'WILD HORSE' MAKES FOR A WILD RIDE!

WILD HORSE, WILD RIDE – Film Review

 

WILD HORSE, WILD RIDE, directed by Alex Dawson and Greg Gricus, is a documentary about kindness and decency.  I hope that doesn’t sound too sappy, because the movie isn’t at all.  Thousands of wild horses run loose on government land, and every year, thousands are rounded up and removed.  They all need homes and, as it says in the film’s introduction, “None has ever been touched by a human hand.”

 

The Mustang Heritage Foundation, whose mission is to facilitate and encourage wild horse adoption, sponsors an annual event called the Extreme Mustang Makeover Challenge, in which one-hundred people get one wild mustang, and one-hundred days to train it for a competition in Fort Worth, Texas.  The hope is that, the more tame the horse, the better the home it will find when it’s auctioned after the competition.

 

The movie focuses on nine individuals who take part, and they are an impressively mixed bunch.  There are experienced trainers who have done this before, and a biomedical engineer who has never trained a horse.  There’s the stunning blonde rodeo cowgirl.  And there are cowboys, from a pair of 20-ish brothers in New Hampshire, to a Mexican immigrant in Wisconsin, to a Navajo father and son from the res, to an ageing cowpoke taking part along with his seventh bride.     

 

Although there is an explicit ticking clock, the underlying theme of the film is patience, as each rider gentles and trains their animal, and the filmmakers, allowing their film the same tone as their theme, eschew rapid cutting and fast music to instead show the same calm and patience as the trainers.  There are many quiet moments in the movie, which are no less exciting for their lack of drum-beat.

 

The methods of the trainers are as different as their backgrounds.  Some are on the horses quickly; others ride for the first time just days before the competition.  Some train the horses blindfolded; some work from the center of the corral; some work the new animals side-by-side with a trained animal.   Though all that take part do so out of compassion, there are additional motives as well.  The older men in particular have a need to prove something to themselves.  These are all people of no great wealth who give selflessly of their time.  There is a respect and love that develops between human and horse during the process, even between the most cantankerous participants.  And there is sadness, and sometimes tears, with the realization that, the better the job they do, the less likely the trainer will be able to afford that horse at auction.

 

WILD HORSE, WILD RIDE is a beautiful, inspiring film which opened theatrically on Friday, August 24^th.  To learn more, and to find out when it will be at a theatre near you, go HERE.  If you're in the L.A. area, the film will screen on Tuesday, September 6th at the Autry, at 6 pm.

And if you are inspired to take part in next year’s competition, here is who you should contact:

Mustang Heritage Foundation
PO Box 979
Georgetown, TX 78626
512-869-3225
Fax: 512-869-3229

www.extrememustangmakeover.com

For information about adopting a wild horse or burro:

1-866-4-Mustangs (1-866-468-7826)
www.wildhorseandburro.blm.gov

 

‘COPPER’ – Television Review

Tom Weston-Jones

 

On Sunday nights, while you’re enjoying season 2 of the post-Civil War Western series HELL ON WHEELS, you might find it worth your while to check out the new Eastern set in the same period on the opposite coast, COPPER.  The first original dramatic series to be produced by BBC-America, it premiered last Sunday, August 19^th, with a strong opener to its ten-episode season.  Set in New York City’s infamous Five Corners District, the tale is as compelling as it is relentlessly grim.  Examining a world most viewers were introduced to in Martin Scorsese’s erratic film based on the brilliant history, GANGS OF NEW YORK, by Herbert Asbury, the story follows a Civil War hero and transplanted Irish cop, Detective Kevin Corcoran (Tom Weston-Jones), as he tries to see justice done on New York’s meanest streets and alleyways. 

Five Points, New York reproduced in Canada

 

No saint himself, we meet him when he and the other cops he works with ambush and slaughter a pack of bank-robbers, then gleefully pocket the loot until more disciplined police arrive.   Corcoran has an in-depth knowledge of the dregs of New York, but a connection with high society as well, through fellow war-vet and wealthy dilettante Robert Morehouse (Kyle Schmid).  He works overtly with Det. Francis McGuire (Kevin Ryan), and covertly with Dr. Matthew Freeman (Ato Essandoh).  Freeman is a black m.d., and while Corcoran turns to him for his forensic expertise, he must present the findings as his own, knowing a black doctor’s evidence would never be taken seriously by N.Y.P.D. of the time.  He is also a friend to various scarlet women, among them Madam Eva Heissen (Franka Potente).

5th Avenue Society

 

Corcoran comes with a personal axe to grind – he’s investigating the death of his wife and child (and if it sounds a bit like HELL ON WHEELS on that score, HELL ON WHEELS sounds a bit like OUTLAW JOSIE WALES).  And he’s got a case he’s drawn into – the appearance and disappearance of a street-urchin prostitute.  This is a story of corruption and evil, and I’d not recommend it for the kiddies, but for grown-ups who like their heroes tough, and their villains despicable, you can’t very easily top a necro-pedophile.    

 

Digging for clues

Lensed in dank, shadowy Canada, the show is created and written by a sterling trio of scribes: Tom Fontana, Will Rokos, and Barry Levinson.  It is grim, grueling fun, and gives a convincing and involving glimpse at one of the most tragic times in our greatest city. 

