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Archive for the ‘John Wayne’ Category

Searchers screenng 1

Short notice, for sure. But certainly worth your while. And I’d be wasting my time to think I needed to tell you how great this film is.

Click on either image for ticket information.

Searchers screenng 2

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clasico01

Bill Hunt at The Digital Bits has a bit more news on the status of John Wayne’s The Alamo (1960):

“… I was up in L.A. checking out Robert Harris’ recent restoration tests of The Alamo with my own two eyes. Despite what MGM has claimed officially, let me assure you, having now seen the tests firsthand – which the studio has apparently not done yet for some strange reason (and how weird is that?) – this film is in serious need of restoration. The good news, however, is that I’ve also seen tests of how good the film could look like if given a restoration. The result would easily be worth theatrical presentation and a solid Blu-ray release. So keep spreading the word and keep the pressure on the studio. Fingers crossed.”

UPDATE: Robert Harris has clarified things with a post at Home Theater Forum:

“Sorry. A bit confusing. Nothing is occurring. Merely shared the tests which we did a month or so ago with a few people. And for the record, the roadshow version of the film is gone, as far as film or theatrical is concerned. Only the general release version has a chance of being decently preserved, but not at full quality. Too late.”

There’s nothing I can type here that will get across how sad and angry this makes me. Thanks to Paula for bringing this to my attention.

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Martha Hyer
(August 10, 1924 – May 31, 2014)

Laura told me last night that Martha Hyer had passed away at 89.

Her list of credits reads like a checklist for my cinematic upbringing: a bunch of 50s Westerns (including a few Tim Holt pictures), an episode of The Lone Ranger, Abbott & Costello Go To Mars (1953), Bikini Beach (1964), even an episode of The Beverly Hillbillies. She turned up a lot, which was fine by me. I always liked her.

In 1966, she married producer Hal Wallis, not long after appearing in his The Sons Of Katie Elder (1965), alongside John Wayne and Dean Martin. After his death in 1986, she moved to Santa Fe and lived there till her passing.

Click on the shampoo ad for an obituary. Note that the ad promotes one of her best 50s Westerns, Red Sundown (1956). It’s a favorite of mine — and of many of you out there.

 

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UPDATE (6/3/2014): A Facebook community has been set up to spread the word and encourage MGM to get a restoration underway. Over 800 people have joined in two days. Please consider joining the ranks.

It’s hard to believe that John Wayne’s The Alamo (1960) is in danger of being lost. What’s doing it in? First, the natural breakdown of its original film elements. Second, MGM’s lack of interest in saving it, even if the public helped pitch in to pay for it. (If there was ever a reason for Kickstarter to exist, this is it.)

Read Robert Harris’ report on the elements and MGM’s crappy attitude here. And if a letter-writing or Facebook-flodding campaign gets going, hop on it.

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Desi Arnaz, John Wayne, Lucille Ball and Vivian Vance (L-R) working on the “Lucy And John Wayne” episode of I Love Lucy.

Posted for Jennifer and Presley, a couple of real Lucy nuts. And because it makes me happy to look at it. Even in 60-year-old photographs, Wayne’s smile is contagious.

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This post is dedicated to all the mothers out there. Here’s John Wayne and Robert Mitchum standing behind their moms on the set of El Dorado (1966).

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To me, this whole digital movie theater thing makes going to the Movies not feel like going to the Movies. It’s more like going to the home of someone who has a bigger, better TV than you do.

Or that’s the way I used to think. This week I saw The Searchers (1956) for maybe the 100th time. It was a DCP presentation at the Carolina Theater in Durham, and it really knocked me out.

One of my last 35mm-in-a-theater experiences was You Only Live Twice (1967) a year or so ago. It turned out to be a dye-transfer print complete with a loud (optical) monaural track and that short-lived, somewhat psychedelic United Artists logo. It was glorious. But I guess those days are gone.

I’d seen digital in a theater before and was always disappointed. Color, clarity, contrast — they were all lacking. Sometimes the removal of film grain had given faces a weird waxy look. With The Searchers, the only thing I missed was the change-over cues. The Carolina obviously has a nice set-up, and I know that Jim Carl, who books their series of older films, is determined to make everything look as good as it can possibly look.

So if this is how digital’s gonna look, I guess I’m OK with it. I guess.

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the-searchersJohn Ford’s The Searchers (1956) might be the finest film ever made, it’s almost certainly the greatest Western ever made, and it’s easily John Wayne’s best performance. All of which make it a great reason to head to Durham’s Carolina Theater this Friday, May 2.

At 7PM is John Boorman’s Deliverance (1972); The Searchers will start around 9:30. If you think you might make it out, let me know. It’d be fun to say hello.

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Wayne On Westerns.

Wayne RB color

From an article that appeared in the Tucson Daily Citizen on May 10, 1958, here’s John Wayne talking about the Western genre from the set of Rio Bravo (1959).

John Wayne: “I see no reason for running down Westerns or masking them under such phony subtitles as ‘adult,’ ‘psychological’ or ‘different.’ Westerns are our folklore, and they became folklore in less than a hundred years. Folklore is important in every country’s history and background… I don’t condone Westerns that are just an excuse for gunplay and gore. They’ve got to have a good human story, and as long as they have a real story, Westerns will always make for top entertainment.”

Thanks to my wife Jennifer for digging this up. She’s found a lot of the really cool stuff I get to put up here.

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