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Archive for the ‘3-D’ Category

Directed by Fred F. Sears
Screenplay by David Lang and Martin Berkeley
Story by David Lang
Director Of Photography: Henry Freulich
Film Editors: Al Clark and James Sweeney

Cast: Philip Carey (Wade Harper), Roberta Haynes (Paris), Wallace Ford (McBride), Richard Webb (Ace Eliot), Lee Van Cleef (Reno), Maurice Jara (Wingfoot), Regis Toomey (Col. Markham), Jay Silverheels (Spotted Bear), Pat Hogan (Yellow Knife), Frank Fenton, Dennis Weaver

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Figured it was time for another Fred F. Sears movie. A few years ago, I assigned myself the task of doing a post on each of Sears’ Westerns (I’m not counting the Durango Kids he directed). When those are done, the plan is to focus on his non-Western movies on my other blog.

Columbia was cranking out 3-D movies like crazy in the height of the ’53-54 stereoscopic craze. One of the bigger ones was Raoul Walsh’s Gun Fury (1953) starring Rock Hudson, Donna Reed and a terrific supporting cast.

Phil Carey and Roberta Haynes were part of that cast, and as soon as they finished the Walsh picture, they were put to work on The Nebraskan (1953).

Carey’s a cavalry scout who gets caught up in a standoff with the Sioux when he won’t turn over Wingfoot (Maurice Jara), who’s been accused of murdering chief Thundercloud. With them are a gambler Ace (Richard Webb) and saloon girl Paris (Roberta Haynes) — Carey used to have a thing going with Paris — and the murderous Reno (Lee Van Cleef), who’s escaped from the brig.

They take refuge in Wallace Ford’s way station, fighting off wave after wave of Indians — along with Reno’s repeated attempts to get loose and Ace turning out to be a sniveling coward.

The small-group-under-siege-in-a-small-space part hints at Hangman’s Knot (1952), and the Indian attacks remind me of Apache Drums (1951). This approach keeps the limited budget from being too much of a hindrance.

Wallace Ford is terrific, as always, as the grumpy ex-cavalryman. Lee Van Cleef is a real bad dude in this one. The scene where he strangles the guard at the brig is pretty tough stuff. Phil Carey’s OK and Roberta Haynes gets to look pretty and load guns. Speaking of that, it was good to see the loading of weapons treated somewhat realistically.

I came across a news article on the film that said Maurice Jara also owned a restaurant in Pamona, Casa Ramirez.

What I liked about The Nebraskan is pretty much the same thing I’ve said about all the other Fred Sears pictures — the high level of craftsmanship and efficiency he brings to these things. You can tell the cast and crew were professionals, committed to making the best they could of the material, budget and schedule. That goes a long, long way with these things.

The Nebraskan was shot in Technicolor and 3-D by Henry Freulich — some of it at the Corrigan Ranch. It was intended to be cropped to 1.85. The picture got a DVD-R release from Columbia’s Choice Collection. It looked great but was presented full-frame. It’d make a swell candidate for one of those Mill Creek sets.

TheNebraskan isn’t as good as the two pictures I compared it to, Hangman’s Knot and Apache Drums. But that doesn’t stop me from recommending it, or any of Fred F. Sears’ work.

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Was looking for images for a couple posts I was working on and found an ad where they played as a double feature (in Long Beach in December of 1953).

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Directed by William Castle
Produced by Sam Katzman
Screen Play by Robert E. Kent
Director Of Photography: Lester H. White
Film Editor: Viola Lawrence

Cast: Brett King (Joe Branch), Barbara Lawrence (Kate Manning), James Griffith (Bob Dalton), Bill Phipps (Bill Dalton), John Cliff (Grat Dalton), Rory Mallinson (Bob Ford), William Tannen (Emmett Dalton), Richard Garland (Gilkie), Nelson Leigh (Father Kerrigan)

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So glad to see The Fastest Guns Of The West: The William Castle Western Collection turn up in my mailbox. Couldn’t wait to crack it open and give it a whirl. You get Klondike Kate (1943), Conquest Of Cochise (1953), Jesse James Vs. The Daltons (1953), Masterson Of Kansas (1954), Battle Of Rogue River (1954), The Gun That Won The West (1955), Duel On The Mississippi (1955) and Uranium Boom (1956). All directed by William Castle. Most produced by Sam Katzman. And all eight for less than $15.