 Here's a teaser of tonight's tough-looking episode:

 

WHY ANTHONY LAPAGLIA QUIT ‘DJANGO’

"The people at Django, their attitude more or less was, 'Just dump the other film', but I couldn't do it out of respect to (director) Rob Connolly, out of respect to the material, out of respect to the material, out of respect to the commitment I’d made.” 

Thus Anthony LaPaglia left his small, much-postponed role in the Tarantino film to honor his commitment to UNDERGROUND, a film about Wikileaks founder Julian Assange, which had been financed based on LaPaglia playing the lead.  LaPaglia joins a slew of actors who were cast in DJANGO UNCHAINED, then walked, including Joseph Gordon-Leavitt, who was to play LaPaglia’s brother; Kevin Costner; Kurt Russell; Sacha Baron Cohen; and Jonah Hill, who agreed, then left, then returned as another character. 

While LaPaglia says he had a good time on the DJANGO set, hanging around and waiting to work, he said the production, “…was just out of control, over-budget, it was everywhere.”

REDBOX SIMPLIFIES FINDING ‘LEGEND OF HELL’S GATE’

If you plan to rent LEGEND OF HELL’S GATE – and you certainly should – and I don’t say that just because Henry’s Western Round-Up is quoted on the box – there’s a quick and easy way to locate a copy near you.  The good folks at Redbox contacted me and said that if you go here --  http://www.redbox.com/movies/the-legend-of-hells-gate-of-hells-gate -- and type in your zip code, ect to the commitment I'd made.''

Thus Anthony LaPaglia left his small, much postponed role in the Tarantino film to honor his commitment to UNDERGROUND, a film about Wikileaks founder Julian Assange, which had been financed based on LaPaglia’s playing the lead. LaPaglia joins a slew of actors who were cast in DJANGO UNCHAINED, then walked, including Joseph Gordon Leavitt, who was to play LaPaglia’s brother; Kevin Costner; Kurt Russell; Sacha Baron Cohen; and Jonah Hill, who agreed, then left, then came back as another character.

While he had a good time on the set of DJANGO UNCHAINED, waiting to work, he said the production, “… was just out of control, over-budget, it was everywhere.”they’ll do the rest.  I tried it, and found ten copies from half a mile to 3 ½ miles from my home.  (If you’d like to read my review, go HERE.)

The general link to search for movies is this: http://www.redbox.com/locations?loc=91401&productRef=5497I

I tried it for another fine recent western, GOOD FOR NOTHING, and found six copies available in my neighborhood.  It’s a pretty handy tool! (The link to my review of GOOD FOR NOTHING is HERE.)

 

‘WILD BOYS’ – AUSSIE WESTERN SERIES IS WELL WORTH A LOOK!

As long as we’re being big-hearted and including Easterns like COPPER in the Round-up, let’s take it a little farther, and check out a ‘western’ set in and shot in Australia’s New South Wales, WILD BOYS.  The official synopsis for the series is: Australia 1860s, Wild Boys follows a gang of bushrangers as they stage hold-ups determined to keep ahead of the troopers or wind up at the end of a noose. 

There were ten episodes in 2011, and it appears that there is a second season, which has its finale tonight, but I’m not sure, and none of the videos posted on the official site will run in the U.S.  But the trailer is below, and I’ll be finding out more this week.

 

SATURDAY NOON MATINEE AT THE AUTRY

As they do on the first Saturday of every month, the Autry presents a free double-feature of Gene's movies.  This coming Saturday, September 1st, it's YODELIN' KID FROM PINE RIDGE (Republic 1937) and LAST OF THE PONY RIDERS (Columbia 1953).  The latter deals with the Pony Express being supplanted by the stagecoach business, and features a fine performance by Dick Jones.

ALL-STAR BIG VALLEY SADDLE-UP SATURDAY ON INSP

Saturday, September 1st, INSP will present a marathon of BIG VALLEYs with guest stars like William Shatner, Adam West, Richard Dreyfus, Bruce Dern, Charles Bronson, Leslie Neilsen, Milton Berle, George Kennedy, Ron Howard, Dennis Hopper and Regis Philbin!

That’s it for today’s Round-up!  Don’t forget to catch episode three of the second season of HELL ON WHEELS tonight on AMC.  Next week I’ll have, among other things, and interview with HEATHENS AND THIEVES co-director John Douglas Sinclair.

Have a great Labor Day Weekend!

Happy Trails!

Henry

All original contents copyright August 2012 by Henry C. Parke – All Rights Reserved

‘LONE RANGER’ SHOOTING IN JOHN FORD COUNTRY

John Ford Point, Monument Valley

THE LONE RANGER is currently on location in Monument Valley.  Director Gore Verbinski, Johnny Depp (Tonto) and Armie Hammer (Lone Ranger) are working among the buttes immortalized by John Ford in STAGECOACH, FORT APACHE, SHE WORE A YELLOW RIBBON, MY DARLING CLEMENTINE, THE SEARCHERS, and several others.

