Feeds:
Posts
Comments

Archive for the ‘Fred F. Sears’ Category

Badman's Country OS cropped

Directed by Fred F. Sears
Produced by Robert E. Kent
Screenplay by Orville H. Hampton
Director Of Photography: Benjamin H. Kline, ASC
Supervising Editor: Grant Whytock, ACE
Musical Score: Irving Gertz

Cast: George Montgomery (Pat Garrett), Neville Brand (Butch Cassidy), Buster Crabbe (Wyatt Earp), Karin Booth (Lorna), Gregory Walcott (Bat Masterson), Malcolm Atterbury (Buffalo Bill Cody), Russell Johnson (Sundance), Richard Devon (Harvey Logan), Morris Ankrum (Mayor Coleman)

__________

house-of-frankenstein R50 TC

Remember Universal’s “monster rally” pictures of the 40s? Beginning with House Of Frankenstein (1944), they’d pile as many of their monsters as they could into a single movie. It was more of a marketing ploy than a creative decision, perhaps, but they’re wonderful in the contrived ways they would dream up to drag Dracula, Frankenstein and the Wolfman into a single story arc. They’re a long way from those true classics of the 30s, but, God, I love ’em!

In a way, Badman’s Country plays like that — a Who’s Who of the Old West herded by a series of contrivances into a robbery tale — with absolutely no concern for history whatsoever. The outlaws are Butch Cassidy (Neville Brand) and the Sundance Kid (Russell Johnson), while the law’s represented by Pat Garrett (Montgomery), Wyatt Earp (Buster Crabbe), Bat Masterson (Gregory Walcott) and Buffalo Bill Cody (Malcolm Atterbury). None of it ties to these men’s real lives, but somehow it all works. Butch and Sundance are part of a gang planning a large robbery in Abilene, Kansas. Pat Garrett — who wants to turn in his badge, marry Karin Booth and settle down in California — gets wind of the plot and enlists Earp and Masterson to help out, with Buffalo Bill along for the ride. The Mayor of Abilene (Morris Ankrum) turns out to be a sniveling coward, wanting to do anything to avoid having his town shot up.

Badman's Country LC7

While I’m a big fan of Howard Hawks’ leave-it-to-the-pros philosophy (one reason why Rio Bravo is my favorite Western), the last reel of Badman’s Country is very satisfying as the lawmen and townspeople come together to give the outlaws what for. It all makes for a strong, fast 68 minutes. (There are a number of neat little plot points along the way, but I’ll let you see those for yourself.)

Badman's Country BTS1

A short action Western like this doesn’t allow for heavy dramatic scenes, but George Montgomery is quite convincing as the lawman who’s seen enough and is ready to hang up his guns. He never got an A Western of his own, which is a real drag. But with his good looks, height and those incredible cowboy hats, Montgomery stands tall in these B pictures. It’s hard to take your eyes off of him, and he certainly elevates every picture he’s in. Karin Booth does well as his patient, understanding girlfriend. She’d only make a few more films before retiring. Incidentally, Montgomery was paired with Booth in Cripple Creek (1952), and he’d tracked down Butch and Sundance before in Phil Karlson’s The Texas Rangers (1951).

The large supporting cast doesn’t get a chance to make much of an impression. Neville Brand and Russell Johnson are fine as Butch and Sundance, but Buster Crabbe and Gregory Walcott come off kinda flat as Earp and Masterson. Morris Ankrum is sufficiently slimy as Abilene’s ineffective Mayor. Malcolm Atterbury is always terrific, and he does what he can with the script’s rather odd take on Buffalo Bill — he seems more like a sidekick than a major character.

01b_1958 Badman's Country sized

Fred F. Sears was cranking out solid little Westerns like Badman’s Country, along with other genre pictures, at a staggering pace in the mid- to late-50s. He and director of photography Benjamin Kline worked together extensively at Columbia, going freelance for this one. Badman’s Country hit theaters in August of 1958, one of five films released after Sears’ death. He had a heart attack in his office on the Columbia lot at just 44.

