Cowboy Movies

January 10, 2009

Firecreek

Filed under: 1960's Films — Tags: — Wayne @ 9:23 am
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Firecreek is a 1968 western directed by Vincent McEveety and starring James Stewart and Henry Fonda in his second role as an antagonist that year. The film is similar to High Noon, in that it features an entire town refusing to help against outlaws, and showing no backbone. James Stewart plays an unlikely hero, forced into action when his conscience will not permit evil to continue.

Plot

After many years of backing away from numerous criminals and gunfights, one resident of the small western town of Firecreek decides to fight back. Part-time sheriff, Johnny Cobb (James Stewart), decides to avenge the death of a young disabled man against gunmen lead by Bob Larkin (Henry Fonda).

Cast

  • James Stewart as Johnny Cobb
  • Henry Fonda as Bob Larkin
  • Inger Stevens as Evelyn Pittman
  • Jacqueline Scott as Henrietta Cobb
  • Gary Lockwood as Earl
  • Dean Jagger as Whittier
  • Ed Begley as Preacher Broyles
  • Jay C. Flippen as Mr. Pittman
  • Jack Elam as Norman
  • James Best as Drew
  • Barbara Luna as Meli
  • Brooke Bundy as Leah

Hombre

Filed under: 1960's Films — Tags: — Wayne @ 9:20 am
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Hombre is a 1967 Revisionist Western film directed by Martin Ritt, based on the novel of the same name by Elmore Leonard. It stars Paul Newman in the title role. Newman’s amount of dialogue in the film is minimal and much of the role is conveyed through mannerism and action. This was the sixth and final time Ritt directed Newman, they had previously worked together on The Long Hot Summer, Paris Blues, Hemingway’s Adventures of a Young Man, Hud (1963 film) and The Outrage.

Theme

“Hombre” is a very typical western of the 1960s, being one of several films portraying the situation of the Native Americans in a different and more true way than what had previously been custom in westerns. The film shows the need for both Indian and non-Indian alike to cooperate with each other for their mutual benefit. The subplot focuses on the hypocrisy and duality of respectable citizens.

Critical reaction

Most reviews of the film are positive. Critics praise the performance of Newman and the writing of Elmore Leonard. Movie critic Roger Ebert, in a 1967 review, notes “The performances are uniformly excellent. Three particularly pleasing ones, however, were from Diane Cilento, the boarding house operator who talks Hombre into his ethical heroics; Richard Boone as the villainous Cicero Grimes, and Martin Balsam, as the good Mexican. Ritt directs with a steady hand, and the dialog by Irving Ravetch and Harriet Frank bears listening to. It’s intelligent, and has a certain grace as well. Last year, Richard Brooks’ The Professionals was the best-directed film out of Hollywood, and this year it looks as if the honors may rest with Martin Ritt and “Hombre”.” Ebert gave the film a rating of three and a half out of four possible stars in his review.  “Hombre” has a 100% rating on Rotten Tomatoes, making it a very “fresh” film. It also has 7.3 out of 10 on IMDb.

