In this series of reviews, Killarney tries to watch every John Wayne movie since Stagecoach and shares her finds with you. Synopsis: The four sons of Katie Elder return to their hometown of Clearwater for their mother's funeral, only to find that things have drastically changed. Their father died under mysterious circumstances, the family ranch is now owned by a man named Morgan Hastings, and their mother, a saintly woman beloved by all, died in suspicious poverty after sending her youngest son to college. The Elder boys want some answers, but Clearwater wants nothing to do with them and Hastings has a vested interest in getting rid of Katie's sons. The Sons of Katie Elder is western mystery that asks the question: once your reputation is established, can you ever recover? John Elder is a gunslinger, Tom a card shark, and Matt an unsuccessful hardware dealer, all of whom neglected their mother and youngest brother, Bud. While trying to uncover the truth about their father's death, they learn a few hard ones about themselves - and when Hastings sets them up for murder, their reputations might just be their undoing. Review: Sons is a wicked good movie about bad men learning how to be good ones - and wondering whether its possible to do so in a society that already knows you. Wayne already touched the subject in Angel and the Badman, but Sons carries it to a darker, more realistic place. Wayne's character is determined that his younger brother won't go the same route he took, while wondering if it's too late for him to lead another kind of life. It's serious subject is lightened by the brothers' rapport with each other, but the final act of the movie is intense. When the brothers are falsely accused of murdering the popular town sheriff and a lynch mob forms, Martin's character decides to kill the guard to escape, only to be stopped by Wayne's. "I ain't facing no lynch mob," Martin says. "You ran in New Orleans and that's why we're here," Wayne replies. "This time we face it. Katie's going to win this one." It's this test of character that will prove whether or not the brothers are worthy of Katie's faith in them. This isn't just a good John Wayne movie. It's a great movie period. Highly recommended. Best JW Quote:
Bud Elder: I'm going with you. I can draw pretty fast. We can be famous -- like the Dalton Brothers! John Elder: They're famous -- but they're just a little bit dead. They were hung! Best Swagger Moment: John Wayne comes in to find a hired gun harassing a local and takes the man out with one well-placed two-by-four. JW Wisdom: "This time we face it. Katie's going to win this one." Surprising Guest Star: James Gregory (General Ursus from Beneath the Planet of the Apes) plays Morgan Hastings. A very young Dennis Hopper plays his son.
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So, I know content on this blog has been a little sparse this past summer. But I do have a very good excuse: movie making! Michael Lawrence: The Season of Darkness has been a blast to work on and now I'm proud to announce that the first trailer has been released! Watch it here - and be sure to leave a comment below! Proud to announce that a new Narrow Street Films movie is starting production this June. Michael Lawrence is a detective film set in Portsmouth, NH.
More information coming soon! Last fall, I got a chance to play in a cool short film, called Heroism. Check it out here! For more information about Narrow Street Films, be sure to check out their website and Facebook page!
In which Killarney attempts to complete her New Year's Resolution of watching all John Wayne movies made after Stagecoach, for no better reason than she loves the Duke and wishes she lived out west. Starring: John Wayne and Sir Richard Attenborough Synopsis: Chicago cop Lt. Brannigan (Wayne) is sent to to the UK to escort crime-boss Larkin back to the US. But things get complicated once he arrives... and London may never be the same. Review: John Wayne in Great Britain. Sounds like a great idea, right? Exploding toilets. 'nough said. Give this movie a wide berth. (But if you're in the mood for a British take on a bar-room brawl, check out this youtube video and skip to about 1:40 in.) Key Moments:
