‘BLACK CREEK!’ ACTION STAR CYNTHIA ROTHROCK ON MAKING HER FIRST WESTERN! PLUS UPDATE: STARTING AT 8 TONIGHT, THURSDAY, TCM WESTERNS: “TCM SPOTLIGHT: THE DEFINING FRONTIER”

R. Marcus Taylor, Keith Cooke, Cynthia Rothrock,

Richard Norton, Don 'The Dragon' Wilson

‘BLACK CREEK!’ ACTION STAR CYNTHIA ROTHROCK ON MAKING HER FIRST WESTERN!  PLUS WESTERNS TO CATCH AT THE TCM CLASSIC FILM FESTIVAL, AND MORE!

When Cynthia Rothrock first appeared on the action-movie scene in 1985, she was exactly what the industry needed: a striking blonde actress who just happened to be a record-holding martial arts master in several disciplines. The undisputed Queen of Martial Arts films has since starred in 70 more action films, and a few comedies, but she never made a Western until 2024. Black Creek will be released early in the summer of 2025. It is a somewhat whacky, wonderfully entertaining revenge Western, and Cynthia has loaded the cast with faces that may not be that familiar to most Western moviegoers, but will be a thrill to action movie fans, as it includes many of the best on-screen fighters in the business, including R. Marcus Taylor, Keith Crooke, Don “The Dragon” Wilson, and Cynthia’s most frequent costar, Richard Norton. Before our interview, which was punctuated with her disarmingly girlish laughter, she’d sent me a link to the then nearly-finished film, and when I emailed back that I’d enjoyed it very much, she replied, “Glad you liked my film. A lot of love and hard work went into it.” I told her that was obvious.

Cynthia Rothrock: Oh, thank you. We did this movie in 14 days, if you could believe it, and I was just so excited because everybody just gave their all, and it was such a hard shoot. We had freezing nights because I wanted the look to be eerie, you know: candlelight and lanterns. We had to light up everything, so everything took longer, but it was worth it. But it was so cold -- like 4:00 A.M. doing a fight scene, your muscles would freeze up. I had all these guys standing around the corral, and they were like, “We're doing this for Cynthia.” They were such troopers. It was such an amazing thing. I created this Facebook page for Black Creek, and we have so many people from different countries that came over, and were working on this film. They became this really tight-knit close family, where they hadn't met before. It's just beautiful to see how everybody is so involved in this project. It's so cool.

Henry Parke: You have a very impressive list of movie credits, but I believe 2024’s Taken from Rio Bravo, starring Alexander Nevsky, directed by Joe Cornet, is your first Western. 

Cynthia Rothrock: Right. That was just a cameo I did as a favor 'cause Alexander as a friend of mine.

Henry Parke: You do a very nice job in it. I was wondering if you sort of looked at it as a dry run for Black Creek?

Cynthia Rothrock: Well, I learned what I didn't want to do, because of it. I liked their Western town, I liked the setting, but we went with Mescal Movie Set instead, because it had a better feel. It was actually more difficult, because Mescal didn't have electricity, so we had to bring in generators, which was another big expense. Some of the people that worked on Taken from Rio Bravo, because they were from Arizona, worked on mine too. So it was a really good connection for my film. What really gave me this idea is, I love Westerns, and if you Google “woman gunslinger,” you get Annie Oakley or Selma Hayek. And I go, gosh, I wanna be known as a gunslinger that can really fight, you know? My inspiration came from Yellowstone because I just loved Yellowstone. I liked the gritty darkness of it. So when we decided to do my own film, because I've done 70 films – but this is the first time I've decided to take the helm and do my own film. Robert (Clancy) and I were coming up with stories, and he’s like, “What do you wanna do?” And I said, “A Western.” He looked at me like I was crazy. “A Western?” “Yeah.” And he's like, “Okay…”

Keith Cooke, Cynthia, Brandy Futch

Henry Parke: I was surprised that you designed and made many of the costumes yourself.

Cynthia Rothrock: Costuming was so expensive. We're like, oh my gosh, that's not in our budget. So (Robert Clancy) and I both did the costumes for the whole entire movie. We researched everything: you can't have this on your boot, you can't have an emblem, no rubber soles, you can't have zippers -- every little detail. We started two years ago with the Kickstarter program. It's funny because, when I did the Kickstarter, all my male peers -- you know, I grew up in this male dominant world?

Henry Parke: Clearly.

Cynthia Rothrock: Being, in the early days, the only female competing against men, I just kind of looked at them as my peers. And a lot of them were saying, don't do a Kickstarter. You're not going to make it. It's going to be embarrassing. There's one actor that has done some big movies, and he failed at (crowd-funding), and they're like, if he failed, why do you think you could do it? And I went, I'm going for it. And we became like the second highest funded action picture in the history of Kickstarter.

Henry Parke: That's great.

Cynthia Rothrock: You know, this was a fan-based production: if it wasn't for the fans supporting us, we wouldn't have been able to do this movie. One of our top incentives for Kickstarter was they could be in a fight scene, or they could have a line in the movie. And we had a lot of people do that. We had people from Greece, England, Australia, a lot of different countries coming just to do this. They did a phenomenal job. We had some working with acting coaches, we would do readings every month and go through the script with everybody. And even if they only had one line, we'd still involve 'em. That's a really good memory for me.

Henry Parke: How many people took part in the Kickstarter program?

Cynthia Rothrock: We had over 500 people. People were saying it was a fluke, right? You'll never do it again. Well, we have the graphic novel for Black Creek coming out as well. We did an Indiegogo campaign for that, and we came in 220% above what we asked for. I just can't wait for everybody to see this because I'm just so proud of it. I'm so proud of everybody – with 14 days and the limited budget -- what we pulled off.

Henry Parke: May I ask what your budget was?

Cynthia Rothrock: It was about $425,000.

Henry Parke: Oh my goodness! I work on a lot of low budget films, so I’m very aware that that is a small amount of money to have something that looks so elegant, and your art direction, your production design, is so impressive.

Cynthia Rothrock: We were drawing how we wanted it to look, and the stunts; we were so, so much involved in this. But I've had a lot of people do favors for me. Our music team is sensational. Doing our main song, and then the ending song, is Jim Peterik, who won a Grammy, and was nominated for an Oscar, for Eye of the Tiger that he co-wrote for Rocky III.

And Benjy Gaither, and he currently has a number-one hit song he wrote for George Strait, Three Drinks Behind. And Mark Shearer -- I've never met him, but he’s been a fan of mine. And these three people teamed up and did all our music. And what we would have to pay for that is crazy! We've just been so blessed! And I'm hoping that someone will say, wow, look what she did for two weeks of shooting and this money! If we give her a million or a million and a half and 20 days of shooting, what can you pull off?

