Directed by Richard L. Bare
Produced by Richard Whorf
Written by John Tucker Battle and D.D. Beauchamp
Director Of Photography: Carl Guthrie, ASC
Art Director: Stanley Fleischer
Music by Roy Webb
Film Editior: Clarence Kolster, ACE
CAST: Randolph Scott (Capt. Buck Devlin), James Craig (Ep Clark), Angie Dickinson (Priscilla King), Dani Crayne (Nell Garrison), James Garner (Sgt. John Maitland), Gordon Jones (Pvt. Wilbur “Will” Clegg), Trevor Bardette (Sheriff Bob Massey), Don Beddoe (Mayor Sam Pelley), Myron Healey (Rafe Sanders), John Alderson (Clyde Walters), Harry Harvey, Sr. (Elam King), Robert Warwick (Brother Abraham).
__________
Shoot-Out At Medicine Bend (1957) sticks out like a sore thumb in Randolph Scott’s filmography. It sits right in the middle of the Ranown cycle (coming between The Tall T and Decision At Sundown) — a cheap little black-and-white contract killer shot on the backlot in 19 days by a crew (and sometimes cast) more accustomed to TV than features. It’s known more today for the early work it gave Angie Dickinson and James Garner than for Scott’s participation.
James Garner: “The movie couldn’t decide if it was a comedy or a drama, maybe because [director Richard L.] Bare had gotten his start directing the ‘Joe McDoakes’ comedy shorts in the 1940s.”
Bare made a name for himself in shorts like the McDoakes pictures, directed a few features, then really found his place in early TV. He directed episodes of both Cheyenne and Maverick (he discovered James Garner in a bar on Sunset), and would go on to direct everything from The Twilight Zone to Green Acres (over 150 episodes of that one).
Richard L. Bare: “I was glad to see that my few years in TV had not knocked me out of the box for feature assignments. It was a story of three ex-soldiers who dressed up like preachers to avenge the death of Scott’s brother.”
The soldiers are Scott, a pre-Maverick James Garner and Gordon Jones, and their journey takes to them to the rather lawless prairie town of Medicine Bend. Ep Clark (James Craig) runs the town and quickly winds up in Randy’s sites.
Richard L. Bare: “We were shooting a scene that called for the three of them [Scott, Garner, Gordon Jones] to swim in a lake [on the WB backlot] and come to shore. Scott said to me, ‘I’m not going in that water.’ I said, ‘Randy, the other guys are going to do it.’ He said, ‘Not me, not in that filth.’ So what I did was put Scott’s double in the water, and in the foreground I put Scott out of view behind a huge log, and when I called action, a prop man dumped fresh water on Scott, and Garner, Jones and Scott’s double swam to shore and ran to the log, and Scott’s double disappeared behind the log and Scott, all wet, popped up. And it worked just fine.”
It’s a bit convoluted and goofy, and often played for humor. The action scenes are well done, and the film has the look and feel of a longer-than-usual Warner Bros. TV Western, which works just fine. Garner’s inexperience shows (“…my acting still wasn’t very good”). He lacks that supreme cool that came later. Angie Dickinson was two years away from Rio Bravo (1959), and comparing the two films, it’s amazing how much she developed as an actress during that time. (How much of that was Hawks’ doing?) Randolph Scott is, of course, Randolph Scott, and he handles the lighter, humorous stuff with ease. As he masquerades as a Quaker, his delivery makes the most of each line of dialogue. It’s fun to be in on his ruse.
Warner Archive has given Shoot-Out At Medicine Bend a level of respect it’s probably never received before. It looks great, framed to the proper 1.85, with the contrast dialed-in just right. The audio’s got plenty of punch, letting Roy Webb’s score really shine. You might come to this one with high curiosity and low expectations. My advice: enjoy it for what it is. Recommended.
SOURCES: The Garner Files: A Memoir by James Garner and Jon Winokur; Confessions Of A Hollywood Director by Richard L. Bare; Last Of The Cowboy Heroes by Robert Nott
I’ve only seen this one once and wasn’t all that impressed. Scott could do the lighter stuff just fine but, as you point out, it’s a bit of an oddity in among those Boetticher movies.
I actually think it is the TV vibe it exudes which is more noticeable and, for me on that last viewing anyway, disappointing than the light tone. I think I did come at it with different expectations too and that can be problematic. I wonder if I saw it again now, knowing what’s in store, whether I’d feel better disposed towards the movie.
I think managing expectations is the key to this one. It’s easy to expect another Buchanan Rides Alone or something, which it ain’t. To me, it’s always a treat to spend 80 minutes in the company of Randolph Scott.
The 1.85 framing helps with the TV vibe, I thought.
Yes, I can imagine that would help some – I’m fairly sure I saw it 4:3 when it was on on TV some years back.
And I agree, any movie with Scott, even a relatively weak one, is worth some of your time.
Saw this about a half year ago on Turner, and expecting the worse, was rather surprised as to how enjoyable this actually was…Plays like (& looks like) a Warner Bros. Television episode, yet it has some oddly, dare I say “cultish” attraction to the whole premise. It’s really pretty funny in an odd sort of way. I enjoyed it. Even my wife enjoyed it and she hates Westerns….This is indeed one offbeat entry to the genre.
I had the same “cultish” thought, and that to some this would be their favorite Scott picture.
I’ve enjoyed it more every time I’ve seen it. It grows on ya.
The above was the poster used for the screening of Shoot-Out At Medicine Bend when I saw it as a small boy in the late fifties as a Sunday matinee. It was ok. Best regards.
Curiouser and curiouser; I received my copy yesterday and though I
have only previewed the film,my copy is in 2.1 widescreen virtually
near “proper” widescreen.
In spite of the film itself,there is something really cool about watching a
Fifties Randolph Scott Western in black & white scope.
I shall enjoy re-visiting this film soon and am certainly glad Warners have
issued the film in this ratio which should tempt some people to ditch their
4×3 off air copies.
The p.q. to me looks fine.
Also received THE YOUNG GUNS which is an old 1.37 film expanded
to 1.85. The p.q. here looks a tad soft but overall pretty good.
The film looks really interesting too,just the sort of low budget programmer
that I love.In the same batch I received is RINGO AND HIS GOLDEN
PISTOL the p.q. looks great but oddly enough this film was issued in
1.66 as opposed to the normal Techniscope ratio these Spaghettis
favored.
SON OF A GUNFIGHTER is in the correct 2.35 ratio and looks like another
fine transfer. Both “Ringo” and “Gunfighter” include trailers.
I also received RATON PASS which I am really looking forward to as it’s
one of the few Fifties Westerns that I have never seen.
For some reason GUNFIGHTERS OF CASA GRANDE never arrived,
I know it’s not very good but I still want it especially in view of the very
high standard of the Warner Archive transfers.
Toby,I loved the very interesting quotes that you found for your
excellent piece and I loved that press ad-wow! what a double bill.
I would love a book filled with nothing but these old press ads!
I didn’t measure it or anything, so I assumed it was 1.85. The European posters have WarnerScope plastered on them, the US stuff does not. The AFI web site has it listed as 1.85.
I like the look of the 1.66 spaghetti westerns. Django, for instance.
I ordered a copy of YOUNG GUNS and GUNFIGHTERS OF CASA GRANDE from OLDIES.COM and were both cancelled because they were out of stock . They sent a message to me this morning to say they found a copy of YOUNG GUNS but CASA GRANDE has been ordered over and over and has still not arrived .SHOOT OUT AT MEDICINE BEND is on it’s way so I will look forward to that.
This is one of my favorite Randolph Scott movies. Funny and fast-moving, but with plenty of western adventure. The dialogue between Garner, Scott and Dani Crayne throughout the movie is excellent.
Does anybody have an update on THE QUIET GUN release? I’ve called and emailed Olive Films with zero response back.
You’re probably luckier than you realize, Gunfighters…Casa Grande is supposed to be truly awful. It’s another foreign western which from that alone you know it’s got to be bad. Same with Son of Gunfighter, another foreign Spain western, no interest in these foreign ideas of westerns, they’re off the mark and over the top and badly acted and badly scripted. I like practically every ’50’s western film and TV show but once into the ’60’s and over the oceans the westerns aren’t really westerns anymore, they’re practically always overly violent, poorly scripted, badly acted, stupid cartoon versions of what they think are westerns. Not for me.
I am very interested in a real widescreen version of Shoot out Med Bend though. Sounds good.
Johnny Guitar, I’d have to agree with you that a lot of these foreign westerns are over the top and badly acted They over act .However I do like the MAN WITH NO NAME TRILOGY and ONCE UPON A TIME IN THE WEST.
One of my best friends and I were talking about spaghetti westerns the other day. And I realized that while the more 50s Westerns I see, the more I like them as a whole, the more spaghetti westerns I see, the LESS I like them as a whole.
However, the Leone films are some of my favorite movies ever.
I agree GCWE1, those are some excellent exceptions to the rule. (May be the only exceptions, actually.)
Toby , I have a book about SERGIO LEONE called ONCE UPON A TIME IN ITALY containing some great interviews with CLINT EASTWOOD ,ELI WALLACH and others.
I’ve heard good things about that book. For a long time now, I’ve been amassing images from the Leone/Eastwood films with the idea of putting together a Tumblr page dedicated to those three films. This mini-discussion has me thinking about it again. If nothing else, it’d let me get all this stuff off my hard drive!
I’d certainly add my recommendation for the book – Frayling is always worth reading.
Regarding Spaghetti Westerns,I like some of them because they
are like fantasy versions of American Westerns which were pretty much
fantasy anyway,especially by the time the Fifties arrived.
Just look at the clothing in Westerns of the Thirties and Forties,how
authentic they looked.
Old Buck Jones Westerns had a real “feel” of the Old West which at
that time was not too distant in the past.
By the time the fifties arrived,especially the late Fifties,the clothing
resembled more like something Ricky Nelson or the Everly Brothers
would have worn for an album cover shoot.
I admit a lot of the Spaghettis are terrible,but as a diversion I find them
quiet interesting. Also I sat through tons of these things in the Sixties,
especially in those days of double bills there was always a cracking
support feature too.
I remember being very impressed with “The Stranger” films starring
Tony Anthony and am looking forward to Warner Archive releasing
remastered versions of these films next year.
Will they stand the test of time?…possibly not.
Anyway,and I am possibly totally wrong here but I bet Warner Archive
sell far more copies of the Spaghetti Westerns they are releasing than
the American ones,just look at all the Spaghetti Western fan sites.
Furthermore most English collectors of “traditional” Westerns that I know
are content with their huge collections of “off air” films and rarely,if
ever, actually buy anything. These people.,possibly understandably,
loathe Spaghetti Westerns.
I have seen GUNFIGHTERS OF CASA GRANDE and know it’s pretty
lousy but the widescreen transfer from Warner Archive,at least will
look stunning.Furthermore it features two American actors and was
directed by a one time top contract director at MGM (Roy Rowland.)
SON OF A GUNFIGHTER I want because I really admire the director
(Paul Landres) I normally always enjoy his films.
I know that I have not defended Spaghetti Westerns very well but as
a self confessed “trash addict” they probably have more appeal to me
than the more astute followers of this blog.
Finally I would say the thing that really sinks the Spaghettis is the lack
of great character actors like Leo Gordon,John Dehner,Myron Healey
and Bob Wilke. Most of the supporting players in the Spaghettis look
like fugitives from a third rate Italian circus!
Finally,I would add that I too was told by Oldies that GUNFIGHTERS
OF CASA GRANDE was out of stock despite being re-ordered over a
dozen times.Could Warner Archive have possibly had such a run on
this title they cannot keep up with the demand. If that is the case we
may see future Spaghetti Westerns from The Archive being released
as “pressed” discs.
You never need to defend what you like around here. You like it because you like it. I went through a pretty heavy spaghetti western phase and came out of it burned out.
The good-to-bad ratio leans to the bad a LOT, I found. But the good ones are really really good–and it made the search worthwhile.
To answer Tom’s request regarding THE QUIET GUN,no news at the
moment but Olive have announced it as a future release.
They recently released SOUTH OF ST LOUIS and DISTANT DRUMS
which were originally 2012 releases.
The Blu-Ray editions of these two films look sensational with SOUTH OF
ST LOUIS looking jaw dropping, stunning.
This Olive edition has made a great Western look even greater.
While it’s great to have Blu-Ray editions of these films,it’s certainly time
Olive considered an MOD imprint to get more minor/little known films
out there.
There is a huge wealth of titles that they could release from the Republic
and Allied Artists vaults as well as the other Regalscope titles now
owned by Republic/Paramount.
Apart from THE QUIET GUN I am also very keen to see STRANGER AT
MY DOOR and WOMAN THEY ALMOST LYNCHED hit the streets.
The problem with Olive is that they take forever to release titles but
when they finally appear they are well worth the wait.
I know some folks out there don’t approve of the whole MOD thing
but if Warner Archive did not exist there is no way we would see rare
and sought after titles like THE YOUNG GUNS,GUNSMOKE IN TUCSON,
SHORT GRASS and many many others make it to DVD.
Furthermore the more support Warner Archive get for their Fifties Western
releases the more likely we might see them obtain some of the more
obscure stuff in the vaults of Paramount,who they do have some sort
of agreement with.
I for one would love to see some of the following titles appear as
Warner Archive releases…well a guy can dream can’t he!
SAN ANTONE,RIDE THE MAN DOWN,ROCK ISLAND TRAIL,THE
SHOWDOWN,JACK SLADE,RETURN OF JACK SLADE,DRAGOON
WELLS MASSACRE,AT GUNPOINT,LAST OF THE BADMEN,
HELL’S CROSSROADS,THE LAWLESS EIGHTIES,STAGECOACH
TO FURY,THE STORM RIDER and many,many others wasting away
in Paramount’s vaults.
I would agree with John K’s list of “wants” there wholeheartedly and would want to buy many of them if they were to appear in widescreen prints. Some of my favourite westerns right there in that list!
