‘SWEETWATER’ BLU-RAY GIVEAWAY, PLUS WESTERNS COMING TO YOUR TV (OR PHONE OR I-PAD OR WHATEVER)!

UPDATED 1/8/2014 - SEE 'WHEN CALLS THE HEART' REVIEW

SWEETWATER  - BLU-RAY REVIEW AND GIVEAWAY

I keep thinking there’s not a big difference between DVDs and BluRays, but when I saw the BluRay version of SWEETWATER, after previously viewing the DVD, I was stunned by the beauty of New Mexico.  And January Jones.  There really is that something extra in the BluRay format.  Not that I’m tossing my DVDs – Hell, I’ve got a couple thousand VHS tapes I’m trying to convert to DVD.  But if I’m given a choice of format, BluRay will win out.

If you, like me, do your best to see every western and neo-western and pseudo-western that comes out, then you know, the problem isn’t finding time for them all, but simply finding them.  And I have concluded that SWEETWATER is the best theatrical western for the year 2013.   That’s why I’m delighted that the distributor has provided me with two BluRay copies to share with Round-up readers.  I’m re-printing my review from October minor changes, and after that I’ll be telling you about the special features, and how you can win SWEETWATER.

You can read my interview with Andrew McKenzie, who wrote the original story for SWEETWATER, HERE .

SWEETWATER – a Movie Review

SWEETWATER, a beautifully produced western directed by Logan Miller and co-written by him and his brother Noah from the story by Andrew McKenzie, opens with a mysterious, babbling figure, in the person of Ed Harris as Jackson, in a breathtaking New Mexico desert, dancing and making apparently religious incantations to the rising sun.  Next we see Jason Isaacs as Prophet Josiah, amidst a phalanx of huge and oddly menacing white crosses, performing his own off-center-of-Christian ceremonies.  These men represent the opposing forces that will butt heads over a murder and, in so doing, tear asunder the lives of January Jones and Eduardo Noriega as Sarah and Miguel Ramirez, a young married couple struggling to farm a future from the sun-blasted desert of New Mexico.  They haven’t a snowball’s chance in Hell.   

To put it mildly, the deck is stacked against the couple.  We quickly gather that the young beauty is a former whore in a town where she used to ply her trade.  Her husband Miguel is an eternal optimist, forever giving people the benefit of the doubt, but his generosity is wasted on people who see in him nothing but a dirty Mexican.  Their paltry savings are stolen by the local banker.  The local merchant is far more interested in voyeuristically pursuing Sarah than in doing business with them.  When Prophet Josiah’s sheep eat their crops, and they suspect he’s killed their dog, the local sheriff is not even indifferent.  He’s contemptuous. 

Eduardo Noriega and Jason Isaacs

And Prophet Josiah who, with his flock, was run out of Utah, soon sets his sights on beautiful Sarah.  Prophet Josiah is the man with the money and the power in this Hellish region, and has the willing support of all the local businessmen and government.  At the same time, Sheriff Jackson has come to town to investigate the disappearance of two men, relatives of the Governor, whom we have seen Prophet Josiah murder for trespassing. 

This is the grim world of the town of Sweetwater.  Brad Shield, a 2^nd unit cinematographer on many big movies, has a wonderful eye for simultaneously capturing the full-hued beauty and stark, barren ugliness of the New Mexico desert.  And the stunning but not over-glamorized loveliness of January Jones, who shoulders much of the forward momentum of the story. 

Logan Miller directs with a precision and confidence that mirrors his strongest characters.  Nothing is arbitrary in the telling.  He is blessed with several strong actors, and skilled at drawing performances from them, and he has an impressive control of camera movement.  There is almost a hypnotic sense of menace to the scene where Miguel is threatened by a pair of men who circle him, one on foot moving clockwise, the other on horseback moving counter-clockwise.  It could have easily been overplayed, but it is all the more frightening because it seems natural, as does Miguel’s distraction.  Another scene, a hunt through the maze of a sheep pen, is particularly intense. 

January Jones

Jason Isaacs, who first impressed as the sadistic Col. Tavington in THE PATRIOT, and continued hatefully as Lucius Malfoy in the HARRY POTTER movies, is excellent as the sanctimonious hypocrite Prophet Josiah.  You watch him, knowing that you’d never follow him, but others would. 

January Jones, famous as Betty Francis, later Betty Draper in MAD MEN, compels your interest and sympathy by the strength of her character, and determination against tremendous odds.  She embodies the pioneer spirit.  And rather than modernizing the story to make it ‘relatable’, it stays in period, and portrays the desperation of a lone woman searching a vast land for her missing husband.  There is no phone, no police, no APB, no tracking a cell signal.  Pregnant, alone and searching, she must still plow the land or see the crops die.  She doesn’t have a sidekick to share her thoughts with, so much of her performance is facial and physical, and while she is helped by the occasional camera crane-shot showing the enormity of her challenge, the credit for the performance must go to her.    

Ed Harris and a pair of corpses

But the fun starts whenever Ed Harris appears on the scene.  As Cornelius Jackson, with dapper suit and shoulder-length scarecrow hair, he’s part mystic, part detective and part loony.  At times he plays it so broad it’s like he’s channeling Malcolm McDowell from CLOCKWORK ORANGE.  But it’s sheer pleasure to watch him and Prophet Josiah face each other, especially the dinner scene where Jackson demonstrates his contempt for the religious leader. 

SWEETWATER is a beautifully made Western, with a compelling plot, gripping action, strong performances, beautifully filmed and edited.  It is an ‘R’ for a reason.  In addition to some beautiful nudity on the part of Miss Jones, there is male nudity only a masochist would enjoy, apparent masturbation, sexual cruelty, and some rough language.