Trivia

  • John Russell is referred to as ‘tres Hombres’ at one point; this is a nickname he earned while working for the Indian police in the reservation. He fought like three men, therefore ‘tres Hombres’.
  • The film has some similar plot elements and incidents in common with another Leonard-written film, The Tall T, which also featured Richard Boone as the villain.
  • “Hombre” is Paul Newman’s fourth and final “H” film of the 1960s, a quartet that includes The Hustler (film), Harper (film), and another of his six collaborations with Martin Ritt, Hud (film). In all of these films Newman perfected the role of the anti-hero, a type of character he is closely associated with. Newman’s anti-hero culminated with Cool Hand Luke in 1967, and he played one version in the lesser known Paris Blues, which was also directed by Martin Ritt. Roger Ebert, in his 1967 review of Cool Hand Luke said this about Newman’s anti-hero portrayals: “He’s been in movies where he is a fairly ordinary guy in a fairly ordinary situation, (…) except he won’t be pushed. He knows his own mind. The bad guys in his movies don’t like that, and so they try to break him. And he fights back, no matter how much it hurts. If the characters he has played stopped there, they would be more or less conventional heroes. But they don’t. Although they exhibit heroic stubbornness and integrity, they’re not very likable. For on thing, they’re loners. For another, they don’t seem to have basic human feelings. They do rotten things and don’t feel bad. They’re cold and aloof (…) We’d break a guy like Paul Newman if we had the chance, because he’s a troublemaker, a malcontent, a loner. That’s the kind of guy he played in all those movies, beginning with H (“The Hustler,” “Hud,” “Harper,” “Hombre”). He smiled at the idiots who were crossing him. He didn’t care what people thought. And a subtle change took place: The hero stopped wanting to be a hero.” Ebert also commented specifically on “Hombre”: (During “Hombre”) the Newman character gained a degree of self-understanding. Newman played a white man who had been raised by Indians and adopted their way of life. He becomes joined to a party of travelers who are all incapable of protecting themselves and coping with the Western badlands. So Newman is the hero, the guy who can handle things and defend the weak. Only he doesn’t want to. He despises the travelers and sees no need to endanger his own life to save theirs. They talk about courage and duty, and he says he doesn’t know what the words mean. In the end, he does sacrifice himself to save a member of the party, but he doesn’t feel good about it. (The ending) proves the uselessness of being a hero. Where will it get you?”
  • Kevin Costner lists this as one of his favorite films, and considered remaking it around the time when he did The Untouchables (1987 film). He has not followed up on the idea, but contributed to the western genre with Dances with Wolves and Open Range

Cast

  • Paul Newman     John Russell
  • Fredric March     Dr. Alex Favor
  • Richard Boone     Cicero Grimes
  • Diane Cilento     Jessie
  • Cameron Mitchell     Frank Braden
  • Barbara Rush     Audra Favor

The Fastest Guitar Alive

Filed under: 1960's Films — Tags: — Wayne @ 9:18 am
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The Fastest Guitar Alive is a 1967 MGM motion picture starring singer Roy Orbison in his only starring role as an actor. A musical western, the story is set near the end of the American Civil War with Orbison portraying a Southern spy with a bullet-shooting guitar given the task of robbing gold bullion from the United States Mint in San Francisco in order to help finance the Confederacy‘s war effort.

The film features Orbison performing several original songs which appeared on his 1967 MGM record album of the same name.

Production

  • Director: Michael D. Moore
  • Producer: Sam Katzman
  • Screenplay: Robert E. Kent
  • Cinematography: W. Wallace Kelley
  • Film editing: Ben Lewis
  • Music: Roy Orbison, Bill Dees, Fred Karger

Cast

  • Roy Orbison – Johnny Banner
  • Sammy Jackson – Steve Menlo
  • Maggie Pierce – Flo
  • Joan Freeman – Sue

El Dorado

Filed under: 1960's Films — Tags: — Wayne @ 9:16 am
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El Dorado is a 1967 western movie starring John Wayne and Robert Mitchum. It was directed by Howard Hawks and released by Paramount Pictures. This film was written by Leigh Brackett. It was based on the novel The Stars in Their Courses by Harry Brown. Nelson Riddle wrote the musical score. The film was shot in Technicolor and ran 126 minutes. The original paintings in the credits are by Olaf Wieghorst.

It was the second film in a trilogy directed by Hawks varying the idea of a sheriff defending his office against belligerent outlaw elements in the town: the other two films were Rio Bravo (1959) and Rio Lobo (1970), both also starring John Wayne.

