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Archive for the ‘MGM’ Category

Hired_Gun_3

Warner Archive has some great stuff promised for April.

The Hired Gun (1957)
Directed by Ray Nazarro
Starring Rory Calhoun, Anne Francis, Vince Edwards, Chuck Connors
This is one I’ve been wanting for a long time. Black and white Scope with Rory Calhoun and Anne Francis, directed by Ray Nazarro. What’s not to like?

Black Patch (1957)
Directed by Allen H. Miner
Starring George Montgomery, Diane Brewster, Tom Pittman, Leo Gordon, Lynn Cartwright
A solid Montgomery Western written by character actor Leo Gordon.

Arrow In The Dust HS

Arrow In The Dust (1954)
Directed by Lesley Selander
Starring Sterling Hayden, Coleen Gray, Jimmy Wakely, Lee Van Cleef
Hayden and Gray appear together a couple years before The Killing (1956), directed by the great Lesley Selander.

The Marauders (1955)
Directed by Gerald Mayer
Starring Dan Duryea, Jeff Richards, Keenan Wynn
Duryea as the bad guy gets first billing. Enough said.

Son Of Belle Starr (1953)
Directed by Frank McDonald
Starring Keith Larsen, Dona Drake, Peggie Castle, Regis Toomey
Peggie Castle and Regis Toomey in 70 minutes of Cinecolor from Allied Artists.

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Sam and Bob PGBK

This book falls outside the usual scope of this blog, but I’m sure many of us will be interested in it. I know I am! Paul Seydor’s The Authentic Death and Contentious Afterlife Of Pat Garrett And Billy The Kid: The Untold Story of Peckinpah’s Last Western Film will be available in February. I’m not sure I can wait that long.

the-authentic-death-and-contentious-afterlife-of-pat-garrett-and-billy-the-kidPat Garrett And Billy The Kid (1973) could be Sam Peckinpah’s most mangled masterpiece — as you know, he had a lot of them. Slim Pickens’ final scene, featuring Katy Jurado and set to Bob Dylan’s “Knockin’ On Heaven’s Door,” gets my vote as the saddest, most moving scene in cinema history. (Quick, Toby, think of something else!)

From Pat Garrett And Billy The Kid‘s troubled shooting — plagued with everything from schedule-busting camera malfunctions to liver-wrecking substance abuse — to its mutilation by MGM and eventual restoration and reappraisal, Seydor’s got a helluva story to tell. As an editor, his insight into the film’s cutting and re-cutting should be worth the cover price alone. His previous book, Peckinpah: The Western Films—A Reconsideration, and documentary, The Wild Bunch: An Album In Montage (1996), show that he knows his way around this subject. Man, I can’t wait!

 

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Badlanders TC
Directed by Delmer Daves
Produced by Aaron Rosenberg
Screenplay by Richard Collins
From a novel by W.R. Burnett
Director Of Photography: John Seitz, ASC
Film Editors: William H. Webb and James Baiotto

CAST: Alan Ladd (Peter Van Hoek), Ernest Borgnine (John McBain), Katy Jurado (Anita), Claire Kelly (Ada Winton), Kent Smith (Cyril Lounsbery), Nehemiah Perdoff (Vincente), Robert Emhardt (Sample), Anthony Caruso (Comanche)

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Today’s post marks the 101st birthday of Alan Ladd (September 3, 1913 – January 29, 1964).

Warner Archive’s recent Alan Ladd releases got me on a bit of a Ladd kick, so I was eager to see The Badlanders (1958). A Western remake of The Asphalt Jungle (1950), directed by Delmer Daves, it pairs Ladd with Ernest Borgnine.

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The Dutchman (Ladd) and McBain (Borgnine) leave Yuma to settle a couple scores in Prescott: the Dutchman was framed for a gold robbery and McBain was cheated out of his gold-rich land. The Dutchman has a plan to retrieve a tremendous amount of gold ore from an abandoned mine, and he recruits McBain for the heist. The catch is, the marshall’s warned Ladd that he’d better be on the next stage outta town, which leaves the following evening. Things are further complicated by a crooked deputy, some really crooked businessmen and Katy Jurado and Claire Kelly. But, of course, as with The Asphalt Jungle, the heist itself is the centerpiece of the picture.

