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Archive for the ‘Don Siegel’ Category

Directed by Allan Smithee (Don Siegel & Robert Totten)
Starring Richard Widmark, Lena Horne, Carroll O’Connor, David Opatoshu, Kent Smith, Dub Taylor, John Saxon, Royal Dano, Harry Carey, Jr., John Sande, Victor French

So what the hell happened with Death Of A Gunfighter (1969)? Luckily, whatever it was, it still ended up a pretty good movie — and it’s coming to Blu-Ray from Kino Lorber.

Some say Don Siegel turned it down and it went to TV director Robert Totten, who did most of the picture. Widmark wasn’t happy and used his pull with Universal to have Totten replaced — by Don Siegel, who’d recently directed Widmark in Universal’s terrific Madigan (1968). When it was finished, Widmark didn’t want Totten to get credit, even though he did most of it, and Siegel didn’t want his name on it since it wasn’t his movie.

As a compromise, the guild OK’d a pseudonym, Allen Smithee. The name’s still used for troubled pictures, and Smithee has build a rather varied filmography.

This is one of those “the Old West is over” pictures that were prominent in the late 60s. Widmark plays Frank Patch, a marshal known for his skill with this gun. His working methods don’t go over well with the town council of Cottonwood Springs, a bunch of crooked cowards who want Patch gone.

Death Of A Gunfighter weaves in everything from interracial marriage and bigotry to venereal disease and crooked politicians, with a healthy dose of gossip and slander. There’s a car putting around to make sure we know this is the end of the West.

For a film known for its production difficulties, Death Of A Gunfighter plays fairly seamlessly. It certainly has that Universal backlot look — but more like a TV show than the studio’s theatrical Westerns of the 50s. Robert Totten had directed lots of TV like Bonanza, The Virginian and Gunsmoke — and much of the picture’s shot with TV’s preference for closeups. And since Siegel didn’t direct a huge amount of it, we don’t really notice a shift in style.

Universal’s transfers of their films almost always look perfect, and I’m sure this one will be stunning. Recommended.

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Directed by Don Siegel
Starring John Wayne, Lauren Bacall, Ron Howard, James Stewart, Richard Boone, Hugh O’Brian, Harry Morgan, John Carradine, Sheree North, Scatman Crothers

Two of my biggest movie heroes, John Wayne and Don Siegel, only worked together once, on The Shootist (1976). It turned out to be Duke’s last film, and it gave him the perfect way to go out — which he was obviously aware of.

Arrow Video out of the UK has announced a March Blu-Ray release of The Shootist — from the original camera negative. This is something worth celebrating, especially given the great care Arrow puts into its releases. This one is essential, folks.

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Elvis Presley passed away 45 years ago today — way too soon. One of his best pictures is certainly Don Siegel’s Flaming Star (1960). (If you ask me, it is his best.) It gets a chapter in my book, and when I was the guest on the Western Podcast, it was our subject.

Here, they’re shooting the film’s only musical number. That’s Barbara Eden dancing with her back to us. (By the way, Barbara Eden is part of the events happening at Graceland during Elvis Week.)

Elvis drinks a lot of milk on location.

Elvis and director Don Siegel on location.

Elvis on horseback, crew on film truck. The DP was Charles Clarke. It was one of his last pictures.

Lastly, here’s Elvis with the great John McIntire. McIntire would replace Ward Bond on Wagon Train about a year later.

 

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Elvis Aaron Presley
January 8, 1935 – August 16, 1977

Today, Elvis would’ve been 87. Wow.

Here he is with Don Siegel, making what I think is his best movie, Flaming Star (1960). A while back, this terrific Western was the subject of my appearance on the excellent West Movies Podcast. Seems like a good day to bring it up.

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Had the extreme pleasure of being a guest on the Western Podcast. We talked about Don Siegel’s terrific Elvis Western Flaming Star (1960). Hope you have as much fun listening to it as I did recording it. 

Where else can you hear French and Southern accents bumping into each other like this?

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Kino Lorber’s three-Blu-Ray Audie Murphy Collection is gonna be a good one. I’m not sure what I’m more excited about, that I get to do commentaries for two of ’em, or that these films are coming out, period.