Trivia

The similarity between Rio Bravo and El Dorado gave rise to an amusing exchange in the 1995 movie Get Shorty. In this scene, L.A. drug dealer Bo Catlett (Delroy Lindo) breaks into the home of B movie and horror movie actress Karen Flores (Rene Russo) in order to steal a valuable movie script. He accidentally touches the TV remote and switches on a cable channel, which is showing Rio Bravo. This awakens Flores and her boyfriend, mafia enforcer Chili Palmer (John Travolta). The pair confront Catlett and, in an attempt to talk his way out of the situation, Catlett confuses details about the respective casts of Rio Bravo and El Dorado. Palmer, a film buff and would-be movie producer, is appalled at this lack of knowledge and proceeds to give the bemused Catlett a tongue-in-cheek lecture setting the facts straight.

Film footage from El Dorado was later incorporated into the opening montage of Wayne’s final film, The Shootist, to illustrate the backstory of Wayne’s character.

Poem

The poem repeated in the film is “Eldorado”, a ballad poem by Edgar Allan Poe.

Cast

  • John Wayne as Cole Thornton
  • Robert Mitchum as Sheriff J.P. Harrah
  • James Caan as Mississippi
  • Arthur Hunnicutt as Bull Harris
  • Charlene Holt as Maudie
  • Michele Carey as Josephine ‘Joey’ MacDonald
  • Ed Asner as Bart Jason
  • Christopher George as Nelson McLeod
  • R. G. Armstrong as Kevin MacDonald
  • Paul Fix as Dr. Miller
  • Robert Donner as Milt (McLeod gang)
  • Jim Davis as Jim Purvis (Bart Jason’s foreman)

Texas, Adios

Filed under: 1960's Films — Tags: , — Wayne @ 9:13 am
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Texas, Adios (Texas, Addio in Italy) (Goodbye Texas in USA) (Django, der Rächer or Django 2 in West Germany) is a 1967 film directed by Ferdinando Baldi and starring Franco Nero. It is often referenced in connection with Django, also starring Nero, and although was referred to as “Django 2″ in some countries, it is not considered a sequel. The film is mostly remembered as a lesser known Spaghetti Western.

Plot

Although technically a Spaghetti Western, the plot of Texas, Adios plays more like a traditional American western film. Franco Nero plays two-fisted, taciturn Texas sheriff, Burt Sullivan, a man committed to duty and justice but possessed by a desire for revenge. Sullivan, along with his younger brother, crosses the border to bring wealthy and sadistic Mexican crime boss Cisco Delgado (José Suárez) to justice for the murder of their father. Eventually joining forces with a group of Mexican revolutionaries, Sullivan and his brother soon find themselves at the center of a bloodbath.

Production

Texas, Adios, like many Spaghetti Westerns, was shot in the Spanish province Almería. Franco Nero, in his comments on the Anchor Bay DVD mentions that the Texas, Adios shoot took place not far from where Sergio Leone was filming The Good, The Bad, and the Ugly at the same time. Nero and Clint Eastwood spent time between shots socializing.

The Shooting

Filed under: 1960's Films — Tags: — Wayne @ 9:11 am
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The Shooting is a 1966 western film directed by Monte Hellman, with a screenplay by Carole Eastman (using the pseudonym “Adrien Joyce”). It stars Warren Oates, Millie Perkins, Will Hutchins, and Jack Nicholson, and was produced by Nicholson and Hellman. The story is about two men who are hired by a mysterious woman to accompany her to a town located many miles across the desert. During their journey, they are closely tracked by a black-clad gunslinger who seems intent on killing all of them.

The film was shot in 1965 in the Utah desert, back-to-back with Hellman’s similar western, Ride in the Whirlwind, which also starred Nicholson. Both films were shown at several international film festivals but it was not until 1968 that the U.S. distribution rights were purchased by the Walter Reade Organization. No other domestic distributor had expressed any interest in the films. Walter Reade decided to bypass a theatrical release, and the two titles were sold directly to television.

