Posted in 1959, Audie Murphy, Dale Evans, Roy Rogers, Television on March 27, 2013 | 8 Comments »
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.
Posted in 1952, 1954, 1956, 1959, Barbara Stanwyck, Howard Hawks, John Sturges, Kirk Douglas, Making Movies, Mara Corday, Republic, Rex Allen, Richard Widmark, Robert Mitchum, Ronald Reagan, Roy Rogers on February 25, 2013 | 7 Comments »
Rex Allen and Roy Rogers, somewhere on the Republic lot.
Mara Corday studies the Raw Edge (1956) screenplay.
Donna Reed and Richard Widmark at work on Backlash (1956). That’s John Sturges obscured in the ball cap.
Howard Hawks shows Kirk Douglas how to do a fight scene for The Big Sky (1952).
Ronald Reagan and Barbara Stanwyck discuss the arms situation on the set of Cattle Queen Of Montana (1954).
Satchel Paige and Robert Mitchum shoot the breeze between takes on The Wonderful Country (1959).
Posted in 1952, Jane Russell, Making Movies, Roy Rogers on February 19, 2013 | Leave a Comment »
Frank Tashlin
(February 19, 1913 – May 5, 1972)
Today would’ve been writer-director-genius Frank Tashlin’s 100th birthday. Here he is (second from right) on the set of Son Of Paleface (1952) with Jane Russell, Cecil B. DeMille (who has a cameo in this scene) and Bob Hope.
A number of people have written in to say they don’t like comedy Westerns (or is it Western comedies?). But every so often, I have to pay tribute to this film. It’s hysterically funny, Roy Rogers is terrific in it, and Ivan likes it as much as I do. One of my favorites.
Posted in Roy Rogers on November 5, 2012 | Leave a Comment »
Roy Rogers
(November 5, 1911 – July 6, 1998)
Today is Roy Rogers’ birthday (he would’ve been 101), and I can’t think of a better way to pay tribute to the King Of The Cowboys than with this button — and a reminder to get out and vote tomorrow.
May the good Lord take a likin’ to ya.
Posted in Roy Rogers on October 4, 2012 | 1 Comment »
The discovery of the many street photos of Vivian Maier, along with the story of her life and work, are really fascinating.
In a lot of ways, this has almost nothing to do with 50s Westerns, aside from the boy’s Roy Rogers jacket. But since we all seem to be consumed by at least part of a bygone era, and since these photos show us the cultural context of something like Jubal (1958), they should be of interest.
Posted in DVD reviews, releases, TV, etc., Pre-1950, Republic, Roy Rogers, William Witney on July 27, 2012 | 3 Comments »
Directed by William Witney
Associate Producer: Edward J. White
Original Screen Play by A. Sloan Nibley
Director Of Photography: Jack Marta
CAST: Roy Rogers, Trigger, Jane Frazee (Taffy Baker), Andy Devine (Cookie Bullfincher), Stephanie Bachelor (Jean Loring), Roy Barcroft (Matt Wilkes), Chester Conklin (Old Timer) and Bob Nolan and The Sons of the Pioneers.
__________
In what has to be one of the worst examples of shortsightedness in Hollywood’s history, Republic Pictures cut the Trucolor Roy Rogers films to a TV-friendly 54 minutes from running times of around 67-75 minutes each. And, of course, the TV prints were black and white. What’s worse, they cut the original negatives and tossed the “scraps,” so the story goes.
Tracking down the King Of The Cowboys’ Trucolor movies is a real challenge for DVD labels and collectors alike (a fact covered in a recent post). So when another turns up uncut and actually in color, it’s a real cause for celebration. Such is the case with the recently-released Springtime In The Sierr
as (1947) from Film Chest. Transferred from an ultra-rare complete 16mm color print, it may not be something you’d use to show off your home theater system to the neighbors, but that’s not the point, is it? It’s Roy, it’s complete, it’s in color and it’s now in your hot little hands.
Roy Rogers is after a gang that’s slaughtering wild game illegally. There’s a lot of money in the meat, and these guys are willing to kill (both animals and people) to keep their operation going. Roy’s old friend Captain Foster (Harry V. Cheshire) is murdered, and Roy takes on the gang — with the usual Roy Rogers/William Witney mix of music, comedy and lots and lots of action. There are at least three fistfights, with one between Roy Rogers and Roy Barcroft taking place in a mammoth freezer full of slaughtered game. (Watching these later Rogers films, you have to remind yourself at times that these were aimed at kids.)
There’s plenty of singing, too, which is a real treat with Bob Nolan and the Sons Of The Pioneers on hand. Andy Devine provides his usual comic relief. Dale Evans isn’t around, but Jane Frazee is — and there’s Stephanie Bachelor as one of the deer-killing villains. Sloan Nibley wrote a number of the later Rogers films. This was one of his first, and it shows his flair for story (usually a somewhat oddball one) and gift for balancing the various elements that make up a Roy Rogers movie. Around the time Roy left Republic for TV, Nibley wrote a few good Western features (Carson City and Springfield Rifle, both 1952) before settling into a busy life as a television writer.
The stars here are Roy Rogers and director William Witney. Working together, they created a tough, lean, fast-paced series of films that are slowly being recognized as the gems they are — something those of us who read and write this blog have known for decades. Witney’s under-cranked action scenes are incredible in Springtime In The Sierras, with a couple riding stunts that have to be seen to be believed. (I’m not one to stop a picture midstream, but there’s a riding/shooting stunt in the last reel I had to stop and really study.)
