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Archive for the ‘John Payne’ Category

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I really love Allan Dwan’s Tennessee’s Partner (1955).

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I’ve always enjoyed Dennis’s blog dedicated to the Iverson Movie Ranch. It’s a frequent stop for me. Earlier this month, he posted some stuff on Tennessee’s Partner (1955) and its extensive use of the Iverson Ranch. Cinematographer John Alton did a masterful job on this one, and I doubt the ranch ever looked better than it did here.

If you’re new to this blog, be prepared to lose an hour or two or three.

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You can count on VCI Entertainment to treat an old cowboy movie with respect, and they’ve brought us some terrific 50s Westerns (often in cahoots with Kit Parker). A few recommendations: Silver Lode (1954), Stranger On Horseback (1955), Darn Good Westerns Volumes 1 and 2.

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Director Allan Dwan’s career was as old as the Movies themselves, and many of the early technical developments were his doing. Going into the mid-50s, he was still making innovative, unique, personal films — usually for smaller studios that would leave him alone and let him do what he did best.

I went Wig City over Allan Dwan’s films of 50s, thanks to DVDs of his work from VCI, and that helped spawn this blog. So I was really stoked to hear about The Museum of Modern Art’s Dwan series — which will include several of those Westerns.

From the MoMA web site: The Museum of Modern Art presented a major retrospective of Dwan’s films in 1971, with Dwan in attendance, and while another exhibition was certainly due after 42 years, this series was prompted by the publication of Frederic Lombardi’s definitive study of Dwan’s work, Allan Dwan and the Rise and Decline of the of the Hollywood Studios (McFarland, 2013).

If you can make it to any of these, by all means do so. The Westerns are:

June 14-15, 18
Frontier Marshal (1939)
With Randolph Scott, Nancy Kelly, Cesar Romero, John Carradine, Ward Bond.
This was once almost impossible to see (the bootleg tape I had of it was impossible to see). Another take on the O.K. Corral story. I prefer Randolph Scott with more age on him, but this is a really cool film.

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June 24-25
Woman They Almost Lynched (1953)
With Audrey Totter, Joan Leslie, John Lund, Brian Donlevy, Ben Cooper.
Dwan made a string of films for Republic that are worth seeking out (Olive Films, you reading this?), with Sands Of Iwo Jima (1949) being the best known. Dwan approaches this as a spoof — evidently, he didn’t see any other way — and the results are terrific.

June 29-30
The Restless Breed (1957)
With Scott Brady, Anne Bancroft, Jim Davis, Scott Marlowe, Evelyn Rudie.
Dwan’s last Western. A revenge tale gets a light comic touch.

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July 3,5
Tennessee’s Partner (1955)
With John Payne, Rhonda Fleming, Ronald Reagan, Coleen Gray.
John Alton’s Superscope cinematography almost steals the show, making the Iverson Ranch look like the most beautiful place on earth.

July 3, 6
Silver Lode (1954)
With John Payne, Dan Duryea, Lizabeth Scott, Harry Carey, Jr.
A key 5os Western, and the damnedest McCarthy comment you’ve ever seen. Again, Alton and his cameras roam the ranches of Hollywood to amazing results.

Be sure to look at the complete listing. I highly recommend Slightly Scarlet (1956), an incredible Technicolor, Superscope film noir shot by John Alton.

Thanks to Stephen Bowie.

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Rails Into Laramie TC

Thanks to everyone who entered the 50s Western Matte Painting Contest. Unfortunately, there was no winner.

The image (seen below) was from Rails Into Laramie (1954), a good Universal-International Western directed by Jesse Hibbs. As is typical of films from this period, there is no credit of any kind for the matte work.

If you get a chance to see Rails Into Laramie, I recommend it. James H. Griffith, one of my favorite character actors, has a good-sized part — and John Payne was on a real roll in the mid-50s.

Of all the entries I received, John Knight came closest. He was pretty sure it was a Universal-International picture.

Matte Painting

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Dan Duryea
(January 23, 1907 – June 7, 1968)

Let’s all remember Dan Duryea on his birthday. Here he is (as Waco Johnnie Dean) with Shelley Winters in Winchester ’73 (1950), one of the best Westerns of the 50s. Today would be a good day to pay your respects at the wonderful web site Dan Duryea Central.

Duryea was only 61 when he passed away, but he managed to squeeze a lot of terrific movies into those years. (Of late, I’ve become weirdly enamored of his odd performance in 1957’s Night Passage.)

Duryea (from a Hedda Hopper interview): “I thought the meaner I presented myself, the tougher I was with women, slapping them around in well produced films where evil and death seem to lurk in every nightmare alley and behind every venetian blind in every seedy apartment, I could find a market for my screen characters.”

Below, he appears in a personal favorite, Silver Lode (1954), with Stuart Whitman and Alan Hale, Jr.

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This time of year, it seems like everybody’s trying to make you spend your money. Pre-holiday this, Black Friday that, spend the night at Walmart to save five bucks on a ten-dollar toaster. It’s pretty disgusting.

That said, I really think you should take advantage of VCI’s annual Holiday Sale.

As an example, you can get Silver Lode (1954), one of my favorite 50s Westerns, for just $2.40. If you haven’t seen this film, please go get one.

VCI boasts a number of cool 50s cowboy pictures, along with more Allan Dwan stuff (Slightly Scarlet, etc.), their Forgotten Noir series and tons of cool British films (ever seen Genevieve?). Good stuff.

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The Bel-Air pictures continue from MGM’s DVD-R program.

Rebel In Town (1956) has a great cast — John Payne, Ruth Roman, J. Carrol Naish, Ben Cooper and Ben Johnson. It was directed by Alfred Werker. This is one I’m really looking forward to.

The Broken Star (1956), directed by Lesley Selander, stars Howard Duff and Lita Baron. It was available on Hulu for a while, in a nice-looking, though full-frame transfer.

Outlaw’s Son (1957), another one from Lesley Selander, stars Dane Clark, Ben Cooper and Lori Nelson.

The Iron Sheriff (1957) is a Grand Production, not a Bel-Air, with Sterling Hayden, John Dehner and Constance Ford — directed by Sidney Salkow.

Hopefully, these will be widescreen. By 1956-57, 1.85 was pretty much the standard, and these pictures really benefit from that cropping.

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