Afraid I am one of those with no interest in the spaghetti westerns (why were they not called “tortilla” westerns, I wonder). I saw quite a few of them on release in the 60s, enough to know I don’t need ’em now.
Sorry to be joining this excellent strand rather belatedly BTW. With regard to the original subject “SHOOTOUT……..”, firstly thanks to Toby for a fine review. I like that sum-up “enjoy it for what it is – recommended”. I think that says it so well.
For me, “Shootout….” is the least of Scott’s westerns in the 50s, confirmed by a recent re-watch, but then as you say, Toby, any Scott western is a pleasure – it’s just a matter of degrees!
There is a mystery to me though. After doing some very good westerns for WB earlier in the 50s I wonder why he agreed to a below-par effort so soon after the wonderful “SEVEN MEN FROM NOW”. Suggestion is there that this was a matter of fulfilling a contract obligation for WB but I thought that was 2 years later and the very much better “WESTBOUND”. Anyone have the facts?
Regarding the over acting in the Spaghetti westerns, it was mainly caused by the post production dubbing by English speaking actors. Also on set there were American, Spanish and Italian actors who could only speak their own language, so acting standards could never be that high.
I’m glad that John K. likes his Spaghetti westerns and keeps us informed about them.
Sorry Randolph, I went off track again.
As long as you’re not trying to sell insurance or going off on some political rant, these things can go wherever they want. Fine with me.
Which reminds me: John and I haven’t brought music into things in quite a while. I’m listening to The Byrds’ Sweetheart Of The Rodeo LP as I type this.
Tortilla/Spaghetti, it must be an acquired taste. (There’s a joke there.) Anyway, bad foreign actors (please let’s not always resort to the “it’s America’s fault” mentality when it comes to westerns too) bad stories, overly violent, cartoon exaggerations, well there’s no other word for it other than what it is, crap.
You can’t put a cowboy hat on a pig and call it a western. Sorry, I just can’t look at these things. But everyone to their own taste. I love colorized movies so I know how it is to be the one bucking a crowd. So like what you want, but I wouldn’t brag about it. Good American actors were really slumming when they made these films. (Yes, exceptions to Clint and cast of Once Upon Time In West)
I must agree with Johnny G about good American actors “slumming it” when it comes to most spaghetti westerns. I can only think they were offered vast amounts of lira (dollars) to appear in them when in the 1960s they were getting a bit long in the tooth to be offered good substantial roles in the USA. Why else would great stars like Ernest Borgnine, Joseph Cotten, Dan Duryea and Guy Madison resort to these offshoot westerns.
I do admit…I really like Spaghetti Westerns. The style, the violence, the music, the whole trash element.
But I’ve always been a great fan of Western films and find it impossible to lump it all together into one neatly packaged genre.
If I were to pick my top 10 favorite Westerns, I would not include Spaghetti Westerns, they’re a whole different breed unto their own. Nor would I include Silent Westerns or B-Westerns because of the same reason, and I enjoy and collect them all.
To me, my favorite Westerns have always been the American product, circa 1945-1975.
Top 10 in no real particular order,
THE SEARCHERS
RIO BRAVO
RIDE THE HIGH COUNTRY
THE MAGNIFICENT SEVEN
SHE WORE A YELLOW RIBBON
THE WILD BUNCH
ONE EYED JACKS
SEVEN MEN FROM NOW
THE PROFESSIONALS
RIO GRANDE
…and that’s just off the top of my head, there’s probably another dozen or so that could easily make the list.
My point is that we should enjoy Spaghetti Westerns, B-Westerns, Silent Westerns and Serial Westerns without having to glump them all together and comparing one against another. I have favorites in each category . I tend to keep each category separate, that’s just me. I cannot compare MASSACRE TIME to THE ALAMO, it’s really a whole different world.
….one off-beat Spaghetti Western that I will recommend to viewers of this site is available from a company called Sinister Cinema. It’s an early Spaghetti titled GUNS DON’T ARGUE starring fifties favorite Rod Cameron. It’s pre-Leone, actually it was the big money feature with secondary cash funneled into A FISTFUL OF DOLLARS. It plays more like an American Western and Cameron gives a great performance. The transfer here is really quite good and is in scope
format and looks great.
….there’s lot of grazing land out there for all Western formats feed comfortably off of.
I have that exact same Sinister Cinema Rod Cameron DVD “Guns Don’t Argue” bought for only one reason, Rod Cameron. I haven’t actually watched it yet, but I’m glad to hear it’s as good as I was hoping it would be but wasn’t holding out much hope for. I like “Boss of Boomtown” too, so if it’s Rod, I’m there.
I guess one could lump westerns into different categories. I watch Roy Rogers/Bill Elliott/Whip Wilson/Gene Autry etc. etc. westerns once every week. I thoroughly enjoy them. I call them Saturday Matinee movies even though I watch them late Friday nights. I also watch and love ’50’s and early ’60’s TV westerns and thoroughly enjoy them. But as for movies it’s the late ’40’s and ’50’s and EARLY ’60’s westerns that I consider the best of the bunch (exceptions Duke & Clint movies all thru the ’60’s and ’70’s). I don’t really like westerns from the ’30’s and early ’40’s don’t like at all silent westerns and I can’t stand tortilla/Italian westerns or American westerns, for that matter, from 1965 on when the western was being maligned, insulted and got worse with each successive film.
These films were just ugly to me, portraying cowboys as craven, immoral, slobbering uncouth cretins without a moral bone in their body. Who are the good guys in these movies? No, certainly not cowboys, sweet innocent Indians and any sweet innocently portrayed minority group you can think of. This is not the west and not my idea of entertainment. It’s history revisionism and political correctness once again gone amock. I’ll put up with an “F Troop” any day over that.
Johnny G…..Give GUNS DON’T ARGUE a try, you may not like it, but it’s kind of an odd hybrid between the fading American Westerns of the fifties/sixties and the newly emerging Spaghetti Westerns of the sixties.
I just have trouble viewing a Spaghetti Western on the same turf guidelines that I view American Westerns. I do enjoy their wackiness and third world approach, but I can’t commend their overall attitude which is obviously ugly to you. I really don’t take them as seriously as I do an American Western (the home-grown product), though some are well thought out and artistically filmed and I can see why they were so popular in their time frame.
The same with B-Westerns. Love ’em. But just can’t put TRIGGER JR. in the same mix with Andy McLaglen’s SHENANDOAH, even though I personally feel that TRIGGER JR. is the better film.
All I’m saying is that it’s really hard to compare apples to oranges, Spaghetti Westerns to B-Westerns to Silent Western to A-Westerns, even pre-WW2 Westerns to the more cynical (adult) product of the 1950s.
I just love Westerns, all types……especially F-TROOP!!!
How about BLOOD ON THE MOON ?
OK, let’s go with BLOOD ON THE MOON. Many consider it a Film Noir, I consider it a low-budgeted A-Western with nourish stylings. Despite it’s low budget traditionally regulated to second bill status, I feel the material (story, acting, direction) lifts this above Range Busters territory…One of my many favorites, and certainly better than many Spaghetti Westerns.
I don’t remember the storyline of “Blood On The Moon” but I remember I liked it. Just the cast alone filled with all time greats is enough to give it a push into the favorites category. And speaking of being only one in a crowd, I have this one colorized and I love it that way.
One spaghetti western that I am curious about is GUNMEN OF RIO GRANDE with GUY MADISON .Sinister Cinema have it on VHS and they tell me they will eventually put it on DVD .I have 2 DVDs from them ,THE MARSHALL’S DAUGHTER and HELL CANYON OUTLAWS .I enjoyed both of them but OUTLAWS was not a very good transfer and it wasn’t from VHS .
I also have MASSACRE RIVER with GUY MADISON and RORY CALHOUN on order.
I have heard of Guns Don’t Argue but have not seen it. I would like to recommend a pre-spaghetti western Gunfight At High Noon starring Richard Harrison which was surprisingly exciting. I do not know whether this is in the market. Best regards.
Chrisk. GUNFIGHT AT HIGH NOON was released on DVD in July this year by WILD EAST PRODUCTIONS along with HIS NAME WAS KING on the same disc and also starring RICHARD HARRISON .I had never heard of him before and got him confused with RICHARD HARRIS.
Richard Harrison made a name for himself in peplum movies, euro spy flicks and spaghetti westerns in the sixties. If you have a chance, see him in Gunfight At High Noon and you will not regret it. Best regards.
I have GUNFIGHT AT HIGH NOON on the DVD I just mentioned
More Spaghetti………..
The reason so many American actors went to Europe was,of course the
money. In his autobiography the great Woody Strode mentioned that
he never started making decent money until he did the Spaghettis.
He was suddenly getting $36,000 paychecks which was loads more
than what he was used to.
Woody also stated that he was so strapped for cash in his pre-
Spaghetti days that John Ford gave Woody the $2,000 so that he could
give his Mother a decent funeral.
GUNMAN OF THE RIO GRANDE (a.k.a DUEL AT RIO BRAVO)
is on my wants list too. Madison plays Wyatt Earp in this one and I
have fond memories of it.
Regarding the Rod Cameron Spaghetti (BULLETS DON’T ARGUE (?)
I think Rod did a lot more for the film than it did for him.
His sheer involvement in the thing raises it several notches.
Rod plays Pat Garrett in this one.
If these films have a good American lead I am always interested in
seeing them. A MINUTE TO LIVE A SECOND TO PRAY has the added
attraction of three American leads:Alex Cord,Arthur Kennedy and
Robert Ryan. The latter two certainly raise the game of that one!
Bratwersterns
If Johnny is upset by the violence in the Spaghettis he should possibly
give the German Winnetou films a go. They are,in spirit more atuned to
an old Bob Steele B Flick with their noble Native Americans,decent
honest settlers,benign cavalry officers and black hatted, black suited
black hearted bad guys.
Iv’e seen a couple of the Stewart Granger ones and find them rather
appealing in an odd sort of way.Granger was dismissive of virtually
every film that he made,but he seems to be having the time of his
life in these films.
Granger playing “Old Surehand” took over from Lex Barker “Old
Shatterhand” (They shared the same agent!)
Finally Rod Cameron did one (THUNDER AT THE BORDER) playing
“Old Firehand”
THUNDER AT THE BORDER is out as a recent Sony MOD;I have not
picked it up yet but I will do at some point.
Furthermore I have not yet dipped my toes into the Wild East thing
but I guess I will do at some point. GUNFIGHT AT HIGH NOON would
seem to be a good place to start going by the positive review above.
I am also more than intrigued by A PLACE CALLED GLORY a non-
Winnetou film starring Lex Barker and Pierre Brice. Always really
liked Lex Barker in Westerns.
It’s interesting that Barker and Pierre Brice (Winnetou) were great pals
in real life and the chemistry between them certainly shows on-screen.
Furthermore when Granger took over his rapport with Brice resulted
in a most appealing screen partnership.
The Winnetou I am now tracking down is APACHE’S LAST BATTLE
with Barker and Brice which has the added attraction of Guy Madison
as the heavy. Furthermore it’s directed by Hugo Fregonese who
certainly knew a thing or two about Westerns.I remember the film as being
really good and it had a pretty large budget as well.
If memory serves me well one of the best of the Euro Westerns was
FIND A PLACE TO DIE starring Jeffrey Hunter. I believe Feregonese
had some involvement in that one as well.
Russ Tamblyn.
To get back to Warner Archive releases I thought I would mention the
two Russ Tamblyn Westerns released in the same batch as SHOOTOUT
AT MEDICINE BEND.
Firstly THE YOUNG GUNS. From the title I thought this was going to be
one of those “young hellions shooting up the town” kind of thing.
Instead,what we get is an adult slanted study of the frictions within a
community living outside the law.
It’s certainly not a “shoot em up” and has excellent direction and
photography. The widescreen treatment from Warner Archive certainly
does this little gem justice.
It all builds up to a climax which is both tense and ironic.
Another nice surprise from Allied Artists.
Paul Landres’ SON OF A GUNFIGHTER also starring Tamblyn,although
shot in Spain has two American leads,and American writer,producer
and director.
Many good Hollywood directors have become derailed making these
Euro Westerns. Two that come to mind are Edward Dmytryk with the
lamentable SHALAKO and Henry Levin with the equally dire
DESPERADOES.
Paul Landres however has gone to great efforts to make his film look
more like the “real thing” For one thing he uses the Boetticher/Renown
films as a template especially in the way he frames his actors in some of
the exterior shots.I also feel,if they gave it a chance both Johnny G and
Jerry would actually enjoy this one.
Tamblyn is very good,I wish that he had made more Westerns.
With this film and OREGON PASSAGE Landres’ visual style make one
wish that he had been given larger budgets to work with.
The super p.q. of this Warner Archive release certainly makes me want
to take a gamble on the sub-par GUNFIGHTERS OF CASA GRANDE,
which,if nothing else should be a great looking transfer.
A final note of trivia SON OF A GUNFIGHTER is written by Clarke
Reynolds who also co-wrote (with Rory Calhoun) Lesley Selander;’s
fine SHOTGUN. Interestingly both films feature “rawhide torture” scenes!
Back to Randy……….
To return to the theme of this thread,some interesting stuff about
SHOOTOUT AT MEDICINE BEND. For starters in Richard Nott’s
excellent and meticulously researched book “Last Of The Cowboy Heroes”
Mr Nott states that “Shootout” was in fact made in 1955 and release was
held back until May 1957.
The low budget and black and white format indicated that Warners had
pretty much done with Scott due to his falling off the money making
charts.
Furthermore Mr Nott quiet rightly states that “Shootout” is not the worst
Scott Western. He goes into great detail on the dire CANADIAN PACIFIC
which he correctly states was by far the worst of Scott’s post war
Westerns. CANADIAN PACIFIC is so bad I wish that the thing did not exist
at all.Nancy Olson is far too young to be cast as Scott’s girlfriend.
