Archive for the ‘Warner Bros.’ Category

Directed by John Farrow
Screenplay by James Edward Grant
From a short story by Louis L’Amour
Starring John Wayne, Geraldine Page, Ward Bond, James Arness, Leo Gordon

As part of the Museum Of Modern Art’s 3-D Summer, Hondo (1953) will return to New York in 3-D for the first time in decades. There are a number of showings June 13 through July 4, with Gretchen Wayne introducing the first one.

Of course, Hondo is a terrific picture, whether it’s 2-D or 3-D. If you can’t get to NYC in a couple weeks, the (flat) Blu-ray is stunning.

Also in the MoMA series is 3-D Rarities, an amazing compilation from Bob Furmanek of the 3-D Film Archive — who stops by this blog every so often.

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Directed by Fred F. Sears
Produced by Robert E. Kent
Screenplay by Orville H. Hampton
Director Of Photography: Benjamin H. Kline, ASC
Supervising Editor: Grant Whytock, ACE
Musical Score: Irving Gertz

Cast: George Montgomery (Pat Garrett), Neville Brand (Butch Cassidy), Buster Crabbe (Wyatt Earp), Karin Booth (Lorna), Gregory Walcott (Bat Masterson), Malcolm Atterbury (Buffalo Bill Cody), Russell Johnson (Sundance), Richard Devon (Harvey Logan), Morris Ankrum (Mayor Coleman)


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Remember Universal’s “monster rally” pictures of the 40s? Beginning with House Of Frankenstein (1944), they’d pile as many of their monsters as they could into a single movie. It was more of a marketing ploy than a creative decision, perhaps, but they’re wonderful in the contrived ways they would dream up to drag Dracula, Frankenstein and the Wolfman into a single story arc. They’re a long way from those true classics of the 30s, but, God, I love ’em!

In a way, Badman’s Country plays like that — a Who’s Who of the Old West herded by a series of contrivances into a robbery tale — with absolutely no concern for history whatsoever. The outlaws are Butch Cassidy (Neville Brand) and the Sundance Kid (Russell Johnson), while the law’s represented by Pat Garrett (Montgomery), Wyatt Earp (Buster Crabbe), Bat Masterson (Gregory Walcott) and Buffalo Bill Cody (Malcolm Atterbury). None of it ties to these men’s real lives, but somehow it all works. Butch and Sundance are part of a gang planning a large robbery in Abilene, Kansas. Pat Garrett — who wants to turn in his badge, marry Karin Booth and settle down in California — gets wind of the plot and enlists Earp and Masterson to help out, with Buffalo Bill along for the ride. The Mayor of Abilene (Morris Ankrum) turns out to be a sniveling coward, wanting to do anything to avoid having his town shot up.

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While I’m a big fan of Howard Hawks’ leave-it-to-the-pros philosophy (one reason why Rio Bravo is my favorite Western), the last reel of Badman’s Country is very satisfying as the lawmen and townspeople come together to give the outlaws what for. It all makes for a strong, fast 68 minutes. (There are a number of neat little plot points along the way, but I’ll let you see those for yourself.)

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A short action Western like this doesn’t allow for heavy dramatic scenes, but George Montgomery is quite convincing as the lawman who’s seen enough and is ready to hang up his guns. He never got an A Western of his own, which is a real drag. But with his good looks, height and those incredible cowboy hats, Montgomery stands tall in these B pictures. It’s hard to take your eyes off of him, and he certainly elevates every picture he’s in. Karin Booth does well as his patient, understanding girlfriend. She’d only make a few more films before retiring. Incidentally, Montgomery was paired with Booth in Cripple Creek (1952), and he’d tracked down Butch and Sundance before in Phil Karlson’s The Texas Rangers (1951).

The large supporting cast doesn’t get a chance to make much of an impression. Neville Brand and Russell Johnson are fine as Butch and Sundance, but Buster Crabbe and Gregory Walcott come off kinda flat as Earp and Masterson. Morris Ankrum is sufficiently slimy as Abilene’s ineffective Mayor. Malcolm Atterbury is always terrific, and he does what he can with the script’s rather odd take on Buffalo Bill — he seems more like a sidekick than a major character.

