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Archive for the ‘Republic Pictures’ Category

Maureen O’Hara (born Maureen FitzSimons)
(August 17, 1920 – October 24, 2015)

The great Maureen O’Hara was born 97 years ago today.

Here she is with John Wayne in John Ford’s Rio Grande (1950). They made it largely to get the chance to make The Quiet Man (1952), but they knocked out a masterpiece anyway. It doesn’t get near the recognition it deserves.

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Someone just sent me the press release on this. (Thanks, Terry!) It’s a real once-in-a-lifetime opportunity, a dream come true, or the best day of your life. Depends on how you wanna look at it. 

What: Once in a lifetime chance for a private Tour of CBS Studio Center (formerly Republic Studios) & July 4th Celebration

Where: 4024 Radford Ave. Studio City, CA 91604

When: Tuesday July 4th at 5 pm (arrive early to allow time for security check and parking)

How much: $1,000 per person

Only 10 tickets available on a first come, first serve basis. Tickets will only be sold online. https://www.freshtix.com/events/4th-of-july-fireworks-festival-2-2

Get a behind the scenes tour of the historic CBS Studio Center (formerly Republic Studios) backlot given by none other than Studio Center President Michael Klausman.

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In the early 1920s silent film producer and director Mack Sennett relocated his movie studio to southern California and the neighborhood around the studio became known as Studio City. The Mack Sennett Studios produced movies featuring the Keystone Kops, Charlie Chaplin and Fatty Arbuckle before becoming Republic Studios. Republic launched the careers of Bette Davis, Jimmy Stewart, John Wayne and many others. Today the studio is known as CBS Studio Center. Past and present shows filmed on the lot include Gilligan’s Island, Gunsmoke, The Mary Tyler Moore Show, CSI New York, Will And Grace, Seinfeld, Brooklyn Nine Nine, Hot In Cleveland, Last Man Standing and many others.

Public tours of the studio are not available, so this is a unique opportunity to immerse yourself in film and television history. You will see the open air space where John Wayne showered, Seinfeld‘s Central Park, and Leave It To Beaver‘s house, among many other iconic locations.

The tour begins at 5 pm before the Fourth of July celebration and guests will be taken around the lot on studio golf carts. Preferential parking will be provided. Space is limited to ten participants. After the tour enjoy our VIP July 4th celebration on stage 15 with a meal, sampling stations of food and alcohol from various local restaurants, caricature artists, facepainters and more! Then take your seat on the roof of the parking structure for the view of the best fireworks in Los Angeles.

Tickets are available https://www.freshtix.com/events/4th-of-july-fireworks-festival-2-2. Click on VIP plus Private Lot Tour w/Studio President

Please call 818-655-5916 if you have any questions.

Boy, I’d love to take my family to this thing.

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Producer Eddie White, Roy Rogers, Director William Witney.

While doing some research on Sunset In The West (1950), I came upon an intro to Under California Stars (1948) that aired on Roy Rogers’ Happy Trails Theater. William Witney was the guest, and he gave a bit of a rundown on how the Rogers pictures came together. Very interesting stuff, coming from a brilliant craftsman.

William Witney: “Our producer, the greatest guy, Eddie White… was from New York. He didn’t know which end of a horse was which, but he had good taste. And they brought me along and put me with him. I’d been a horseman all my life. I’m a jumping horse rider, and I love horses. So, we made a very excellent team, the two of us. We became the best of friends.

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They would give us a title from the front office, and I remember a couple of ’em. One was North Of The Great Divide. I said, ‘How in the world did they get North Of The Great Divide? There is no north of the great divide.’ But Bill Saal came up with that title… Now, that’s all they gave us, just the title. So we hired a writer. We had three of four stock writers that were excellent. Sloan Nibley comes to mind… Eddie and myself and Sloan would sit down and we would decide what we wanted the story to be about. Then Sloan would go back — now we might be working on three pictures at the same time, or maybe four… They’d go back and they’d kinda block it out, bring it back, and we’d say ‘No, you’re on the wrong track… Let’s do it this way or do it that way.’