There is that terrible scene where Scott is given a blood transfusion on a
fast moving train by Jane Wyatt.
Worst of all is the excruciatingly embarrassing scene involving J Carrol
Naish and the Indians. Naish plays a grizzled old coot called “Dynamite
Dawson.Naish,held captive by the Indians gives them lighted sticks of
dynamite passing them off as cigars! Like Mr Nott says the scene is
straight out of a Bugs Bunny cartoon!
I personally wish that all the post ABILENE TOWN Edwin Marin Scotts
were directed either by Ray Enright or Andre De Toth.
Marin had too much hokey nonsense in his Scott Westerns for my
liking.The three Nat Holt/Marin/Scott Westerns released by Twentieth
Century Fox were either bad or average. Oddly enough these films
made Scott a heap of money as he was at the peak of his box office
power when these three were made.. According to Mr Nott,Scott earned a
massive $130,000 for each of these films.
Another film I would rate below “Shootout” is MAN BEHIND THE GUN
which Mr Nott rather likes. To me it shows that Felix Feist was a poor
choice of director for a Western.
Mr Nott calls “Shootout” peversely enjoyable and that’s a pretty good
description. I do hope that Jerry and Colin get to see the widescreen
version of “Shootout” I am sure their view of the film will mellow when they
see it.
Just before people start getting on my case saying they would rather
watch CANADIAN PACIFIC than any Spaghetti Western,I would say that
each film should be judged on it’s own merit/format/genre; whatever.
Sure,CANADIAN PACIFIC is possibly better than many of the films that have
been name-dropped here but having said that Scott’s Westerns have to be
judged by the very highest of standards.
It’s also kind of a shame that CANADIAN PACIFIC appeared around
about the same time of some really sensational Scott titles:THE
DOOLINS OF OKLAHOMA,THE WALKING HILLS,CORONER CREEK
and THE NEVADAN to name but a few.
As I have stated many times before here and elsewhere I would still
love to see some of those A.C.Lyles Westerns make it to DVD.
They are easy to knock but I fine the best of them somewhat appealing
and in a strange sort of way they are almost in a genre of their own.
I’d buy ,em anyway!
John, You may not be aware that probably the best of A.C. Lyles westerns, JOHNNY RENO starring Dana Andrews and Jane Russell is available in the ‘UK on an official Paramount release. A rarity ! It is in an aspect ratio of 2:35:1 and anamophic widescreen.I agree with you that more of Lyles westerns should be available to buy. To me, there is something appealing in seeing all these film stars riding out again in their autumn years.
Hi Ron,
I do have the USA Paramount Region 1 copy of Johnny Reno.
I do believe Toby directed me to this one some time back.
While it’s hardly the best of the series it’s a stunning transfer and the
super p.q. alone make me want to see others in the series releases.
I am very keen to see BLACK SPURS,APACHE UPRISING and TOWN
TAMER get released which to me were three of the best of the Lyles.
Wow, you sure said a mouthful there, John, as the saying goes!
I would agree with your assessment of “MAN BEHIND THE GUN”. You have made me think again – I think I would certainly put “SHOOTOUT….” ahead of that, and I would certainly like to try the film again in the new widescreen print for re-assessment. Difficult, isn’t it, because there were so many really great Scotts – they can’t all measure up. I definitely have a greater fondness for the films he made for Columbia though there are some Warner standouts without a doubt. Early favourites for me are “MAN IN THE SADDLE”, “CORONER CREEK”, “THE NEVADAN” and “HANGMAN’S KNOT”. That’s only a start though really.
BTW, I did see “SON OF A GUNFIGHTER” on its original release 50 years ago and found it passable. I suppose with so few good westerns after that time I might view it differently today…….
By the way, I could easily see this particular strand going on to do “the ton” again and be another of Toby’s marathon posts. Hope so anyway – it’s great.
I liked Richard’s Top 10 Westerns List very much (great idea BTW) – I would really need to think hard to come up with my own list but 7 of Richard’s 10 would be at or near my own list. I just might start compiling one now……
…and I can’t believe that I didn’t come up with VERA CRUZ, RED RIVER, WINCHESTER 73 off the top of my head. So MANY great Westerns, so many within the time frame of the 50s.
I just sent in my wbshop order for SHOOTOUT AT MEDICINE BEND and BRONCO: Season Two. By the way, a Bronco Season One episode called “Riding Shotgun” was a reworked version of Scott’s RIDING SHOTGUN.
I think the “SHOOTOUT” release leaves only the three Fox Scott’s and the Columbia, THE GUNFIGHTERS, as the only post 1946 Scott movies not on official DVD. I am including the Spanish release of THE BOUNTY HUNTER. I am unsure if ABILENE TOWN had an official release. I think it did not?
I stay away from Spaghetti Westerns these days just because I like to buy DVDs and really can’t afford to buy everything. So I am happy sticking with the numerous and varied American westerns coming from the various archives.
I did buy, A MAN CALLED SLEDGE on DVD because of the cast and director, many years ago, but for some reason still have not watched it all the way through. I remember liking it when I first saw it on TV even more years ago.
One thing about A westerns and B westerns is that most times, in an A western, except for the male lead in the “A’s” ,every other actor and actress appearing, is in the “B’s” too. That goes for the writers, directors, stuntmen, cinema photographers, and second unit directors ,etc. (OK sometimes the villain and female lead are not “B” regulars, but that’ just sometimes.) It’s all fun!
I especially love the color 50’s westerns because they are beautifully shot. Even rain sequences like the ones that appear in, THE HARD MAN, SEVEN MEN FROM NOW and WESTBOUND.
Newer modern westerns are shot in a depressing, ugly, filtered manner. And some of these filmmakers and reviewers online seem to think that the past is ugly, dirty, and the people evil.
The old westerns are colorful fun, (even in black and white), and life affirming and in a way respectful of past history and what we can learn from it.
That Bronco episode I mentioned above should read “Riding Solo”.
SUGARFOOT with Randolph Scott is not on DVD, add it to the list.
Thanks, Charles!
This has turned into a fascinating discussion since I last visited. The comments (both supportive and dismissive) of the spaghetti western particularly intrigue me. I’ve written before of the way my attitude towards the Spaghetti or Euro variety has changed over time, and I think that’s a reflection my how my view of the western as a whole has evolved.
Now don’t get me wrong, I’m not questioning or judging the tastes of others in the least, but I do feel that there’s a lack of maturity (and I mean that in the cinematic sense) in many spaghetti westerns.I don’t mind the violence that characterizes Euro westerns; it’s the approach to and the consequences of this violence, or the lack of it, which jars with me. The best classical westerns always hammered home the corrosive effects of violence, be it on the hero or the villain, and therefore grounded them in a very human way. The Spaghettis tended towards a more juvenile view, whereby the act of killing a man (or many men) was swept aside and treated as little more than an entertaining plot development. Think of a film like Henry King’s The Bravados, where Gregory Peck’s character is left emotionally and spiritually hollow after surrendering his soul in a quest for vengeance. And this is not some isolated instance, it’s to be found all through the westerns of the 50s in particular. Then think about Spaghetti westerns and how little of this sensibility is to be found.
Even Leone, the greatest of the Euro western directors, only came to incorporate such themes in his later works. The Euro western, for the most part, seems to celebrate nihilism whereas the classical western never does. This is not to say darker themes aren’t explored – they certainly are. However, even key transitional works like Rio Conchos, which flirts very close to a Euro sensibility which was still very much in its infancy, never quite cross the line.
I think I could write quite a bit more on this subject and may return later, but for now I’ll just throw that much out as one of the key differences, and I feel also one of the major weaknesses, of the Spaghetti western.
Great comment, Colin. And I agree 100%. In a previous comment, I wrote:
“…while the more 50s Westerns I see, the more I like them as a whole, the more spaghetti westerns I see, the LESS I like them as a whole.”
I grew tired of that attitude towards violence, and by the lack of real conflict in most of the films. As time went on, it seems to have become a matter of coming up with a more creative, outrageous set-piece with a more elaborate way to kill people. The sin-and-redemption theme of something like Seven Men From Now, or Peck’s moral collapse in The Bravados which you mentioned, is nowhere to be seen. And it’s those themes that make the genre, in that period, something I continue to study and admire.
So while something like The Big Gundown is fun, they don’t effect me the way a great 50s Western does–and is rather disposable in the end.
Yes. There’s been some discussion of the technical shortcomings of some Spaghetti westerns, but that aspect never really concerned me; comparable weaknesses can be found in classic era era American westerns too. I’ve always been especially interested in theme as I feel that often elevates even the more superficially humdrum efforts. As such, for me anyway, it’s the thematic differences which jump out.
I know we’ve been around this many times before but it really can’t be overstated: the redemptive spirit that lies at the heart of the classic era western is the aspect which makes it a work of art as opposed to a vacuous spectacle.
Now don’t get me wrong, and I’m certainly no expert on socio-political things, but I believe the Euro-Westerns reflect the attitudes of the times (1960s), especially in Italy, with rampant corruption in police and government, in which the regard for life had little meaning, and top priority was a lower class upheaval of those that rule (A BULLET FOR THE GENERAL, TEPEPPA, THE BIG GUNDOWN, countless others).
You won’t find THE BRAVADOS here.
And when then Spaghetti Western was fading, they evolved into lame comedies, and still the bodies flew.
That’s a fair and valid point, Richard. I do think the Spaghetti western was more a reflection of or reaction to the circumstances then increasingly prevalent in parts of Europe. Having said that, I feel it also shows how those films were less about the mythology of the Old West and more about a contemporary situation. I guess my point is that the transference saw a shift away from the ingredients which made the western attractive, and I’d maintain meaningful in human rather than ideological terms, in the first place.
Absolutely. Spaghetti Westerns were never about the mythology of the Old West, although Leone claimed a admiration of. They reflected their times and adapted a familiar genre to stress their viewpoint.
Some of the major and then current American Westerns that became readily adaptable in style and theme to Spaghettis were, as you’ve previously stated, RIO CONCHOS, and also THE MAGNIFICENT SEVEN (SEVEN GUNS FOR A MASSACRE and similar titles) and even ONE EYED JACKS with the revenge motive and especially Brando appearing (and costumed) as a typical prototype for the Spaghetti anti-hero.
….and especially because of what you have just stated is why in my original post that I find it difficult to lump Spaghetti Westerns into the mix with the home grown product. They’re truly a different breed. My top ten Western list will never include a Spaghetti Western, though I do have a top ten Spaghetti Western list, separate, by itself.
I think 50s Westerns were a reflection of their time, as people were tried to pick up their lives after World War II. Suddenly, good and bad weren’t so black and white anymore.
This has been a really good string of comments, folks. Thanks a bunch.
Good comment, especially as it was in the immediate postwar period that the Western reached a new maturity. I feel very strongly that 1946 is the seminal year here and MY DARLING CLEMENTINE and CANYON PASSAGE, in mood, tone, texture and feeling as much as narrative, especially support this statement. To a greater or lesser extent, all the other Westerns I’ve seen from that year also support it.
Otherwise, Colin (10/16 at 3:29 am) says so well what I feel about this whole subject that I don’t have anything much to add right now. I’ve talked about this before and I know I will again.
I agree with many of the comments–and I agree that late 40s to early 60s are the genre’s best years (the 50s especially but I would say 1946-1962 as a great classical age for Westerns), but if that’s the case it’s not for simplicities but for complexities with which the West and the characters and the history too are drawn, for a maturity of vision which sees killing as tragic–and so violence when it comes is not blasé as in later Westerns but instead is powerfully cathartic. What makes this complexity work so well is that Westerns of the period are so graceful in their expression, rarely seeming pretentious or affected but instead straightforward and in the hands of the greats, with a rare elegance of style.
So I just want to emphasize that if we love the Westerns of this period it’s because they treat the subjects with the artistry and sensitivity and mature vision that they deserve.
And some later Westerns do this too. They shouldn’t all be counted out but taken individually. I don’t like many post-classical Westerns, especially Italian ones, but when there is one that goes against the grain of the times I will defend it. Even though I can’t imagine Leone in the classical period or as an American director, it happens that ONCE UPON A TIME IN THE WEST is my favorite Western after 1962. That hasn’t changed over many years now.
I agree with several of the recent posters here. Bob G’s comments on liking the color in ’50’s westerns, one reason I like ’em so much, the beautiful color picture. And agree with the comment on the lousy look of color film today, either it’s washed out or even worse it’s green or bluish tinted.
But mostly I give a strong second to the comment Bob made that ’50’s westerns are mostly all “life affirming and in a way respectful of past history and what we can learn from it.” They are not made to denigrate and defile past generations and ways of life, more to celebrate it and not at all to preach how wonderful things can be when the world is oh so politically correct.
I’m afraid John K’s recommendation to me of the Winnetou series was meant as a satirical comment on what he must consider my simple minded likes and dislikes. I did only just recently discover the Winnetou series, never heard of it before but only because I found Rod Cameron was in one of them. I had this one (Thunder At The Border) in mind to buy ever since it was released but luckily it was shown on either GET or GRIT TV recently, so I didn’t have to waste my money on it. It appears right from the start to be obviously a foreign made western though I believe these are all German shot. I recorded one other Winnetou movie but I am in no way a fan of these child like movies. I won’t be bothering with any more Winnetou’s. I buy and watch movies mainly for the stars involved, if it’s a star I like (Cameron) I will watch even if the movie doesn’t become a favorite. Yes I do like Roy Rogers, Lash Larue and the other greats of the B-Saturday Matinee movies but, as it was said above, these are in another category. The Winnetou’s seem to want to be considered as full fledged Western movies but just like the Spaghetti’s they don’t make it into the real westerns category for me being those of late ’40’s and ’50’s and EARLY ’60’s. And yes John I appreciate guys like Robert Ryan and Barton MacLane, Burl Ives, and many other bad guy actors & character actors but when they show up in ’50’s westerns they aren’t as repulsively repugnantly and ugily portrayed as EVERYONE (bad and good guys alike) is portrayed in a Spaghetti western.