So what does the DVD look like? I’m happy to report that it’s all there, from Republic logo to Republic logo. It’s a little soft, attributable to the 16mm material and the Trucolor process. (That’s a screen grab to the left.) If you’ve seen Trucolor before (during this period when it was two-strip instead of three), you know what to expect. It’s a long way from Technicolor, with a rather other-wordly range of hues that I find beautiful. The disc also includes Roy and Dale hosting an episode of The Chevy Show from Easter, 1961. It’s a black and white kinescope of a color program, complete with Corvair commercials and appearances by Martin Milner and George Maharis of Route 66.
Film Chest has done us all a favor by helping us check another color Rogers off our Want Lists. The fact that they did it with care makes it all the better. Highly recommended.
Posted in DVD reviews, releases, TV, etc., Pre-1950, Republic, Roy Rogers, William Witney on July 10, 2012 | 17 Comments »
The Trucolor Roy Rogers films were really mistreated by Republic Pictures, cut to a TV-friendly 54 minutes from a running time of around 67-75 minutes. And, of course, they were printed black and white. Republic cut the original negatives and tossed the “scraps,” so the story goes — making uncut, color prints of these films a real scarcity.
With Springtime In The Sierras (1947), Film Chest worked from rare, complete 16mm material. The results, I’ve heard from reliable sources, are quite nice. (I grew up watching Roy in 16mm — to me, that’s how he’s supposed to look!) Normally, I’d wait to review this since it’s already available, but a recent post proved what a hot topic these films are, so why not a plug?
Posted in 1950, DVD reviews, releases, TV, etc., Olive Films, Pre-1950, Republic, Roy Rogers, William Witney on July 6, 2012 | 29 Comments »
Henry Cabot Beck of True West Magazine and I were emailing back and forth this morning about the color Roy Rogers pictures (Trucolor, to be precise), how wonderful they are, and how terribly they’re represented on DVD. It’s a matter that has been beaten to death on a number of newsgroups, which shows just how important this really is. With these pictures in mind, a hastily-constructed post seemed in order.
The official releases worth your time and money are:
Bells Of Coronado (1950) is the only Roy Rogers film that Lions Gate got around to putting on DVD during their handling of the Republic catalog. (Maybe this new arrangement with Olive Films will result in a few more.) Coronado is a good one, with Dale Evans, Trigger, Grant Withers and Pat Brady adding their usual support. William Witney lends his masterful direction, the songs are great and the Trucolor looks good. I think this is out of print, but it’s still listed here.
VCI’s Roy Rogers Western Double Feature Volume 1 presents Under California Stars (1948) and The Bells of San Angelo (1947) — both uncut and both looking just fine. California features Jane Frazee and Andy Devine, while San Angelo has Dale Evans, Andy Devine and Bob Nolan and the Sons of the Pioneers. Witney directed both. It’s also a deal, available through their website for just four bucks! Trailers are even included. So mosey on over and pick one up.
I wish this was a lot longer post, with lots of links so you could complete your color Rogers collection. Maybe someday. Till then, “may the good Lord take a liking to you.”
Posted in 1952, Jane Russell, Making Movies, Paramount, Roy Rogers on June 20, 2012 | 12 Comments »
Took a stroll through my image folder on Son Of Paleface (1952), and a gallery seemed like a good idea. Here’s an incredible signed still.
I’ve amassed so many images over the last few years, it seems like a real shame not to post them, especially the behind-the-scenes shots. Watch for more from other films.
Here, Cecil B. DeMille (waiting to shoot his cameo), Frank Tashlin and Bob Hope (obscured) look on as Jane Russell’s bubbles are strategically arranged.
Jane Russell: “I even took a bath in the same tub Paulette Goddard had once used.” The tub was a leftover from DeMille’s Unconquered (1947).
In a goofy promo shot, Jane and Bob help Roy feed Trigger.
Here’s makeup artist Charlie Gemora with doubles for Jane and Bob. Note Junior’s car in the background (complete with wagon wheels). Photo courtesy charliegemora.com.
Posted in 1952, 1959, Books, Roy Rogers on April 20, 2012 | 5 Comments »
If you’ve spent much time on this blog, you’ve figured out that Frank Tashlin’s Son Of Paleface (1952), Bob Hope’s best picture, is one of my favorites films of all time. It’s certainly better than its namesake The Paleface (1948).
Son Of Paleface made millions, so it was decided to send Hope west again. In November 1957, Bob mentioned Alias Jesse James to Louella Parsons — 
with Frank Tashlin as director! The picture contains a number of the kind of cartoon-ish gags Tashlin was known for (including a drinking gag very similar to one in Son Of Paleface), but he isn’t listed among the film’s four writers. One of the guys who did get credit, William Bowers, also wrote The Gunfighter (1950), The Law And Jake Wade (1958) and Support Your Local Sheriff! (1969).
The plot here is pure genius. Hope’s an insurance salesman sent to buy back the $100,000 life insurance policy he sold to high-risk client Jesse James (Wendell Corey). Jesse cooks up a scheme to bump off Hope, make everyone think he’s Jesse, and collect the insurance money. Rhonda Fleming plays Jesse’s girlfriend, and a slew of TV cowboys have cameos in the last reel — everyone from James Arness to Roy Rogers (who was wonderful in Son Of Paleface). While Norman Z. McLeod did a fine job with Alias Jesse James, it’s fun to think about what Tashlin would’ve brought to the picture.
By the way, I’m looking forward to reading Ethan de Seife’s book Tashlinesque: The Hollywood Comedies Of Frank Tashlin. For years, I’ve been hoping someone would get around to a book on Tashlin. So who’s gonna write one on Phil Karlson or George Sherman?