Jesse James Vs. The Daltons is about as historically accurate as Blazing Saddles (1974) is. Joe Branch (Brett King) might be the son of Jesse James. He and Kate Manning (Barbara Lawrence) — he saves her from a being lynched — hook up with the Dalton Gang to retrieve some loot and locate Jesse, alive or dead.

It’s silly, fast-paced and loads of fun. The picture runs just over an hour, with Castle and DP Lester H. White throwing coffee pots, bullets and dying bad guys at the 3-D camera whenever possible. There’s plenty of ridin’, fightin’ and shootin’, though you can tell the schedule kept the action from getting the staging it needed. It’s a bit sloppy at times.

This might have been Brett King’s only lead, and it was certainly his last feature. He’d do nothing but TV for the rest of his career. After a couple episodes of The Green Hornet in 1967, King and his wife moved to Harbour Island, Bahamas, and opened the Coral Sands Hotel. He became a mover and shaker in the tourism industry down there.

Barbara Lawrence has a decent part here, though there seemed to have been no effort to make her even slightly resemble a woman from the late 19th century. You see that a lot in 50s Westerns. She looks good in jeans, and I guess that was more important (King just happens to have a pair that fits her in his saddlebag). Barbara’s career wasn’t a long one — she gave up movies for real estate — though she’s in some good stuff, including the cool Regalscope sci-fi picture Kronos (1957).

James H. Griffith plays one of the Daltons. He’s always worth watching, and even though he gets third billing, his part isn’t all that big in this one. Castle would give him bigger, better parts in his next two Westerns: Masterson Of Kansas (1954, included in this set) and The Law Vs. Billy The Kid (1954).

Jesse James Vs. The Daltons was shot in Technicolor and 3-D, and it was to be projected at 1.85. It appears here 2-D, of course, and full frame. The picture looks quite good, but as you can imagine, there’s a lot of dead space at the top and bottom of the frame. The zoom feature on my TV took care of some of that. (Mill Creek licenses these pictures from Columbia and works with what the studio sends them.)

The rest of the set looks even better. The real jewel is the black and white Uranium Boom (1956), which looks gorgeous. You’d almost think you were looking at a Blu-Ray. The Fastest Guns Of The West: The William Castle Western Collection is a terrific set, something many of us have been hoping for. As I see it, William Castle could do no wrong, and these movies are good, cheap fun — thanks to Mill Creek for giving us such a budget-friendly, storage-space friendly package. Highly, highly recommended.

To the fine folks at Mill Creek: while you’re serving up William Castle, how about a set of the Whistler movies?

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I had to make sure this wasn’t April Fool’s Day — because a set of eight Westerns directed by William Castle (all but one produced by Sam Katzman!) sounds too good to be true. But here it is, coming from our friends at Mill Creek Entertainment.

Klondike Kate (1943)
Starring Ann Savage, Tom Neal and Glenda Farrell
One of Castle’s first directing credits — it came out a year before the first of The Whistler series.

Conquest Of Cochise (1953)
Starring John Hodiak, Robert Stack, Joy Page
Stack and Page had already appeared together in Budd Boetticher’s Bullfighter And The Lady (1951). Hodiak makes a good Cochise.

Masterson Of Kansas (1954)
Starring George Montgomery, Nancy Gates, James Griffith
James Grifftih’s performance as Doc Holliday really elevates this one.

Jesse James Vs. The Daltons (1954)
Starring Barbara Lawrence, James Griffith, William Phipps
This one was originally in 3-D and Technicolor. As you’d imagine, Castle throws everything he can think of at the camera.

Battle Of Rogue River (1954)
Starring George Montgomery, Richard Denning, Martha Hyer
Katzman cast “all six winners of the National Indian Beauty Contest” in this picture. I wouldn’t be surprised if this contest didn’t exist before Katzman and Castle came along.