I do have some quibbles with moments that seem contrived.  For no apparent reason, a man presents a woman with a parasol, so that she’ll later be able to jab him in the eye with it.  Two men dig up a well-hidden body for the apparent purpose of being discovered doing it.  A character says some revoltingly crude remarks just before being killed, as if to let us know that he’s no loss: believe me, we already knew.  And just once in a while, I’d like to see a movie where a religious character is neither a hypocrite nor crazy. 

‘SWEETWATER’ – THE SPECIAL FEATURES

The BluRay comes with three special features; the theatrical trailer, singer Hudson Moore performing the end-title theme ‘Cold Grey Light of Dawn’, and a ‘making of’ short.  The trailer is solid.  Hudson Moore’s performance is very good – it’s an excellent song, and it’s almost too bad that it’s used over the end credits rather than in the film.  But this is not a ‘video’ per se, but the audio track played over a still photo of the singer.  The ten-minute ‘making of’ short was my favorite of the special features, as it gave so many cast members, from the stars to the supporting players, a chance to speak.  It was also interesting to see Logan and Noah Miller, who are identical twins with matching hair and beards, in action.  Ed Harris tells you which twin has the mole on his face, to tell them apart, but they moved too fast for me to catch it.

‘SWEETWATER’ – THE CONTEST

I have two beautiful BluRay copies of SWEETWATER, and I’ll be awarding them to a pair of Round-up readers, and one of them could be you!  How do you win?  Answer the questions below.

#1.) Lovely January Jones may be best known for MAD MEN, but she is not a stranger to sagebrush.  She’s starred in two previous western films, one made for TV, and the other a modern-day Western.  What are the titles?

#2.) Ed Harris is also comfortable in the saddle.  Like January Jones, he’s done one western for the big screen, and one for the small.  He also did a film where he jousted on a motorcycle.  Name all three.

 #3.) It’s not Eduardo Noriega’s first rodeo either.  What was his previous western?

 #4.) While villainous Jason Isaacs was never in a western before, he was in two films plotted in North America in the 18^th century, one set in Canada and one set in the United States.  Name them both.

 #5.) Stephen Root, who plays a very unpleasant character in SWEETWATER, has the longest western career of almost anyone in the movie, starting with a guest shot in a series in 1990.  He had a regular role in a modern-day western series, voiced Teddy Roosevelt once, did a modern western for the Coen brothers, and did two westerns with Johnny Depp.  Name any three of the six.

#6.) Finally, the original story writer, Andrew McKenzie, chose the name of Sweetwater for the town, as an homage to a classic Western movie.  Name it.  (Note: There are actually two legitimate answers to this.  I know which one Andrew intended, but to be fair, I’ll accept either one.)

Please email your entry to swansongmail@sbcglobal.net.  Make sure to include your snail-mail address, and put ‘Sweetwater Contest’ in the subject line.  We’ll be accepting entries until midnight, Sunday, January 12^th, 2014.  The two winners will be randomly selected from all correct entries.  Good luck!

NEW WESTERNS ON THE WAY:

‘JUSTIFIED’ RETURNS ON TUESDAY JAN. 7 ON ‘FX’

On Tuesday night, Timothy Olyphant will be back as Raylan Givens, and creepy Walton Goggins will be back as Boyd Crowder for season 5 of one of the best shows on TV, JUSTIFIED.  While everyone involved with the series feels the loss of the great Elmore Leonard, whose story FIRE IN THE HOLE was the basis of it, they are among the best writing, producing, directing and acting talent in the business, and will carry on in a way that would have made Dutch proud.

‘WHEN CALLS THE HEART’ SERIES PREMIERES SATURDAY JAN. 11

On Saturday, January 11^th  The Hallmark Channel will premiere their new Western series, WHEN CALLS THE HEART.  The turn-of-the-century story about a privileged young Canadian woman who moves to the frontier to teach children in a mining town, and perhaps to fall in love with a Mountie, the story first appeared on the cathode ray as a TV movie (see my review HERE  ) in October.  Based on Janette Oke’s very popular Canadian West series of romantic westerns, she’s also the lady who created the LOVE COMES SOFTLY series, which proved hugely popular series of movies for Hallmark and for writer/producer/director Michael Landon Jr.  The series has different stars, Erin Krakow and Daniel Lissing, in the leads, but maintained Lori Loughlin from the movie.

‘WHEN CALLS THE HEART’ SERIES PREMIERES WITH STRONG OPENER

Daniel Lissing and Erin Krakow

Good news for Western fans who found the ‘WHEN CALLS THE HEART’ movie pilot a bit unsteady: the premiere episode of the series, ‘Lost and Found’, airing Saturday, January 11^th, shows much more confidence, and a pleasing blend of the comic and dramatic.  The Hallmark Channel and Michael Landon Jr. might very well have a winner here, of the ‘Doctor Quinn On the Prairie’ variety.

While the movie had parallel stories, of niece and aunt as frontier teachers in different periods, which did not always mesh well, the series version focuses only on the niece in the beginning of the 20^th century.  Elizabeth Thatcher, now played by Erin Krakow, is still a daughter of wealth and privilege, and still at least partially motivated to teach in a frontier mining town by her younger sister’s belief that she doesn’t have the gumption to make a go of it.   And while there still is a Mountie in the story, he’s no longer a friend from home.  Now played by Daniel Lissing, Mountie Jack Thornton is, in fact, a constable who had a much more interesting post until he was transferred to this sleepy town of Coal Valley, perhaps at the request of Elizabeth’s powerful father. 

