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Archive for the ‘Beverly Garland’ Category

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Back in 2014, gathering everybody’s favorite DVD and Blu-Ray picks for the year turned out to be a lot of fun. It’s since become an annual thing.

Thanks to everybody who sent in their picks for 2016. This was a great year for 50s Westerns on DVD and Blu-Ray (and 2017 is shaping up to be just as good, or maybe better). Here’s the Top 10, according to your votes.

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10. Desperado (1954, Warner Archive, DVD)
It was a tie between this Wayne Morris picture and his earlier Desert Pursuit (1952). They’re both solid, offbeat little Westerns — and it’s real treat to have them available in such stellar condition.

9. Yellow Sky (1948, Kino Lorber, Blu-Ray)
Thanks to William Wellman, we didn’t have to wait till the 50s for Hollywood to start making 50s Westerns. The town of Yellow Sky is populated by only an old prospector and his daughter — until some slimy outlaws come riding up.

8. Western Union (1941, Kino Lorber, Blu-Ray)
Randolph Scott in Fritz Lang’s second Technicolor movie. There’s so much cool stuff in this movie, and it looks wonderful.

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7. Black Horse Canyon (1954, Universal Vault, DVD)
For years, Joel McCrea’s Universal Westerns were missing on DVD. It’s great to have them so easy to track down. This is a good one.

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6. Comanche Station (1960, Explosive Media, Blu-Ray)
The last of the Scott-Boetticher Westerns turns out to be the first to make its way to Blu-Ray, and as I see it, the others can’t get here soon enough. This thing’s incredible.

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5. She Wore A Yellow Ribbon (1948, Warner Archive, Blu-Ray)
John Ford’s She Wore A Yellow Ribbon (1948, above) is one of the most beautiful color movies ever shot. The proof is pressed oh-so-magnificently into this Blu-Ray. It also features one of John Wayne’s finest performances.

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4. Roughshod (1949, Warner Archive, DVD)
This gets my vote as the best of the “noir Westerns.” I was real happy to see the response this picture got. It’s a shame it’s not better known.

3. Cariboo Trail (1950, Kino Lorber, DVD/Blu-Ray)
The transfer here is a minor miracle, demonstrating how good CineColor can look. They wisely didn’t go overboard with the cleanup, so it still retains its true film look. And, of course, this is a solid picture from Edwin Marin and Randolph Scott.

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2. Johnny Guitar (1954, Olive Films Signature Edition, DVD/Blu-Ray)
Olive’s new Signature edition is a marked improvement over their old release, which was terrific. The restored 1.66 framing makes a big difference, and the supplemental stuff is excellent.

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1. One-Eyed Jacks (1961, Criterion Collection, DVD/Blu-Ray)
Opinions of Marlon Brando’s Western are all over the place, so I was really surprised to see it land in the top spot. However, judging it simply in terms of its superb presentation, I don’t see how anything could beat it. It’s stunning, a big fat reward to all of us who’ve suffered through those awful tapes and discs over the years. I’m proud and honored to have been involved with Criterion’s work here. (Note: Having worked on the One-Eyed Jacks extras, I did not feel comfortable taking part in the vote this time around.)

In closing, the discs on this list highlight the impact the video presentation can have on our appreciation of these old movies. Many of these have been available, in some form, for years. One more thing: your reasons for not buying a Blu-Ray player are rapidly running out.

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Desperado HS

Directed by Thomas Carr
Written by Geoffrey Homes
Based on the novel by Clifton Adams
Cinematography: Joseph M. Novak
Film Editor: Sam Fields

Wayne Morris (Sam Garrett), Jimmy Lydon (Tom Cameron), Beverly Garland (Laurie Bannerman), Rayford Barnes (Ray Novak), Dabbs Greer (Marshal Langley), Lee Van Cleef (The Crayton twins), Nestor Paiva (Captain Thornton), Roy Barcroft (Martin Novack), Florence Lake (Mrs. Cameron), John Dierkes

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Thanks to a steady string of releases from Warner Archive, Wayne Morris will be showing up on this blog right regular for a while.

