‘WESTERN PORTRAITS’ CELEBRATION AT AUTRY TUES. 11/19, PLUS ‘IT ALL BEGINS WITH A SONG’ DOC, GETS DISTRIB., PLUS NOVEL ‘LEGENDS OF THE WEST’ REVIEWED!

WESTERN PORTRAITS – STEVE CARVER’S 23-YEAR LABOR OF LOVE IS A TRIUMPH!

At 11 a.m. on Tuesday, November 19, 2019, lovers of Western film will converge at The Autry’s Wells Fargo Theatre for Rob Word's A Word on Westerns, and an event more than two decades in the making, the publishing of Western Portraits – The Unsung Heroes & Villains of the Silver Screen. Twenty-three years ago, Steve Carver began shooting portraits of Western character actors, beginning with the legendary R. G. Armstrong, veteran of Peckinpah films and TV Westerns, and whom Steve had directed seven times. Next was L.Q. Jones (four times), then David Carradine (four times).

Steve Carver is, in fact, much better known to the general public as a director of action films like Capone (1975), An Eye For An Eye (1981), and Lone Wolf McQuade (1983), than he is as a photographer.  As a child, “Actually I was more into art, and wanted to become a cartoonist. Then my father bought for me my first camera when I was eight years old. It was a Brownie box camera. It had two lenses, the top one you look down upon the viewfinder, and the bottom lens was the shutter lens that actually took the picture. Cameras were like magic.”  He grew up in Williamsburg, Brooklyn, and in the summers would attend camp, “And they had dark rooms. So, I was able to actually process the film, and print the negatives that I shot.  So, from age eight, 10, all the way up to 12 years old when I became a counselor, I was in a dark room and I was a photographer.

Henry Silva

“My whole family encouraged the arts, and encouraged me to go to The High School of Music and Art, which was in Harlem, in the middle of CCNY (City College of New York).  I had to travel an hour and a half on subway to go to school every day, and an hour and a half back.”  He traveled for his college education. “When I went to graduate school at Washington University in St Louis, I was  (studying with) all of the Life and National Geographic photographers that were working in the Midwest. Clifton Edom, who was the father of photojournalism, was teaching at the University of Missouri.” 

His focus began to change, “When I did my graduate thesis. I did a film that incorporated a lot of my photography. I made the transition from still pictures that were telling stories, to motion pictures that told a whole story. A story that allowed me to not only earn my degree, but to put the story into perspective. And to have a greater audience than one that would come and only see my artwork and my photographs hanging on a wall. To actually enjoy a film, and to applaud, and then get reviews and have people come back, and want to see the film again and have reviewers write about it.”

Robert Forster

He applied for, and won, a fellowship to The American Film Institute.  “I had some great teachers:  Frantisek Daniel, and Tony Villani were my main teachers. I had four mentors that (A.F.I Director) George Stevens, Jr. gave me, which I was very proud of: Gregory Peck, and Charlton Heston.  And my two director mentors were George Stevens, Sr., and George Seaton. Those were the people that I had their home phone numbers, and I could call them up anytime.”

He rubbed elbows with other greats as well. “I found Alfred Hitchcock in the library at the American Film Institute after his lecture. I cornered him and asked, ‘Can you tell me how do you prepare a film?’ And he said, ‘Let me teach you. He sat down with me at the table and took a piece of paper and showed me how to do a storyboard, drew these little stick figures, and actually showed me the single, the two-shot, say the master shot. I played dumb. I knew it already, but he was really great, putting it down for me.” 

At a screening of his second AFI film, his adaptation of Poe’s The Tell-Tale Heart, starring Sam Jaffe and Alex Cord, Roger Corman, no stranger to Poe, “Tapped me on the shoulder and said, ‘How would you like to come and work for me?’” Carver cut trailers for Corman, and got his chance to direct a feature when Corman assigned him to direct a female gladiator movie, The Arena, in Rome. “Actually, the first place he sent me was Israel, to (producer) Menahem Golan's house. I started to do a storyboard. Menahem looked at me and said, ‘Who taught you that?’ I said Alfred Hitchcock. He looked at me like, what?”

John Savage

In Rome, making The Arena at Cinecitta Studios, his neighbor at the next stage was Federico Fellini. “I would watch him shoot  Amarcord.  And Federico would come and sit next to me, watch the girls. He would speak in broken English, how he loved gladiators with big tits.”

Carver was so busy directing that he hadn’t touched a still camera in twenty years, until he was directing 1996’s The Wolves, in Russia.  “I was in Red Square and a gypsy came up to me with a very rare camera that photojournalists use. It was stolen, and he was trying to sell it to me for 50 bucks, American dollars. I wanted this camera, and my body guard, who was a KGB agent, got this camera for me in a very unusual manner. He took the guy behind a kiosk, knocked the guy out, took my money.”  Carver returned to California and, ready for a break from filmmaking, built a darkroom in Venice called, appropriately, The Darkroom.  Calling on his years of experience in labs, his knowledge skills and painstaking perfectionism – Carver often spends six hours on a single print -- he became in-demand for collectors, museums and archives, making new copies from 19^th and early 20^th century negatives, shot by master photographers.

