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Archive for the ‘John Doucette’ Category

Well, here’s one I never thought we’d see, especially on Blu-Ray. Colt .45 (1957-1960) was one of Warner Bros’ Western shows of the late 50s — based (rather loosely) on their 1950 film starring Randolph Scott. It didn’t become a rerun favorite like Maverick or Cheyenne, and they haven’t been seen anywhere in years. (I saw a couple of episodes in 16mm at a Western film show ages ago.) Now all three seasons are available, and looking just heavenly, in a new Blu-Ray set from Warner Archive.

Wayde Preston plays Christopher Colt, a government agent posing as a Colt gun salesman. As he roams the West, he gets involved in all sorts of stuff, usually leading to some fancy shooting on his part. In the first season’s titles, Preston shoots toward the camera, then does some nice pistol-spinning as he puts his twin Colts back in their holsters. (Reminds me a little of the titles to The Rifleman.)

Wayde Preston and James Garner hanging around the Warner lot.

Though they run just half an hour and the budgets were obviously pretty slim, it’s a good show. All the WB Western series looked good, benefitting from excellent stock footage, using some nice WB sets and boasting terrific guest stars. Colt .45 featured Charles Bronson, Wayne Morris, Angie Dickinson, Robert Conrad, John Doucette, Ray Teal, Frank Ferguson, I. Stanford Jolley, Kathleen Crowley, Lee Van Cleef, Jack Lambert, Glenn Strange, Leonard Nimoy, Virginia Gregg, Paul Fix, Robert J. Wilke, Dorothy Provine, Lyle Talbot, Roy Barcroft, Adam West and Sandy Koufax(!).

Some solid directors worked on it, too — guys like Lee Sholum, Paul Landres, George Waggner, Lew Landers, Edward Bernds and Oliver Drake. 

The first season is excellent, but then things kinda went awry. Wayde Preston left the show (the usual pay dispute, they say), making for a short second season. For the third season, Donald May took over as Sam Colt, Jr., Christopher Colt’s cousin.

Warners evidently badmouthed Preston and he had a hard time landing parts around town. He was brought back toward the end of the third season, now supporting his cousin Sam. Colt .45 didn’t last beyond that third season and Preston eventually headed to Italy to make spaghetti Westerns and Anzio (1968).

With just two-and-a-half seasons (only 67 episodes), and a star who disappears midstream, it sorta makes sense that Colt .45 wouldn’t enjoy the perpetual syndication of other Western shows of the period. When it’s good, it’s really good, usually because of a solid story or an exemplary performance — Wayne Morris and John Doucette, for example, are excellent in their episodes.

Then there are the Blu-Rays. I’ve never seen a black & white TV show look this good — ever. There’s not a lot of old TV on Blu-Ray. I Love Lucy! and The Andy Griffith Show are, and they can’t hold a digital candle to this set. It’s stunning. From the logo in the grips of Preston’s Colts to the sewn-up holes in John Doucette’s shirt, the detail here is really incredible. (Of course, this highlights stuff like the stock footage stage driver looking nothing like the guy who speaks to Preston seconds later, but who cares?) The contrast is perfectly dialed in and the grain is just right. Whoever twiddled the knobs on this thing, I’d like to buy you lunch! Same goes for the folks in the vaults watching over this old material.

In short, the fact that Colt .45 made its way to video at all is a real surprise. That it would come out of left field looking like this, well, that seems like a miracle. Colt .45 – The Complete Series comes highly recommended. I think you’ll like the show, and I know you’ll be blown away by the care Warner Archive has given it.

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Directed by Russell Rouse
Starring Glenn Ford, Jeanne Crain, Broderick Crawford, Russ Tamblyn, Allyn Joslyn, Leif Erickson, John Dehner, Noah Beery Jr., J. M. Kerrigan, Rhys Williams, Virginia Gregg, Chubby Johnson, John Doucette, Paul Birch, Glenn Strange, Kermit Maynard, Dub Taylor, John Dierkes

Warner Archive has announced The Fastest Gun Alive (1956) for its next batch of Blu-Ray releases (July, I believe). Glenn Ford made so many terrific Westerns around this time — Jubal (1956), 3:10 To Yuma (1957), Cowboy (1958), etc., and I’ve always felt Fastest Gun gets lost in the crowd. (That’s why it gets a chapter in my book.)

It’s a really terrific movie and George Folsey’s cinematography will look great in hi-def. And look at that cast! Highly, highly recommended.

Thanks to Mr. Richard Vincent for the news.