Leon Rippy in YOUNG GUNS II

Leon Rippy, late of ALCATRAZ and DEADWOOD, plays Collins in the re-telling of the story of the masked man.  Leon’s wife Carol tells me, “Monument Valley is incredible! The Navajo people are everywhere, many in their native attire. The Tribal Leaders came out with their families and blessed the film. Johnny spent time with them, truly interested in their issues.”  More updates to come!

 

 

 

GOOD FOR NOTHING – Movie Review

GOOD FOR NOTHING is a damned good Western!  It’s a five year labor-of-love by newlyweds who decided to make a movie instead of buying a home.  If it does half as well as it should at the box-office, they’ll be buying a mansion.   Writer-director Mike Wallis and producer-star Inge Rademeyer met working at Peter Jackson’s celebrated Weta Digital, the New Zealand FX house responsible for some of the astonishing sights in RISE OF THE PLANET OF THE APES, AVATAR, and the LORD OF THE RINGS trilogy among many others.  For three years they spent their vacations western location-hunting throughout New Zealand, and it was worth it. 

At a time when film stories have become maddeningly convoluted, GOOD FOR NOTHING’s plot is refreshingly direct.  Englishwoman Isabella Montgomery (Inge Rademeyer) is on her way to her uncle’s ranch when she witnesses a killing, and is kidnapped by the man who did it (Cohen Holloway).  The man, in a nod to Clint Eastwood’s Man With No Name is simply The Man.  Cowboy heroes traditionally are men of few words, but The Man takes taciturn to a level that approaches William S. Hart.  He says not a word for the first sixteen minutes of the film, and he doesn’t say anything to Isabella for the first 28 minutes, although they are together almost continually from the moment they meet.   And when they finally do speak, here is their first exchange:

Isabella: What do you plan to do with me?

The Man: Give you a poke.

And yes, that’s what propels much of the story.  Because The Man finds to his humiliation that he has a…problem, and captor and captive travel together throughout the West looking for a cure.  So no, it’s not even slightly politically correct, and no, you might not want to take a young kid, unless you want to explain the oblique references to erectile dysfunction. 

The Man is not someone who will ever say a word, or even throw a fist, when a bullet will do.   Holloway is completely convincing as a lightning-fast and deadly shot, and one of the men he kills is a lawman.  That brings his sheriff brother, a deputy friend, and a handful (fistful?) of scurvy gunmen on the trail of The Man, and what they suppose to be The Whore he’s traveling with.  And I don’t think it will be considered a spoiler to say that as the Isabella and The Man travel together, against all her intentions, a romance blooms.  

Writer-director Wallis’ script crackles with crisp but natural dialogue and sly humor; ala Lubitsch, he respects the audience, and expects them to catch the slight inflections in voice, facial expression or gesture to understand things would be much more coarse and less funny if they were directly stated.  The infrequency of the vulgarity is what makes it so funny when it does occur.  His direction of actors and staging of action seems deceptively effortless, the result of a clear vision of his story and characters down to the slightest detail.

Director of Photography Mathew Knight, who has shot documentaries and commercials worldwide, does a stunning job of turning New Zealand into the America West, capturing broad vistas, desert, and rock formations that bring Monument Valley to mind.  The western town they visit at night is notable for being lit believably, with neither too much light nor impenetrable shadows.  Isabella is photographed attractively without being over-glamorized; not surprisingly she looks more feminine and attractive as she progressively wears less and less clothes – though it’s nothing revealing by modern standards.  Actually, one of the most pleasing images is of the two riding double, Isabella behind The Man, her long petticoat covering the rump of their horse, whose tails juts out just below the hem.

In the silent movie that GOOD FOR NOTHING is for long stretches, John Psathas’ score is soaring, stirring and dramatic.  At times it suggests Morricone, but without aping him, and the Elmer Bernstein influence is there as well.  And speaking of sound, every gunshot is so clear that you can hear the metal clink of the hammer hitting the shell.  The combination of that audio with the haze of black-powder smoke subtly underlines the seriousness, as does the fact that The Man frequently takes time to do something rarely seen in even the best Westerns: he reloads!

While much has been made of GOOD FOR NOTHING’s perceived homage to Sergio Leone’s work, to me it is much more reminiscent of the better American Westerns of the early 70’s, especially Don Siegel’s TWO MULES FOR SISTER and Richard Sarafian’s THE MAN WHO LOVED CAT DANCING.  Not that GOOD FOR NOTHING is imitative of either, but it manages to tread the same tricky line of balancing tough action, romance and humor.  And speaking of humor, the depraved and inept posse that trails the couple could have come straight out of a Burt Kennedy Western like HANNIE CAULDER.   

The success of such an intimate story rises and falls on the two romantic leads, and whether the audience cares about what happens to them.  Happily, Cohen Holloway, a star in New Zealand television, and South African-born Inge Rademeyer, who is making her feature debut, are both up to the task.  They are natural and believable, attractive (except for that disconcerting cut across his nose) and at times admirable. 

I don’t know yet what the distribution plans are world-wide – I know it played a festival in New York City last month – but I’ll find out.  It’s well worth seeking out.