Henry Parke: Is this your first screenwriting credit?

Cynthia Rothrock: Yes, it is. First time as a co-writer; first time as a producer. And it was a whole different experience for me, because usually I'm sitting in my trailer and just studying my lines, but now I have no time to sit in my trailer. I knew the script inside out because I was one of the writers, so thank God for that. But I had to be on set all the time to make sure everybody was happy doing their parts, dealing with any issues. It was an eye-opening experience for me, being there way early every morning and then being the last person to leave.

Cynthia gets the drop on Keith Cooke

Henry Parke: You said that you were a big Western fan and that Yellowstone inspired you. Do you have any other favorites that inspired you?

Cynthia Rothrock: Tombstone, Outlaw Josey Wales. I remember when Sharon Stone did The Quick and the Dead, I was like, wow, that's really cool that she was doing that role. I liked a lot of the old Westerns that you would see on TV. When I was a kid I’d read about Annie Oakley, that she was this tough woman back in that era, tough with the guys. And it's funny because I grew up in that same kind of situation, you know?

Henry Parke: Tell me a bit about your character, Rose Jennings.

Cynthia Rothrock: She's a little rough; she likes to drink, she's got a little bit of a potty mouth, and isn't afraid of anybody. She’s very close with her family, but it's hard for her to settle down in one place. She takes off for a while, and when she comes back, she finds out that her family was killed. And then all hell is loose. She's getting these people (who killed them), and saving the rest of her family.

Henry Parke: I was kind of overwhelmed by the physical demands this movie places on you. Wearing so many hats, did you have to do a lot of training while making the movie?

Cynthia Rothrock: No, because I was on-set every day, and if it wasn't me rehearsing my scene, I'm with the other actors because none of these actors got to practice. My stunt coordinator knows how I like to move. And everybody is different; they all had their own fight styles, and he was familiar with them. So we put together a composite so they can watch it and study it and say, Hey, is there anything in here you don't like? And then of course, when you get to the set, we would just be rehearsing while cameras were setting up. And if there was something that wasn't good for someone, we would change it on the spot. It was almost like the old Hong Kong fighting: learn it, shoot it. That's how I got my start. I did seven movies in Hong Kong before I came to the United States and then started doing films. My first movie was in 1985, with Michelle Yeoh, we did Yes, Madam.

Cynthia and 2023 Best Actress Oscar-winner

 Michelle Yeoh in Yes, Madam!

Henry Parke: I just watched it on Prime, under the title In the Line of Duty II: The Super Cops. It was hysterical.

Cynthia Rothrock: That was my first, and I thought I'd just do one movie, you know? I'm kind of an out of the box person. I never really want to do something that's the same, the same, the same. I always want to try to put some unique flare into it. There was something so unique going to Hong Kong. I didn't think it was going to turn into a career. I thought, oh, I'll just go there and I'll do one movie. And it's funny, in my mind, I was thinking, well, maybe I'll be on the poster and I could show my kids someday, saying, “Hey, look, your mom was in a movie.” It really wasn't my intention that I was going to become an action film star.

Henry Parke: Was Black Creek your first time riding a horse in a film?

Cynthia Rothrock:  It was my first time riding a horse on my own. I've gone on trails where you follow the leader. I didn't want to look like I didn't know what I was doing, so the horse wrangler told me, don't put your two hands here, do this here. And actually I got really comfortable with the horse. There's one scene where there were two horses on the side, and me, and they shot some rounds off down below, and it freaked the horses out -- the two horses on the side started bucking. And I just turned my horse around nice and calm and went down the hill. It was funny because someone said to Robert, “Wow, how long has she been riding?” And Robert said, “About two hours.”

Henry Parke: With so many of the smaller westerns, they have no time with the horses, and they have inexperienced riders, and everyone's shouting, “We have to put together a posse and get after those guys!” And they jump on their horses, and walk slowly out of town.

Keith Cooke, Don Wilson, Brandy Futch

Cynthia Rothrock: I know! I did have an incident on-set with the horse wrangler. The horse was so big, and I'm five foot three, and no matter what, I could not get my foot into the stirrup and get it up over the horse. And so he lifts me up, and I'm like five, five and a half feet off the ground. And he dropped me, and I fell on my right, on my back and on my head. We were off to the side, so nobody saw it. And my hat saved my head, because my hat was kind of like a little helmet, and my belt saved my hip, so I didn't get hurt, but it took the air out of me. And the wrangler goes, “You're a karate girl. You should be used to this kind of stuff.” I said, “When I get on the horse, can I get an apple box to stand on?” He says, “Oh yeah.” And I'm like “Why didn't you think of that in first place?”

Henry Parke: This is the first feature directing credit for Shannon Lanier.  Where'd you find him?

Cynthia Rothrock: We had two directors. Shannon was directing the acting scenes. I met him, we talked, and he seemed to have my vision, and he worked in low budget film. I said, “Look, I’m bringing this guy in from Germany for the fights; when it comes fighting, I want him at the helm. I want him with the camera, to direct that,” and he said, “Okay.” So all our acting scenes, Shannon directed, and all the fight scenes, Mike Moeller directed.

Henry Parke: Mike Moeller has quite a resume, doing stunts on the Hunger Games, Matrix, and John Wick films among others. Very impressive.

Cynthia Rothrock: He's so awesome. It's funny, because we brought his stunt team over, and I wanted him to fight me. And he's like, “No, I don't want to fight. I just want to do the choreography.” And I went, “Okay.” And when he saw the trailer, he’s like, “Oh, I should've been in it! I'm fighting in Part Two!”

Henry Parke: I guess you have to be very physically capable to be on a Cynthia Rothrock set. I notice even your cinematographer, Aaron Johnson Araza, is a former stunt man.

Cynthia Rothrock: Yeah. Well, they're moving pretty fast, getting down low with the camera -- it’s good because he understood the action, and that helped us. Aaron would be directing some of the scenes, and we’d go, wow, that's a great shot! It was a collaboration, with everybody pulling this film together.

Henry Parke: What was the most challenging part of making Black Creek?

Cynthia Rothrock: We had 150 people on-set on our first day. So we did the hardest days right in the beginning. I think the most challenging part during the whole movie was, are we going to get all these scenes in? Some of the fight scenes, I wanted more to them, and we had to cut them down because of time. I'm definitely planning that on Black Creek 2, every fight scene has one whole day to shoot. And I must thank James Marlowe. He has the Marlowe-Pugnetti Company; he’s a fan of mine, and he came on as an executive producer. We've become really good friends, and he is definitely my guardian angel, helping us with post production, with editor Ben Ho, getting the right sound person, and just being a mentor through it; he is definitely a big part of bringing this movie to fruition. We put him in as a partner, and when we do Black Creek 2, we'll involve him. (Note: since the interview, it’s been decided that James Marlowe will direct Black Creek 2: Retribution, which is already written.)

