Feeds:
Posts
Comments

Archive for the ‘Lucien Ballard’ Category

Directed by Sam Peckinpah
Starring Jason Robards, Stella Stevens, David Warner, Strother Martin, Slim Pickens, L. Q. Jones, R. G. Armstrong

Another great Sam Peckinpah movie about the dying West, and another must-have Blu-Ray from Warner Archive.

The Ballad Of Cable Hogue (1970) gives Peckinpah another group of outsiders to study — and another outstanding cast to play them. As good as everyone is in this, it’s Stella Stevens that really knocks me out. (She was really good in The Silencers, too.)

This, The Wild Bunch (1969) and Ride The High Country (1962) all cover the same basic theme — the Old West giving way to civilization, with some people not able, or willing, to adapt. But Sam comes at it from a different angle each time, always striking gold. I’m in absolute awe of Peckinpah when it comes to these movies.

Lucien Ballard shot this one, which is reason enough to spring for the Blu-Ray. It will be out in June, with a number of great supplements that appeared on the DVD release. Highly highly recommended.

Advertisements

Read Full Post »

Directed by Sam Peckinpah
Produced by Richard E. Lyons
Screenplay by N.B. Stone, Jr.
Director Of Photography: Lucien Ballard
Film Editor: Frank Santillo
Music by George Bassman

Cast: Joel McCrea (Steve Judd), Randolph Scott (Gil Westrum), Mariette Hartley (Elsa Knudsen), Ron Starr (Heck Longtree), James Drury (Billy Hammond), Edgar Buchanan (Judge Tolliver), R.G. Armstrong (Joshua Knudsen), Jenie Jackson (Kate), John Anderson (Elder Hammond), L.Q. Jones (Sylvus Hammond), Warren Oates (Henry Hammond)

__________

Around this blog, it’s pretty much a given that Ride The High Country (1962) is one of the finest Westerns ever made. There are regulars here who say this is their all-time favorite movie — and it’s easy to see why.

There are so many reasons why this thing’s essential. First and foremost, it’s Randolph Scott and Joel McCrea on their way out and Sam Peckinpah on his way in — and all of them turning in some of their best work. Like John Wayne’s The Shootist (1976), this is a perfect Last Movie for Scott and McCrea (and for Scott it was indeed Last). With Peckinpah, one of the things that make his work so endlessly fascinating is that his major themes and stylistic stuff are evident from Day One. Watching that new set of his The Westerner TV series really drove that home.

High Country and The Wild Bunch go so well together, coming at the same themes (outliving your time, sticking to a personal code, etc.) from different angles, but with the same love of the outmoded and the outsider. If you don’t get a little choked up at the end of Ride The High Country, there must be something wrong with you. This one gets me every time.

ride-high-countruy-lc

I’m not here to convince you this is a great movie. You probably figured that out a long time ago — without any help from me. But I do think you need the Blu-Ray from Warner Archive. From every wrinkle in our heroes’ faces to Ron Starr’s red shirt to the gorgeous locations (Horseshoe Lake, etc.), high-definition does Lucien Ballard’s CinemaScope photography proud. It looks like film, which is exactly what it should look like. The increased clarity gives the whole thing a real sense of depth — which has become something I look for in HD transfers these days.

Lucky for us all, the extras from the old DVD release have been retained. They’re terrific and well worth your time. And this disc is well worth your investment (or re-investment, in many of our cases). As I said earlier, this one’s essential.

Always wanted to watch this and The Man Who Shot Liberty Valance (1962) together. It’d be fun to contrast Ford and Peckinpah’s takes on the end of the West.

The images up top are the cover and spread from a handbill or something from Spain. Pretty cool, huh?

Read Full Post »

Directed by Sam Peckinpah
Starring Randolph Scott, Joel McCrea, Mariette Hartley, Ron Starr, James Drury, Edgar Buchanan, R.G. Armstrong

Here’s one so many of us have been waiting for. Warner Archive has announced an upcoming Blu-Ray release for Sam Peckinpah’s Ride The High Country (1962).