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Fred F. Sears was cranking out solid little Westerns like Badman’s Country, along with other genre pictures, at a staggering pace in the mid- to late-50s. He and director of photography Benjamin Kline worked together extensively at Columbia, going freelance for this one. Badman’s Country hit theaters in August of 1958, one of five films released after Sears’ death. He had a heart attack in his office on the Columbia lot at just 44.

Badman’s Country has the feel of a well-oiled machine, which has to be the result of a team of veterans who’ve made films like this time and time again, sometimes working together. It’s fast, exciting and completely void of pretense. Just the way I like ’em.

Laura wrote about this one a while back. See what she says about it.

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Produced and Directed by Allen H. Miner
Written by Leo Gordon
Director of Photography: Edward Colman, ASC
Film Editors: Jerry Young and John H. Post
Music by Jerry Goldsmith

Cast: George Montgomery (Marshal Clay Morgan), Diane Brewster (Helen Danner), Tom Pittman (Flytrap), Leo Gordon (Hank Danner), House Peters Jr. (Holman), George Trevino (Pedoline), Lynn Cartwright (Kitty), Strother Martin (Petey Walker), Sebastian Cabot (Frenchy), Dan Blocker, John Mitchum, Hope Summers


Black Patch (1957) is an odd little George Montgomery picture from his own Montgomery Productions, Inc., written by Leo Gordon. While it dishes up plenty of the elements we know and love in these films, it’s so offbeat that opinions about it are all over the place — even among diehard Montgomery fans.

Over the course of his career, character actor Leo Gordon made a name for himself as a writer, scripting everything from horror pictures like Attack Of The Giant Leeches (1959) to the war movie Tobruk (1967) to episodes of Adam-12. His first script was this one.

Leo Gordon: “When Charles Marquis Warren was directing the pilot for Gunsmoke, I told him I had an idea for an episode. ‘Don’t tell me, write it,’ he answered. I went home and the next thing I knew, I had 110 pages. I showed it to my agent. Next thing I know, George Montgomery wanted to buy it. That was Black Patch.”* a_way335

Clay Morgan (Montgomery) is the marshal of Santa Rita, New Mexico. Having lost an eye in the Civil War, he’s known as “Black Patch.” (GM looks so cool in that big black hat and eyepatch!) An old friend, Hank Danner (Gordon), arrives in town with his wife, Helen (Diane Brewster). Helen and Morgan had been deeply in love (still are), but when he never returned from the war, she married Hank. Then, as fate would have it, Morgan has to arrest Hank for bank robbery.


From there, things go downhill. Not just for our characters, but with the movie itself. As Hank sits in jail, Black Patch becomes more and more concerned with unappealing minor characters (Tom Pittman and Sebastian Cabot, to name just two) and Montgomery disappears for a substantial amount of screen time. There are some interesting scenes in there, for sure, but the shift in tone is quick and jarring. It’s almost like the first half of one movie was spliced onto the second half of another. What makes this so frustrating is that the first half is so good. Montgomery and Gordon are at the top of their game, and the scenes between Montgomery and Diane Brewster are really well done. Things manage to get back on track towards the end, but it’s a bit too late.


But there’s still plenty to like about Black Patch. Director of photography Edward Colman, from Jack Webb’s Dragnet team, was brought in. (The first Dragnet series had just wrapped up its run.) During production, Montgomery told Erskine Johnson, “Films owe TV an Oscar for getting us off our self-satisfied — er, uh, couches — and into speedy, bang-up production.” Regardless of how many setups he was getting in each day, Colman’s camerawork is inventive and appropriately moody, with the same flair he displayed on the 1954 Dragnet feature. Colman would spend the latter part of his career shooting Disney movies such as The Absent-Minded Professor (1961), Mary Poppins (1964) and The Love Bug (1968, his last credit).

Producer/director Allen H. Miner had a long career in television. This was an early feature for him. He directed another Western the same year, The Ride Back (1957) — a cool little movie starring Anthony Quinn and William Conrad. Miner’s direction is solid in Black Patch, for the most part, but I wish he’d kept the story from drifting off course.