This interview is really exciting for me because you're not in the karate world, you're in the Western world. And that's what we want to do as crossover, not only having Martial Art fans, but get Western fans loving this movie as well. And it's unique because you don't really see Westerns where everybody does Martial Arts

Henry Parke: You certainly don't.

Cynthia Rothrock: (Kickboxing legend) Don “The Dragon” Wilson said to me, “But Cynthia, how could everybody know martial arts? There weren't martial arts schools.” I said, “Don, because the Chinese were there. They came in for the gold rush; they all knew it. They taught it.” He goes, “Oh. Okay.”

Just as I was finishing my editing of this interview, I learned that Cynthia Rothrock’s close friend and Black Creek foe Richard Norton had just died. It would be their last of more than a dozen films together. I asked her if she would like me to include a remembrance of him.

“I am beyond words and deeply shocked by the sudden passing of my dear friend and fellow martial artist, Richard Norton. The martial arts world has lost a true legend. We shared an incredible journey—starring together in numerous action films, from China O’Brien, Millionaires Express, Rage and Honor to Lady Dragon. I was thrilled to have him join the cast of Black Creek as the formidable antagonist, Damien Sinclair. His performance was nothing short of extraordinary. Our final fight scene together will forever hold a special place in my heart—a moment I’ll always cherish as the last dance of the “Fred Astaire and Ginger Rogers” of Martial Arts action. Richard’s talent, kindness, and dedication to Martial Arts will continue to inspire generations to come.”

WESTERN HIGHLIGHTS AT THE TCM HOLLYWOOD CLASSIC FILM FESTIVAL

Me and Shirley Jones -- and a few others -- at the

2014 TCM Fest screening of Oklahoma!

From Thursday, April 24^th through Sunday, April 27^th, The Turner Classic Movies Channel will hold their wonderful annual Classic Film Festival in Hollywood. Screenings and other events will be held at the Chinese IMAX Theatre, The Chinese Multiplex, The Egyptian Theatre, The El Capitan Theatre, and around the pool of The Hollywood Roosevelt Hotel. While the big packages for attendees can run in the thousands of dollars, individual screenings are only $20 each, although there’s no guarantee you’ll get in. This link will take you to the official Festival website, with complete details: https://filmfestival.tcm.com/

Among screenings of particular interest to Western fans, on Friday they’re showing 1940’s The Mark of Zorro, directed by Rouben Mamoulian, starring Tyrone Power, Linda Darnell, and Hollywood’s greatest actor/swordsman (just ask him), Basil Rathbone. 

On Saturday they will premiere a restoration of 1958’s Gunman’s Walk, directed by Phil Karlson, and starring Van Heflin and Tab Hunter, and introduced by Keith Carradine. 

Gunfight at the O.K. Corral

Also on Saturday, on the big Chinese Theatre IMAX screen, they’ll be showing a 35mm VistaVision print of 1957’s Gunfight at the O.K. Corral, directed by John Sturges, starring Burt Lancaster as Wyatt, Kirk Douglas as Doc, John Ireland as Johnny Ringo, Earl Holliman as Charles Bassett, and Dennis Hopper as Billy Clanton.  

And on Sunday morning, 1955’s Rodgers and Hammerstein’s Oklahoma!, will also be presented on The Chinese Theatre IMAX screen. Directed by Fred “High Noon” Zinnemann, this, the greatest of Western musicals stars Gordon Macrae as Curly, Shirley Jones as Laurey, Gloria Grahame as Ado Annie – who can’t say “no,” and perhaps the only singing film performance by Rod Steiger as Jud Fry! And the film will be discussed by Shirley Jones’ son, Shaun Cassidy.

UPDATED 5-8-2025: TCM FOCUSES ON WESTERNS IN MAY WITH “TCM SPOTLIGHT: THE DEFINING FRONTIER”

Every Tuesday and Thursday night in May, Turner Classic Movies will feature Westerns, 46 in all, in generally chronological order, focusing on various aspects of the genre. I’ve included links to a few of my related articles, for more detailed information about the films.

Thursday, May 1^st – The Foundation, focused on silent films, from The Great Train Robbery (1903) to The Iron Horse (1922).

Tuesday, May 6^th -- The Quintessential Cowboy: John Wayne and the Idea of America, included the film that should have made him a star but didn’t, Raul Walsh’s The Big Trail (1930); and John Ford’s film that did make him a star, Stagecoach (1939); Howard Hawk’s film that proved even to his harshest critics that Wayne could act, Red River (1948); and the epic that was so epic-ish that it took not just Ford, but Henry Hathaway and George Marshall and Richard Thorpe to direct, How the West Was Won (1962).  

And now, the ones we haven’t missed yet!

Thursday, May 8^th -- Rugged Individualism, will begin with a look at great paired actor and dire ctor individualists like James Stewart in Anthony Mann’s The Man from Laramie (1955), Randolph Scott in Budd Boetticher’s Ride Lonesome (1959) , and Barbara Stanwyck in Sam Fuller’s Forty Guns.  A weird choice is James Cagney in Lloyd Bacon’s The Oklahoma Kid (1939), which is better than you’d expect, and does feature Humphrey Bogart as a Mexican bandito. Rounding out the program are a pair of Eastwoods, Hang ‘Em High (1968), the pretend Spaghetti Western from Ted Post, and Clint’s first self-directed Western, High Plains Drifter (1973).

On Tuesday, May 13^th – Social Commentary in Disguise, is dominated by post-war, noirish Westerns. The Ox-Bow Incident (1942) looks at mob rule, individual responsibility, racism, and lynching. Henry Fonda deserves all of the attention he gets for this William Wellman film, but equally affecting are Dana Andrews, Anthony Quinn, and Harry Morgan. Jacques Tourneur’s Wichita (1955), was one of the Joel McCrea starrers – here as Wyatt Earp – that were so good that they turned a poverty row studio, Monogram, to a major, Allied Artists. Elmore Leonard’s novel was the basis for Martin Ritt’s Hombre (1967), a pressure-cooker of a movie that looks at anti-Indian and anti-Mexican racism, with Paul Newman as the multiracial center.  Sergeant Rutledge (1960), John Ford’s courtroom drama starring Woody Strode as a black sergeant accused of the rape and murder of a white child, is so uncompromising and blunt that it’s astonishing that it was made, no less released. Rounding out the program is one of Sergio Corbucci’s finest, and most rarely seen Westerns, the snow-bound The Great Silence (1968), starring Jean-Louis Trintignant, Klaus Kinski, and a pre-Blaxploitation Vonetta McGee.

