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Archive for the ‘Roy Rogers’ Category

Republic Trucolor logo

Martin Scorsese has curated a retrospective of Republic movies, for February and August at the Museum Of Modern Art, from the restored material at Paramount.

There’s some great stuff in February’s lineup, including Trigger, Jr. (1950), Stranger At My Door (1956) and one of my all-time favorite films, Hellfire (1949). Three of my favorite directors are represented: William Witney, George Sherman and Allan Dwan.

Working with the fine folks at Kino Lorber on commentaries for some of their Republic releases, the quality of the material coming out of Paramount is incredible. (I’m in the middle of Singing Guns right now.) So glad to see these films are being treated with the respect they deserve.

Thanks to Laura for the news!

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Merry Christmas.

Here’s the King Of The Cowboys, Roy Rogers, with the king of Christmas, Santa himself, wishing you and yours a very merry Christmas.

Here’s hoping you enjoy time with family, some fine food, and a 50s Western or two. Of course, I recommend Roy in Trail Of Robin Hood (1950).

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Here are, left to right, Foy Willing, Roy Rogers, Penny Edwards and Gordon Jones getting ready for some turkey in William Witney’s Trail Of Robin Hood (1950). I know it’s a Christmas movie, but I went for the turkey thing.

Anyway, here’s wishing you all a safe, happy, food-filled Thanksgiving. And I hope you can get away from the parades, dog shows, football, traffic and sales long enough to watch something like, say, Waco (1952) with Bill Elliott, one I’ve been meaning to revisit.

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white-rogers-witney

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.

witney-happy-trails

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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son-of-paleface-hs

Directed by Frank Tashlin
Starring Bob Hope, Jane Russell, Roy Rogers

There’s been some debate out there as to whether this counts as a 50s Western, and some have said they don’t care for comedy Westerns in general. But for me, Son Of Paleface (1952) is one of my all-time favorite films.

This was once available on the old HD DVD discs. Remember those? Now it’s coming to Blu-Ray this Summer from Kino Lorber, along with The Lemon Drop Kid (1951) and a couple of the Hope-Crosby Road pictures, Road To Rio (1947) and Road To Bali (1952). It’s all good stuff.

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sunset-in-the-west-capture-3

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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Here’s Roy Rogers on the cover of March Of Comics back in 1956. Can’t think of a better way to commemorate Christmas than with Roy — he’s been my go-to holiday guy since the beginning of this blog.

Of course, I recommend you mark Christmas with what’s probably my favorite holiday movie, Roy’s Trail Of Robin Hood (1950).

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