50 Westerns From The 50s is going on a bit of a sabbatical. While we’re away, here’s the intermission card from a rare 3-D print of The Bounty Hunter (1954).
Archive for the ‘Marie Windsor’ Category
Posted in 1950, 1953, 1954, Andy Devine, Clayton Moore, Dale Robertson, John Doucette, John Ford, John Wayne, Lesley Selander, Marie Windsor, Republic Pictures, Robert Mitchum, Roy Barcroft, Skip Homeier, Vera Ralston, Ward Bond, Whit Bissell, William Elliott, William Witney on September 18, 2015 | Leave a Comment »
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.
Angel And The Badman (1947) – The Round Place In The Middle
Ride The Man Down (1952) – 50 Westerns From The 50s
City That Never Sleeps (1953) – Speakeasy
Radar Men From The Moon (1952) – The Hannibal 8
The Fabulous Texan (1947) – Blake Lucas at 50 Westerns From The 50s
Hoodlum Empire (1952) – Jerry Entract at The Hannibal 8
Jubilee Trail (1954) – Laura’s Miscellaneous Musings
Rock Island Trail (1950) and California Passage (1950) – The Horn Section
The Outcast (1954) – Jerry Entract at 50 Westerns From The 50s
Blackmail (1947) – John Knight at The Hannibal 8
Angel And The Badman (1947) – Thoughts All Sorts
The Red Pony (1949) – Caftan Woman
Dakota Incident (1956) – Riding The High Country
Over the years, a great many movies have suffered from how they’re seen on TV — incomplete, beat-up, pan-and-scan prints (sometimes not even in color as they once were). That mistreatment eventually impacts the film’s overall reputation, as TV became how entire generations experienced older movies. (Right now, I’m thinking of how awful the Regalscope pictures have looked since they left theaters. Thank goodness for DVD and Blu-ray.)
I think TV shows have suffered a similar fate over the years, with faded prints hacked to bits to make room for more commercials. The Rebel (1959-61), now that we have the new set from Timeless Media Group, illustrates my point.
The Rebel follows Johnny Yuma (Nick Adams), a restless young Confederate veteran after the Civil War. With nothing to return to (we learn in the first episode that his lawman father’s dead), he “wanders the West” for 76 episodes — getting pulled into various situations as he rides from town to town in search of peace.
Nick Adams is very good as Yuma, bringing the right mix of intensity and sensitivity to the part. He’s believable as a young man who’d beat the crap out of a guy, then write about it in his journal. It could’ve come off terribly. Like so many of these 5os Western TV shows, the supporting cast each week is incredible. The first episode alone features Strother Martin, Dan Blocker and John Carradine. And over the run of the show, you’ll also find Claude Akins, Robert Blake, Elisha Cook, Jr., Royal Dano, John Dehner, Jack Elam, Virginia Gregg, L.Q. Jones, George Macready, Patricia Medina, Agnes Moorehead, Leonard Nimoy, Warren Oates, Paul Picerni, Tex Ritter, Soupy Sales, Bob Steele, Peggy Stewart, Robert Vaughn, Yvette Vickers and Marie Windsor. Adams’ wife Carole Nugent is terrific in an early episode. Johnny Cash is in one, too.
Producer Andrew J. Fenady (from a good interview here): “We would shoot one day on location. Vasquez Rocks, and a lot in Thousand Oaks. And the second day we would shoot on the lot — the (western) street at Paramount. The third day we would do the interiors, whether it was someone’s house, or a shack, or a hotel or a jail. A sheriff’s office. So that was really the formula: first day out, second day on the street, and the third day interiors.”
About half the episodes were directed by Irvin Kirshner. He does a good job, to be sure, but there’s nothing in this to indicate that this is the guy who’d eventually direct The Empire Strikes Back (1980), maybe the last truly epic film I can remember. The size of the screen was obviously not an issue for him. Bernard L. Kowalski, Bernard McEveety, Robbert Ellis Miller and Frank Baur handled the rest.
