Seven Ways From Sundown (1960)

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You know, you’d make a fair to middling bad man if you ever gave yourself half a chance. Assigned to capture the charming but deadly outlaw Jim Flood (Barry Sullivan) following a murder in a saloon, inexperienced Texas Ranger Seven (Ways From Sundown) Jones (Audie Murphy) and his veteran partner, Sgt. Henessey (John McIntire), set out to bring down the wanted man. After finding his trail, Jones and Henessey are caught in an ambush set by Flood. Henessey is killed in the action, but Jones continues the mission. When he finally apprehends Flood, Jones doesn’t expect to become friends with the outrageous outlaw but then he doesn’t know who he really is ... A man just can’t do the things you do. Adapted by Clair Huffaker from his novel, this is a bright outing for Audie and one of seven films he made with producer Gordon Kay. It’s great to see Sullivan as the flamboyant villain and there are nice scenes with love interest Venetia Stevenson (Audie’s offscreen love interest at the time) as well as some interesting work for Teddy Rooney (offspring of Mickey and Martha Vickers) in the supporting cast in the role of Jody. Kenneth Tobey has an outrageous ginger dye job as Lt. Herly. Audie gets his name here from being the seventh son in his family;  in real life he was also the seventh child, in a family of 12. There’s a lively score by William Lava and Irving Gertz and it all moves like the clappers in nicely shot Utah landscapes by cinematographer Ellis W. Carter. Directed by Harry Keller but only after Audie threatened to kill original director George Sherman following a disagreement over a line reading. I didn’t expect you to miss like that

Gunpoint (1966)

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You’re not much like the man I once knew. In the early 1880s near the Wild West town of Lodgepole, Colorado, Sheriff Chad Lucas (Audie Murphy) gets shot during a train robbery not by the perpetrators, but by his jealous deputy, Captain Hold (Denver Pyle), who believes he should be sheriff instead. Left to die, Chad rallies and takes off in search of the robbers encountering attacks by Indians and horse thieves en route. Tracking them down to New Mexico, Chad and saloon owner Nate (Warren Stevens) chase after gang leader Drago (Morgan Woodward), who has taken saloon singer and Chad’s ex-lover Uvalde (Joan Staley) as a hostage but Nate is engaged to Uvalde and doesn’t like it when he discovers her past relationship with Chad I’d as soon gun down a horse thief as stomp a tarantula. This is a fairly standard oater but there’s a sense of jeopardy arising not just from how the landscape (St George, Kanab Canyon, Snow Canyon State Park Utah) is presented but in the use of animals, with a horse stampede proving an opportunity for some nice low-angle shots. Audie has some good verbal exchanges particularly with Woodward and his late reconciliation with Uvalde  gives him a nice scene immediately prior to her seeming betrayal – until Audie gets a chance to make all sorts of amends which lends a touch of psychological complexity to otherwise routine proceedings. The last of a cycle of seven westerns Audie made with the producer Gordon Kay. Written by Mary Willingham and Willard W. Willingham and directed by Earl Bellamy. Maybe all evens up in time

Gunsmoke (1953)

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Aka Roughshod. I’ve seen a man take two drinks of that stuff and go out and hunt bear with a willow switch.Wandering hired gun Reb Kittridge (Audie Murphy) is hired to get the deed of the last remaining ranch not owned by local boss Matt Telford (Donald Randolph) that is owned by former outlaw Dan Saxon (Paul Kelly). Though Reb has not yet accepted the job he is ambushed by Saxon’s ranch foreman Curly Mather (Jack Kelly) and challenged to a gun fight by Saxon, both attempts to kill him being unsuccessful. Saxon senses Reb has good in him and when he hears Reb’s goal in life is to own his own ranch he loses the deed of the ranch to Reb in a card draw. Reb takes over the ranch and moving its cattle herd to a railhead for sale to the workers. Telford hires Reb’s fellow gunslinger Johnny Lake to stop the herd and Reb. Reb has also fallen in love with the rancher’s daughter (Susan Cabot) who currently is in love with Mather … You had twelve reasons… each one of ’em had a gun in his hand. I understand you got run out of Wyoming, too. With Cora Dufrayne (Mary Castle) pulling a Marlene and singing The Boys in the Back Room with a troupe of showgirls in the saloon; and cult fave Cabot as the other woman, this has a lot going on besides the quickfire banter and genre action antics. It has no connection with the legendary TV show of the same name but it does have Audie, and that’s a lot.  Fun and fast-moving. I never did like to shoot my friends