The funeral.

Only Lori Loughlin, as widowed mother Abigail Stanton, remains from the cast of the movie, and has remained lovely to look at while bringing a strength and solidity to the proceedings.  The episode recaps the final moments of the movie – reshot – where the young schoolmarm arrives in town after having her stagecoach held up, and learns the place is a well of sorrow: an explosion at the mine killed fifty-seven men, making Coal Valley largely a town of widows and orphans.  And with no real school, and the church recently burned to the ground, the learning takes place in a saloon.

In the midst of her first day of class, a trumpet-blast from the mine clears the classroom – it signals that the last of the miners’ bodies have been recovered, and with them, a last goodbye scrawled by a dying miner on a piece of timber.  Determining who wrote it, and hence to whom it belongs, is much of the remainder of the episode, and through the questioning, we begin to meet the townsfolk.  And also through said questioning, Constable Thornton starts to suspect there may be more to the mine explosion than a simple accident.

The western town sets and the quality of the photography are more than pleasing to the eye.  The costuming and art direction are of a much higher caliber and consistency that in the TV movie.  The performances are by and large strong.  Elizabeth’s early mistakes, and occasional catastrophes, are funny and endearing, and if the hostility between her and the Mountie are a predictable ‘cute meet,’ the fact is, it works.

The plank everyone claims.

Based on Jasette Oke’s novel, the plot of the opener serves to set up what is no doubt coming over the next nine weeks, as we learn more about the townspeople and the mine’s management.  There is one inexplicable leap of logic near the end of the episode, but it concerns nothing so crucial as to spoil the story.  I’m looking forward to week two.

‘KLONDIKE’ PREMIERES MONDAY, JAN 20 ON DISCOVERY

Executive Producer Ridley Scott brings a big, brawling tale of the Klondike gold rush, starring Tim Roth, Sam Shepard, Richard Madden and Abbie Cornish.

‘QUICKDRAW’ SEASON 2 SHOOTING FOR HULU

Comedian John Lehr will be back as Harvard-educated lawman John Henry Hoyle in a new season of QUICKDRAW for the internet entertainment site HULU.  I don’t know when the new season will begin playing, but I understand that they are currently shooting at the Paramount Ranch, and will be there until mid-February.  You can read my review of season one HERE, and if you don’t know the show, the trailer below, from season one, will serve as an introduction.

GONE WITH THE WIND’S ‘INDIA WILKES’, ALICIA RHETT, DIES AT 98

She only acted professionally once, but it was a pip!  After auditioning for the part of Melanie, which went to Olivia de Havilland, the Savannah-born portrait artist won the role of the sister of Ashley Wilkes (Leslie Howard), India.  An appropriate choice for her role, her great-grandfather was Senator Robert Rhett, known as ‘The Father of Secession.’  Offered other films roles, but not thinking herself right for them, she returned to Charleston, and continued with her career in portraiture, as well as painting children’s book illustrations.

The great-granddaughter of U.S. Sen. Robert Rhett, who was known as the "Father of Secession," Alicia Rhett was born in Savannah in 1915 but moved to Charleston following the death of her father, army officer and engineer Edmund Rhett, in World War I.

HAPPY 84^TH BIRTHDAY TO TV’S ‘BRONCO’ – TY HARDIN!

Tall, muscular, handsome and modest, Ty Hardin, star of BRONCO, one of Warner Brothers’ great western series of the ‘50s and ‘60s, turned 84 on New Years Day.  He also appeared in war movies like BATTLE OF THE BULGE and PT 109, and did several spaghetti westerns as well.  And true to his Warner Brothers/BRONCO/CHEYENNE/MAVERICK roots, he’s the only guy I know who has TWO poker nights a week!  Happy Birthday Ty!  Click the links below to read my two-part interview with Ty.

http://henryswesternroundup.blogspot.com/2011/08/bronco-layne-talks.html

http://henryswesternroundup.blogspot.com/2011/08/disney-pulls-plug-on-lone-ranger.html

SOMETHING NEW FOR ‘SPAGHETTI METAL’ FANS!

Here’s a peek behind the scenes of the Aussie metal band A BREACH OF SILENCE shooting their new video, NIGHT RIDER, which is a tribute to the Pasta West as well as Red Dead Redemption.  Lots of head-banging music, pretty saloon girls, and nice photography, especially the make-up related stuff.  I’m looking forward to the finished video!

THAT’S A WRAP!

I’ll be giving you details very soon about two new westerns that have just wrapped, and reviewing the first authorized set of DVDs of the complete first season of THE RIFLEMAN!

Happy Trails,

Henry

All Original Contents Copyright January 2014 by Henry C. Parke – All Rights Reserved

'SWEETWATER' OPENS OCT 11 - REVIEWED AND INTERVIEWED!

SWEETWATER – a Movie Review

SWEETWATER, a beautifully produced western directed by Logan Miller and co-written by him and his brother Noah, opens with a mysterious, babbling figure, in the person of Ed Harris as Jackson, in a breathtaking New Mexico desert, dancing and making apparently religious incantations to the rising sun.  Next we see Jason Isaacs as Prophet Josiah, amidst a phalanx of  huge and oddly menacing white crosses, performing his own off-center-of-Christian ceremonies.  These men represent the opposing forces that will butt heads over a murder and, in so doing, tear asunder the lives of January Jones and Eduardo Noriega as Sarah and Miguel Ramirez, a young married couple struggling to farm a future from the sun-blasted desert of New Mexico.  They haven’t a snowball’s chance in Hell.   