Thursday, May 15^th -- Heroism and Sacrifice are themes that are unforgettably explored in John Sturges’ TheMagnificent 7 (1960), which made stars out of 6 (and Brad Dexter had a very respectable career), made an unlikely Western star of Eli Wallach, and featured future Chinatown cinematographer John Alonzo as one of the townspeople who hires the 7.  It's followed by Sergio Leone’s A Fistful of Dollars (1964), which turned Clint Eastwood from TV actor to superstar, and triggered Spaghetti Western mania in the U.S. Fred Zinneman’s High Noon (1952) is next, for which Gary Cooper won an Oscar, as a lawman whose town abandons him at the first sign of danger – heavily influenced by screenwriter Carl Foreman’s experiences during the Red Scare. My Darling Clementine (1946), starring Henry Fonda as Wyatt Earp, and Victor Mature as Doc Holliday, is arguably the best movie about the O.K. Corral, although not the most accurate, despite or because of John Ford’s relationship with Wyatt Earp.  The program ends with a 2022 short, High Noon on the Waterfront, about the personal and professional risks taken by the people who made those two films.  

Tuesday, May 20^th, A Changing America: Disillusionment and the Rise of the Antihero is the theme, featuring film stories fomented and fermented during the late 1960s’ and early 1970s’ mélange of disappointment and cynicism. George Roy Hill’s ButchCassidy and the Sundance Kid (1969) made charming rascals out of bank-robbers, and Sergio Leone’s The Good, The Bad, and The Ugly (1966) made lovable scamps out of mercenaries: both wonderful Westerns, and Butch’s William Goldman screenplay is often cited as the best screenplay ever filmed. Eleven years after his final Leone film, Eastwood directed his remarkable anti-war Western, The Outlaw Josey Wales (1976), considered by many to be the zenith of Eastwood’s Western career, as an actor and as a director. Finally, Robert Altman’s McCabe & Mrs. Miller (1971) stars Warren Beatty and Julie Christy as a frontier gambler and a whore in a cheerily grim yet sentimental movie that defies meaningful description.

Thursday, May 22^nd, Cultural Breakthroughs features Westerns that opened their stories beyond the usual white males.  Delmer Daves’ BrokenArrow (1950), tells the largely true story of the friendship between ex-soldier Tom Jeffords (James Stewart) and Cochise (Jeff Chandler).

In William Wellman’s Westward the Women (1951), written by Frank Capra (who'd hoped to direct), stern and sour Robert Taylor reluctantly takes an all-female wagon-train from Chicago to California, doubting he’ll get half there alive. It balances Capra’s charm and Wellman’s toughness beautifully. Despite the low-expectations of Blaxploitation films, Sidney Poitier’s Buck and the Preacher (1972) is a thought-provoking and entertaining surprise. Buffalo Soldier-turned-wagon master Buck (Poitier) leads freed slaves west with the reluctant help of Preacher (Harry Belafonte), who murdered his master and took over his scam. Ang Lee’s Brokeback Mountain (2006) is the contemporary Western that had traditionalists up in arms, until they learned that Heath Ledger and Jake Gyllenhaal were portraying shepherds, not cowboys. The final film in the program is the documentary Bearing Witness: Native American Voices in Hollywood (2024).

On Tuesday, May 27^th, American Psyche might nearly be called American Psycho, focusing on the dark side of the West. In John Ford’s The Searchers (1956), the fictionalized search for Comanche captive Cynthia Anne Parker gave John Wayne one of his most compelling, and least likable characters. 

King Vidor’s (and several others’) Duel in the Sun (1946) might have been a good Western if producer David O. Selznick hadn’t been so driven to top his Gone with the Wind, that he forced an epic out of a potboiler plot. Anthony Mann’s Winchester 73 excels with James Stewart as a man obsessed with hunting down the fellow whose coveting of a perfect rifle led to murder.   In Robert Wise’s nearly all-at-night Blood on the Moon (1948), Robert Mitchum is drawn into a cynically manipulated range war.

On Thursday, May 29^th, the series ends with The End of an Era, a look at “end of the West” Westerns. Featured are two very different, but very sentimental films from SamPeckinpah, the gently charming The Ballad of Cable Hogue (1970), and the anthem of doomed manly camaraderie, The Wild Bunch (1969). Sergio Leone’s Once Upon a Time in the West (1968) is the Spaghetti Western epic that has never been topped. And John Ford’s The Man Who Shot Liberty Valance (1962) studies the regretted compromises men needed to make for the West grow, through the characters of lawyer James Stewart and cowboy John Wayne.   

ONE MORE THING

Until I have a chance to write at length about the late Val Kilmer’s immense contributions to film in general, and Westerns in particular, here’s a link to his first lead in a Western. In 1989 he played the title character in Billy the Kid, a Ted Turner-produced TV Western that was scripted by Gore Vidal, based on his novel, The Left-Handed Gun, which had first been the source for the 1958 Paul Newman film.

AND THAT’S A WRAP!

Please check out the March/April issue of True West Magazine, featuring my article/interview, Kris Kristofferson: A Texan at Oxford.

And here’s the link to my newest piece for the INSP blog, What Makes a Great Western Movie, wherein I try to reverse-engineer some classics to figure out what makes them work.

https://www.insp.com/blog/what-makes-a-great-western-movie/

And if you haven’t snapped up a copy of my book, The Greatest Westerns Ever Made, and The People Who Made Them, wait no longer!

Here’s the link to the Amazon page, but feel free to order it from your local independent bookseller – we have to keep them in business too!

https://www.amazon.com/Greatest-Westerns-Ever-Made/dp/1493074393?_encoding=UTF8&linkCode=sl1&tag=insptv-20&linkId=40670747d047d3241c54003bcabb179f&language=en_US&ref_=as_li_ss_tl

Happy Trails, Henry

All Original Content Copyright April 2025 by Henry C. Parke – All Rights Reserved

BRONCO LAYNE TALKS!

(picture from a Swedish gum-card)


Ty Hardin interview conducted August 11th 2010

From the late 1950s through the mid 1960s, Warner Brothers Studios dominated much of prime-time American television with a string of hip detective shows – 77 SUNSET STRIP, HAWAIIAN EYE, SURFSIDE SIX, BOURBON STREET BEAT – and string of equally hip westerns – MAVERICK, LAWMAN, SUGARFOOT, CHEYENNE and BRONCO.