I guess it’s the exact same difference as one who would enjoy and like a Creature From The Black Lagoon but would be repulsed and opposed to the sick SAW type sadistic movies. (I wouldn’t deem to raise this type of movie by calling it a horror movie, horror movies as opposed to slasher/saw movies are world’s apart. My simple tastes also revile these sadistic type movies.) Movies made with class like the old horror movies and ’50’s westerns are, as was said, uplifting and inspiring. I can’t say anything of the sort for the others.
By the way, cover your eyes on this. I found the J.Carrol Nash/Indian scene in Canadian Pacific extremely funny. To those offended I say, as I do to all the politically correct who seem not to be happy unless they can claim “offense” every other minute: GET OVER IT.
Johnny,I am sorry that you totally misunderstood my comment regarding
the Winnetou films-to get things straight-I do not consider you to be simple
minded!
I like these German Westerns for what they are nothing else plus the
fact I also enjoy Lex Barker,Stewart Granger and Rod Cameron.
I have not seen THUNDER AT THE BORDER and am more than intrigued
and would like you to go into more detail on this film,though I reckon you
will decline my suggestion.
I should have said that the dynamite scene in CANADIAN PACIFIC is
gleefully non-P.C. but Johnny the scene belongs in a Three Stooges
Movie NOT in a Randolph Scott Western!
Furthermore Johnny i take special interest in your comments,despite
the fact that we don’t agree on everything. 🙂
To backtrack on what some folks have said about veteran actors
“slumming” by appearing in Euro Westerns at least Stewart Granger,
Lex Barker,Guy Madison,Rod Cameron and Gilbert Roland,retained
their dignity appearing in these films..
They were not degraded like Dana Andrews appearing in THE FROZEN
DEAD,or Ray Milland making THE THING WITH TWO HEADS,or
Joan Crawford in TROG or Veronica Lake in FLESH FEAST or Tony
Curtis in LOBSTER MAN FROM MARS.
The aforementioned Western actors also uplifted these films,and
made them more watchable than they would have been without
their involvement.
I suppose it’s my curiosity that draws me to some of these films,my taste
for the offbeat I guess!
I do agree that the bad certainly outweighs the good with these things
but there are several titles that I would like to track down.
One film I am very keen to see is SUNSCHORCHED an early Euro
Western both starring and directed by Mark Stevens.
Stevens’ involvement alone makes this a must see for me.
Another one I am looking forward to is MURRIEATA (aka Vendetta)
directed by George Sherman and starring Jeffrey Hunter and
Arthur Kennedy. I remember really liking it at the time and it is on
Warner Archive’s to be released list.
Basically if these films have an American star (s) in them that I like
I’m up for it.
It’s all a bit of a minefield really and I do come a cropper more often
than not….A PISTOL FOR RINGO is terrible,in fact the clip on the
Warner Archive website is the best thing in the film..
The kindest thing I can say about the film is that Mark Damon’s
acting chops have improved vastly since THE FALL OF THE HOUSE
OF USHER. The film is definately not a “keeper” but on the upside
these Spaghettis are real easy to sell on,there are lots of folks out
there that like ’em.
Good to know there is some interest in Season Two of BRONCO.
I loved the way in Season One they included previews of the next
episode of SUGARFOOT.
Season two sounds even better with James Coburn popping up as
Jesse James and some teriffic guest stars including Warren Oates.
I was very surprised to see one episode was directed by Andre De
Toth,I had no idea that he dabbled in TV Westerns.
With regard to the spaghetti westerns, as with all aspects of the genre, one mans meat is another mans poison. I would therefore like to cover another area of the genre, and that is the modern western, covering the years from circa 1990 to the present day.We all enjoyed the vast amount of westerns made in the 1950s. This is the decade when most of us were growing up and regularly made visits to the cinema. If the movie carried a cerificate as an adult movie, we would still be able to see it as long as we where accompanied by an adult. Hence our knowledge of so many westerns of that era. I mention this as one of the reasons why our grandchildren are “not” into westerns. Only a few are made today and most of them you cannot see unless you are aged 15 or sometimes 18. Why, because like the spaghetti western they contain bad language, gratuitous violence and/or explicit sex. This is so unnecessary but is always put forward as to create realism. It has even spread to our tv’s. I do not want to watch this stuff in our sitting room along with my family and likewise find it unnecessary at the cinema.In the 1950s, I remember Jeanne Crain sitting in her bath tub discreetly covered by soap suds talking to a lecherous looking Kirk Douglas in Man Without A Star. This was as far as sex was shown.Man Of The West where sex and violence are shown in equal measure to Julie London was considered exploitive at the time. By todays standards it is tame.Again the western was always violent but not gratuitously so. You only heard mild bad language.No problem in taking the kids to these movies. Today, in fact you can watch them on tv in the afternoons. The westerrns made for the big screen today are often well made and some of them have won oscars but you could not take and would not want to take your kids to see them. I only need to point out the rape scene in the oscar winning Unforgiven or the torture scene in Django Unchained to enforce my view.Even the so called comedy A Million Ways To Die In The West is filled with bad language, very prominant sexual innuendo and foul humor.Seth Mcfarland might think this is funny, but to me it is scraping the bottom of the barrell for laughs.Oh for Bob Hope! I feel that todays kids are missing out, or maybe it is a sign of the times we now live in.
Yes, there is a good deal more explicit material on view, but that’s been a process which has taken place over a long period. The post-classical western – I’m using that term as opposed to the modern western as I feel that’s a different category, namely those films set in the west but after the early years of the 20th century – became gradually more explicit as Peckinpah and others pushed at the boundaries of what was considered acceptable. There’s plenty of material which couldn’t be classed as family-friendly on view from the late 60s onwards.
I wasn’t born until late 1968 myself so didn’t grow up seeing the classic westerns in the cinema. My exposure came via TV, and I learned to love them there. I do think that there is a detachment of the western from contemporary popular culture, and that’s to be lamented. However, I’m not convinced it’s solely down to the changing approach to the levels of violence or the language used. The plain truth is the western is no longer perceived as fashionable, and there are a whole variety of reasons for that.
…just a few thoughts.
Spaghetti Westerns did not kill off the 1950s Westerns that we all love and enjoy. If anything, they gave the American Western a much needed kick in the butt…and another decade of life. Oversaturation of product and television put the final nails into the coffin for the American Western. Film producers were no longer willing to put up the money for a product which could easily be had for free on television.
Italians, who thrived on our Western export could no longer count on supply and so made Westerns of their own, often disguising their product with Americanized names in the pre-Leone era.
So how bad can the two recent Warner Brothers archive releases really be?
GUNFIGHTERS OF CASA GRANDE…directed by Roy Rowland, who also directed my wife’s favorite film, OUR VINES HAVE TENDER GRAPES and also THE 5,000 FINGER OF DR. T. (a true fantasy classic), GUN GLORY, MANY RIVERS TO CROSS, BUGLES IN THE AFTERNOON, and one of my favorite Joel McCrea Westerns, THE OUTRIDERS. Also a couple of pretty good, if not classic film noirs, SCENE OF THE CRIME and ROGUE COP (a personal favorite).
And with a screenplay by Borden Chase (WINCHESTER 73, BEND OF THE RIVER, VERA CRUZ, MAN WITHOUT A STAR and the all-time classic RED RIVER!)
…how bad can this really be?
Also,….SON OF A GUNFIGHTER.
Directed by Paul Landres, responsible for many positive comments on this site for his OREGON PASSAGE. He’s also responsible for such low budget gems as LAST OF THE BADMEN, LONE TEXAN, FRONTIER GUN and his noteworthy work in television series such as CHEYENNE, BRONCO, MAVERICK and THE RIFLEMAN.
…how bad can this really be?
I have not seen GUNFIGHTERS OF CASA GRANDE or SON OF A GUNFIGHTER and they are both on my order list. I simply cannot believe that given the talent that these two so-called Spaghetti Westerns absolutely stink.
…Trying to make an acceptable American product pre-Leone, though shot in Spain with an Italian crew?
After FISTFUL…Sergio changed it all.
Some feedback here, please.
Let’s try to decide what went bottom up to the Westerns that we all enjoy most, circa 1950-60.
I’m backing out on this one now I’ve given my views, I just wouldn’t waste a minute of my valuable time watching these foreign monsters where American stars slummed through the mire for a few pennies. It’s kind of sad, really.
My grandfather used to say, I’ve lived a long time and I’ve been down many roads. I can point out the holes and the pitfalls in the roads, but if you choose to walk into them anyway, then nothing more can be done. So watch what you will, after all you will anyway.
Thanks Johnny, but I’m just not sure if the directors, screenwriters, actors were really slumming it or not, at least in this early phase.
And again, we even have Audie Murphy’s THE TEXICAN directed by the venerable Lesley Selander . Low budget, yes, but still entertaining and very much in the spirit of an American Western.
I’ve seen an awful lot of Spaghetti westerns. Some I liked, a large number left me unmoved, and some I disliked intensely. I haven’t seen the Archive releases which have been talked about here, but the casts and crews involved intrigue me too. They may well turn out to be poor fare but I wouldn’t want to write them off unseen either.
Richard,
I hope you saw my positive take on SON OF A GUNFIGHTER it’s excellent.
I don’t have fond memories of GUNFIGHTERS OF CASA GRANDE
although it has its moments and as I mentioned before my copy did
not arrive but I will re-order it.
Great to hear someone else fighting Paul Landres’ corner he is very
underrated I would love to see widescreen versions of FRONTIER GUN
and THE LONE TEXAN.
Interestingly,Roy Rowland’s last Western was the German made
A MAN CALLED GRINGO. which did not even have an American lead
actor.
I will also get the newly remastered version of THE SAVAGE GUNS which
Warner Archive have promised next year;one of the earliest Euro
Westerns.That one had the advantage of three American leads.
I know it’s not a great movie but it’s interesting as a trail blazer of what
would follow.
I would rather watch SON OF A GUNFIGHTER or THE TEXICAN than
those Bill Elliott,Wayne Morris,Whip Wilson Monogram pictures that
certain folks here seem to love so much.
I DO love low budget fare when it’s well done and the aforementioned
THE YOUNG GUNS seems to have got lost in the mix,and that’s a pity.
It just shows how good low budget programmers could be.
I hope Toby will consider reviewing this film at some point.
Another little gem mentioned previously is MASSACRE RIVER another
unheralded Allied Artists release. For a low budgeter it has good
production values and some great scenery. It’s also rather subversive!
This one sadly has escaped Toby’s radar but I hope Laura picks up on
it at some point. Really, Toby or Laura are the only people I know who
give these real obscure titles attention.
Furthermore Laura gave a great review to FORT DEFIANCE which
was also directed by John Rawlins.On the strength of these two little
gems I wish Rawlins had directed more Westerns.
I am very encouraged by some of the comments others have
made that people are actually buying these obscure titles.
To very belatedly,follow up on Richard’s 10 favorite Westerns I thought
that I would chip in with my list.
I was fortunate to see all these films at the cinema,some while I was
growing up,others at revival cinemas. Most of these films I have seen many
times on huge screens.
Some of these films I have already replaced with Blu-Ray editions,and
when Blu Rays appear of the rest I will certainly upgrade.
One film that I have never seen on a cinema screen is SOUTH OF
ST LOUIS;I’ve had to make do all these years with “off air” copies.
The recent Blu-Ray from Olive is jaw dropping stunning and almost
makes me want to include it in my top ten!
I’ve always loved this film but now I love it even more,with the sensational
quality of the Blu Ray.
Another film that has missed my top 10 and could certainly be there is
CANYON PASSAGE,at cinemas Iv’e only seen this one at a flea pit,unlike
all the others which I have seen on huge screens.
The only other film I was sorry to leave out is GUNFIGHT AT OK CORRAL
so perhaps I should have made my list a top 12.
Anyway for what it’s worth here are my personal faves.
This list is in date order should anyone think I mean the abysmal remake
of Daves’ fine film!
MY DARLING CLEMENTINE
RED RIVER
COLORADO TERRITORY
THE GUNFIGHTER
WINCHESTER ’73
3.10 TO YUMA
RUN OF THE ARROW
COMANCHE STATION
RIDE THE HIGH COUNTRY
THE OUTLAW JOSEY WALES
Films are like people,some we take to others we don’t but the above
ten are the ones that I have taken to the most,throughout my life.
Returning to Spaghetti Westerns for a moment the thing that really
sank RINGO AND HIS GOLDEN PISTOL for me was a truly absurd scene
where the bad guy has the drop on Ringo;he has a struggling kid in one
arm and a rifle wavering about all over the place in the other.
Despite all this he still manages to shoot the buttons off Ringo’s shirt
sleeve cuffs!
I don’t mind these things being totally OTT (they usually are!) but the
line between total fantasy and reality has to be drawn somewhere.
I actually thought Mark Damon was pretty good in the title role.
I am intrigued,to see these “Stranger” films that Warner Archive have
promised us next year in remastered editions. I remember seeing
one in the Sixties and being totally blown away by it. The first of these
films starring Tony Anthony was released in England as FOR A DOLLAR
IN THE TEETH.To me it seemed to be everything I thought a Spaghetti
Western should be. A friend who warned me off the “Ringo” film has
also warned me off these “Stranger” films. They do seem to have a
cult reputation which intrigues me. Has anyone seen them….Richard,
anyone?
John k,…Saw both Tony Anthony films doubled billed sometime in the sixties and thought they were really great, in the mind of a teenager. Of course at that time I felt that most 1950s American Westerns were rather stogie, dull, too talkie. That was then, this is now. Times have changed.
