Showing posts with label westerns. Show all posts
Showing posts with label westerns. Show all posts

Thursday, February 23, 2012

The Last Gunfight: The Real Story of The Shootout at the OK Corral and How It Changed the American West

Rating:★★★★
Category:Books
Genre: History
Author:Jeff Guinn (2011)
There are at least three events that almost all modern Americans of my generation are familiar with in the history of the frontier West, in part thanks to history but in the main thanks to movies and television and to books like this one .

The first is the siege and the defeat of Davy Crockett, Jim Bowie and about 200 "Texicans" at the hands of overwhelming odds from Santa Anna's Mexican Army at the Alamo in 1836. Roughly forty years later, there came the total defeat of General George Custer's main force of cavalry at the Battle of the Little Big Horn by a combined army of Lakota and Comanche warriors in present day eastern Montana. These were battles by any description--they changed at least for a time the course of history.

The last and most controversial event always seemed inflated beyond measure. But this book explains why what is popularly known as the Gunfight at the O.K. Corral became a part of frontier lore.

It directly involved only eight or nine men. It took an estimated thirty seconds to unfold. Thirty bullets were exchanged. Three men died. Three suffered serious wounds. One man was grazed by a bullet but not seriously incapacitated.

And one man--a rough-hewn gambler and former deputy sheriff turned deputized U.S. marshall, Wyatt Earp, walked away unscathed and became, along with "Will Bill" Hickok and "Bat" Masterson, one of a handful of men who were to become the most famous lawmen of the frontier.



The writer, Jeff Guinn, a Texan who has already written a well-received book on Depression Era bank bandits Bonnie and Clyde ("Go Down Together") tries as other historians have since the 1920's, to separate fact and fiction for the reader to try and get a grip on why this one event gained so much publicity at the time and why it became an incident that has fascinated screenwriters, writers of fiction and non-fiction in general and the public ever since.

He does a good job I'd say in laying out the forces, economic and political and personal, that brought these disparate men together on that afternoon.

The idea of this one shoot-out "changing the West" is publishing hype, of course. But it should be noted this was an incident that at the time captured interest all over the territory, the Rocky Mountain states, and the big West Coast newspapers. And the subsequent trials for murder and later the vendetta killings carried out by the Earp Brothers and the Clanton/McLaury families became nationwide stories.

Mr. Guinn does succeed in telling readers why Tombstone (now a tourist den where they reenact the events in an area called "Old Tombstone" ) is a good microcosm to examine the forces of late frontier Westward Expansion.

Tombstone, Arizona, in the southeast corner of the territory was a thriving silver-mining and gambling boom-town in the Arizona Territory that had only come into being three years before the incident at the vacant lot took place. It had already attracted a telegraph station, sewer lines, a regular stagecoach run, two thriving daily newspapers--one serving the Democrats (aimed more to those who had come to Arizona from the former Confederate states) and the other for the Union-minded Republican factions that were the most well-heeled in terms of banking, mining, gambling and prostitution (the latter was legal if the "house of ill-fame" paid taxes to the city.) There was a lot of money to be made in law enforcement there since whomever held the offices of sheriff collected taxes for all of Cochise County--keeping at least ten percent as commission-- and whoever was in charge of Tombstone city police also got a rake-off. In addition there was the office of US Marshall, a post held generally by whoever was appointed by the Territorial governor up in Prescott, a couple hundred miles away. The federal salary was supplemented by the chance to get money from Wells Fargo, a massive corporate-style freight company which had no trouble rewarding good lawmen who brought in stagecoach robbers since the company made a point to make good on any losses from robbery.

It was quite possible to make a large fortune in a very short time in and around Tombstone if you could keep the cattle rustlers in line and collect the taxes on ranches and businesses without much fuss and bother to those who held the big purse-strings. This was a place where lawmen could make the equivalent of 20-30 thousand dollars a year, roughly $400,000 dollars annually in modern terms according to Guinn.


