Posted by Kimberly Lindbergs on December 22, 2016
Before Samuel Fuller wrote and directed his own films, he was a gutsy go-getting newspaperman. Fuller first worked at the New York Journal as a copyboy and eventually graduated to the role of crime reporter for the New York Evening Graphic, a tabloid newspaper that naysayers nicknamed the “pornoGraphic” due to its explicit content. During the Great Depression, he took his journalism skills on the road and traveled west collecting sensational stories about America, the current crisis it was facing and the rich history that preceded it. One of the stories that captured Fuller’s imagination during his cross-country journey was the strange tale of a nineteenth-century con man named James Reavis. Reavis forged a string of false documents asserting he owned over 18,000 square miles of the Arizona Territories and went to great lengths to convince the U.S. government of his claim. The story of Reavis and his remarkable crimes became the basis of Fuller’s second film, a quasi-fictional account of the events titled The Baron of Arizona (1949).
Posted by Nathaniel Thompson on September 28, 2016
Posted by R. Emmet Sweeney on September 6, 2016
In 1982 Universal Pictures quietly dumped the Willie Nelson-Gary Busey Western Barbarosa into a few drive-ins. After low turn-out, they pulled it from distribution. There may have been more critics to see it than paying customers, and it was a strong notice from Gene Siskel condemning the studio’s treatment of the film that led it back into theaters six months later. The damage was done however, and Barbarosa sunk from view despite accruing a string of rave reviews (from Pauline Kael, Janet Maslin, and Dave Kehr, among others). A new DVD and Blu-ray from Scorpion Releasing gives viewers another chance to see this engagingly shambolic revenge film, the first American feature directed by Aussie Fred Schepisi (Roxanne).
Posted by Pablo Kjolseth on July 24, 2016
Made on roughly the same budget as The Blair Witch Project (1999) and shot shortly after the assassination of J.F.K., Monte Hellman’s The Shooting (1966) is a western very much of its time that was not properly released in its time. It’s informed by films like The Virginian (1962), One Eyed Jacks (1961), Stagecoach (1939), and My Darling Clementine (1946), yet infused with an aesthetic not far from L’Avventura (1960) or Samuel Beckett’s Waiting for Godot. It stars Warren Oates, Jack Nicholson, and Millie Perkins. It also stars a ghostly and lunar landscape that ceased to exist with the completion of the dam on the Colorado river in 1966. Strange to think kids partying on a houseboat atop Lake Powell now skim water a hundred or so feet above the totemic panorama that gives The Shooting so much of its visual power.
There’s an old joke about a comedians’ convention. Comedians have come from around the world to gather in each others’ company, and they are such experienced veterans of the joke trade that instead of telling each other jokes, they just list them off by number. “7!” (polite applause); “122!” (respectful chuckles); and so on. Then one comic takes the mic and boldly declares “516!” and the house erupts in laughter. A journalist covering the event asked the comedian why that last one got such an outsized reaction. “Oh, they hadn’t heard that one before,” he replied.
I started obsessively watching movies because I fell in love with their magic. I fear turning into one of those jaded convention goers, content with hearing familiar numbers read aloud, and only occasionally surprised by the unfamiliar. But it happens—I’ve seen so many movies, their tricks do become routine, their contours become as familiar as old socks. I grow cynical and jaded. And then out of nowhere, when I least expect it, someone throws me a 516 and I have to boggle at the surprise.
I submit to you: Anthony Mann’s Border Incident. It is very nearly 70 years old, but it feels fresh and relevant. It is hard to classify (we’ll go with “film noir” for the lack of anything better). It is a taut B&W thriller from 1949, made on a stingy budget, and largely forgotten today. But this is one to seek out and treasure, and it is full of surprises.
Posted by R. Emmet Sweeney on November 24, 2015
C. Jack Lewis saw a lot in his 84 years. A Marine Corps veteran of three wars, he was also a self-described “reporter, drunk, editor and hobo” who spent decades on the fringes of Hollywood. A fan of Westerns since childhood, he broke into screenwriting just as the B-Western business was collapsing, thanks to the arrival of television. He managed to sell a few scripts for budget stars like Lash LaRue and Johnny Mack Brown, but would spend the majority his career as a journalist for horse and army publications (he was the founder of Gun World magazine). During that time he met all of the stars of his youth as they sank down the Hollywood food chain, making a living as extras on TV Westerns or as special attractions at traveling circuses. In his affecting memoir White Horse, Black Hat, published in 2002 by Scarecrow Press, Lewis wrote thumbnail portraits of these faded stars, a collection which captured the end of the B industry and the itinerant careers of the low-budget cowboy.