Badman’s Country has the feel of a well-oiled machine, which has to be the result of a team of veterans who’ve made films like this time and time again, sometimes working together. It’s fast, exciting and completely void of pretense. Just the way I like ’em.

Read Full Post »

lfC1BOFES2 sized

Directed by Fred F. Sears
Produced by Wallace MacDonald
Story and Screen Play by David Lang
Director Of Photography: Fred Jackman, Jr., ASC
Film Editor: Jerome Thoms, ACE
Music Conducted by Mischa Bakaleinikoff

Cast: Bill Williams (James Kingston), Richard Jaeckel (Lee Parker), Alex Montoya (Joaquin Jironza), Movita (Rosita), Adelle August (Ann Parker), Tex Ritter (Traeger), Ray ‘Crash’ Corrigan (Hank Calvin), Ray Teal (Sgt. Tim O’Roarke), Don G. Harvey (Donald Tex McGuire), James Griffith (Abraham Lincoln), Clayton Moore

Fred F. Sears’ Fury At Gunsight Pass (1956) really knocked me out, and I was eager to move on to his Apache Ambush (1955), again written by David Lang.

It opens in Washington, D.C., in April 1865, as Bill Williams, Ray Teal and Don G. Harvey meet with President Lincoln (James Griffith). There are cattle in Texas and hungry people in Kansas, and the president asks the men to drive the cattle north.

Griffith as Abe3

Abraham Lincoln (James Griffith): “I wish we could talk longer, but I promised to visit Ford’s Theater this evening.”
James Kingston (Bill Williams): “Hope you enjoy the show, sir.”
Abraham Lincoln: “I’m sure I will.”

To this basic cattle drive plot, Lang’s script adds a wagon train, Mexican bandits, the Apaches of the title, a stampede, a bitter Confederate veteran and a shipment of Henry repeating rifles (and let’s not forget Lincoln’s assassination). All of that in less than 70 minutes.

Apache Ambush LC (1)

Apache Ambush doesn’t rise above its budget the way Fury At Gunsight Pass does. While Fury is tight and focused, Ambush seems to take on too many things. (And it never tops the Griffith/Lincoln opening.) But you are left with the opportunity to spend a little over an hour with a top-notch 50s Western cast and crew.

Bill Williams, of course, was Kit Carson on TV. He also appeared in some very good 50s Westerns: The Cariboo Trail (1950), Son Of Paleface (1952), The Halliday Brand (1957) and more. It’s obvious that he’s comfortable on a horse — he and his wife, Barbara Hale, lived on a working ranch.

There are a lot of great character actors in the cast, and they all do excellent work, from Ray Teal and James Griffith to old pros like Ray ‘Crash’ Corrigan and Tex Ritter (this was Ritter’s last film). Clayton Moore’s even on hand as a gunman. Adelle August is the good girl (it’s a shame her career was so brief) and Movita (who’d marry Marlon Brando in 1960) is the bad one. Back to Griffith: he was quite good at Lincoln, and played him a number of times.

apache ambush

Fred Jackman, Jr., whose cinematography was crucial to the success of Fury At Gunsight Pass, does nice work here, too — though he doesn’t have a sequence as flashy as Fury‘s windstorm. Editor Jerome Thoms had a long career cutting pictures at Columbia. Among his credits are 5 Against The House (1955), Pal Joey (1957), Face Of A Fugitive (1959) and a little thing called Ride Lonesome (1959). In Apache Ambush, Jackman and Thoms do a good job of shooting and cutting to incorporate a lot of stock footage — that may be why it’s black and white — and while it’s all obvious, it matches surprisingly well.

apache werewolfThen there’s director Fred F. Sears, who was so good at turning out these things. When he had a good script, as with Fury At Gunsight Pass, he turned in a supreme example of what a B picture could be. When he had less to work with, you got a good way to spend an afternoon. And that’s where Apache Ambush winds up — not one of Sears’ (or Lang’s) best efforts, but I’d gladly sit down and watch a dozen more just like it.

Apache Ambush is available as part of Columbia’s Choice Collection. I have not seen the DVD-R, but I’ve been told it’s widescreen and looks good. I’d love to see more of Sears’ pictures turn up on DVD. Of course, paired with his The Werewolf (1956) at the Roxana would be fine, too.

