‘THE OUTSIDER’ – THE NEW TRACE ADKINS WESTERN, REVIEW AND INTERVIEW WITH DIRECTOR, PLUS 3 JOHN FORDS YOU’VE NEVER SEEN, UPCOMING SILVER SPUR AWARDS, AND MORE!

THE OUTSIDER – A MOVIE REVIEW

By Henry C. Parke

With the Marshal out of town on business, a Deputy (Mitchell Johnson) jails Chinese railroad worker Jing (John Foo) so friend James (Kaiwai Lyman) can assault Jing’s wife (Nellie Tsay). Marshal Walker (Trace Adkins) returns to town to find Jing has slaughtered many of James’ friends, and won’t stop until James is dead. The Marshal sympathizes, but knows he must bring Jing in. He knows James is an unrepentant swine; but James is also his son.

THE OUTSIDER is a dark, grim, but involving revenge Western that avoids the trap of the endless clones of THE OUTLAW JOSEY WALES by focusing more on the Marshal and company, and their motives and motivations, than on Jing, who we already understand. Relationships change in unexpected ways, and characters who seemed incidental don’t always stay that way.

The direction and performances are consistently strong, and Trace Adkins demonstrates again, as he did in both THE VIRGINIAN and STAGECOACH: THE TEXAS JACK STORY, that he can carry a Western, although here he has ample assistance. This is a physically dark movie: three quarters of it happens at night, half of it in the rain -- it’s the wettest movie I’ve seen since the original DJANGO. But cinematographer Pablo Diez’s gift for color and composition finds beauty throughout, working in perfect visual harmony with production designer Markos Keyto.  This third Western from director Timothy Woodward Jr. is his strongest yet.

‘OUTSIDER’ DIRECTOR TIMOTHY WOODWARD JR.

Off the top of my head, I can think of only four living directors who have made three Westerns: Kevin Costner, Walter Hill, Simon Wincer (LONESOME DOVE, etc.) and Timothy Woodward Jr. Woodward is 36, or will be soon, and has already directed sixteen features, from Horror to Sci-fi to Crime Drama to Westerns. His first, TRADED, was a very impressive entrance into the genre, and his newest, THE OUTSIDER, is even better. “I love the genre. I grew up watching Westerns; my grandfather would have them on all the time after school. There's something magical about their kind of moral, where all the branches of government are on your hip. It was a simpler time in certain ways and more difficult in other ways. Just the complexity of it, the scenery -- I love all of it.”

In 2016’s TRADED, a father (Michael Pare) must find his daughter, who’s been lured with the opportunity of becoming a Harvey Girl, then sold into prostitution. It also stars Kris Kristofferson, Trace Adkins and Tom Sizemore. In 2018’s HICKOK, Luke Hemsworth plays Wild Bill at a time early in his career, when he becomes a lawman. It also features Kris Kristofferson and Trace Adkins, as well as Bruce Dern.

In 2019’s THE OUTSIDER, Trace Adkins moves from villain to lead. I was in Alabama recently, speaking to Adkins on the set of THE ULTIMATE COWBOY SHOWDOWN, which he hosts, and which premieres on INSP October 14^th.  He was very excited about THE OUTSIDER, and told me, “It's a really interesting character to play because, well, I was a bad guy, but now I've kind of seeking redemption. But his seed is bad and there's just nothing to do about it. My son is a lost cause. It's a really interesting role.”

Trace in the rain

THE OUTSIDER arrives on Blu-Ray and DVD on Tuesday, August 6^th. It’s already available digitally.

Henry Parke:   You said you watched Westerns with your grandfather. What were you watching?

Tim Woodward:  He used to watch GUNSMOKE all the time. And then, I loved TOMBSTONE, BUTCH CASSIDY.  We used to watch everything. He was a huge John Wayne fan, from STAGECOACH to THE SEARCHERS, but he would watch whatever was on TV, and there was always a lot of stuff on Saturdays.

Henry Parke:   Did the script for THE OUTSIDER come to you or did you develop it?

Tim Woodward:  My distributor was saying, we really would like for you to do another Western; here's a couple of ideas. So the idea was that, at this time period, the Chinese were coming through, building the railroad, and we just started doing some research.

Henry Parke:   This is your fourth film with screenwriter Sean Ryan. You two most to have a really exceptional rapport.

Tim Woodward:  I like Sean a lot; some of my earlier films are with him. I hadn't worked with him in a couple of years and I thought he'd be a great for this because his detail for action and his detail for character, he can create conflict. Sometimes it's not the word spoken, but the word unspoken that means a lot. So we kind of bounce off each other. And there's ideas that come to me, on-set, and Sean has no, no problem with that. Being able to allow me to adjust these things by saying, what if this character resists this way or that? We work really well together.

Henry Parke:   Revenge stories are familiar and popular, especially in Westerns, but the structure of yours is very unusual. Characters that seem to be minor become major; characters that traditionally would be there until the end, die. And revelations about characters change how you feel about them. So your story does not play it safe and predictable. Did the fact that you were not going on a traditional straight line for a Western concern you?