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Now we come up with a finished script. Eddie and I would go through it, check the dialogue, check it out, and give it to the production department. Now Jack Lacey was our unit man for years. He’d lay it out on the board for a budget, and we would put the budget down, and if that was what the studio would okay, now we had to find the locations. We knew every location locally. I knew every location we could afford to go to. We’d pick the location — Big Bear, someplace like the Iverson… So now we’ve got the locations, we’ve got the departments — wardrobe department, makeup department… These crews that we had were held together with a tight hand. They were our friends.

Republic studios yellow

Republic was a small studio. I was under contract there for 28 years, and this studio, everybody used to say, was the hardest studio to work at in the world, but our crews were excellent. They had people in there that were just brilliant… Incidentally, the guy who swept the horse stuff off the street was called a sportsman — because he followed the horses. ‘Sportsman!’ We’ve got a casting office, and they read the script and they make suggestions. You also have a book of actors, and you know actors after all these years. You got through the book and you say, ‘See if you can get him, I wanna interview him.’ And you’d interview these people to look at them. You knew their ability, most of them, because you’d worked with them before. Once I said, ‘Oh, I know him. I just made a picture with him. Cast him.’ Well, he came in, and he’d just had all his teeth pulled out. It made it a little difficult.”

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Back in 2014, gathering everybody’s favorite DVD and Blu-Ray picks for the year turned out to be a lot of fun. It’s since become an annual thing.

Thanks to everybody who sent in their picks for 2016. This was a great year for 50s Westerns on DVD and Blu-Ray (and 2017 is shaping up to be just as good, or maybe better). Here’s the Top 10, according to your votes.

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10. Desperado (1954, Warner Archive, DVD)
It was a tie between this Wayne Morris picture and his earlier Desert Pursuit (1952). They’re both solid, offbeat little Westerns — and it’s real treat to have them available in such stellar condition.

9. Yellow Sky (1948, Kino Lorber, Blu-Ray)
Thanks to William Wellman, we didn’t have to wait till the 50s for Hollywood to start making 50s Westerns. The town of Yellow Sky is populated by only an old prospector and his daughter — until some slimy outlaws come riding up.

8. Western Union (1941, Kino Lorber, Blu-Ray)
Randolph Scott in Fritz Lang’s second Technicolor movie. There’s so much cool stuff in this movie, and it looks wonderful.

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7. Black Horse Canyon (1954, Universal Vault, DVD)
For years, Joel McCrea’s Universal Westerns were missing on DVD. It’s great to have them so easy to track down. This is a good one.

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6. Comanche Station (1960, Explosive Media, Blu-Ray)
The last of the Scott-Boetticher Westerns turns out to be the first to make its way to Blu-Ray, and as I see it, the others can’t get here soon enough. This thing’s incredible.

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5. She Wore A Yellow Ribbon (1948, Warner Archive, Blu-Ray)
John Ford’s She Wore A Yellow Ribbon (1948, above) is one of the most beautiful color movies ever shot. The proof is pressed oh-so-magnificently into this Blu-Ray. It also features one of John Wayne’s finest performances.

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4. Roughshod (1949, Warner Archive, DVD)
This gets my vote as the best of the “noir Westerns.” I was real happy to see the response this picture got. It’s a shame it’s not better known.

3. Cariboo Trail (1950, Kino Lorber, DVD/Blu-Ray)
The transfer here is a minor miracle, demonstrating how good CineColor can look. They wisely didn’t go overboard with the cleanup, so it still retains its true film look. And, of course, this is a solid picture from Edwin Marin and Randolph Scott.

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2. Johnny Guitar (1954, Olive Films Signature Edition, DVD/Blu-Ray)
Olive’s new Signature edition is a marked improvement over their old release, which was terrific. The restored 1.66 framing makes a big difference, and the supplemental stuff is excellent.

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1. One-Eyed Jacks (1961, Criterion Collection, DVD/Blu-Ray)
Opinions of Marlon Brando’s Western are all over the place, so I was really surprised to see it land in the top spot. However, judging it simply in terms of its superb presentation, I don’t see how anything could beat it. It’s stunning, a big fat reward to all of us who’ve suffered through those awful tapes and discs over the years. I’m proud and honored to have been involved with Criterion’s work here. (Note: Having worked on the One-Eyed Jacks extras, I did not feel comfortable taking part in the vote this time around.)

