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Archive for the ‘Karl Malden’ Category

On December 2, 1958, under the watchful eye of DP Charles Lang, the big VistaVision cameras rolled for Marlon Brando’s One-Eyed Jacks (1961). It would be six full months — June 2, 1959, to be exact — before they stopped. A number of inserts and reshoots came later.

My book on the film isn’t taking quite that long. Not quite, anyway.

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Directed by Delmer Daves
Produced by Martin Jurow and Richard Shepherd
Screenplay by Wendell Mayes and Halsted Welles
From the novel by Dorothy M. Johnson
Director of photography: Ted McCord, ASC
Music by Max Steiner
Song: “The Hanging Tree” — Lyrics by Mack David, Music by Jerry Livingston,
Vocal by Marty Robbins
Film Editor: Owen Marks

CAST: Gary Cooper (Dr. Joseph Frail), Maria Schell (Elizabeth Mahler), Karl Malden (Frenchy), Ben Piazza (Rune), George C. Scott (Grubb), Karl Swenson (Mr. Flaunce), Virginia Gregg (Mrs. Flaunce), John Dierkes (Society Red)

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It was a big deal back in 2012 when Warner Archive brought Delmer Daves’ The Hanging Tree (1959) to DVD. (Hard to believe it’s been that long.) Their new Blu-Ray ought to be just as big an event, since hi-def can really add to your appreciation of the film.

Not a frame from the Blu-Ray, just a sample long shot from the film.

Cooper’s character, Doc Frail, lives in a cabin on a ridge about the mining town of Skull Creek. Throughout the picture, we’re look down on the village from Frail’s perspective. These deep-focus shots now have an almost stunning amount of detail, giving you an opportunity to really study what Daves had his cast of extras doing in the recesses of those long shots.

Gary Cooper and Maria Schell in a goofy publicity shot.

Another benefit of the new Blu-Ray is the color. Ted McCord shot The Hanging Tree in Technicolor, and Warner Archive has it looking like a million bucks. It has a slight brownish tone to it that suits all the wood we see throughout — from the trees to the makeshift buildings of Skull Creek. You also get a real feel of lamplight in the interiors, while most Technicolor films from the period seem extremely bright. The low lighting is necessary here, as Maria Schell is kept in darkness as she regains her sight.

Warner Archive frames the picture at 1.78:1, a slight variation on its theatrical 1.85. That’s becoming a bit of a norm with a lot of hi-def transfers, and it doesn’t bother me. The grain here is near perfect — it’s there, as it should be, but it’s never distracting.

The Hanging Tree is a great movie. And this is the way to see it. Highly, highly recommended.

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