Tim Woodward:  It didn't, because I'd done two before, and my goal is always to challenge myself to do something different. TRADED was a very classical story, a nice throwback to some of the 1940s, 1950s westerns that I loved. Then with HICKOK we wanted a different approach. More of the myth, the way the comic books used to play Hickok, instead of the traditional, exact history of how he looked at things.  With THE OUTSIDER, this is a dark time for the Chinese. Let's take these characters and let's put them in a very bad situation, bad for everyone involved. Where the bad guy's not necessarily the bad guy, or at least he believes what he's doing, and everyone is affected by this. Our central protagonist, he's affected, but all these other characters, they're just as much in the mix and they have just as much conflict. Telling that kind of story was interesting and I think you hit it on the head: there's so many times where you know exactly what's coming. And I really just wanted to try something new where we just mixed it up a little bit and we said, okay, let's keep you engaged, but let's throw you off a little bit, not let you know the next step of what's happening, and let's bring certain character flaws to light later in their traits.

Henry Parke:   I was talking to Trace Adkins a couple of months ago, and he was telling me how much he enjoys working with you. Trace has been in all your westerns, and now he's moved up from villain to protagonist. What does he bring to your films in particular?

Tim Woodward:  Trace Adkins is a star. I mean, he has such a big presence. In person, he's the nicest guy you'll meet. But when he gets on camera, I don't even think Trace realizes how good he is. He really is his toughest critic, but he has just an aura about him. He draws people in. I mean, it's the voice, the height, it's the intensity that he can bring. He's just got it, you know? Whatever character he is playing, he comes in and he just manhandles it. Without going too detailed in the story, he has a lot of inner conflict going on,  he's very conflicted, and I think he did a great job; I was super happy with his performance.

Henry Parke:   In addition to Trace, you work with certain actors a lot: Kris Kristofferson, Danny Trejo, Kaiwi Lyman, John Foo. Are you trying to do the John Ford thing and create your own stock company?

Jon Foo and Sean Patrick Flanery

Tim Woodward: (laughs) A little bit. You know, I like working with people that I trust. It’s such a collaborative effort. If I get along with them and I can see the picture with them, I continue to work with them. Michael Pare is another person that I've worked with a lot, and Johnny Messner. There's certain roles and certain films that I feel like soon as I read them, this would work great for them and I know they can bring performance. Kaiwai Lyman's a guy that's on the rise, he's a star in the making. And John Foo’s got something special about him too.

Henry Parke: Pablo Diaz has shot nine films for you. I'm just struck by the beauty of his work. What’s special about his work, and your working relationship, that you'd have done so many pictures together?

Tim Woodward:  Well, we have a friendship, we have a trust in each other. We have a bond. When I say hey, here's this western, and I want to shoot it where 75% of it's night, and I want 50% of it to be pouring rain. First thing is Pablo is like, “Uh, okay. Here's what we should do. Here's how we can make it look beautiful.”  And Pablo is also just extremely gifted in the fact that he doesn't like to settle. Neither one of us do. So we will sit there and we will try as hard as we can with the resources we have available to make something that we both feel like has a chance of being special to everyone else -- it's already special to us. We really push ourselves hard. I know it's gonna be cold nights and 30 degree weather, but I'm here with you. Pablo has been there for me on that journey and he's helped me grow as a director, and I've watched him grow as a DP. I hope I do 20 more 30 more films with Pablo. Cause I love being on set all the time, and I love working with him.

Henry Parke:   Speaking of how dark and how wet the film is, it's always more expensive shooting at night. And rain effects are tricky, and run up expenses. Why, when you're doing a film that you have to be able to deliver on a budget, were those choices so important to you?

Tim Woodward:  Because for me, it was the movie. This tragic event happens and it's dark. The future is uncertain. The rain blocks what we can see. So besides trying to do something completely different than what I'd done before, it's just not something you think about when we imagine cowboys and horses. The first thing that pops in your head, small town, the brown dirt.  We don't think about mud and a horse riding through the rain.  Visually, I think it's striking, but I also think when you had those components to it, it adds an element of, like “trappedness”.  I wanted you to feel the character's emotions, feel this darkness.

Henry Parke:   Do you storyboard a lot?

Tim Woodward:  I don't storyboard. I like to get on set. I want to breathe it in, I want to look at it, I want to feel around it. I want to communicate with my DP and my actors. And then figure out a way of making it look as good as we can with the environments we have.  I've tried to story board before and found that it traps me on smaller budget film because I get this stuck in my head, maybe it takes two hours to do the shot. I'm trying to build it from the ground up. We have this amazing landscape here already, that works great for the character. Now let's figure out within that world, how do we make this look amazing and work for the story.

Trace Adkins and Kaiwi Lyman

Henry Parke:   Do you have a sense of how many pages a day you do, or how many setups a day on an average?

