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Archive for the ‘Warner Archive’ Category

Directed by Sam Peckinpah
Starring Jason Robards, Stella Stevens, David Warner, Strother Martin, Slim Pickens, L. Q. Jones, R. G. Armstrong

Another great Sam Peckinpah movie about the dying West, and another must-have Blu-Ray from Warner Archive.

The Ballad Of Cable Hogue (1970) gives Peckinpah another group of outsiders to study — and another outstanding cast to play them. As good as everyone is in this, it’s Stella Stevens that really knocks me out. (She was really good in The Silencers, too.)

This, The Wild Bunch (1969) and Ride The High Country (1962) all cover the same basic theme — the Old West giving way to civilization, with some people not able, or willing, to adapt. But Sam comes at it from a different angle each time, always striking gold. I’m in absolute awe of Peckinpah when it comes to these movies.

Lucien Ballard shot this one, which is reason enough to spring for the Blu-Ray. It will be out in June, with a number of great supplements that appeared on the DVD release. Highly highly recommended.

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Directed by Thomas Carr
Produced by Vincent M. Fennelly
Written by Milton R. Raison
Director Of Photography: Ernest Miller

Cast: Wild Bill Elliott (Marshal Sam Nelson), Phyllis Coates (Marian Harrison), Rick Vallin (Ray Hammond), Fuzzy Knight (Pop Harrison), John James (Marv Ronsom), Denver Pyle (Jonas Bailey), Dick Crockett (Will Peters), Harry Lauter (Mack Wilson)

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It’s been quite a while since I’ve posted a Wild Bill Wednesday, a serious oversight on my part. Well, I really felt like watching a Bill Elliott picture the other night, so let’s take a look at Topeka (1953).

The notorious bank robber Jim Levering (Elliott) and his gang wind up in Topeka, Kansas, where Mack Wilson (Harry Lauter) and his thugs are pressuring the local businesses for “protection money.” Elliott winds up as sheriff, seeing the opportunity to gain the citizens’ trust, run Wilson and his henchmen out of town and take over things for himself.

But Levering’s conscience, the lovely Marian Harrison (Phyllis Coates), and his closest friend among the gang, Ray (Rick Vallin), convince him that maybe it’s time to go straight. But, of course, we’ve seen enough of these things to know that’s easier said than done.

I’m a big fan of the common theme of redemption in 50s Westerns. Director Thomas Carr and writer Milton R. Raison do a good job with it in Topeka, leveraging Elliott’s typical good-badman persona. What’s interesting here is that we don’t see Elliott’s good side right away, and even he seems surprised by his turnaround. His transformation is totally believable.

The B Western was heading into the sunset when Elliott made his series of pictures for Monogram (later Allied Artists), and while the budgets hold things back a bit, I’m always impressed by the effort and imagination that went into them. The subject matter’s a bit more adult, Elliott’s a more complex hero than what the matinee crowds were probably used to, and the camerawork is inventive at times (though a little rushed and wobbly at others). For Topeka, it looks like cinematographer Ernest Miller brought a crane out to Iverson and Corriganville. This, for my money, is one of the best of the series.

And one more thing. I really liked Fuzzy Knight in this. He was also good in the offbeat B Western Rimfire (1949).

Topeka is part of Warner Archive’s terrific The Wild Bill Elliott Western Collection — which I hope you already own. The set gives these cheap little movies the red-carpet treatment, which they (and William Elliott himself) certainly deserve.

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Directed by Mark Robson
Producer: Richard H. Berger
Screenplay by Hugo Butler and Geoffrey Homes
Cinematography: Joseph F. Biroc
Music: Roy Webb
Film Editor: Marston Fay

Cast: Robert Sterling (Clay Phillips), Gloria Grahame (Mary Wells), Claude Jarman Jr.(Steve Phillips), John Ireland (Lednov), Jeff Donnell (Elaine Wyatt), Myrna Dell (Helen Carter), Martha Hyer (Marcia), George Cooper (Jim Clayton), Jeff Corey (Jed Graham), Sara Haden (Ma Wyatt), James Bell (Pa ‘Ed’ Wyatt), Shawn McGlory (Fowler), Robert B. Williams (McCall), Steve Savage (Peters), Edward Cassidy (Sheriff Gardner)

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There’s a movie memory that’s been bugging me since I was a kid. It’s a Western, and John Ireland’s the bad guy — a really bad guy. I remembered a few things about Ireland and the film, but never enough to be able to nail it down. Well, it turns out it was Roughshod (1949), a picture I thought I’d never seen.

