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Archive for the ‘Jack Elam’ Category

rawhide1

The lineup for the 54th New York Film Festival — which runs from September 30 to Octoebr 16 — includes a terrific Henry Hathaway retrospective that doesn’t skimp on his Westerns.

Rawhide (1951)
Starring Tyrone Power, Susan Hayward, Hugh Marlowe, Dean Jagger, Edgar Buchanan, Jack Elam, George Tobias, James Millican

Garden Of Evil (1954)
Starring Gary Cooper, Susan Hayward, Richard Widmark, Hugh Marlowe, Cameron Mitchell

From Hell To Texas (1958)
Starring Don Murray, Diane Varsi, Chill Wills, R.G. Armstrong, Jay C. Flippen, Harry Carey, Jr.

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North To Alaska (1960)
Starring John Wayne. Stewart Granger, Ernie Kovacks, Fabian, Capucine, Joe Sawyer, James H. Griffith

The Shepherd Of The Hills (1941), Kiss Of Death (1947) and Niagara (1953) are among the other Hathaway pictures being shown. Good stuff.

The restored One-Eyed Jacks (1961) is also part of the festival.

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Directed by Joseph Pevney
Written by Warren Douglas
Starring Clint Walker, Martha Hyer, Keenan Wynn, Nancy Kulp, Jack Elam, Leo Gordon, Regis Toomey

Olive Films is continuing their Olive Signature series with a couple of great ones for October on both DVD and Blu-ray. First, there’s John Ford’s wonderful The Quiet Man (1952) — of course, one of the finest films ever made.

Then there’s The Night Of The Grizzly (1966), a solid picture with a great cast, and a fine script from Warren Douglas, who wrote one of my favorite 50s Westerns, Dragoon Wells Massacre (1957). What’s kinda neat about this new edition is that among the “Signature Features” is a commentary by yours truly. It was a lot of fun to do, and I hope any of y’all that hear it enjoy it.

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Dragoon Wells Massacre HS

Directed by Harold Schuster
Produced by Lindsley Parsons
Screenplay by Warren Douglas
From a story by Oliver Drake
Director Of Photography: William Clothier

Cast: Barry Sullivan (Link Ferris), Dennis OKeefe (Capt. Matt Riordan), Mona Freeman (Ann Bradley), Katy Jurado (Mara Fay), Sebastian Cabot (Jonah), Casey Adams (Phillip Scott), Jack Elam (Tioga), Trevor Bardette (Marshal Bill Haney), Jon Shepodd (Tom), Hank Worden (Hopi Charlie), Warren Douglas (Jud), Judy Strangis (Susan), Alma Beltran (Station agent’s wife), John War Eagle (Yellow Claw)

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This is an entry in The Allied Artists Blogathon, a celebration of the studio’s rich and varied output.

The team of writer/actor Warren Douglas, producer Lindsley Parsons and director Harold D. Schuster turned out five excellent B-plus pictures for Allied Artists in the 50s. They were the tight, grim Western Jack Slade (1953); a terrific noir, Loophole (1954); a solid sequel, The Return Of Jack Slade (1955); Finger Man (1955), a dope picture with Forrest Tucker, Peggie Castle and Timothy Carey; and finally, the dark, tense CinemaScope Western Dragoon Wells Massacre (1957).

Producer Lindsley Parsons had been in the picture business since the 30s, starting out writing B Westerns like those Lone Star John Wayne movies. Warren Douglas was a B Movie actor who made the transition to screenwriter, often playing a part in the pictures he wrote; he’d later write for a number of TV Westerns. He based his Dragoon Wells Massacre screenplay on a story by the prolific writer/producer/director of scores of B Westerns, Oliver Drake.

Director Harold Schuster started as an actor, making the transition to editor before the Talkies came in. Though he never set the world on fire as a director, he made a few fine films before settling into TV.