HATFIELDS & MCCOYS’ TRAILER

The History Channel miniseries, toplining Kevin Costner as Devil Anse Hatfield, will play for three nights over Memorial Day Weekend.  Here’s a first look!

SANTA CLARITA COWBOY FESTIVAL APRIL 21^st & 22nd

Saturday and Sunday, April 21^st and 22^nd you can stroll the streets of Melody Ranch, where all the greats, from Gene Autry to Matt Dillon to Maverick, to the DEADWOOD folks, and most recently Quentin Tarantino’s DJANGO UNCHAINED cast have trod.  This is a wonderful not-to-be-missed event. 

Admission is $20 a day for adults, $10 for kids, with discounts for two days.  There will be a wide variety of musical performances at four stages.  The Melody Ranch Museum will be open to give you a peek into movie history.  Every manner of Western art, crafts, clothing, boots, and hats imaginable will be available.

Authors of Western fiction and fact will be signing and selling their tomes.   Entertainers like champion gun-spinner Joey Dillon, saloon pianist Professor David Bourne and magician Pop Haydn will be performing.  Cowboy poets and story-tellers will be rhyming words and spinning yarns.  And there will be a ton of activities aimed at kids of all ages.

On Thursday, April 19^th -- no admission for this – at Old Town Newhall on Main St. from 7 PM to 11PM, join the party filled with Music, Dancing, Food Trucks, Western vendors, and the unveiling of two new Stars in Old Town Newhall. The plaques for the new inductees into the Walk of Western Stars will be unveiled at 7:30 p.m. on the West side of Main Street. The inductees are Glenn Ford, who will be represented by his son Peter Ford, and Oscar-winning editor Joel Cox, who will attend.

On Friday, April 20^th, at 3:00 p.m. at the Repertory East Playhouse 24266 Main St. in Old Town Newhall, join Peter Ford, son of the great Glenn Ford, and author of Glenn Ford – His life and Movies.  They’ll be screening "The Rounders" and afterwards Peter will discuss his father's life and movie career.

And there’s so much more!  For details and directions, go HERE. 

That’s all for this weekend!  Next weekend, among other things, we’ll look at the fight to save 35mm film, which is getting buried by digital projection.

Happy Trails,

Henry

All Original Content Copyright April 2012 by Henry C. Parke – All Rights Reserved

‘REBEL’ CREATOR ANDREW J. FENADY

Andrew J. Fenady is a writer and producer who will not stop working.  On Saturday night, when I offered him a draft of this article for his comments, he asked me to FAX it to his office, as he’ll be going in to work at 9:00 a.m. – on Sunday!  When I asked him what he’d been up to, he said he’d just sent 73,000 words of his new western novel, DESTINY MADE THEM BROTHERS, to his publisher, Kensington.  He told me it’s about three great men who cross paths: U.S. Grant, George Armstrong Custer, and Johnny Yuma – the character he created for Nick Adams 53 years ago for THE REBEL.

A.J. Fenady, Nick Adams, Irvin Kershner

A. J. Fenady has been creating exciting and thought-provoking entertainment for the small screen, big screen, stage and page since he started as a self-described ‘stooge’ on the documentary series CONFIDENTIAL FILE in 1953.  He went on to create, write and produce THE REBEL, to rescue and revamp BRANDED, to adapt John Wayne’s movie HONDO into a TV series, and to write and produce the Duke in CHISUM.  And the movies he’s made for theatres and TV include RIDE BEYOND VENGEANCE, BLACK NOON, THE MAN WITH BOGART’S FACE, THE HANGED MAN, TERROR IN THE WAX MUSEUM, and many more.  I was grateful that he took some time off to talk to me about his career for the Round-up.

Andrew:  I just fired up my favorite cigar, Romeo Y Julietta Cedro #1, so fire away.

Henry: That’s Cuban, isn’t it?

A: No, no.  It’s Cuban seed, but Dominican Republic.  I’ll tell you, those Cubans are so damned strong.  When we were shooting up in Canada, the prop me gave me a box of Cuban cigars.  After I smoked a few of those damned lung-cloggers I said, “Go back to the station and get some American cigars: these things are killing me!”

H: What were you shooting in Canada?

A: We shot a lot of things there.  The first thing was a two-hour TV movie with Bob Hope and Don Ameche, A MASTERPIECE OF MURDER.  It’s the only TV movie that Bob Hope ever did, and it did very, very well, and Don Ameche was just a wonderful man to work with.  And after that we did YES VIRGINIA, THERE IS A SANTA CLAUS.  We also did THE SEA WOLF with Charles Bronson up there.

H: Did you always love westerns?

A: Yes.  When I was a young fellow I had an old broom, and I sawed the end off, and I would ride around the neighborhood.  And that stick was Tony, and I was Tom Mix.  So it goes back to that.  And in those days there were two tiers of Western movies, of western stars.  The Saturday matinees and the serials – there were people like Bob Steele and Buck Jones and Hoot Gibson and Ken Maynard.  And then on Sunday – well, at first John Wayne was in the lower tier, but then he graduated with STAGECOACH.  And then there were people like Randolph Scott and Joel McCrea and the Duke.  So we had the 60 minute cheapies, and we also had things like THE PLAINSMAN, and UNION PACIFIC to go to on Sundays.  There was a movie theatre in Toledo called THE REX, and the admission price was a nickel.  And I went there one day and put down my nickel, and she said, “Ten cents.”  And I said, “What?!”  I was shocked, shocked, as Claude Rains would say.  Twice as much money to see the same damned picture. 