The Stranger films do not do much more than support Johnny Guitar’s dislike for the Spaghetti Western genre. Violence for violence’s sake, degrading, cheap and absurd takeoffs on the Leone style. Do I have them in my Western film collection? Absolutely. Can I recommend them as essential viewing?…nahhh. But if you go into them empty minded they can certainly be fun and rewarding on a trash level. And from what I’ve read about Corbucci’s RINGO AND HIS GOLDEN PISTOL, it’s a pretty bad film, though I’m ordering it simply because I need to see how this falls in line with MINNESOTA CLAY and DJANGO.
What I’m thinking here is that because production costs were being cut and eliminated for lower level American Westerns due to the availability of the free product on television, that Westerns shot in Spain pre-Leone were not made by directors or stars slumming it, but rather by creative talents who like THE MAGNIFICENT SEVEN and THE WILD BUNCH, have outlived their times and fled to foreign soil for one last go round…I’m talking the two current offers from Warners, I’m talking directors Rowland and Landres and screenwriter Borden Chase. Is this the last chance for them to make an acceptable lower budgeted Western in the style and fashion that they were once used to and can no longer be a part of?…Throw in Selander, Audie Murphy and THE TEXICAN too. I enjoyed THE TEXICAN despite being biased to liking almost any Audie Murphy Western…….I’m just curious as to if anyone thinks that GUNFIGHTERS OF CASA GRANDE or SON OF A GUNFIGHTER (you john k withstanding) are better Westerns than the crap that’s usually attributed to them, but then again, Rowland and Landres low budgeted American Western gems of the 50s were never held in high esteem by the artistic minded critics of their day.
I would just like to see GUNFIGHTERS OF CASA GRANDE and SON OF A GUNFIGHTER given a fair shake, not dismissed as an inferior foreign product. There’s just too much talent here for these two films to be cast aside, and I look forward to seeing them.
This strand just gets better and better! I’m really enjoying everyone’s contributions.
I would really struggle to come up with a list of my 10 favourite westerns because I would keep thinking of another one to include (Top 25 maybe??) but John’s list above would all be in my Tops, apart from just two. Some real classics there.
Gotta say though that I personally would rather watch those Monograms with Wayne Morris, and especially Wild Bill Elliott, than about 95% of Spaghettis……Heck, let’s make it 100%!!
Very much enjoyed Colin and Toby’s assessment of why classic American westerns were superior to the European product. I said earlier that it’s because the latter have no script but actually Colin put it better – it’s because they lack maturity and heart. Explosions and bodies flying everywhere do not make up for motivation, courage, redemption etc.
I also like Blake’s point that 1946 was a starting point of sorts for what came at the high point of the western in the 50s. I agree completely. It was also when the Film Noir really took on its darker hues and the cameramen took to the real streets for atmosphere. A true watershed brought about by different view of life after the horrors of war in Europe and the Pacific theatre.
Yep! Jerry it’s been a great strand and if nothing else it just shows what
varied tastes Western fans have.
Now all we need is “Lone Pine Laura” to make an appearance and
we might see that magic 100 yet again.
BTW why I thought Laura might consider reviewing MASSACRE RIVER
is because she often delves deep into the earlier releases of the
Warner Archive files.Furthermore I loved her take on FORT DEFIANCE
such an undervalued little gem,and I do know the film has a few
admirers on this blog.
“FORT DEFIANCE” has (so far) slipped past my viewing radar. This can be remedied!
Yes, “Lone Pine Laura”s valued contributions are needed here, I agree.
Count me in as another who appreciates Laura’s championing of some of the deeper catalog stuff. She’s sure drawn my attention to lots of stuff that had passed me by.
You know, even in it’s last season, THE VIRGINIAN television series opted for a Spaghetti Western theme tune and the cast finally changed clothes, opting for a more stylized Spaghetti Western fashion…such was the power of the time, the influence of the Spaghetti Western upon our popular cultural icon the American Western, and THE VIRGINIAN to boot!
You know, even THE VIRGINIAN, in it’s last season opted for a new Spaghetti Western style theme tune. Even the cast characters finally changed clothes opting for a more Spaghetti Western fashion. Just goes to show the power and influence that the Spaghetti Western had over our national icon, the American Western. And THE VIRGINIAN to boot!
There’s a current car commercial on television right now featuring two guys in identical cars racing each other home to the theme music from THE GOOD, THE BAD and THE UGLY!
The Spaghetti Western in less than a ten year popular run 1964-1972 has somehow become a part of American culture, it’s as if we’ve claimed the music and visual style as our own.
Yes, I remember, Richard, when “MEN FROM SHILOH” (as “The Virginian” was now called) first aired on UK TV in 1970. I was very taken aback by the changes to a Spaghetti-influenced “look”. The stories were not that much changed, as I recall, but music, clothing, longer hair etc certainly were. I guess it did not sit quite right with the fans though as the series was curtailed.
Just a few final (hopefully, thankfully) thoughts on this American/Spaghetti Western stuff.
First I apologize for posting THE VIRGINIAN thought twice as I didn’t think it took the first time…even though Nathan Brittles once told me to never apologize for anything as it shows a sign of weakness.
Let’s take the best ten year periods of the American Western (1950-1960) and the Spaghetti Western (1964-1974).
The one major similarity is that both of these type of Westerns were mostly shot in a widescreen scope format, were in color and looked great.
The one major difference is bloodline. American Western had a rich heritage and tradition to draw from, a set of rules and values that defined a quality of life. The Spaghetti Western has no such thing, not even in Leone’s films, as popular and genre changing as they were. Without the basic (essential) ingredient, it’s hard to put the Spaghetti Western up to comparison with the home grown product.
Check out top 10 or 50 or whatever lists of greatest Western films ever made and ONCE UPON A TIME IN THE WEST or THE GOOD, THE BAD AND THE UGLY often fall into the top 5, sometimes as number 1.
Now I like these movies very much, but I really have a hard time putting ONCE UPON A TIME IN THE WEST on any list before THE SEARCHERS.
THE SEARCHERS has true character development, deep moral issues that need to be dealt with and a true sense of viewer gratification concerning what unfolds upon the screen.
Ethan Edwards is a real flesh and blood character, not just some death dealing cypher that stylishly steps into the frame to mete out vengeful justice.
…it’s just that the Spaghetti Western, as good as many of them can be, just doesn’t have the right “feel”, it’s missing something that Italian filmmakers could never capture, being that the Western was never a part of their culture it’s not ingrained into their lifestyle. In other words, when it comes to making Westerns, the Italians are really missing the point.
In the early 1960s when the Italians could no longer receive the American Western product to meet their viewing demands they decided to create their own Westerns. They adopted the American style of Western as well as Americanized names for their directors and actors.
Then came Sergio Leone and A FISTFUL OF DOLLARS, etc.
By the end of the 1960s we were now adopting the Spaghetti Western style into our American product and this is where the American Western lost focus, to the point in which even a very good television series like THE VIRGINIAN went Spaghetti; music, clothes, look.
When THE VIRGINIAN first came out as a novel in the early 1900s it helped to set all the standards that helped create the Western image. And for it to go Spaghetti as a television series just goes to show the power of style over substance. A style that’s still viable today in the current car commercial that shows two businessmen racing each home while macho posturing to the music from THE GOOD, THE BAD AND THE UGLY.
I enjoy Spaghetti Westerns and am not ashamed to admit it. But I just can’t look at them the same way that I look at the American Western, the real product.
Very well put, Richard, if I may say so. That really ought to put the “Spaghetti” issue to bed here.
Rather hope we can follow another related strand though as it would be nice if this went to the 100 again. Good close to the year.
Jerry Entract….I’m not done yet,as I started the whole Spaghetti
side-track I thought that I would finish it….I think.
Firstly Richard RINGO AND HIS GOLDEN PISTOL is not as good as
MINNESOTA CLAY. There again that film did have Cameron Mitchell
in the lead. It just needed a much stronger actor as the “bad Guy” for him
to go up against.
The opening shots in the prison camp are sensational.
Regarding the two Westerns we sidetracked onto there is a great
difference between Roy Rowland’s and Paul Landres’ respective
careers. Rowland was for many years a top contract director at MGM.
He directed many A list stars like Robert Taylor,Stanwyck and Cagney.
(BTW Richard I too crave a DVD debut of his very fine ROGUE COP;
I understand there are several “rights” issues holding this one up but
Warner Archive are past masters at sorting these things out!)
Landres on the other hand never directed an A list star in his whole
career in features. He did poverty row stuff for Lippert and RegalScope,
low budget horror stuff for United Artists and programmer fare for
Allied Artists.Films like OREGON PASSAGE were certainly a “step-up”
for Landres.
SON OF A GUNFIGHTER is a far superior film to GUNFIGHTERS OF
CASA GRANDE and I don’t know how Borden Chase became involved,
I should imagine this was an unsold project from his “dead dog files”
I will not repeat what I found great about Landres’ film except to
say that I hope both Richard and Colin get the chance to see it…..
it won’t disappoint.
Furthermore had a stronger actor say,Arthur Kennedy or Dan
Duryea played Tamblyn’s father the film would now be a minor classic.
SON OF A GUNFIGHTER was Landres’ final feature and ironically
was the largest budget he had during his entire career.
Also interesting Rowland’s THE GIRL HUNTERS is about to get a
Blu-Ray release. I really want to see this film a; Mickey Spillane
“Mike Hammer” project actually starring Spillane himself and
filmed in England.
Like Colin mentioned earlier if these Euro Westerns have interesting
casts or crews they are worth checking out.
I am certainly up for anything involving the likes of George Sherman,
Hugo Fregonese,Mark Stevens,Arthur Kennedy or Jeffrey Hunter.
Finally Richard thanks for the info on the “Stranger” films;I can’t say
I wasn’t warned. Warners say these films are newly remastered for
the first time in over 25 years!
One thing I love about this blog…among many other things is all the
obscure gems that get “name dropped” by various contributors.
Interestingly a couple of people have mentioned Mark Stevens
GUN FEVER recently.
Have not seen this one in almost 50 years and someone very kindly
found me a copy off Encore Westerns. The p.q. is great and better
than a lot of official release DVDs. The Encore stuff generally seems
to be better than most.Furthermore I doubt if this film will ever get an
“official” release.
GUN FEVER is very,very low budget and Mark Stevens’ West is
a dark dirty violent and oppressive place. The entire film seems to take
place in a never ending blizzard.
Nevertheless there is some real;”pulp poetry” here and I would highly
recommend others with a taste for the offbeat to check it out.
A sobering thought…..if Toby “did a Colin” and replied to every comment
this thread would have hit way past the 150 mark! 🙂
john k….One Mark Stevens film I really liked and can recommend was CRY VENGENCE which he also directed. Skip Homeier was even crazier and more threatening than usual, one of his personal bests. Mark also directed a film called TIMETABLE in which he plays an insurance investigator assigned to the train robbery he committed. Would love to see this one.
Hope you like the STRANGER films, just don’t expect too much and you’ll be ok. GUN FEVER is something I need to see, and I’m getting RINGO AND HIS GOLDEN PISTOL as a completest, even though I know it’s bad. I thought MINNESOTA CLAY was very good and Cameron Mitchell excellent as the tired gunfighter fighting blindness. It’s his daughter and her twit boyfriend that needed killing off in the first reel.
Being an Alex Nicol fan,( he gave Rory a run for screen presence in DAWN AT SOCORRO), I’ll probably enjoy GUNFIGHTERS OF CASA GRANDE. After all, I like a lot of Rowland’s films and need to have ROGUE COP on dvd someday….I see that you, like myself, enjoy a well made little to no budget film. These are often the most rewarding and are often the films I repeatedly view.
Just to keep this whole Spaghetti thing going…
Has anyone out there recently seen CUT-THROATS 9?
Saw this at the theaters way back when it was actually released as a horror film, complete with “vomit bag”, and believe me, you needed it. My memory is really not too clear here, but I do believe that it’s the only film that I’ve ever seen in which every single member of the cast gets killed. Violent and very disturbing…..and perhaps a fitting send-off to all the fun we’ve had here.
I’ve not seen either RINGO AND HIS GOLDEN PISTOL or MINNESOTA CLAY ,only the trailers . I know trailers only give you a glimpse but CLAY did look the better of the 2 .The thing that me turned off RINGO was his pistol .I can’t recall seeing a gold pistol in a western before ,but please if any one else has then let me know.
Never seen such a thing, but if you watch Spaghetti Westerns with regularity expect to find the implausible pop up consistently, guns in banjos, machine guns in sewing machines and so forth.
I’m buying RINGO AND HIS GOLDEN PISTOL but can’t really recommend it.
You’ve been warned.
Richard,I agree CRY VENGEANCE is sensational and Homier is
terrific in the film.TIMETABLE is also great and a lot of Noir fans
prefer it to CRY VENGEANCE.
I am constantly going on about JACK SLADE on this blog and if you
have not seen it I strongly recommend that you do.
I too really like Alex Nicol but he is not really at his best in either
GUNFIGHTERS OF CASA GRANDE or THE SAVAGE GUNS.
I feel THE SAVAGE GUNS is the better of these two Euro Westerns
and has the added attraction of also featuring Richard Basehart
and Don Taylor.At any rate I too want both films and the remastered
version of THE SAVAGE GUNS Warners have promised next year
should look great. I will re-order CASA GRANDE which was out of stock
on my initial order.
I would be very interested to hear of your feedback when you see
these films that we have been talking about,and I am thrilled that
you are still with this thread.
One Alex Nicol film that I am very keen in seeing get released
is A MATTER OF WHO,a comedy thriller where he is teamed with
Terry Thomas of all people. This engaging Brit Flick sort of
pre-figures the “Swinging London” cycle of films and has a most
engaging supporting cast. Warners inform me that this is one
MGM title that they do not hold the rights to.
I have e-mailed Network in the UK and asked if there is any possibility
in them releasing it.
Another interesting Alex Nicol Spaghetti Western is RISE AND KILL
(aka Ride And Kill aka Brandy) The story is pretty straightforward
for a Spaghetti where Nicol plays the town drunk who ends up
cleaning up the town!