Some episodes were transferred from slightly worn 16mm prints with changeover cues punched in them here and there; others look like a million bucks. What’s important is that The Rebel, The Complete Series gives us all 76 episodes, complete. Johnny Cash’s vocals have been restored to the titles (the theme was replaced for syndication, which is how we’ve been seeing and hearing it for years). While the quality varies from episode to episode, and 16mm can be a little soft, to have them all looking this good is a revelation. There are plenty of extras, from interviews to stills to commercials — even the pilot for the proposed companion series The Yank. This is a good set, and a good show, ready to be rediscovered. Highly recommended.
50s Westerns Blu-ray News #173: Rio Bravo (1959) Returns To Blu-ray And Brings Cahill (1973) And The Train Robbers (1973) With It.
Posted in 1959, Angie Dickinson, Ben Johnson, Burt Kennedy, Dean Martin, Denver Pyle, Dimitri Tiomkin, DVD reviews, releases, TV, etc., Hank Worden, Harry Carey Jr., Howard Hawks, Marie Windsor, Neville Brand, Old Tucson, Post-1959, Walter Brennan, Ward Bond on February 27, 2015 | 15 Comments »
Rio Bravo (1959)
Directed by Howard Hawks
Starring John Wayne, Dean Martin, Ricky Nelson, Angie Dickinson, Walter Brennan, Ward Bond
My favorite Western, Rio Bravo (1959), has been missing from Blu-ray for some time now (I’d heard it had something to do with music or story rights). Was really happy to find out it was being reissued. However, I’d heard the old Blu-ray wasn’t anything to write home about, and there’s no news yet on if this new edition is remastered or not (I’m assuming not). A new 2K transfer was done not long ago, but there’s been no mention of it for the Blu-ray.
Regardless, Rio Bravo is a terrific movie and certainly worth adding to your high-definition shelf. When it arrives June 2, I’d love to toast my copy with a bit of Duke bourbon (haven’t located it in North Carolina yet).
The Train Robbers (1973)
Directed by Burt Kennedy
Starring John Wayne, Ann-Margret, Rod Taylor, Ben Johnson
Also coming to Blu-ray are a couple of later Wayne pictures. The Train Robbers (1973) is a lot of fun, Burt Kennedy at the top of his game. Wayne and Ben Johnson are terrific together, of course. As a kid, the train stuck in the sand, on the big Panavision screen, was a striking image that really stuck with me.
Cahill: U.S. Marshal (1973)
Directed by Andrew V. McLaglen
Starring John Wayne, George Kennedy, Neville Brand, Clay O’Brian, Marie Windsor, Harry Carey Jr., Paul Fix, Hank Worden
In some ways, Cahill: U.S. Marshal (1973) isn’t a very good movie. But as a John Wayne extended-family reunion, it can’t be beat (take a quick look at that cast). Wayne’s interplay with Neville Brand is worth the price of admission, and it’s always good to see Marie Windsor in anything.
These three titles are available separately (highly recommended, at a great price) from Warners, and as part of a John Wayne Westerns Collection set.
Thanks to Dick Vincent for the tip.
First, I shopped around for a 16mm print, but what I found was either black & white or the color’d turned pink. Then I figured I’d wait for a DVD or Blu-ray from Olive Films. No luck there, as it dropped off their release schedule. So I finally decided to go with the best-looking material I could find.
Elliott considered Hellfire his best film (he was one of the producers), and Marie Windsor always listed it as a personal favorite (along with The Narrow Margin and The Killing). Who am I to argue? It’s one of my favorite Westerns, a movie that gets better every time I see it.
Believe it or not, Republic sometimes paired Hellfire with Brimstone (1949), a Rod Cameron Western.
Thanks to Jim Briggs for designing the flyer.