From 1958 through 1962, big, handsome, muscular Texan Ty Hardin starred as the title character, roaming cowboy Bronco Layne, in BRONCO, and in addition to playing him 68 times in his own series, played him twice on SUGARFOOT and once on MAVERICK. When I called Ty Hardin to arrange an interview, I asked if Wednesday or Thursday was good. “Make it Wednesday. Thursday’s my poker day.” I thought it was the perfect answer from Bronco Layne, and when I began my interview with this charming, easy-going and self-effacing man, an interview punctuated with a lot of laughter on both sides, I reminded him of his answer to my first question.

TY: (laughs) We’ve got to get our priorities right, don’t we?

H: So you have a regular group you play poker with?

TY: Oh yes. We play every Tuesday and Thursday.

H: Are any of them from the Western days?

TY: Well, yes they are: they’re old fans. So they invited me to play, and I enjoyed it, so I made friends with them all, and they’re just good people. I don’t really buddy with the people in the industry any more, even though I meet them all and talk to them when we go to film festivals and things. The actor has a hard time assimilating into society, because he’s put on a pedestal. It gets impregnated into their system, and suddenly their shit don’t stink. I’ve been too basic all my life – just a country boy that got lucky.

H: That’s a good thing.

TY: I think for me it has been, because I was able to just walk away from the industry with no remorse. I felt I’d served my purpose. The industry was changing drastically, the lines, the stories they were making were not anything that I wanted to be a part of. So I adjusted very easily to the private world. I’m eighty years old. Most of my buddies are dead. And I think a lot of it is stress. We put a lot of internal stress on ourselves; one of the stresses comes from disappointment, and emotional problems. So I don’t have any emotional problems – I don’t try to kid myself that my horse didn’t like me.

H: On your IMDB page, the first thing I see is a great picture of you and Ann-Margaret on a beach.

TY: She was a sweetheart – she was just a wonderful person.

H: I was wondering what show that was from.

TY: You know what it was? We were at Paramount together, and they just wanted us to get paired up for publicity purposes. She was doing something else, and I was doing I MARRIED A MONSTER FROM OUTER SPACE (1958). I was the monster – don’t ask too many questions.

H: You were also Mac Brody.

TY: I was also Mac Brody – I played two roles in that.

H: So your film career began a lot like that of James Arness; he was The Thing in THE THING (1951) before he got GUNSMOKE.

TY: I didn’t know that. You’re full of information, aren’t you? (Looking back on) all those people, it’s kind of sad what we have today, in comparison to what we had. We used real stock back then. We had real people from all walks of life, and they had all different axes to grind, but I don’t think I met a bad guy in the whole group. I’m sure there were a few of them, but every actor I worked with were just delightful people. People like Jack Elam and Claude Akins. They were fine human beings, and they helped me a lot. I was just a young buck, didn’t know his ass from a hole in the ground, and they just stepped up and said, “Don’t do this, don’t do that,” and so on.

H: Speaking of Jack Elam, he worked with you on BRONCO, and I was just watching you two together in THE LAST REBEL (1971).

TY: Oh, he was such a help to me, he really was. I’ll never forget one time we were doing a close-up (on him), and I could never get one up on him. You know, you’re sitting by the side of the camera, and throw your lines out. Well, I walked way over to the right-hand side, he said, “What the Hell are you doing over there?” I said, “I’m working to the other eye.” He said, “I can’t see outa that eye – get over near the camera!”

H: I understand that you were born in New York City.

TY: I’m not sure exactly where I was born; I wasn’t too cognizant. My mother married a Yankee. He worked for the government for a period of time; I’m not exactly sure what he did. But I spent the first few years of my life in New York, and I remember a little bit about it, that there too many people in a small place. When my brother came along a year or so behind me, (my mother) just had a tough time. It was during the Depression, and it was so much easier for her to just (take us) home to Texas, where our family lived on a farm. We had everything; we raised our own food. And the whole thing (the marriage) fell apart. So much for my Yankee days. Well, I grew up on my grandparents’ farm. My mother had to work. She worked in Huston, and we lived in Austin, and my grandparents virtually raised Dewey and I when we were real young. My mother lived in a little-bitty apartment, we’d go up and visit her on the weekends when she had off, but things were tough during that period, and she was lucky to find a job and have a job and keep a job. My grandparents were not well off, but everything they owned, they owned. They didn’t owe anything. They owned their land, they had twelve or so acres right there on Lake Austin. I worked out in the cornfield, and we grew 90% of our food. It made things pretty easy. That was a very formative period of my life.

H: Did you go to the movies much?

TY: You know, it was kind of a big deal to go to a movie when I was a kid, particularly on Saturday. Johnny Mack Brown and Bob Steele were our big heroes growing up. Then along came Gene Autry and Hopalong Cassidy. I think everybody in those days kind of identified with westerns. I know I did. That’s our heritage, that’s who we were as people, and the other stuff was kind of boring. But I enjoyed watching horses, and seeing the Indians get shot and killed. (laughs) I grew up with a western background.

H: You graduated from high school in 1949. You attended Blinn Junior College on a football scholarship, and did semester at Dallas Bible School before joining the Army. Tell me, what was your military experience?

TY: Well, I went through O.C.S. (Officer Candidate School), became an officer, and I got stationed in Europe. I was in the Signal Corps, and I had top secret clearance – I don’t know what it was for; I didn’t know any secrets. And I was going to be a career officer. Then my C.O. (commanding officer) called me in. He said, ‘Ty, I notice you’ve got quite a bit of college credits. We’ve got a directive, we can send you back, and support you in finishing college. He told me I should get out of the Army – it was a temporary release – and finish my college. So I did. I was playing football for the Army at the time, for Ramstad in Germany. I had that qualification, so I got that football scholarship at the University of Houston, and played football. I was ineligible the first year, so all I did was run what they called suicide squad, which is everybody’s plays but ours. We’d scrimmage the main team twice a week. Got our butts kicked around, doing a good job for Clyde Lee, who was our coach.

H: And you were studying what kind of engineering?

TY: I started with physical education, and that’s boring. I had to challenge myself; it’s just part of my nature. So I (switched to) engineering, and I got work right out of college (as an) acoustical research engineer. I had two courses (to finish), English, and I forget what the other course was. I’d finished all of my engineering courses, and passed with flying colors. Douglas Aircraft came down, they were hiring people right out of college, so I got hired; I left school a week before my finals, and went to work. (laughs) There’s some dumb things I’ve done.

H: I understand that your big break had to do with a Halloween party.

TY: That was funny. (Douglas Aircraft) had a Halloween party, and I decided I’d come as a cowboy, because I’m sitting in California, and nobody knows anything about cowboys. So I went to Western Costume to borrow a costume -- Western Costume was right in front of Paramount Studios -- and a little talent scout came up to me and said, ‘Have you ever considered being an actor?’ (Laughs) ‘Hardly,’ I said. ‘I’ve just got out of college.’ And so he had me walk over to Paramount and talk to Bill Michaeljohn, who was the head of the talent department. And out of a clear blue sky they asked me to sit down and wait a second, went into another office to talk, came back and offered me a seven year contract.