Tim Woodward:  It really depends on what type of scene it is. I've done scenes where I've only done three pages a day because it's calls for tons of extras. And I've done some where we've been at seven to eight pages a day. It just really depends on what we're doing and how smart we're blocking it off. Usually in these types of budgets, we'll shoot all of our town exteriors over the course of a couple of days, where we've got 50 extras. What we don't have is a ton of time; we're talking three, four-week shoots for these westerns, and when you have live animals and action, all this stuff, it's definitely tough to do. But it's also really rewarding.

Henry Parke:   The majority of your audience will not be seeing it on a big screen, but at home. Does that change the way you shoot and compose your shots?

Tim Woodward:  Not as much, just because you really hope they're going to see it on a big screen. But it does make you a little more conscious of the close-ups just because with streaming especially things can get compressed.  Someone on a big screen, in a medium shot, standing tall, you can see him really well. Then you get to the small screen and it's a little bit harder to see. So sometimes we go a little bit tighter in certain conversations for that, but I just feel like content is content now. People are watching it every which way. So we just try to make it the best we can.

Henry Parke: You shot at Big Sky Ranch, Caravan West, and were you the last film at Paramount Ranch before it burned?

Tim Woodward:  Yes, we were. We’d taken a few days to shoot at Big Sky, and were scheduled to go back to Paramount Ranch the next Friday, and the fire struck.  I had to recreate certain buildings. Jon Foo in the prison cell; we had to recreate that prison set. We were able to use the wide shot from an earlier scene that established the two characters, a little bit of manipulation and split screening and then do the closeup somewhere else.

Henry Parke:   What was the biggest challenge to making THE OUTSIDER?

Tim Woodward:   The wind, the rain effects and the fire going at one time. The mountains were blazing while we were filming at Big Sky. We had the fire department down below, I'd come out from being under these rain machines, the wind was going about 40 to 50 miles an hour -- so it would blow the rain any which way. We had to have a rain-tower set up 30 feet, behind the actors, then one in another direction, one in another direction, just in case, whichever way the wind blew. But you would come out from this rain and then all of a sudden the mountain would be on fire and you're just looking at it in awe. So that was challenging for sure. And I did a lot of “one-takers” in this movie, where we were on one character -- there's a six minute one, a one take scene.

Henry Parke:   Do you know what your next Western's going to be?

Tim Woodward:  I'm looking at a few things. I've got a story of John Wesley Harden that I really like a lot, and we may incorporate some of the guys from HICKOK in that. Someone has brought up, but the idea of a sequel for TRADED, and then I've got a story about Belle Starr as well. I can say with certainty that I'm going to do another western for sure. 

Henry Parke:   Anything else I should know?

Tim Woodward: I just want to say that the cast did a great job. I think it's on screen. Sean Patrick Flannery, this is my first time working with him, but I was so impressed by him. Nellie NeeYa, who played John Foo's wife, she needs a tremendous amount of credit for what she gave to the story. And again, we're not on a soundstage shooting this where it's a nice environment. We have 40 mile-an-hour winds, we've got rain flying everywhere. We've got dirt, dust. We've got a very tough environment. I think everybody did really well in my crew.

THREE JOHN FORDS YOU HAVEN’T SEEN!

Alpha Video never ceases to amaze me! Month after month they come out with the oddest and most intriguing films, and they all list price for under $10! Here are three new releases, all directed by John Ford.

JUST PALS – a 1920 silent starring the formidable but endearing Buck Jones was the first film Ford directed when he switched studios from Universal to Fox. Jones plays Bim, an aimless layabout who wants to reform when he befriends 10 year old Bill (Georgie Stone). Bim sends Bill to school, to become something better than Bim himself has, an honorable act not unnoticed by teacher Mary (Helen Ferguson). It’s well-made and charming, and if the plot sounds similar to that of Chaplin’s THE KID, which made a star of Jackie Coogan, keep in mind that JUST PALS was made a year earlier.

SEX HYGIENE – In the collection SEX EDUCATION FILMS FROM WORLD WAR II is John Ford’s SEX HYGIENE, which is about – you guessed it – what not to do if you’re a soldier or sailor who doesn’t want to catch something awful. Ford directed the non-clinical scenes, mostly of military types shooting pool and discussing whether or not to go out and have a good time. The players include George Reeves, later TV’s Superman, and Robert Lowery, later the Columbia serial’s Batman. The clinical footage is done by Otto Brower, a talented Western director who helmed FIGHTING CARAVANS (1931) starring Gary Cooper, and many others. BUT BE WARNED, THE MEDICAL SECTIONS ARE NOT FOR THE YOUNG AND/OR IMPRESSIONABLE! You will see more diseased penises in ten minutes than a brothel-worker sees in a lifetime.  Also included in the set, directed by Oscar-winner Lewis Milestone is KNOW FOR SURE, featuring John Ford regulars Ward Bond, Tim Holt, and J, Carrol Naish. And TO THE PEOPLE OF THE UNITED STATES stars Jean Hersholt, of DR. CHRISTIAN fame, Robert Mitchum, Noah Beery Jr., and is directed by Arthur Lubin, of PHANTOM OF THE OPERA and FRANCIS THE TALKING MULE fame. Ford’s is the only one of the three you need to cover your eyes for.