Surely one of the finest Westerns ever made. Absolutely essential.

Thanks to Dick Vincent for the great news.

Read Full Post »

brian_keith_the_westerner_1960

The Westerner — the short-lived 1960 Western series created by Sam Peckinpah and starring Brian Keith — is a really amazing thing. First, it’s just a good show, period. Next, for a Peckinpah fan, it’s a chance to see the whole Peckinpah Thing take shape before our eyes. From the dialogue that rings so true to his unique blend of the hard-ass and the sentimental to particular scenes or dialogue that’d crop up in his later work, The Westerner feels like a prototype for Sam’s career (or at least the early part of it). His visual style still had a way to go.

independent_press_telegram_sun__sep_25__1960_I’ve been dragging around bootleg copies of The Westerner for years. I’d never seen the pilot from Dick Powell’s Zane Grey Theatre — but Shout Factory has taken care of that with their marvelous new two-DVD set. You get the 13 regular episodes and the pilot (featuring Neville Brand at his despicable best), along with commentaries from Peckinpah scholars like Paul Seydor, who’s written some excellent books on Sam and his work. His The Authentic Death And Contentious Afterlife Of Pat Garrett And Billy The Kid: The Untold Story Of Peckinpah’s Last Western Film has become one of my favorite movie books.

Haven’t made it through both discs yet, but all the shows I’ve seen look great. This is one a lot of folks have been waiting for, and this is certainly worth the wait. Right now, it’s a Walmart exclusive — at just $14.96 — and I encourage you to put aside whatever hangups you might have about the megastore and go get one of these. It’s a must.

Read Full Post »

southern_illinoisan_fri__oct_28__1960_

Fans have been hollering for this one for quite a while. Right now, it’s a Walmart exclusive: The Westerner, the 1960 series created by Sam Peckinpah and starring Brian Keith, is out on DVD from Shout Factory. Only 13 episodes were produced (it was up against The Flintstones) — they’re all terrific, and they’re all here. Also included is the Zane Grey Theatre episode that served as the show’s pilot.

Episodes were directed by the likes of Peckinpah, Andre de Toth and Ted Post. Appearing in those 13 episodes were folks like Warren Oates, Katy Jurado, John Dehner, Slim Pickens, Robert Culp, Frank Ferguson, Virginia Gregg, R.G. Armstrong and Dub Taylor — many of them people Peckinpah would turn to time and time again. Lucien Ballard shot three of them. And Brian Keith’s dog, Brown, is played by Spike, who was also Old Yeller. Highly, highly recommended.

Read Full Post »

a_du1575

Directed by Raoul Walsh
Starring Clark Gable, Eleanor Parker, Jean Willes, Barbara Nichols, Sara Shane, Roy Roberts, Arthur Shields, Jay C. Flippen, Jo Van Fleet

The King And Four Queens (1956) is a movie I want to like more than I do. But when you’ve got Raoul Walsh directing Clark Gable (above) — and Lucien Ballard capturing it all in CinemaScope, there are plenty of reasons to watch. And plenty of reasons to snatch it up on DVD or Blu-ray when Olive Films puts it out in May.

leroiet4reines5

Read Full Post »

The_Lincoln_Star_Sun__Aug_16__1953_

Directed by Roy (Ward) Baker
Produced by William Bloom
Written by Francis M. Cockrell
Director Of Photography: Lucian Ballard
Music by Paul Sawtell

Cast:Robert Ryan (Donald Whitley Carson III), Rhonda Fleming (Geraldine Carson), William Lundigan (Joseph Duncan), Henry Hull (Sam Elby), Larry Keating (Dave Emory), Carl Betz (Lt. Mike Platt), Robert Burton (Sheriff), Barbara Pepper

__________

Inferno (1953) isn’t a Western. But it’s got enough of our usual stuff in it — cast, crew, locations, etc. — to seem like a pretty good fit. Truthfully, I just wanted to write about it, celebrate director Roy Ward Baker and lift up Panamint Cinema’s fine work in bringing it to DVD and Blu-ray.