So enter to Tombstone around 1879 the brothers Virgil, Morgan, and Wyatt Earp to the new boom-town. They were followed by a dentist-turned-gambler named John Henry "Doc" Holliday, a Georgia-born tubercular patient with a fatalist outlook on life. Wyatt and Doc had been friends and fellow gamblers back when Earp had been in a spot of trouble while gambling in a Texas town and Holliday had come to his defense against strong odds. By all accounts Holliday was usually comfortable around trouble. He would have been a good friends for the Earps to have in Tombstone which was why Wyatt wrote to him to come down there when he and three of his brothers came there.
Earp later worked as a deputy marshall in the Kansas cattle towns of Wichita and Dodge City. Earp's main job was to keep the "drovers" in line--drovers were cattle-wranglers who brought Texas longhorns driven up from that state to the railroad lines that furnished beef for the cities back East.

Wyatt Earp had honed his skills at "buffaloing" rowdies and pistol-whipping drunken hot-heads while serving as a bouncer in a bordello or two in Illinois (his birth state) and also running (and protecting) the card gaming that typically went on in places like Dodge City where there were men with new money in their pockets and the foolish desire to gamble with card sharps like Earp and Holliday.

All these towns , including Tombstone, had serious gun-control laws by the way. If you went to an area of saloons and gambling clubs, et al, the authorities took your gun and you got it back when you left town. Similar laws were enforced in Tombstone in 1881. The fact that some men were allowed to have guns in town with permits and other, like the "cow-boys", couldn't get those permits usually made for more bad blood between the factions.

"Few frontier lawmen had clean records," Guinn records. "The idea was that men who had broken laws themselves would understand best how to prevent others from doing the same."

A short entry from Wikipedia sums up Wyatt Earp's past: "Earp left Dodge City in 1879, and with his brothers James and Virgil, moved to Tombstone, Arizona. The Earps bought an interest in the Vizina mine and some water rights. There, the Earps clashed with a loose federation of outlaw Cowboys. Wyatt, Virgil, and their younger brother Morgan held various law enforcement positions that put them in conflict with Tom and Frank McLaury, and Ike and Billy Clanton, who threatened to kill the Earps. The conflict escalated over the next year, culminating on October 26, 1881 in the Gunfight at the O.K. Corral, during which the Earps and Holliday killed three of the Cowboys. In the next five months, Virgil was ambushed and maimed and Morgan was assassinated. Wyatt, his brother Warren, Holliday, and others pursued the Cowboys they thought responsible in a vendetta.

"After leaving Tombstone, Earp continually invested in various mining interests and saloons. He and his third wife, in their later years, moved between Los Angeles and the Mojave Desert, where the town of Earp, California was named after him. Although his brother Virgil had far more experience as a sheriff, constable, and marshal,[1] because Wyatt outlived Virgil, and due to a largely fictionalized biography by Stuart Lake that made Wyatt famous, he has been the subject of and model for a large number of films, TV shows, biographies and works of fiction.":

Indeed in my opinion the best lawman among the Earps was Virgil Earp. He had the best "people skills" and likely had a cooler head when dealing with potential opponents. He had had been crippled in a sneak attack shortly after the famous gunfight and lost part of his arm. His life was more sedate after that, while Wyatt still pursued fame. Late in life, Wyatt became (as the last living man at the famous shoot-out) a minor celebrity. He moved to Los Angeles more or less permanently in the 1920s with his wife and made friends with Hollywood western actors like Tom Mix and William S. Hart. He also was a friend of a young director of Westerns named John Ford, who introduced him to a young prop-man in the Ford company named Marion Morrison, soon to be known as John Wayne.

In his last years, Earp, who died in January of 1929, age 80, tried to capitalize on a renewed interest in the Old West. He hoped that William S. Hart would play him in a film, but it never happened. Earp did find his main biographer, Stuart Lake, and hoped to tell his side of the story about life in Tombstone almost a half-century later. As it was, Wyatt died before the success of the Lake book and the beginnings of the legend of him through "the silver screen" career came about. At least a dozen famous actors--including Henry Fonda to James Garner to Kurt Russell to Burt Lancaster and Kevin Costner have played Wyatt Earp or, in the case of Errol Flynn and Randolph Scott, played men inspired by his exploits, however close to the truth they really were.

"The Last Gunfight" is a very interesting book for those interested in Western lore, history and how it all reflects American culture today.

Friday, September 30, 2011

Moments of Movie Magic: "Ecstasy of Gold" from Sergio Leone's "The Good, the Bad and the Ugly" (1966)




This tribute to the great Italian composer Ennio Morricone, artist of such magnificent film scores as this one and "Cinema Paradiso", "Once Upon a Time in the West" and so many others features one of my favorite scenes in all films and one that many others share as well.

