SANTA CLARITA COWBOY FEST, PLUS REMEMBERING STEVE LODGE, LONE RANGER RADIO, THANKS A MILLION!!

SANTA CLARITA COWBOY FEST THIS WEEKEND!  

The Santa Clarita Cowboy Festival will once again take place in Old Town Newhall, at William S. Hart’s own old stomping ground, Hart Park.  The Festival was inspired by a cowboy poetry event in Nevada, and expanded by an earthquake!  Taking their cue from the Elko, Nevada National Cowboy Poetry Gathering, an annual Cowboy Poetry event had been held at the Santa Clarita High School for a few years when, in 1994, the Northridge Earthquake that leveled much of California flattened the school’s auditorium.  The event was going to be cancelled when the Veluzat family, owners of Gene Autry’s old Melody Ranch movie studio, offered their Western street as a location. 

It was a hit, and the Festival would continue there for two decades, growing with each year, shifting its focus beyond cowboy poetry to include cowboy music and shopping and a celebration of cowboy culture and Western life, although the doggie doggerel is still a big part. 

Happily, interest in Western film and TV has had a mighty resurgence, and Melody Ranch, which had been a sleepy hamlet since the cancellation of DEADWOOD, became in great demand:  Quentin Tarantino leased it for a year for DJANGO UNCHAINED, and HBO for two years for WESTWORLD.  The Festival had to relocate, and is now celebrating its 3^rd year among the historical buildings at Hart Park.

Andrea Kidd, Peter Sherayko, Don Edwards, Bobbi Jean Bell

There will be five performance stages, two large shopping areas – Sutlers’ Row and Mercantile Row – living history activities, decidedly Western activities for grown-ups and for the little squirts, a vast array of grub, a tour of Hart’s mansion, and a slew of presentations at the Buckaroo Book Shop and OutWest Stage, right across from Hart Hall.  This venue is presented by Jim and Bobbi Jean Bell of the OutWest Western Boutique and Cultural Center just across the street from Hart Park.  In addition to the opportunity to meet your favorite Western authors and buy their books, there will be events aplenty.  Among the musical talents who will be performing there both days are the legendary John Bergstrom, Almeda Bradshaw, Women on the Move Trio, and Jerry Hall and Trick Shot.  Bobbi Jean and Jim Christina, who co-host the Writer’s Block Radio Show, will be hosting panel and interviewing guests.  Cheryl Rogers-Barnett, daughter of Roy Rogers and Dale Evans, will be speaking about growing up among Western royalty, and about the smartest horse in the movies, Trigger.   

Western authors Andria Kidd and Janet Squires will be reading their stories and poems to the youngins, and for grown-ups, Andria and P.W. Conway will share their poetry.  Peter Sherayko, actor, author, and undisputed go-to man for creating historical authenticity in Western films, will share his insights on succeeding in the Western film industry.  Jim Christina will chat with Western non-fiction authors J.R. Sanders and Jeff MacArthur about some of the less-known but fascinating lawmen and characters that enlivened the Old West.

And, yup, I’ll be there, too.  At 1 p.m. both days I’ll be with C. Courtney Joyner, author of the SHOTGUN books series, discussing the odd world of Weird Westerns, sagebrush tales with horror and sci-fi elements.  Sunday at 11 a.m. I’ll be talking with Westerns novelists and screenwriters Dale B. Jackson and Eric Heisner about turning Western books into movies and movies into books!

You can get the full schedule for the Buckaroo Book Shop for SATURDAY and for SUNDAY. 

Cliff Retalick creating a live soundtrack for silents!

For the second year, Tom Barnes, he of the long-running Retroformat series at Hollywood’s Egyptian Theatre, will be back at the Pardee House to present two days of silent Westerns, all in glorious 8mm celluloid.  And once again the films will be accompanied by the keyboard virtuosity of Cliff Retalick.  As Pardee House, built in 1890, was at times a filming location for Tom Mix, Harry Carey and John Ford, any lingering ghosts should be delighted.  Here is the screening schedule, which includes a William S. Hart and an Art Acord feature:

Saturday

10:00 a.m.  Broncho Billy Anderson in Shootin' Mad (1919) (approx. 25 min.)

10:45 a.m. Will Rogers in Hustlin' Hank (1923) (approx. 25 min.)

11:30 a.m.  Stan Laurel in West of Hot Dog (1924) (approx. 25 min.)

12:00 p.m.  William S. Hart in Knight of the Trail (1915) (approx. 25 min.)

12:30 p.m.  William S. Hart in Bad Buck of Santa Ynez (1915)  (approx. 25 min.)

1:30 p.m. Art Acord in The White Outlaw (1929)  (approx. 70 min.)

Sunday

10:00 a.m.  Broncho Billy Anderson in Shootin' Mad (1919) (approx. 25 min.)

10: 45 a.m.  Stan Laurel in West of Hot Dog (1924) (approx. 25 min.)

11:30 a.m.  Will Rogers in The Cowboy Sheik (1924) (approx. 25 min.)

12:15 p.m.  William S. Hart in Bad Buck of Santa Ynez (1915)  (approx. 25 min.)

[Lunch break]

1:30 p.m.  William S. Hart in The Narrow Trail (approx. 70 min.)

3:00 p.m.  Will Rogers in Hustlin' Hank (1923) (approx. 25 min.)

3:45 p.m.  Stan Laurel in West of Hot Dog. (1924) (approx. 25 min.)

4:30 p.m.   Broncho Billy Anderson in Shootin' Mad (1919)

5:00 p.m.  William S. Hart in Knight of the Trail (1915) (approx. 25 min.)

5:30 p.m.  William S. Hart in Bad Buck of Santa Ynez (1915)  (approx. 25 min.)

With more than twenty music acts, American Indian dance by The Wild Horse Dancers, traditional Mexican dance by Ballet Folklorico, rope-twirling by Dave Thornbury, and gun-spinning by champion Joey Dillon, there will be plenty to entertain attendees of all ages and interests. 

The hours are 10 a.m. to 7 p.m. Saturday, 10 ‘til 6 Sunday.  Daily tickets are $13 for adults, $9 for kids, free if you’re under 3, and you can save more if you buy in advance.  Parking is free, as is the shuttle to the event.  You can learn tons more at the official site,HERE.  I hope to see you there!

REMEMBERING STEPHEN LODGE

This February many of us Western fans lost a dear friend, author Stephen Lodge.  His career was so far-flung that I was trying to figure out what to write about him, and then I realized he told his own story better than anyone else possibly could.  I first met Stephen back in 2011 I reviewed the book that was the story of his life, AND.....ACTION! and interviewed him.  Knowing that many of my current readers weren't reading The Round-up back then, I'm re-running the review and interview below.  If you'd like to read Stephen's books, you can find them all at Amazon, HERE.


BOOK REVIEW:  AND…ACTION!