H: You’ve had a very extensive career as both a writer and a producer.  Which do you think of yourself as, primarily?

A: You know, I am what they call a hyphenate.  A hyphenate wears two hats.  The old saying is two heads are better than one, but that’s only true when one head knows what the hell the other one is doing.  But the billing is writer-producer because of the saying, first comes the word.  Well, that’s really not true either.  First comes the idea.  Words come from ideas, not ideas from words, so you’ve got to have some kind of a concept or some kind of a character.  And for many years I had the advantage of being the writer, which means you might as well be living up in a cave, cloistered, and putting down your thoughts.  Then, when you become a producer you pick up the phone and say, “Let’s get together.”  And forty-seven guys come in and say, “What, chief?  What what what what?”  When I felt kind of cramped (as a writer), then I got to be the producer and we were in the wide open spaces.  

H: You’ve done movies and TV shows in a wide range of genres, but more westerns and crime stories than anything else.  Why do you think you focused there?

A: I’ll tell you.  I really started out in this business with Paul Coates’ CONFIDENTIAL FILE.  I started out sort of as a stooge, then did some parts in the documentaries.  Then I started giving them some ideas, and making outlines of what we were going to shoot.  A lot of it dealt with crime, with dope, counterfeiting, and used car rackets – I mean, we exposed every racket in the world except tennis racquets.  So crime was sort of my beginning and my background in documentaries.  And the first feature that we did, STAKEOUT ON DOPE STREET (1958) was about three kids who find a quarter of a million dollars worth of heroin, and they don’t even know what it is.  So the mob is after them, the cops are after them, and other kids are after them.  But the switch to Westerns was because as a kid I was interested in Westerns – who the Hell wasn’t?  We all had those six shooters and caps, and Westerns were the rage on television. 

H: How did you get together with Nick Adams?

A: I got the rights to THE EXECUTION OF PRIVATE SLOVIK, and we had it all set up.  Niven Bush and I were going to co-write the screenplay, Irvin Kershner was going to direct it – this was after we’d done some pretty good things.  And Paul Newman said he wanted to play it.  Well, I get a letter from Nick Adams saying, ‘Look Mr. Fenady.  I know you’ve got Paul Newman, but if anything should happen to him, I should play Eddie Slovik.  Eddie Slovik was Polish – I’m Polish.  Eddie Slovik was from Detroit – I’m from Detroit.’  The Polish part was true, the Detroit part wasn’t, but it didn’t matter.  He said, ‘Can I buy you lunch? I’d like to meet you.’  I said okay, fine.  We had lunch, and I paid for it.  But then he kept pestering me.  He’d come over and say, ‘Listen, do me a series – I want to do a series.’  I said, ‘Well Nick, what do you want to do?’  He said, ‘I do a great Jimmy Cagney.  Something like a JOHNNY COME LATELY.’  I said no.  He said, ‘How about something like Cary Grant on GUNGA DIN?’  No, no no.  Well, eight of the top ten shows on television were westerns, at the time.  GUNSMOKE and HAVE GUN WILL TRAVEL and all of those.  I said to him and Kershner, ‘Boys, if we’re gonna do a television series, we’re gonna do a Western.’  So I sat down and wrote the damned thing.  We took it to Dick Powell, who was a friend of mine; we were going to do a feature once.  And he’d said, if you ever want to do television, let me have a look at it first.  He looked at the script for THE REBEL and said, ‘We’ll do this on ZANE GREY THEATRE next year as a pilot, like we did WANTED DEAD OR ALIVE,’ and a couple of the other things that he sold.  Great!  Now this goes back to how we got involved with Goodson Todman Productions.  While I was preparing a feature at Paramount, Kershner did a PHILIP MARLOWE (episode) – that was the first project they had that wasn’t a quiz show.  They only did thirteen episodes.  We were pretty hot – our names were in the paper all the time.  And a fellow that worked there, a vice president, Harris Katleman, who is still around, said, ‘Do you and your partner have any westerns?  We’d like to do a Western.’  And Kershner said, ‘Well, we do, but we’re going to do it with Dick Powell.’  (Katleman) called me.  I said THE REBEL’s already promised to Dick Powell, but take a look at it, and if you like it, I’ll write another one for you.  So he read it, called me back and said, ‘How much would it cost to shoot this picture?’  I didn’t know how much.  I grabbed a figure and said, fifty thousand dollars.  He called me back and said Mark and Bill will put up fifty thousand up front: fifty-fifty.  We’re partners if you want to do THE REBEL, and we’ll do it now.  I said, we can’t.  He said, I don’t think Dick Powell would stand in your way.  Why don’t you go see him?  Dick Powell said, God bless you, go ahead and do it.  Who the Hell knows what’s going to happen between now and next year.  Give ‘em Hell.  So that’s how the association with Goodson Todman came about.   We shot the damned thing in four days, and the irony is that at ABC there was only one half-hour left.  And it was between a Four Star pilot (Dick Powell’s company) that they did with Michael Ansara, and THE REBEL, and THE REBEL beat out the other pilot.  And the first one to call was Dick Powell, and he said, hey, we’ve got a lot of pilots.  You only had one.  I’m glad that it turned out this way.  And after this if you want to see me any time the door’s wide open. 