It's the haunting and powerful moments near the end of Sergio Leone's "The Good, the Bad and the Ugly", the third film in Leone's western series that later included "Once Upon a Time in the West" with Charles Bronson, Claudia Cardinale and Henry Fonda as a blue-eyed sociopath villain!


Few who enjoy action films devoid of excess special effects can fail to appreciate this amazing climax to one of the greatest epics in the Western cinema canon.

"The bad" gunslinger Tuco (played with a great relish by the still-active Eli Wallach) starts off on his mission to locate a grave containing several thousand gold dollars in a massive American Civil War graveyard. It is the end of a long and bloody quest to fulfill a greedy desire to spare nothing and no one in a quest for ill-gotten gain--the parallels of Manifest Destiny and the rush for land and its mineral and agricultural wealth are all too symbolized to perfection.

And that ALL paths, to paraphrase the great English poet Thomas Grey, whether "paths of glory" or a brutal one simply for the headstone and gilded remains of a forgotten soldier named "Arch Stanton", "lead but to the grave".

The certainty of death in this aftermath of the orgy that is warfare points to another kind of greed---the greed of old men for power over the men they send to death, men who will never share the fruits of peace.

Death literally surrounds the three men (also played by star Clint Eastwood and former Holywood heavy Lee Van Cleef) whose conquest is more material and individualistic and ultimately as empty as the grave where the money was originally supposed to be.

With plenty of mordant humor and a uncanny knack of evoking the American West as both a myth and a flesh-and-blood place in time, this film (and its score) is truly a masterpiece no one who loves film can discount.

The background on Maestro Morricone and his old school chum, Sergio Leone, is the focus for the beginning of this mini BBC documentary. The second half shows how the evocative "Ecstasy of Gold" theme looked in the theaters and in concert halls later on when the composer toured and conducted orchestras and singers in Munich, Venice and London.

Tuesday, August 30, 2011

Forty Years of the Greatest Movies--Iggy Pop " The Passenger"




The Great Escape
Sunset Boulevard
(Repeated)
The Prince and the Pauper
The Good, the Bad and the Ugly
Flying Leathernecks
Pursued
Black Angel
Pickup on South Street
Fallen Angel
Giant
From Here to Eternity
His Girl Friday
Pursued
Lawrence of Arabia
The Great Escape
Big Jake
Rififi "this is the movie of the bleeding guy driving with the kid in the backseat. It's a French film noir and it's awesome."--CommanderPutney
Giant
Fallen Angel
The Good, the Bad, and the Ugly
The Prince and the Pauper
From Here to Eternity
The Bad and the Beautiful
Pickup on South Street
Duel in the Sun
Top Hat
Stalag 17
Casablanca
Singin' In the Rain
Fallen Angel
The Wild Bunch
It Happened One Night
Black Angel
His Girl Friday
Murder My Sweet
Trouble In Paradise
Duel in the Sun
The Shop Around the Corner
Murder My Sweet
Pursued
Top Hat
From Here to Eternity
It Happened One Night
My Man Godfrey
The Fighting Seabees
Casablanca
Yankee Doodle Dandy
Some Like It Hot
Butch Cassidy and the Sundance Kid
Stalag 17
Citizen Kane
Destry Rides Again
Citizen Kane
Singin' In the Rain
Citizen Kane
Destry Rides Again
Duel in the Sun
The Thin Man
Force of Evil
Rio Bravo
Lawrence of Arabia
Butch Cassidy and the Sundance Kid
Take Me Out To the Ballgame
The Searchers
In the Navy
East of Eden
Robin and the Seven Hoods
The High and Mighty
In Old California
Giant
The Godfather
There's No Business Like Show Business
Top Hat
Rio Bravo
The Searchers

Not all great movies perhaps but some of the best the studio system ever made plus some great work by maverick directors like Sir David Lean, Sam Peckinpah and Jules Dassin. This will be provide a little finish off to the movie blogs I've done this month. Goodbye August. See you next year, and bring cooler weather.

A collage of film clips of some of the the best work by American and foreign film makers from 1930 to 1970, approx. Music by Igggy Pop and the Stooges. With thanks to Commander Putney of You Tube for the video and Aaran Aardvark for the inspiration.