Delmer Daves made some of the finest Westerns of the 50s: Broken Arrow (1950), 3:10 To Yuma (1957) and The Hanging Tree (1959). The Badlanders doesn’t reach that level, but it’s a solid film that easily translates the heist picture to the Old West. Ladd and Borgnine are very good. Ladd’s cool as a cucumber throughout. Borgnine’s transformation from bitter inmate to loyal friend is played very well. Its failure could’ve sunk the film. Katy Jurado is beautiful—she and Borgnine became an item and were married a couple years later. (Borgnine spent some time watching her work on One-Eyed Jacks.) Oh, and Ladd and Borgnine remained friends till Ladd’s death.

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Daves always makes great use of his locations, and The Badlanders is no exception. The Yuma Territorial Prison plays itself. Various mines around Kingman, Arizona, were supposedly used. And Old Tucson has never looked better. I always get a kick out of seeing that bridge (from Buchanan Rides Alone, Rio Bravo and many more). The previous Daves/Ladd film, 1954’s Drum Beat, made great use of the Sedona area.

There is no composer credit for The Badlanders. It’s scored entirely with stock music. I don’t know of another film of this stature (Daves, Ladd, MGM) that uses recycled music. I’d love to hear the story behind that decision. Sometimes it works fine, sometimes it seems to have been chosen at random.

A fairly early effort from Warner Archive, The Badlanders looks great. Nice and sharp, and the color is strong. A full-frame trailer is included. Recommended.

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clasico01

Bill Hunt at The Digital Bits has a bit more news on the status of John Wayne’s The Alamo (1960):

“… I was up in L.A. checking out Robert Harris’ recent restoration tests of The Alamo with my own two eyes. Despite what MGM has claimed officially, let me assure you, having now seen the tests firsthand – which the studio has apparently not done yet for some strange reason (and how weird is that?) – this film is in serious need of restoration. The good news, however, is that I’ve also seen tests of how good the film could look like if given a restoration. The result would easily be worth theatrical presentation and a solid Blu-ray release. So keep spreading the word and keep the pressure on the studio. Fingers crossed.”

UPDATE: Robert Harris has clarified things with a post at Home Theater Forum:

“Sorry. A bit confusing. Nothing is occurring. Merely shared the tests which we did a month or so ago with a few people. And for the record, the roadshow version of the film is gone, as far as film or theatrical is concerned. Only the general release version has a chance of being decently preserved, but not at full quality. Too late.”

There’s nothing I can type here that will get across how sad and angry this makes me. Thanks to Paula for bringing this to my attention.

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UPDATE (6/3/2014): A Facebook community has been set up to spread the word and encourage MGM to get a restoration underway. Over 800 people have joined in two days. Please consider joining the ranks.

It’s hard to believe that John Wayne’s The Alamo (1960) is in danger of being lost. What’s doing it in? First, the natural breakdown of its original film elements. Second, MGM’s lack of interest in saving it, even if the public helped pitch in to pay for it. (If there was ever a reason for Kickstarter to exist, this is it.)

Read Robert Harris’ report on the elements and MGM’s crappy attitude here. And if a letter-writing or Facebook-flodding campaign gets going, hop on it.

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Screen shot 2013-12-20 at 3.30.51 PM

The folks at ClassicFlix let me write for them every once in a while. Here’s a piece on John Ford’s 3 Godfathers (1948), a pre-1950 Christmas Western that I love dearly, no matter how overly sentimental and sappy you might think it is.

3 Godfather DVD capture

It’s also one of the most beautiful color movies ever made. Easy.

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Picture 15

Why go to Walmart and get punched in the face over a cheap toaster when you can sit at home and buy cowboy movies? Click the image above and have at it.

And if you haven’t done it yet, do yourself a favor and get Westward The Women (1951). If nothing else, it’ll give you something to be thankful for next Thanksgiving.

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