Posted in Cinematographers, George Sherman, John Wayne, Making Movies, Marie Windsor, Phil Karlson, R.G. Springsteen, Republic Pictures, Roy Rogers, Sterling Hayden, William Elliott, William Witney on August 20, 2014 | 29 Comments »
So far, the great cinematographer Jack A. Marta has hardly been mentioned here. I’m ashamed and with today’s Wild Bill Wednesday, I’m taking care of it. So many outstanding movies. What Price Glory (1926). The Night Riders (1939). Dark Command (1940). Flying Tigers (1942). Hellfire (1949). Trigger, Jr. (1950). Spoilers Of The Plains (1951). The Last Command (1955). The Bonnie Parker Story (1958). Cat Ballou (1965). Duel (1971).
On that last one, Steven Spielberg’s breakthrough TV movie Duel, Marta’s experience shooting outdoors in the desert helped get the thing completed on its 10-day schedule.
Steven Spielberg (from the excellent book Steven Spielberg And Duel: The Making Of A Film Career): “Jack was a sweetheart. He was just a kind, gentle soul who you know had never worked that fast in his entire career; none of us had, and yet there was nothing he didn’t do or couldn’t do, and he really enjoyed himself.”
No offense to Mr. Spielberg, but I have a feeling Duel‘s 10-day shoot, though exhausting, was probably nothing new for Marta, who’d done beautiful work on Republic’s tight schedules, in both black and white and Trucolor, and worked on plenty of television shows like Route 66 and Batman.
When Elliott co-produced Hellfire (below) for Republic release, a film he saw as a very special project (and considered his best film), Jack Marta was the director of photography. Was he randomly assigned the job by Republic, or did Elliott request him after working together on The Gallant Legion (1948) and the Trucolor The Last Bandit (1949)? (I’m getting pretty good at finding new ways to sneak Hellfire into this blog.)
Posted in Beverly Garland, Books, Charles Bronson, Coleen Gray, Forrest Tucker, John Agar, John Ireland, Lippert/Regal, Lloyd Bridges, Mara Corday, Margia Dean, Marie Windsor, Maury Dexter, Roger Corman, Sam Fuller, Scott Brady, Theaters, VCI Entetainment on May 28, 2014 | 5 Comments »
A few weeks ago, I broke my glasses and began relying on an old (pre-trifocals) pair while I scrambled for an eye exam and new frames. Reading became very, very difficult. Not the best time to receive a book you’re really excited about. But that’s exactly when Mark Thomas McGee’s Talk’s Cheap, Action’s Expensive: The Films Of Robert L. Lippert, from BearManor Media, turned up in my mailbox.
Lippert Pictures (and related companies) cranked out cheap little Westerns like 1952’s Outlaw Women, along with gems such as Sam Fuller’s I Shot Jesse James (1949) and The Quiet Gun (1957). (They covered the other genres, too.) I’m a big fan of these films and was determined to make my way through the book with or without spectacles, holding it so close I risked paper cuts on my nose.
McGee set the book up very well. The first 80 pages or so read as a biography and history of Lippert and his career, from the theater business to film production. I had a working knowledge of the Lippert story going in, but was always coming upon something I didn’t know. There’s a filmography, arranged by company, that makes up the bulk of the book. And finally, there’s a listing of the Lippert theaters (the closest to me was in Chattanooga, TN).
What’s not to like about a book like this? It’s packed with information on movies I grew up with, movies I love. Rocketship X-M (1950). The Steel Helmet (1951). Superman And The Mole Men (1951). Forty Guns (1957). Showdown At Boot Hill (1958). The Fly (1958). The Alligator People (1959). House Of The Damned (1963). They’re all in here, and you’ll come away with a better understanding of what went into getting them made. Where I think McGee really excelled was in making sure the book, as informative as it is, stayed as fun as the films it’s about. (The same goes for his previous books on Roger Corman and AIP.)
If there’s a downside to this book, it’s that the filmography points out film after film that you’d love to track down and see. You’ll find a lot of them available from Kit Parker Films and VCI, and others scattered here and there. Some of the Fullers were even given the Criterion treatment. As for the rest, well, happy hunting.
It’s very easy to recommend Mark Thomas McGee’s Talk’s Cheap, Action’s Expensive: The Films Of Robert L. Lippert. Now that my new glasses are in, I’m reading it a second time.