Kino Lorber’s Blu-Ray of Night Passage (1957) is one of the best-looking Blu-Rays of a 50s Western I’ve seen, and these should look terrific, too. Universal International’s Westerns from this period were beautifully shot — and they’ve taken pretty good care of them.

The Duel At Silver Creek (1952)
Directed by Don Siegel
Starring Audie Murphy, Faith Domergue, Stephen McNally

Don Siegel’s first Western, and first film in color, is a fun, fast-paced little picture with gorgeous camerawork from Irving Glassberg. It’s also got a terrific supporting cast — Hal Mohr, Walter Sande, Frank Wilcox, Harry Harvey, Lee Marvin (his first Western), etc. It has fun with the conventions it tosses into the mix.

The story goes that Siegel’s cut of the picture was barely an hour long. The prologue tacked onto the picture to pad out its running time works perfectly. Siegel and Murphy would work again on The Gun Runners (1958).

Ride A Crooked Trail (1958)
Directed by Jesse Hibbs
Starring Audie Murphy, Gia Scala, Walter Matthau, Henry Silva, Joanna Moore

Audie’s an outlaw reformed more or less by circumstance. Walter Matthau is a lot of fun as a judge Murphy gets mixed up with. Gia Scala and Joanna Moore look terrific.

Jesse Hibbs was a good director for Murphy; they’d already had great success with To Hell And Back (1955). This was Hibbs’ last feature before embarking on a busy run (about a decade) as a TV director. Harold Lipstein shot it in CinemaScope and Eastmancolor.

No Name On The Bullet (1959)
Directed by Jack Arnold
Starring Audie Murphy, Charles Drake, Joan Evans, Warren Stevens, R.G. Armstrong, Whit Bissell

Over the years, U-I got pretty smart with their Audie Murphy movies. They learned to give him a strong supporting cast, and they built movies around his strengths as an actor. (I don’t think he was anywhere near as limited as some say he was.) No Name On The Bullet (1959) might be the best example fo the latter approach. It’s well-written by Gene L. Coon, later of Star Trek fame, and he gave Murphy some terrific lines. Jack Arnold’s no-frills style is a perfect match for the material.

There’s nothing better than a little low-budget movie where everything clicks to create something much bigger than it should’ve been. This is one of those movies. (On a personal note, this is one of the pictures that launched my obsession with 50s Westerns.)

The set gives you the three movies on separate discs, contained in a slipcover. Trailers and commentaries are included (I’m doing the first two.) Highly recommended. Now, when will someone get around to Tumbleweed (1953) and Seven Ways From Sundown (1960)?

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Directed by Don Siegel
Starring John Wayne, Lauren Bacall, Ron Howard, James Stewart, Richard Boone, Hugh O’Brian, Harry Morgan, John Carradine, Sheree North, Scatman Crothers

Two of my biggest movie heroes, John Wayne and Don Siegel, only worked together once, on The Shootist (1976). It turned out to be Duke’s last film, and it gave him the perfect way to go out — which he was obviously aware of.

Clint Eastwood visits Wayne and Siegel on the set of The Shootist.

The Shootist is screening at The Autry Museum Of The American West as part of their What Is A Western? film series.

The Autry: Wells Fargo Theater
Saturday, December 14, 2019, 1:30 p.m.
234 Museum Drive, Los Angeles, CA

I encourage you to go if you can get there. It’s a wonderful movie, and seeing it on the big screen would be quite a treat in this day and age.

And in this era of stupid-looking facial hair, doesn’t Wayne look cool?

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Nick Redman
(1955 – 2019)

I didn’t know Nick Redman, but I sure knew his work. We all do. He made two excellent documentaries that Western fans (should) hold near and dear: The Wild Bunch: An Album In Montage (1996) and A Turning Of The Earth: John Ford, John Wayne And The Searchers (1998). He passed away last week.

He was also one of the founders of Twilight Time, a company that’s released some terrific 50s Westerns on Blu-Ray — Gun Fury (1953, in 3-D) and The True Story Of Jesse James (1957). I’m always grateful to anyone who presents these old movies the way they ought to be seen.