And…Action! is the story of a fascination with the Western film as seen through the eyes of four people: a kid who grew up on the edge of the film business, an aspiring teenage actor, a TV and movie costumer, and a screenwriter.  The odd thing is, they’re all the same man, Stephen Lodge.

Stephen was eight years old in 1951, and like most American boys of the time, he and his kid brother Bobby were obsessed with Westerns -- the B kind and the TV variety.  But unlike the rest of us, he was in a position to do something about it that went far beyond wearing his cap-gun rig and watching the tube.  Not only did he live in the San Fernando Valley, where so many of the movies were made, his Aunt Bette was a secretary at Monogram Studios, and his Uncle George was a script supervisor for Gene Autry’s Flying A Productions! 

(Steve and Bobby with Johnny Mack Brown)

So Stephen begged and bugged his mom until she finally broke down and got his Aunt and Uncle to arrange a visit to a set.  The first time it was the Iverson Movie Ranch, for a Johnny Mack Brown film, and from that moment on, the kid was hooked.   Soon mom was driving the kids to Corriganville to watch the GENE AUTRY SHOW being filmed, where they met Gene, Pat Buttram and Ray ‘Crash’ Corrigan; the family vacationed at Big Bear Lake, where a small movie town was the location for the WILD BILL HICKOCK series.  Best of all, Stephen’s mom broke all the rules, and always brought a camera to the set: the book is full of snapshots and 8mm frame blow-ups of the boys and all the stars they met.

(Gail Davis shooting ANNIE OAKLEY at Melody Ranch)

And Stephen could be a pretty conniving little cuss: he pretended to have started a Jimmy Hawkins fan club to get into Melody Ranch, where THE ANNIE OAKLEY SHOW was being filmed – Hawkins played Annie’s kid brother, Tagg.  Over the next few years he had the chance to visit Pioneertown, Bell Movie Ranch, Spahn Movie Ranch (yeah, the one the Manson Family moved in on).  As teenagers, he and his friends even got kicked off the set of BAT MASTERSON, although Gene Barry turned out to be such a nice guy that he shared his lunch with the outcasts. 

Though written by an adult, the stories are told from the perspective of the little kid who lived them, which is so much of their charm, although the adult world peeks in occasionally: Dickie Jones, BUFFALO BILL JR., is unhappy with negotiations with Flying A, and after he does his scenes, drives away like a bat out of Hell.  Another time, the family leaves Iverson Ranch, disappointed that a Roy Rogers shoot has been cancelled, only to learn the reason: one of the Rogers children had suddenly died.

(Filming THE ROY ROGERS SHOW)

Stephen pursued an acting career for a time, appearing in TV shows like FURY, THE FARMER’S DAUGHTER, DR. KILDARE and MY THREE SONS, and features like DINO with Sal Mineo.  At age sixteen Stephen spent a summer working as an actor/stuntman at Corriganville, and gives a fascinating and nostalgic description of that summer job most of us would have killed for. (Although maybe not on the day Ken Maynard showed up drunk and belligerent!) 

But his long-term film and TV career was as a costumer, starting in 1963 with THE FUGITIVE, followed by the short-lived John Mills Western series, DUNDEE AND THE CULHANE, which took him to Flagstaff, Apache Junction and Old Tucson Studios in Arizona.  He worked on many series over the years, and even those like the sitcom CAMP RUNAMUCK, which would seem to have no western tie-in, often did.  RUNAMUCK was shot at the Columbia Ranch in Burbank, where Gary Cooper faced down the villains of HIGH NOON.  The RUNAMUCK location was soon the home for another of Stephen’s series, HERE COME THE BRIDES.  No wonder Stephen considers the Columbia Ranch his ‘home’ studio. 

Over the years he worked at all of the studios and ranches, and his passion for them is palpable.  He has plenty to say about which were great, like Republic; which were ridiculously small, like Allied Artists (once Monogram, then a PBS station and now a studio for the Church of Scientology); which were chopped down to nothing, re-dressed until they were unrecognizable, or nearly burned to the ground.  He worked on Western comedies like THE DUTCHESS AND THE DIRTWATER FOX, TV series like THE DEPUTIES (which introduced Don Johnson), TV movies like THE SUNDANCE WOMAN, and has insights into them all.  He worked for Quinn Martin and worked around Andrew Fenady (THE REBEL), and tried desperately to work for Sam Peckinpah.  He hung out at the last of the great Western Cowboy Saloons, the Backstage Bar, right outside the Republic gate.  Now it’s a sushi bar.

And then there was another career, as a screenwriter.  With Steve Ihnat, an actor he met as a guest star on DUNDEE, he co-wrote the rodeo comedy THE HONKERS (1972), starring James Coburn and Slim Pickens.   But aside from co-writing KINGDOM OF THE SPIDERS (1977), it was a long time between writing gigs.  When he got RIO DIABLO made in 1993, starring Kenny Rogers and Naomi Judd, it was after more than a decade of trying. 

Now retired from costuming, and writing fulltime, he and his wife have moved to Rancho Mirage, not far from one of his favorites haunts, Pioneertown.  When I spoke to him about AND…ACTION! recently, he told me he hadn’t set out to write a book.  “I wrote every individual story when I felt like writing one.  They were stories that I wanted to share with people, and I’d send them to all my friends.  And finally I decided that maybe I ought to put them all together into one big compilation of stories.”

HENRY: What was your favorite experience as a kid visiting a set?

STEPHEN:  I would have to say it was Johnny Mack Brown at the Iverson Western Town.  (WHISTLING HILLS, 1951) The fact that Jimmy Ellison was there, too.  And I was not even aware of who Noel Neil was until much later.

H: Well, she hadn’t done the SUPERMAN series at that point.  What was your favorite encounter on a set, with a star, when you were a kid?

(Steve with Andy Devine)

S:  I think probably the coolest guy was Andy Devine.  He was nice to my brother and me; let us sit in a chair with him, offered to buy us a Coke.  Pat Brady was just great – he really entertained me. 

H:  You visited pretty much all of the ranches.  As a kid, did you have a favorite?

S: Corriganvile.  And I ended up working there.  That was kind of a dream.  I was sixteen years old, believe it or not, with a .45 tied to my side, out there every weekend.

H: What was Crash like to work for?