Posted by Pablo Kjolseth on August 23, 2015
Tomorrow, TCM puts a spotlight on Warren Oates, and as tempted as I am to write about The Wild Bunch (Sam Peckinpah, 1969) I see that fellow Morlock Greg Ferrara has covered that epic western in five different posts. So I’m taking a different tack and, instead, will take this opportunity to dust-off my copy of Alex Cox’s 10,000 Ways to Die: A Director’s Take on the Spaghetti Western. The idea here is to share with TCM readers excerpts from the six Spaghetti Westerns that Alex cross-referenced to The Wild Bunch. It’s also fitting to remind readers about Alex Cox in regards to westerns because, not only did he direct a few (ie: Straight to Hell and Walker), but he is about to launch a Kickstarter campaign for his next film: Tombstone Rashomon, which will present five radically different stories of the OK Corral Gunfight. [...MORE]
Posted by Kimberly Lindbergs on August 13, 2015
THE TRAIN ROBBERS (1973) airs on TCM August 12 at 4PM EST/1PM PST
When I spotted Ann-Margret on the August cover of TCM’s Now Playing guide I jumped for joy and then I pulled out my treasured autographed copy of her 1994 autobiography, My Life, and did some rereading. I hadn’t looked at the book in years and thought it might inspire me to write something about the actress for the Movie Morlocks and sure enough, it did. What caught my eye was a photo of Ann-Margret with John Wayne (pictured above) accompanied by the line “Duke always had me laughing on the set of THE TRAIN ROBBERS. He was an extraordinary man.”
A couple of weeks ago I posted an article looking back at the 1980s apocalyptic-screwball singularity that was Miracle Mile. One of the comments posted to that thread exhorted TCM to stop showing imports—as non sequitur a remark as you could hope for. I wanted to respond with a list of the kinds of imported films I refuse to live without (Godzilla, Jackie Chan, Hammer Horror, Claude Chabrol, FW Murnau, Fritz Lang’s silent films, Ernst Lubitsch’s silent films, Alfred Hitchcock’s English films, Powell & Pressburger, J-Horror, Akira Kurosawa, Sergio Leone…) or to try to argue what Hollywood would have lost—or never had in the first place—without the influx of foreign-born talent and the need to compete against foreign-made films.
But then I decided it would be more fun to be obstinate. Why not single out an import that hasn’t had the time to become recognized as a classic, and will have few—if any—defenders? An import that has barely been released in the US at all, and which sets itself conspicuously to be compared to a beloved classic?
So, this week, Ji-woon Kim’s The Good, The Bad, The Weird.
Posted by R. Emmet Sweeney on July 28, 2015
In the summer of 1956, Sam Fuller took a 50% stake in Globe Enterprises, an independent production company that would strike deals with RKO, Twentieth-Century Fox, and Columbia for financing and distribution. He received creative control over his projects, and though this setup only lasted through 1961, he made six strong films with Globe: Run of the Arrow, China Gate, Forty Guns, Verboten!, The Crimson Kimono, and Underworld U.S.A. His first Globe production, Run of the Arrow (’57), is now available on a long-overdue DVD from the Warner Archive, and reflects the unusual freedom Fuller secured himself in this period. It is a prickly, jumpy Western in which a post-Civil War Confederate loyalist named O’Meara (Rod Steiger) joins the Sioux in order to fight against the United States. It depicts America as a land of perpetual warfare, one in which race and cultural hatreds are reconfigured to justify the current battle, whether without or within. It is a film of jagged rhythms, its chase scenes broken into extreme long shots and close-ups, which are then followed by minutes-long takes of two-shot conversations. At no point does one feel settled or comfortable regarding a character’s motivations or their position in space, and that is how Fuller wanted it.
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