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Archive for the ‘Lee Marvin’ Category

Pillars Of The Sky HS sized

New York’s 92nd Street Y is hosting a class on Westerns of the 50s. Hosted by Kurt Brokaw, Associate Teaching Professor at The New School and senior film critic of The Independent magazine, it’s got a really terrific roster of films. The classes are Tuesday nights, beginning April 14, with two films each night.

Man, I wish I could get to this.

Week 1
Broken Lance
(1954) Directed by Edward Dmytryk, starring Spencer Tracy, Robert Wagner, Jean Peters, Richard Widmark, Katy Jurado
The Badlanders (1956) Directed by Delmer Daves, starring Alan Ladd, Ernest Borgnine, Katy Jurado

Week 2
Saddle The Wind
(1958) Directed by Robert Parrish, starring Robert Taylor, Julie London, John Cassavetes
Dawn At Socorro (1954) Directed by George Sherman, starring Rory Calhoun and Piper Laurie

Week 3
Pillars Of The Sky
(1956) Directed by George Marshall, starring Jeff Chandler, Dorothy Malone, Ward Bond, Lee Marvin
Backlash (1956) Directed by John Sturges, starring Richard Widmark, Donna Reed, William Campbell, John McIntire

Diablo TC

Week 4
Ride Clear Of Diablo
(1954) Directed by Jesse Hibbs, starring Audie Murphy, Dan Duryea, Susan Cabot
The Outriders (1950) Directed by Roy Rowland, starring Joel McCrea, Arlene Dahl, James Whitmore, Barry Sullivan

Week 5
Back To God’s Country
(1953) Directed by Joseph Pevney, starring Rock Hudson, Marcia Henderson, Steve Cochran, Hugh O’Brien
Black Horse Canyon (1954) Directed by Jesse Hibbs, starring Joel McCrea and Mari Blanchard

Week 6
Seven Men From Now
(1956) Directed by Budd Boetticher, starring Randolph Scott, Gail Russell, Lee Marvin, Walter Reed
Gun Fury (1953) Directed by Raoul Walsh, starring Rock Hudson, Donna Reed, Philip Carey, Lee Marvin

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1 Liberty Ford

My wife and I watched John Ford’s The Man Who Shot Liberty Valance (1962) on our honeymoon. So as our anniversary rolls around, it usually comes to mind. And this seems like a good excuse to highlight yet another Ford masterpiece.

Liberty Valance Wayne hat

Here’s Wayne’s hat from the film. In black and white, it seems so much lighter.

Liberty Valance Marvin vest

Lee Marvin’s vest. After his years doing M Squad on TV, Liberty Valance helped Marvin transition from heavy to leading roles as he returned to features.

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One of Edith Head’s sketches for Vera Miles’ costumes.

LIBERTY CAST tea cropped

John Ford and his terrific cast break for tea. Judging from who’s present and how they’re dressed, they must’ve been shooting the dinner scene where Marvin makes Stewart drop Wayne’s steak — and Strother Martin gets kicked in the face.

Valance BTS punch

Jimmy Stewart punches John Wayne — with Ford and crew very very close.

Liberty Valance Marvin Martin Van Cleef

Jennifer and I often celebrate our anniversary by going out for steaks. Makes sense, doesn’t it?

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Stranger Wore A Gun 3D poster

Directed by Andre De Toth
Produced by Harry Joe Brown
Associate Producer: Randolph Scott
Screen Play by Kenneth Gamet
Based Upon “Yankee Gold” by John M. Cunningham
Film Editors: Gene Havlick, ACE and James Sweeney, ACE
Musical Director: Mischa Bakaleinikoff

Cast: Randolph Scott (Jeff Travis), Claire Trevor (Josie Sullivan), Joan Weldon (Shelby Conroy), George Macready (Jules Mourret), Alfonso Bedoya (Degas), Lee Marvin (Dan Kurth), Ernest Borgnine (Bull Slager).

R Scott blogathon badgeThis is my contribution to The Blogathon For Randolph Scott, which has seen some excellent writing from a group of learned film fans.

It’s easy to see The Stranger Wore A Gun (1953) as just another Randolph Scott movie. Not as good as some, better than a few. Of the six Scott pictures directed by Andre de Toth, it might be the least. (To me, 1951’s Man In The Saddle is the best.)

But what makes The Stranger Wore A Gun stand out today isn’t its convoluted plotting, what a slimy bad guy George Macready is, or how great Joan Weldon looks. It’s the picture’s technical aspects, the stuff it boasted about on its one-sheet: 3-Dimensions, wide screen and stereophonic sound.

Ernest Borgnine: “The director was Andre de Toth, who wore an eye patch, having lost an eye as a kid. But here he was, directing a movie in 3D!”

A solid, resourceful filmmaker, Andre de Toth was chosen to test-drive and fine tune a few of Hollywood’s technical developments of the 50s. The second of the De Toth Scotts, Carson City (1952), was the first Warnercolor film. House Of Wax (1953) was filmed in the Natural Vision 3D format and Warnercolor, with the added bonus of stereophonic sound. The first major-studio 3D movie, it’s still considered the best use of the process during the early-50s craze.

