Showdown (1963)

Showdown

Aka The Iron Collar. You can’t do this to a man. Not to a man! Two drifters, cowpoke Chris Foster (Audie Murphy) and veterinarian Bert Pickett (Charles Drake) go into the border town of Adonde. Bert gets in a fight after getting drunk and punches out the local sheriff during a card game and he and Chris are put in iron collars, chained to an outlaw and famed killer, LaValle (Harold J. Stone) at a post in the town square. He is there with his gang members Foray (L.Q. Jones) and Caslon (Skip Homeier). They manage to escape but La Valle wants them to rob a bank and they try to buy their way to freedom with some stolen bonds … The man who said he could never be caught. He’s collared now. Written by Bronson Howitzer (aka Ric Hardman) and directed by western stalwart R.G. Springsteen, this is standard genre fodder, albeit with appropriately noir overtones for this monochrome affair. Murphy acquits himself well, Stone is a convincing villain, Kathleen Crowley makes for an admirably cynical kind of femme fatale with a sympathetic backstory and Lone Pine stands in for New Mexico with well mounted if small-scale action. When I call you come or I put you back on the leash!

Shoot-Out at Medicine Bend (1957)

Shoot Out at Medicine Bend

Aka The Marshal of Independence. Thee has to talk like them and don’t forget it. Captain Buck Devlin (Randolph Scott)and cavalry troopers Sergeant John Maitland James Garner) and Private Wilbur Clegg (Gordon Jones) all recently mustered out of the army, head to Devlin’s brother’s homestead to settle down and arrive just in time to drive off an Indian attack but just too late to save his brother. Faulty ammunition cost him his life. The three men set out for Medicine Bend to find out who sold the ammunition. The community also gives them all their funds to buy badly needed supplies. On the way however, they are robbed of everything – the money, their horses, even their uniforms. Fortunately, they happen upon a local church (who have also been robbed), and are given spare clothing. Devlin decides it would be a good idea to pretend to be Brethren while in town. They quickly connect the robbers, and later the defective ammunition, to Ep Clark (James Craig). Clark controls the mayor and the sheriff, and has his gang attack wagon trains of pioneers heading west and forces other local traders out of business. The men are up against it in their pursuit of the ruthless town boss … I prefer sour ‘bosom.’ It’s more refined. Directed by Richard Bare and amusingly written by John Tucker Battle and D.D. Beauchamp, this is standard western fare but it’s more fun than most with our leads gussied up as Quakers sorting out the decent wheat from the villainous chaff and doing the Robin Hood act.  Probably the only film you’ll ever see where that peaceable bunch do the necessary to end violence and it is of course interesting to watch Scott fulfill his contract at Warner Brothers while independently making classics of the genre under his own banner elsewhere. Garner says of the experience in his memoir, “It was always fun working with Dick Bare, and Randy Scott was an old pro, but the movie isn’t worth a damn. I was under contract, so I had to do what they put in front of me.” Angie Dickinson has a nice role as the storekeeper’s niece who is of course Scott’s love interest while Dani Crayne sings Kiss Me Quick in the saloon earning Garner’s attention. The title tells you all about how it ends. Get his partner. Give ’em a fair trial. Then hang ’em!

Sam Whiskey (1969)

Sam Whiskey

I didn’t travel four hundred miles to bury your bird. Gambling rogue Sam Whiskey (Burt Reynolds) has got his hands on a heist job that’s pretty outrageous. Drop-dead-gorgeous widow Laura Breckenridge (Angie Dickinson) wants to quietly give back the gold to the Denver Mint that her late husband had stolen because she comes from a prestigious family whom she doesn’t wish to embarrass. She approaches Sam to retrieve the gold from a steamboat wreck at the bottom of a river and smuggle it back into the mint. The widow’s beauty, and the nice sum she promises him, leave Sam powerless to resist the preposterous proposal following a vigorous bout of sex in her hotel room. Sam enlists the help of  local blacksmith Jedidiah Hooker (Ossie Davis) and old Army buddy turned inventor O. W. Bandy (Clint Walker),  offering them shares of the reward. However after they locate the riverboat they are unaware that are being followed by Fat Henry Hobson (Rick Davis) and his gang who kidnap Sam’s friends thinking that he’s dead There is a new administration. Burt is hot and funny, Angie’s insatiable and it’s all a leisurely and amusing comedy western caper in reverse with a well-engineered concluding sequence at the Mint. The screenplay by William Norton, who would help hone Reynolds’ good ol’ boy persona to perfection in the later White Lightning and Gator, gives him plenty of good moments here (including a song!) and he just radiates charisma. A lot of fun. Directed by TV producer/director veteran Arnold Laven. Stolen money burns a hole in your pocket