Best JW Quote: Holding a gun on a thug: "I wouldn't. Unless you want to sing soprano." Best Swagger Moment: Kicking in the door of a thug's hideout and deadpanning: "Knock, knock." JW Moment of Wisdom: If there was one, I missed it. Surprising Guest Star: Sir Richard Attenborough's patience is constantly tried as Brannigan's UK connection, Cmdr. Swann. In which Killarney attempts to complete her New Year's Resolution of watching all John Wayne movies made after Stagecoach, for no better reason than she loves the Duke and wishes she lived out west. Starring John Wayne, David Janssen, and Jim Hutton Synopsis: Colonel Mike Kirby (John Wayne) leads two missions in Vietnam, aided by his team of Green Berets and accompanied by a skeptical reporter. Review: This is one of those movies that loses it's shock and awe value as time goes by. Written as a defense of American military action in Vietnam, The Green Berets is basically a story of an army under-seige: US troops, on a mission to aid the South Vietnamese against the North Communistic Vietnamese, faces vicious criticism at home and vicious resistance on the front. It's big and bold, but uneven and too long. The secondary plot, where the crew kidnap a North Korean General, should have been jettisoned and more attention paid to the way cooler but underplayed scenario of a remote camp, under attack in hostile territory. There are some genuinely touching moments (Jim Hutton's unofficial adoption of a little Vietnamese boy and the final scene with the boy and John Wayne are surprisingly effective) mixed with heavy-handed scene chews (George Tekai's interrogation of a Vietcong spy is both shocking and unconvincing). The Green Berets tries hard to prove that the Vietcong are a real and present threat, but they succeeded only in creating a sort of cartoon army that's impossible to fear or be impressed by. All that being said, I enjoyed the movie more than I thought I would. Ignore the politics and plot holes and it plays out like pure GI Joe, with daring feats, big guns, and bigger attitudes, (some of the scenes where they used real army vehicles and techniques were pretty cool - my inner teenager-self got a huge kick out of them), and John Wayne's signature swagger is front and center. If however, you haven't seen Rio Bravo or Cahill, US Marshall, skip this and watch one of those instead. Key Moments:
Best Quote: Beckridge (Janssen): Your brainwashed Sargent didn't sell me. Kirby (Wayne): Did sell you what? Beckridge: Didn't sell me on the idea that we should be in south east Asia. Kirby: Have you ever been to South East Asia? Beckridge: Well... no, I haven't. Kirby: Uh huh. Walks off, metaphorically dropping the mike. JW Moment of Wisdom: "It's pretty hard to talk to anyone about this country 'til they've come over here and seen it." Best JW Swagger Moment: I can't decide between these two: 1. Making "Fall back! Fall back!" sound less like retreat and more like, "Take no prisoners!" or 2. Getting a helicopter shot out from under him, then immediately leading troops to relieve the besieged camp, still smudged with the ashes from the wreckage. (Have I mentioned that John Wayne is pretty bad-ass?) Most Surprising Guest Stars: George Tekei took a break from Star Trek to appear in this film as the overly enthusiastic Captain Nim and Jim Hutton (aka TV's Ellery Queen) plays Sgt. Petersen, the scrounger-with-a-heart. In which Killarney attempts to complete her New Year's Resolution of watching all John Wayne movies made after Stagecoach, for no better reason than she loves the Duke and wishes she lived out west. Starring: John Wayne, Jorge Rivero, Jennifer O'Neill, Jack Elam, and Christopher Mitchum. Directed by Howard Hawks Brief Synopsis: After the Civil War, Col.. Cord McNally (Wayne) searched for the Union traitor who betrayed his unit and caused the death of close friend. Helping him are two former Confederates (Rivero and Mitchum) and the three converge on the Texas town of Rio Lobo, where a corrupt sheriff is blackmailing and strong-arming his way into becoming the biggest landowner in the county. Review: For those of you not conversant in Wayne lore, Rio Lobo is the second variation of Hawks' classic Rio Bravo (the Duke's answer to High Noon), in which a small town sheriff stands against a superior force of outlaws. The first variation was El Dorado, - so close in story that it was practically a remake - which also starred Christopher Mitchum's father, Robert. Rio Lobo is the weakest entry of the three, but it still has it's moments. The opening sequence, where the Confederates, acting on the spy's information, hijack a train carrying Union gold, is intense, and the second half is traditional western fun, especially when Wayne and Rivera meet the spunky Shasta, mourning the murder of her friend by the town's corrupt sheriff and the independent Amelita, who harbors her own grudge. John Wayne plays the older, gruff loner and there are lots of shout-outs to his older movies, but the younger generation are given plenty of time and action. The women are strong, but underused, and the bad guys are somewhat one dimensional, but over-all it's a fun movie and it looks like they had a good time making it. John Wayne, kinda like Jackie Chan, brings a lot of the same crew with him in every movie and this one is no exception: almost every side character I recognized from his other movies. In short, not one of his best movies, but still a blast to watch. Key Moments:
Best JW Quote: "Ketchum, we promised you in a trade. We didn't say what condition you'd be in." Best Swagger Moment: On his way to the final showdown, John Wayne trades the ordinary rifle he carries for his signature one with the modified lever loop, saying with a satisfied grunt, "That's better." JW Moment of Wisdom: (Talking to the ex-confederates about the gold robbery and the spy that lead them to it): "What you did was an act of war - what he (the spy) did was treason." Most Surprising Guest Stars: Victor French (aka Mr. Edwards from Little House on the Prairie) is the spy that John Wayne beats the tar out of. Plus, Santa Claus (aka: David Huddleston) plays the town's dentist! I'm a huge John Wayne fan. It's no secret, really. I was introduced to his movies as a child and to this day, in a pinch, I still find myself thinking, What would the Duke do? (That is, when I'm not thinking, What would Maureen O'Hara do? I'm an old-fashioned kind of girl, I guess.) Anyway, I'm a fan, but I'm embarrassed to say that it was only last summer that I saw Big Jake and realized just how many of his films I still hadn't seen. Hence, my sort-of-unofficial New Years Resolution is to remedy this: specifically, to see all the movies he made after Stagecoach, his breakthrough role. And since my other sort-of-unofficial resolution was to focus on more variety and interesting blog posts, I've decided to share my review of these adventures - which should prove to be interesting, because, as much as I love John Wayne, I'll be the first to admit that when he makes a bad movie, it really reeks. (See - or rather, avoid at all costs - Donovan's Reef.) Sit back, enjoy, and, if you disagree with my analysis of these cinematic classics or stinkers, be sure to comment below! First up, The Longest Day: Released 1962 by 20th Century Fox Starring: John Wayne, Robert Mitchum, Eddie Albert, Robert Wagner, Sean Connery, Red Buttons, Richard Burton, Roddy McDowell, ad infinitum... Directed by Ken Annakin, Andrew Marton, Berhard Wicki, Gerd Oswald, and Darryl F. Zanuck Brief Synopsis: A sprawling epic about the events of D-Day, told from both the Allied and the Axis points of view. Review: This movie dances on the line between entertainment and docudrama, keeping it's eye strictly on the goal, which is to tell, in a respectful way, the story of the Normandy invasion. It's big, it's ambitious, and it covers lots of ground, from the frustration of the German high command, who cannot get permission to move, to the terror of the allied ground troop, some lost, some wounded, all terribly out-gunned. The scope is really awesome and the direction is terrific, especially the air shots: a devastating strafing scene in one instance, a losing battle in another. Its a thorough (though I'm told not wholly accurate) portrayal of a land under siege. Some reviewers found the all-star cast a distraction and they have a point. But in a movie like this, dealing with so many POVs and characters, knowing the actors had the merit of making me invest in the action. Young Robert Wagner, for instance, was too new a name and might not survive scaling the cliff. When Private John Steele is caught on Ste. Marie Eglise bell tower, I was concerned because I liked Red Buttons. The familiar faces made the soldiers feel more like what they would have been in actuality: men and boys that you knew, in varying ways, from back home. John Wayne isn't in this much (by necessity, as the cast is so huge), but he makes the most of his time on screen. He's at his most macho-American, playing a paratrooper who's crew is dropped 5 miles away from the target area and refuses to let neither the distance, not his freshly broken ankle stop him from getting to his appointed place. He rough, tough, gruff, and demanding - and almost broken when he comes upon the massacre (exaggerated for this movie) at Ste. Marie Eglise. Robert Mitchum nearly steals the movie as Brig. General Cota, who, pinned down on one of the beaches, makes an impassioned rallying speech that made me want to throw up my hat and cheer. But this movie doesn't often resort to cheap macho calls or flag-waving simplicity: it's largely the story of determined men, fighting over occupied territory. The storytellers want to arouse your sympathy, not for the Americans or even the allies, but for the men, the individuals on both sides, who fought and died that day. (This being said, the Germans were portrayed far less sympathetically than the allies - this was definitely a movie made by the winning side.) Two odd casting choices stand-out: Roddy McDowell (who I love and is the only reason I watched Cleopatra) plays an unconvincing GI, reminiscing about his life back home with his father in America. His accent is just a little to European to pull it off. More startling is the casting of pre-Bond Sean Connery as a comic-relief Irishman. I had to laugh when he, barely disguising his Scottish bur, makes a condescending remark about bagpipes. The Longest Day will not go down as my favorite Duke movie (Rio Bravo and McLintock! vie for that honor), and it doesn't tell you anything new about World War II or it's participants, but it's a well-spent 3 hours.
