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Archive for the ‘Burt Kennedy’ Category

Rio Bravo foreign poster sized

Rio Bravo (1959)
Directed by Howard Hawks
Starring John Wayne, Dean Martin, Ricky Nelson, Angie Dickinson, Walter Brennan, Ward Bond

My favorite Western, Rio Bravo (1959), has been missing from Blu-ray for some time now (I’d heard it had something to do with music or story rights). Was really happy to find out it was being reissued. However, I’d heard the old Blu-ray wasn’t anything to write home about, and there’s no news yet on if this new edition is remastered or not (I’m assuming not). A new 2K transfer was done not long ago, but there’s been no mention of it for the Blu-ray.

Regardless, Rio Bravo is a terrific movie and certainly worth adding to your high-definition shelf. When it arrives June 2, I’d love to toast my copy with a bit of Duke bourbon (haven’t located it in North Carolina yet).

Train Robbers JW AM BJ

The Train Robbers (1973)
Directed by Burt Kennedy
Starring John Wayne, Ann-Margret, Rod Taylor, Ben Johnson

Also coming to Blu-ray are a couple of later Wayne pictures. The Train Robbers (1973) is a lot of fun, Burt Kennedy at the top of his game. Wayne and Ben Johnson are terrific together, of course. As a kid, the train stuck in the sand, on the big Panavision screen, was a striking image that really stuck with me.

John Wayne In Cahill U.S. Marshal

Cahill: U.S. Marshal (1973)

Directed by Andrew V. McLaglen
Starring John Wayne, George Kennedy, Neville Brand, Clay O’Brian, Marie Windsor, Harry Carey Jr., Paul Fix, Hank Worden

In some ways, Cahill: U.S. Marshal (1973) isn’t a very good movie. But as a John Wayne extended-family reunion, it can’t be beat (take a quick look at that cast). Wayne’s interplay with Neville Brand is worth the price of admission, and it’s always good to see Marie Windsor in anything.

These three titles are available separately (highly recommended, at a great price) from Warners, and as part of a John Wayne Westerns Collection set.

Thanks to Dick Vincent for the tip.

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Pillars Of The Sky HS sized

New York’s 92nd Street Y is hosting a class on Westerns of the 50s. Hosted by Kurt Brokaw, Associate Teaching Professor at The New School and senior film critic of The Independent magazine, it’s got a really terrific roster of films. The classes are Tuesday nights, beginning April 14, with two films each night.

Man, I wish I could get to this.

Week 1
Broken Lance
(1954) Directed by Edward Dmytryk, starring Spencer Tracy, Robert Wagner, Jean Peters, Richard Widmark, Katy Jurado
The Badlanders (1956) Directed by Delmer Daves, starring Alan Ladd, Ernest Borgnine, Katy Jurado

Week 2
Saddle The Wind
(1958) Directed by Robert Parrish, starring Robert Taylor, Julie London, John Cassavetes
Dawn At Socorro (1954) Directed by George Sherman, starring Rory Calhoun and Piper Laurie

Week 3
Pillars Of The Sky
(1956) Directed by George Marshall, starring Jeff Chandler, Dorothy Malone, Ward Bond, Lee Marvin
Backlash (1956) Directed by John Sturges, starring Richard Widmark, Donna Reed, William Campbell, John McIntire

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Week 4
Ride Clear Of Diablo
(1954) Directed by Jesse Hibbs, starring Audie Murphy, Dan Duryea, Susan Cabot
The Outriders (1950) Directed by Roy Rowland, starring Joel McCrea, Arlene Dahl, James Whitmore, Barry Sullivan

Week 5
Back To God’s Country
(1953) Directed by Joseph Pevney, starring Rock Hudson, Marcia Henderson, Steve Cochran, Hugh O’Brien
Black Horse Canyon (1954) Directed by Jesse Hibbs, starring Joel McCrea and Mari Blanchard

Week 6
Seven Men From Now
(1956) Directed by Budd Boetticher, starring Randolph Scott, Gail Russell, Lee Marvin, Walter Reed
Gun Fury (1953) Directed by Raoul Walsh, starring Rock Hudson, Donna Reed, Philip Carey, Lee Marvin

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Tall T TC?