Gunman’s Walk (1958)

Gunmans Walk

Come on – let me brand her! In the West, Davy Hackett (James Darren) and his hot-tempered, arrogant older brother Ed (Tab Hunter) are about to assist their rancher father Lee (Van Heflin) on a cattle drive to Wyoming. Lee has been trying to bring them up in his own image but has failed, with Ed determining to be a gunfighter. The brothers meet Cecily ‘Clee’ Chouard (Kathryn Grant [Crosby]) a beautiful half-French, half-Sioux woman, and when Ed makes unwanted advances toward her, Davy intervenes. Clee’s brother Paul (Bert Convy) is invited to join the cattle drive. Ed, obsessed with capturing a white mare, resents Paul’s interference and pushes him off a cliff to his death. It is witnessed by two Indians, but when the case comes to court, Ed is released because Lee has bribed a man named Jensen Sieverts (Ray Teal) to lie that the death was an accident. Lee learns that Davy is in love with Clee and disowns him. Sieverts is given ten horses in exchange, but when he selects the white mare, Ed shoots him. Jailed once again, Ed shoots a deputy and escapes. Lee is finally forced to hunt him down … Lee, you and I grew up in our own times – Ed’s got to learn to grow up in his, and times have changed! Phil Karlson’s immensely sympathetic directing benefits greatly from a wonderful, measured screenplay by Frank S. Nugent (adapting an original script by Ric Hardman), the veteran writer responsible for eleven of John Ford’s westerns. The complexities of race are simply expressed by dint of deception and the good son/bad son trope is effectively dramatised.  It’s well played (even by Hunter!), with a standout performance by Heflin, finally forced to confront the fact that he has not managed to tame a bad ‘un. As a portrait of a society evolving it’s a surprise package.  Beautifully shot by Charles Lawton Jr with a spellbinding score by George Duning. Hunter sings I May Be a Runaway, co-written by Hollywood director Richard Quine.  Isn’t that an amazing poster?! Times don’t change in this country where you breed a man soft. Without any spirit, a man’s like a horse: if he don’t buck the first time you put a saddle on him he ain’t worth having – you know that!

Happy 90th Birthday Clint Eastwood 31st May 2020!

The guy in the lab. Rowdy Yates. The Man With No Name. Dirty Harry Callahan. Clyde’s friend. The musician, composer, actor, producer and director and Hollywood superstar Clint Eastwood turns 90 today. Entering his eighth decade in the industry where he paid his dues in uncredited roles in movies and bit parts before regular work on TV and the spaghetti genre made him a worldwide figure, he continuously proves he’s still got the chops and the pull to make box office gold with something to say about the way we live now. Widely recognised as an icon of American masculinity, he found his particular space with the assistance of Don Siegel, in an astonishing turn from TV cowboy to director, but exploited his personal brand in cycles of police procedurals, comedic takes on folklore, car movies and the country and western sub-genre as well as tough westerns. Unforgiven marked his coming of age as a great director, an instant classic and a tour de force of filmmaking. While some might think he has feminist sympathies he has rarely risked acting opposite a true female acting equal – a quarter of a century separated him from Shirley MacLaine in Two Mules for Sister Sara and Meryl Streep in The Bridges of Madison County. It took another decade for him to make the stunningly emotive Million Dollar Baby with Hilary Swank, which marked a different kind of turning point:  he has transformed his cinematic affect from what David Thomson calls his brutalised loner to bruised neurotic nonagenarian in one of the most spectacular careers in cinema. He is a true icon. Many happy returns, Clint!