I understand Alex Nicol invested his money wisely and ended up
comfortable in later life unlike many of his fellow Western co-stars.
john k,…just a little amusing side thought…before retirement I worked in warehousing and one day around 1990 I went around asking my fellow employees (all around my age, 40s) what they recalled as being the movie that scared them the most on television when they were just a kid.
Out of the 12, very surprisingly to me, 4 picked Alex Nicol’s THE SCREAMING SKULL, a guilty pleasure of mine as well.
john k…JACK SLADE I have not yet seen. RIDE AND KILL I have on full screen video tape and liked it and would hope to see it someday in it’s proper format. SAVAGE GUNS, for this and GUNFIGHTERS OF CASA GRANDE, I have a lobby card for each, but have not yet seen either. Curious to see Basehart go at it with Nicol.
Now I did enjoy Don Taylor’s FIVE MAN ARMY, sort of a MISSION IMPOSSIBLE out west with Peter Graves. Very entertaining, and I love heist stuff.
As I name-dropped England’s Network in the above post I thought
I would give them another “plug” as they are far and away the UK’s
best re-issue imprint. They are always uncovering long lost goodies.
They do have as a forthcoming release Tourneur’s fine CIRCLE
OF DANGER with Ray Milland remastered from original elements.
They also have the incredibly rare Brit Flick THE LITTLE RED
MONKEY an espionage thriller with Richard Conte.
Their website is well worth checking out.
wwwnetworkonair.com
Speaking of Tourneur possibly my most anticipated release of all
is GREAT DAY IN THE MORNING which Warner Archive have promised
once they have remastered it. This one also features a good role for
our friend Alex Nicol.
John, I had no idea Circle of Danger was on the way. I don’t know how I missed that news, but thanks so much for passing it on.
And I wholeheartedly second your call for Great Day in the Morning – one can never have too much Tourneur.
John, regarding Alex Nicol , I like him in the The Redhead From Wyoming with
Maureen O’Hara. It is fun and entertaining. Best regards.
Just received SOUTH OF ST LOUIS and SHOOT OUT AT MEDICINE BEND and watched and enjoyed both .Recommended .
Chris,thanks for the heads up on THE REDHEAD FROM WYOMING
have not seen this one and your strong recommendation means that
I will have to track it down.
Colin,glad that you are still with this thread and I hope that I can
further make your day by announcing that Llamentol are releasing
GUNS OF THE TIMBERLAND. Don’t know if you were aware of this
or if in fact that you purchased the Warner Archive copy.
It’s no classic (you already knew that!) but i’m sure that it’s one that
you will want.At any rate the Warner Archive version was a lovely
widescreen transfer
I didn’t know that, John. Great news as far as I’m concerned as I don’t have the US release. I have heard that Guns of the Timberland isn’t the strongest movie, but I like Ladd a lot and remember enjoying the Louis L’Amour novel.
I think you will enjoy GUNS OF THE TIMBERLAND Colin for what
it is;an attempt to do an old fashioned traditional Western in changing
times.It’s a lot of fun and a great looking film,and despite what others
have said I did not think Ladd looked too bad in the film.
I also love those two later Robert Taylor Westerns CATTLE KING
and RETURN OF THE GUNFIGHTER. Great review of the latter over
at Lauras’ BTW.
John, I see Raw Edge is also now available in Spain – Amazon say it’s widescreen.
Colin, I did on a thread way way back suggest that you might
consider giving CRY VENGEANCE the “Colin treatment”
I seem to recall you saying that you had the film…..I think!
It’s a film that I would love to get your take on as elements in the
film are sure to divide opinion even among Noir buffs.
I realize that your “to be viewed pile” is formidable.
Richard, regarding THE SAVAGE GUNS neither Basehart and
Taylor (who I really like BTW) are suited to Westerns and Nicol
overacts. Nevertheless a remastered version of this film,to me will
be very appealing.
Richard I must say (as I have said here multiple times before)
JACK SLADE is the most disturbing Western that I have ever seen;
the emotional violence in the film is overwhelming.
Who would have thought this great thread would reach near 100
and I am sure that this post will not be the last!
John, you’ve carried this thread on your back (across Spain) to almost 100 comments. Thanks a lot for keeping it going.
Lots of good stuff in here.
Yes, I have a copy of the film – DVD as I’m region locked for Blu-ray – and I’ll certainly consider featuring it – if I could just get the time these days!
Colin,
Regarding RAW EDGE…
I am sure the Sidonis version is in Widescreen,A pal sent me a
de-subtitled version. The p.q. is far superior to the many ropey
“off air” copies that have been in circulation.
I love RAW EDGE its wild and wacky and totally offbeat.
Yet another little gem that deserves “The Colin Treatment”
I guess it could qualify as an anti Feminist Western.
That fine actor Herbert Rudley,having played the ultimate sap in
the classic Noir Decoy gets his revenge on Womankind.
In DECOY Rudley is the only decent character (apart from Sheldon
Leonards streetwise cop) who is totally destroyed by Jean Gillies
Femme Fatale who disposes of men in the film at every twist and turn.
In RAW EDGE Rudley turns 1840s Oregon into a sort of Medieval
Fiefdom whereby the first “available” woman becomes the “property”
of the first man to claim her.
The film is far too weird and wacky to be offensive BTW.
Sounds very interesting, to say the last.
John K ,regarding YOUNG GUNS , I thought it may be similar to YOUNG GUNS OF TEXAS which I enjoyed , but from your description I will look forward to watching it .I would like to put in my top 10 in no particular order –
THE GUNFIGHTER
THE WILD BUNCH
BIG JAKE
FOUR FACES WEST
THE PROUD ONES
BANDIDO
GUNFIGHT AT THE OK CORRAL
THE GOOD ,THE BAD AND THE UGLY
THE TALL MEN
THE MAGNIFICENT SEVEN
There are many more that deserve to be in there but I would need to do a top 20 ,or 30 .I included only one JOHN WAYNE ,because I feel a separate list is needed for him.
Great list gcwe 1 and certainly different i.e. not the “usual suspects”
I love BIG JAKE one of my fave later Wayne Westerns with the
addition of the great Richard Boone too!
I don’t think however the idea of Boone wearing a poncho was
a good one!
I also really like CHISUM a great latter day Wayne,crammed with
action.
Now I’m gonna make a ton of enemies but I actually much prefer
THE PROUD ONES over RIO BRAVO. I also thought Robert Ryan
was aces in the lead.
FOUR FACES WEST another great and generally unheralded choice
and the only Western where not a shot is fired,onscreen at least.
john k….thanks to you, we’ve reached the 100 mark. It’s been a whole lot of fun and exceptional chit-chat. I’ve really enjoyed the ride.
…I understand the need for separate lists as I like Silent Westerns, B-Westerns, A-Westerns, Spaghetti Westerns, John Wayne Westerns, etc., and it’s really unfair to lump everything together because they all work on separate levels…oh yeah, TV Westerns too!!!
No sense beating a dead horse…I really need to start watching all of my wonderful cartoons from the 1930s-40s… BETTY BOOP, POPEYE, etc.really looking forward to it,… and being October, cheapie 1950s sci-fi/horror classics like ATOMIC SUBMARINE, FIEND WITHOUT A FACE, THE COSMIC MAN, KRONOS, THE SLIME PEOPLE, THE NIGHT OF THE BLOOD BEAST, THE CRAWLING EYE, MAN BEAST, THE SCREAMING SKULL, GORGO, THE GIANT BEHEMOTH, IT, THE TERROR FROM BEYOND SPACE, VILLLAGE OF THE DAMNED, GOG, KILLERS FROM SPACE, THE BEGINNING OF THE END,…you get it.
Richard,I too love cheapie Sci-Fi horror flicks.
Recently got Blu Ray editions,from Germany of some of my fave
Universal Fifties Monster Movies:TARANTULA!,THE LAND UNKNOWN,
THE MOLE PEOPLE,THE MONOLITH MONSTERS.
The hi-def treatment of these classics is sensational.
Interestingly,Universal Vault (which happily now seems to be back
in business big-time) have for Halloween released a whole raft of
classic Monster Sci-Fi movies (including a rare early Randolph Scott)
Some of these films are making there DVD debut and others were only
available on box sets.
One of my all time fave cheapies is the UK made MAN WITHOUT A
BODY directed by the one,the only W Lee Wilder (Billy’s brother)
MAN WITHOUT A BODY is loopy,deranged and I LOVE it!
The last round up……………….
What I should have said earlier is that GUNFIGHTERS OF CASA
GRANDE was a huge step down for Roy Rowland,especially
considering his previous stature in the industry.
For Paul Landres,considering his mostly poverty row career
SON OF A GUNFIGHTER was certainly a step up.
In any case Landres’ film is certainly the best of the two and I do
hope that both Richard and Colin get the opportunity to see it….it
will not let you down!
The Landres that I would love to see is his crime programmer
JOHNNY ROCCO,most diverting cast too!
GUNFIGHTERS OF CASA GRANDE certainly gets trashed on imdb and
I look forward to hearing Richard’s opinion of the film on a future thread.
Those Tony Anthony “Stranger” films get great support on imdb and
the last of the trilogy sees Anthony’s Stranger go to Japan! I am intrigued
to say the least.
Finally a word regarding Mark Stevens,all this mention of him made
me want to give TIME TABLE another look.
It’s a cracking,albeit rather improbable Noir with a sensational climax.
I do hope it gets an “official” release someday.
I do however find it very disconcerting to see lovely Felicia Farr on
the wrong side of the law.
TIME TABLE was her second feature film.
Her first feature the brutal and abrasive BIG HOUSE USA Felicia is
again on the wrong side of the law. She was billed as Randy Farr in
that film. I may be wrong but I think the film was a recent Lammentol
release which Colin will certainly want just for the cast alone!
I do have the MGM/UA MOD version.
This thread has been a fun ride,it’s time for me at least to move on
until I discover another of poor Toby’s threads that I can hi-jack
with something equally wacky! 🙂
Lone Pine Laura reporting for duty! And thanks to John K who mentioned in a comment over at my place that this thread was still going. It started the day after I returned from Lone Pine and though I checked in a couple times early in the thread, I was distracted last week by preparing my Lone Pine coverage (including doing Alicia Mayer’s online radio show last weekend) plus Toby’s great Jack Webb blogathon. Had no idea it had groan to such a size — came back over here and wow!
Just spent a very pleasant half hour reading through all the comments and getting an education, among other things, on spaghetti Westerns, which I know pretty much nothing about.
Many thanks to John, Jerry and Colin for the kind words above, I deeply appreciate that from people I so respect. One of the joys of blogging is having the chance to let others know about great relatively unsung Westerns such as FORT DEFIANCE or RETURN OF THE GUNFIGHTER.
Regarding RETURN OF THE GUNFIGHTER, which I absolutely loved — I took at face value the information on the back of the Warner Archive case that it was an ABC TV-movie, and Jerry mentions that in his comment on the movie at my place as well. My dad asked for more info, being curious that it was a widescreen King Bros. film which doesn’t seem to match up well with originally being on TV, at least in terms of aspect ratio. If any of you knowledgeable people can share more background info on that aspect, whether here or at my site, I’d be appreciative. What a terrific movie.
Thanks, as always, to our host Toby!
Best wishes,
Laura
P.S. Groan! That should read the “thread had grown,” of course!
Groan again,
Laura
With “Lone Pine Laura” now on board this post could go on yet – how about 200, Toby!?
Laura’s Dad has raised a very interesting point here and one I don’t have the answer to -yet. I am putting one of my “Western detectives” on the case though and hope to report back with an authoritative answer.
I’ve never seen Return Of The Gunfighter. Really want to. But the way I understand it, and I might be way off, it was TV here in the States and theatrical overseas.
If you look at the safe area for TV, there’s enough room at the top and bottom to crop them for theaters. Look at the Man From UNCLE “features” or what Universal did to Duel (1971) for Blu-ray. (Don’t get me started on that last one.)
You can see that dead space in this trailer on YouTube:
My exceedingly knowledgable friend, John Brooker (remember his meeting with Tim Holt, Toby?), has just sent me the answer, part of which is:
“Return of the Gunfighter was made for TV with European cinema release in
mind. It was shown on US TV in January 1967 and released in UK cinemas March
1967. “The Spy in the Green Hat” (from the Man from UNCLE series),”The
Warning Shot,” “Hot Rods to Hell” (all 1967) are three other films that went
a similar route. Some movies were shot in both full screen and widescreen
versions, others so that there was an option from just one print.”
Hope that is of interest out there. And many thanks, John.
Jerry and Toby, thank you both so much, and Jerry, thanks for going the extra mile and contacting your friend! All very interesting info, especially that some movies were shot twice for both TV and theater. (I have sets of SEVEN BRIDES FOR SEVEN BROTHERS and OKLAHOMA! with two different filmed versions; the subtle differences are interesting. I remember once seeing OKLAHOMA on a big screen and feeling slightly confused as some of the line readings and so on didn’t “feel” right — I later realized I had seen a different print than I’d usually seen previously.)
I’m going to link to this thread in the comments over at my place in case people would like to take a look!
Thanks again,
Laura
A postscript, Toby, I hope you’ll review RETURN OF THE GUNFIGHTER soon. A very familiar-feeling film in the best possible way. I hope you’ll enjoy it as I did.
Best wishes,
Laura
John K ,regarding my list of top 10 westerns ,I can’t believe I left off SHANE .That should have been one of the first to go on there .FOUR FACES WEST with FRANCES DEE and THE PROUD ONES are 2 that I have discovered in the last 5 years .FOUR FACES WEST has a great human interest story to it and as I mentioned in a recent thread there is a great interview with MCCREA on TVO ARCHIVE where he talks about this movie and others .
As for THE PROUD ONES , it has the great ROBERT RYAN and some good supporting actors in it .
BIG JAKE , I love the scene where Wayne first makes an appearance involving
that sheepherder and those cattlemen .Classic Wayne .The casting of RICHARD BOONE ,one of my favourite bad guy actors was good too, but maybe he had a poncho on because they were heading to Mexico .