Response

As The Shooting was never released theatrically, and had sparse television showings, it initially had a very limited core of fans. Those critics who did manage to view the film were extremely enthusiastic, and generally found it superior to Hellman’s companion western, Ride in the Whirlwind. Danny Peary in Cult Movies (1981), after admitting that he had difficulties with the “puzzling” climax, noted “But while the end may ask more questions than it answers, the exciting journey that brings us to this point is one of the most rewarding sequences in the history of westerns.” Leonard Maltin said it was an “…ultimately powerful film with an offbeat performance by Nicholson as a hired gun…and an incredible, unexpected finale.”[13] David Pirie in Time Out wrote, “Probably the first Western which really deserves to be called existential….Hellman builds remorselessly on the atmosphere and implications of the ‘quest’ until it assumes a terrifying importance in itself…What Hellman has done is to take the basic tools of the Western, and use them, without in anyway diluting or destroying their power, as the basis for a Kafkaesque drama.” Phil Hardy’s The Aurum Film Encyclopedia: The Western notes that “Hellman’s calculated style, replete with disorientating close-ups and strange moments…confirm the detached fatalism of his story. This is a marvelous film.” James Monaco’s The Movie Guide described the film as “[H]ighly effective, playing with various levels of character and ideas….it is a fine western stylization that should not be missed.” Jonathan Rosenbaum has referred to the film as the first acid western, and cited it as an inspiration for Jim Jarmusch’s Dead Man. The Shooting has a 100% favorable rating on the “Critical Tomatometer” at the Rotten Tomatoes website.

In 2000, The Shooting was released on DVD by VCI Entertainment, and included an audio commentary by director Hellman and actress Perkins. The DVD helped bring this once obscure title to the attention of a much wider audience.

Cast

  • Warren Oates as Willett Gashade. By the time Warren Oates starred in The Shooting, he had become a veteran western character actor, having appeared in dozens of film and television series in the genre since 1957. When director Hellman first suggested Oates as the star of the film, co-star and co-producer Nicholson immediately agreed with the choice. But during the filming, Nicholson and Oates repeatedly clashed, with the two frequently ending up in screaming matches. According to Hellman, production had to shut down for half a day when Oates refused to speak a lengthy amount of dialogue in the way Hellman wanted, preferring instead to whisper the lines almost unintelligibly. Oates stormed away from the film crew in anger when the director insisted. After Oates finally returned late in the afternoon, Hellman allowed the actor to read the lines the way he wanted, as long as he also read them in Hellman’s preferred manner. In the editing room, Hellman rejected Oates’s version.
  • Will Hutchins as Coley. As Gashade’s dimwitted friend, Hutchins was cast in the same burst of inspiration that Hellman had when he also thought of Warren Oates and Millie Perkins for the other lead roles in the film. Like Oates, when The Shooting began production Hutchins was already fully identified with the western genre, having starred for several years in the ABC-TV television series Sugarfoot, which ran from 1957 – 1961. Both Perkins and Hellman later recalled the actor as being a funny and charming man who never complained about the often adverse filming conditions.
  • Millie Perkins as The Woman. Former teen model Perkins was Hellman’s next-door neighbor when she was cast as the enigmatic, unnamed woman who leads the search party to their doom. The Shooting was her sixth film, immediately followed by another starring role in Hellman’s companion western, Ride in the Whirlwind. Although Perkins enjoyed working on both of Hellman’s westerns, and became good friends with Warren Oates, she was dismayed that Hellman insisted on such realism that he allowed only the most minimal of makeup to be applied to the actors. She felt she was constantly filmed in an unflattering manner.
  • Jack Nicholson as Billy Spear. This was the young actor’s 13th film appearance, and his fourth with director Hellman. In addition to playing the odious villain, Nicholson had been asked by Hellman to co-produce the film. The director called that decision “the biggest mistake of my life.” Nicholson was constantly worried about the budget and repeatedly argued with Hellman over minuscule budgetary concerns.
  • Other cast: B. J. Merholz as Leland Drum, Charles Eastman as Bearded Man, Guy El Tsosie as Indian at Cross Tree, Brandon Carroll as Sheriff, Wally Moon as Deputy, William Mackleprang as Cross Tree Townsman, James Campbell as Cross Tree Townsman.