6 Black Horses (1962)

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A man needs a purpose to ride this country. Ben Lane (Audie Murphy) is breaking a horse in the desert that he believes to be stray. He is caught by farmers who believe he is a horse thief when he is saved from hanging by Frank Jesse (Dan Duryea). Lane and Jesse are hired by Kelly (Joan O’Brien) who pays them to take her to a town to be with her husband. Ben is dreaming of buying a ranch and the $1,000 Kelly promises would help him achieve his goal. In reality, Kelly has an ulterior motive:  she is setting up Jesse because he killed her husband in a shootout. En route to their destination they have to deal with the Apaches and Frank is thinking of a different conclusion to proceedings … I’ve been waiting for someone like you for a long time. Burt Kennedy’s original script is typically lean, angular, witty and expressive and Murphy proves his usual scrupulous right-doing protagonist. It’s a straightforward revenge narrative with nice shooting (in Utah’s Snow Canyon, St George and Leeds), good performances, a neat backstory and a great collie who gets to ride with Murphy on a pack horse of his own. Directed by Harry Keller. There are some things a man can’t ride around

War Paint (1953)

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I once read a lot of books about humanity. All wrong. When we get back I’ll write a new one. With only nine days to deliver a peace treaty to Gray Smoke, the chief of a strong Native American tribe, cavalry Lieutenant Billings (Robert Stack) and his troopers are in a race against time to avoid all-out war. Since time is of the essence, Billings recruits the chief’s son Taslik (Keith Larsen), to guide the men to the settlement. However Billings and his men are unaware that a group of renegades, wary of the suspicious U.S. treaty, seek to kill the messengers before they can complete their mission and they find that the Bureau of Indian Affairs officer Kirby has been killed – by Taslik . Gradually depleted of supplies including mapping equipment, water and horses, they realise Taslik has led them in a circle but are unaware they are being tracked by his sister Wanima (Joan Taylor) who is causing the landslides and is watching and waiting with a rifle … Without water he’s as dead as we are. This western is rich in irony, not least in the casting because Stack’s impassivity is a good physical reflection of the painted features of Larsen. The backstories of each trooper are drawn out smartly:  Charnofsky (John Doucette) is Polish and says he fled the old country because the Tsar wanted to put me in the military! As the men are gradually driven mad by thirst and greed, the infighting worsens, casualties mount and there is a truly compelling account of a death by poison; one man chooses suicide rather than wait for what appears to be inevitable. The original script had a mercy killing which elicited the ire of the Production Code Administration and had to be removed. All in all a convincing narrative, shot in the relentless glare of Death Valley. It’s written by C. Fred Freiberger, William Tunberg and producer Aubrey Schenck, who wrote the original story, while the screenplay credits are to Richard Alan Simmons and Martin Berkeley. The score is by Arthur Lange and Emil Newman and any film that has a song called Elaine can’t be half bad. Directed by Lesley Selander. Kinda lost track here. Only thing that breaks up the time is the wars

Ulzana’s Raid (1972)

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It’s how they are. They have always been like this. When word arrives that Apache warrior Ulzana (Joaquin Martinez) has assembled a war party and left the San Carlos Indian Reservation, the United States Army assigns veteran tracker John McIntosh (Burt Lancaster) and Apache scout Ke-Ni-Tay (Jorge Luke) to lead a young, prejudiced lieutenant Garnett DeBuin (Bruce Davison) and his troops from Fort Lowell to find Ulzana. Outmanoeuvered and unfamiliar with the terrain, the cavalry struggles to stop the long-mistreated and raging Apaches from destroying everything in their path in what initially seem like senseless acts of violence upon homesteads and families … The only thing that won’t slow them down is how much killing they do. Alan Sharp’s screenplay is about a devastating period in American history, that quarter of the nineteenth century when a brutal ethnic cleansing was carried out in the name of white conquest;  equally, it is about the astonishing violence of the Native Americans and this is a film that always has an eye on the war in Vietnam:  draw your own conclusions.  This narrative is hewed from a real attack in Arizona in 1885. Davison is good as the naïf who gains an education in the harshest possible conditions, Lancaster is superb as the ageing man who mentors him in the ways of the west. Between them is the compromised Ke-Ni-Tay who has insider information on Ulzana because their wives are sisters. Never an easy watch, despite the ostensibly beautiful camera setups, it’s one of the key westerns of its era and is an underrated work from director Robert Aldrich. Man give up his power when he die