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Kino Lorber’s second hi-def batch of Audie Murphy Westerns is coming in June. This set includes Sierra (1950), Kansas Raiders (1950) and Destry (1954).

Sierra (1950)
Directed by Alfred E. Green
Starring Wanda Hendrix, Audie Murphy, Burl Ives, Dean Jagger, Tony Curtis, James Arness, Jack Ingram, Houseley Stevenson, I. Stanford Jolley

Audie and his dad, Dean Jagger, have been hiding in the mountain for years. A chance meeting with Wanda Hendrix brings civilization to their doorstep, where it’s not welcome.

Wanda Hendrix and Audie Murphy were newlyweds when production began on this one. They were separated before its release. Some really nice horse stuff (some of it lifted from 1949’s Red Canyon) and a great cast of character actors.

I’m doing a commentary for this one.

Kansas Raiders (1950)
Directed by Ray Enright
Starring Audie Murphy, Brian Donlevy, Marguerite Chapman, Scott Brady, Tony Curtis, Richard Arlen, Richard Long

U-I mangles history again, but who cares? Murphy is Jesse James, Brian Donlevy is Quantrill. Yet another solid Western from Ray Enright, with typically-gorgeous cinematography from Irving Glassberg.

Destry (1954)
Directed by George Marshall
Starring Audie Murphy, Mari Blanchard, Lyle Bettger, Thomas Mitchell, Edgar Buchanan, Lori Nelson, Wallace Ford

For this 1954 remake, U-I puts Murphy and Mari Blanchard in the roles played by James Stewart and Marlene Dietrich in 1939’s Destry Rides Again. George Marshall directed both versions. (There was a semi-remake in 1950, Frenchie, with Joel McCrea, Shelley Winters and Marie Windsor.) In this one, it’s good to see Murphy play against type a bit, and it’s always great to see Wallace Ford. Of course, Mari Blanchard looks terrific.

All three of these pictures boast the usual U-I 50s Western Technicolor sheen. (Destry should be widescreen.) They’ll look wonderful on Blu-Ray. Highly recommended.

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Directed by Fritz Lang
Screenplay by Daniel Taradash
Story by Silvia Richards
Produced by Howard Welsch
Director Of Photography: Hal Mohr
Film Editor: Otto Ludwig
Music by Emil Newman

Cast: Marlene Dietrich (Altar Keane), Arthur Kennedy (Vern Haskell), Mel Ferrer (Frenchy Fairmont), Gloria Henry (Beth Forbes), William Frawley (Baldy Gunder), Lisa Ferraday (Maxine), John Raven (Chuck-a-luck dealer), Jack Elam (Mort Geary), George Reeves (Wilson), Frank Ferguson (Preacher), Francis McDonald (Harbin), Lloyd Gough (Kinch), John Doucette (Whitey), Russell Johnson, Fuzzy Knight, Emory Parnell, Kermit Maynard, Tom London, I. Stanford Jolley


I love Fritz Lang’s Hollywood movies, Rancho Notorious (1952) in particular. I’ve written about it on this blog before, and it’s got a chapter in my long-promised book.

With the new Blu-Ray from Warner Archive, well, here it is again.

First, the movie. It’s very, very Fritz Lang. You have Chuck-A-Luck, a retreat for outlaws run by Altar Keane (Marlene Dietrich) — sort of an Old West variation on Dr. Mabuse and his criminal network. Then you have Vern Haskall (Arthur Kennedy), whose fiancé (Gloria Henry) is raped and murdered in a holdup eight days before their wedding. Vern is absolutely consumed with revenge, another Lang favorite, and his journey for justice leads to Keane, gunslinger Frenchy Fairmont (Mel Ferrer) and Chuck-A-Luck.

As the ballad that runs throughout tells use, it’s a story of “hate, murder and revenge” — themes that served Lang well in all those terrific noirs.

All this is placed in a low-budget, studio-bound (though there’s a little Iverson Ranch and Republic Western street in there), Technicolor setting that comes off rather dreamy and operatic. Somehow it seems more dated that Lang’s Western Union from 1941. But let me be perfectly clear — all of these are good things.

Rancho Notorious is often compared to Nick Ray’s Johnny Guitar (1954). Some folks hate it, some find it corny and laughable (especially that song). For me, however, it’s just wonderful, one of the few films I’ve watched back to back on the same evening (had to make sure I actually saw what I thought I saw).