S: A very pleasant man.  I mostly worked for a guy named Charley Aldrich, who ran the street shows.  Crash was there every weekend, and had pictures taken with kids, on his horse, and all.  He wanted to do movies in the middle of the week, during the summer, for the people, when there were no movie companies out there.   He had an old script for a Billy the Kid show, an old 16mm camera, and a sound system.  He cast me as Billy the Kid, so I’d go out there every day, and put make-up on – we had a small number of people pretending to be the crew.  We started with film in the camera – and I’d love to get my hands on it, and I think Tommy Corrigan’s got it someplace.  We shot two weeks or so, and I rode Flash, his horse, and he let me borrow his gun for the whole thing.  That went on until September, when I had to leave abruptly, because I got a real job in Hollywood, doing a pilot for a show called THE WRANGLER.  It was the first videotaped Western ever – they shot it out of a truck, with three cameras.  Jesse Wayne was the other stuntman.  They did the pilot right on the KTLA backlot.  He and I had a fistfight, he knocked me down some stairs.  I turned around, pulled my gun and shot him, and he fell off a balcony.  And that was the pilot.  They wanted to see what it would look like on videotape.  Actually, they made (the series) with Jason Evers.  It went for a summer replacement. 

H: You acted on shows like FURY.

S: That was basically a silent bit.  But I did shows like MY THREE SONS, and DR. KILDARE.  And not too many more. 

H: What was it like, after spending so much time on sets, behind the camera, to suddenly be in front of them?

S:  (laughs) It’s a little more scary being in front of them. 

H: You have a lot to say about Pioneertown. 

S: I grew up near Pioneertown.  We were up here in the 1950s, when Pioneertown was in pristine shape.  We never saw Gene Autry shooting here, but he was shooting up here at the same time.  The Red Dog Saloon was open for business, the bowling alley was open for business, the restaurant was open for business – it’s not anymore, but that’s the way it was.  It was kind of nice in the old days.  I haven’t been there lately, but I’ll be going up there this week.  There’s a friend from out of town that I’m going to take up there.  

H: What was your first show as a costumer? 

S: My first was a commercial at Columbia, and then I did two or three days on THE LUCY SHOW, then I got a quick call to replace the set man on THE FUGITIVE, and I stayed there for the next two seasons. 

H: That was a show that was always on the road.

S: We had a lot of fun with that.  It was like being in the Army. 

H: As a costumer, are Westerns more fun than non-period things?

S: Oh, for me it is.  A lot more fun, because that’s what I always wanted to do: whether I was a cowboy or a costumer really didn’t matter. 

H: Is it very different being an in-town costumer, versus being off to the Painted Desert or Old Tucson?

S:  Well, when you’re on location you get a lot more freedom.  So does the director; so do the actors.  You get too far out, and someone will make a phone call.  I enjoyed the locations more than the at-home stuff. 

(Steve at Old Tucson)

H: Do you have any particular memories of Old Tucson?

S: Yeah, that it was awful hot.  I always ended up there in July, and it was in the monsoon season.  It would rain all night, and bake you during the day.  The other little town that Old Tucson owns, I don’t know what they call it now.  They used to call it Harmony.

H: Now they call it Mescal.

S: That’s it.  They used that in TOM HORN, and I was out there on GUNSMOKE.  That was a nice little town.  Looked like it was out in the middle of nowhere, but it was actually not that far off the road.

H: You worked on one of my favorite quirky Western series of the late 1960s, HERE COME THE BRIDES. 

S: Oh yes!  I’m still in touch with a lot of the fans – the middle-aged women.  I was on that for half of the first season, and the last season.  (We shot that at) Columbia Ranch.  And sometimes we’d go up into the mountains of Burbank, or behind Glendale, and we’d go up to Franklin Canyon.  We had a ‘green set’ on the stage, and we had a lagoon set, right close to the town set. 

H: What’s a ‘green set’?

S: That’s where there’s trees and rocks and it looks like outdoors, but it’s really on a stage.  Like WAGON TRAIN, whatever was set up was set up on a green set.  That was a fun show to work on.  A lot of good people to work with, not only in front of the camera, but behind the camera. 

H: In 1972 you went from costumer to screenwriter with THE HONKERS. 

S: (laughs) But didn’t stay too long.  The money runs out and you go back to rag-pickin’ again.  I got three more (movies made) than most.

H:  How did THE HONKERS come about?

S: I’d gotten to know Steve Ihnat, we’d done about four, five shows together, and we’d always talk.  He’d just finished making this little movie he’d shoot on the weekends I said I’d just written a screenplay, called HONCHO, with Dave Cass, who was my writing partner at the time.  I let him read it, and he came back and said, ‘Do you want to write a rodeo script with me?’  I’d go to his place every weekend, write everything down, and during the week I’d put everything into a screenplay format, and come back.  We worked on it four weeks.  Then we went to a rodeo, to see if we got it right, to get the color, to get the announcer’s way of saying everything.  His agent told him to write a script and he could get him a deal directing it, too.  They got us a deal immediately with Filmways, for Martin Ransohoff, but Marty passed on it.  You’ve got to remember when this was, and we were talking about shooting in real locations, in real houses, and he was talking about building sets in the stage.  He passed, and that was a big disappointment. They went to Levy-Gardner-Laven (producers of THE RIFLEMAN and THE BIG VALLEY), and they set up a deal.  And before I knew it we were in Carlsbad, New Mexico, and before you knew it, it was over.  A year later it was the premiere, and a week after that, Ihnat died. 

H: Any particular memories of James Coburn or Slim Pickens on that?

S: Slim Pickens is probably my favorite guy I ever worked with.  And he drove his Mustang like he rode that bomb in DR. STRANGELOVE.  A crazy sonofabitch, I’ll tell you.  All cowboy. 

H: He started out as a rodeo clown.  You can’t get much more dangerous than that.

S: No, and in THE HONKERS he fought the bull a little bit. 

H: You continued as a costumer and a writer – KINGDOM OF THE SPIDERS is a notable success.

S: (laughs) They didn’t pay me too much for that; it was a success for everyone else.  But it’s a good credit to have, because it became a ‘midnight classic.’

H:  You didn’t write another western movie until 1993’s RIO DIABLO. 

S:  Actually we wrote that in 1975, and it was optioned a few times here and there – we probably made more off the option money than on the sale.  We made some pretty good money on it when CBS picked it up, but that was way later. 

(Steve with Dickie Jones on the BUFFALO BILL JR. set)

(Steve with Dick Jones recently at Lone Pine)

H: Was that a cathartic experience, to get it made so many years after you wrote it?

S: Yeah, and it’s also a very disappointing thing when they start cutting big chunks out of it.  There was a lot more with Kansas, that was Stacy Keach Jr.’s part.  We had a big scene where they drop bodies off of the stagecoach, and that’s when you first meet Kansas.

H: Are you still writing screenplays?