THIS IS KOREA – John Ford had made a number of fine gung ho documentaries for the War Effort during Word War II (besides SEX HYGIENE), including THE BATTLE OF MIDWAY and DECEMBER 7^TH, and in 1951 went to Korea to do it again. At first it seems like his WWII films, only in color, but it is a much more grim film as it progresses. Ford didn’t like anything he saw about how the war was handled. The conditions of the citizenry are awful, and those of our military were not much better. Some of the commentary on the action is jarring – a soldier fires a flame-thrower into a cave while the narrator says, “Fry ‘em out! Burn ‘em out! Cook ‘em! We found ‘em dug in ten feet deep!” Later the camera shows a large cemetery of American soldiers, as a narrator whispers, “Remember us…Remember us…”  The government wouldn’t release it, but finally Republic Pictures did. Not fun, but fascinating.

All Alpha Video's can be found here: https://www.oldies.com/collection-view/Alpha-Video-DVDs.html

SILVER SPURS IN SEPTEMBER!

On Friday, September 20^th, the Reel Cowboys will host the 22^nd Annual Silver Spur Awards, which will celebrate three TV series marking their 60^th anniversaries: BONANZA, LARAMIE, and RAWHIDE. After many years at The Sportsman’s Lodge, the event is moving to Burbank, and the Calamigos Equestrian Center. Honorees will be Bobby Crawford of LARAMIE, Clint Eastwood (hope he comes!), Darby Hinton of DANIEL BOONE, Margaret O’Brien of BAD BASCOMB (and MEET ME IN ST. LOUIS), stuntman Jack Gill, and RIDE THE HIGH-COUNTRY star Mariette Hartley. Others planning to attend include Morgan Brittney, Dawn Wells, Johnny Crawford, L.Q. Jones, Pat Boone, Cathy Garver, Rosey Grier, and Robert Carradine. 

There’s always a delicious dinner, a silent auction, lively entertainment.  This year the event will be benefiting The Gary Sinise Foundation. Tickets are $200 for general, $250 for premium. You can learn more, and buy tickets, by calling 818-395-5020, or going to SilverSpurAwards.com.

AND THAT’S A WRAP!

HAPPY TRAILS,

HENRY

ALL ORIGINAL CONTENT COPYRIGHT AUGUST 2019 BY HENRY C. PARKE – ALL RIGHTS RESERVED

NEW BOOK ON ‘MAGNIFICENT 7’, PLUS ‘HELL ON WHEELS’ LAST CHANCE, DONNER PARTY MOVIE, LARRY MCMURTRY AUCTION, AND MORE!

THE MAKING OF ‘THE MAGNIFICENT SEVEN’ by Brian Hannan – A Book Review

With Antoine Fuqua’s remake of the THE MAGNIFICENT SEVEN on the horizon this September, it’s the perfect time for a reappreciation of the 1960 classic.  Author Brian Hannan, whose previous books have looked at directors Alfred Hitchcock and Steven Spielberg, has meticulously researched the history of THE MAGNIFICENT 7, and details it with enthusiasm and insight, from its Japanese inspiration, Akira Kurasawa’s SEVEN SAMAURI, onward.  More than that, he gives an in-depth picture of the entire movie industry at the turn of the ‘60s, when studios were imploding under the weight of TV competition, long-term studio contracts were vaporizing, money locked in foreign banks was necessitating overseas production, and actors with muscle were starting their own production companies. 

The Kurasawa film is the story of medieval farmers who hire Samurai to protect them from bandits who rob their harvests; farmers who are so poor they cannot pay for the help beyond feeding their defenders.   Many who saw the film immediately grasped that the concept would work beautifully as a Western, moving the locale to turn-of-the-century Mexico, exchanging the samurai for gunmen who are working for a pittance; they are working for redemption rather than profit.   

Before reaching the screen, the property passed through many hands and versions.  Originally the 7 were to be an older, world-weary group, led by Spencer Tracy.  Anthony Quinn hoped to produce and star, but his role, Toshiro Mifune’s comic character in SAMURAI, was re-tooled into the romantic lead for young German actor Horst Bucholtz.   Quinn took the production to court over his exclusion.  Eli Wallach likewise wanted the Mifune part, but instead played bandit leader Calvera, a performance which re-defined his career.  Yul Brynner, the one member of the 7 who was already an above-the-title name, hoped to direct the film, rather than play the lead. 

Hannan describes all of the hubbub that went into the hiring of director John Sturges and casting the leads.  He details the careers of each actor.  He separates fact from fiction about the stars’ attempts to jockey for the lead position.   And he tells the remarkable story of how a film that was already written off as a flop domestically by MGM became such a hit overseas that it got a new release and a new life in the U.S.