To put it mildly, the deck is stacked against the couple.  We quickly gather that the young beauty is a former whore in a town where she used to ply her trade.  Her husband Miguel is an eternal optimist, forever giving people the benefit of the doubt, but his generosity is wasted on people who see in him nothing but a dirty Mexican.  Their paltry savings are stolen by the local banker.  The local merchant is far more interested in voyeuristically pursuing Sarah than in doing business with them.  When Prophet Josiah’s sheep eat their crops, and they suspect he’s killed their dog, the local sheriff is not even indifferent.  He’s contemptuous. 

 

Eduardo Noriega and Jason Isaacs

And Prophet Josiah who, with his flock, was run out of Utah, soon sets his sights on beautiful Sarah.  Prophet Josiah is the man with the money and the power in this Hellish region, and has the willing support of all the local businessmen and government.  At the same time, Sheriff Jackson has come to town to investigate the disappearance of two men, relatives of the Governor, whom we have seen Prophet Josiah murder for trespassing. 

This is the grim world of the town of Sweetwater.  Brad Shield, a 2^nd unit cinematographer on many big movies, has a wonderful eye for simultaneously capturing the full-hued beauty and stark barren ugliness of the New Mexico desert.  And the stunning but not over-glamorized loveliness of January Jones, who shoulders much of the forward momentum of the story. 

Logan Miller directs with a precision and confidence that mirrors his strongest characters.  Nothing is arbitrary in the telling.  He is blessed with several strong actors, and skilled at drawing performances from them, and he has an impressive control of camera movement.  There is almost a hypnotic sense of menace to the scene where Miguel is threatened by a pair of men who circle him, one on foot moving clockwise, the other on horseback moving counter-clockwise.  It could have easily been overplayed, but it is all the more frightening because it seems natural, as does Miguel’s distraction.  Another scene, a hunt through the maze of a sheep pen, is particularly intense. 

January Jones

Jason Isaacs, who first impressed as the sadistic Col. Tavington in THE PATRIOT, and continued hatefully as Lucius Malfoy in the HARRY POTTER movies, is excellent as the sanctimonious hypocrite Prophet Josiah.  You watch him, knowing that you’d never follow him, but others would. 

January Jones, famous as Betty Francis, later Betty Draper in MAD MEN, compels your interest and sympathy by the strength of her character, and determination against tremendous odds.  She embodies the pioneer spirit.  And rather than modernizing the story to make it ‘relatable’, it stays in period, and portrays the desperation of a lone woman searching a vast land for her missing husband.  There is no phone, no police, no APB, no tracking a cell signal.  Pregnant, alone and searching, she must still plow the land or see the crops die.  She doesn’t have a sidekick to share her thoughts with, so much of her performance is facial and physical, and while she is helped by the occasional camera crane-shot showing the enormity of her challenge, the credit for the performance must go to her.    

Ed Harris and a corpse

But the fun starts whenever Ed Harris appears on the scene.  As Cornelius Jackson, with dapper suit and shoulder-length scarecrow hair, he’s part mystic, part detective and part loony.  At times he plays it so broad it’s like he’s channeling Malcolm McDowell from CLOCKWORK ORANGE.  But it’s sheer pleasure to watch him and Prophet Josiah face each other, especially the dinner scene where Jackson demonstrates his contempt for the religious leader. 

SWEETWATER is a beautifully made Western, with a compelling plot, gripping action, strong performances, beautifully filmed and edited.  It is an ‘R’ for a reason.  In addition to some beautiful nudity on the part of Miss Jones, there is male nudity only a masochist would enjoy, apparent masturbation, sexual cruelty, and some rough language.

I do have some quibbles with moments that seem contrived.  For no apparent reason, a man presents a woman with a parasol, so that she’ll later be able to jab him in the eye with it.  Two men dig up a well-hidden body for the apparent purpose of being discovered doing it.  A character says some revoltingly crude remarks just before being killed, as if to let us know that he’s no loss: believe me, we already knew.  And just once in a while, I’d like to see a movie where a religious character is neither a hypocrite nor crazy. 

SWEETWATER opens in theatres on Friday, October 11.  It’s available on VOD right now.

An Interview with ANDREW MCKENZIE, the man who created SWEETWATER

Andrew McKenzie

I think if a writer had any idea how long it would take, and how difficult it would be, to get almost any movie made, he’d never even type FADE IN.  Once you write your screenplay, if you’re lucky enough to have anyone interested in making you’re movie, the number of drafts, the number of changes asked for, the number of people who have input but disagree with each other about those changes – it’s mind-numbing. 

But incredibly, sometimes movies do get made, and they often make the writer proud, even though the finished product is often far from the writer’s original vision.  SWEETWATER is a movie that would make any writer proud.  It is the brainchild of New Zealand-born Andrew McKenzie, and many a Western fan will guess at a major influence on his writing based on the title; Sweetwater is the town that McBain is trying to create out of the desert, by sheer force of will, in Sergio Leone’s masterwork, ONCE UPON A TIME IN THE WEST.  Kind of the way writers create reality out of paper by sheer force of will.

The screenplay is credited to Noah and Logan Miller.  The story is by Andrew McKenzie.  Here is his story of how the story of SWEETWATER came to be.

HENRY PARKE: I notice you’re from New Zealand.  Did you grow up with western movies and TV shows?