Ride in the Whirlwind

Filed under: 1960's Films — Tags: — Wayne @ 9:08 am
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Ride in the Whirlwind is a 1966 western directed by Monte Hellman, starring Jack Nicholson, Millie Perkins, and Harry Dean Stanton. Nicholson also wrote and produced the film.

Plot

A trio of cowboys, Vern (Cameron Mitchell), Wes (Jack Nicholson) and Otis (Tom Filer), stop to rest for the night at the remote hide out of a gang of outlaws led by Blind Dick (Harry Dean Stanton). In the morning, they find themselves surrounded by a vigilante hanging party and are forced to become fugitives due to case of mistaken identity.

Production

At a screening at the Cinemateque at the restored Egyptian Theater in Hollywood on November 18, 2006, director Monte Hellman was interviewed about this film and The Shooting.

The films were made back-to-back, with The Shooting first. Hellman said that Roger Corman had agreed to put up funds for a Hellman-directed western at a lunch meeting at the old Brown Derby on Vine Street, just south of Hollywood Boulevard, one of a small chain of famous restaurants in Los Angeles (the famous hat-shaped one was located on Wilshire). By the end of the lunch, Corman said to Hellman that since Hellman was making one western, he might as well make two – presumably because, in the mind of the budget-conscious Corman, this would allow them to make two films for less than the usual cost.

Hellman said that the crew and some cast members stayed on location, and, after a break for a week, they began filming Ride in the Whirlwind. However, except for savings on travel costs for the actors, there wasn’t a lot of money saved by doing the two back-to-back. Hellman stated that both films were made for under US$75,000 each (approximate total of $150,000 for two, provided by Roger Corman). Hellman and Jack Nicholson, who produced, wrote, and acted in Ride in the Whirlwind, and had a smaller role in The Shooting, had agreed that if they went over budget on either film, they would pay the overage out of their own pockets. Thus they were very careful to keep within the budget for each.

The films were shot in Utah in an area that has since been filled in with an artificial lake. Hellman said that producers would sometimes hire him to find out where he’d shot the films, then fire him once they knew. He stated that he was the last to film there because it was filled with water soon after after. Both Ride in the Whirlwind and The Shooting feature the same reddish low mountains with white lines in the rock (possibly water marks from a past age when the area was a sea or lake).

Hellman said that he tended to cut out as much dialog as he could. He preferred to tell the story visually. He avoided the obvious in terms of dialog. Hellman stated that he oversaw the daily progress by the writers of the two films – and that they rented an office in the Writer’s Building in Beverly Hills on little Santa Monica Blvd. One personal thrill for Hellman was that their rented office was next door to Fred Astaire’s.

Distribution

Hellman stated that both films were sold to a distributor who then sold them as part of a larger package of films to be shown on television. The films did play theatrically in France in 1969 and Hellman said they were hits, with The Shooting playing for a year in Paris and Ride in the Whirlwind playing for six months. Hellman stated that in the late sixties it meant a lot in Hollywood to be lionized in France and thus Hellman had a brief time of being very much in demand in Hollywood.

Thematic similarities

Both films involve a hunt. In the case of The Shooting, Nicholson is a hired gun and Oates is a bounty hunter. Both men are working for a woman who is tracking someone. The entire film and the suspense is largely based on this mysterious hunt. In Ride in the Whirlwind, a posse that began by tracking a gang who robbed a stagecoach end up hunting down the Nicholson character and another man. Both films are considered acid westerns that express a rather bleak, minimalist quality that does not sentimentalize the Wild West. On the other hand, the violence is portrayed less graphically than, say, in the films of Sam Peckinpah like Pat Garrett and Billy the Kid.

The Rare Breed

Filed under: 1960's Films — Tags: — Wayne @ 9:05 am
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The Rare Breed is a 1966 American western film starring James Stewart, Maureen O’Hara, Brian Keith, Juliet Mills and Ben Johnson and directed by Andrew V. McLaglen. Loosely based on the life of rancher William Burgess, the film follows Martha Price’s (O’Hara) quest to fulfill her deceased husband’s dream of introducing Hereford cattle to the American West. The film was one of the early major productions to be scored by John Williams, who was billed as “Johnny Williams” in the opening credits.