Not that he considers the film flawless – Hannan points out the film’s few glaring mistakes, the greatest being Horst Bucholtz getting excessive screen-time in a role and performance that was supposed to be charming, but is almost universally considered irritating.  Although I do think he goes too far.  When he complains that this trio of minor characters needed to be separately delineated, or that character should have had a close-up, it strains the reader’s patience: John Sturges knew damned well what he was doing.  That’s why you wrote the book.   

This is truly a one-movie book – you’ll find scant reference to the three sequels or the TV series.  You may actually learn more than you wanted to know about the making of THE MAGNIFICENT SEVEN, but you certainly will have at least 95% of your questions answered.  THE MAKING OF THE MAGNIFICENT SEVEN is published by McFarland, and available HERE.

LAST CHANCE TO CATCH THE END OF ‘HELL ON WHEELS’ AND ‘AMERICAN WEST’ COURTESY OF AMC!

If you missed any of the final seven-episode season of HELL ON WHEELS – my DVR somehow erased the second-to-last episode before I could see it – or if you want to binge-watch ‘em all over again, AMC is making them all available on-line, for free, for about a month.  Go HERE to watch.

And they’re doing the same for the Robert Redford-produced THE AMERICAN WEST documentary series.  Go HERE to catch up.

‘THE HUNGER’ FEEDING ON DONNER PARTY LEGEND.

You may remember that last year The Weather Channel had a miniseries DEAD OF WINTER, based on The Donner Party tragedy, starring Darby Hinton as George Donner.  Now 20^th Century Fox and director Ridley Scott’s company, Scott Free, have just announced a Donner Party movie, based on a net-yet-published, not-yet-written novel by THE TAKER author Alma Katsu called THE HUNGER.  It will be directed by Luke Scott, whose first movie, MORGAN, will be released by Fox later this week.  It’s being described as ‘DONNER PARTY MEETS THE WALKING DEAD’. I hope it’s not in poor taste.

‘LONESOME DOVE’ AUTHOR MCMURTRY’S LIBRARY ON THE AUCTION BLOCK!

Heritage Auctions always feature unusual items, and their September 15^th session is no exception.  This one includes a 1788 edition of THE FEDERALST, by Alexander Hamilton, James Madison and John Jay, seeking an opening bid of $85,000; and there’s a first edition of Joseph Smith’s THE BOOK OF MORMON, with $38,000 already bid. 

While not nearly so old, among the unexpected and unusual offerings are from LONESOME DOVE author Larry McMurtry’s legendary research library.  They’re grouped by subject, and while there are nearly twenty days to bid, at the moment there are a lot of bargains.  Fifty volumes of Depression-era WPA guides are at $12.  A collection of 150 poetry books are at $1.  On the other hand, when it comes to McMurtry’s forte, Texas, the bidding is a bit more lively.  A group of Texana history books is at $320, but considering that it contains 180 books, that’s one helluvah bargain!  And an uncorrected proof of LONESOME DOVE is currently at $1!  HERE is the link to the auction site. 

CINECON FESTIVAL 52 LABOR DAY WEEKEND!

Once again,  Grauman’s Egyptian Theatre on Hollywood Boulevard will be the home of the Cinecon Classic Film Festival.  Their special guest this year is Marsha Hunt.  As usual they have a great schedule of both silent and talkie films, and for Westerners that includes 1928’s RAMONA, the first talkie version of Helen Hunt Jackson’s classic novel, starring Dolores Del Rio and Warner Baxter, Ken Maynard in THE FIGHTING LEGION, and Gary Cooper starring in the first talkie version of Rex Beach’s THE SPOILERS.  The dealers rooms across the boulevard at the Loews Hotel is a wonderful place to hunt for stills, posters, DVDs, and book signings.  You can learn more HERE.

‘HATEFUL 8’ AND MORE AT THE AUTRY!

There are two excellent new exhibits at The Autry.  The photography show Revolutionary Vision: Group f/64 and Richard Misrach – Photographs from the Bank of America Collection, highlights a movement in photography, started in the late 1920s, moving away from ‘pictorializing’,  an effort to make photographs look like paintings, in favor of sharp, unadulterated images, and featuring the works of  Edward Weston and Ansel Adams among others. 

New Additions, Featuring the Kaufman Collection, covers a wide range of works by past and contemporary painters and sculptors and American Indian artists. 

And on Saturday, September 3^rd, on the large, grassy lawn of the Autry you can, at 5:30pm enter and grab a patch to sit in, at 7pm you can hear music, and at 8pm you can see Quentin Tarantino’s THE HATEFUL 8 on their immense outdoor screen.  There will be food trucks, and there will be a bunch of morons who will talk through the whole movie.  To my way of thinking, it’s the most hateful possible way to see a movie, but folks who don’t give a damn about film think it’s great.  Enjoy!

JOHN MITCHUM CD RELEASE PARTY AT PARAMOUNT RANCH, SUN SEPT 4^TH!