Gene Autry’s Melody Ranch (the Monogram Ranch renamed after Autry bought it) is used to good effect. Pretty much the entire picture takes place in town, and Colman shoots it very well. Just five years after this film, the ranch would be largely destroyed by fire. While I complained about the shift in focus away from Montgomery, Gordon and Brewster, there are some great character actors to be found here. Sebastian Cabot is really slimy as Frenchie, Strother Martin’s a deputy who witnessed the bank robbery, and Leo Gordon’s wife Lynn Cartwright is Kitty, a saloon girl. What’s more, Dan Blocker (a couple years away from Bonanza), John Mitchum (Robert’s brother) and Hope Summers (Clara Edwards from The Andy Griffith Show) turn up without credit, though they all have speaking parts.


Along with this being Leo Gordon’s first script, Black Patch was the first film scored by the great Jerry Goldsmith. The music’s excellent and immediately recognizable as his work — he really hit the ground running. Verna Fields, the masterful film editor of What’s Up, Doc (1972), Jaws (1975, her Oscar-winning work may have saved the movie) and other key films of the 70s, gets an early credit here, as sound editor.

While Black Patch tends to divide people, the DVD from Warner Archive certainly won’t. Not only is a movie that’s been almost impossible to track down now just a click away, it’s beautiful — clean and sharp, with the proper framing and excellent contrast. There are lots of night scenes here, and never does it seem murky or dark. A perfect transfer that does Edward Colman proud. I was also happy to see that Warner Archive made good use of the original artwork. I’ve always loved that poster.

Why not read Laura’s take on Black Patch?

* from an interview with Boyd Magers.

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Lesley_SelanderNext Thursday, April 9, Turner Classic Movies (TCM) will highlight director Lesley Selander by running nine of his films, three of them part of RKO’s excellent series of B Westerns starring Tim Holt (Gunplay is a very good one).

Arrow In The Dust (1954) stars Sterling Hayden and Coleen Gray. Tall Man Riding (1955) is a solid Randolph Scott picture. And The Lone Ranger And The Lost City Of Gold (1958) is the second TV spinoff feature to star Clayton Moore and Jay Silverheels.

I’m a big fan of Lesley Selander. When it comes to action, he’s one of the best. It’s good to see him get this kind of attention. His films are short, smart, fast — and highly recommended.

Selander on TCM

The times listed are Eastern Standard Time. This is a “restoration” of a shorter post. Thanks to Blake for pointing out all I’d missed.

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Directed by David Butler
Written by James O’Hanlan
Director Of Photography: Wilfrid M. Cline

Starring Doris Day, Howard Keel, Allyn McLerie, Philip Carey, Chubby Johnson

Some might wonder why I’d bother with a post on Calamity Jane (1953) coming to Blu-ray in March. It’s not a Western in the usual sense. But it’s a wonderful movie, one of my favorite musicals, and it should make for a knockout Blu-ray. Plus, it’s got Chubby Johnson in it.


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Directed by Richard L. Bare
Produced by Richard Whorf
Written by John Tucker Battle and D.D. Beauchamp
Director Of Photography: Carl Guthrie, ASC
Art Director: Stanley Fleischer
Music by Roy Webb
Film Editior: Clarence Kolster, ACE

CAST: Randolph Scott (Capt. Buck Devlin), James Craig (Ep Clark), Angie Dickinson (Priscilla King), Dani Crayne (Nell Garrison), James Garner (Sgt. John Maitland), Gordon Jones (Pvt. Wilbur “Will” Clegg), Trevor Bardette (Sheriff Bob Massey), Don Beddoe (Mayor Sam Pelley), Myron Healey (Rafe Sanders), John Alderson (Clyde Walters), Harry Harvey, Sr. (Elam King), Robert Warwick (Brother Abraham).


Shoot-Out At Medicine Bend (1957) sticks out like a sore thumb in Randolph Scott’s filmography. It sits right in the middle of the Ranown cycle (coming between The Tall T and Decision At Sundown) — a cheap little black-and-white contract killer shot on the backlot in 19 days by a crew (and sometimes cast) more accustomed to TV than features. It’s known more today for the early work it gave Angie Dickinson and James Garner than for Scott’s participation.