Cast

  • James Stewart as Sam Burnett
  • Maureen O’Hara as Martha Evans
  • Brian Keith as Alexander Bowen
  • Juliet Mills as Hilary Price
  • Don Galloway as Jamie Bowen
  • David Brian as Charles Ellsworth
  • Jack Elam as Deke Simons
  • Ben Johnson as Jeff Harter
  • Harry Carey Jr. as Ed Mabry

The Professionals

Filed under: 1960's Films — Tags: — Wayne @ 9:03 am
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The Professionals is a 1966 Western movie directed by Richard Brooks. A kidnap-rescue adventure set in about 1917, it features a small group of experts heading into Mexico to free the Mexican-born wife of a wealthy Texan from several hundred bandits. The film is based on the novel A Mule for the Marquesa by Frank O’Rourke.

Synopsis

The professionals are team leader Henry (Rico) Fardan (Lee Marvin), explosives expert Bill Dolworth (Burt Lancaster), horseman Hans Ehrengard (Robert Ryan) and bow-and-arrow marksman Jake Sharp (Woody Strode). These men are hard and cynical professionals but have a code of honour. The bandits are led by Jesus Raza (Jack Palance), who was actually much respected as a soldier by Fardan and Dolworth, having once fought on the same side under Pancho Villa. Raza has a small army, including the female soldier Chiquita (Marie Gomez). The kidnapped wife is Maria (Claudia Cardinale), whose much older husband is J.W. Grant (Ralph Bellamy). But was she really kidnapped?

Production

The film was written and directed by Richard Brooks, who was nominated for Academy Awards for directing and writing. The cinematography, by Conrad Hall, was also nominated for an Oscar.

It was filmed partly in Death Valley and Valley of Fire, showing the latter prominently. The railway scenes were filmed on Kaiser Steel’s Eagle Mountain Railroad. The steam locomotive seen in the movie currently resides on the Heber Valley Railroad.

Nevada Smith

Filed under: 1960's Films — Tags: — Wayne @ 9:01 am
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Nevada Smith is a 1966 Western film made by Embassy Pictures and Solar Productions, in association with and released by Paramount Pictures. It was produced and directed by Henry Hathaway with Joseph E. Levine as executive producer, from a story and screenplay by John Michael Hayes based on a character from Harold Robbins’ 1961 novel The Carpetbaggers. The music score was by Alfred Newman and the cinematography by Lucien Ballard. The movie is a prequel to The Carpetbaggers.

The film stars Steve McQueen, Karl Malden, Brian Keith, Arthur Kennedy, Suzanne Pleshette, Raf Vallone, Janet Margolin, Pat Hingle, Howard Da Silva, Martin Landau and Paul Fix.

Notes

The character of Nevada Smith originally appeared in Harold Robbins’ novel The Carpetbaggers, which was also filmed by Paramount Pictures in 1964 (this particular film serves as its prequel). The role was played by Alan Ladd as a mature man.

The film was shot by Lucien Ballard’s photography on approximately 46 different locations in the Inyo National Forest and the Owens Valley in the Eastern Sierra.

Hathaway’s direction emphasizes violence, with the three supporting actors Landau, Kennedy, and Malden reaching high registers of emotion and reaction as they mete it out, and vengeance is exacted from them. Suzanne Pleshette gives a very touching performance as a Cajun woman who helps McQueen escape from a swamp prison and during their escape, dies from a snakebite. Brian Keith as the gunsmith who teaches Max the fundaments of gunplay and Raf Vallone as the priest who guides Max out of his quest for vengeance are both impressive.

The plotline of the movie resembles that of the origin issues of the comic book series The Rawhide Kid, drawn by Jack Kirby.

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