Directed by Budd Boetticher
Produced by Harry Joe Brown
Screen play by Burt Kennedy
Based on a story by Elmore Leonard
Director Of Photography: Charles Lawton, Jr., ASC
Music composed and conducted by Heinz Roemheld
Film Editor: Al Clark, ACE

Cast: Randolph Scott (Pat Brennan), Richard Boone (Frank Usher), Maureen O’Sullivan (Doretta Mims), Arthur Hunnicutt (Ed Rintoon), Skip Homeier (Billy Jack), Henry Silva (Chink), John Hubbard (Willard Mims), Robert Burton (Tenvoorde), Fred E. Sherman (Hank Parker), Chris Olsen (Jeff).

This is part of The Blogathon For Randolph Scott. It contains spoilers. This is purely because most of Toby’s regulars will already have seen this film.

The premise of The Tall T is pretty basic. A trio of stagecoach robbers discover the stage they intend to rob is carrying the daughter of a wealthy copper mine owner; they decide to go for a ransom demand instead. Above anything else, however, a central theme of the film is isolation and indeed loneliness. The central character Pat Brennan (Randolph Scott) lives a solitary existence. He has a small spread, but at this time cannot afford any hired help. He lives alone in a remote place.

Visiting his friends at a stagecoach relay station father (Fred Sherman) and son (Chris Olsen) are also isolated. The wife/mother has passed on. The young boy has never visited a town — he is full of wonder about what such a place is like. In a very touching moment, the boy gives Scott the few pennies he has saved so Scott can bring him back some cherry stripe candy. Scott takes the boy’s money, not out of meanness but because he knows this is a big deal for the child — he’s actually able to buy something from town. Ironically, this is a town that he will never live to visit one day.

 

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After a leisurely 20 minutes or so with a more smiley than usual Scott, things take a darker turn. Mrs. Mimms (Maureen O’Sullivan), we discover, only married her weakling (and we later find out, cowardly) husband out of loneliness.

Boetticher and Burt Kennedy knew that the films they were making were generally classed as B Movies. They also knew that they could get a lot more past the censor because of this.

With the O’Sullivan character, we get none of the innuendo directed at Gail Russell in Seven Men From Now (1956). Furthermore, there are none of the more explicit references that were directed at Karen Steel in Ride Lonesome (1959) and Nancy Gates in Comanche Station (1960). Instead, we get lines like “she’s as plain as an adobe wall.” A deglamorized O’Sullivan has the dowdy clothes to match her character. Despite all of this we are left in no doubt that Scott and O’Sullivan will be a “couple” at the end of the picture. This becomes obvious in their first scene alone together.

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When the bad guy trio (Richard Boone, Henry Silva, Skip Homeier) things get really dark. After gunning down Scott’s pal (Arthur Hunnicutt), we learn that they have murdered the father and the child. Their bodies have been dumped down a well, before Scott’s return to the way station. They’ve committed that most heinous of crimes – child murder! The audience then realises that as this is a Randolph Scott picture; there is no way this trio will be alive at the end of the film. Furthermore, as this is a Boetticher picture, the trio’s deaths will be presented with as much graphic violence as the censor at that time will allow.

Most filmmakers, certainly from the Spaghetti era onwards, would have presented the Boone-Silva-Homier characters as leering repellent scum. That’s the easy option. Boetticher and Kennedy have no interest in easy options.

Boone’s Frank Usher, we discover, is quite intelligent, he would like to have become what Scott actually is. He could have become what Scott is had he not chosen a life of crime. He actually likes Scott, he at last has found someone he can hold a conversation with. Boone, too, is isolated, saddled with two cohorts that he has nothing in common with whatsoever.

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Silva, we learn, killed his first man at age 12: his own father, who was beating his mother with a tequila bottle. He goes by the derogatory nickname “Chink,” obviously a reference to Silva’s Oriental facial features. (Interestingly, Silva was cast as Mr. Moto when Lippert tried to revive the series in the mid-Sixties.) Homeier’s Billy Jack is a rather dumb, child-like character. Note the way he grabs the child’s candy from Scott, to Boone’s obvious annoyance. Silva likes to brag of his many encounters with women to the far more naive Homier. Amusingly, he details how his amorous encounters were curtailed one time because he pulled a leg muscle. Burt Kennedy used this situation again in his later Return Of The Seven (1966). All of Silva’s bragging leaves Boone totally cold and disinterested.