S: Yes I am, still trying to sell ‘em.  (The one I’m working on) is called SHADOWS OF EAGLES; it’s one of my novels that I turned into a screenplay.  It takes place in Texas during World War II.  I wanted to do a play on THE GREAT ESCAPE, but I wanted to do it in Monument Valley.  One time I’m driving down to Terlingua,  Texas with a friend of mine, and we go through a little town called Marfa, that’s where they shot GIANT, and he says, “Right over there is where the old German prison camp used to be.”  And I did a double-take.  So in my story it’s the furthest prison camp from the east coast, and a very important prisoner gets put in there, he’s a Blue Max guy from the First World War. So he’s an older guy, and now he’s been captured, and the Germans decide if they can break him out it’ll be good for moral.  So they send in some guys who break him out, and maybe fifteen or twenty other Nazis.  And the Army doesn’t have enough men to run the prison and chase escapees.  So the Texas Rangers offer to do that, and it ends up with Texas Rangers with six-guns and Winchester rifles on horseback, against Germans with automatic weapons and quad trucks.  And it’s a big chase across Texas’ Big Bend.  I have a guy who’s publishing it as an e-book. 

LONE RANGER RADIO REVIVAL!

Back in October, with the Presidential election just around the corner, I had the pleasure of taking part, as announcer, in a series of election-themed Old Time Radio reenactments,  One of them was a Lone Ranger episode, 'The Not-So-Crooked Election', and I was delighted to learn that Steven Kirk, who plays the Lone Ranger, had the show video-recorded.  If you're a fan of dramatic -- okay, melodramatic -- radio, watching this will bring back fond memories.  And if you haven't seen how Old Time Radio shows were performed, with live sound effects, it might even be educational, and hopefully funny.  By the way, Jeff Zimmer, who does the sound effects, also directed.




THANKS A MILLION!  

Or make that 1,017,241!  That's how many pageviews the Round-up has had since it began in January of 2010.  I find it astonishing, and hugely gratifying.  As I write, the Round-up is being read in the United States, China, Spain, Turkey, France, Belgium, Lithuania, The Netherlands, South Korea, Germany, and Austria.  Thank you so much to all of my readers, in more than 100 countries, who regularly read the Round-up!

THAT'S A WRAP!

I hope you're all enjoying season two of UNDERGROUND on WGN, and the new AMC Western THE SON.  I've only seen episode one of the former, and one and two of the latter, so don't give anything away!  Coming very soon, video reviews, and my coverage of the TCM Festival!

Happy Trails,

Henry

All Original Contents Copyright April 2017 by Henry C. Parke - All Rights Reserved

‘CIVIL WAR’ ERUPTS AT AUTRY, PLUS ‘CHARLIE’S TEXAS OUTFIT’ REVIEWED, SPAGHETTI ‘N’ DOMESTIC SCREENINGS!

‘CIVIL WAR AND THE WEST’ OPENS AT THE AUTRY

Yesterday, an elaborate new exhibit, Empire and Liberty: The Civil War and the West, opened at the Autry, and will be on display through January 3^rd of next year.   As the title suggests, the show examines the effect that the Civil War had on the American West, a region much of which was still being settled at the time of the War Between the States.  As is practically a trademark with them, the Autry has used a wide array of documents, uniforms and other objects from their own collections, and borrowed others, to give a living feel to a war which had its end 150^th Anniversary only last week (John Wilkes Booth died 150 years ago today!).

Frontier Fremont's flag

Of the greatest significance, the posted text that goes with the displays gives a historical context, a sense of the related sequence of events that is not obvious.  Of course the Louisiana Purchase led to the Lewis and Clark expedition; but not so obvious, the charting of that land, the making of states, led to the Missouri Compromise, forcing an equal number of free and slave states.  We know about the misery caused by the Indian Removal Act, but a side-effect of forcing the Indians from their land was to make it available for cotton plantations, which brought the ‘need’ of slaves.  

'American Progress' by John Gast -1872

Jefferson Davis’s double-barreled pistol from his service in the Mexican War reminds us that not only was that war a proving group for him, but for Grant and Lee, all of whom were West Point graduates.  Among the fascinating documents that illuminate the period are slave purchase receipts; an Andersonville Prison Survivor Certificate; a Union Army enlistment bounty – forty dollars to sign up; a receipt for Chinese coolie wages of $12 a month – once the $30 voyage cost is paid; a Buffalo Soldier payroll document, $13 a month.  Displays take you through the period looking at the various historic events, as well as particular groups – various Indian tribes, former slaves, women, displaced Mexicans – as well as the general population.

Grant's Smith & Wesson pistol

One strong bit of direction; when you enter the exhibit, the natural direction, which most folks were taking, was forward and to the left.  I did so, and first found the displays interesting, but arbitrary.   I went back, and entered on the right, and suddenly everything was in a generally chronological order, and all of the elements fell into place.  THEY NEED A BIG RIGHT ARROW AS YOU ENTER!        

Pico's War Drum

CHARLEY SUNDAY’S TEXAS OUTFIT by STEPHEN LODGE – A Book Review

Stephen Lodge at last week's Santa

Clarita Cowboy Festival

Silver-haired Charley Sunday is a retired Texas Ranger at the turn of the 20^th century, trying to hold his small ranch together.  He partners with old friend and woman of dubious virtue Flora Mae Huckabee, to purchase a now-rare three hundred head of longhorns, and bring ‘em cross-country to Texas.   Rounding up other former Rangers, a female journalist, an Indian law student, his young grandson Henry-Ellis, and various other misfits, going up against a dastardly Colorado meat-packer, Charlie Sunday is in for the adventure of his already long and adventurous life. 

The story is told by that grandson, Henry-Ellis, now an old man, and telling his own grandchildren the tale, sixty years later.  The funny thing, as I was enjoying this novel, is that it didn’t remind me of other Western novels so much as it did other Western movies – particularly the humorous ones directed by Andrew V. McLaglen and Burt Kennedy in the late sixties and seventies.  It’s written so visually that you ‘see’ the action, not just understand it, while you’re reading.  No surprise really, because it’s author, Stephen Lodge, has written or co-written a number of memorable movies, including THE HONKERS, starring James Coburn and Slim Pickens; KINGDOM OF THE SPIDERS, starring William Shatner and Woody Strode; and RIO DIABLO, starring Kenny Rogers and Travis Tritt.  ( If you’d like to read my review of Steve’s memoir of his life in the film industry, AND…ACTION!, and my interview with him, go HERE .)

At the Santa Clarita Cowboy Festival last Saturday, when I was moderating the panel Screenplay to Novel or Novel to Screenplay?, Steve confirmed that CHARLIE SUNDAY began life not as a novel, but as the screenplay MOVE ‘EM SUNDAY, which the great Buddy Ebsen tried unsuccessfully to have made. 

When you read CHARLIE SUNDAY, you can have the additional fun of seeing the movie in your head, and watching Buddy Ebsen deliver the lines (although in truth, I usually heard Richard Farnsworth doing it).  CHARLIE SUNDAY’S TEXAS OUTFIT is published by Pinnacle, a division of Kensington Books, and you can buy it from AMAZON, or from the other big guys, in trade paperback, mass-market paperback, Kindle, and audible.  And in just two days, on Tuesday, April 28^th, you can buy DEADFALL: CHARLIE SUNDAY’S TEXAS OUTFIT 2!  And Steve assures me that CHARLIE SUNDAY 3 is already in the works!