Read Full Post »

APACHEAMBUSH26

Directed by Fred F. Sears
Starring Bill Williams, Richard Jaeckel, Alex Montoya, Movita, Adelle August, Tex Ritter, Ray Corrigan, Ray Teal, Don C. Harvey, James Griffith

I’m on a bit of a Fred F. Sears kick these days, and I’m preparing a post on his Apache Ambush (1955). Turns out it’s on Encore Westerns this Saturday, February 7 at 10:50AM.

Thanks for the tip, Blake.

Read Full Post »

Fury At Gunsight Pass TC

Directed by Fred F. Sears
Produced by Wallace MacDonald
Story and Screen Play by David Lang
Director Of Photography: Fred Jackman, Jr.
Film Editor: Saul A. Goodkind, ACE
Music Conducted by Mischa Bakaleinikoff

Cast: David Brian (Whitey Turner), Neville Brand (Dirk Hogan), Richard Long (Roy Hanford), Lisa Davis (Kathy Phillips), Katharine Warren (Mrs. Boggs), Percy Helton (Peter Boggs), Morris Ankrum (Doc Phillips), Addison Richards (Charles Hanford), Joe Forte (Andrew Ferguson), Wally Vernon (Johnny Oakes), Paul E. Burns (Squint)

Fury At Gunsight Pass titleHow many plot twists and double-crosses can you cram into 68 minutes? That’s something you might ask yourself about two-thirds of the way through Fury At Gunsight Pass (1956), a cheap little Columbia Western directed by Fred F. Sears.

It goes something like this: a group of bank robbers ride into Gunsight Pass. The robbery goes awry, part of the gang is captured, but the money isn’t recovered. The men of Gunsight Pass quickly become a mob, ready for a lynching. As the prisoners are being escorted out of town (to avoid the vigilantes), the rest of the gang (lead by Neville Brand) ambushes the posse, frees their cohorts and returns to town to locate the loot. With a windstorm raging, they announce they’ll start shooting civilians — one every 30 minutes — till the money is handed over.

Fury At Gundight Pass LC

Fury At Gunsight Pass works a bit like Allan Dwan’s Silver Lode (1954), stacking circumstance on top of circumstance and piling on plenty of suspicion and paranoia as it goes. Plenty of suspense, too. This is a well-crafted little movie.

Wallace MacDonald produced a lot of Westerns for Columbia in the 50s, including some good ones like Ambush At Tomahawk Gap (1952), The Hard Man (1957) and Return To Warbow (1958). His unit often worked from scripts by David Lang, who wrote a lot of Westerns before making his way to TV. Lang’s work here is original, very tight and economical.

791417002_o

David Brian and Neville Brand are appropriately shifty as double-crossing bank robbers. Richard Long is a bit wooden as one of the citizens of Gunsight Pass, though he’s good in the fight scenes. Percy Helton and Katharine Warren make quite an impression as the crooked undertaker and his wife. Lisa Davis isn’t given much to do. And, of course, Morris Ankrum is terrific as the town doctor.

Director Fred F. Sears was so prolific, cranking out one B movie after another for Columbia, it’s easy to miss his real successes among all the standard stuff. Today he’s known for Earth Vs. The Flying Saucers (1956), a picture that benefits from remarkable stop-motion animation from Ray Harryhausen, and The Giant Claw (1957), a film completely scuttled by some of the worst, most laughable special effects in Hollywood history. Sears died in his office at Columbia in November, 1957, with eight pictures completed and waiting for release. He’s one of those B filmmakers whose work is ripe for rediscovery. His Ambush At Tomahawk Gap is a real sleeper — and so is Fury At Gunsight Pass.