Lonely are the Brave (1962)

Lonely Are the Brave

The more fences there are, the more he hates it. Roaming ranch hand John W. ‘Jack’ Burns (Kirk Douglas) feels out of place in the modern world. He visits his friend Paul Bondi’s loving wife Jerry (Gena Rowlands) and little son. He deliberately gets into a bar room fight with a one-armed Mexican (Paul Raisch) in order to be imprisoned alongside Paul (Michael Kane) who was arrested for helping illegal aliens and is serving a two-year term in the penitentiary. They decide to let him go but he punches one of them to get re-arrested and jailed. Jack tries to convince Paul to flee with him, but, as a family man, Paul has too much at stake and abandons the plan. Jack escapes after a beating from a sadistic Mexican police deputy Gutierrez (George Kennedy) and heads for the hills. An extensive manhunt breaks out, led by sympathetic Sheriff Johnson (Walter Matthau) who watches helpless as the decorated war vet sharpshooter takes on an Air Force helicopter in his attempt to make it over the border to Mexico … Our cowboy’s just shot down the Air Force. With a wonderful feel for landscape and animal life and juxtaposition of the natural world with the restrictive modernity of technocratic praxis, this beautiful looking monochrome production never seemed so resonant or relevant. Douglas’ sense of what’s right is perfectly communicated in this sympathetic Dalton Trumbo adaptation of environmentalist Edward Abbey’s The Brave Cowboy.  Matthau’s is a more complex character than he first appears, making for a wonderfully exposed twist in the tale. Tautly directed by David Miller and told in four principal movements, this makes good bedfellows with The Misfits, another elegiac presentation of man versus nature. You’re worse than a woman

The Magnificent Seven (1960)

The Magnificent Seven

You must fight. Fight! A poor Mexican village is regularly raid by a gang of bandits led by Calvera (Eli Wallach). When Calvera kills a villager, the leaders decide they have had enough and one of the elders (Vladimir Sokoloff) advises them to fight back. Taking their few objects of value, three of them ride to a town just inside the US hoping to barter for weapons. Instead they they are impressed by Cajun gunslighter Chris Adams (Yul Brynner) who suggests they instead hiregunfighters to defend the village, and he eventually decides to lead the group. Despite the meager pay offered, he finds five willing gunmen:  gunfighter Vin Tanner (Steve McQueen) broke after a round from gambling;  Harry Luck (Brad Dexter) who thinks his old friend Chris is hiding a much bigger reward for the work; half Irish, half Mexican Bernardo O’Reilly (Charles Bronson) who has fallen on hard times; knife and gun expert Britt (James Coburn) who relishes the challenge; and Lee (Robert Vaughn) the well-attired gunman on the run who is burdened by nightmares about the men he has killed. On their way to the village they are followed by aspiring gunfighter, hotheaded Chico (Horst Buchholz) whose previous attempts to join the group were spurned by Chris but he impresses the villagers with his passion and Chris asks him to be part of what is now a group of seven.  Chico then encounters Petra (Rosenda Materos) and the men realise the farmers had hidden their women to protect them from being raped by the bandits. Three of Calvera’s men are dispatched to recce the village; the seven kill all three. Calvera and his bandits arrive in force and another eight of them are killed. The villagers celebrate, thinking Calvera won’t return and ask the men to leave. But Chico infiltrates Calvera’s camp and learns that Calvera must return, as his men are short of food and the seven have to prepare for a final encounter … I’ve been offered a lot of money – but never everything. A film so perfectly archetypal it feels like it’s been inscribed in our collective consciousness since the dawn of time. Screenwriter Walter Newman said that the success of a film always commences with the premise and everyone concerned knew they had a good one because Akira Kurosawa had already made it in Japan. Newman and the blacklisted Walter Bernstein did an uncredited rewrite of the screenplay The Seven Samurai which had been adapted by William Roberts from the work by Kurosawa, Shinobu Hashimoto and Hideo Oguni. Each character has his own arc, with his flaws, luck and skills underwriting his destiny. The story of the youngster Chico earning his stripes and finding love with Petra (Rosenda Monteros) gives the story a bedrock as a rites of passage experience but it’s the camaraderie, solidarity and the good intentions that make this a human interest story – the willingness to fight for a cause, putting the good of the group over selfish needs. The cast? How can you even begin to describe the charisma pouring off the screen? Inimitable. The set pieces by director John Sturges are matched by the more intimate episodes and the dialogue is never less than whip smart. Elmer Bernstein’s score is another essential part of the film’s rich mythology – an unforgettable, urgent, rousing call to action that heralds bravery, sacrifice and tragedy. Simply great. I have never had this kind of courage