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Randolph Scott (in the trailer): “I talked it over with my partner-producer Harry Joe Brown. Naturally, we didn’t want to be left at the post in this great new technical race in the picture industry, so we decided to go all out —3D, stereophonic sound and Technicolor. Now that’s a mouthful, and it was an armful to do, but exciting.”

Working titles were I Ride Alone and Yankee Gold.

Andre de Toth: “They asked me to do it in 3D. I had qualms about it, but the conceit that killed so many people won the battle. I knew I was better than the rest of the ordinary geniuses and I thought that, single-handedly, I’d be able to stop the exodus from 3D, revive third-dimensional pictures, and gain some more experience in 3D by doing a Western. But my conceit and hope didn’t resurrect 3D. It was dead and buried by the junk thrown at the public way before we started. Too bad.”

The film’s other distinction it that it was the first film composed and shot to be projected at 1.85. This aspect ratio is still the standard, in use in theaters and on video today. What’s a shame is that these technical amenities are completely absent on the 2D, full-frame, mono DVD. (The three-track stereo elements were lost years ago.)

Scott plays Jeff Travis, a Confederate spy attached to Quantrill’s raiders. Realizing that Quantrill and his men are little more than bandits and murderers, he flees and winds up in Prescott, Arizona, after the war is over. He becomes involved with an old flame, Josie Sullivan (Claire Trevor), and falls in with some stage robbers: the sophisticated ringleader Jules Mourret (George Macready) and a couple of his henchmen, Dan Kurth (Lee Marvin) and Bull Slager (Ernest Borgnine).

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Ernest Borgnine: “No sooner had I finished From Here To Eternity and gone home to New York than, bam, I was asked to come right back again to shoot a Western, The Stranger Wore A GunThe Stranger Wore A Gun was the picture where I met a lifelong friend, Lee Marvin.”

Back to the story. Scott befriends the Conroys, a father and daughter (Joan Weldon) who run the stag line and decides he wants out of the outlaw life. It all comes to a fiery climax in the saloon. And, of course, all sorts of things are thrown at the audience over the course of its 83 minutes.

Joan Weldon: “Warners had nothing scheduled for me so they decided to put me on suspension without pay. I ran into Randy somewhere, and he heard I was suspension and called my agent and said he had a part in a picture at Columbia and would I consider doing it… It was three weeks; work; six days a week. Then Warner Bros. said, ‘She’s under contract to us, we want the money from the loan-out.’ My agent said, ‘No way. You put her on suspension; she can do what she wants with the money,’ So I did get the money.”

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The Stranger Wore A Gun is a mess. The performances are fine, some of the action sequences are very well done, it moves along briskly, and it all looks great in Technicolor. But it’s hard to follow — and some of Scott’s actions don’t make sense. De Toth, as good a director as he is, could only do so much with the script he was given. Maybe they thought 3D would overcome whatever shortcomings the picture may have.

The last of the De Toth Scotts, Bounty Hunter (1954), was also shot in 3D (for Warner Bros.). But by the time it was ready for release, the boom was over. It only played flat.

Sources: De Toth On De Toth by Andre de Toth, The Films Of Randolph Scott by Robert Nott, Ernie by Ernest Borgnine, and the wonderful 3D Archive website.

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Marvin Donovans Reef

“And from the East came three wise men, three kings bearing gifts, to gaze upon the child and to kneel before him in adoration… the king of Polynesia… the emperor of China… the king of, the king of the Unites States Of America.”

That’s Lee Marvin as “Boats” Gilhooley in John Ford’s Donovan’s Reef (1963). John Wayne’s the guy watching over his shoulder. It’s a picture that if people’d quit complaining about how it’s not The Grapes Of Wrath (1940) or The Searchers (1956), they’d realize just how wonderful it is.

Here’s wishing you and yours the happiest of holidays.

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430843.1020.A

The Cary, a newly-renovated theater in downtown Cary (naturally), North Carolina, has put together a weekend of John Wayne pictures, which includes many of his best. If anybody’s planning on going to some of these, let me know.

All of a sudden, I’m kinda glad I live here.

The Searchers (1956)
Thursday, November 6, 7 PM

Donovan’s Reef (1963)
Thursday, November 6, 9:30 PM

Rio Bravo (1959)
Friday, November 7, 7 PM

Stagecoach (1939)
Friday, November 7, 9:30 PM

Red River (1948)
Saturday, November 8, 7 PM

The Man Who Shot Liberty Valance (1962)
Saturday, November 8, 9:30 PM

The Alamo (1960)
Sunday, November 9, 2 PM

The Cary outside view

The Cary
122 E. Chatham Street
Cary, NC 27511
(919) 462-2051

Thanks for the tip, Jennifer.

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OK, folks, let’s see if we can sort this one out. John has written in trying to pin down a certain Western. Here’s what he wrote:

“I saw a western in the fifties as a kid that had a scene in which one of the secondary characters gets killed with a rake. You don’t see the killing, just the aftermath of a bloody rake leaning against a wall and blood on the wall. That image has stayed with me lo these many years but I cannot remember the title.”

Firecreek (1969) came to mind, but that’s the Sixties and a pitchfork. Then there’s Violent Saturday (1955). Again, a pitchfork and not a Western.

Anybody got any ideas?

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