Jack Davis, the great Mad magazine illustrator, has passed away at 91. The panels you see here are from “Hah! Noon!,” Mad‘s parody of High Noon (1952).
Archive for the ‘1952’ Category
Directed by Fred Zimmerman
Starring Gary Cooper, Grace Kelly, Thomas Mitchell, Lloyd Bridges, Katy Jurado, Otto Kruger, Lon Chaney, Jr., Harry Morgan, Ian MacDonald, Lee Van Cleef, Sheb Wooley
High Noon (1952) is coming to Blu-ray again, like Johnny Guitar in a Signature edition from Olive Films. It’s worthy of such attention, for sure — though you’ll have to decide for yourself if this is worth any additional investment. (This double- and triple-dipping is a bit of a sore subject around here.) The new 4K transfer comes with plenty of extras, and I’m sure it’ll be a terrific disc. It’s coming in September.
In the photo above, the director and cast take a break for the 1951 World Series.
Posted in 1950, 1951, 1952, 1953, Andre de Toth, Claire Trevor, Columbia, Dorothy Malone, DVD reviews, releases, TV, etc., Edgar Buchanan, Ernest Borgnine, Forrest Tucker, Glenn Ford, Gordon Douglas, Lee Marvin, Mill Creek Entertainment, Pre-1950, Randolph Scott on February 15, 2016 | 56 Comments »
The Desperadoes (1943)
Directed by Charles Vidor
Starring Randolph Scott, Glenn Ford, Claire Trevor, Evelyn Keyes, Edgar Buchanan, Guinn ‘Big Boy’ Williams
The Nevadan (1950)
Directed by Gordon Douglas
Starring Randolph Scott, Dorothy Malone, Forrest Tucker, Frank Faylen, George Macready, Charles Kemper
Santa Fe (1951)
Directed by Irving Pichel
Starring Randolph Scott, Janis Carter, Jerome Courtland, Peter Thompson
Man In The Saddle
Directed by Andre de Toth
Starring Randolph Scott, Joan Leslie, Ellen Drew, Alexander Knox, Richard Rober, John Russell
Hangman’s Knot (1952)
Directed by Roy Huggins
Starring Randolph Scott, Donna Reed, Claude Jarman Jr., Lee Marvin, Guinn “Big Boy’ Williams
The Stranger Wore A Gun (1953)
Directed by Andre de Toth
Starring Randolph Scott, Claire Trevor, Joan Weldon, George Macready, Alfonso Bedoya, Lee Marvin, Ernest Borgnine
After a swell double feature a while back, many of us have been looking forward to Warner Archive getting around to some more Wayne Morris pictures. And I’m happy to report a couple are on the way.
The Younger Brothers (1949)
Directed by Edwin L. Marin
Starring Wayne Morris, Janis Paige, Bruce Bennett, Geraldine Brooks, Alan Hale, Robert Hotton, Fred Clark, James Brown, Tom Tyler, Monte Blue
Warner Bros. doesn’t worry about history, but they make sure we have Edwin L. Marin and Technicolor — and that’s good enough for me. Coming this month (next week, actually).
Desert Pursuit (1952)
Directed by George Blair
Starring Wayne Norris, Virginia Grey, George Tobias, Anthony Caruso, John Doucette, Emmett Lynn, Billy Wilkerson, Robert Bice, Gloria Talbott
An offbeat Western from Monogram. Arabs (Tobias, Caruso and Doucette) are after prospector Wayne Morris and Virginia Grey, pursuing them across Lone Pine (posing as Death Valley). Coming In February. At the same time comes Arctic Flight (1953), with Morris as a bush pilot in Alaska.
Directed by Lewis Collins
Produced by Vincent M. Fennelly
Story and Screenplay by Dan Ullman
Cinematography: Ernest Miller
Cast: Wild Bill Elliott (Joe Daniels), Peggy Stewart (Kay Collins), House Peters, Jr. (Ralph Carruthers), Lane Bradford (Fred Jethro), Stan Jolley (Slater), Fuzzy Knight (Cap), John Hart, Lyle Talbot
The last couple years, we’ve compiled lists of our favorite 50s Western DVD releases for that year, which I post on this blog. Well, I’m gonna go ahead and reveal my pick for the best DVD release of 2015 — Warner Archive’s Wild Bill Elliott Western Collection.
After The Showdown (1950), William Elliott and Republic Pictures parted ways. It wasn’t long before Elliott entered into a deal with Monogram Pictures to make some low-budget Westerns. In the end, there were 11 of them — with Monogram becoming Allied Artists midstream.
They’re a bit darker and more “adult” than your typical B Western. While the budget limitations are obvious, Elliott’s as reliable as ever — and he’s got some top-notch support from folks like Harry Morgan, Peggy Stewart, Myron Healey, Phyllis Coates, Denver Pyle, Beverly Garland, John Doucette and Fuzzy Knight. I love these little movies.
Kansas Territory (1952) is one of the better ones. Elliott journeys to Kansas, even though he’s wanted there on an old Civil War charge, to find out who killed his brother. Along the way, he learns his sibling went bad and probably deserved what he got. That, of course, doesn’t stop Wild Bill from tracking down the killer.