Though he had quite a career going at Warner Bros. — he played the title role in Kid Galahad (1937), Wayne Morris was one of the first stars to leave Hollywood to fight in World War II. He eventually flew an F6F Hellcat off the USS Essex, shooting down seven Japanese planes and helping sink five enemy ships. (His wife, Olympic swimmer Patricia O’Rourke, was the sister of Republic star Peggy Stewart.)

Back from the war with a number of decorations, Morris wasn’t able to regain his career’s momentum, and he found himself in a string of B Westerns — as Monogram was becoming Allied Artists and the B Western was heading into the sunset. One of the better ones was The Desperado (1954) from Allied Artists and director Thomas Carr.

The novel by Clifton Adams, published in 1950 by Gold Medal, was adapted for the movie by Geoffrey Homes. It takes place after the Civil War, as carpetbaggers are running Texas. In a town called John’s City, Tom Cameron (Jimmy Lydon) ends up on the run after locking horns with crooked sheriff Nestor Paiva. He crosses paths with Sam Garrett (Wayne Morris), a notorious gunman with a price on his head. Garrett takes Tom under his wing, teaching him how to use a gun and live on the lamb. After learning his father’s been killed, Tom takes all he’s learned back to John’s City for revenge.

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Sam Garrett (Wayne Morris): “Some folks will tell you a good shot only needs one gun. That’s a lot of foolishness. Two of anything is better than one.”

The movie itself feels like an attempt to do something special, to take the B Western up a notch. Maybe they didn’t quite succeed, but it’s completely unpretentious, offers up all the action we’re used to, and deviates from convention whenever it can.

Nobody ever said Wayne Morris was a great actor. But he’s easy to like and he carries himself well. In The Desperado, he makes his gunfighter-with-principles character work. The scenes as he mentors Jimmy Lydon are very well done, and when he threatens to plug someone, you know he means it. By this time, Morris had put on weight, and he looks a bit weary — both boost his effectiveness here.

The Desperado provided an early role for Beverly Garland. She said of Morris: “He was no longer a star. This was not Warner Bros.! He was nice, but heavy. He had to have a box to get on his horse. I didn’t hang around with him so I didn’t know about his drinking — but from his being puffy, I certainly suspected it.”

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Beverly would also appear with Morris in Two Guns And A Badge (1954), which is often listed as the last B Western ever made. She was also to appear in The Marksman (1953), but was replaced by Virginia Grey.

The rest of the cast of The Desperado is a B-Movie Who’s Who: Dabbs Greer, Lee Van Cleef (who plays twins!), Nestor Paiva (the same year he appeared in Creature From The Black Lagoon), Roy Barcroft and John Dierkes. Thomas Carr’s direction is typically tight, Joseph M. Novak’s camerawork is top-notch, and you get to see plenty of the Iverson Ranch.

The Desperado is an under-seen picture, one of those B Westerns that really rises to the top. Warner Archive has done a great job with it, presenting it with its original 1.85 framing intact — which makes a huge difference in the look of the film. Recommended.

Source: Ladies Of The Western by Michael G. Fitzgerald and Boyd Magers

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Directed by Thomas Carr
Starring Wayne Morris, Jimmy Lydon, Beverly Garland,Dabbs Greer, Lee Van Cleef, Nestor Paiva, Roy Barcroft, John Dierkes, Lyle Talbot

The B Western was heading for the last roundup when The Desperado (1954) came around. But it’s got a dream cast and Warner Archive is offering it with its original 1.85 framing. Can’t wait.

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RIP, Rex Reason.

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Rex Reason
(November 30, 1928 – November 19, 2015)

Rex Reason has passed away at 86. He’s best known for appearing in the great sci-fi picture This Island Earth (1955), but he’s in some solid 50s Westerns — Smoke Signal (1955), Raw Edge (1956) and Badlands Of Montana (1956, above) with Beverly Garland.

He left the movie business in the 60s and got into real estate.

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Maverick LC

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.

Rebel City LC

Warner Archive has gathered eight of these films for a three-disc set — The Wild Bill Elliott Western Collection.

The Longhorn (1951)
Waco (1952)
Kansas Territory (1952)
The Maverick (1952)
Rebel City (1953)
Topeka (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.

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Lippert

A few weeks ago, I broke my glasses and began relying on an old (pre-trifocals) pair while I scrambled for an eye exam and new frames. Reading became very, very difficult. Not the best time to receive a book you’re really excited about. But that’s exactly when Mark Thomas McGee’s Talk’s Cheap, Action’s Expensive: The Films Of Robert L. Lippert, from BearManor Media, turned up in my mailbox.