You hear a lot about the noir influence in Westerns — Blood On The Moon and Pursued are good examples. I’d put Roughshod near the top of the list for successfully meshing the noir style within the Western.

Robert Sterling is Clay Phillips, who’s driving a herd of horses over the Sonora Pass with his kid brother Steve (Claude Jarman Jr.). They happen upon a broken-down buggy and four saloon girls who were headed to Sonora; Clay must be the luckiest cowpoke in history, because the women he’s stumbled upon are Gloria Grahame, Martha Hyer, Myrna Dell and  Jeff Donnell. They’ve been run out of Aspen by a group of concerned citizens.

A panel from the Roughshod adaptation in Prize Comics Western.

Steve Phillips (Claude Jarman Jr.): “Were you driving?”
Mary Wells (Gloria Grahame): “I was at first. Then I was hanging on.”

Trouble is, there are three escaped convicts on the loose, and the ringleader is the truly evil Lednov (John Ireland) — who Clay helped send to prison. Lednov would love to bump into Clay out on the trail. The scene that introduces these very bad dudes is the memory I’ve had bouncing around in my head for decades. And revisiting it thanks to the DVD-R from Warner Archive, it’s easy to see why the picture made such an impression on me. This is a dark, tense, terrific movie (and I don’t want to give too much of it away).

I know very little about Robert Sterling, and he’s fine here. But Gloria Grahame and John Ireland are outstanding. Grahame was great in plenty of things, but she really cooks in this one. The romance that happens along the trail could have been hokey, but she makes it work. It’s a good part, and she really nails it.

It would’ve been easy for someone to take the Lednov part way too far (he’s as nasty as nasty gets in a 50s Western), and screwing up the entire movie in the process. John Larch comes close to doing that in another favorite of mine, Quantez (1957). Ireland is so perfect here. Claude Jarman Jr. is good, too. He always was. Mark Robson gets superb performances from his entire cast — everybody brought their A game to this one.

Warner Archive has Roughshod looking good. It’s not a full restoration or anything, but it’s nice and sharp and pretty clean — with the picture’s many dark scenes dialed in just right. This might be some of DP Joseph Biroc’s best work. The sound’s nice and crisp.

In 50s Westerns, there are so many movies you could say are “ripe for rediscovery.” The fact that Roughshod sits on that list is a real shame. Highly, highly recommended.

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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.

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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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Directed by Sam Peckinpah
Starring Randolph Scott, Joel McCrea, Mariette Hartley, Ron Starr, James Drury, Edgar Buchanan, R.G. Armstrong

Here’s one so many of us have been waiting for. Warner Archive has announced an upcoming Blu-Ray release for Sam Peckinpah’s Ride The High Country (1962).

Surely one of the finest Westerns ever made. Absolutely essential.

Thanks to Dick Vincent for the great news.

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960

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 Raoul Walsh
Starring Errol Flynn, Ann Sheridan, Thomas Mitchell, Bruce Bennett, Barton MacLane, Monte Blue

Silver River (1948), an Errol Flynn Western directed by Raoul Walsh, is finally making its way to DVD from Warner Archive. Watch for it in January.

Production was marked by the liquored-up antics of both Flynn and his leading lady, Ann Sheridan. Probably due to those antics, this was the last of eight pictures Flynn and Walsh made together (if you haven’t seen their Objective, Burma!, do it now!). In spite of the delays and frustrations, Flynn turned in a solid, complex performance — the effects of his hard living might have made him a better Western star.

2016 has been a great year for classic Westerns on DVD and Blu-Ray. 2017’s getting off to a great start, too. Thank you, Warner Archive!

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