Elliott’s determination to get his revenge puts a hard edge on his usual “peaceable man” image. We know he’s a good man, but he’s got some dirty business to tend to — and it’s become an obsession. Dan Ullman’s scripts for these pictures (and for the Elliott detective films that followed) are very tight, and he manages to find something a little different to toss at a familiar plot point.
Shot at the Iverson Ranch by ace cinematographer Ernest Miller, under the working title Vengeance Trail, Kansas Territory looks great. Monogram struck prints of these pictures in “glorious sepia tone,” and while I’m a stickler for preserving the original presentation, I’m glad Warner Archive stuck with black and white. Sepia doesn’t always come off well on TV. This set is terrific, giving you eight of the 11 pictures on three DVDs. For me, it’s hard to avoid watching them all in a hard-riding, popcorn-munching binge. A must.
Posted in 1951, 1952, 1953, 1954, Beverly Garland, Daniel B. Ullman, Denver Pyle, DVD reviews, releases, TV, etc., Lewis D. Collins, Monogram/Allied Artists, Myron Healey, Phyllis Coates, Thomas Carr, Warner Archive, William Elliott on September 28, 2015 | 28 Comments »
After a stint at Republic Pictures that resulted in some terrific Westerns (including a personal favorite, 1949’s Hellfire), William Elliott made his way to Monogram. By the time the series was over, Monogram had become Allied Artists and 1.85 had become the standard aspect ratio for American cinema. And the B Western was dead. These 11 pictures made sure it went out on a high note.
Warner Archive has gathered eight of these films for a three-disc set — The Wild Bill Elliott Western Collection.
The Longhorn (1951)
Kansas Territory (1952)
The Maverick (1952)
Rebel City (1953)
Vigilante Terror (1953)
The Forty-Niners (1954, widescreen)
Following these rather adult B Westerns, Elliott would make a dynamite series of detective pictures (again for Allied Artists) then go into retirement. Cancer would take him in 1964.
For me, this is the DVD release of the year. It’s due October 13. Between this set and the double feature that’s already out, you’ll have everything but Bitter Creek (1954), which WA promises for a later release. Essential stuff.
Thanks to John Knight for the tip.
Associate Producer – Director: Joe Kane
Screen Play by Mary McCall, Jr.
Based on a Saturday Evening Post story by Luke Short
Director Of Photography: Jack Marta
Music: Ned Freeman
Cast: Brian Donlevy (Bide Marriner), Rod Cameron (Will Ballard), Ella Raines (Celia Evarts), Forrest Tucker (Sam Danfelser), Barbara Britton (Lottie Priest), J. Carrol Naish (Sheriff Joe Kneen), Chill Wills (Ike Adams), Jim Davis (Red Courteen), Taylor Holmes (Lowell Priest), James Bell (John Evarts), Paul Fix (Ray Cavanaugh), Roydon Clark, Roy Barcroft, Al Caudebec, Douglas Kennedy, Jack La Rue, Claire Carleton
This is an entry in The Republic Pictures Blogathon, a celebration of the studio’s incredible talent roster, wonderful output and lasting legacy.
Herbert Yates devised a rather odd hierarchy for Republic’s releases. First, there were the “Jubilee” pictures, shot in a week for about $50,000 — this was their bread and butter. Then came the “Anniversary” films, with schedules stretching to 15 days and budgets up to $200,000. The “Deluxe” projects were a decidedly bigger product, with bigger starts and costing up to half a million. And last came the “Premiere” bracket, with top directors (John Ford, Fritz Lang, Nick Ray) and budgets of about a million.
Ride The Man Down (1952) was a Deluxe, with location shooting in Utah, a terrific cast and the otherwordly hues of Trucolor. For good measure, Republic assigned it to one of their ace house directors, Joe Kane, who also gets an associate producer credit.
When the owner of the renowned Hatchet Ranch freezes to death, his daughter inherits the whole spread, and it’s up to the dedicated, steadfast foreman, Will Ballard (Rod Cameron), to protect Hatchet from the surrounding ranchers. This range war plot is something we’re all familiar with, but Mary McCall, Jr.’s screenplay, adapted from a Luke Short story, is overly complicated (complete with a murder and a love triangle worked in), leaving the audience with a lot to sort out along the way.
The picture’s biggest strength is certainly its cast, made up of some of Republic’s best. Rod Cameron is very good as Will Ballard. It’s a part that really suits him — he’s good at talking tough and swing his fists. Brian Donlevy is terrific as a powerful, greedy rancher. Ella Raines is good as the Hatchet Ranch’s new owner, a part that could’ve been annoying. Forrest Tucker turns out to be a rather slimy bad guy. And J. Carrol Naish makes quite an impression as a crooked sheriff.
Ride The Man Down boasts the kind of fistfight we expect from a Republic picture. Cameron and Forrest Tucker duke it out in a cabin, practically destroying the place in the process. And there’s a cool scene where Cameron beans Jim Davis with a cue ball.
This is another Republic picture without a DVD or Blu-ray release. Marta and Kane give the film a big, lush look and it’d be nice to see Jack Marta’s cinematography closer to his original intent. Maybe one of these days.
I leave you with a final thought: Would you want to live in a town where the sheriff is J. Carrol Naish?