Friday, May 27, 2011

Lonesome Dove (1985)

Rating:★★★★
Category:Books
Genre: Literature & Fiction
Author:Larry McMurtry
"If you read only one western novel in your life, read Lonesome Dove."
-- USA Today

The above blurb is misleading. "Lonesome Dove" is a terrific novel that happens to be about a section of the history of the American West than some kind of genre work. It reminds me of the joke Woody Allen once wrote about having just finished reading "War and Peace" and "It appears to be about Russia."

No one novel could possibly sum up the Western/Manifest Destiny experience, not even this 850-page Victorian door-stopper of a novel.

A couple other McMurtry novels--the more recent and more comic "Telegraph Days" and some of his non-fiction works convinced me the time invested in a book like this would be worth it, and it was.

The book centers around the relationship between two retired ex-Texas Ranger lawmen around 1877-1880. Captain W.F. Call is a natural leader of men who is the driving force behind the Hat Creek Ranch along the Rio Grande in Texas. He sells horses to folks wandering in the small settlement that boasts little more than a few houses, a blacksmith shop, a saloon and a "sporting woman" named Lorena who provides special services for the cowboys, several of the younger ones being secretly in love with her.

Call's partner, Augustus "Gus" McCall, is a more book-read, talkative person but just as tough when the chips are down. Each man has faced long odds in dealing in their past career with desperate outlaws, angry Comanches, and Mexican cattle rustlers in their time as Rangers. One day an old comrade from the Rangers named Jake Spoon rides into the little dusty hovel and starts talking up the virtues of pulling off a 1,500 mile cattle drive up to Montana. The territory there is wide-open and cattle much needed, if only some could steal enough cattle from the Mexican cattle barons (without being shot of hanged) and get them up there.


Spoon himself is more interested in gambling and womanizing than he is serious about going to Montana but Captain Call and Gus decide they want to round up some horses and cows and their small band of Hat Creek cowpunchers (with names like Deets, Dish, and Pea Eye) go forth on the grueling frontier Odyssey. Gus wants to see Montana "before the bankers and the lawyers get ahold of it."

What follows after this set-up is a grueling and near-sleepless trek across a landscape of human lawlessness (horse thieves, gangs of killers, settlers none too happy to see cattlemen ruin their crops, Native American fighters who haven't forgotten this is their land, etc.).

For natural "diversions" there are fatal diseases like cholera, dangerous swollen rivers that must be crossed, vast plains that are little more than deserts, outbreaks of brutal heat and cold and incessant assaults by everything from swarms of grasshoppers to the bitter snow that greets the survivors as they cross the Yellowstone River to Montana, etc.

And if that weren't enough, Army officers and their cavalry units are liable to come by and try to appropriate the horses of the cattlemen for use in fighting the latest band of "Indian hostiles".

It's been estimated that the cattle drives of the 1860-1880's from Texas up to wide-open towns like Dodge City and Abilene, Kansas, were so tough on men already tough that little more than a third who survived the trek ever made a second journey.

Most of the cowboys were lowly-paid and many were ex-Confederate soldiers who met up with ex-Union soldiers turned lawmen and business-owners. The results often led to gun-play when present animosity among the groups reignited old and bloody grudges. Neither side had forgotten.

The novel itself has scenes that resonate--Augustus meeting his old flame (and ex-prostitute) Clara after she has married and is running a farm and horse ranch practically by herself; Newt (the youngest of the cowboys) coming of age in a hostile environment; Jake Spoon falling in with a group of horse thieves after he leaves his lover Lorena--who wants him and her to start a new life in San Francisco--and paying the price for keeping bad company, etc. The savage half-Comanche Blue Duck, a natural-born killer who seems to personify the unforgiving nature of this trek into a hell on earth, is particularly memorable.

McMurtry himself calls this work "a poor man's {Dante's} 'Inferno'' and admits in a later edition of the book to being surprised that, although he thought he delivered an story "filled with violence, faithlessness and betrayal" readers (and viewers of the popular 1989 six hour mini-series) saw the work as "a kind of 'Gone With the Wind' of the West, a turnabout I'll be mulling over for a long,long time".