Fury another ad

Cinematographer Fred Jackman, Jr. had a lot of Westerns under his belt by the time he came to Gunsight PassStrawberry Roan (1948), Fighting Man Of The Plains (1949) and Apache Ambush (1955), to name a few. (He was good with Cinecolor.) A tremendous amount of Fury At Gunsight Pass was shot at Vasquez Rocks, and Jackman’s black and white, 1.85 photography looks great. Columbia made frequent use of Vasquez Rocks for their 50s Westerns. (According to a quick look at Google Maps, it’s only 43 miles from the studio.) The scenes in town, during the windstorm, which make up the last 15-20 minutes of the film, feature wind machines and tons and tons of dirt. It must’ve been absolute hell for both the cast and crew.

Columbia hasn’t gotten around to putting this one on DVD, which is a real shame. It’s unusual and suspenseful — and well worth seeking out. Highly recommended.

Read Full Post »

Apache Drums LC

Yesterday, I posted our favorite DVD releases of the year. Today’s list is made up of films we discovered during 2014. Titles that made the list were mentioned by at least three people. It’s a great lineup of fairly obscure, medium-budgeted 50s Westerns — and if you haven’t discovered them yourself, search them out.

Ambush At Tomahawk Gap (1953) Fred F. Sears was extremely prolific, and his 50s Westerns are worth seeking out. This is one of the better ones, available through Columbia’s on-demand DVD program.

Apache Drums (1951) A suspense picture dressed up in cowboy clothes, produced by Val Lewton and directed by Hugo Fregonese. With Stephen McNally, Coleen Gray, Willard Parker, Arthur Shields, James Griffith and Clarence Muse (who’s superb in a small part).

Border River (1954) With George Sherman directing Joel McCrea, Yvonne De Carlo and Pedro Armendáriz, how could it not be great? Shot around Moab, Utah.

Cow Country (1953) Coming across a new Lesley Selander picture is always a treat. This one features Edmond O’Brien, Helen Wescott, Bob Lowery, Barton MacLane, Peggie Castle, James Millican and Robert Wilke.

A Day Of Fury (1956) One of the most unusual, and overlooked, Westerns of the 50s. Harmon Jones directs Dale Robertson, Mara Corday and Jock Mahoney. I’m so glad this one’s being rediscovered.

Four Guns To The Border (1954) Rory Calhoun, Colleen Miller and Walter Brennan in an excellent Universal Western directed by Richard Carlson.

furyatgungightpass

Fury At Gunsight Pass (1956) Another good one from Fred F. Sears. Wish this one would see a real DVD release — black and white widescreen is so cool.

The Silver Whip (1953) Dale Robertson, Rory Calhoun, Robert Wagner, Kathleen Crowley and James Millican star in this taut, tight picture from editor-turned-director Harmon Jones. The staging of the climactic chase is masterful.

Stage To Tucson (1950) Rod Cameron and Wayne Morris. Lone Pine in Technicolor. Surely that’s worth an investment of 81 minutes.

Yellow Tomahawk LC

The Yellow Tomahawk (1954) Sadly, this color film is only available black and white. But it’s still a solid effort from the ever-dependable Lesley Selander — with a cast that includes Rory Calhoun, Peggie Castle, Noah Beery, Jr., Peter Graves, Lee Van Cleef and Rita Moreno.

Thanks to everyone who participated.

Read Full Post »

$_57 (1)

Next month, the digital broadcast station GetTV offers up some Durango Kid pictures starring Charles Starrett, of course, and Smiley Burnette.

They’re presented Saturday matinee style, as they were intended. (And in chronological order, which is a nice touch.)

Saturday, October 11
12 p.m. – Both Barrels Blazing(1945)
1:20 p.m. – The Fighting Frontiersman (1946)

Saturday, October 18
12 p.m. – The Blazing Trail (1949)
1:15 p.m. – Bandits Of El Dorado (1949)

Saturday, October 25
12 p.m. – Trail Of The Rustlers (1950)
1:15 p.m. – The Kid From Broken Gun (1952)

Read Full Post »

durangokid

Here’s a thing on the Durango Kid I did for Classicflix, a quick guide to the few films in the series available on DVD.

Fred F. Sears and Ray Nazarro, whose work I really like, directed many of these, and I’d love to be able to really dive into the series.

Read Full Post »

Older Posts »

Follow

Get every new post delivered to your Inbox.

Join 222 other followers