ANDREW MCKENZIE: I grew up in a small town in New Zealand.  I now call Melbourne, Australia home.  New Zealand was isolated.  We had two televisions channels, so a very limited choice in what to watch.  The video store would only get one copy of a film and I recall that whenever we went to get a movie, something like EMPIRE STRIKES BACK, it’d be out, so we’d end up getting what was left, and there seemed to be a big population of Bud Spencer/Terence Hill films and Spaghetti Westerns.  I related to Leone’s films in particular because they were very visual, about characters in isolation, struggling to survive.  Probably relates to my childhood as well – I was more of an individual making my own rules rather than following everyone else.

HENRY: What westerns, western stars, western filmmakers, impressed you growing up?  What are your favorite western movies?  Who influenced your work?

ANDREW: The Spaghetti Westerns first and foremost.  ONCE UPON A TIME IN THE WEST is my all-time favorite.  Strong visual storytelling throughout and a dry, laconic wit that suits me perfectly.  I love the black comedy, the poetry of violence.  I generally feel alienated by American westerns, aside from Peckinpah.  I’m cynical about the mythic structure and prefer the true grit of a character rather than an archetype.  The day I discovered THE WILD BUNCH though, my life changed.  Peckinpah is the master storyteller.  My favorite Peckinpah quote is that he didn’t make Westerns, he made stories about men on horseback, and that shone through for me in watching THE WILD BUNCH.  Here was a story about people, individual people, and not a cardboard cut-out.  There were no good guys in white hats and bad guys in black hats; everyone wore shades of gray. 

HENRY: In watching the excellent New Zealand-lensed western GOOD FOR NOTHING, I was struck by how convincingly New Zealand stands in for the American West.  Do you think there is a sort of kinship between the rural elements of the two countries, a similar sort of spirit to the people?

ANDREW: Both New Zealand and Australia have the Colonial spirit of migration, but it is also influenced by the environment in which they settle.  Migrants to New Zealand may have had issues clearing the land, but the weather and climate meant that they didn’t have to fight as hard to survive. Australia, on the other hand, is arguably more like the frontier, and that in my opinion has formed part of the Australian character, hard and rugged.  Whereas New Zealanders are inherently insecure and don’t strive to challenge.  They’d rather play safe and conservative.  I have to admit I haven’t seen GOOD FOR NOTHING.  I think if you want a sense and feel of things, look at THE PROPOSITION, because it creates itself into a universe, like Leone’s work is poetry of violence, and that’s where I like to sit my work as well.

HENRY: The title SWEETWATER is clearly a nod to ONCE UPON A TIME IN THE WEST, as the name of the town Brett McBain is planning to build.  Was that the genesis of your story for SWEETWATER?

ANDREW: Yes, very clearly.  I had to explain the reference at Sundance because nobody understood the context.  In the screenplay there is a reference to the town being named Sweetwater, but they didn’t shoot it.  I wrote SWEETWATER after I tried to get two of my other Western screenplays up and off the ground.  I wanted to write a small intimate story that subverted all the genre conventions with the intention of directing it myself.  The screenplay was originally set in New Zealand – hence the antagonist being a sheep farmer, but they left that in without context for the film.  It was funny explaining to the cast at Sundance that that is why he was a sheep farmer, and then it all made sense.  Apparently they had trouble finding enough sheep in New Mexico and even had to bring in some goats to fill out the herd.  SWEETWATER was also a ‘thank you’ and tribute to my friendship with Sergio Donati and I thought it was a perfect story because both stories had strong female protagonists.

HENRY: How did you come to know Sergio Donati, who wrote the screenplay for ONCE UPON A TIME IN THE WEST with Sergio Leone?

ANDREW: I was doing my Masters in Creative Writing, and my case study was ONCE UPON A TIME IN THE WEST.  I was a member of a few web boards for Spaghetti Westerns, and Sergio had posted somewhere at one stage.  I made contact and said I’m a writer doing my masters, and we became friends from there.  He is a legendary man, modest and humble, yet ever supportive.

HENRY: What was your working relationship with Donati?  Did he have input on SWEETWATER?

ANDREW: It wasn’t so much a formal working relationship; we would just casually talk via email.  In terms of SWEETWATER, I sent him the draft when it was finished and he read it and said he liked it.  That endorsement meant a lot. 

HENRY: Were you more influenced by American Westerns or Euro Westerns in general, and with SWEETWATER in particular?

ANDREW: Definitely the Euro.  I meld everything up into a poetry of violence; there are harsh undertones but there is also humor.  That’s one of the things I learned from Donati’s writing, like the gag at the end of FOR A FEW DOLLARS MORE, counting up the bounties.  I love weaving characters and dialogue.  The other big influences on me would be Peckinpah and THE WILD BUNCH, and David Milch’s DEADWOOD.  Milch’s dialogue gave me breathing space to trust in my creative voice.  When TRUE GRIT came out I again felt validated.

HENRY: How long did you spend writing SWEETWATER, and how many drafts?

ANDREW: Oh, that is a long and complicated story.  It went through a variety of producers and drafts.  I can’t even recall how many – probably I’m too scared to remember.  At one stage when I changed producers I reverted back to my favorite earlier draft, and that was the one that got picked up. 

HENRY: Westerns are such a tough genre to get made.  What’s special to you about the form that made you want to do one?

ANDREW: See I don’t think I write ‘Westerns’, or ‘Oaters’. I’m more like Peckinpah in that it is about the character and the story.  I will take the genre conventions and subvert them and will seldom adhere to them, but for me it is first and foremost about character.  I love the notion of characters in isolation.  I hate cell phones.  I love putting characters into situations and having them forced to get themselves out of it.  The ‘Western’ is the perfect environment for that.  There is no cavalry, there is no rescue.  You have to get yourself out of this situation, and that is what makes it emotionally engaging for the audience.  SWEETWATER was a simple story about a farmer’s wife whose husband disappears one night.  She is led by the town to believe that he has abandoned her.  When she discovers his body, then she must rise up above all the conflict.  Yes, she goes on the vengeance trail, but it is all told from the character’s perspective rather than the plot.   