3-D never saved a crappy movie, and how much it enhances a film comes down to personal taste (to me, if it’s not perfectly presented, it’s a huge distraction). None of that is an issue with Inferno, because it’s a terrific “desert noir” picture — and director Roy Baker and cinematographer Lucian Ballard use the 3-D very, very well. (Have you noticed that watching a 3-D movie flat tends to show off how gimmick-y it is? Fort Ti, for instance.)

Inferno WC

Robert Ryan is a tough, drunken business tycoon no one seems all that fond of. When he breaks his leg horseback riding in the Mojave, his wife (Rhonda Fleming) and her new lover (William Lundigan) decide to leave him there to die — they’re not killing him, they’re just not saving him. Sounds like a perfect plan. Only they didn’t figure Ryan would sober up, patch up his leg and start making his way back to civilization.

The picture goes back and forth between Ryan’s trek through the desert and Fleming and Lundigan’s attempts to fake their way through the rescue efforts. Ryan plays his part largely without dialogue — we hear his thoughts as narration — and he’s very, very good. (As if I had to tell you that.)

Roy Baker: “I had always had an ambition to make a picture in which the leading character spends long periods alone on the screen, where the interest would be in what he does, rather than what he says.”*

Inferno LC 2

Fleming and Lundigan are good, too. As the movie progresses, their paranoia and stress levels escalate. You just know it’s going to fall apart. It’s to the credit of everyone involved that our sympathy shifts from scene to scene — and in how satisfying it is when Fate takes over in the last reel.

Director Roy (Ward) Baker was a master, and today, nobody seems to know who he is. He enjoyed a widely-varied career, bouncing from features to TV, from genre to genre, and from the US to the UK with ease. He got a great performance out of Marilyn Monroe in Don’t Bother To Knock (1952), directed some great episodes of The Avengers, made one of the best Hammer films, Five Million Miles To Earth (1968, known in the UK as Quatermass And The Pit), and gave us one of the most impossibly-great, damned-near perfect movies I’ve ever seen, A Night To Remember (1958).

His use of depth in Inferno is subtle but very effective, and he was proud of his work on the picture. A falling rock or two, a chair thrown toward the camera — that’s about it as far as the showy stuff goes. The rocks and cactus provide plenty of opportunities to play around with depth in a more natural way. He and Lucian Ballard work wonders with light and color to create the intensity of the desert. The movie looks really hot — though it was shot in the winter. (Budd Boetticher and Sam Peckinpah also lured Ballard and his cameras into the desert for pictures like Buchanan Rides Alone and The Wild Bunch.)

Inferno LC 6

The supporting cast is a good one. Henry Hull is great as the old prospector who comes to Ryan’s aid. Larry Keating, who’s wonderful on The George Burns And Gracie Allen Show, is Ryan’s business associate, and he doesn’t seem all that upset, or surprised, that his partner’s gone missing. And Barbarba Pepper, Mrs. Ziffel on Green Acres, turns up as a waitress.

They say that back in the 90s, a British retrospective on Baker was reduced to running a 16mm TV print of Inferno. Luckily, Bob Furmanek of The 3-D Film Archive tracked down 35mm Technicolor prints of both the left and right sides — which this incredible region-free Blu-ray comes from (transferred by Dan Symmes). The picture is stunning at times, sharp as a tack with vivid color and just the right amount of grain. It looks exactly like what it is — a nice 35mm dye-transfer Technicolor print. This was an early stereo picture, but there’s only mono here. Bet the stereo masters are long gone. I wasn’t able to watch the 3-D version, which would have to be impressive since it comes from the same material. There’s a healthy batch of extras, from trailers to an interview with the great Rhonda Fleming.

Inferno comes highly, highly recommended — both the movie and this beautiful Blu-ray. And I’d like to thank Bob Furmanek of The 3-D Film Archive and Russell Cowe of Panamint Cinema for getting it out there.

Sources: *Director’s Cut: A Memoir of 60 Years in Film by Roy Ward Baker; Blu-ray liner notes

Read Full Post »