In closing, the discs on this list highlight the impact the video presentation can have on our appreciation of these old movies. Many of these have been available, in some form, for years. One more thing: your reasons for not buying a Blu-Ray player are rapidly running out.

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Directed by William Witney
Starring Roy Rogers, Eselita Rodriguez, Penny Edwards, Gordon Jones, Will Wright

I have the extreme honor of preparing a commentary for Kino Lorber’s upcoming Sunset In The West (1950). The work copy they sent was so gorgeous, I had to share it (and they were kind enough to say OK).

They also say there’s a little work left to do on it. Judging from this, it’s gonna be quite a thing.

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Directed by Joseph Kane
Starring John Wayne, Vera Hruba Ralston, Walter Brennan, Ward Bond

Kino Lorber has announced a March 21 release date for Dakota (1945), a John Wayne Republic directed by Joe Kane. Ward Bond, Walter Brennan, Nick Stewart and Mike Mazurki round out the cast — along with Vera Ralston. It was shot by the great Jack Marta, and the special effects come courtesy of the mighty Lydecker Brothers.

The DVD and Blu-Ray will include a trailer and a commentary by some guy named Toby Roan.

UPDATE 1/4/2017: Kino Lorber has also announced an upcoming release of the Republic noir picture The Man Who Died Twice (1958), which starred Rod Cameron and Vera Ralston — and was shot in Naturama.

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Directed by Nicholas Ray
Produced by Herbert J. Yates
Screenplay by Philip Yordan
Cinematography: Harry Stradling, Sr.
Film Editor: Richard L. Van Enger
Original Music by Victor Young and Peggy Lee

Cast: Joan Crawford (Vienna), Sterling Hayden (Johnny Guitar), Mercedes McCambridge (Emma Small), Scott Brady (Dancin’ Kid), Ward Bond (John McIvers), Ben Cooper (Turkey Ralston), Ernest Borgnine (Bart Lonergan), John Carradine (Old Tom), Royal Dano (Corey), Paul Fix (Eddie)

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s-l1600-15Johnny Guitar (1954) has always been one of my favorite 50s Westerns.

Now, I could go on and on about how it’s a Feminist Western, a Psychological Western, an Existential Western, an HUAC allegory and lots of other things — or maybe it’s none of those. Depends on how you look at it.

I could rattle off a list of prominent filmmakers who’ve cited it as an influence or a favorite. I could cover its incredible cast, surely one of the best assembled for a 50s Western (and that’s saying something), or Victor Young’s terrific score — even that great instrumental version of the title song by The Spotnicks.

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I could even mention that at one point, there was talk of Jack Webb turning it into a TV series. Maybe it’s best to not get me started on Johnny Guitar at all.

But that’s not what this is about, not today anyway. It turns out Johnny Guitar is also one of the finest Blu-Rays I’ve ever seen.

Of course, Olive Films brought it out a few years ago, and it was marvelous. Some of us griped about it not reflecting Nick Ray’s original 1.66 cropping (I’m among the guilty), but the overall quality more than made up for it.

Well, Olive’s new Signature edition, it leaves the old release in the red, Sedona dust. This is a case where what a movie looks like on video can have a substantial impact on your appreciation of it. I saw details I’d never seen, and the restored 1.66 framing revealed little hints of Ray’s eye for color and composition (and his overall genius) that have escaped me for decades. In short, it made this great movie seem even greater.

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The extras — Martin Scorsese intro, commentary, documentaries, trailer, etc. — are outstanding, covering everything from the film and its many interpretations to Nicholas Ray to Republic pictures. Still haven’t made my way through them all. This is a movie that deserves, and stands up to, all the analysis that’s heaped on it, and this package does it justice.

I’m not here to tell you how to spend your money. So I’ll just say that if I won the lottery, I’d buy a few cases of these and send you all one. And if you hadn’t made the switch to Blu-Ray, well, I’d have to help you out with that, too. This one gets my highest recommendation.

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