The Magnificent Seven Ride! (1972)

The Magnificent Seven Ride

Aka The Magnificent Seven 4Seven’s always been my lucky number. Former gunslinger Chris Adams (Lee Van Cleef) has put his rowdy days behind him, settling down with new wife Arrilla (Mariette Hartley) and serving as the sheriff of his town in the Arizona territory. When his old pal Jim Mackay (Ralph Waite) asks for help defending the border town of Magdalena, Mexico, from a marauding bandit named Juan De Toro (Ron Stein) and his 50-strong band of outlaws, Chris refuses. Arrilla persuades him to reluctantly release teenage bankrobber Shelly Donovan (Darrell Larson) but Donovan and his gang kidnap and hang her after they rob another bank and wound Chris in the getaway. He then enlists a cutthroat gang of prisoners led by Mark Skinner (Luke Askew) to help him get revenge, pursuing De Toro into Mexican territory and helping a town of women who’ve been raped by the marauding men, including widowed mother Laurie Gunn (Stefanie Powers), while newspaper reporter Noah Forbes (Michael Callan) accompanies him to document the latest events in his storied career out West as he kidnaps De Toro’s woman (Rita Rogers) setting up a shootout to even the score … There sure has been a lot of killing since I met you. With Lee Van Cleef in the saddle as the redoubtable Chris, you know you’re in good hands. If it never feels exciting, exactly, there’s a decent plot by Arthur Crowe that turns the screws more than once, it has pretty good roles for two of my favourite actresses and it’s all set up well visually by director George McCowan and cinematographer Fred Koenekamp. And there’s still the variation on that legendary score by Elmer Bernstein anchoring the action which is pretty much nonstop. Don’t die just ridin’, that’d be a real anti-climax

Return of the Seven (1966)

Return of the Seven

Aka Return of the Magnificent SevenWe got to stand along side of ’em so that someday they can stand alone. Fifty gunmen force all the men in a small Mexican village to ride off with them into the desert. Among the captured farmers is love-smitten Chico (Julián Mateos), who three years before was one of seven hired gunslingers responsible for ridding the village of the tyrannical bandit, Calvera. Chico’s wife, Petra (Elisa Montés), looks for the only other members of the band to survive: Chris (Yul Brynner) and Vin (Robert Fuller). She begs them to save the village once again. To replace the deceased members of the group, Chris buys the release of a brooding gunman Frank (Claude Akins) and famous bandit Luis (Virgilio Teixeira), held in the local jail, and recruits two more: sharpshooting ladies’ man Colbee (Warren Oates) and young cockfighter Manuel (Jordan Christopher). The men discover that the missing villagers are being used as slave labor to rebuild a desert village and church as a memorial to the dead sons of wealthy and psychotic rancher Francisco Lorca (Emilio Fernándes). In a surprise attack, the six gunmen force Lorca’s men to leave and prepare for a counterattack with Chico. The cowed farmers offer no help but the seven defenders successfully repel Lorca’s initial attack. Lorca then gathers all the men on his land to rout the seven men. The situation seems bleak until Manuel discovers a supply of dynamite which the seven use in a counteroffensive… Sure Chico is a friend of mine. But, hell, I don’t even know his last name. The first sequel to The Magnificent Seven is written by one (future) auteur, Larry Cohen and directed by another, Burt Kennedy, who already had form with a series of superb screenplays starting the previous decade.  This is his fourth film as director and unfortunately he does not marshal the drama in the exciting way you’d hope. Part of the miracle of the legendary first film was the spot-on casting but only Brynner makes the cut here, and despite more or less the same premise and setting, with location shooting in Spain, Fernando Rey as the priest, and a rousing score – a re-recorded version of the original from Elmer Bernstein – this never hits the same notes of of empathy or sheer bravado even with a wealth of decent banter and action. The avengers may have reassembled, but Fuller is no Steve McQueen and Mateos is no substitute for Horst Buchholz.  What they really need is Eli Wallach to return as the consummate bad guy. In all the years I made my way with a gun, I never once shot a man just to see him fall