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James Garner: “The movie couldn’t decide if it was a comedy or a drama, maybe because [director Richard L.] Bare had gotten his start directing the ‘Joe McDoakes’ comedy shorts in the 1940s.”

Bare made a name for himself in shorts like the McDoakes pictures, directed a few features, then really found his place in early TV. He directed episodes of both Cheyenne and Maverick (he discovered James Garner in a bar on Sunset), and would go on to direct everything from The Twilight Zone to Green Acres (over 150 episodes of that one).

Richard L. Bare: “I was glad to see that my few years in TV had not knocked me out of the box for feature assignments. It was a story of three ex-soldiers who dressed up like preachers to avenge the death of Scott’s brother.”

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The soldiers are Scott, a pre-Maverick James Garner and Gordon Jones, and their journey takes to them to the rather lawless prairie town of Medicine Bend. Ep Clark (James Craig) runs the town and quickly winds up in Randy’s sites.

Richard L. Bare: “We were shooting a scene that called for the three of them [Scott, Garner, Gordon Jones] to swim in a lake [on the WB backlot] and come to shore. Scott said to me, ‘I’m not going in that water.’ I said, ‘Randy, the other guys are going to do it.’ He said, ‘Not me, not in that filth.’ So what I did was put Scott’s double in the water, and in the foreground I put Scott out of view behind a huge log, and when I called action, a prop man dumped fresh water on Scott, and Garner, Jones and Scott’s double swam to shore and ran to the log, and Scott’s double disappeared behind the log and Scott, all wet, popped up. And it worked just fine.”

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It’s a bit convoluted and goofy, and often played for humor. The action scenes are well done, and the film has the look and feel of a longer-than-usual Warner Bros. TV Western, which works just fine. Garner’s inexperience shows (“…my acting still wasn’t very good”). He lacks that supreme cool that came later. Angie Dickinson was two years away from Rio Bravo (1959), and comparing the two films, it’s amazing how much she developed as an actress during that time. (How much of that was Hawks’ doing?) Randolph Scott is, of course, Randolph Scott, and he handles the lighter, humorous stuff with ease. As he masquerades as a Quaker, his delivery makes the most of each line of dialogue. It’s fun to be in on his ruse.

Dickinson, Scott, Crayne - Shoot-Out at Medicine Bend

Warner Archive has given Shoot-Out At Medicine Bend a level of respect it’s probably never received before. It looks great, framed to the proper 1.85, with the contrast dialed-in just right. The audio’s got plenty of punch, letting Roy Webb’s score really shine. You might come to this one with high curiosity and low expectations. My advice: enjoy it for what it is. Recommended.

SOURCES: The Garner Files: A Memoir by James Garner and Jon Winokur; Confessions Of A Hollywood Director by Richard L. Bare; Last Of The Cowboy Heroes by Robert Nott

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Shootout Medicine Bend 36

Directed by Richard L. Bare
CAST: Randolph Scott, James Craig, Angie Dickinson, Dani Crayne, James Garner, Gordon Jones

This is one we’ve all been waiting for and it’s on its way from Warner Archive: Shoot-Out At Medicine Bend (1957), a fairly obscure Randolph Scott movie that gave early roles to Angie Dickinson and James Garner. There’s a big connection between this film and Warner Bros.’ Cheyenne and Maverick TV series. Director Richard L. Bare directed episodes of each, Garner and Dickinson appeared in both (Garner, or course, was a lead on Maverick), and DP Carl Guthrie shot some of each show. In fact, being in black and white, Shoot-Out At Medicine Bend has the feel of a Warner Bros. TV Western. And there’s nothing wrong with that.

TCM ran this recently as part of their tribute to James Garner (it was his first Western feature), and it’s a pretty solid Western with an oddball touch here and there. Warner Bros. must not have seen much promise in it; a Scott Western hadn’t been shot in black and white since 1949. But it looks good, thanks to Carl Guthrie, who shot a number of excellent late-50s Westerns. His color work on Quantez (also 1957) is terrific.

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