Dragoon Wells Massacre LCDragoon Wells Massacre begins with a prison wagon carrying two bad men, Link Ferris (Barry Sullivan) and Tioga (Jack Elam), to trial. Before long, they come across an Indian trader, Jonah McAdam (Sebastian Cabot), and a cavalry patrol that’s been slaughtered by the Apaches, with Capt. Matt Riordan (Dennis O’Keefe) its only survivor. Soon, the drivers and passengers of a stagecoach are added to those making the desperate journey to Fort Dragoon Wells with the Apaches never far behind. This is a fairly common setup — a diverse group making their way from Point A to Point B, battling an enemy, the elements and each other along the way — that’s certainly not limited to Westerns. Douglas comes up with some solid characters, makes sure we like the good ones and hate the bad ones, then puts them all through absolute hell — and us through a tense 88 minutes — before the final fade.

Dragoon Wells Massacre Cabot SullivanWhile the basic premise may be conventional — and I’m keeping the synopsis lean on purpose, what Douglas does with it is certainly not. (I’d love to know how many of the finer points were found in Drake’s original story.) What’s more, Schuster keeps things chugging along, almost relentlessly, from one set piece to the next. The picture really benefits from all of his years at the Moviola, and he gets top-notch performances from his terrific cast — which steadily shrinks with each brush with the Apaches.

Dragoon Wells ElamSullivan and Elam are likable badguys, and we’re soon hoping these outsiders will get their chances for redemption. This could be Elam’s best performance, as a man damned by his appearance — and by the shallowness of others. Dennis O’Keefe is fine as the tough cavalryman. Sebastian Cabot is utterly despicable as the gunrunner — the movie’s real villain. Before he became Mr. French, Cabot was a terrific 50s Westerns sleazeball.

Dragoon Wells Massacre Sullivan Freeman 2Mona Freeman does a great job as a snooty, self-centered, judgmental stage passenger (and former flame of O’Keefe). Her transformation is not only satisfying, but believable. Katy Jurado is good, as always, as a saloon girl hoping to turn her life around. My one complaint is that Hank Worden doesn’t have enough to do — but that’s something you could say about almost everything he appeared in, from The Searchers (1956) to One-Eyed Jacks (1961).

William Clothier shot Dragoon Wells Massacre around Kanab, Utah, in CinemaScope and color by DeLuxe. One of the finest Western shooters ever, Clothier’s work here is tremendous. The entire picture takes place outdoors, and you really feel the heat and dryness of the desert. Just as important, you never think that you’re watching a low-budget movie.

Dragoon Wells stillDragoon Wells Massacre is unavailable on DVD or Blu-ray in the U.S. There’s a German DVD that presents the picture at a TV-friendly 1.78 instead of Scope’s 2.35. It’s a real shame the picture’s so hard to track down and that Clothier’s work is compromised. This is one of those 50s Westerns that gets everything right, and it now sits at the top of my Blu-ray Want List.

Someone who frequents this blog, when I once mentioned that I was watching an old Phil Karlson picture, pointed out that now matter how old it is, a movie’s new if you haven’t seen it. So, following that logic, and considering that I just saw this a few months ago, Dragoon Wells Massacre gets my vote for Best Picture of 2015.

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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.

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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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Over the years, a great many movies have suffered from how they’re seen on TV — incomplete, beat-up, pan-and-scan prints (sometimes not even in color as they once were). That mistreatment eventually impacts the film’s overall reputation, as TV became how entire generations experienced older movies. (Right now, I’m thinking of how awful the Regalscope pictures have looked since they left theaters. Thank goodness for DVD and Blu-ray.)

I think TV shows have suffered a similar fate over the years, with faded prints hacked to bits to make room for more commercials. The Rebel (1959-61), now that we have the new set from Timeless Media Group, illustrates my point.

13_1959 Rebel, The TV Series (Nick Adams)

The Rebel follows Johnny Yuma (Nick Adams), a restless young Confederate veteran after the Civil War. With nothing to return to (we learn in the first episode that his lawman father’s dead), he “wanders the West” for 76 episodes — getting pulled into various situations as he rides from town to town in search of peace.