H: Now Irvin Kershner is quite a director.  All of the serious STAR WARS people always say that THE EMPIRE STRIKES BACK is the great Star Wars movie.  What was he like as a guy?    

A: Well, Kershner and I were like brothers – we lived together for years when we were doing CONFIDENTIAL FILE.  We were joined at the hip and in other places. (laughs)  So we truly got along.  Now Kershner always had kind of a hesitation at the beginning of each day.  All he needed was a, ‘Come on Kershner!’  A kick in the ass, really.  And once he got going it was in a fury.  He was terrific.  But when you ask, what kind of a director was he?  Well, he was a silent picture director.  Because CONFIDENTIAL FILE was silent.  We did 150 episodes, and we only had dialogue in about five of them.  So it was a silent picture technique.  The story was told in pictures, but when someone spoke, it meant something.  That’s the way that we worked. 

H: Very interesting.  I’ve never been able to find any CONFIDENTIAL FILE episodes. 

A: Well, they’re around.  We did one on capitol punishment.  He and I and a fellow named Gene Petersen – that was the entire staff – we went up to San Quentin, and I’m the only one who sat in one of those two chairs in the gas chamber, got strapped in, and got up and walked out.  I played the part and wrote the narration and produced the damned thing.  You can’t find that kind of experience today.  You can’t buy it.  One day we do that and the next week we do the John Tracy Clinic, or we do blind children, and then we do homosexuals; so in 150 episodes we did every kind of picture that was imaginable. 

H: Getting back to Nick Adams, did he really co-create the REBEL?

A: Oh, that’s another story.   He read the thing and he said, ‘Let’s say that we co-created this.’  And I didn’t care. Hell, I figured I was going to go on and do a lot of other things.  If this helps the kid out, that’s okay.  If you look at him, he wasn’t a leading man.  But put him in that damned costume and he’s suddenly a leading man; and he was a talented fellow, and he was the most cooperative kind of a star you’d ever want.  Just a prime example is, we’d shoot a day out on location, out in Thousand Oaks, or Vasquez Rocks, and Nick bought a house out there in the Valley.  We’d have a stretch-out, be on the way over there, and he would (meet us) in a gas station, already be in his outfit, be standing there waiting for us, and this is sometimes in the bitter cold of December, January.  We’d slow down the stretch-out, he’d hop in and – zoom -- out we’d go, do the day’s work, and on the way back we’d dump him off at the same place.  There weren’t many guys like that around.  There weren’t then, and there aren’t now.  Another thing about Nick was, if we were running behind, I’d save his close-ups and not shoot ‘em, and say, ‘Nick, we’ll do this later.’  And sometime later on, two or three episodes after that, when we were ahead, I’d say okay Nick, we’re going to do all your close-ups from all the shows.  He’d say, ‘Okay, who are you?’  I’d read the lines offstage.  ‘I’m Agnes Moorehead.’  He’d take a look at the script – ‘I remember that one.  Let’s go.’  And we would shoot the close-ups for that one.  Then we’d shoot the close-ups for Carradine, or whoever the Hell else that we weren’t able to get.  That’s the kind of a guy he was, too. 

H: It’s so sad, he died so young.  Do you think he would have gone on to be a big leading man?

A: Well, I don’t know about the leading man part.  But I think that he was the kind of a guy that, as he grew older, he would settle into more character parts, and be very comfortable doing that.  So I think he had a future.  No doubt about it in my mind. 

H: The character of Johnny Yuma is a Confederate veteran with ambitions to be a writer, which is not the goal of your standard western hero.  How much of Johnny Yuma was Andrew Fenady?

A: I didn’t tell this to Nick until the second season.  I said, ‘Nick, you know what we’re doing, don’t you?’  “Yeah, yeah – we’re doing THE REBEL.’  I said, ‘Nick, we’re doing Jack London.  We’re doing a story of a young man who had a limited education, who had fought a war, only not with guns and with bullets, but against poverty.  He wanted to be a writer, and he realized that you couldn’t write it unless you lived it.  So he did everything he wrote about.  He was a sailor, he was a miner, he was a farmer, he was a fighter, and this was my inspiration for THE REBEL; it was Jack London.’  And how much of that is Fenady?  Well, I don’t know, maybe 90% is Jack London, or maybe fifty fifty, half Jack London and half Fenady.

H: Now you couldn’t write them all yourself.  Who were the best writers you were working with? 

