alone. Rio Bravo. The BadlandersThe Lone Ranger And The Lost City Of Gold. The location adds tons of production value to this low-budget film, with director of photography William Whitley wisely letting us see the landscape surrounding the street set. The bridge that’s featured so prominently in Buchanan and Gunfight At The O.K. Corral (1957) gets some screen time as well. (I watch for that bridge like a favorite character actor.)

Gunsmoke In Tucson 1

One of the things that really strikes me about Gunsmoke In Tucson, something that was mentioned in its reviews back in ’58, is William P. Whitley’s camerawork. Whitley worked for Sam Katzman at Columbia in the early 50s (Jungle Jim, serials, etc.), then got into television—The Adventures Of Superman, The Lone Ranger (the fifth, color season) and eventually Bonanza. He shot over 75 episodes of Bonanza before retiring. He did three pictures for Allied Artists, all released in 1958: Quantrill’s Raiders, Queen Of Outer Space and Gunsmoke In Tucson. All are in Scope and look terrific. Whitley seems to have enjoyed the chance to shoot for the wide screen–his shots are well-composed and inventive throughout Gunsmoke In Tucson. And he made sure Gale Robbins’ red hair popped in scene after scene.

We wouldn’t be appreciating Mr. Whitley’s work if it wasn’t so well presented by Warner Archive. It’s a bit soft, perhaps, but the color is really nice and the audio’s got plenty of punch. This is a really tough, solid little movie—the kind of forgotten treasures this genre, and decade, are full of. Recommended.

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last bandit coming

This is a bit of a cheat. Came across this while researching something else and had to use it.

A post on The Last Bandit (1949) IS in the works, however.

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Young Guns LC

For us Westerns fans, Warner Archive’s on a real roll this week. In addition to Nick Ray’s The Lusty Men (1952), and Randolph Scott, Angie Dickinson and James Garner in Shoot-Out At Medicine Bend (1957), there’s some good Allied Artists stuff available today.

The Young Guns (1956)
Directed by Albert Band
Starring Russ Tamblyn, Gloria Talbott and Perry Lopez

This one mixes the Western with your typical 50s juvenile delinquency tale, beating both The True Story Of Jesse James (1957, Ray again) The Left-Handed Gun (1958) to theaters.

A couple Allied Artists pictures that were Oldies.com exclusives are now standard Warner Archive titles: Oregon Passage (1957) and Gunsmoke In Tucson (1958).

And if that’s not enough, there’s Raton Pass (1951), Russ Tamblyn again in Son Of A Gunfighter (1965) and a couple spaghetti westerns, including one, Ringo And His Golden Pistol, from Sergio Corbucci. Told you it was a good week.

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58

Hank Worden (born Norton Earl Worden)
July 23, 1901 – December 6, 1992

Let’s salute one of the greatest character actors of them all, Mr. Hank Worden, on his birthday. That’s him on the far left in this still from The Quiet Gun (1956), a fine Regalscope Western starring Forrest Tucker.

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fusilladeatucson

A while back, I brought up an exclusive at Collector’s Choice on some Alan Ladd pictures from Warner Archive. Well, that arrangement has about run its course, and those titles will soon be available through normal Warner Archive channels.

Drum Beat (1954)
Directed by Delmer Daves
Starring Alan Ladd, Audrey Dalton, Charles Bronson and Elisha Cook, Jr.

The Big Land (1957)
Directed by Gordon Douglas
Starring Alan Ladd, Virginia Mayo, Edmond O’Brien, Anthony Caruso, Julie Bishop and John Qualen.

Guns Of The Timberland (1960)
Directed by Robert D. Webb
Starring Alan Ladd, Jeanne Crain, Gilbert Roland and Frankie Avalon

__________

There’s another exclusive, this time with Oldies.com, on a couple Allied Artists CinemaScope Westerns to be released July 15.

Oregon Passage (1958)
Directed by Paul Landres
Starring John Ericson and Lola Albright
Paul Landres made some solid low-budget Westerns (Frontier Gun, for instance), so I have high hopes for this one. Incidentally, it’s working title was Rio Bravo. Wonder how the change in title went down, with Howard Hawks’ own Rio Bravo in production around the same time?

Gunsmoke in Tucson (1958)
Directed by Thomas Carr
Starring Mark Stevens and Forrest Tucker
I’ve been on the lookout for this one for quite some time, which goes into familiar range war/brothers-on-opposite-sides-of-the-law territory. I’d also love to see Carr’s The Tall Stranger (1957), starring Joel McCrea and Virginia Mayo, turn up on DVD.

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Lippert

A few weeks ago, I broke my glasses and began relying on an old (pre-trifocals) pair while I scrambled for an eye exam and new frames. Reading became very, very difficult. Not the best time to receive a book you’re really excited about. But that’s exactly when Mark Thomas McGee’s Talk’s Cheap, Action’s Expensive: The Films Of Robert L. Lippert, from BearManor Media, turned up in my mailbox.

Lippert Pictures (and related companies) cranked out cheap little Westerns like 1952’s Outlaw Women, along with gems such as Sam Fuller’s I Shot Jesse James (1949) and The Quiet Gun (1957). (They covered the other genres, too.) I’m a big fan of these films and was determined to make my way through the book with or without spectacles, holding it so close I risked paper cuts on my nose.

McGee set the book up very well. The first 80 pages or so read as a biography and history of Lippert and his career, from the theater business to film production. I had a working knowledge of the Lippert story going in, but was always coming upon something I didn’t know. There’s a filmography, arranged by company, that makes up the bulk of the book. And finally, there’s a listing of the Lippert theaters (the closest to me was in Chattanooga, TN).

red desert HS

What’s not to like about a book like this? It’s packed with information on movies I grew up with, movies I love. Rocketship X-M (1950). The Steel Helmet (1951). Superman And The Mole Men (1951). Forty Guns (1957). Showdown At Boot Hill (1958). The Fly (1958). The Alligator People (1959). House Of The Damned (1963). They’re all in here, and you’ll come away with a better understanding of what went into getting them made. Where I think McGee really excelled was in making sure the book, as informative as it is, stayed as fun as the films it’s about. (The same goes for his previous books on Roger Corman and AIP.)

copper sky

If there’s a downside to this book, it’s that the filmography points out film after film that you’d love to track down and see. You’ll find a lot of them available from Kit Parker Films and VCI, and others scattered here and there. Some of the Fullers were even given the Criterion treatment. As for the rest, well, happy hunting.

It’s very easy to recommend Mark Thomas McGee’s Talk’s Cheap, Action’s Expensive: The Films Of Robert L. Lippert. Now that my new glasses are in, I’m reading it a second time.

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04_Nevadan, The (1950)_LC

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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