A star-studded celebration will be held at the Paramount Movie Ranch to mark the release of the new CD JOHN ‘THE HUMBLE’ MITCHUM’S LEGACY’, featuring over fifty Western film and TV legends performing their favorites Mitchum songs and poems.  A man with nearly 160 film and TV credits, best known as Clint Eastwood’s partner in all of the DIRTY HARRY movies, he was also a fine writer, and first gained attention in that realm when John Wayne recorded his poem, America, Why I Love Her, which became a hit record. 

The kid brother of Robert Mitchum, John died in 2001.  His daughter, Cindy Azbill Mitchum, has worked for 13 years to make this event happen.  A glance at the list of contributors reveals that some – Ann Rutherford, Ernest Borgnine, Dick Jones, Herb Jeffries, Robert Easton – are no longer with us.  But happily, most are, and a great many will be attending the event.  And a few tickets are available.  The contact info is on the poster. 

If you’d like to learn more about John Mitchum, the event, and hear some of the recordings, including one by the great James Drury (John appeared on THE VIRGINIAN many times), click the link HERE for Equestrian Legacy Radio, then click on the episode entitled ‘Dirty Harry, Josey Wales’ to hear a lively discussion with Cindy. 

‘COPS & COWBOYS’ 2016 SEPT. 10 AT LEONIS ADOBE!

The annual Cops & Cowboys fundraiser for the Mid-Valley Community Police Council will once again take place at the historic Leonis Adobe Museum in Calabasas, on Saturday, September 10^th.   You’ll have a chance to tour the Adobe, built in 1884, one of the oldest buildings in the San Fernando Valley; enjoy the hosted libations; place your bids in the silent auction; place your bets at the poker and blackjack tables, with cards handled by the Dealer Dolls; have a delicious barbecue dinner; dance to the music of Eli Locke and the Locke and Loaded Band, and get a line-dancing lesson!  To learn more, and order tickets, go HERE.

STAR-STUDDED ‘SILVER SPUR’ SEPT. 16!

Friday, September 16^th, join the Reel Cowboys at The Sportsmen’s Lodge in Studio City for the 19^th annual Silver Spur Awards.  This is always a glamorous and exciting event, and this year’s emcee will be one of the greats of Western TV, Bruce Boxleitner.  Among those being honored will be the late, great King, Elvis Presley, star of FLAMING STAR and ROUSTABOUT; and the late, extremely talented Western character actor Gregg Palmer.  Those honorees attending are frequent John Wayne co-star Eddie Falkner, stuntman and actor Ben Bates, WALTONS mom Miss Michael Learned, and characters actor and frequent Western guest star Richard Herd, who tells me he’s especially excited that his presentation will be made by the great Morgan Woodward.  Other presenters include Edie Hand, Western costumer (BIG JAKE, THE SHOOTIST, CHISUM) Luster Bayless, Janet Arness, Wyatt McCrea, and the WALTONS’ eldest daughter, Judy Norton.   Contact info is on the poster.  See you there!

                                                                                              

AND THAT'S A WRAP!

Had a great time on Thursday interviewing Jonathan Nolan and Lisa Joy Nolan about their upcoming HBO mini-series, WESTWORLD – you can read about it soon in True West.  In the meantime, the current True West, with the Tombstone walk-down on the cover, includes my article on the excellent new modern western HELL OR HIGH WATER, starring Jeff Bridges, Ben Foster and Robert Pine.  Have a wonderful week, and a wonderful Labor Day Weekend!

Happy Trails,

Henry

All Original Contents Copyright August 2016 by Henry C. Parke – All Rights Reserved

‘HONDO’, ‘NICHOLS’, ‘SHENANDOAH’ RETURN, PLUS SILVER SPURS HONOR ‘GUNSMOKE’ AND MUCH MORE!

GET-TV BRINGS BACK ‘HONDO’, ‘NICHOLS’ AND ‘MAN CALLED SHENANDOAH’!

Robert Horton is A MAN CALLED SHENANDOAH

Three Western series from the sixties and early seventies, two of which haven’t been seen since their original airdates, will be returning starting September 12^th on GET-TV, a SONY-owned antenna company in some markets, and cable or satellite in others.  

For years, series that had less than a hundred episodes were not considered worth syndicating.  All three series had just one season each: A MAN CALLED SHENANDOAH (1965) produced 34 segments, NICHOLS (1971) had 24, and HONDO (1967) just 17.  But the recent success of very short-lived programs, particularly ARRESTED DEVELOPMENT (2003), whose production was actually revived after a seven-year hiatus, has proved there is life in a good show no matter how few the episodes.  

SHENANDOAH was developed by writer-producer E. Jack Neuman, who previously created MR. NOVACK (1963), and would go on to develop THE BLUE KNIGHT (1973), POLICE STORY (1973) and PETROCELLI (1974). It starred Robert Horton – still going strong at 91 – who’d starred for years on WAGON TRAIN as head scout Flint McCulloch.  When he left the series in 1962, he announced that he would not do a Western series again, but was tempted back by the tale of a man who awakens from a savage beating with no memory of who he is, or why anyone would want to kill him.  As he travels the West looking for answers, his adventures involve a stellar group of guest stars: Oscar winners Cloris Leachman, Martin Landau and George Kennedy, as well as Bruce Dern, John Ireland, Warren Oates, Sally Kellerman, L.Q. Jones and Strother Martin.