I personally found little of what modern readers would call romance in the story. It's more Cormac McCarthy's "Blood Meridian" to me than anything to get all wistful and nostalgic about, as some people do when they get a glimpse of the 'taming of the West." This is a book of hard truths leavened with some humor. Without the character and wry observation of Gus Mc Rae I doubt many people would finish the book that have. But it is a testament to what a writer who knows his business can do with a setting like this--breathe life into a genre like the Old West, "the phantom leg of the American psyche" and not get either sentimental nor post-modern judgemental about the place that once (and somehow still is) the United States.

Friday, April 22, 2011

"Have Gun, Will Travel"--Knight Without Armor in the Old West

"Have gun, will travel reads the card of a man/ A knight without armor in a savage land." --"Ballad of Paladin" (Johnny Western, Richard Boone and Sam Rolfe)

There was a time in America-from the fifties to the mid-sixties, before the cultural "youth quake" tuned to secret agent shows like "Man From UNCLE" and "The Avengers"   when network  television was chock-a-block with Westerns.   There were as many as nineteen running at one time! Many of these I saw when I was a little older in the 1970's and shows like this  ran in re-runs on local channels in the days of weekend syndication.

 

 

Many of these "oaters" or "horse operas" , like the dramatic cop procedural  shows we have today,  are not very memorable.  I don't think I'd be interested in watching episodes of  "Bonanza" or "The Big Valley", for instance  today (unless there was a trip to Maui in it for my trouble.) And the Western show I really liked as a kid, the James Bondian Western "The Wild, Wild West" was  just that: a show mostly for kids with perhaps an unusual guest character to liven up a gimmicky, stunt-driven series..    

 But one show I found held up rather well after many years was "Have Gun--Will Travel", a monochrome Western that follows the exploits of a man known to the audience only as "Paladin" or "Mr. Paladin".  Paladin (as played by the gruff but erudite-looking actor Richard Boone) was an ex-Union officer form the Civil War some ten years after that conflict ended.

 A West Point graduate and from an apparently distinguished if unnamed Boston Brahman family, Paladin made his home at the ritzy Carlton Hotel in San Francisco.  He wore what the locals might call "fancy duds" and attended both the opera and the stage. He was as comfortable reciting Shakespeare or recalling a battle strategy of some ancient Greek general or playing chess as he was on a dusty trail in the hinterlands tracking down a murderer or a bandit.    

That was how Paladin made a living: he was essentially part bounty-hunter, part private eye, and part knight on a quest in the framework of the  Arthurian legends.For his forays into the Western hinterlands, Paladin took on the black clothing and stetson hat of a bad guy.  He wasn't of course, but a little intimidation might not be bad if you're heading for a isolated settlement where no law exists. 

 

     I can imagine there was no other show on the air at that time where you will find a protagonist reciting John Donne's "Death Be Not Proud" over the grave of an old friend.  

 When living the highlife drained his expenses, he would look for trouble in the newspapers and then go offer himself as the man to help someone (a pretty damsel, especially) or any other a highly-paid client might offer.

The twist was Paladin was a man of scruples. Sometimes he would turn against his clients if they were committing an injustice, like stuffing ballot boxes to keep a corrupt town corrupt, or terrorizing Chinese miners in a gold rush town, or wanting to lynch a man who hadn't been proved guilty by a real court of law.  

He was fast on the draw, as any You Tube compilation of the series will show you.  But there was more to Paladin than that. He genuinely did not wish to use his gun and rarely drew it unless he had to.  (Not that would-be "gunnies" could count on him playing fair; our hero could frequently pull out a ladies' type  small derringer pistol to surprise his opponents.) It's easy to see why Boone's character chooses the "knight" as the emblem of his card and on his holster: the knight, as he points out in one episode, is the most versatile piece (other than the Queen)  on the board and can attack in many different ways. And Paladin was also a chess master I believe.

 

  Many of the best episodes I've seen offer echos of the best Western dramas of the time that were on the big screen in films like "The Magnificent Seven"(1960) , John Ford's "The Man Who Shot Liberty Valence" (1962) or the films that Anthony Mann directed with James Stewart in the fifties, such as "The Naked Spur" and "Bend of the River" all fillms which turn the Western (a genre for America's Age of Heroes just as Homer's epics were for the ancient Greeks)  into a deeper drama      

 In a sense, "Have Gun..." was the first show the effectively wed the private eye genre and the Western--he was mercenary by need at times but not by nature and it was this friction (and Richard Boone's capacity to portray a man of two worlds--the cosmopolitan gnetleman and the frontier "equalizer") that make this a stronger drama that transcends any easy genre  mold. 