‘HIGH NOON’/’SHANE’ DOUBLE BILL WEDNESDAY AT THE AERO

As part of the continuing celebration of the Aero Theatre’s 75^th year, at 7:30 pm, two of the finest Westerns of the 1950s – nay, two of the finest Westerns of any time – HIGH NOON (1952) and SHANE (1953) will play, and if you’re reading this blog, I don’t need to tell you who is in them, or what they are about.  And if you haven’t seen them on the screen in a few years, you need to see them again – you’ll be astonished at what details you’ve never seen before.  For more information, go HERE .

WILD WEST DAY – ARCADIA, MAY 2^ND

Saturday, May 2^nd, from ten ‘til 4, enjoy panning for gold, a telegraph demonstration, roping, U.S. Marshall’s posse, crafts, stagecoach rides, Queen Anne’s Cottage tours, Depot open house, food, root beer, and a musical performances by Singing Cowboy Mike Tims, RT n’ the 44s, and  the lovely and talented Saguaro Sisters.  Learn more HERE.

GREGORY PECK IN ‘YELLOW SKY’ MAY 9^TH AT THE AUTRY

As part of their monthly ‘What is a Western?’ series, the Autry will screen YELLOW SKY, at 1:30 pm in the Wells Fargo Theatre.  Director William Wellman and screenwriter Lamar Trotti, who teamed in last month’s offering, THE OX BOW INCIDENT, this time tackled a W. R. Burnett (LITTLE CEASAR, HIGH SIERRA) story, about a pack of outlaws hiding out in a ghost town populated only by an old prospector and his daughter, Anne Baxter.  Also in this drama, suggested by Shakespeare’s THE TEMPEST, are Richard Widmark, John Russell and Harry Morgan.  The film will be introduced by Jeffrey Richardson, Gamble Curator of Western History, Popular Culture and Firearms.  Admission is included with museum admission, free to members.  Learn more HERE .

MEET TONY ANTHONY - ‘GET MEAN’ SCREENING JUNE 8 AT CINEFAMILY!

Spaghetti Western star and 3-D movie pioneer Tony Anthony will make a rare public appearance, with his co-star Lloyd Battista, on June 8^th, for a screening of the new restoration of his 4^th and final film in the ‘Stranger’ series, GET MEAN (1975).  West Virginia-born Tony started writing and acting in 1961 with FORCE OF IMPULSE and WITHOUT EACH OTHER; he went to Europe to act in the bullfight film WOUNDS OF HUNGER (1963), and stayed for years.  Tony Anthony is an unusual actor for his era, in that he wrote or co-wrote nearly all of his Westerns – notably BLINDMAN (1971), where he plays a blind bounty hunter, and his quarry is Ringo Starr. 

The Cinefamily, formerly the Silent Movie, is located at 611 N. Fairfax Avenue, L.A., 90036 HERE .

is the link to buy tickets.  I know it’s a month away, but I’m posting this now because Cinefamiy events are very popular, and often sell out. 

SOLIMA’S ‘BIG GUNDOWN’ INTRO’D BY JOE DANTE JUNE 18 AT LINWOOD DUNN

As part of their THIS IS WIDESCREEN series, The Academy of Motion Picture Arts & Sciences will screen Sergio Solima’s THE BIG GUNDOWN, starring Lee Van Cleef, Thursday, June 18^th, at the Linwood Dunn Theatre in the Mary Pickford Center, 1313 Vine Street, Hollywood, CA 90028.  (Note, this is the Hollywood venue, not the Academy headquarters in Beverly Hills).  It’s a very unusual, well-told story, with lawman-turned-politician Van Cleef on the hunt for a degenerate criminal (Tomas Milian) who may be not as bad as the men who want him dead.  This is the new restoration from Grindhouse Releasing which Courtney Joyner and I got to see when we were doing audio commentary for their BluRay release, and it looks spectacular.  The price range is from $3 to $5, and you can learn more about the film, and order tickets HERE  

If you’d like to buy the fabulous 4-disc set, including a CD of the brilliant Ennio Morricone soundtrack, go HERE .

THAT’S A WRAP!

One more thing before you go!  The screenings and events in this Round-up are all in Southern California, but this is not a strictly California blog.  It’s read in over ninety countries, and I want to serve the Western movie fan as well as I can, but I need your help.  If you know about any upcoming screenings or other western-related events anywhere in the world, please share them with me, and I’ll pass ‘em along!

Happy Trails,

Henry

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

     

WIN TICKETS TO 'BLACKTHORN' PREMIERE!

THE ROUND-UP’S FIRST CONTEST: HOW YOU CAN ATTEND THE NEW YORK CITY PREMIERE OF ‘BLACKTHORN’!

On Thursday, September 29^th, at 7:00 p.m., four lucky New York-area Rounders – that is, readers of Henry’s Western Round-up -- will attend the premiere of BLACKTHORN, courtesy of Magnolia Pictures!  It will be at the Cinema 2, at 1001 3^rd Avenue, between 59^th and 60^th Streets, and star Sam Shepard and director Mateo Gill are also slated to attend.   

A pair of tickets will be awarded to each of the first two entries which correctly name three shows in which Butch Cassidy is a character – movies, TV movies and TV episodes are all acceptable – and the actor who portrayed him.  And you can’t count Sam Shephard in BLACKTHORN as one of them! 

E-mail your entry, including your name, e-mail address, zip code and telephone number to cassidycontest@gmail.com.  If you’re not in the New York area, and cannot attend, but want to show how knowledgeable you are, you can also e-mail your answer, but please include JUST SHOWING OFF in the subject line.  Winners will be contacted by e-mail, and winners’ names will be announced in next week’s Round-up.  Good luck!  

SAM SHEPARD ACTS ‘BUTCH’ IN BLACKTHORN

We all hate to lose our heroes.  That’s why there are people desperate to believe that James Dean didn’t die in that crash, and it wasn’t really Elvis in that coffin, and someone other than John Dillinger was gunned down outside of the Chicago Biograph.  So it’s no surprise that someone would want to tell a story where Butch Cassidy wasn’t shot to pieces with the Sundance Kid in that little town in Bolivia in 1908.  (And if you consider that a spoiler, this may not be the blog for you.)

BLACKTHORN suggests that, while Sundance may be gone, Butch (Sam Shepard) , circa 1927, is alive and well, breeding horses in Bolivia, and living quietly under the name of James Blackthorn.  He’s a weathered, sun-burnished older man now, cheerfully intimate with his housekeeper, Yana (Peruvian actress Magaly Solier), but she’s not the love of his life.  That woman is gone, died recently of tuberculosis back in the States.  And that leaves her son, who is Butch’s nephew… or something…alone.  Butch decides it’s time to pull up stakes, get back over the border, to meet his kin while he’s still able.