Laura , I loved RETURN OF THE GUNFIGHTER as well .his last western movie .He did make HONDO and the APACHES after this ,but according to IMDB this was 2 eposides of the TV series linked together and released as a feature.
…ain’t it the truth. There’s SOOOO many choices that we really need a special thread in which everybody here lists their top 10-15-20 or 25 Westerns, given the time to think about it.
And allowing for the constant, “Mr. McCandles, I thought you were dead.”, my
favorite line from BIG JAKE has to be the whacky,…” No thanks, peaches hurt my teeth.”.
Je note que l’on parle beaucoup sur ce blog de Mark Stevens, ce qui me ravit, car je suis depuis de nombreuses années, un fan de l’acteur. Le voir enfin sortir de l’ombre n’est que justice. Je suis d’accord avec John K, ” Jack Slade” (Jack Slade, le damné) ne ressemble à aucun autre westerns des fifties, c’est un western brutal, noir et amer qui sent la sueur et l’alcool, on est loin ici du cowboy clean à la Randolph Scott ( I like Scott). Ok aussi pour ” Gun fever” tout aussi sombre et peuplé de déments. ” Tierra de fuego” (Sunscorched) vu en espagnol, n’est pas sans intérêt, en tous cas plus intéressant que la plupart des westerns spaghettis de l’époque. Toujours avec Stevens, il faut également mentionner son personnage de pianiste torturé dans ” Gunsight ridge”, film à la très belle photo noire et blanc, due à Ernest Laszlo.
I can’t translate for Chip, but I think he’s pretty favorable to Mark Stevens, JACK SLADE, Randolph Scott and the cinematography of Ernest Laszlo, which is A-OK by me.
The thread that wouldn’t die!
Thanks Richard,a pal translated Chips comment for me.
He says that JACK SLADE is dark and brutal and reeks of sweat and
alcohol. He is pleased that Mark Stevens is getting some praise on
this blog.
He mentions that SUNSCORCHED is better than most Spaghetti Westerns
of the era and also praises Stevens’ performance as the tortured pianist
in GUNSIGHT RIDGE.
Personally I totally agree with Phil Hardy’s review of GUNSIGHT
RIDGE when he stated that Laszlo’s lovely photography is wasted
on Francis D Lyon’s lacklustre direction.
What a shame Tourneur never directed this one and the same goes
for TROOPER HOOK as far as I am concerned.
I really want to see SUNSCORCHED now and hopefully Wild East
or Sinister Cinema will oblige at some point.
Richard,you have provided great feedback on this thread and I do
hope that you re-appear on future ones!
Nothing about ” Jack Slade” in the Phil Hardy’s book ( the western), and a bad review for ” Gun fever”. The best movie made in Spain starring Mark Stevens is ” España otra vez” (Spain again) official selection! Cannes film festival-1969-
Good film with Stevens speaking spanish.
Thanks Chip,
Two Mark Stevens films I am very keen to track down are LITTLE EGYPT
where he co-stars with Rhonda Fleming and SAND with Stevens,
Rory Calhoun and Coleen Gray.
BETWEEN MIDNIGHT AND DAWN is another excellent Mark Stevens Noir.
Chip,have you seen ESCAPE FROM HELL ISLAND…..any good?
I saw it (Sand), beautiful technicolor, the movie is so-so,Coleen Gray in ” westerns women”, about SAND : ” I was not impressed with the picture or the part” . “”Between midnight and dawn” (De minuit à l’aube) is a good noir, but ” Escape from hell island” is dull, I saw it on internet, la plus mauvaise réalisation de Stevens.
I don’t see LITTLE EGYPT.
Just received TAGGART and MASSACRE RIVER and enjoyed both of them .If you love westerns you’ll enjoy these .
Chip,
Thanks for the feedback on SAND I still want to see it very much
as I really like the cast and director.
I think I will avoid ESCAPE FROM HELL ISLAND after your report.
Have only seen LITTLE EGYPT in a very poor off air copy,it looks
very interesting and Rhonda Fleming at her most ravishing!
gcwe 1
Glad you enjoyed TAGGART and MASSACRE RIVER I certainly did.
I am trying to convince Laura that she should review this film as it’s hardly
ever written about and deserves to be more well known.
I found the film offbeat,fast moving and rather subversive!
I love TAGGART and it’s such a shame Tony Young never did more
features.Dan Duryea steals yet another one!
Just in case there is any confusion in the above I hope Laura
will at some point review MASSACRE RIVER as she often reviews
older titles from Warner Archive.
Some of the location photography in that film is sensational for a
B picture.
Interesting to see that this thread has gone to Europe in the 1960s and has made its way back to the USA.
This is a well-traveled one for sure.
John, I have put MASSACRE RIVER on my wish list and hope to review it in the future, I have become quite the Rory Calhoun Westerns fan and this looks like my kinda movie. 🙂 Thanks for the tip!
Best wishes,
Laura
Laura,so sorry to get on your case regarding this film but having said
that I think you are really going to enjoy this one!
Perhaps not up to the standard of Rawlins’ FORT DEFIANCE which
you gave a very positive review to a while back,but pretty darn good
IMHO.
John Rawlins had a portfolio no B Movie lover could resist,but I sure
wish that he made more Westerns.
Rawlins’ THE ARIZONA RANGER is reputedly one of the very best of
Tim Holt’s Westerns and the only time Tim appeared with his Dad.
At any rate I am sure your,hopefully positive review will result in a flood
of orders for the film 🙂
I am becoming more and more impressed with Carole Matthews
who plays the “bad girl” in MASSACRE RIVER.
I REALLY want to see Rawlins’ SHARK RIVER which has the very
appealing star trio of Matthews,Steve Cochran and Warren Stevens.
This is the sort of United Artists obscurities that I wish Kino-Lorber
would release as they delve even further into the UA vaults.
John, I am always happy to have more tips on interesting movies to check out!!!
SHARK RIVER sounds interesting too, I’m a softie for Steve Cochran.
Haven’t seen THE ARIZONA RANGER yet but I look forward to it. Sure hope it will be in a final set of Holt Westerns!
Best wishes,
Laura
Laura, I too really like Cochran. Recently watched RATON PASS
and thought it was excellent and Cochran was sensational as the heavy.
I cannot recommend highly enough HIGHWAY 301 a great Warners
Noir which seems to have got lost in the mix.
The Archive release is fine and what an amazing cast:
Steve Cochran,Virginia Grey,Wally Cassell,Gabe Andre,Richard
Egan,Robert Webber,Edward Norris
The tension just simply does not let up for a second.
I have chosen this film as one of my “underrated thrillers” over
at Rupert Pupkins’ which has yet to appear.
I am really looking forward to the forthcoming Olive Films release of
THE WEAPON a great Brit-Flick where Steve shows his sensitive side
and co-stars Lizabeth Scott who I also really like.
Amazing location photography of a now mainly vanished London.
The copy of SHARK RIVER that I located was unwatchable,which
is a shame because it looks really interesting;a Civil War Western
set in the Florida Everglades.
Another very interesting film from John Rawlins is ROGUE RIVER
a tough modern-day Western starring Rory Calhoun and Peter Graves.
Rawlins retired from films in the late Fifties and had great success
as a property developer.It’s a shame that he never made more
Westerns as he had a great “feel” for the genre.
Returning to the subject for a moment, did anyone catch TCM’s showing of “Shootout At…” this morning? I was all set for it in case they were showing the widescreen version. But DRAT, no such luck, they were just showing the same full screen version they’ve shown before. Dang.
John, I also thought Cochran was really good in RATON PASS. That was a nice, meaty movie, the kind where I’m surprised it hasn’t received more attention in the past. It was certainly completely new to me.
Your description of THE WEAPON sounds awesome — Cochran in a London-set Brit flick, my kinda movie.
I picked up HIGHWAY 301 in a sale earlier this year but still need to watch it! My dad and I were just discussing Richard Egan this past week so your mention is timely.
And I’d forgotten previously that my dad owns MASSACRE RIVER — he is going to lend it to me next time he ships me a box of movies, so shouldn’t be too much longer before I catch it. I also have his copy of THE GUN HAWK with Rory and Rod here.
Best wishes,
Laura
Laura,
I thought that I better mention the THE WEAPON fits into the “child in
peril” type of film,which I thought that I would mention especially taking
into account our previous discussions on this subject.
In fact little Jon Whiteley is pretty much “in peril” throughout the entire
movie!
As an interesting aside, George Cole in his recent autobiography mentioned
this aspect of the film.Cole plays the really nasty baddie in this film and
he states that his characters actions towards Whiteley really disturbed
him.George states that while the film was very well made it’s not one
that he would like to be remembered for.
If you can accept that aspect of the film it’s a cracking thriller with
striking location work. I understand the Olive release will be in the
Superscope ratio.
It’s also odd that I watched another Cochran thriller from Olive,
THE BIG OPERATOR and lo and behold yet more “kids in peril”
I must say Laura your initial comments have made me increasingly
aware of this aspect in thrillers,in fact a great number of films that I have
seen recently feature imperiled kids!
The makers of STRANGE INTRUDER certainly way overstep the mark
in this aspect which is a pity because it’s such a well made film.
If you can get over Whiteley’s situation in THE WEAPON you should
really enjoy the film but I thought that I would warn you anyway!
I do look forward to hopefully getting Laura reviews of both MASSACRE
RIVER and HIGHWAY 301 I am sure you will enjoy them both.
THE GUN HAWK is very strange,but I really like it….it’s certainly
different.
One thing about all of the above films they are not “boring”
I watched one at the weekend which was a real snoozefest!
A pal loaned me the just released German DVD of FOREIGN INTRIGUE
starring Robert Mitchum. While the transfer is in beautiful looking
widescreen the film is,I thought pretty boring. Nothing much happens
for the first hour and the last half hour or so is just OK.
Odd to see Mitchum in such a clunker!
This thread goes on and on and gets wackier and wackier…I’m sure
gonna miss it when it fades into the sunset.
Hey John,
I really appreciate your tipping me off to those potential issues. Never had trouble with “kids in danger” in my younger years but as soon as I had kids I found I personalized it too much to enjoy it!
Just caught TERROR ON A TRAIN tonight and really enjoyed it. Love those ’50s Brit flicks with U.S. stars! Looking forward to your other recommendations.
Best wishes,
Laura
Hello again Laura,
It looks like we are the only two left with this thread….it’s been such
great fun.
I do hope that you get to see THE WEAPON;it’s a really good film,
actually Jon Whiteley spends most of the film on the run in strikingly
filmed London locations.
I also liked Lizabeth Scott’s lone parent/cafe waitress role very
downbeat for the era.
Saw your fine review of TERROR ON A TRAIN,someone really should
write a book on American stars in Fifties Britflicks!
All this talk about Cochran gave me the excuse to watch HIGHWAY 301
yet again last night. The film is so fast moving you just cannot take it all
in on a single viweing I must have watched it 5 or 6 times already!
The Warner Archive transfer is simply stunning.
It’s really a throwback to the G-Man type thrillers of the Thirties,
no talk of rehabilitation (this crops up a lot in films from the Thirties
onwards) here-criminals are vermin that need to be exterminated!
The respective officials from the states of Maryland,North Carolina and
Virginia set the tone of the film in the grim prologue.
Actually,to me these guys look scarier than the gangsters!
What I love about this film,among many other things is we get to see
what the gang do in their spare time,wining and dining in expensive
joints and while on the lam dropping into the local Chop Suey house!
The tension is maintained throughout.
Last night I was struck by the tremendous creative photography of
the great Carl Guthrie..the look of the film is amazing!
Guthrie is a favorite of this blog with FWOTF faves like DAWN AT
SOCORRO,QUANTEZ and YELLOWSTONE KELLY.
Bring us back on-topic for a second Guthrie also shot SHOOTOUT
AT MEDICINE BEND.
The very underrated FORT MASSACRE (also shot by Guthrie)
is due on Blu-Ray from explosive in Germany in a week or so.
HIGHWAY 301 has very interesting credits,producer Bryan Foy
was involved in many outstanding Noirs.
Edmon Ryan makes a stern, imposing law enforcer, both Foy and
Ryan are worth checking out on imdb…very interesting guys.
Cochran is at his coldest,most ruthless and the very underrated
Virginia Grey actually gets a role worthy of her considerable talents.
Finally a mention to director Andrew Stone who holds the whole
thing together in most impressive style.
Oddly enough Stone’s fact based Wartime Escape film has today
just been released by Warner Archive-THE PASSWORD IS
COURAGE.Never seen this one and am really looking forward to it
especially in lovely black and white widescreen.
One of my many “most wanted” films is Stones’ RING OF FIRE
which The Archive have promised us sometime in the future.
Be prepared for a non-stop white knuckle ride when you watch
HIGHWAY 301 Laura!
I’m still here, John and Laura, still following and enjoying the thread and making notes of some films I need to pick up!
I see that Renown Pictures in the UK have just released (in widescreen) the 1962 chiller “JIGSAW” with Jack Warner and “THE ROUGH AND THE SMOOTH” from 1959, another BritFlick with Tony Britton and William Bendix. This was released as an X certificate for its salacious content and was directed by the great Robert Siodmak. Renown are offering me both for £20 (around $30). I may not want to think about that decision too long!!
Regarding THE YOUNG GUNS I thought it sent a good message to young people .Either follow a life of crime and get sent to jail or knuckle down and work hard and make something of your life .As usual Warner Archives give us a good transfer with a clear picture.
Yes Jerry,Renown do good work and it’s great to see JIGSAW released
in its correct ratio. I always thought young Brit actor Ronald Lewis got a
raw deal in life,his tragic end was very sad-such an appealing actor.
JIGSAW of course was directed by Val Guest who also helmed
THE WEAPON.
Chris Wicking thought,at that time Guest was the closest thing the
UK had to a Siegel or Fuller.