H: Wow!

TY: On a piece of paper they printed out my salary. And for the first six months I was making something like $500 a week. And next it went up a couple of hundred – that was the first year. I was making about $150 as an engineer after five years of college.

H: So you weren’t looking to be an actor when this happened.

TY: Oh no, I had no more interest in being an actor than I do now.

H: How did you like being under contract to Paramount?

TY: I enjoyed it. You know what was good about Paramount, for my schooling and education, was they had a very good program for their young actors, and I filled in in every film they made. I made four or five films at Paramount, I didn’t even get billing, but I was playing bit parts. I was the monster in I MARRIED A MONSTER FROM OUTER SPACE, made TOO YOUNG FOR LOVE. I made three or four movies there. It was very good experience.

H: You also did your first western at Paramount, LAST TRAIN FROM GUN HILL. I was just watching it –

TY: We’re you? (laughs) Did you miss me?

H: Were you one of the three cowboys on the porch that picks the fight with Kirk Douglas?

TY: That was it! Got my butt kicked all over the place! Kirk Douglas knocks me down and everything – that little shrimp!

H: It’s funny, I was just talking to Earl Holliman, who’s also in the picture, and he was saying that he liked Kirk Douglas, but Kirk would do his fight scenes and never pull his punches. So he got kind of smacked around working with him.

TY: You know what it was? He would just get so enthusiastic about it. You could tell he was being carried away, and he had a little grudge on his shoulder anyway, being a little short guy.

H: You had a seven-year contract with Paramount Pictures. How did you end up at Warner Brothers?

TY: I was over there, looking for a part in RIO BRAVO, and I run into John Wayne. And the Duke simply got on the phone, called over to the casting department and said, ‘We’ve got a kid over here that you need to look at.’ But Ricky Nelson had already got the part on the picture, so there was no need of me. But I went over to see Bill Orr, who was VP of Warner Brothers. And I was traded for Tab Hunter. They wanted me, Paramount said to Warners, ‘You can have Ty if you give us Tab Hunter.’ I don’t tell many people that.

H: Personally I think Warner Brothers came out ahead on the deal.

TY: Well at that time they did because they were having trouble with the CHEYENNE show and (its star) Clint Walker. He’d worked two or three years on that show, and now he wanted to make some pictures. And I don’t blame him. (Note: Ty Hardin was hired to play Bronco Layne on BRONCO, as a successor to Clint Walker’s CHEYENNE, should Walker actually ‘walk,’ but no one but Clint Walker ever played the character Cheyenne Bodie.) He’ll always be CHEYENNE, and it’s very difficult to go in and try and replace him: it’s just not gonna happen. He’d developed a tremendous following, and still he has it today. We go to these film festivals, and he’s got crowds going out the back door. Amazing. Of course he did it for seven or eight years and he’s just a very personable fellah. And when they think of Cheyenne, they think of him – they don’t think of Bronco Layne, of Ty Hardin, the replacement. You should see some of the letters I used to get! ‘Where’d they find that guy?’ ‘What makes you think you can replace Cheyenne Bodie?’ (laughs) Kind of humbling. Clint and I, we’re good friends. He’d come by and I’d say, ‘Would you answer these for me?’ But that was a good career, I had a good start. I ran that show for four years.

H: So is that where your name was changed to Ty Hardin?

TY: Right. I was Orison Whipple Hungerford until then. I had already been called Ty, which was short for typhoon. It was something I just sort of inherited as a little kid. My grandparents gave it to me – they had to put everything out of sight because I’d come running through the house and everything would be in a scramble. So my grandparents named me Ty when I was knee-high to a grasshopper. But Hardin was (Bill Orr’s) idea; they named me after John Wesley Hardin. So they said, ‘We’ll make it Ty Hardin,’ and I’ve been Ty Hardin ever since.

H: It suits you. At the time that you moved over to Warners to play Bronco Layne, they were doing a whole bunch of westerns – MAVERICK and SUGARFOOT in addition to CHEYENNE.

(Wayde Preston, Ty Hardin, Jack Kelly, John Russell, James Garner, Peter Brown, Will Hutchins)

TY: They had six or seven of them going. They had the LAWMAN series going, too, with Peter Brown. It was so funny, we’d get a good actor/stunt man like Jack Elam, he’d go from one show to the next – he’d do two or three shows in a row, while he was out here. And I’ll never forget, one time we’re sitting there talking, and Jack walked in. And he was all dressed up, all ready to go. And the director came and asked, ‘What are you doing here?’ He said, ‘Isn’t this MAVERICK?’ But he was a neat actor to work with.

H: So, the regular guys like James Garner, Jack Kelly, Will Hutchins – what were they like off-camera?

TY: I think actors have a hard time with each other, you know? There’s so much ego floating around. I never felt the need to impress people. I’ve always drawn enough attention, being a good-looking man, you just almost accept it for granted that you’re going to be acceptable. Now, Will Hutchins was never like that. But Peter Brown was, he was a snob. And I don’t mean that facetiously, you know what I mean? Because he’s a good friend of mine today, and he’s mellowed out a lot (laughs). I came from good stock out of Texas, and we just thought differently, you know? We didn’t judge people by their looks or who they were. People are people. I never got to ‘know’ Clint (Walker) in all the years I’ve known him. I never sat down and talked about anything, and he’s kind of a mystery to me. But you can’t make a person be your friend. And he doesn’t have any; he’s a loner. That’s part of his nature. He’s what he is; Clint’s a nice guy, but he’s not friendly. That’s the difference between him and a Texan.

H: That’s why he’s Cheyenne, and not Bronco.

TY: (laughs) That’s it.

H: Warner’s turned out so many good western series, and theirs looked and felt so different from the other good stuff being done, like GUNSMOKE and WAGON TRAIN. What made the Warner Brothers westerns distinctive? Was it the acting, the production, the writing…?

TY: I think there’s a combination here. Warners had been involved in westerns since day one. Warners had stock footage that no one else had. I mean, if you needed four hundred Indians, they’ve got ‘em on film. That added a quality and a production value to the films that was unsurpassed in the industry. And the writers were very familiar with all the movies we stole the stock footage from. People who were working at Universal Pictures would have it to a degree, but not to the magnitude that Warner Brothers had it.

H: How long would it take to shoot an episode?

TY: Well, that would depend. If we’re shooting a lot of Indians and killing a lot of Indians, well, that footage has already been shot. Most of the time it was four to five days shooting to make a show. And then we’d have another day of dubbing, where we’d do all the crossovers and backgrounds and so forth.
H: Now you were not planning to be an actor. Did you have trouble memorizing your lines?