Gunfighters (1947)

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We’ve either got to run this country with our guns or without ’em. We can’t go on with this halfway thing. In Texas, gunfighter Brazos Kane (Randolph Scott) decides to lay down his guns and rides out to visit his best friend only to come across the aftermath of his murder. When Brazos takes the body to the nearby ranch of the powerful Banner (Griff Barnett), the rancher accuses him of the murder and he is saved from hanging by diner proprietor Uncle Joe/Jose (Steven Geray) who remembers him from way back. He passes the murderer’s bullet to a beautiful ranching woman Jane Banner (Dorothy Hart). Banner’s other daughter, Bess (Barbara Britton), takes the vital piece of evidence, leaving Brazos to evade Banner and a crooked Sheriff Kiscaden (Charles Kemper) as he reluctantly takes up arms to prove his innocence discovering that Bess’ real love interest Banner ranch foreman Bard Macky (Bruce Cabot) is the likely culprit … I believe I’m more interested in you than anything that ever wore boots. This fine adaptation of Zane Grey’s 1941 novel Twin Sombreros has a zesty approach and a liveliness that reverberates through a cast well served with sharp writing from the pen of Alan Le May, the writer of The Searchers. Scott is dependable as the decent guy wrongly identified as a killer and then facing corruption and he has some excellent setpieces in a screenplay that’s filled with smart lines (including a running joke about food) and good character roles. Charley Grapewin is fun as Rancher Inskip and Geray as Uncle Joe/Jose is particularly well used to fill in the backstory on Brazos. The tension arises from Brazos’ refusal to wear guns but we know it’s only a matter of time and when it happens, gosh darn it, if he doesn’t go and say, Any time you feel lucky! like a prototype for Dirty Harry. He has a nice ruminative voiceover to top and tail the movie.  It’s beautiful to look at too, with CineColor cinematography by Fred Jackman Jr. It was shot in Andy Jauregui Ranch and Monogram Ranch in Newhall, California, Vasquez Rocks Natural Area Park in Agua Dulce, California, and Sedona, Arizona. One can only pray the horses were well treated because they are worked hard in this story. Hart and Britton are delectable as lookalike sisters:  Wonder what she wants?/Depends on which one it is! It’s an interesting narrative development to have Scott’s affections apparently transfer from one to the other, although Hart is utterly luminous like a fashion plate come to life in her feature debut, Britton served as the love interest in a lot of westerns of the period and the tussle between them is highly entertaining and more inventive than good twin/bad twin. Now you’d even ride off with a different man if you thought that would helpIt’s produced by Harry Joe Brown with whom Scott would make a cycle of great films in the Fifties but this era is intrinsic to understanding how that one came about. Directed by George Waggner . I sure rode the heck out of that wild bunch

Once Upon a Time … in Hollywood (2019)