Now, on to the new Blu-Ray. Warner Archive often shows us just how good an older film can look in high definition. Their exquisite restoration of Anthony Mann’s The Naked Spur (1953) is a shining example. Rancho Notorious has been given a new 4K transfer from the original nitrate Technicolor negative, and it’s just incredible. From the B&W RKO logo to the final fade, it’s as sharp as anything I’ve ever seen on a TV, highlighting the detail (thanks to the nitrate, grain’s almost nonexistent) and depth of Hal Mohr’s cinematography. The artifice of the whole endeavor is more noticeable than ever, and I stopped it a number of times to study the costumes, sets and backdrops.

The audio has been given plenty of attention, too, and it’s as clear as a bell. (The old DVD’s audio level was a bit low.) If Fritz Lang’s weird Western is ever gonna get the reappraisal it so richly deserves, this is the way to make it happen.

Warner Archive keeps raising the bar. This is a stunning, as-close-to-perfect-as-you-can-get presentation. Highly, highly recommended.

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Directed by Henry Hathaway
Starring Steve McQueen, Karl Malden, Brian Keith, Arthur Kennedy, Suzanne Pleshette, Martin Landau, Pat Hingle, Paul Fix, Gene Evans, John Doucette, Lyle Bettger, Ted de Corsia

It’s about time on this one! Kino Lorber is bringing Henry Hathaway’s Nevada Smith (1966) to Blu-Ray from the camera negative.

It’s a prequel to The Carpetbaggers (1964) with Steve McQueen playing a younger version of Alan Ladd’s character. It was beautifully shot by Lucien Ballard in a number of incredible locations. For 50s Western fans, its biggest appeal might be its supporting cast of great Western character actors. Highly recommended.

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Directed by Henry Hathaway
Starring John Wayne, Dean Martin, Martha Hyer, Michael Anderson Jr., Earl Holliman, George Kennedy, Paul Fix, James Gregory, Dennis Hopper, John Doucette, Strother Martin, Percy Helton

Paramount has announced a September Blu-Ray release of The Sons Of Katie Elder (1965). It’s a terrific movie, with an incredible cast and gorgeous cinematography from the great Lucien Ballard. Paramount’s Blu-Rays of pictures like this can be stunning, if they’re not overly processed like El Dorado (1966) was. Still, it comes highly recommended. 

With this announcement this week, and last week’s news of The Gunfighter (1950) from Criterion, things are looking pretty good.

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Directed by Henry Levin
Produced by Pat Duggan
Written by Harry Essex & Robert Smith
Cinematography: Lionel Lindon
Music by Van Cleave
Film Editor: William B. Murphy

Cast: Jack Palance (Jacob Wade), Anthony Perkins (Riley Wade), Neville Brand (King Fisher), Robert Middleton (Ben Ryerson), Elaine Aiken (Ada Marshall), Elisha Cook, Jr. (Willie), Claude Akins (Blackburn), Lee Van Cleef (Faro), Harry Shannon (Dr. Fisher), James Bell (Judge Hart), Adam Williams (Lon), Denver Pyle (Brad), John Doucette (Sundown Whipple)

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It’d be easy to call The Lonely Man (1957) another gunfighter-wants-to-hang-up-his-guns movie, with an estranged son tossed into the mix. But you’d be really selling this one short. After all, one thing you learn from watching a couple hundred 50s Westerns is that the fun often comes from seeing what each picture does with a well-worn, basic framework we’ve all seen before.

After many years, gunman Jacob Wade (Jack Palance) comes home to lead a normal, peaceful life, only to find the wife he abandoned dead (suicide?) and his son a very bitter young man. Father and son wind up at Wade’s other ranch, where Ada (Elaine Aiken), a herd of mustangs and plenty of trouble await. That trouble, it’s some guys from Wade’s past — Neville Brand, Claud Aikens, Lee Van Cleef and Elisha Cook — and they have a score to settle. And to top it all off, Jacob’s going blind.

Palance is dressed a bit like his character, Jack Wilson, in Shane (1953), but all similarities end there. Jacob Wade has a conscience here, and is filled with regret. This isn’t how he wanted things to turn out, and he hopes to make things right with his son. Anthony Perkins is quite good as Riley Wade. He has plenty to learn, but he doesn’t come off as a spineless toad. Though he’s angry and spiteful, we still like him and feel for him.

Robert Middleton, who’s always good, has a great part as the one member of Wade’s old gang who’s still loyal. We like him, but we don’t really trust him.

9209_0007__20151015141858Elaine Aiken is really good as the woman Jacob’s been with since leaving his family. She didn’t make many movies, this was her first, but she became a noted acting teacher — and a founder of the Actors Conservatory. The bad guys, from Neville Brand to Lee Van Cleef, have well-rounded parts — and the actors make the most of their limited screen time.