Lippert Pictures (and related companies) cranked out cheap little Westerns like 1952’s Outlaw Women, along with gems such as Sam Fuller’s I Shot Jesse James (1949) and The Quiet Gun (1957). (They covered the other genres, too.) I’m a big fan of these films and was determined to make my way through the book with or without spectacles, holding it so close I risked paper cuts on my nose.

McGee set the book up very well. The first 80 pages or so read as a biography and history of Lippert and his career, from the theater business to film production. I had a working knowledge of the Lippert story going in, but was always coming upon something I didn’t know. There’s a filmography, arranged by company, that makes up the bulk of the book. And finally, there’s a listing of the Lippert theaters (the closest to me was in Chattanooga, TN).

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What’s not to like about a book like this? It’s packed with information on movies I grew up with, movies I love. Rocketship X-M (1950). The Steel Helmet (1951). Superman And The Mole Men (1951). Forty Guns (1957). Showdown At Boot Hill (1958). The Fly (1958). The Alligator People (1959). House Of The Damned (1963). They’re all in here, and you’ll come away with a better understanding of what went into getting them made. Where I think McGee really excelled was in making sure the book, as informative as it is, stayed as fun as the films it’s about. (The same goes for his previous books on Roger Corman and AIP.)

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If there’s a downside to this book, it’s that the filmography points out film after film that you’d love to track down and see. You’ll find a lot of them available from Kit Parker Films and VCI, and others scattered here and there. Some of the Fullers were even given the Criterion treatment. As for the rest, well, happy hunting.

It’s very easy to recommend Mark Thomas McGee’s Talk’s Cheap, Action’s Expensive: The Films Of Robert L. Lippert. Now that my new glasses are in, I’m reading it a second time.

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Directed by Edward Nassour and Ismael Rodríguez
Produced: Edward Nassour and William Nassour
Screenplay by Robert Hill and Jack DeWitt
From a story by H. O’Brien
Music by Raúl Lavista
Cinematography: Jorge Stahl
Special Effects: Louis DeWitt, Jack Rabin and Henry Sharp

CAST: Guy Madison (Jimmy Ryan), Patricia Medina (Sarita), Carlos Rivas (Felipe Sanchez), Eduardo Noriega (Enrique Rios).

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The Beast Of Hollow Mountain (1956) finds Guy Madison as an American rancher in Mexico, trying to figure out why cattle are going missing — and eventually coming face to face with a dinosaur. (It takes place at the turn of the century, the time and setting of 1969’s The Wild Bunch.)

As a kid, I’d seen stills from The Beast Of Hollow Mountain in various monster magazines and books and I was dying to see it. Cowboys, dinosaurs, CinemaScope — what’s not to like? I was an adult by the time it turned up on laserdisc. And of course, as so often happens with this kinda thing, I was disappointed.

But there’s a lot to recommend The Beast Of Hollow Mountain. It’s got cowboys and a dinosaur (just one). It was shot in Mexico. It was based on a story by the great Willis O’Brien, and he spent years trying to raise the money to do it himself, unsuccessfully. It’s got Patricia Medina from The Buckskin Lady (1957) in it. And once it finally gets to the dinosaur, it really delivers the goods — even if the special effects ain’t so special.

The Valley Of Gwangi(1969) is a better-mounted version of O’Brien’s story, with excellent stop motion stuff from Ray Harryhausen. However, it doesn’t offer as much cheesy fun. Beast Of Hollow Mountain comes from a real sweet spot in Guy Madison’s career. He’d just done The Command (1954) and 5 Against The House (1955), and he’d follow this oddball sci-fi Western with two of his finest films — Reprisal! (1956) and The Hard Man (1957), both directed by George Sherman for Columbia.

Shout Factory offers Beast as a Blu-ray/DVD twin pack, paired with The Neanderthal Man (1953). Both films look terrific, with Beast‘s early CinemaScope boasting just the right amount of grain and a light scratch or two for good measure. As a bonus, Beverly Garland’s in The Neanderthal Man. It makes me happy to see low-budget genre pictures treated with such care. Recommended.

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