James Garner as NICHOLS

Between his great TV successes MAVERICK (1957-1962) and THE ROCKFORD FILES (1974-1980), James Garner starred as the lead character in NICHOLS, one of his personal favorites.  Set in the early 20^th century, Garner plays a career soldier now tired of fighting, who comes home to the town named for his family, and is bullied into becoming its lawman, a job he does without packing a gun, and riding an Indian chopper instead of a horse.  Created by Frank Pierson, writer Juanita Bartlett wrote several episodes before moving with Garner to ROCKFORD FILES, and NICHOLS shares its humorously savvy tone.  Margot Kidder plays Ruth, the Miss Kitty of the town, and unlike at the Longbranch, you have no doubts about what goes on upstairs.

Ralph Taeger as HONDO

Of the three series, only HONDO had exposure after cancellation.  In 1988, Ted Turner bought MGM’s library, and created TNT.  HONDO started getting a lot of play.   A.J. Fenady, who created and produced HONDO, as well as the just DVD-released THE REBEL starring Nick Adams, recalls those early cable days.  “Ted Turner and I became pals.  He loved THE REBEL, but next to THE REBEL he loved HONDO.  When he was there at TNT, they played that thing time and again.  I saw him one time and I said, ‘For God’s sake, how long are you going to keep playing those same seventeen episodes of HONDO?’  And he said, ‘As long as I’m there.’” 

An unusually cheerful HONDO moment.

Ralph Taeger had the unenviable job of taking on a role that John Wayne made famous.  Fenady thought he was up to the challenge.  “You couldn’t draw a picture of a leading man any better than Ralph.  He had the build of Tarzan, he was handsomer than Randolph Scott, and he had a voice like Humphrey Bogart.  If that isn’t a combination for a western, I don’t know what the Hell is.” Even John Wayne was a fan of the show.  “Now Duke used to watch the series, and he said to me, ‘Ralph Taeger is as good a Hondo as I was.’  Parenthetical pause, ‘Almost.’  Well I loved Ralph Taeger.  I talked to him at least once a month until last year, when he died.  And doing the series HONDO led to (my) doing the movie CHISUM with John Wayne and his son Michael Wayne.” 

In addition to Taeger, the cast included Kathie Browne, Noah Beery Jr., and Aussie-playing-Indian specialist Michael Pate.  Among the guest cast did Fenady have a favorite?  “Without doubt, it’s Robert Taylor.  See, I’m the first guy who did a two-hour (theatrical) western, HONDO AND THE APACHES, and used it as a pilot.  MGM said, if you could get Robert Taylor to be in it, we’ll do it.  And I got Robert Taylor, and he was the gentleman of all gentlemen; he was a consummate actor, and a fine, fine man.  And, I’m still making money from that damned thing, because it’s still being featured overseas.”

Each series will be re-introduced with a ‘mini-marathon’, starting at noon on Saturday, September 12^th with five episodes of NICHOLS; September 19^th with five HONDOS; then September 26^th with ten episodes of A MAN CALLED SHENANDOAH. After, they’ll be getting regular spots on Saturdays.  Saturday has always been an all-Western feature day for getTV, showcasing a lot of Tim McCoys and Durango Kid films from the Columbia Pictures vault, as well as big-budget oaters.   Jeff Meier, getTV’s senior veep of programming is excited about adding the shows to the line-up.  “Although each of these series originally had a short run, they all feature classic Old West action that will have viewers agreeing that they were cancelled far too soon.”

60^TH GUNSMOKE ANNIVERSARY CELEBRATED BY REEL COWBOYS SEPT. 18!

On Friday, September 18^th, the 18^th annual Silver Spur Awards, presented by The Reel Cowboys, will honor the 60^th anniversary of the Western TV classic GUNSMOKE!  The event, to be held at the Sportsmen’s Lodge in Studio City, will be attended by many Western stars who can trace the start of their careers to GUNSMOKE.  The event will benefit United Cerebral Palsy and The National Day of the Cowboy.  Those planning to attend, subject to their availability, include members of the James Arness Family, Bruce Boxleitner, Morgan Brittany, Angie Dickinson, Ed Faulkner, Mariette Hartley, Earl Holliman, Bo Hopkins, L.Q. Jones, Martin Kove, Martin Landau, Michael Learned, Gerald McRaney, Mihaly 'Michu' Meszaros, Mayf Nutter, Jacqueline Scott, Jon Voight, Johnny Whitaker, and Morgan Woodward – GUNSMOKE’s most frequent guest star!

There will be a silent auction, an elegant Delmonico’s-worthy dinner, musical entertainment, a panel discussion and Q&A led by Bruce Boxleitner, and the awards presentation – and a chance to clink spurs with some of your favorite Western stars.  Tickets are $125, $175 for VIP seating, and $250 for premium seating.  For tickets, call 818-395-5020.  To learn more, go to the official website HERE.