Making his way towards the States, he has an unexpected and fateful encounter with Eduardo Apocada (Eduardo Noriega), an embezzling bookkeeper on the run from his mining-mogul boss, and Cassidy eventually concludes that they have no alternative but to work together, to put their hands on the kind of money both men need.  But though Eduardo does develop a degree of hero-worship, this movie does not descend into the predictable plot that you think you see coming – this is no generic ‘buddy’ movie.  There is humor here, and irony, but underlying it all is the knowledge that these men are being relentlessly pursued by a posse that is decidedly devoid of humor.  They are also pursued by Mackinley (Stephen Rea), an investigator who feels his life and career were largely ruined by his failure to capture Butch and Sundance decades before.

Throughout the film, flashbacks remind Butch of his younger days, when he and Sundance and Etta Place rode together, the filmmakers drawing parallels and contrasts between the two different periods in his life.  It’s a tough balancing act here, because the film clearly does not want to be ‘just a sequel’ to BUTCH CASSIDY AND THE SUNDANCE KID, and yet it assumes knowledge of the earlier film.  So relationships change in unexpected ways that propel much of Butch’s actions in the 1920s story.  Etta Place (Dominique McElligot, soon to be seen in AMC’s HELL ON WHEELS) is a much more proactive member of the Hole-In-The-Wall gang than previously portrayed.   There is no physical resemblance between this movie’s Sundance (Irish-born Padraic Delaney) and Robert Redford; in fact, the young Cassidy (Denmark-born Nicolak Coster-Waldau) resembles a young Redford more than he does a young Paul Newman. 

Playwright-turned-actor (and sometime rodeo rider) Sam Shepard’s long string of credits includes quite a few Westerns and neo-Westerns: THUNDERHEART, STREETS OF LAREDO, PURGATORY, ALL THE PRETTY HORSES, BANDIDAS, and THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD, where he plays another celebrated outlaw, Frank James.  But he first gained attention onscreen back in 1978, as the doomed farmer in Terrence Malick’s achingly beautiful DAYS OF HEAVEN, and BLACKTHORN’s Bolivia may be the most striking background he’s worked in front of since then.  Bolivia has rarely been seen on film, and from lush forests to barren salt flats to Aztec-looking villages, J.A. Ruiz Anchía’s photography is a revelation.  The costume design by Clara Bilbao and art direction by Juan Pedro De Gaspar let you know that you not in a Mexican village, but in a different culture with uniquely beautiful and colorful designs to the clothes and the homes.

Director Mateo Gil, best known as a screenwriter (OPEN YOUR EYES, THE SEA INSIDE) and screenwriter Miguel Barros have told a story that mixes adventure and melancholy, sentiment, philosophy and action.  The men live in a beautiful but hard world, and Butch’s recognition of that hardness, his own view of the degrees of right and wrong, are central to the story.  The action and gunplay is sufficient but not overblown.  In fact, the grim efficiency of it, as portrayed by the filmmakers and exercised by the shooters, is much unnerving than the excesses of a lot of action films – and saying anything more on that score would be a spoiler indeed.

My only criticism would be the filmmakers’ apparent eagerness to leave plot scenes and get to the next character scene: our leads don’t try hard enough to catch the runaway horse, or put more distance between themselves and their pursuers after a lucky escape, because the story-tellers want to get to the emotional drama.

Sam Shepard started his career as too good-looking for a playwright, and his face has taken on added character with the years; he’s playing a man of his own age, and it suits him.  He plays Cassidy with an understated and direct honesty.  Cassidy’s not a ‘nice guy’ but he’s a decent man with a sense of honor and fairness, in a way that echoes William Holden’s version of the character in THE WILD BUNCH more than the cheerier Paul Newman take. 

Produced by Andrés Santana and Ibon Cormenzana, BLACKTHORN is well made and well-worth seeing.

You can view the trailer on YouTube HERE. http://www.youtube.com/watch?v=M4SgoLvj6FQ

BLACKTHORN opens theatrically on October 7^th. 

BOOK REVIEW:  AND…ACTION!

And…Action! is the story of a fascination with the Western film as seen through the eyes of four people: a kid who grew up on the edge of the film business, an aspiring teenage actor, a TV and movie costumer, and a screenwriter.  The odd thing is, they’re all the same man, Stephen Lodge.

Stephen was eight years old in 1951, and like most American boys of the time, he and his kid brother Bobby were obsessed with Westerns -- the B kind and the TV variety.  But unlike the rest of us, he was in a position to do something about it that went far beyond wearing his cap-gun rig and watching the tube.  Not only did he live in the San Fernando Valley, where so many of the movies were made, his Aunt Bette was a secretary at Monogram Studios, and his Uncle George was a script supervisor for Gene Autry’s Flying A Productions! 

(Steve and Bobby with Johnny Mack Brown)

So Stephen begged and bugged his mom until she finally broke down and got his Aunt and Uncle to arrange a visit to a set.  The first time it was the Iverson Movie Ranch, for a Johnny Mack Brown film, and from that moment on, the kid was hooked.   Soon mom was driving the kids to Corriganville to watch the GENE AUTRY SHOW being filmed, where they met Gene, Pat Buttram and Ray ‘Crash’ Corrigan; the family vacationed at Big Bear Lake, where a small movie town was the location for the WILD BILL HICKOCK series.  Best of all, Stephen’s mom broke all the rules, and always brought a camera to the set: the book is full of snapshots and 8mm frame blow-ups of the boys and all the stars they met.

(Gail Davis shooting ANNIE OAKLEY at Melody Ranch)

And Stephen could be a pretty conniving little cuss: he pretended to have started a Jimmy Hawkins fan club to get into Melody Ranch, where THE ANNIE OAKLEY SHOW was being filmed – Hawkins played Annie’s kid brother, Tagg.  Over the next few years he had the chance to visit Pioneertown, Bell Movie Ranch, Spahn Movie Ranch (yeah, the one the Manson Family moved in on).  As teenagers, he and his friends even got kicked off the set of BAT MASTERSON, although Gene Barry turned out to be such a nice guy that he shared his lunch with the outcasts. 

Though written by an adult, the stories are told from the perspective of the little kid who lived them, which is so much of their charm, although the adult world peeks in occasionally: Dickie Jones, BUFFALO BILL JR., is unhappy with negotiations with Flying A, and after he does his scenes, drives away like a bat out of Hell.  Another time, the family leaves Iverson Ranch, disappointed that a Roy Rogers shoot has been cancelled, only to learn the reason: one of the Rogers children had suddenly died.

(Filming THE ROY ROGERS SHOW)

Stephen pursued an acting career for a time, appearing in TV shows like FURY, THE FARMER’S DAUGHTER, DR. KILDARE and MY THREE SONS, and features like DINO with Sal Mineo.  At age sixteen Stephen spent a summer working as an actor/stuntman at Corriganville, and gives a fascinating and nostalgic description of that summer job most of us would have killed for. (Although maybe not on the day Ken Maynard showed up drunk and belligerent!) 