The Gun That Won The West (1955)
Starring Dennis Morgan, Paula Raymond, Richard Denning
This tale of the US Cavalry taking on Chief Red Cloud makes good use of stock footage from Buffalo Bill (1944).

Duel On The Mississippi (1955)
Starring Lex Parker, Patricia Medina, Warren Stevens, John Dehner
Not really a Western, but it’s got a solid Western cast doing the Louisiana river pirate thing.

Uranium Boom (1956)
Starring Dennis Morgan, Patricia Medina, William Talman
A modern-day Western with Dennis Morgan and William Talman fighting over their uranium mine — and the lovely Patricia Medina.

Can’t tell you how excited I am about this set. Castle’s one of my favorite filmmakers, and I’ve got a real soft spot for these Castle-Katzman movies. Highly, highly recommended.

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Directed by Andre de Toth
Starring Randolph Scott, Claire Trevor, Joan Weldon, George Macready, Alfonso Bedoya, Lee Marvin, Ernest Borgnine

The Stranger Wore A Gun (1953), one of six Randolph Scott pictures directed by Andre de Toth, had all sorts of interesting technical things going for it — which makes the announcement that Explosive Media is bringing it to Blu-Ray in Germany something worth celebrating.

Stranger Wore A Gun 3D poster

The one-sheet for The Stranger Wore A Gun bragged about it all: 3-Dimensions, wide screen and stereophonic sound.

Andre de Toth was chosen to test-drive and fine tune a number of Hollywood’s technical developments of the 50s. For instance, the second of the De Toth Scotts, Carson City (1952), was the first Warnercolor filmHouse Of Wax (1953), the first major-studio 3-D movie, was filmed in the Natural Vision 3-D format and Warnercolor, with the added bonus of stereophonic sound.

The Stranger Wore A Gun was the first film composed and shot to be projected at 1.85. This aspect ratio is still the standard, in use in theaters and on video today. This framing in, for me, the key benefit of this upcoming Blu-Ray, along with the high definition, of course. It will not be offered in 3-D, and sadly, the three-track stereo elements were lost years ago.

This is not the best of the de Toth Scott movies, but it’s got Lee Marvin, Ernest Borgnine and Claire Trevor. And George Macready is totally despicable as the bad guy. Scott is so cool in the movies from this period, no matter how strong the movie around him is.

Not sure what Explosive’s region policy is. I’m sure hoping The Stranger Wore A Gun is something we can all enjoy. Can’t wait.

Thanks, John, for the tip.

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Directed by Raoul Walsh
Starring Rock Hudson, Donna Reed, Phil Carey, Roberta Haynes, Leo Gordon, Lee Marvin, Neville Brand

UPDATE: The release date for this has been listed as September 19. Thanks for the news, Paula.

Raoul Walsh said he didn’t like CinemaScope, but was excited about 3-D. Funny, given that he only had one eye and couldn’t see depth. He’d end up using Scope a few times, but he’d go with 3-D just once, with 1953’s Gun Fury.

It’s a pretty simple chase/revenge story, as Rock Hudson goes after Phil Carey, who’s kidnapped Donna Reed. Of course, Walsh applies his typical speed and efficiency — and the picture moves like a rocket.

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Twilight Time has announced a 2-D/3-D Blu-Ray release of Gun Fury for 2017. Personally, I’m more excited about the proper framing than I am 3-D. This is a really solid picture.

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Directed by Roy (Ward) Baker
Produced by William Bloom
Written by Francis M. Cockrell
Director Of Photography: Lucian Ballard
Music by Paul Sawtell

Cast:Robert Ryan (Donald Whitley Carson III), Rhonda Fleming (Geraldine Carson), William Lundigan (Joseph Duncan), Henry Hull (Sam Elby), Larry Keating (Dave Emory), Carl Betz (Lt. Mike Platt), Robert Burton (Sheriff), Barbara Pepper

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Inferno (1953) isn’t a Western. But it’s got enough of our usual stuff in it — cast, crew, locations, etc. — to seem like a pretty good fit. Truthfully, I just wanted to write about it, celebrate director Roy Ward Baker and lift up Panamint Cinema’s fine work in bringing it to DVD and Blu-ray.