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Nobody knows the fuck who I am any more. In Los Angeles 1969 fading TV cowboy Rick Dalton (Leonardo DiCaprio) is offered a job on an Italian western by agent Marvin Schwarz (Al Pacino) while his stunt double Cliff Booth (Brad Pitt) assists him in every area of his life including driving him after he’s lost his licence for DUI and gofering around home on Cielo Drive where Rick occupies the gate house next to the rental where Roman Polanski (Rafal Zuwierucha) and Sharon Tate (Margot Robbie) have moved in. One day at Burbank Cliff picks up a hippie hitch hiker Pussycat (Margot Qualley) who wants a ride out to the Spahn Movie Ranch where he used to work and it appears owner George Spahn (Bruce Dern) is being held hostage by a bunch of scary hippies led by an absent guy called Charlie and personally attended to by Squeaky Fromme (Dakota Fanning). Cliff tees off the hippies by punishing one of their number for slicing a whitewall tyre on Rick’s car. Meanwhile, Rick confronts his acting demons doing yet another guest villain on a TV episode with Sam Wanamaker (Nicholas Hammond) and considers spending 6 months in Italy, after which the guys return in August 1969 while next door a heavily pregnant Tate suffers the hottest night of the year and the Spahn Ranch hippies are checking out the residents on Cielo Drive … When you come to the end of the line, with a buddy who is more than a brother and a little less than a wife, getting blind drunk together is really the only way to say farewell. How much did you want to see this? And talk about repaying fan faith. What a huge ensemble cast, to start with, and with so many pleasant surprises:  Bruce Dern as George Spahn, the owner of the fabled ranch where Manson holed up;  Clu Gulager (!) as a bookseller (with a Maltese Falcon on his counter); Rumer Willis as actress Joanna Pettet; Michael Madsen (remember him?) as the Sheriff on the Bounty Law TV show; Kurt Russell as a TV director (and more besides) with Zoë Bell as his kick-ass wife; and Luke Perry in his last role; and so many more, a ridiculous spread of talent that emphasises the story’s epic nature. It’s a pint-size take on Tarantino’s feelings about the decline of Hollywood, a hallucinatory haunted house of nostalgia, an incision into that frenzied moment in August 1969 that symbolically sheared open the viscera lying close to that fabled town’s surface. It’s about movies and mythology and TV shows and music and what it’s like to spend half your day driving around LA and hearing all the new hit songs on the radio. It’s about business meetings at Musso & Frank’s (I recommend the scallops); and appointment TV; and it’s about acting:  one of the best sequences is when Rick is guest-starring opposite an eight-year old Method actress (Julia Butters) who doesn’t eat lunch because it makes her sluggish and she expounds on her preference at being called an Actor and talks him into giving a great performance. All of which is a sock in the jaw to critics about Tarantino’s treatment of women, even if there’s an array of gorgeously costumed pulchritude here, much of which deservedly gets a dose of his proverbial violence (directed by and towards, with justification), among a selection of his trademark tropes. It’s likely about Burt Reynolds’ friendship with stuntman turned director Hal Needham or that of Steve McQueen (played here by Damian Lewis, I can even forgive that) and James ‘Bud’ Ekins. It’s about an anachronistic TV actor whose star has crested but who wants to upgrade to movies after a couple of outings – and there’s an amazing sequence about The Great Escape and what might have been and actors called George. But it’s more than that. It’s about a town dedicated to formulating and recalibrating itself for the times and it’s about the joys of moviegoing. Watching Robbie watch herself (actually the real Sharon) on screen is so delightful. She’s a little-known starlet and her joy at her own role in The Wrecking Crew is confirmed by the audience’s laughter when she wins a fight scene. Robbie is totally charismatic in a role that has scant dialogue but she fills the film with her presence: a beautiful woman kicks her shoes off and enjoys watching herself – take that! The detail is stunning, the production design by Barbara Klinger just awe-inspiring. This is a film that’s made on film and cut on film (Super 8, 16, 35) and intended for the cinema. It’s shot by Robert Richardson and it looks simply jaw-dropping. It’s about friendship and loyalty and DiCaprio is very good as a kind of buttery hard-drinking self-doubting star; his co-dependent buddy Pitt is even better (it’s probably Pitt’s greatest performance) as the guy with a lethal legend attached to his name (maybe he did, maybe he didn’t) who doesn’t do much stunt work any more and some people don’t like his scene with Bruce Lee (Mike Moh) on The Green Hornet but it’s laugh out loud hilarious. This is leisurely, exhilarating, chilling, kind and wise and funny and veering towards tragedy. It’s a fantasy, a what-might-have-been and what we wish had been and the twist ending left me with feelings of profound sorrow.  As we approach the end of another decade it seems a very long fifty years since Easy Rider formulated the carefully curated soundtrack that Tarantino has made one of his major signifiers, and it’s exactly fifty years since Sharon Tate and her unborn son and her friends were slaughtered mercilessly by the Manson Family. People started locking their doors when they realised what the Summer of Love had rained down, and not just in Hollywood. Tarantino is the single most important filmmaker of my adult life and this is his statement about being a cinéphile, a movie-lover, a nerd, a geek, a fan, and it’s about death – the death of optimism, the death of cinema, the death of Hollywood. It’s also about second chances and being in the right place at the right time. Just as Tarantino reclaimed actors and genres and trash and presented them back to Generation X as our beloved childhood trophies, Rick’s fans remember he was once the watercooler TV cowboy and give him back his mojo. This film is where reality crosses over with the movies and the outcome is murderous. The scene at the Spahn Ranch is straight from Hitchcock’s Psycho playbook.  Practically Chekhovian in structure, this reminds us that if there’s a flamethrower in the first act, it must go off in the third. Tarantino is telling us that this is what movies can be. It could only be better if it were a musical, but, hey, it practically is. I thought I’d been waiting for this film for a year, truth is I’d been waiting for it half my life. Everybody don’t need a stuntman