But his long-term film and TV career was as a costumer, starting in 1963 with THE FUGITIVE, followed by the short-lived John Mills Western series, DUNDEE AND THE CULHANE, which took him to Flagstaff, Apache Junction and Old Tucson Studios in Arizona.  He worked on many series over the years, and even those like the sitcom CAMP RUNAMUCK, which would seem to have no western tie-in, often did.  RUNAMUCK was shot at the Columbia Ranch in Burbank, where Gary Cooper faced down the villains of HIGH NOON.  The RUNAMUCK location was soon the home for another of Stephen’s series, HERE COME THE BRIDES.  No wonder Stephen considers the Columbia Ranch his ‘home’ studio. 

Over the years he worked at all of the studios and ranches, and his passion for them is palpable.  He has plenty to say about which were great, like Republic; which were ridiculously small, like Allied Artists (once Monogram, then a PBS station and now a studio for the Church of Scientology); which were chopped down to nothing, re-dressed until they were unrecognizable, or nearly burned to the ground.  He worked on Western comedies like THE DUTCHESS AND THE DIRTWATER FOX, TV series like THE DEPUTIES (which introduced Don Johnson), TV movies like THE SUNDANCE WOMAN, and has insights into them all.  He worked for Quinn Martin and worked around Andrew Fenady (THE REBEL), and tried desperately to work for Sam Peckinpah.  He hung out at the last of the great Western Cowboy Saloons, the Backstage Bar, right outside the Republic gate.  Now it’s a sushi bar.

And then there was another career, as a screenwriter.  With Steve Ihnat, an actor he met as a guest star on DUNDEE, he co-wrote the rodeo comedy THE HONKERS (1972), starring James Coburn and Slim Pickens.   But aside from co-writing KINGDOM OF THE SPIDERS (1977), it was a long time between writing gigs.  When he got RIO DIABLO made in 1993, starring Kenny Rogers and Naomi Judd, it was after more than a decade of trying. 

Now retired from costuming, and writing fulltime, he and his wife have moved to Rancho Mirage, not far from one of his favorites haunts, Pioneertown.  When I spoke to him about AND…ACTION! recently, he told me he hadn’t set out to write a book.  “I wrote every individual story when I felt like writing one.  They were stories that I wanted to share with people, and I’d send them to all my friends.  And finally I decided that maybe I ought to put them all together into one big compilation of stories.”

HENRY: What was your favorite experience as a kid visiting a set?

STEPHEN:  I would have to say it was Johnny Mack Brown at the Iverson Western Town.  (WHISTLING HILLS, 1951) The fact that Jimmy Ellison was there, too.  And I was not even aware of who Noel Neil was until much later.

H: Well, she hadn’t done the SUPERMAN series at that point.  What was your favorite encounter on a set, with a star, when you were a kid?

(Steve with Andy Devine)

S:  I think probably the coolest guy was Andy Devine.  He was nice to my brother and me; let us sit in a chair with him, offered to buy us a Coke.  Pat Brady was just great – he really entertained me. 

H:  You visited pretty much all of the ranches.  As a kid, did you have a favorite?

S: Corriganvile.  And I ended up working there.  That was kind of a dream.  I was sixteen years old, believe it or not, with a .45 tied to my side, out there every weekend.

H: What was Crash like to work for?

S: A very pleasant man.  I mostly worked for a guy named Charley Aldrich, who ran the street shows.  Crash was there every weekend, and had pictures taken with kids, on his horse, and all.  He wanted to do movies in the middle of the week, during the summer, for the people, when there were no movie companies out there.   He had an old script for a Billy the Kid show, an old 16mm camera, and a sound system.  He cast me as Billy the Kid, so I’d go out there every day, and put make-up on – we had a small number of people pretending to be the crew.  We started with film in the camera – and I’d love to get my hands on it, and I think Tommy Corrigan’s got it someplace.  We shot two weeks or so, and I rode Flash, his horse, and he let me borrow his gun for the whole thing.  That went on until September, when I had to leave abruptly, because I got a real job in Hollywood, doing a pilot for a show called THE WRANGLER.  It was the first videotaped Western ever – they shot it out of a truck, with three cameras.  Jesse Wayne was the other stuntman.  They did the pilot right on the KTLA backlot.  He and I had a fistfight, he knocked me down some stairs.  I turned around, pulled my gun and shot him, and he fell off a balcony.  And that was the pilot.  They wanted to see what it would look like on videotape.  Actually, they made (the series) with Jason Evers.  It went for a summer replacement. 

H: You acted on shows like FURY.

S: That was basically a silent bit.  But I did shows like MY THREE SONS, and DR. KILDARE.  And not too many more. 

H: What was it like, after spending so much time on sets, behind the camera, to suddenly be in front of them?

S:  (laughs) It’s a little more scary being in front of them. 

H: You have a lot to say about Pioneertown. 

S: I grew up near Pioneertown.  We were up here in the 1950s, when Pioneertown was in pristine shape.  We never saw Gene Autry shooting here, but he was shooting up here at the same time.  The Red Dog Saloon was open for business, the bowling alley was open for business, the restaurant was open for business – it’s not anymore, but that’s the way it was.  It was kind of nice in the old days.  I haven’t been there lately, but I’ll be going up there this week.  There’s a friend from out of town that I’m going to take up there.  

H: What was your first show as a costumer? 

S: My first was a commercial at Columbia, and then I did two or three days on THE LUCY SHOW, then I got a quick call to replace the set man on THE FUGITIVE, and I stayed there for the next two seasons. 

H: That was a show that was always on the road.

S: We had a lot of fun with that.  It was like being in the Army. 

H: As a costumer, are Westerns more fun than non-period things?

S: Oh, for me it is.  A lot more fun, because that’s what I always wanted to do: whether I was a cowboy or a costumer really didn’t matter. 

H: Is it very different being an in-town costumer, versus being off to the Painted Desert or Old Tucson?

S:  Well, when you’re on location you get a lot more freedom.  So does the director; so do the actors.  You get too far out, and someone will make a phone call.  I enjoyed the locations more than the at-home stuff. 

(Steve at Old Tucson)

H: Do you have any particular memories of Old Tucson?

S: Yeah, that it was awful hot.  I always ended up there in July, and it was in the monsoon season.  It would rain all night, and bake you during the day.  The other little town that Old Tucson owns, I don’t know what they call it now.  They used to call it Harmony.

H: Now they call it Mescal.

S: That’s it.  They used that in TOM HORN, and I was out there on GUNSMOKE.  That was a nice little town.  Looked like it was out in the middle of nowhere, but it was actually not that far off the road.