BTW Jerry and Toby Iv’e been following your adventures over at Colin’s
and was intrigued by your dislike of PALE RIDER-Toby more than Jerry,
I think.
I was very tempted to bring this film into the SHANE discussions but
decided not to as I was sure somebody else would. All I can say is that
the Blu-Ray of this film is “blow your socks off” stunning and might
change both your opinions of this film,again Toby more so than Jerry.
John Russell is simply spine-chilling in this film.
gcwe 1 I am so glad that you enjoyed THE YOUNG GUNS and it’s
heartening to know other people are buying these really obscure
Westerns released by Warner Archive.
I’m not a very big fan of several of Eastwood’s westerns – “PALE RIDER”, “JOE KIDD” for example – BUT I do think he has grown as a director over the years and has made many fine movies generally. AND I always thought that John Russell was the absolute standout feature of “PALE RIDER”.
I have just ordered those two Renown releases BTW. Looking forward to seeing them again very much. I first saw “JIGSAW” on General release in 1962 while on a family holiday in Devon with my parents and found it a very atmospheric and actually quite disturbing film. Excellent cast generally.
I really like it that this thread is STILL rolling along (144 and counting – WOW).
John K and Jerry Entract .You mentioned Clint Eastwood .Have you ever seen BREEZY, with William Holden the 4th movie he directed after HIGH PLAINS DRIFTER .There is a scene in BREEZY where William Holden and Kay Lenz go to the cinema and there is a poster of HIGH PLAINS DRIFTER on the wall . Bit of clever advertising as they both came out about the same time .
I am a big William Holden fan and when I first saw BREEZY on TV many years ago I was unaware that Eastwood directed it .He also has a small cameo part as a pedestrian .
gcwe 1….Yep! I sure have seen BREEZY and it’s a shame Eastwood and
Holden never did other stuff together. I understand they got on really
well while making the film. Holden told Eastwood before making the film
“I’ve been this guy” Eastwood understood that.
Regarding Eastwood’s Hitchcock type cameo in the film: when Eastwood
saw the film in the cinema the audience said…ooh look there’s Clint…
which Eastwood felt detracted from the momentum of the film.
He never did this again.
I adore THE OUTLAW JOSEY WALES which I consider to be Clint’s
masterwork.
I am very keen to see his new project AMERICAN SNIPER which I feel
is going to be one of his best recent pictures.
I also wish that I was a gambling man because I have a sneaking feeling
Sienna Miller is going to get a best actress Oscar for this film.
john k…I’ve always liked Eastwood’s post-Leone Westerns, but felt that Clint seemed to be constantly repeating his Man With No Name character. I really liked it when he would try different things, and he often did, especially comedy (with mixed results) such as EVERY WHICH WAY BUT LOOSE or even KELLY’S HEROES, a great mix of comedy, adventure and drama, or even when Eastwood would spoof his own persona as in WHERE EAGLES DARE. Did you ever try to count how many men Clint kills in that movie? I’ve always lost count or simply gave up.
…as for the Hitchcock reference, I saw Eastwood’s PLAY MISTY FOR ME at theater double-billed with Hitchcock’s FRENZY. As I will most certainly acknowledge Hitch as the master of suspense, it was PLAY MISTY FOR ME that got the more positive audience repose throughout, especially when Clint socks Jessica Walter to her plunge. The theater roared with cheers and applause!… FRENZY was viewed in complete silence.
John K ,thanks for the info on BREEZY .Always a pleasure to read your posts.
THE OULAW JOSEY WALES is a good movie and I liked JOE KIDD as well.
I had a look at the trailer for AMERICAN SNIPER and it looks interesting .
I hope they don’t use too much slow motion photography .I like modern war movies ( and some older ones as well ) from the Korean war to the present day ,strange that ,as I am not a real big fan of westerns set post World War 2 ,with a few exceptions .
Richard,….Great that you are still with this thread,I sort of thought that
you had bailed out some time back.
I thought the most underrated Eastwood film was WHITE HUNTER
BLACK HEART…certainly a major change of pace for Clint.
gcwe 1 many thanks for the kind words.
I too like the much put-down JOE KIDD and the Blu Ray is really nice too!
Certainly the stunning widescreen compositions equal anything in any
of Sturges’ films.
Hey, I think this post takes us to a record-breaking 150 comments,but
why stop there!
john k…I got bushwhacked for awhile and was quite surprised to see how far this whole thing had advanced…..now I really don’t want to swing this around to the whole Spaghetti thing again, but I recall reading somewhere that Eastwood wanted to acquire the rights to remake Corbucci’s THE GREAT(BIG) SILENCE, but all that he came away with was a wintery location, the Mauser automatic pistol and JOE KIDD, a film I’ve always liked.
…Got it…it’s Alex Cox’s 10,000 WAYS TO DIE, A DIRECTOR’S TAKE ON THE SPAGHETTI WESTERN p.192.
Corbucci’s film is sometimes referred to as the best Spaghetti Western ever, or often as Corbucci’s own personal best. I was put off by the very downbeat ending and the overall feel of the whole thing and preferred JOE KIDD as the more entertaining viewing experience.
Hi gcwe1,
Sorry I had not responded sooner but I have been out a lot this week.
I saw “BREEZY” on its release in cinemas here in the UK in 1973 (trying to remember what film it accompanied) as a double bill. I don’t think it made many waves but personally I really enjoyed it. It flagged up to me as the third film directed by Clint Eastwood which made it important plus I like William Holden who I thought was terrific in it. Also I had very much enjoyed “PLAY MISTY FOR ME” but in between he directed “HIGH PLAINS DRIFTER”, another of his westerns I did not much care for. I think Richard nailed it (above) when he said that Clint’s westerns always seemed to be recreating his Man-With-No-Name persona – I agree and that is probably the key to it for me.
I will certainly want to see “AMERICAN SNIPER”. I am assuming this may be about the 2 snipers that terrorised Washington DC around 2002?? I was in DC at the time – it was a bit scary. Could be unrelated though…..
That’s a bit of a coincidence, Jerry. I too, was in D.C. at the time. The movie you mention is currently being shown by Sky Movies.
An interesting little fact about Clint Eastwood whilst filming White Hunter Black Heart. The accomplished British actor, Alun Armstrong who played Ralph Lockhart in the film, introduced Clint to Newcastle Brown Ale for which he acquired the taste. Armstrong hails from County Durham near Newcastle Upon Tyne.
Hello, Ron – I did not know Clint had a taste for Newcastle Brown! Good taste!
Fancy us both being in DC at that same time – I was there for a week on business and had quite a lot of “free” time there to wander about and dodge the snipers’ bullets! (“Free” time on a business trip? THAT doesn’t happen these days, I’ll bet).
Before this thing gets left high and dry I’d just like to give a little “due” to Gordon Jones for his role in SHOOT-OUT AT MEDICINE BEND, being the most overlooked and under-rated actor on the set. Focus goes usually to Scott (the star), and Garner and Angie Dickinson for this being early roles in their careers.
However, Gordon Jones, a well traveled character actor at this time, was the perfect third member of a trio (Scott/Garner) that reminded me of the likes of Republic’s THREE MESQUITEERS series, in that the three heroes played so well off of each other. The film strangely seemed as if it were a pilot for a television series.
Jones, a perfect leading man hero type, was the first serial GREEN HORNET(1940) and he pulled it off exceptionally, with a bit tongue-in-cheek to spare, foreshadowing his comic timing. He moved on to bit parts in several John Wayne films over the years, likable character parts in such fare as FLYING TIGERS(1942) right up to his last film McLINTOCK(1963). Jones also did much work in television in the 1950s and played the sheriff in one of my favorite sci-fi classics of the 50s, THE MONSTER THAT CHALLENGED THE WORLD(1957) which starred former cowboy hero Tim Holt. And speaking of cowboy heroes, Jones hooked up with Roy Rogers for several movies, including two of my favorite Rogers films, TRIGGER JR. & TRAIL OF ROBIN HOOD which is traditional Christmas viewing in my household..
So let’s give Gordon Jones a tip of the hat for fitting so comfortably into SHOOT-OUT AT MEDICINE BEND. He was a real professional and did his job well.
Trail Of Robin Hood is a tradition at our home, too. One of the biggest thrills to come from working on this blog and book has been talking to Roy’s daughter about her experiences working on it.
Thanks for giving some attention to Gordon Jones. After I put up this post, I realized I’d slighted really slighted him.
I’m working on a post on Monster That Challenged The World, and I won’t short-change him on that one!
Too bad we didn’t all know each other back then, I live here. We could have all met up and dodged bullets together. I remember at the time we were all walking in zig zag formation to avoid easy aim by that nut.
Yes, I wish we had all known each other then. I visited DC many times over the years and finally took my wife to see the beauties of that fair city in 2006.
“TRAIL OF ROBIN HOOD” is one of my favourite Rogers movies. Not just because Jack Holt is in it plus Monte Hale, Rex Allen and Rocky Lane too (and in colour) but also because it is just such a great story and comes together beautifully.
It would have been some meeting if we had all met up. MY one and only visit to D.C. was a vacation with my wife. We stayed over the river in Arlington. Of the many interesting things we did and saw during our stay, for me was the visit to the Arlington cemetery and visiting Audie Murphys grave. A real life hero who made some fine westerns.
And who can’t help but to love a movie in which George Chesebro finally gets to ride with the good guys!
Gordon Jones was a real versatile actor. I first became aware of him as Mike The Cop on the Abbott & Costello Show of the ’50’s. Then I saw him pop up in the Roy Rogers movies and from then on I noticed him in all kinds of movies and TV series too.
…thanks Johnny. I liked the character “Splinters” that Gordon Jones played in his handful of Roy Rogers films. Jones was a versatile professional whose career spanned four decades. He deserves his due and I’m glad that you agree.
Blimey! I go off-line for a few days and the Whole World has gone beserk!
Firstly Jerry Entract….AMERICAN SNIPER is the true story of Chris
Kyle;the most lethal sniper in US military history.
I am sure in Eastwood’s assured hands this will be a sombre study of
how an American hero turns into an American tragedy,
The comparason between Kyle and Audie Murphy are there especially
as both developed their combat skills in learning to hunt at an early age.
It will be especially interesting to see how Eastwood,who has always been
anti-hunting handles the early stages of the film.
As i have stated many times before,with WHITE HUNTER BLACK HEART
only Eastwood could make a film about the mistique of big game hunting
in which not one animal is shot.
Yep-I heard about the Newcastle Brown story too,interestingly Eastwood
had a role for Armstrong in SPACE COWBOYS but he was commited
to other projects.
Richard, to return briefly to Euro Westerns I just thought that I
would mention that I finally received my copy of GUNFIGHTERS OF CASA
GRANDE. I agree with the chap who gave it three stars in an Amazon
review purely on the strength of the stunning Warner Archive transfer.
To me the high picture quality on the Archive DVD is the best thing
about the film.
Actually,seeing the film in such good quality does raise it a notch or two.
It’s interesting as an example of a major studio (MGM) backing an
early example of a Euro Western.
I think that THE SAVAGE GUNS is the better of the two films and if it’s
presented in equal picture quality I for one,will be very happy.
If and when you get to see this film,Richard I would be very interested
to hear your feedback.
More CASA GRANDE………….
Actually reading the terrible reviews for this film on imdb it’s certainly
not that bad. The whole thing does not make a lot of sense but
I find it rather appealing nonetheless.Certainly anyone having high
hopes regarding Borden Chase’s involvement in the film will soon have
them dashed.
The film certainly would have been far better with a stronger leading
man;Cameron Mitchell would have been ideal.
Don’t get me wrong I kinda like Alex Nicol but not as a Western leading
man.I thought he was very good in a string of Brit B flicks: HEATWAVE,
FACE THE MUSIC,THE GILDED CAGE and STRANGER IN TOWN.
He was also an engaging straight man to Terry Thomas’ eccentric
Brit in the amusing comedy thriller A MATTER OF WHO.
Nicol’s finest hour Western wise was of course in THE MAN FROM
LARAMIE.
It’s interesting how a really great DVD transfer can raise the game
of even a really poor film.
john k…good to know CASA GRANDE looks great and is now in stock so I’ll probably wait a couple weeks for Oldies’ yearly Black Friday sale to batch together an order. You’re absolutely right that Cameron Mitchell would have been a better choice for the lead role. He was in Italy at the time doing all sorts of stuff. I really like his Bava films from that period.
A friend of mine and I get together about four times a year for a Bad Film, Good Wine festival in which we screen three or four “trash”…err low budget movies on a Saturday while enjoying a glass or three. Cameron Mitchell is often the featured star and sometimes Italian films of many genres (Western, Spy, Horror, Euro-Crime) are viewed.
Now most of these films we honestly like and it’s a really good way to enjoy an action-packed escapist afternoon…while our wives go off into another room to chat and watch some family type stuff.
A Bad Film Good Wine Festival…………..I LOVE it!
What better way to spend a rainy afternoon.
I will still look forward to hearing your report on CASA GRANDE even if
you have to hi-jack another thread to do so.
You can never have too much Cameron Mitchell in your life and I do
wish Warner Archive would hurry up with TENSION AT TABLE ROCK.
Interestingly,Cameron even made a Brit B crime flick THE
UNSTOPPABLE MAN which is above average and rather engaging.
Ron, I visited the Arlington Cemetry on my last business visit in 2002 and saw Audie’s grave. A moving place!
Did you also visit the Robert E. Lee house there while you were at it?
Here’s an old post with photos from my visit to Arlington a year and a half ago.
It was an odd trip — we didn’t know it at the time, but my wife had acute gangrenous appendicitis and she didn’t feel very well. A few weeks later she was in the hospital.
I have just checked out your old post of photos at Arlington cemetery Toby. I don’t feel you needed to apologize for their quality, as they appear very good to me. I trust your wife is fit and well now Toby.
She is, thanks for asking. That was a scary time!
I sure did Jerry, as I am interested in history, especially American history.