0e9f250b7cbb6dac92241b95bebf97beNick Adams is very good as Yuma, bringing the right mix of intensity and sensitivity to the part. He’s believable as a young man who’d beat the crap out of a guy, then write about it in his journal. It could’ve come off terribly. Like so many of these 5os Western TV shows, the supporting cast each week is incredible. The first episode alone features Strother Martin, Dan Blocker and John Carradine. And over the run of the show, you’ll also find Claude Akins, Robert Blake, Elisha Cook, Jr., Royal Dano, John Dehner, Jack Elam, Virginia Gregg, L.Q. Jones, George Macready, Patricia Medina, Agnes Moorehead, Leonard Nimoy, Warren Oates, Paul Picerni, Tex Ritter, Soupy Sales, Bob Steele, Peggy Stewart, Robert Vaughn, Yvette Vickers and Marie Windsor. Adams’ wife Carole Nugent is terrific in an early episode. Johnny Cash is in one, too.

Producer Andrew J. Fenady (from a good interview here): “We would shoot one day on location. Vasquez Rocks, and a lot in Thousand Oaks. And the second day we would shoot on the lot — the (western) street at Paramount. The third day we would do the interiors, whether it was someone’s house, or a shack, or a hotel or a jail. A sheriff’s office. So that was really the formula: first day out, second day on the street, and the third day interiors.”

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About half the episodes were directed by Irvin Kirshner. He does a good job, to be sure, but there’s nothing in this to indicate that this is the guy who’d eventually direct The Empire Strikes Back (1980), maybe the last truly epic film I can remember. The size of the screen was obviously not an issue for him. Bernard L. Kowalski, Bernard McEveety, Robbert Ellis Miller and Frank Baur handled the rest.
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Some episodes were transferred from slightly worn 16mm prints with changeover cues punched in them here and there; others look like a million bucks. What’s important is that The Rebel, The Complete Series gives us all 76 episodes, complete. Johnny Cash’s vocals have been restored to the titles (the theme was replaced for syndication, which is how we’ve been seeing and hearing it for years). While the quality varies from episode to episode, and 16mm can be a little soft, to have them all looking this good is a revelation. There are plenty of extras, from interviews to stills to commercials — even the pilot for the proposed companion series The Yank. This is a good set, and a good show, ready to be rediscovered. Highly recommended.

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M&L Pardners record

Directed by Norman Taurog
Starring Dean Martin, Jerry Lewis, Agnes Moorehead, Lori Nelson, Jeff Morrow, Lon Chaney, Jr., Jack Elam, Lee Van Cleef, Bob Steele

Went to a screening of Rio Bravo (1959) over the weekend, and with Dean Martin on my mind, was thinking that it’s about time to revisit him and Jerry Lewis in Pardners (1956).

Soon got to wondering where I’d find a copy, since the old Martin & Lewis DVD sets are out of print and bringing collector-type prices. Well, I didn’t need to worry. Our friends at Warner Archive have released (today, in fact), the Best of Martin & Lewis Volumes 1 and 2. Pardners is in the second batch.

Dean-Martin-Jerry-Lewis-Pardners

Pardners would be the next-to-last picture Martin and Jerry Lewis made together. This photo seems to sum up their relationship at the time. (The battered record sleeve seems appropriate, too.)

It’s hard to really recommend these films, since people’s opinions of them fluctuate so much, especially where Lewis is concerned. Me, I like them and grew up catching them on TV whenever I could. (Artists And Models, which is in this same volume, might be my favorite of all their pictures.) Pardners‘ VistaVision photography should look terrific on our spiffy HDTVs.

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montana territory OS

Directed by Ray Nazarro

Starring Lon McCallister, Wanda Hendrix, Preston Foster, Jack Elam, Clayton Moore.

Saturday, October 11
7:40 pm ET
GetTV

Filmed at the Iverson Ranch, in Technicolor, directed by Ray Nazarro, with Clayton Moore as a badguy, and only running 64 minutes, Montana Territory (1952) is one I’ve been wanting to track down. It sure has plenty going for it.

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