HENRY: How did you link up with the filmmakers?

ANDREW: A good friend of mine, David Eggby, who is a cinematographer, was going to shoot SWEETWATER for me when I was directing.  He had shot a film called IRONCLAD for the producers and gave them the screenplay.  That was at the time that TRUE GRIT had just come out.  They picked up the option and things gathered momentum from there.  The directors came on board because they had a working relationship with Ed Harris.  The original producers and I stepped away from the production and things proceeded from there.

HENRY:  What do you think of the finished film of SWEETWATER? 

ANDREW: This part is tricky to respond to.  I’ll be honest: I spent five years of my life attached to SWEETWATER, with the majority of those attached to direct.  I guess I can be diplomatic and say that the filmmakers had a completely different vision to how I would have directed the film, but hey, that’s their prerogative.  There are glimpses of it in the final film, but not enough to give me satisfaction.

HENRY: Were you pleased with the casting?  January Jones, Ed Harris, Jason Isaacs,  Eduardo Noriega?

ANDREW: Yes, I thought the casting was outstanding.  I ended up spending most of my time at Sundance hanging out with Jason Isaacs.  We have become good friends.  I’m currently developing a television series for him. 

HENRY: While the core of the story is the same, there are many changes.  The movie’s Prophet Josiah is combined from your characters of Cole and Reverend Matthew.  An ethnic subplot was added by casting Eduardo Noriega as Sarah’s husband.  Another ethnic element, the American Indian characters, were removed.  The sheriff, a relatively minor character in your story, as portrayed by Ed Harris in the film, is almost as important as your female lead, Sarah.  What changes do you most regret?

ANDREW: I think the most regret I have is that so much screen time was taken away from the character of Sarah.  It truly was supposed to be her story throughout.  Here she was in this crazy world.  She was a normal farmer’s wife in my script, an innocent of sorts.  The first act set her up as supportive of her husband, but you didn’t know that she’s going to have the strength to carry the story through.  In the second act, originally when she discovers the body, she goes on a pilgrimage to the church to have him buried.  She tries to make sense of things before she goes on the vengeance trail.  There were a lot of layers and threads that would have made the narrative more emotionally engaging, but hey, I’m biased.

HENRY: What have you written since SWEETWATER?

ANDREW: I’ve been extremely busy.  I have another screenplay, CANVASTOWN, which I’ll call a period drama.  It is set in Victoria, Australia in 1851, about a small mining community.  I’m working on directing that.  I’ve completed another couple of spec feature screenplays and have two television series pilots in development, including the one with Jason Isaacs.  The writer’s life is always busy, creating new material.  I do have a western TV series that I’d like to see go one day.  It’s titled THE BLACK RIDERS and is inspired by the poetry of Stephen Crane.

Many thanks to Tom Betts, who writes the delightful and informative WESTERNS...ALLITALIANA! 

site for suggesting this interview, and for introducing me to Andrew.

THAT’S A WRAP!

Can’t believe HELL ON WHEELS is over for another season!  And don’t send me any comments about the ending just yet – I’m still four episodes behind!  Try and catch SWEETWATER this week.  You’ll be entertained and impressed.  Next week, among other things, I’ll have a review of a group of thought-to-be-lost American silent films that were found in a New Zealand archive, and preserved.

Happy Trails,

Henry

All Original Contents Copyright October 2013 by Henry C. Parke – All Rights Reserved

‘SWEETWATER’ REVENGE WESTERN COMING SOON!

Coming soon, ‘SWEETWATER’ is a revenge western starring MAD MEN favorite January Jones as the wronged woman; Jason Isaacs, villain of HARRY POTTER films and THE PATRIOT as a doubtful prophet; and four time Oscar-nominee Ed Harris, whose most recent western is the excellent APPALOOSA, as the sheriff.  Other western vets in the cast include Eduardo Noriega of BLACKTHORN, Chad Brummett of 3:10 TO YUMA, Kathy Lamkin of NO COUNTRY FOR OLD MEN, David Manzanares of DJANGO UNCHAINED, Keith Meriweather of JONAH HEX, and Luce Rains of 3:10 TO YUMA, APPALOOSA, NO COUNTRY FOR OLD MEN, WILD BILL, and WYATT EARP!  It’s the second film from writer-director Logan Miller, who’s TOUCHING HOME also starred Ed Harris, along with Brad Dourif.     

I hope to have more information soon, but for now, here’s the first trailer –

 

TCM CLASSIC FILM FEST PART 3

Walter Mirisch and Ben Mankiewicz

On Friday, April 26^th, THE GREAT ESCAPE was shown at the opulent and beautiful Chinese Theatre in Hollywood.  Before the screening, the film’s legendary producer, Walter Mirisch, spoke with Ben Mankiewicz about his earlier experience working with director John Sturges and star Steve McQueen, on a film called THE MAGNIFICENT 7.

“(Sturges and I) became friendly, and we decided we wanted to work together.  I always had in mind to find a property that we could do together.  The availability of the SEVEN SAMAURI seemed to present that opportunity to me, because I thought it would be perfect for John.  And I’ll never forget the day that he and I sat together in a projection room and watched THE SEVEN SAMAURI and just spit-balled how it would work as a western.  We were very, very excited.” 