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I first became aware of Mr. Redman from the series of Lalo Schifrin soundtrack CDs he produced. The CDs of the Dirty Harry (1971) and Magnum Force (1973) scores have been in almost constant rotation in my office since the day they came out. He did a terrific job putting those together, and I was always hoping he’d get around to Schifrin’s music for Don Siegel’s Charley Varrick (1974). He also did a series of excellent Jerry Fielding CDs, including the complete score to The Wild Bunch (1969).

Western and action movie fans like us certainly owe a debt to Mr. Redman.

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I’ve been meaning to resurrect this series for ages, and I finally got around to it. Our Character Actor Of The Day is Leo Gordon.

Leo Gordon stands tall as one of the screen’s greatest heavies. At six foot two, with a deep voice and icy stare, he’s one of the few guys around who could really come up against someone like John Wayne (Hondo, McLintock!) or Clint Walker (Cheyenne, Night Of The Grizzly) and not look silly.

Don Siegel, who directed Gordon in Riot In Cell Block 11 (1954, above), called Gordon “the scariest man I have ever met.”

Leo Vincent Gordon, Jr. was born December 2, 1922, in Brooklyn, New York. His family lived in poverty and he left school in the eighth grade to work in construction and demolition. Next came the Civilian Conservation Corps. After that, in 1941, Leo enlisted in the Army and served two years.

After the war, Gordon was arrested for armed robbery in southern California. During the ordeal, he pulled a gun and was shot in the stomach. Leo served five years in San Quentin, where he furthered his education by reading nearly every book in the prison library. (The mugshot was for a fight later, not the robbery arrest.)

Gordon attended the American Academy Of Dramatic Arts on the G.I. Bill — and married one of his classmates, Lynn Cartwright in 1950. They’d work together a number of times (such as Black Patch and some episodes of Adam 12 — often written by Leo) and their marriage would last until his death in 2000.

Gordon was soon cast in the London and Canadian companies of Mister Roberts. After a few years of stage work, Hollywood came calling. Lots and lots of crime pictures and Westerns.

His first Western was City Of Bad Men (1953). Then there’s Gun Fury (1953), Hondo (1954), Ten Wanted Men (1955), Tennessee’s Partner (1955), Yellow Mountain (1954, up top), The Tall Stranger (1957), Quantrill’s Raiders (1958, he’s Quantrill), McLintock! (1963), Night Of The Grizzly (1966), Hostile Guns (1967, below, one of those A.C. Lyles things) and My Name Is Nobody (1973, produced by Sergio Leone). There are lots, lots more.

Gordon turned up in crime pictures like Baby Face Nelson (1957, as John Dillinger), The Big Operator (1959) and The St. Valentine’s Day Massacre (1967). You’ll also find him in Tobruk (1967) and The Haunted Palace (1963). He was versatile and he stayed plenty busy.

On TV, Leo Gordon had recurring role on Maverick (below) as Big Mike McComb, and James Garner would later recruit him for several episodes of The Rockford Files. He’s terrific on The Andy Griffith Show as a guy who’s released from prison — and comes looking for Sheriff Taylor. On Cheyenne, he and Clint Walker are great in some real knock down drag out fights.

All in all, he’d go on to appear in more than 170 movies and TV shows from the early 1950s to the mid-1990s. His last feature was Maverick (1994), and his tiny part is the only reason to sit through that thing.

Gordon was a screenwriter, too. He wrote for shows such as Bonanza, Gunsmoke, Maverick, Cheyenne and Adam 12 (right). And he penned features like Black Patch (1957), Hot Car Girl (1958), Escort West (1959), The Wasp Woman (1959), Attack Of The Giant Leeches (1959), Bounty Killer (1965) and Tobruk. There were several novels, too, including the historical Western Powderkeg.

Though often the heavy, Leo Gordon had a way of not just making his presence known, but turning in a real performance. (He’s really terrific in The Intruder.) There’s an odd sympathetic angle to a lot of his villains. He was one of the best.

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flaming-star-tc

Elvis Aaron Presley
(January 8, 1935 – August 16, 1977)

Boy, this is a good movie. And today seems like a good day to drag it out and put it on. Happy birthday, Elvis.

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