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Archive for the ‘Randolph Scott’ Category

Directed by Budd Boetticher
Written by Burt Kennedy
Starring Randolph Scott, Gail Russell, Lee Marvin, Walter Reed, John Larch

Here in Raleigh, NC, we have something called The Western Film Preservation Society. They get together once a month for a couple of Western films and a chapter of a serial. Tomorrow (Thursday), it’s Budd Boetticher’s Seven Men From Now (1956). I don’t need to tell you what a cool thing that is.

Thursday, May 17, 6:45 PM
The McKimmon Center, NCSU Campus

The second feature is Phantom Of The Plains (1945) Starring Bill Elliott, Bobby Blake, Alice Fleming and Ian Keith. It was directed by the great Lesley Selander.

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The word on the street is that Powerhouse/Indicator out of the UK is prepping some of the Budd Boetticher – Randolph Scott pictures, the five  Columbia ones, for Blu-Ray. Of course, those were put out by Sony in a terrific set several years ago, with plenty of extra stuff — but we’ve all been pining for all of these to make their way to Blu-Ray.

Michael Dante, Randolph Scott and Budd Boetticher on the Westbound set.

Powerhouse/Indicator will do a tremendous job with these. This would leave Seven Men From Now (1956) and Westbound (1959) orphaned in high-definition. Seven Men is handled by Paramount these days, and Westbound is in the care of the Warner Archive. More news as it turns up.

Thanks to John Knight for the tip.

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George Randolph Scott 
(January 23, 1898 – March 2, 1987)

Let’s mark the birthday of my all-time favorite movie star, Randolph Scott — one of the key players in 50s Westerns. The still above is from The Bounty Hunter (1954), the last of six Westerns Scott made with director Andre de Toth.

The picture also stars my favorite actress, Marie Windsor — and that pairing makes this seem like a better movie that it really is. Despite its faults, I like it a little more every time I see it.

It’s a huge shame The Bounty Hunter is still missing on DVD and Blu-Ray, though there’s an OK-looking DVD out in Spain. Wish Warner Archive would move it to the top of their to-do list. Since it was shot in 3-D, but never released that way, it made sense a few years ago to consider a 3-D Blu-Ray. But it doesn’t seem like the world’s all that in love with 3-D television, and I wish they’d scrap those plans if they’re what’s holding it up.

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Directed by Andre de Toth
Starring Randolph Scott, Claire Trevor, Joan Weldon, George Macready, Alfonso Bedoya, Lee Marvin, Ernest Borgnine

The Stranger Wore A Gun (1953), one of six Randolph Scott pictures directed by Andre de Toth, had all sorts of interesting technical things going for it — which makes the announcement that Explosive Media is bringing it to Blu-Ray in Germany something worth celebrating.

Stranger Wore A Gun 3D poster

The one-sheet for The Stranger Wore A Gun bragged about it all: 3-Dimensions, wide screen and stereophonic sound.

Andre de Toth was chosen to test-drive and fine tune a number of Hollywood’s technical developments of the 50s. For instance, the second of the De Toth Scotts, Carson City (1952), was the first Warnercolor filmHouse Of Wax (1953), the first major-studio 3-D movie, was filmed in the Natural Vision 3-D format and Warnercolor, with the added bonus of stereophonic sound.

The Stranger Wore A Gun 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. This framing in, for me, the key benefit of this upcoming Blu-Ray, along with the high definition, of course. It will not be offered in 3-D, and sadly, the three-track stereo elements were lost years ago.

This is not the best of the de Toth Scott movies, but it’s got Lee Marvin, Ernest Borgnine and Claire Trevor. And George Macready is totally despicable as the bad guy. Scott is so cool in the movies from this period, no matter how strong the movie around him is.

Not sure what Explosive’s region policy is. I’m sure hoping The Stranger Wore A Gun is something we can all enjoy. Can’t wait.

Thanks, John, for the tip.

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George Vincent “Skip” Homeier
(October 5, 1930 – June 25, 2017)

Skip Homeier, who passed away on June 25th, is one of those actors who made every picture he was in better — no matter how good, or bad, it would’ve been without him. And from The Gunfighter (1950, above) and The Tall T (1957, below) to Cry Vengeance (1954) and The Ghost In Mr. Chicken (1966), he’s in a whole bunch of my favorite movies.

You’ll find him in about every genre there is, but the vast majority of his feature work was in Westerns — and his list of cowboy credits is remarkable. In The Gunfighter, he pretty much invented the punk-kid-looking-to-make-a-name-for-himself character as we know it — everybody who came after him seemed to be doing a Skip Homeier impersonation. William Witney’s Stranger At My Door (1956) also stands out. As a kid, I knew him as “the guy who gets his face blown off in The Tall T.”

His TV work was more varied, and he was always good — The Rifleman, Death Valley Days, Climax!, The Addams Family and many, many more. But like so many actors that appeared on Star Trek, that’s what most people know him for these days (he’s in two).

In the old days, it was often the character actors who made movies truly special (particularly Westerns). Skip Homeier was one of the absolute best.

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Kathleen Crowley and Michael Pate on the set of Curse Of The Undead (1959).

Kathleen Crowley
December 26, 1929 – April 23, 2017

I’m sorry to report that Kathleen Crowley has passed away. She was in so many movies I really love — The Silver Whip (1953), Ten Wanted Men (1955), The Quiet Gun (1956), Curse Of The Undead (1959) and Showdown (1963) are the Westerns. Then there’s the sci-fi stuff: Target Earth (1954) and The Flame Barrier (1958). And on TV, she appeared in Cheyenne, Maverick, The Lone Ranger, Batman and tons more. No matter how small the part, she always seemed to give it her all.

Ms. Crowley represented her home state of New Jersey on the 1949 Miss America Pageant, and gave up on Hollywood in the late 60s. “To be honest with you, I didn’t like the direction the cinema was going.”

Laura did a nice post on her here.

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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)

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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?

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