BEN MANKIEWICZ: Did you think then, with Steve McQueen such a big, developing TV star, this early in the process, would be good in that movie? 

WALTER MIRISCH: No, that was never a factor.  Steve was still a television star on the series called WANTED: DEAD OR ALIVE, prior to THE MAGNIFICENT 7.  And he was well-received in THE MAGNIFICENT 7, but he had not really achieved star status, so-called, as a result of THE MAGNIFICENT 7.  (John Sturges and I) looked around for another project to do together.  So he suggested some things, and I suggested some things.  Then the idea of THE GREAT ESCAPE came up.  The story had been put on the screen before.   The British had done a picture about that very subject. 

BEN MANKIEWICZ: (archly) If the Americans don’t make it, it doesn’t count!

WALTER MIRISCH: (laughs) Actually, no one could understand those accents, so it didn’t make a damned bit of difference.  There was some resistance, but we (he and Sturges) overcame it because he and I both got very excited at the idea of doing this movie.  Unfortunately the book we acquired, which was by a man named Paul Brickhill, who was himself a prisoner, who was a flyer in the British Air Force, is a factual book.  It’s not a novel.  All of the personal stories, we made up for our film. 

BEN MANKIEWICZ:  Who were you looking at for the two principal characters who would eventually be played by James Garner and Steve McQueen? 

WALTER MIRISCH: First of all, we had decided to tailor the script so that there would be two characters who would carry the story.  Just a few years prior to that, John had made a very, very successful movie called GUNFIGHT AT THE O.K. CORRAL (pause for applause), with Kirk Douglas and Burt Lancaster.  We were tailoring these roles in THE GREAT ESCAPE for Kirk and Burt.  We talked about that until we reached the point of asking how much they were going to cost.  We were having trouble getting the budget of the picture approved.

BEN MANKIEWICZ:  I heard something like four million dollars.  Is that about right?

WALTER MIRISCH:  Somewhat more than that.  A great deal at that time, I must tell you.  Anyone who has ever made a movie has heard this famous expression, “You’re going to have to cut the budget if you want to get this made.”  So when we got ‘the speech,’ John and I talked it over.  I suggested that two relatively inexpensive actors, named Steve McQueen and James Garner, might be possible for those two parts.  And we could save about two million dollars just with that one stroke. 

BEN MANKIEWICZ:  Do you realize, when you say that, that you are a genius?  (laughter and applause)  Not for saying ‘no’ to Kirk Douglas and Burt Lancaster.  It’s recognizing that Garner and McQueen could fill them.  It’s impossible now to envision – it would be a very different movie with Lancaster and Douglas. 

WALTER MIRISCH: I got to know Steve very well when we made THE MAGNIFICENT 7.  I was fond of him; I thought he had incredible on-screen personality.  And I liked the idea of going younger.  Prior to that I had made a film called THE CHILDREN’S HOUR, and Jim played the male lead with Audrey Hepburn and Shirley MacClaine, so I was more comfortable with Steve and Jim than I would have been with Kirk and Burt. 

BEN MANKIEWICZ:  Let me ask you about Steve McQueen, because as you said he had made a big impression in THE MAGNIFICENT 7, but he was not yet a top star --

WALTER MIRISCH:  He hadn’t jumped that motorcycle over the hill yet!

BEN MANKIEWICZ:  I think one of the reasons all the people in this room cherish Steve McQueen they way we do, is because he had that fierce independence, caused by a significant chip on his shoulder.  A guy who’s filled with the self-doubt that many of us are plagued with.  And all those things made him Steve McQueen.  But they also – and I know you’re somebody who loved him dearly – made him a handful to deal with.

WALTER MIRISCH:  (laughs) Steve has that quality, the French call je nes se quois.  I don’t know why, but he’s got it.  He radiated it, and he radiates it on the screen. 

BEN MANKIEWICZ:  Now, he left the set for some time when he didn’t like the way his part was, he didn’t like James Garner’s turtle-neck.  James Garner had a great line: “He wanted to be the hero, but he didn’t want to do anything heroic.”  He thought his character was corny.  As a producer you got through that; you navigated those waters.  You worked with McQueen again, and he gave one of his best performances in THE THOMAS CROWN AFFAIR.  How do you deal with a fantastically talented mercurial star, and keep your picture running at the same time? 

WALTER MIRISCH:  Steve always thought there were too many words.  And I came to trust that, because I learned that he especially was able to convey a great deal by his very expression.  So I was open to cutting down the amount of speeches; there was a lot he could convey with his eyes.  John was also well aware of that. And we collaborated on that, and also Steve had a good sense of story.  There’s a very famous incident, of course, where Steve got upset in THE GREAT ESCAPE and went away for a while, but that was overcome by rewriting.  I said we’ll overcome what you’re upset about, and he said, “That sounds fine.  I’ll be back to work tomorrow.” 

BEN MANKIEWICZ: Did those new pages include things like, ‘rides motorcycle,’ ‘carries baseball glove’? 

WALTER MIRISCH:  He conveyed more about independence of spirit, and courage, just by throwing that baseball against that wall, and catching it, than you could do with long speeches. 

BEN MANKIEWICZ: I don’t think this will be giving anything away.  At one point Steve McQueen is chased on motorcycles by some Germans.  One of those Germans chasing Steve McQueen on a motorcycle is Steve McQueen.  Any opportunity to ride a motorcycle –

 WALTER MIRISCH:  (laughs) You know you’re not supposed to give away all the secrets!

Coming soon – the final TCM CLASSIC FILM FESTIVAL entry, featuring Burt Reynolds, Jon Voight, Ned Beatty and director John Boorman discussing DELIVERANCE.