TY: Oh no, that was the easiest part. I fell into it because I was kind of a ham anyway. After having a college degree, you built up certain abilities. So I had no trouble memorizing twelve pages of dialogue. I could read it over once and that was it. So that was a great advantage of having a mind that had been taught to be programmed.

H: Did you only do one episode at a time, or would they do extra scenes from other shows out of order?

TY: Well, that would depend on availabilities. For instance, a lot of times we’d shoot a show, pretty well all of it. But then they wouldn’t have the back-lot available and I’d have to go out in the middle of another show to shoot action shots from the previous show. That was pretty easy to handle. Say, you’ve got six shows going on at one time. They’d shoot and kill the Indians over on MAVERICK, then send ‘em over to me and I’d shoot and kill ‘em -- he’d use the same Indians on three shows at a time. (Laughs) Jack Warner was probably the most ingenious person, and certainly he was frugal, and consequently he was able to put those shows out for almost nothing.

H: A producer who worked out here at the time told me they used to brag at Warners that their shows were so inexpensive to make that they were in profit after the first airing.

TY: And you can see why, because it utilizes their abilities and their ingenuity as well as production value. And as I say they used tons and tons and tons of stock footage. Look up and suddenly that’s Johnny Mack Brown riding along!

H: Was everything shot on the stages and the back lot? Did you ever go out on location?

TY: Oh yeah, quite often. We may be shooting for two or three shows at the same time on a location.

H: I just saw four episodes in a row, and I was wondering, did you take off your shirt in every single episode?

TY: I don’t know, did I? They were big on cheesecake. I didn’t realize that. That didn’t bother me, but you’re right.

H: It sure didn’t bother the ladies watching.

TY: No, I had a ton of them. That was one fun thing I had, I really enjoyed doing my mail, and I’d get a big ego trip, then I’d have to go down to real life. During that period I was married for a while, but marriages are hard to keep. Poor old Andra Martin (his 2nd wife), she was a real sweetheart of a gal. I just never really got to know her. I was married to Miss Universe at one time. (Helen Schmidt, wife #3 was 1961 Miss Universe) I was making PT 109. I was one of the judges for the Miss Universe contest. And of course I voted for her. She was a sweet gal. Looking back I think what an idiot I was. The industry just is so demanding, and I followed it so relentlessly, and I was so damned dedicated to it that I just got my values screwed up, my priorities all messed up. Marriage has always meant something to me. Unfortunately I’ve been good at doing it, but not at keeping it.

H: On BRONCO, some of the episodes were comic, like where you outsmart crooked cattle dealers. Others are more like mysteries, little film noir westerns, and pretty dark. What kind of shows did you enjoy playing the most?

TY: I think the lighter kind of story-line. You know, I’m not big on killing. I really don’t think brutality sells pictures too much. I think people want to identify, they want to see they’re real people. And when everyone is a madman killer, they just say ‘hurrah’ when you shoot and kill the ‘mutha’. I think one of the reasons those shows were so successful at Warners was because they did have (people like) the Shirley Joneses, real nice people that viewers liked, and you got involved with them and their problems. And we were basically more on problems than on crime.

H: That’s interesting. I hadn’t thought of it that way.

TY: We would deal with people’s problems, their inner problems, how they adjusted to a broken family or something like that. It was more of a human interest story, and less on violence.

H: Speaking of Shirley Jones and people like her, you had beautiful gals in every episode. Who were your favorites.

TY: Well, I had quite a few. I liked Shirley. There were some real good actresses I learned a lot from, that did a lot of good work. Names escape me, but a lot of them really catered to that running around with a gun and a horse -- I got a big kick out of some of them! They were in there just as big and tall as you could imagine.

H: And there were also a lot of interesting guys in the show. Some that had been around a long time, like Don ‘Red’ Barry, Denver Pyle and Gerald Mohr –

TY: Oh man, yes, like Gerald Mohr, and Lee Van Cleef – God knows how many times I worked with him.

H: What was he like?

TY: He’s just a neat guy. He’s got a strong character, you don’t upstage him – you just stay out of his scene. But there were so many of them that just had good, good presence. And I learned so much from them, believe me. And they don’t want me to be a character actor – they want me to stay Bronco Layne. Like Jack Elam one time said to me, ‘You’re never gonna be a heavy, so quit playin’ at it.’

H: You also had some guys who were just starting out, like James Coburn, Troy Donahue, Chad Everett. Did they make any impression at that point?

TY: Well, you know what they were doing, they were using shows like mine to kind of break those guys in. Warner had quite a montage of people under contract, and of course a lot of them didn’t have much experience either. He was big on finding new talent. And the best way to break them in was to send them down to our shows, where we’d look after them. (laughs) In other words, if they couldn’t handle a line, we’d cut ‘em out. But it was good experience for them. It was not that I was that good an actor. It was that I knew my person, I knew my character, and they’re going to have to play off of my lines, and they’re going to have to go pretty hard to steal the scene from me.

H: Did you have any particular favorite episodes?

TY: You know, after doing sixty of those boogers, it’s hard to say. Not any particular favorites.

H: After 68 episodes of BRONCO, did you feel the show had reached the point where it jumped the shark, ran out of ideas?

TY: You know what my personal opinion is? I think they had gotten expensive, and they’re always looking to cut money.

Next week, TY HARDIN – THE POST-‘BRONCO’ YEARS. But to keep you in the mood while you wait, here's the BRONCO theme:




DISCOVERY ANNOUNCES ‘GUNSMOKE’ DOCUMENTARY SERIES

Starting in October, the Discovery Channel will present ‘Gunsmoke’, a reality series about one of the oldest gun shops west of the Mississippi, “…where a third generation family of dynamic gunsmiths crafts blocks of steel into beautiful but deadly works of art.” The lead is former police officer Rich Wyatt, a married man with kids. I’m more than a little put off by choosing a series title in an attempt to trick people into watching it by accident, but what the heck, I’ll give it a shot. Oops.

GUNSLINGER JOEY DILLON MAKES THE FRONT PAGE!

Today’s, Monday August 8th’s, Los Angeles Daily News, features a front-page story on the amazing pistol-tosser who’s been covered in the Round-up for his performances at the Republic 75th Anniversary Celebration, the Cowboy Festival at Melody Ranch, and most recently at the Day of the Cowboy celebration at the Autry (GO HERE: http://henryswesternroundup.blogspot.com/2011/07/shadow-hills-pilot-rolls-at-melody.html)

Read the Daily News article HERE.



http://www.dailynews.com/ci_18635677

JOHN FORD TO BE HONORED WITH STAMP NEXT YEAR!