H: You worked on one of my favorite quirky Western series of the late 1960s, HERE COME THE BRIDES. 

S: Oh yes!  I’m still in touch with a lot of the fans – the middle-aged women.  I was on that for half of the first season, and the last season.  (We shot that at) Columbia Ranch.  And sometimes we’d go up into the mountains of Burbank, or behind Glendale, and we’d go up to Franklin Canyon.  We had a ‘green set’ on the stage, and we had a lagoon set, right close to the town set. 

H: What’s a ‘green set’?

S: That’s where there’s trees and rocks and it looks like outdoors, but it’s really on a stage.  Like WAGON TRAIN, whatever was set up was set up on a green set.  That was a fun show to work on.  A lot of good people to work with, not only in front of the camera, but behind the camera. 

H: In 1972 you went from costumer to screenwriter with THE HONKERS. 

S: (laughs) But didn’t stay too long.  The money runs out and you go back to rag-pickin’ again.  I got three more (movies made) than most.

H:  How did THE HONKERS come about?

S: I’d gotten to know Steve Ihnat, we’d done about four, five shows together, and we’d always talk.  He’d just finished making this little movie he’d shoot on the weekends I said I’d just written a screenplay, called HONCHO, with Dave Cass, who was my writing partner at the time.  I let him read it, and he came back and said, ‘Do you want to write a rodeo script with me?’  I’d go to his place every weekend, write everything down, and during the week I’d put everything into a screenplay format, and come back.  We worked on it four weeks.  Then we went to a rodeo, to see if we got it right, to get the color, to get the announcer’s way of saying everything.  His agent told him to write a script and he could get him a deal directing it, too.  They got us a deal immediately with Filmways, for Martin Ransohoff, but Marty passed on it.  You’ve got to remember when this was, and we were talking about shooting in real locations, in real houses, and he was talking about building sets in the stage.  He passed, and that was a big disappointment. They went to Levy-Gardner-Laven (producers of THE RIFLEMAN and THE BIG VALLEY), and they set up a deal.  And before I knew it we were in Carlsbad, New Mexico, and before you knew it, it was over.  A year later it was the premiere, and a week after that, Ihnat died. 

H: Any particular memories of James Coburn or Slim Pickens on that?

S: Slim Pickens is probably my favorite guy I ever worked with.  And he drove his Mustang like he rode that bomb in DR. STRANGELOVE.  A crazy sonofabitch, I’ll tell you.  All cowboy. 

H: He started out as a rodeo clown.  You can’t get much more dangerous than that.

S: No, and in THE HONKERS he fought the bull a little bit. 

H: You continued as a costumer and a writer – KINGDOM OF THE SPIDERS is a notable success.

S: (laughs) They didn’t pay me too much for that; it was a success for everyone else.  But it’s a good credit to have, because it became a ‘midnight classic.’

H:  You didn’t write another western movie until 1993’s RIO DIABLO. 

S:  Actually we wrote that in 1975, and it was optioned a few times here and there – we probably made more off the option money than on the sale.  We made some pretty good money on it when CBS picked it up, but that was way later. 

(Steve with Dickie Jones on the BUFFALO BILL JR. set)

(Steve with Dick Jones recently at Lone Pine)

H: Was that a cathartic experience, to get it made so many years after you wrote it?

S: Yeah, and it’s also a very disappointing thing when they start cutting big chunks out of it.  There was a lot more with Kansas, that was Stacy Keach Jr.’s part.  We had a big scene where they drop bodies off of the stagecoach, and that’s when you first meet Kansas.

H: Are you still writing screenplays?

S: Yes I am, still trying to sell ‘em.  (The one I’m working on) is called SHADOWS OF EAGLES; it’s one of my novels that I turned into a screenplay.  It takes place in Texas during World War II.  I wanted to do a play on THE GREAT ESCAPE, but I wanted to do it in Monument Valley.  One time I’m driving down to Terlingua,  Texas with a friend of mine, and we go through a little town called Marfa, that’s where they shot GIANT, and he says, “Right over there is where the old German prison camp used to be.”  And I did a double-take.  So in my story it’s the furthest prison camp from the east coast, and a very important prisoner gets put in there, he’s a Blue Max guy from the First World War. So he’s an older guy, and now he’s been captured, and the Germans decide if they can break him out it’ll be good for moral.  So they send in some guys who break him out, and maybe fifteen or twenty other Nazis.  And the Army doesn’t have enough men to run the prison and chase escapees.  So the Texas Rangers offer to do that, and it ends up with Texas Rangers with six-guns and Winchester rifles on horseback, against Germans with automatic weapons and quad trucks.  And it’s a big chase across Texas’ Big Bend.  I have a guy who’s publishing it as an e-book. 

If you’d like to purchase AND…ACTION!, or any of Stephen Lodge’s other books, or look at his remarkable collection of on-set photos, visit his website HERE.

INSP PREMIERES ‘BIG VALLEY’ MONDAY

The classic 1960s Western series THE BIG VALLEY will begin airing on INSP on Monday, September 26^th.  They’ll show two episodes each weekday and one on Saturdays – check your local listings for times.

CELEBRATE GENE AUTRY’S BIRTHDAY AT HIS MUSEUM!

On Thursday, September 29^th, the Autry will celebrate Gene’s birthday by screening fully restored and uncut episodes of THE GENE AUTRY SHOW from 11 a.m. until 3 p.m.

And on Saturday, October first, see a free double-feature of Gene’s movies starting at 11:30 a.m.; THE SAGEBRUSH TROUBADOUR (Republic1935) and BLUE CANADIAN ROCKIES (Columbia1952).

EDDIE BRANDT’S VIDEO PARKING LOT SALE SATURDAY!

On Saturday, October 1^st, from 10 a.m. to 6 p.m., Eddie Brandt’s Saturday Matinee, inarguably the world’s greatest video store for Western fans, will have their first parking-lot sale in years.  There will be THOUSANDS of VHS tapes, including HUNDREDS of Westerns, on sale for $1 or $2.  Additionally there will be DVDs for $5 or less, movie posters for $2, CDs for $3, LOOK magazines for $5, LPs for $2, plus books, laserdiscs, sheet music and T-shirts!  Eddie’s is at 5006 Vineland Avenue, North Hollywood, CA 91601.  818-506-4242.

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. 

AMC has been airing a block of THE RIFLEMAN episodes early Saturday mornings, usually followed by Western features.

And RFD-TV is currently showing THE ROY ROGERS SHOW several times a week, and a Roy feature as well -- check your local listings.

That's all for this week's Round-up!  I'm working on a documentary all this week, but hopefully I'll have my article on the Bonanzacon ready for next week's Round-up!  Have a great week, and be sure to enter our Butch Cassidy contest, even if it's just to show off!

Much obliged,

Henry

All Original Contents Copyright September 2011 by Henry C. Parke -- All Rights Reserved