Nick Adams with Strother Martin 

A: The best writers I ever worked with – are you ready? – were Emily Bronte, Jack London, Raymond Chandler, Dashiell Hammett.  I once said to my son, who is a writer, ‘My boy, if you’re ever going to get a collaborator, get a dead one.  They’re the best kind.  They don’t give you any damned trouble at all.’  It’s true that a lot of the stuff that I did is based on classics.  RIDERS TO MOON ROCK, that’s a western version of WUTHERING HEIGHTS.  THERE CAME A STRANGER is really a western version of DOUBLE INDEMNITY.  There are only so many plots – some people say there are nine plots, other people say there are seven, some say there’s only one plot.  Somebody loses something.  That’s the plot.  Or vice versa – somebody finds something, like John Steinbeck’s PEARL.  So never mind the plot, give me a character; give me somebody that people are interested in.  What about this guy?  Here’s a guy who has his face changed to look like Humphrey Bogart.  That’s interesting – what’s he gonna do?  What’s on his mind?  You’ve got to have somebody that people are interested in.  Bill Goldman (BUTCH CASSIDY AND THE SUNDANCE KID), who’s a damned good writer, just kept saying ‘Structure, structure.’  Well, he’s wrong: it’s the character and conflict that makes for an interesting story.  And I always had characters that were interesting, conflict, something that was almost impossible to do.  Something that the odds were against you. 

H: THE REBEL was your first series as a creator and producer.  And you made 79 half hours in two seasons, which would be four or five seasons now.  The pace must have been grueling.  How did you get it all done?

A: Well, I’ll tell you how: because I was young, ambitious and ignorant.  (laughs) That was the whole thing.  The first 26 years that Mary Frances and I were married I never took a day off including Saturdays and Sundays, until we did THE MAN WITH BOGART’S FACE, and they sent us to Cannes.  And I said, ‘Mary Frances, we’ve been doing this all wrong!’  Listen, in those days it was easier.  You could talk to somebody who had some authority.  You know, these days it’s all corporate.  No one person can take the credit or will take the blame.  When we did THE YOUNG CAPTIVES, I wrote a script, we went over to see D. A. Doran at Paramount, and he could greenlight any picture up to $250,000.  Well he liked the script, and he said, ‘Boys, how much can you make this for?’  I said, ‘D.A., we’re going to make this one for $215,000.’  He said, ‘Shoot it!’  Well, you can’t get that kind of a go-ahead today. 

H: Where was THE REBEL shot? 

A: We shot it in three days.  We were in profit right from the first day.  We got $40,000 for each episode the first year.  And I made ‘em for 38, 39 thousand dollars.  And every once in a while I would do what I called a DESPERATE HOURS or a PETRIFIED FOREST, an episode that only took place in one place.  Some of them went down to $29,000.  But what we would do is we would shoot one day on location.  Vasquez Rocks, and a lot in Thousand Oaks.  And the second day we would shoot on the lot; the (western) street at Paramount.  The third day we would do the interiors, whether it was someone’s house, or a shack, or a hotel or a jail.  A sheriff’s office.  So that was really the formula: first day out, second day on the street, and the third day interiors. 

H: I know you used some other western towns, because I’ve seen still of you shooting in Corriganville.

A: Oh, well that was where the pilot was shot.  Wonderful place.  And also we shot out at Fort Apache that (John) Ford built.  We shot the third episode I wrote out there; it was called YELLOW HAIR. 

H: In THE REBEL and later in BRANDED you attracted a remarkably high level of actors, who didn’t usually do half-hour episodics.  John Carradine, John Ireland, Joan Leslie.

A: Well, what my plan was, I didn’t want to pay people a lot of money.  But on the third episode, I rewrote this thing; it was a strong woman’s part.  And I sent it over to Agnes Moorehead.  Now I knew her slightly.  And everybody said, ‘Jesus Christ, she wants more money than we really should pay anybody.  Andy, why are you paying her so much money?’  I said, ‘I’ll tell you why.  Because if Agnes Moorehead does a REBEL, I can’t think of many actors who would turn it down.’  I could always say, ‘Agnes Moorhead did it, fellows.  Now here’s how much money we’ve got.  You want to do it?’  And I would say 99% of the time the actor wanted to do it.  Of course the scripts were good, too. 

Agnes Moorhead

H:  They sure were.  And the one with Aggie was particularly good. 

A: Yeah, Bob Steele was in that, too. 

H: Who were your favorite actors that you worked with in guest roles?

A: On THE REBEL?  Well, John Carradine of course.  We got to be very good friends.  He was in the pilot.  I’ll tell you about that.  Stallmaster-Lister were so-called doing the casting, and when I wrote the pilot, I said, ‘Look, I wrote this part for John Carradine,’ though I’d never worked with him.  They said, ‘Ahh, you don’t want him.  We’ve had some bad experiences with him, and he’s done those horror movies, and blah blah blah.’  So finally they convince me; J. Pat O’Malley was going to play that part.  He’s good, but he’s not John Carradine.  Well, the good Lord or an angel must have been looking over my shoulder, because I get a call from O’Malley, and he says, ‘I know I’ve got a contract, and I’ll honor it, but I’ve got a chance to do a feature.  Could you excuse me from this?’  And I said, ‘You bet.’  I called Stallmaster-Lister and said, ‘Get me John Carradine, and I don’t want to hear any buts.  This was meant to be.’  So he did that, and after that we did a dozen things together.  And a real pro, always prepared, just a gentleman.  You know I went to his funeral, and Harry Townes, the actor -- he was in the pilot for THE YANK, and I used him in BRANDED and several other things.  And I go to the funeral, it’s an Episcopal Church in Hollywood, and who is the priest but Harry Townes.  And he performed the ceremony.

