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Archive for the ‘Jacques Tourneur’ Category

Directed by Jacques Tourneur
Screenplay by Herb Meadow and Don Martin
From a novel by Louis L’Amour
Cinematographer: Ray Rennahan
Film Editor: William B. Murphy
Music by Paul Dunlap

Cast: Joel McCrea (Judge Rick Thorne), Miroslava (Amy Lee Bannerman), Kevin McCarthy (Tom Bannerman), John Carradine (Col. Buck Streeter), John McIntire (Josiah Bannerman), Nancy Gates (Caroline Webb)

joel-mccrea-blogathon-badgeI missed Stranger On Horseback (1955) on its first run in the UK. as the support feature to the very popular Marty.

My interest was aroused by a February 1963 edition of Motion which had a comment on the film by the esteemed Raymond Durgnat. Mr Durgnat was the doyen of a new breed of young English cineaste film writers. Durgnat’s impression of the film was as follows: “In Stranger On Horseback (a disturbing little Jacques Tourneur Western), Joel McCrea comes across Miroslava (ex Archimboldo) who is clad throughout in black leather, boots, gloves, and of course whip. SHE comes across HIM bathing naked in a pool and though the scene is censored, it looks as if it builds up to the scene in Duel In The Sun where Gregory Peck waits for Jennifer Jones to emerge from among the reeds where she is cowering and shivering. The film also has a moment of Hawksian moral sadism; the weak willed sheriff (Emile Meyer) finally accepts the necessity for violence and blasts away at the crooks with a shotgun. “How d’you like it?” asks McCrea. “Loathesome,” replies Meyer grinning broadly.”

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The plot of Stranger On Horseback is pretty straightforward: a circuit judge (McCrea) wants to get the goods on an unsolved murder committed by the son (Kevin McCarthy) of a local king-pin (John McIntire). Tourneur graces the film with plenty of quirky offbeat touches that range from the humorous to the subversive.

The only available version of the film is on DVD from VCI, obtained from a print sourced from the vault of the British Film Institute. Sadly, this print is in bad shape — the lovely Sedona locations appear washed out. Hopefully, a master neg may surface or perhaps the film will be restored, like the previously considered lost Seven Men From Now (1956). It’s amazing what can be done these days, just consider the wonderful restoration done by Ignite Films on Canadian Pacific (1949) and The Cariboo Trail (1950). We live in hope. Not only is Stranger On Horseback Tourneur… it’s very good Tourneur.

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The film runs a mere 66 minutes, which suggests the film may have been censored — most of McCrea’s Fifties programmers clocked in at around 80 minutes. The film was an initial independent effort from producer Leonard Goldstein who previously had a splendid track record at Universal and Fox. Sadly, Mr. Goldstein passed away at the tender age of 51,  before Stranger On Horseback was released. Goldstein also produced Saddle Tramp (1950), the best of McCrea’s six Universal Fifties Westerns.

McCrea had choice of director on Stranger On Horseback. He chose Tourneur, who previously made the wonderful Stars In My Crown (1950), a film which sadly failed to find an audience. Tourneur also directed McCrea’s next picture Wichita (19XX), the first of four films that he made for Allied Artists. Wichita was far and away the best of the four and scored at the box office.

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The bad guy in Stranger On Horseback is Kevin McCarthy, who impressed McCrea. He told the young actor, “I’m going to tell the studios all  about you.” I have often wondered if this lead to McCarthy’s most iconic role in Invasion Of The Body Snatchers (1956). After all, producer Walter Wanger had produced one of McCrea’s biggest hits, Foreign Correspondent (1940). Wanger and McCrea were working out of Allied Artists at the same time. Furthermore; Sam Peckinpah played a bank teller in Wichita and a meter reader in Invasion Of The Body Snatchers, Sam has often cited Don Siegel as his mentor.

Don Siegel had previously tried to develop Bad Day At Black Rock at Allied Artists. He wanted McCrea to play the lead. With all due respects to Spencer Tracy and John Sturges, John at the very fine Greenbriar Picture Shows feels the McCrea/Siegel film would have been superior. I totally agree. And I might hasten to add that I will be first in line when Warners releases the Blu-Ray version of Sturges’ film.

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Had McCrea appeared in Bad Day At Black Rock and not turned down the Van Heflin role in Shane (1953) this surely would have had a huge boost to his star power which faded considerably in the late Fifties.As much as we all love his Westerns I would have loved to have seen him tackle some of the non Westerns roles played by Cooper and Stewart in the Fifties. McCrea’s reason for turning down Shane was two-fold: he did not feel he was at a time in his career to take secondary roles; plus, he did not want to detract from his friend Alan Ladd. McCrea, in typical modesty, stated that he could never had been as good as Heflin was. I totally disagree especially under George Stevens’ direction.