3-D never saved a crappy movie, and how much it enhances a film comes down to personal taste (to me, if it’s not perfectly presented, it’s a huge distraction). None of that is an issue with Inferno, because it’s a terrific “desert noir” picture — and director Roy Baker and cinematographer Lucian Ballard use the 3-D very, very well. (Have you noticed that watching a 3-D movie flat tends to show off how gimmick-y it is? Fort Ti, for instance.)

Inferno WC

Robert Ryan is a tough, drunken business tycoon no one seems all that fond of. When he breaks his leg horseback riding in the Mojave, his wife (Rhonda Fleming) and her new lover (William Lundigan) decide to leave him there to die — they’re not killing him, they’re just not saving him. Sounds like a perfect plan. Only they didn’t figure Ryan would sober up, patch up his leg and start making his way back to civilization.

The picture goes back and forth between Ryan’s trek through the desert and Fleming and Lundigan’s attempts to fake their way through the rescue efforts. Ryan plays his part largely without dialogue — we hear his thoughts as narration — and he’s very, very good. (As if I had to tell you that.)

Roy Baker: “I had always had an ambition to make a picture in which the leading character spends long periods alone on the screen, where the interest would be in what he does, rather than what he says.”*

Inferno LC 2

Fleming and Lundigan are good, too. As the movie progresses, their paranoia and stress levels escalate. You just know it’s going to fall apart. It’s to the credit of everyone involved that our sympathy shifts from scene to scene — and in how satisfying it is when Fate takes over in the last reel.

Director Roy (Ward) Baker was a master, and today, nobody seems to know who he is. He enjoyed a widely-varied career, bouncing from features to TV, from genre to genre, and from the US to the UK with ease. He got a great performance out of Marilyn Monroe in Don’t Bother To Knock (1952), directed some great episodes of The Avengers, made one of the best Hammer films, Five Million Miles To Earth (1968, known in the UK as Quatermass And The Pit), and gave us one of the most impossibly-great, damned-near perfect movies I’ve ever seen, A Night To Remember (1958).

His use of depth in Inferno is subtle but very effective, and he was proud of his work on the picture. A falling rock or two, a chair thrown toward the camera — that’s about it as far as the showy stuff goes. The rocks and cactus provide plenty of opportunities to play around with depth in a more natural way. He and Lucian Ballard work wonders with light and color to create the intensity of the desert. The movie looks really hot — though it was shot in the winter. (Budd Boetticher and Sam Peckinpah also lured Ballard and his cameras into the desert for pictures like Buchanan Rides Alone and The Wild Bunch.)

Inferno LC 6

The supporting cast is a good one. Henry Hull is great as the old prospector who comes to Ryan’s aid. Larry Keating, who’s wonderful on The George Burns And Gracie Allen Show, is Ryan’s business associate, and he doesn’t seem all that upset, or surprised, that his partner’s gone missing. And Barbarba Pepper, Mrs. Ziffel on Green Acres, turns up as a waitress.

They say that back in the 90s, a British retrospective on Baker was reduced to running a 16mm TV print of Inferno. Luckily, Bob Furmanek of The 3-D Film Archive tracked down 35mm Technicolor prints of both the left and right sides — which this incredible region-free Blu-ray comes from (transferred by Dan Symmes). The picture is stunning at times, sharp as a tack with vivid color and just the right amount of grain. It looks exactly like what it is — a nice 35mm dye-transfer Technicolor print. This was an early stereo picture, but there’s only mono here. Bet the stereo masters are long gone. I wasn’t able to watch the 3-D version, which would have to be impressive since it comes from the same material. There’s a healthy batch of extras, from trailers to an interview with the great Rhonda Fleming.

Inferno comes highly, highly recommended — both the movie and this beautiful Blu-ray. And I’d like to thank Bob Furmanek of The 3-D Film Archive and Russell Cowe of Panamint Cinema for getting it out there.

Sources: *Director’s Cut: A Memoir of 60 Years in Film by Roy Ward Baker; Blu-ray liner notes

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