Agree? Disagree? Let me know down below! This series attempts to answer the age-old question: read the book? Or watch the movie? The Subject: Last of the Mohicans The Book: By James Fenimore Cooper, released in 1826, the second book in the Leatherstocking Tales. The Movie: the 1992 film, starring Daniel Day-Lewis and Madeleine Stowe (we’ll leave Hawkeye, the TV show starring Lee Horsley and Lynda Carter, for another column) The Plot: In 1757, during the French and Indian Wars, two young women, Cora and Alice, brave wilderness, warring tribes, betrayal, and brutal warfare in order to reach their father, Colonel Munroe. Guided by Major Duncan Heyward, they are betrayed by the treacherous Magua and rescued by the intrepid Hawkeye, and the last of the Mohican tribe, Uncas and Chingachcook. But their troubles are only just beginning. The Comparison: (Note: Spoilers ahead) If it weren’t the archaic language, Mohicans, the book, is the sort of adventure story that every boy would want to read. It starts with the two women, Duncan, and Magua, separating from British troops to attempt to find a safer path through the forest, only to be betrayed by their guide. Hawkeye (AKA: Nathaniel Bumpo), and the two Mohicans find them and are soon convinced to guide them through the forest. What follows is a heart pounding chase, filled with narrow escapes, shoot-outs, show-downs, and near-death experiences. When they finally make it to the fort, they find it is under siege. Colonel Monroe parlays with the French leaders and negotiates a peaceful withdrawal from the fort, only to be betrayed by the tribes, lead by Magua, who attack the departing troops. Magua seizes Alice and Cora and the chase begins again, leading Hawkeye, Duncan, the Mohicans, and Munroe deep into upper New York’s wilderness and into the heart of the hostile tribes. Through it all, there are brave speeches, noble stands, brutal violence, and surprising twists to keep the action moving along. While the narrative drags here and there, and there is some silliness, by the time I was done, I could well understand why Mohicans was such a huge hit when it came out. Cooper had written an action epic. Mohicans, the movie, shifts the action somewhat – the beginning chase is much shorter, for instance, and some of the events from the first part of the book are moved to the second. But the biggest change is the focus: while the book is an action flick with the feel of an Alistair McLean gone early English lit, the movie plays more like an epic romance, complete with breathless romantic tension, epic declarations of love, and an Enya soundtrack. While it maintained some of the book’s action and definitely it’s brutality (the attack on the troops is devastating and almost frightening to watch), the movie is clearly about relationships – and in particular, Hawkeye (Nathaniel Poe here) and the dark-eyed Cora. Daniel Day-Lewis is not the Hawkeye of the novel. In the movie, he is young, strong, silent, smoldering, and his chemistry with Stowe is hot enough to call for fire extinguishers, almost too good to be true. In book, Hawkeye’s a middle-aged (maybe mid-thirties, so middle-aged for the time) braggart, who knows the lay of the land, how to spin a good story, and has a deep hatred and respect for the ‘skulking Mingoes’ (Magua’s tribe). He’s a little too loud, a little too rugged, a little too honest, and a little too proud, and I absolutely loved him – I could clearly see how Cooper could write a series about him. Cora was awesome in both the book and the movie: strong, steely-eyed, and determined to see her sister and herself through all trials. In the movie, she is proposed to by Duncan, who eventually gives his life for her when he sees that she prefers Hawkeye. In the book, Duncan is in love with Alice (who is pretty much the same wilting personality as in the movie), and while Cora has earned Hawkeye’s respect and admiration, but it isn’t the scout who falls in love with her, but Uncas, the son of Chingachcook and the pride of the Seven Nations – for good reason. Conclusion: Read the book The book is an epic adventure and as much as I liked the movie, the book was much more entertaining and had a more complete ending – when the movie ends, they are still standing in the middle of the woods, probably out of ammunition, and still completely surrounded by hostile tribes. In Cooper’s book, there is a truce and he is careful to show that even the worst of their enemies (Magua excepted) are reasonable human beings worthy of dignity. You’ll have to get through some language, but I thought the book was really good fun and, besides, you’ve already seen the movie, haven’t you? Agree? Disagree? Hate both movie and book? Leave your opinion in the comments below! This man's bad day is about to get worse.