Two of the writers who worked on this program (which garnered Top 5 ratings for most of its six seasons) included Bruce Geller and Gene Roddenberry. Geller was later a producer of the highly-thought-of "Mission: Impossible" series which ran from 1966--1972.  Roddenberry, you might recall, had a show he created called "Star Trek", easily  the most popular American science-fiction program (or programs, given the spin-offs) ever made. 

   People interested in an above-average action show with some taut dialogue and adult themes could do little better than to give "Have Gun Will Travel" a look if they can find an episode or two online. 

 

     

 

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Wednesday, November 24, 2010

"The Alamo" (1960) Music by Dimitri Tiomkin (John Wayne, Richard Widmark, Laurence Harvey)

Rating:★★★
Category:Movies
Genre: Westerns
"Republic. I like the sound of the word. Means that people can live free, talk free, go or come, buy or sell, be drunk or sober, however they choose. Some words give you a feeling. Republic is one of those words that makes me tight in the throat."--John Wayne as "Davy Crockett" in "The Alamo".



You know what makes me tight in the throat? Movies like "The Alamo" that should be outstanding works, but instead wind up barely above average by the time all the cuts are made and its ready for the general release. Also heavy-handed messaging in a movie make me tight in the throat. Real tight.

(to the right, Richard Widmark and John Wayne share some rare downtime on the arduous shoot that was the making of "The Alamo".)
A long time ago I first saw John Wayne' epic retelling of the 12-day siege of The Alamo. Although it was not fought by an American Army, it has come down to this country as part of our folklore. Certainly part of Texas folklore.

General San Houston was the leader of the Texican rebels. They were mostly Americans who had started coming to Texas in the 1820's when it was a northern part of Mexico, having been invited to settle there as long as they became Roman Catholics and swore to be good citizens.

Mexico needed as many settlers in this area as they could, due in large part to the ferocity of the Comanche Indians, who had frequented the area for centuries and weren't interested in being part of any European-style government.

Over the years the first Anglo settlers to Texas got along reasonably well with this arrangement. Then the Mexican leaders became concerned there were too many Anglos settling in. Many cultural and political issues with the government in Mexico City came to be more of a problem ( the Americans brought slaves into the area, for instance, an institution that the Mexican government had ended in the 1820s after they liberated themselves from Spain.)

In late February and March of 1836, about 200 American settlers and their Mexican-America allies (the Te-janos) fought and were wiped out in a last stand by an army of three-four thousand soldiers led by the President-turned-dictator General Santa Anna.




John Wayne, a film star who became an out-sized American icon, was obsessed for many years with making this movie. After many false starts, he got his chance in the Fall of 1959. An exact replica of the Alamo and part of the old city of San Antonio was rebuilt near a small town in south Texas.

It was the first film Wayne directed and it became one of the most expensive films anyone had ever made. Wayne had worked with some great directors like Howard Hawks on "Red River" and John Ford on "The Searchers" and many other films. It's a very long and rather preachy movie, with a one-sided view of the conflict. In her memior about her father, his daughter Alissa (who played a small part in the film) said:
"I think making The Alamo became my father's own form of combat. More than an obsession, it was the most intensely personal project in his career."


The film has many pluses never the less--the performances of Richard Boone (as San Houston) and Laurence Harvey (as the Alabama-born Southern aristocrat leader of the rebels, William Travis) and Widmark as Jim Bowie are all quite capable.

Although I don't recommend this movie to anyone who doesn't like Westerns, I think the music score by Dimitri Tiomkin is fabulous. The action scenes in the film are enhanced by excellent photography and Tiomkin's score.

One of the main problems lies with Wayne the director not being able to get a good performance out of Wayne the actor. The dialogue is also long-winded and preachy, a reflection of the backdrop of a Cold War between Russian and the West that really misses the nuances that a real live historical event of its own time should be given.

