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Archive for the ‘Forrest Tucker’ Category

Been meaning to do a piece on Hank Worden for quite a while. He turned up in an episode of The Lone Ranger last night, so I figured now’s the time.

His real name was Norton Earl Worden, and he was born in Rolfe, Iowa in 1901. He grew up on a ranch in Montana, attended both Stanford University and the University of Nevada, served in the Army, and worked on the rodeo circuit as a bronco rider. While rodeoing in Madison Square Garden, he and Tex Ritter were chosen to play cowhands in Green Grow The Lilacs on Broadway.

That’s Hank in the yellow shirt to the right of Tex Ritter.

Worden broke into the movies with Cecil B. DeMille’s The Plainsman in 1936, and was soon appearing in Tex Ritter’s B Westerns.

Hank with Joanne Dru in Red River (1948)

Hank had a small part in Howard Hawks’s Come And Get It (1936), and they say Hawks recommended Worden to John Ford. For Hawks, he did Red River (1948) and The Big Sky (1952). (Why wasn’t he in Rio Bravo?)

Right, as one of the vile, dim-witted Cleggs in Ford’s Wagon Master (1950)*

As a member of John Ford’s stock company, Worden’s in Stagecoach (1939), Fort Apache (1948), Three Godfathers (1948), Wagonmaster (1950), The Searchers (1956, up top) and more.

As the Parson with Frankie Avalon in Wayne’s The Alamo (1960)

Hank continued to work with John Wayne — as part of his stock company. Their last picture together was Cahill, US Marshall in 1973.

Left, with Forrest Tucker and Kathleen Crowley in The Quiet Gun (1957)

He turns up in so much stuff: a couple of the Ma and Pa Kettle movies, Hellfire (1949), The Quiet Gun (1957), Dragoon Wells Massacre (1957), One-Eyed Jacks (1961‚ Marlon Brando killed him off way too early), Smokey And The Bandit (1977) and Clint Eastwood’s Bronco Billy (1980). On TV, he was on The Lone Ranger, Bonanza, Wagon Train, Petticoat Junction, even a few episodes of Twin Peaks (his last role).

Hank Worden added something special to every movie he was in, but it’s Mose Harper in The Searchers that he’ll always be remembered for. And that’s not a bad thing at all.

* One of my favorite photos ever posted on this blog.

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That’s Wright King to the right, appropriately enough.

Wright King
(January 11, 1923 – November 25, 2018)

Character actor Wright King passed away last month at 95.

King didn’t make a lot of features, but he’s in some good stuff: A Streetcar Named Desire (1951, he was in the original Broadway production, too), Friendly Persuasion (1956), Stagecoach To Fury (1956), Hot Rod Rumble (1957), The Gunfight At Dodge City (1959) and Planet Of The Apes (1968), to name a few.

On TV, he was on tons of stuff, including Wanted Dead Or Alive, Twilight Zone, The Gabby Hayes Show, Johnny Jupiter, Rawhide, Gunsmoke, Father Knows Best, The Fugitive and Mannix.

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Margia Dean and Stagecoach To Fury (1956) came up on my other blog today, which reminded me of the Regalscope picture’s coverage in the August 1956 issue of American Cinematographer.

It’s one of my favorite of the Regalscope Westerns, with a great cast — Forrest Tucker, Marie Blanchard, Paul Fix, Wallace Ford, Margia Dead, Ellen Corby — and solid direction from William Claxton.

Here are Marie Blanchard and DP Walter Strenge, who shot the picture (and wrote the American Cinematographer article). This was the first CinemaScope movie shot using Eastman Plus-X negative film.

A good look at the relay station set. The location stuff was shot around Kanab, Utah, with more done closer to home at the Gene Autry ranch.

Wish this one would make its way to DVD and/or Blu-Ray in its proper 2.35:1 aspect ratio. It deserves to be seen the way Strenge shot it.

Here’s the article as a PDF: Stagecoach To Fury Amer Cin Aug 1956. Enjoy.

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Republic Trucolor logo

Martin Scorsese has curated a retrospective of Republic movies, for February and August at the Museum Of Modern Art, from the restored material at Paramount.

There’s some great stuff in February’s lineup, including Trigger, Jr. (1950), Stranger At My Door (1956) and one of my all-time favorite films, Hellfire (1949). Three of my favorite directors are represented: William Witney, George Sherman and Allan Dwan.

Working with the fine folks at Kino Lorber on commentaries for some of their Republic releases, the quality of the material coming out of Paramount is incredible. (I’m in the middle of Singing Guns right now.) So glad to see these films are being treated with the respect they deserve.

Thanks to Laura for the news!