Despite the grim subject matter Boetticher and Kennedy mine the material for dark humour. This is best shown in the scene where Silva waits for the command to kill O’Sullivan’s weak husband (Hubbard). Silva’s facial expressions and body language convey a great sense of frustration and anticipation. Finally, as Hubbard is almost out of shot, Boone utters the command, “Bust him Chink,” a great line from a great scene.

There are tender moments too, especially when Boone takes coffee into a still-sleeping O’Sullivan. He gently covers her with a blanket, it’s a scene of a longing for a domestic existence that Boone has never had, and now never will.

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In the prelude to the graphically brutal climax, Boone with his back to Scott, attempts to ride away. He knows Scott will not be able to shoot him in the back.

“Don’t do it, Frank,” pleads Scott; the fact he uses his first name (the only time in the film) emphasises the bond that has developed between the two men.

The four Boetticher-Kennedy-Scott Westerns are among the finest ever made — and now rightly considered true classics. Furthermore, I would state that the Boetticher-Kennedy partnership is the greatest writer/director partnership in the history of the Western.

Boetticher wanted Richard Boone to play Frank Usher from the word go. “I announced to the studio I’d like to cast Richard Boone. It surprised me when Harry Joe and others didn’t exactly agree with me.”

They seriously doubted Mr. Boone had a sense of humour. Boetticher was unable to meet with Boone, as Boone’s wife was undergoing medical tests at the time. Later, on the telephone, Boetticher explained to Boone: “I had a problem with Columbia’s top executives who were of the opinion that he had no sense of humour. There was a moment’s silence then Boone’s wonderful voice said, ‘Well, Budd, you’ve got to admit those heart operations are pretty fuckin’ funny.’ He got the job! My biggest kick was that not one executive remembered not wanting Boone in the picture because he was absolutely marvelous.”

The fact that the Boetticher-Kennedy-Scott pictures were very much collaborative efforts is explained in the oft-told tale regarding the filming of Ride Lonesome. During the filming of Ride Lonesome, we were having dinner when Randy looked up from his steak. “Hey you two, what’s the name of the skinny young fella in the red underwear I played that scene with today?”

“Coburn’s his name,” Burt answered. “James Coburn.”

“Good! He’s all right. So why don’t you two dream up some new lyrics for that boy? I like his style!”

Scott, Boetticher explained, was like that with everyone who deserved it!

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John Knight is “a ‘Muswell Hillbilly’ by birth, now retired and living on the Isle Of Wight. A lifelong film fanatic, my ‘education’ on film was mainly gained in the fleapits of London and many visits to the National Film Theatre on London’s Southbank.” For Chris Wicking and Colin McGuigan: mentors past and present.

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RideLonesome_burningtree

Announcing screenings like this feels like torture sometimes, being that they’re over 2,000 miles from here.

In what is probably a birthday salute to Randolph Scott, The New Beverly is running 35mm prints of the last two entries in the Ranown cycle, Ride Lonesome (1959) and Comanche Station (1960) on January 25 and 26. Being that these are the two pictures that Budd Boetticher and director of photography Charles Lawton, Jr. shot in CinemaScope, that’s great news indeed.

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And while we’re on the subject, the Blogathon For Randolph Scott is approaching – and there’s some good stuff in the works.

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You’ve got till 4/6 at 11:59PM PST to head ‘em off at the pass. Mount up!

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Audie

We walked around Arlington National Cemetery this afternoon — it was a beautiful day. While there, we paid a visit to a few of our heroes.

We were told there was a desire to give Audie Murphy his own monument at Arlington. But in his will, he requested that he be buried just like his buddies.

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Lee Marvin is buried next to boxer Joe Louis. The nice lady in the Visitor’s Center knew exactly where Marvin was, rattling off his location (Section 7A, grave 176) in a split second. He’s a popular one, she says.

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Burt Kennedy is also in Section 7A (grave 15). Took these with my cell phone, so I apologize for the quality. Also, the subject line is lifted from Harry Carey Jr.’s book.

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