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An amusing snippet: one day, Ladd asked his pal McCrea, “What do you do when the phone doesn’t ring… when nobody wants you?” McCrea jokingly replied, “I slap my wife on the butt, jump on my horse and ride around the ranch.” This flippant attitude was totally alien to the increasingly insecure Ladd.

From the mid to late Fifties, McCrea often worked for directors who were a far cry from the likes of Hawks, Hitchcock, Wyler, Wellman, Sturges and Walsh — whom he worked for in his glory days. It’s a shame that Tourneur or Siegel didn’t direct films like The Oklahoman or Trooper Hook (both 1957), especially with their subtext of alienation and racism. Both directors made wonderful films that shared those themes. Things did improve when Joseph Newman came on board, a vast step up from the likes of Francis D. Lyon and Charles Marquis Warren.

Despite the late Fifties drop off in quality (apart from the Newman efforts, especially 1958’s Fort Massacre), McCrea has left a hugely impressive body of work. It is also encouraging that many major stars, from Katherine Hepburn to Clint Eastwood, feel McCrea was grossly underrated.

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Canyon Passage DJ

Directed by Jacques Tourneur
Produced by Walter Wanger
Screenplay by Ernest Pascal
Adapted from the Saturday Evening Post story by Ernest Haycox
Director Of Photography: Edward Cronjager
Film Editor: Milton Carruth

Cast: Dana Andrews (Logan Stuart), Brian Donlevy (George Camrose), Susan Hayward (Lucy Overmire), Patricia Roc (Caroline Marsh), Ward Bond (Honey Bragg), Hoagy Carmichael (Hi Linnet), Fay Holden (Mrs. Overmire), Stanley Ridges (Jonas Overmire), Lloyd Bridges (Johnny Steele), Andy Devine (Ben Dance), the Devine Kids, Frank Ferguson, Ray Teal

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There seems to be a general consensus around here that Canyon Passage (1946) is a damn good Western, typically fine work from Jacques Tourneur, and a picture that has been unjustly overlooked over the years. We also tend to agree that the DVD from Universal is a terrific example of how to present three-strip Technicolor on our hi-def TVs. So much so, that a few folks have commented that they couldn’t imagine how much difference a Blu-ray upgrade would make.

Well, the new Blu-ray from Panamint offers up a stunning example of just what Blu-ray can do — that beautiful transfer of Edward Cronjager’s Technicolor photography is, well, even more beautiful than it was before. Sharper, crisper, more detailed — and with a real sense of depth. After viewing this, the old DVD seems way too bright by comparison. The extras — from newsreel footage of the premiere to a series of radio shows to a nice booklet on the film — really make this a premium package.

Patricia Roc and Jacques Tourneur

Patricia Roc and Jacques Tourneur

Then there’s the movie itself. Director Jacques Tourneur’s first Western, and his first time working in Technicolor, Canyon Passage is a big, beautiful, complex tale of the Oregon territory in 1856. Dana Andrews runs a freight business and winds up in a love triangle with Susan Hayward and Brian Donlevy — while dealing with both Indians and a positively evil Ward Bond.

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Ward Bond and Dana Andrews duke it out

It’d be easy for Canyon Passage to get bogged down in melodrama, but Tourneur’s too smart for that. He treats us to incredible vistas of the Oregon locations (Crater Lake is one of them), gets top-notch performances from the entire cast and offers up a great fistfight between Andrews and Bond. Bond deserves special mention: he’s a real scumbag in this one, a sharp contrast to roles that came later like Wagon Master (1950) and The Searchers (1956).

Jacques Tourneur came to this film with some classic horror movies under his belt — Cat People (1942) and I Walked With A Zombie (1943), and he’d follow it with one of the finest noirs, Out Of The Past (1947). Tourneur’s body of work is certainly worth seeking out. Case in point: his other Westerns include Stars In My Crown (1950) and Wichita (1955).

It’s easy to recommend Canyon Passage — both the film and Panamint’s high-definition, Region B presentation of it. It takes a good thing and makes it better.

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Directed by Jacques Tourneur
Starring Dana Andrews, Brian Donlevy, Susan Hayward, Patricia Roc, Hoagy Carmichael, Ward Bond, Andy Devine, Lloyd Bridges

Here’s a good one coming from the fine folks at Panamint Cinema — Jacques Tourneur’s first Western, Canyon Passage (1946).

This has been available elsewhere for a while, but this will be a great opportunity to experience its eye-popping Technicolor in high definition.Remember what a great job Panamint did with Abilene Town (1946)? Watch for it in July.  Highly recommended.

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