CORRAL GUNFIGHT ‘O.K.’ NO MORE

 

In the twenty-five years since the Autry opened, much has changed, as exhibitions are expanded, shrunken or moved.  But the life-sized ‘Gunfight at the O.K. Corral’ diorama’s only noticeable change over the years has been the replacement of guns, as they were occasionally swiped from the hands of the Earps.  I remember once coming and finding that of all the figures, only one of the Clantons was still packing iron.  (Then again, I once went to a wax museum in Coney Island, and saw Abe Lincoln assassinated by John Wilkes Booth with a Buck Rogers Ray-Gun.) But on June 2^nd, a different kind of packing – packing away – took place.  The Gunfight is being replaced by a new show, Western Frontiers – Stories of Fact and Fiction which, starting on July 25, will tell the story of the West using firearms of great historic and artistic significance.

I’m looking forward to the new show; but I’ll miss the gunfight.  I always thought the narration was a little clunky, but I’ve never gone through that gallery and not pressed the button, to see the show.  And it was a thrill to watch it, then cross to the facing cabinet and see a gun belonging to Doc Holliday, and the sketch of the corral that Wyatt Earp himself had drawn.

Wyatt Earp's sketch of the O.K. Corral

If you’re going to miss it as well, or if you’ve never seen it, click the Youtube link below.  It’s not great – it was shot by an amateur, but it’s only thanks to ‘Ms. Lizzy Borden’ that we have a living record of it at all: http://youtu.be/V1hbHaLyrdk

 

MEMPHIS FILM FESTIVAL - ‘A GATHERING OF GUNS 5’ JUNE 13^TH-15^th

 

At Sam’s Town Resort in Tunica, Mississippi (30 miles South of Memphis, Tennessee), the guns will be gathering, and Boyd Magers has assembled quite a crew!  From HIGH CHAPARRAL, Henry Darrow, Don Collier and Rudy Ramos.  From WAGON TRAIN, Robert Fuller and Denny Miller.  From THE VIRGINIAN, the man himself, James Drury.  SPIN & MARTY – Tim Considine and David Stollery.  ELFEGA BACA himself, Robert Loggia (who was also the lead villain in the first movie I wrote, SPEEDTRAP).  Lisa Lu – Hey Girl from HAVE GUN, WILL TRAVEL.  Dan Haggerty and Don Shanks from GRIZZLY ADAMS, ZORRO star Duncan Regehr, plus Alex Cord, Gregg Palmer, Tommy Nolan, and Terry Moore.  James Best will present a one-man show, and Johnny Crawford of THE RIFLEMAN, who fronts a wonderful swing orchestra, will present a full banquet concert.  To learn more, go HERE.  http://memphisfilmfestival.com/

WGA NAMES 3 ½ WESTERNS AMONG 101 BEST-WRITTEN SERIES

Lists like this always provoke arguments – or in our case, barroom brawls – but the membership of the East and West branches of the Writers Guild of America voted on-line to determine the 101 best-written TV series in the history of television.  First recognized in the Western field was, at #32, DEADWOOD created by David Milch.  Not another sagebrush saga until #84, a tie  between the courtroom drama THE DEFENDERS, created by Reginald Rose, and GUNSMOKE, pilot written by Charles Marquis Warren and John Meston.  At #86 was JUSTIFIED, pretty-much a Western, developed for Television by Graham Yost, based on the Short Story “Fire in the Hole” by Elmore Leonard, in a tie with SGT. BILKO, by Nat Hiken.  Finally, coming in at #96 was LONESOME DOVE, teleplay by Bill Wittliff, based on the novel Lonesome Dove by Larry McMurtry; this was tied with SOAP, created by Susan Harris. 

To be fair, there was a lot of excellent writing covering a wide array of genres, dramatic and comedic, on the list, and only a couple of series that I personally hated.  But how a list could be compiled of the best of all TV writing, and have no mention of RAWHIDE, or WAGON TRAIN, or THE REBEL, or HAVE GUN, WILL TRAVEL, is beyond me.  Who do you think they left out?  To see the entire list, go HERE.  http://www.wga.org/content/default.aspx?id=4925

 

‘THE NEVADAN’ COMIC STRIP!

Remember a 1950 Columbia film, THE NEVADAN, starring Randolph Scott, Dorothy Malone and Forrest Tucker? My daughter gave me an old western movie magazine, and in it was a comic-strip version of the movie. I thought my Rounders might find it amusing, so I started running it, one panel a day, on the Round-up Facebook page.  The response has been enthusiastic, and it’s now been running long enough that I thought I’d include it here, from the beginning, for people who might have missed a panel or two.  Hope you enjoy it!

 

 

More of 'THE NEVADAN' coming tomorrow!

THE WRAP-UP

On Saturday I had the pleasure of attending an Autry screening of DOUBLE INDEMNITY, hosted by Los Angeles Police Museum President Glynn Martin, novelist (L.A. CONFIDENTIAL, THE BLACK DAHLIA) James Ellroy, and Autry Curator Jeffrey Richardson.  That night I attended a screening of Selig and Fox Tom Mix films at the Egyptian Theatre, introduced by Col. Selig biographer Andrew Erish.  I'll have highlights from both talks next week.

Can't believe I forgot to wish Clint Eastwood a Happy Birthday back on May 31st.  He has without question done more to encourage, improve and preserve on-screen Western story-telling than anyone else in the last half century!  Happy Birthday!

Happy Trails,

Henry

All Original Contents Copyright June 2013 by Henry C. Parke - All Rights Reserved