The dialogue by Harry Essex and Robert Smith is terrific and the direction from Henry Levin and editing by William Murphy are very tight. This is solid picture.

But for my money, the real “star” of The Lonely Man is cinematographer Lionel Lindon. He did some fine work over the course of his long career — from Road To Utopia (1945) and The Black Scorpion (1957) to The Manchurian Candidate (1962) and The Munsters, but this one is just stunning. (Let’s not forget his beautiful Trucolor work in 1955’s A Man Alone.) The rich shadows of the interiors and the deep focus of the Alabama Hills exteriors are gorgeous in black and white VistaVision.

The Paramount DVD of The Lonely Man has been around for a while, and it’s a terrific example of what a good transfer can be. The VistaVision is sharp as a tack, as it should be, and the blacks are absolutely perfect, and that’s critical to appreciating Lionel Lindon’s work on this film. The Alabama Hills have rarely been presented so beautifully. I’d love to see this make it to Blu-Ray.

The Lonely Man certainly deserves more attention than it gets. Highly, highly recommended.

Interestingly, a few months later, Anthony Perkins and Neville Brand were back in another black and white VistaVision Western for Paramount — Anthony Mann’s The Tin Star (1957).

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Directed by Henry Hathaway
Starring John Wayne, Glen Campbell, Kim Darby, Robert Duvall, Dennis Hopper, Strother Martin, John Doucette

To mark the 50th anniversary of True Grit (1969), TCM has put together a string of screenings in hundreds of theaters this Sunday and Wednesday, May 5 and 8. To find a theater near you, click the lobby card above.

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Directed by Nicholas Ray
Starring Robert Wagner, Jeffrey Hunter, Hope Lange, Agnes Moorehead, Alan Hale Jr., Alan Baxter, John Carradine, Rachel Stephens

Nicholas Ray’s mangled masterpiece The True Story Of Jesse James (1957) is coming to Blu-Ray from Twilight Time. It’s one of my personal favorite 50s Westerns — for Ray’s incredible use of CinemaScope if nothing else, and it’s the subject of what I think is my best post ever for this blog.

It’s coming November 20. Not sure what the extras will be, but I can’t wait.

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Republic studios yellow

Welcome to The Republic Pictures Blogathon. Over the weekend, we’ll be celebrating the studio’s incredible talent roster, wonderful output and lasting legacy. This page will serve as its hub, and you’ll be able to reach all the posts here. Keep checking back.

One of my earliest movie memories, maybe the earliest, is of a 16mm print of John Ford’s Rio Grande (1950). So Republic has always been a huge part of my movie world.

It was formed by combining a number of the Poverty Row studios, and the goal of its head, Herbert J. Yates, was always commerce over art. So in a way, it’s surprising their films displayed the level of craftsmanship that they did. That craft may be what, in the end, sets them apart. After all, there were lots and lots of B Westerns and serials out there. But there’s a polish to a Republic picture — from the camerawork to the editing to those wonderful special effects to the performances to the stunts, that’s very special. It’s easy to see why their films are still so popular. If only they were readily available on DVD and Blu-ray.

Over the next few days, we have plenty to celebrate. The cowboy movies. The serials. The crime pictures. And on and on. Some great movie bloggers have saddled up or strapped on their rocket suit to be a part of this whole deal — and I really appreciate their efforts. This should be fun, folks!

Click on the images below to be linked to the appropriate blog.

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Day Three.

ANGELANDTHEBADMANPOSTER

Angel And The Badman (1947) – The Round Place In The Middle

sansre166

Ride The Man Down (1952) – 50 Westerns From The 50s

citysleeps3

City That Never Sleeps (1953) – Speakeasy

 

Radar Men LC Ch4

Radar Men From The Moon (1952) – The Hannibal 8

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Day Two.

Fabulous Texan OS

The Fabulous Texan (1947) – Blake Lucas at 50 Westerns From The 50s

Hoodlum Empire TC

Hoodlum Empire (1952) – Jerry Entract at The Hannibal 8

jubilee-trail-La-grande-caravane-affichette-us4

Jubilee Trail (1954) – Laura’s Miscellaneous Musings

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Rock Island Trail (1950) and California Passage (1950) – The Horn Section

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Day One.

lkhndt9

The Outcast (1954) – Jerry Entract at 50 Westerns From The 50s

blackmail-47-tc1

Blackmail (1947) – John Knight at The Hannibal 8

Angel And The Badman (1947) – Thoughts All Sorts

Red Pony 6S

The Red Pony (1949) – Caftan Woman

Dakota_Incident TC

Dakota Incident (1956) – Riding The High Country

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