I've seen this film a few more times since then. Oddly enough, altough I find Wayne's politics in general abhorrant and his delivery of lines a tad off, he had a great screen presence and feel he might have have this a great film given better material. I feel this movie could have been great. I always kept hoping it will get better somehow. There is something about standing and fighting against overwhelming odds that does seem the stuff of heroes, even ones whose princioles didn;t match their actions when it came to freedom for all men and women of any color.

If only Wayne had started his career as a director with a more modest film for a starter, and let Hawks or Ford helm this movie and rewrite or get others to trim his didactic messages. They might have contained the production from the cost overruns that eventually forced him to sell his share of the movie to United Artists and walk away from any profits the film might later earn.


Tuesday, March 23, 2010

Ennio Morricone "The Ecstasy of Gold" from "The Good, the Bad and the Ugly"




This haunting piece of music comes near the end of Sergio Leone's classic 1966 Western. In the film, the "Bad" character Tuco (Eli Wallach) races through a vast desert graveyard of wooden crosses, attempting to find the one marked "Arch Stanton", whose coffin is supposed to contain a cache of gold. Hot on his heels are Clint Eastwood and Lee Van Cleef (the Good and the Bad, respectively).

This is a recent orchestration conducted by Maestro Morricone himself, with Susanna Rigacci as the soloist.

The graveyard was created by the Spanish Army on loan to Leone and company for the shooting of the film. They also blew up a bridge for the cameras during a scene depicting an epic American Civil War battle.

Monday, November 23, 2009

"The Magnificent Seven" (1960) For Those Times When Five or Six Gunfighters Just Won't Cut It

John Sturges' 1960 Western "The Magnificent Seven" remains one of the most popular westerns ever made --spawning two sequels and a television series.  None of them capture the intensity or dramatic impact of this film. The story is simple--seven disparate gunfighters are all down on their luck.  Into a border town come three Mexican peasants looking for men with experience in gun-fighting  to save their village from being plundered and terrorized by a bandit and his pack of parasites.   One by one the gunfighters agree to ride to the village and  save the destitute farmers.     
The film helped make stars of Steve Mc Queen, James Coburn, Robert Vaughn and contributed to the later international stardom of Charles
 Bronson.  The film score by Elmer Bernstein is a classic as well.  Bernstein studied with the master composer Aaron Copland and he does his old teacher proud here.  



 Both this film and Akira Kurosawa's classic original "Seven Samurai" (1954)   raise the issue of why men will take up a cause that offers such little reward.  In Kurosawa's original the samurais are men facing the collapse  of feudal Japan in the late 16th Century.  Their leader fights because of honor; others fight because the farmers can offer food; some of them fight simply because this is their profession, or out of loyalty to their leader. 

The theme of a lone man coming into a small town on the edge of civilization and taming the bad guys, then riding off into the sunset is a standard Western theme.  It was one that Kurosawa--a fan of the films of Western director John Ford--took the main part of and added the code of the samurai  to create a masterpiece that introduced Torshiro Mifuni to Western audiences.  
(Here's a compilation of the 1960 film put together by Austinmillbarge22 from You Tube.) 


 


The gunmen in the  Sturges' Western are not members of any feudal class, but they are men of a dying breed, facing the fallout from  the taming of the West.  This, to me,  is the end of America's Homeric "Age of Heroes" in popular culture .  This Western was a big-budget , big screen  "last hurrah" before the bad news from the War in Vietnam changed the zeitgeist of the country.    Only John Wayne could make Westerns like this after the 1960's came to maturity--and Wayne's films  became increasingly anachronistic and stilted.  


The American version of this story seems to take place in the railroad-dominated West of the 1890s: those wide-open frontier towns that needed gunmen to keep the peace between the cow punchers and the hot-head gamblers are rapidly being tamed.  

Like the Samurai, their way of life is at an end.  The irony of the American film is that many critics and film-makers today see The Magnificent Seven as the last real American Western before television shows like "Bonanza" and "Rawhide" and their inferior cousins added to the glut of Western shows and  killed popular interest in the genre. Another factor was the rise of the ultra nihilist and violent "Spaghetti Westerns" of Clint Eastwood and Sergio Leone changed the genre forever. 

When Akira Kurosawa saw the 1960 remake of his masterpiece, he sent a gift to John Sturges in appreciation--a ceremonial Japanese sword.