RIDE BEYOND VENGEANCE

H: I have the feeling that Michael Rennie must have been a favorite, because it’s so unusual to see him in any Westerns but yours. 

A: That’s right.  We got Michael Rennie to do that (BRANDED), and we became not real friends, but we had respect for each other.  And then, when RIDE BEYOND VENGEANCE came along, I thought Michael Rennie, and he did the part and was very, very good.  Another pro. 

H: Were there any actors that you wanted to work with that you didn’t get?

Chuck Connors in RIDE BEYOND VENGEANCE

A: Not there.  But I’ve never worked with James Garner, and I would have loved to do something with him.  And Clint Eastwood and Clint Walker.  As a matter of fact, I may as well tell you this now; when I got RIDE BEYOND VENGEANCE and wrote the script, I wrote it for Clint Walker.  Because (the character) was supposed to be a big, strong fellow.  And I like Clint; we were pals.  Never worked together.  And I took it to Joe Levine, the sonuvabitch.  And he said, ‘Great, we’ll do it.  You’ve got a deal.’  Then he calls me up and says, ‘I don’t want to do it with Clint Walker.  You might as well do it with King Kong.’  So that fell apart.  But in the meanwhile, I did BRANDED, and Chuck Connors, who is a terrific actor, is also a thief.  One day I had a script for RIDE BEYOND VENGEANCE – it was called NIGHT OF THE TIGER then – on my desk, and it was missing.  And I said to my secretary, ‘Erika, did you take that script?’  ‘I didn’t take it.’  Well in walks Chuck Connors a couple of hours later.  He slams the script on the desk and said, ‘Goddamnit, I’ve got to do this picture!’             

COMING SOON – PART TWO, featuring A.J. Fenady’s memories of BRANDED, HONDO, and John Wayne!

TOMBSTONE CAST REUNION IN DALLAS, MAY 4-6

It’s about the last place you’d expect to have a TOMBSTONE reunion, but when you think about it, it makes sense.  Dallas' TEXAS FRIGHTMARE WEEKEND, to be held at the Hyatt Regency at the Dallas Fort Worth Airport, is a gathering of horror movie stars and their fans, but there is a lot of crossover from genre to genre, and Signing Convention Agent Scott Ray had three clients attending who were, in addition to being in horror flicks, all TOMBSTONE cast-members.  Dana Wheeler-Nicholson plays Wyatt’s opium-addicted wife Mattie Earp; Joanna Pacula is Doc Holliday’s paramour Kate; and the great Buck Taylor plays Turkey Creek Jack Johnson – Buck has never done an autograph show before, so getting him is something of a coup.  In addition, also attending will be Michael Rooker, who plays Sherman McMasters, and Michael Biehn – unforgettable as Johnny Ringo.  Although the details aren’t set yet, there’s sure to be autographs, photo opportunities, and a panel discussion. 

Dana Wheeler-Nicholson

Joanna Pacula

Scott Ray tells me that he hoped to get in a few other TOMBSTONE names, but the event managers were very strict, and only approved those with legit horror bona fides.   I’m hoping it’s a big success – if it is, Scott is already talking about getting more TOMBSTONERS together for a California show. 

Buck Taylor

Michael Rooker

Among the non-TOMBSTONE attendees who will be of interest to Western fans are Ernest Borgnine, Kim Darby, Michael Madsen, Piper Laurie (okay, maybe she hasn’t done a Western, but she’s a great actress) and author Michael Druxman.  For more info, go HERE. 

Michael Biehn

‘GOOD FOR NOTHING’ LOOKS MIGHTY GOOD!

A tip of the Stetson to Leonard Maltin for recommending, on his REELZ show, this New Zealand Western that’s just opened on the East Coast.  Starring newcomers Cohen Holloway and Inge Rademeyer, the Kiwi Western is directed by first-timer Mike Wallis, and the trailer looks great. Strangely, there is no writer credited either on the official website, or the IMDB listing.

I’ll be getting more details about when the rest of us can see GOOD FOR NOTHING, but in the meantime, check out the trailer.

LINCOLN VS. ZOMBIES WRAPS

ABRAHAM LINCOLN VS. ZOMBIES has wrapped in Savannah, Georgia, and the folks at Asylum are hard at work preparing it for its May 29^th direct-to-video release, not quite a month before the release-date for the much larger-budgeted ABRAHAM LINCOLN: VAMPIRE HUNTER.  Written and directed by Richard Schenkman, who first made a splash with THE POMPATUS OF LOVE, the picture stars Bill Oberst Jr., a popular movie villain who will be portraying the Great Emancipator. 

The Asylum takes pride in slick-looking productions, and the glimpses in the teaser-trailer look good.  I’m including the trailer, but I warn you that it is a zombie movie, after all, and pretty bloody.

That's all for right now! 

Happy trails,

Henry

All Original Contents Copyright March 2012 by Henry C. Parke -- All Rights Reserved