There you can also listen to a radio interview with the two folks who are running the event, Reel Cowboys president Robert Lanthier, and historian and event coordinator Julie Ann Ream, cousin of Glenn Strange, aka Sam the bartender at the Longbranch. 

‘SANTA FE TRAIL’ SAT., SEPT 12^TH AT THE AUTRY

On Saturday, September 12^th, as part of The Autry’s long-running ‘What is a Western?’ monthly series, SANTA FE TRAIL (WB 1940) will be presented at 1:30 pm at the Wells Fargo Theatre.  Admission is free with your admission to the museum.  Directed by Michael Curtiz, it stars Errol Flynn as Jeb Stuart, and Ronald Reagan as George Custer, West Point Cadets in the days leading up to the Civil War, with Olivia de Havilland, with Van Heflin, Alan Hale, and Raymond Massey as John Brown. 

One big change is that Jeffrey Richardson, The Autry’s Gamble Curator of Western History, Popular Culture, and Firearms, who has for years informatively and entertainingly introduced the films, will not be there; he’s left the Autry for a curatorial job in New Mexico.  Instead, the film will be introduced by screenwriter, director, Western scholar and author C. Courtney Joyner, who is very excited about the opportunity.  “I consider this one of Curtiz' best westerns - and it’s the last of the Flynn/de Havilland team-ups.  There’s lots of history about it - and how far it strays from the truth!”  In compliment to the current, fascinating exhibition at the Autry, Empire and Liberty: The Civil War and the West, this and the next pair of films will have Civil War themes.  GLORY (1989) will screen on October 10th, and THE OUTLAW JOSEY WALES (1976) will screen on November 14^th – I’ll be introducing that one!

‘REEL STORIES’ OF THE CIVIL WAR AT SEPT. 23^RD COWBOY LUNCH!

Following an always delicious lunch in the Autry’s Crossroad Café, Rob Word’s ‘A Word on Westerns’ interview program will focus on how the Civil War has been portrayed on film, from Keaton’s THE GENERAL to GONE WITH THE WIND and beyond.  Confirmed guests include Bruce Boxleitner and Alex Hyde-White of GODS AND GENERALS and esteemed historian Phil Spangenberger.  The program begins at 12:45, but get there early for lunch, and to make sure you get a seat, because these events always fill up.  But don’t get there a week early – the Autry’s ‘What’s Next? calendar incorrectly says this event is September 16^th – it’s definitely the 23^rd!

ROY AND DALE’S APPLE VALLEY FORMER HOME FOR SALE!

Thanks to author Martin Grams  for posting about this in the Rick’s Place  site. The former home of Roy Rogers and Dale Evans in Apple Valley, California, is up for sale.  It sold in 2012 for $645,000, and is now being offered for $770,000.  Want to take an on-line tour?  The realtor has made a ten-minute video, showing not only how the property looks today, but how it used to look.

ALEX CORD LOOKING TO SELL HIS HOME IN TEXAS!Alex

Norman Rockwell's portrait of 

Alex Cord for STAGECOACH

And speaking of desirable cowboy properties, Alex Cord who, among many other roles, played the Ringo Kid in the 1966 version of STAGECOACH, and starred in the spaghetti Western A MINUTE TO PRAY, A SECOND TO DIE (1968), is looking to sell his home in Texas.  He says, “Quail Run Ranch (is) 30 acres with three fenced pastures, run-in sheds, a pond and a creek running through a wooded area. A custom covered arena with Bob Kiser footing, 200 feet long and 80 wide, built by Butch Reddish. Charming house on a hill, 3 bdrms, 2 bth, granite counters, hardwood floors, Jacuzzi tub, storm shelter. Insulated shop, 40 x 40 ft. Horse barn, 4 indoor stalls and 4 sheltered runs, large tack room, feed room and hay storage, wash rack. Three connected round pens, 125 feet, 50 ft, and 25 ft. The place is dead quiet, surrounded by 3 cattle ranches owned by the finest neighbors in the world. It is secluded but not isolated. Twenty minutes to Denton, one hour to DFW airport, ten minutes to Gainesville, Walmart, Home Depot, Tractor Supply.” 

If you’re in the market, or know someone who is, you can contact Alex through his official website, HERE.

THAT’S A WRAP!

I’ve decided to make a change to the Round-up.  Instead of publishing every weekend, I’m going to publish every other weekend, or bi-weekly.  The fact is, between writing the Round-up, being the Film Editor for TRUE WEST, and teaching full-time, I’m not devoting any time to a screenplay I’ve been trying to finish for months – and that’s the job that’s supposed to make me rich and famous!  With that in mind, if you have any good tips to pass along to me, or know of events that I should be covering, please let me know a little earlier! 

Happy Trails,

Henry

All Original Contents Copyright September 2015 by Henry C. Parke – All Rights Reserved