Frontier Gal (1945)

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I don’t want to be a bride – I want to be a widow! Johnny Hart(Rod Cameron)  heads for Red Gulch, looking for the mystery man who murdered his partner. He quickly meets Lorena Dumont (Yvonne De Carlo), a beautiful saloon keeper who is loved by Blackie (Sheldon Leonard), a jealous crook who doesn’t like her interest in Johnny. After he resists her seduction by saying he has another girl back home but she misunderstands his intentions, he is forced to marry her at gunpoint – an actual shotgun wedding! She turns him over to the sheriff when she learns he’s a fugitive with a price on his head. He escapes, spends a night of passion with Lorena, then is recaptured. Six years later, Johnny returns from a long spell in prison to Red Gulch seeking revenge. He now knows it was Blackie who killed his partner. Johnny’s former girlfriend is summoned to meet him, but it turns out he fathered a child with Lorena who’s now a whipsmart five year old called Mary Ann (Beverly Sue Simmons) …… Squaw easy to get. Hard to lose. This little-known western musical comedy is a lively, flavourful hoot from start to action-packed finish, with a zesty performance by De Carlo in a role intended for Maria Montez. Cameron isn’t great as her opposite number in this Taming of the Shrew knockoff, but Andy Devine is the business as Big Ben and little Simmons is just laugh out loud great as the sharp kid Johnny suddenly loves despite not knowing about her existence for five years. An underrated gem, written by Michael Fessier and Ernest Pagano and directed by Charles Lamont, this zips along to a cracking score by Frank Skinner and some entertaining songs performed by the cast although De Carlo is voiced by Doreen Tryden in one of hers. A gun so big can make a big man like me look so small

Oklahoma Crude (1973)

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Businessmen do this to each other all the time. Headstrong lone wildcatter Lena Doyle (Faye Dunaway) accepts the assistance of her ne’er do well father Cleon (John Mills) and hired gun, oilfield drifter Noble Mason (George C. Scott), in defending her oil derrick from businessman Hellman (Jack Palance) and his associates in the Pan-Oklahoma Oil Trust in 1913 …Women are even worse; they try to be like men, but they can’t cut it. I’d like to be a member of a third sex. Producer Stanley Kramer makes a broad comedy far removed from his usual solemn and socially conscious films with a vulgar, funny screenplay by Marc Norman (which he later adapted into a novel) complete with throwaway lines on sexual politics. The leads play mostly against type and Dunaway and Scott are superb bouncing off each other. They offer fascinating, stylised performances with Dunaway doing a kind of Jane Fonda impression in her dyed ‘do. A highly enjoyable frontier outing enhanced by Henry Mancini’s score and song, Send a Little Love My Way which he co-wrote with Hal David, performed by Anne Murray. Beautifully shot by Robert Surtees.  Isn’t that just like a woman? She wants to be treated like a man… and then she cries!