A 1940s Gangster Comedy, coming soon from Narrow Street Films. This series attempts to answer the age-old question: read the book? Or watch the movie? The Book: Captain Blood, (1922) by Rafael Sabatini. The Movie: Captain Blood, (1935)starring Errol Flynn, Olivia de Havilland, and Basil Rathbone and directed by Michael Curtiz. Plot: Doctor Peter Blood is a retired Irish adventurer who is falsely condemned of traitorous activities during the Monmouth Rebellion in England. Condemned to slavery, he is sent to Port Royal where he is purchased by the cruel Colonel Bishop, and falls in love with the Colonel's lovely, kind, and strong-minded niece, Arabella. When a chance Spanish raid on Port Royal offers Peter a chance to escape, he takes it and goes on to become one of the best known (and most principled) pirates of the Caribbean. His daring exploits and clever campaigns become the stuff of legends, but Peter has left his heart behind in Port Royal. Can the man whose ingenuity is world-renown ever find a way to clear himself and win the heart of the girl he loves? Comparison: Unlike Sabatini's other pirate novel, Sea Hawk, the movie follows the plot book very closely. Energetic acting by the charming leads, Curtiz's fast-paced direction and action-packed script doesn't attempt to hide the brutality of war, slavery, and piracy, yet still manages to make Blood a sympathetic character that you root for. In short, it's a great movie. But time constraints caused some of the book's events to be edited out, including most of great pirate exploits in the book. Also, Arabella Bishop suffers in the movie. Sabatini wrote likable, strong women and Arabella is no exception: she is fair-minded and not afraid to stand up to either Peter or her peers, whether it's tending to sick Spanish soldiers or telling off some of the most powerful men in the room. She is as strong a character as Peter, though secondary. De Havilland's role is reduced to a somewhat petulant, one-note character, who is too proud to admit when she is in the wrong. A shame, really, when the real Arabella was a truly refreshing, smart character. Conclusion: Toss-Up - Read and Watch The book is epic and fun, and though it suffers a little in prose (English was not Sabatini's first language and it shows a little here and there), the characters are engaging, the action exciting, and the plot is entertaining. The fact that I've read it three time might just show you how much I like it. The movie is a classic - big ships, big action scenes, good fencing scenes, grand drama, star-crossed lovers, top-notch directing, a solid soundtrack by Erich Wolfgang Korngold, and it made stars out of then-unknowns Errol Flynn and Olivia de Havilland. Both the movie and the book were enormously successful when they debuted and with good reason - solid entertainment like this doesn't come too often. “A man must sometimes laugh at himself or go mad--Few realize it. That is why there are so many madmen in the world.” - Captain Peter Blood In honor of Ronda Rousey’s debut in The Expendibles 3 this August, here’s a list of Hollywood warrior woman from Classic Hollywood who may have escaped your attention. They may not have gotten top billing, but they owned these movies.
Karen Stensgard (Ann Sheridan) Edge of Darkness, Warner Brothers, 1943, Errol Flynn plays the leader of the underground movement, but Ann Sheridan’s Karen is the driving force. Hard-bitten and ruthless in her dedication to overthrowing their Nazi occupiers, she prevents Flynn from killing her rapist simply because it will upset their own take-over plans. When the uprising finally comes, Karen leads the charge, wielding her weapon and looking like death herself. You don’t want to mess with Norwegian women. Captain ‘Spitfire’ Stevens (Maureen O’Hara) Against All Flags, Universal Studios, 1952 While infiltrating a pirate base in Madagascar, Errol Flynn catches the eye of the comely Spitfire. O’Hara’s Stevens is a savvy, competent, and respected pirate captain who saves Flynn’s life, helps bring down the pirate base, and even has her own fencing scene. Definitely not a damsel in distress. Lady Orietta Arconti (Sylvia Koscina) Swordsman of Siena, Warner Brothers, 1962 Stewart Granger is a roaming swordsman hired by a cruel Spaniard to protect his fiancée, the beautiful Orietta. A talented swordswoman, and a powerful aristocrat, Orietta not only challenges Granger to a duel and actively plots to have him removed from service, but she’s also the leader of the underground resistance group dedicated to overthrowing the Spanish invaders. Pretty hardcore. Eula Goodnight (Katherine Hepburn) Rooster Cogburn (…and the Lady), Paramount Pictures, 1975 When ruthless bandits shoot up her village and kill her father, missionary Eula Goodnight hires John Wayne’s Rooster Cogburn to help her hunt down his killers. A cool customer who trades jibes with Wayne, Eula always prays over the bodies of her victims. Moral of the story: you don’t mess with Eula’s family. Bonus Warrior: Dorothy Gale (Judy Garland) Wizard of Oz, M-G-M, 1939 Don’t let her youth fool you – starting her Oz career by killing a local gang-boss, Gale assembles an assault force and invades the Eastern Kingdom. After killing the cruel regent and obtaining the peasants’ fealty, she returns to the Emerald City where she uncovers a government conspiracy and forces the Wizard to resign, all without dirtying her pretty blue gingham dress. They don’t make them like that in Kansas anymore. Got any Classic Hollywood Warrior Women you'd like to add to the list? |
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