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maninsaddlepm5

The first Randolph Scott Roundup was a great thing. And now Mill Creek’s bringing us a second batch of Scott Columbias. There are six good ones here.

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

Santa Fe-La bagarre de Santa Fe 1951

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

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Dragoon Wells Massacre UK LC

It’s a lot of fun putting this list together every year, seeing what people are coming across for the first time. Remember, though these things are 60-something years old, if you’ve never seen it, it’s a new movie!

To make the list, a picture has to be mentioned by at least three people. This year, there were fewer titles brought up, but the frequency was a lot higher. We ended up with a solid lineup of fairly obscure, medium-budgeted 50s Westerns — and if you haven’t discovered them yourself, search them out.

And I hope this blog helped you discover some of these.

Dragoon Wells Massacre (1957)
This was my personal favorite discovery of the year, and I was so happy to have others finding it, too. William Clothier’s camerawork deserves a solid CinemaScope transfer — and Jack Elam’s performance needs to be seen by more people. (Stay tuned for the Allied Artists blogathon, where I’ll give this thing some much-deserved attention.)

Cave Of Outlaws (1951)
William Castle directs a 50s Western for Universal — shooting at Carlsbad Caverns, Vasquez Rocks and the Iverson Ranch. Needs a DVD release.

Wyoming Mail still

Wyoming Mail (1950)
A fairly obscure U-I Western starring Stephen McNally and Alexis Smith. Reginald Le Borg keeps things moving at a brisk pace and Russell Metty makes sure the Technicolor looks terrific.

Gunsmoke In Tucson (1958)
A number of people picked up the DVD from Warner Archive, and it seems like most of us were impressed. If you still haven’t tracked this one down, get to it!

Thunderhoof (1948)
A Phil Karlson horse picture with a cast of only three (and the horse). Can’t to track this one down.

FourGunstotheBorderLobby

Four Guns To The Border (1954)
This one was on last year’s list, too. We keep bumping into, and we all seem to like it. It’s a great example of what a Universal 50s Western can be: terrific cast, gorgeous Technicolor, plenty of action.

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Abile Town signed still

First, thanks to everyone who sent in their picks — we had a larger turnout this year. Your responses were very thorough, and they made it clear to me what a good year this was for 50s Westerns on DVD and Blu-ray — you brought up tons of em. Here are the Top 10, ordered by the number of votes they received.

Abilene Town (1946, Blu-ray, Panamint Cinema)
This one topped the list in a big way. I was so stoked to see this fairly obscure Randolph Scott picture rescued from the PD purgatory where it’s been rotting for years — a lot of you seemed to feel the same. Mastered from 35mm fine-grain material, it’s stunning.

Shane (1953, Blu-ray, Eureka)
The Blu-ray release from Paramount made last year’s list, and this UK release was a strong contender this time around. Eureka gives us the opportunity to see what Paramount’s controversial 1.66 cropping looked like.

The Wild Bill Elliott Western Collection (1951-54, DVD set, Warner Archive)
I’m pretty biased when it comes to this one, and I was happy to learn that others were as pleased with it as I was. One of the greatest Western stars goes out on a high note, even if it is a low-budget one.

The Quiet Gun (1956, Blu-ray, Olive Films)
It’s hard to believe this was a 2015 release, since it was on Olive Films’ coming-soon list for such a long time. These Regalscope movies look great in their original aspect ratio, and for my money, this is the best of the bunch.

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Woman They Almost Lynched (1953, Blu-ray, Olive Films)
It makes me feel good to see Allan Dwan get some attention, and stellar presentations of his work, like this one, should continue to fuel his (re-)discovery.

Man With The Gun (1955, Blu-ray, Kino Lorber)
A solid Robert Mitchum Western, with the added punch of a terrific 1.85 hi-def transfer. This is a lot better movie than you probably remember it being.

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Run Of The Arrow (1957, DVD, Warner Archive)
This really knocked me out — I’d somehow missed out on what a great movie this is. It took me a while to get used to Rod Steiger and his affected accent, but this is prime Sam Fuller.

The Hired Gun (1957, DVD, Warner Archive)
Black and white CinemaScope is a big attraction for me, so I’d been waiting for this one for years. It was worth the wait.

Stranger At My Door (1954, Blu-ray, Olive Films)
A really cool little movie from Republic and William Witney. It was Witney’s favorite of his own pictures, and it’s pretty easy to see why he’d be partial to it. His work here is masterful.

Star-in-the-Dust_15

Star In The Dust (1956, Blu-ray, Koch)
Koch out of Germany is treating us (or those of us with a Region B player) to some great Universal 50s Westerns on Blu-ray. This one was released in Universal’s 2.0 ratio of the period. Some found it a bit tight, but it’s a gorgeous presentation of a movie not enough people have seen.

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