On Friday, the U. S. Postal Service announced that next year director John Ford will be honored with a ‘forever’ stamp featuring an image of himself composited against the closing moments of THE SEARCHERS. Three other directors will likewise be recognized, but their names have not yet been announced. Whom do you suggest?

GUNFIGHT AT THE O.K. CORRAL SATURDAY AT THE AUTRY

Continuing their once-a-month “What is a Western?” series, on Saturday, August 13th, at 1:30 p.m., the Autry will screen John Sturges’ version of one of the most-filmed stories of western history, GUNFIGHT AT THE O.K. CORRAL, in 35 mm. Sturges, though currently neglected, was a master of intelligent, exuberant action films like THE GREAT ESCAPE and MAGNIFICENT 7, and overdue for reappraisal. Here he’s ably assisted by a Leon Uris script from a George Scullin article, with costumes by Edith Head, a score by Dimitri Tiomkin, and the stick-in-your-head theme sung by Frankie Laine. Burt Lancaster is Wyatt Earp, Kirk Douglas is Doc Holliday, and the rest of the cast is filled to the brim with great westerns actors: Rhonda Fleming, Earl Holliman, Dennis Hopper, Lee Van Cleef, John Ireland, Jack Elam… It’s required viewing, and Associate Curator Jeffrey Richardson will lead a discussion on both the film and the actual history. And coming soon, for comparison purposes, is TOMBSTONE!








THURSDAY IS BEN JOHNSON DAY ON TCM

It’s become a tradition at TCM to devote each day in August to the work of a single actor, and Thursday, August 11th, the honor falls to the great Ben Johnson, Oscar winner for THE LAST PICTURE SHOW. And what a line-up! It starts at 3:00 a.m. Pacific Time with 3 GODFATHERS, and is followed by FORT DEFIANCE at 5, WILD STALLION at 6:30, WAR DRUMS at 8, CHEYENNE AUTUMN at 9:30, MAJOR DUNDEE at 12:30 p.m., JUNIOR BONNER at 3, MIGHTY JOE YOUNG at 5, WAGON MASTER at 6:45, SHE WORE A YELLOW RIBBON at 8:15, THE LAST PICTURE SHOW at 10:15, and ends with THE WILD BUNCH at 12:30 a.m.

Also of interest on TCM this week, on Wednesday, Shirley MacLaine Day, at 5:00 a.m., see THE SHEEPMAN. On Saturday, James Stewart Day, there’s a double-bill of THE NAKED SPUR at 3:15 pm and THE MAN WHO SHOT LIBERTY VALANCE at five. And on Ralph Bellamy Sunday at 1:45 p.m. it’s THE PROFESSIONALS.

TCM FANATIC - WESTERN NOW ONLINE!

And speaking of TCM, have I mentioned that the segment I was interviewed for is now viewable here?




THE AUTRY NATIONAL CENTER

Built by cowboy actor, singer, baseball and TV entrepeneur Gene Autry, and designed by the Disney Imagineering team, the Autry is a world-class museum housing a fascinating collection of items related to the fact, fiction, film, history and art of the American West. In addition to their permenant galleries (to which new items are frequently added), they have temporary shows. The Autry has many special programs every week -- sometimes several in a day. To check their daily calendar, CLICK HERE. And they always have gold panning for kids every weekend. For directions, hours, admission prices, and all other information, CLICK HERE.

HOLLYWOOD HERITAGE MUSEUM

Across the street from the Hollywood Bowl, this building, once the headquarters of Lasky-Famous Players (later Paramount Pictures) was the original DeMille Barn, where Cecil B. DeMille made the first Hollywood western, The Squaw Man. They have a permanent display of movie props, documents and other items related to early, especially silent, film production. They also have occasional special programs. 2100 Highland Ave., L.A. CA 323-874-2276. Thursday – Sunday 12 p.m. to 4 p.m. $5 for adults, $3 for senior, $1 for children.

WELLS FARGO HISTORY MUSEUM

This small but entertaining museum gives a detailed history of Wells Fargo when the name suggested stage-coaches rather than ATMS. There’s a historically accurate reproduction of an agent’s office, an original Concord Coach, and other historical displays. Open Monday through Friday, from 9:00 a.m. to 5:00 a.m. Admission is free. 213-253-7166. 333 S. Grand Street, L.A. CA.


FREE WESTERNS ON YOUR COMPUTER AT HULU

A staggering number of western TV episodes and movies are available, entirely free, for viewing on your computer at HULU. You do have to sit through the commercials, but that seems like a small price to pay. The series available -- often several entire seasons to choose from -- include THE RIFLEMAN, THE CISCO KID, THE LONE RANGER, BAT MASTERSON, THE BIG VALLEY, ALIAS SMITH AND JONES, and one I missed from 2003 called PEACEMAKERS starring Tom Berenger. Because they are linked up with the TV LAND website, you can also see BONANZA and GUNSMOKE episodes, but only the ones that are running on the network that week.

The features include a dozen Zane Grey adaptations, and many or most of the others are public domain features. To visit HULU on their western page, CLICK HERE.

TV LAND - BONANZA and GUNSMOKE

Every weekday, TV LAND airs a three-hour block of BONANZA episodes from 11:00 a.m. to 2:00 p.m. They run a GUNSMOKE Monday through Thursday at 10:00 a.m., and on Friday they show two, from 6:00 to 8:00 a.m.. They're not currently running either series on weekends, but that could change at any time.

NEED YOUR BLACK & WHITE TV FIX?

Check out your cable system for WHT, which stands for World Harvest Television. It's a religious network that runs a lot of good western programming. Your times may vary, depending on where you live, but weekdays in Los Angeles they run DANIEL BOONE at 1:00 p.m., and two episodes of THE RIFLEMAN from 2:00 to 3:00 p.m.. On Saturdays at 2:00 p.m. it's THE RIFLEMAN again, followed at 2:30 by BAT MASTERSON. And unlike many stations in the re-run business, they run the shows in the original airing order. There's an afternoon movie on weekdays at noon, often a western, and they show western films on the weekend, but the schedule is sporadic.

RFD-TV has begun airing THE ROY ROGERS SHOW on Sundays at 9:00 a.m., with repeats the following Thursday and Saturday.

Also, AMC has started showing two episodes of THE RIFLEMAN on Saturday mornings.

On Saturday mornings at 8:00 a.m. Pacific time, TCM is showing two chapters of ZORRO RIDES AGAIN, Republic’s fine western action serial, starring John Carroll, Duncan Renaldo, and featuring action directed by John English and William Whitney.

That's it for now!

Adios amigos!

Henry

All contents copyright August 2011 by Henry C. Parke - All Rights Reserved