L.Q. Jones

Fascinated by the work of great photographers like Steichen, Weston, Stieglitz, and especially Edward Sheriff Curtis, famous for his portraits of American Indians, “I decided to make my own, and to create sets. I was using homeless people that were walking by my lab at night. I would offer them food and money to sit and to mimic these old pictures.

“And I would create my own negatives and my own photographs in order to learn how to do these. Well, these people weren’t working out because they couldn't stay still. These are all time-exposures, because in the old days, the film was real slow. So everybody had to stay very still for several minutes, and they had metal gadgets that held the person very still when they were taking a picture.”  Carver’s next move was to ask actor friends to pose, and the project was born.  His pool-shooting buddy R.G. Armstrong was his first to pose, and Armstrong encouraged Carver to make it into a book.  He even gave Carver the book’s original title. “The first title was not Unsung Heroes. It was called The Dying Breed. When I started to approach some of the actors, The Dying Breed was a big turnoff.”

R.G. Armstrong

One of the odd things that can happen with time-exposures is anomalies, or ‘ghosting’.  Some are easy to explain, and some are not. When Carver shot L.Q. Jones, “Bobby Zinner (project historian and wardrobe man) brought an 1893 Winchester lever rifle that had killed 22.  You know, and you touch the gun, and it has that vibe, a killer vibe. So L.Q. sat in a chair, and the gun was against the wall and we shot the picture.  Bobby took the gun back.” On another day, “We shot Buddy Hackett.  We used the same set, just redressed it, and we shot Buddy’s picture. In the background, off to the left, there’s a ghost image of the same rifle.  We didn't have that rifle.”

Buddy Hackett 

The first session with Denver Pyle was even more strange. “The first shooting, Denver was in horrible shape.  We dressed him up, and he had a tank of oxygen behind him and tubes running out of him. He was on chemo and we just propped him up and I shot him with 36 exposures, and he just barely got through the session. When I processed the film, his face was purely white. No eyes, no mouth, no nose. Just white. He was a ghost. I was horrified. I didn't have a shot of Denver. I called his wife Tippi and I said, Tippi, is it any way possible that I can get Denver to come back? I need to shoot him again. She said, I'll ask Denver. Denver calls me back and says, I'll be back. No problem. He comes the next day, spitting vinegar. He comes back with his tank, everything. We dress him up again, put the badge on him. I shoot him again. He’s totally different. I mean, lots of energy. The pictures are great. His face is there. His energy is all there.” Denver Pyle died a couple of weeks later.  It’s one of the best portraits in the book, and that is saying a lot. 

With this two-decade project finished, Carver is eager to leave the darkroom, and return to directing.  “What I dread is that the publisher will want a volume two. I have a lot of actors like Robert Fuller writing me and saying, when are you gonna call us?  I have a couple of film projects in mind. We’ll see. I’ve got to get out of here first. I’ve got to get another dog.”

The book begins with a forward by Roger Corman, a preface by Kim Weston, and an introduction by Steve Carver. There are eighty-two photographic subjects in the book, many of whom you’ve seen a hundred times, and each accompanied by an illuminating essay and/or interview by C. Courtney Joyner.  Joyner also wrote the closing essay, Carved on Film: Western Movies and the Faces that Made Them.  The book ends with detailed filmographies of all of the participants, and acknowledgements.  Western Portraits is published by Edition Olms Zurich. 

The list price is $50. It can be purchased at Dark Delicacies, the Autry Gift Shop, and of course, Barnes & Noble and Amazon.

‘IT ALL BEGINS WITH A SONG’ RECEIVES WORLD DISTRIBUTION & U.S. JAN 2020 RELEASE DATE

The documentary, which celebrates the unsung heroes of Nashville, its songwriters. Directed by Chusy Haney-Jardine, the 82-minute film will be handled throughout the world by Tri-Coast.  Among the songwriters interviewed are Rodney Crowell, Bill Anderson, Bob DiPiero, Shane McAnally, Brett James, Caitlyn Smith, Brandy Clark, busbee, Desmond Child, and Jeffrey Steele.

It All Begins With A Song_Trailer from TriCoast Studios on Vimeo.

LEGENDS OF THE WEST – A DEPUTY MARSHAL BASS REEVES WESTERN

By Michael A. Black

Published by Five Star – Hardcover, $25.95  238 pages

In 1879, in The Indian Territory which will one day be Arkansas, and pieces of a few other states, Bass Reeves, legendary former slave turned Deputy Marshall for Judge Parker’s court at Fort Smith, has a direct assignment from the Hanging Judge: investigate the activities of a band called The Cherokeos. He agrees, and with his trusty companion, a Lighthorse Indian Policeman known David Walks as Bear, they are on the trails of one Donavan, an Irish immigrant turned criminal mastermind who has left a long and bloody string of crimes in his wake, and has an even more ambitious misdeed in mind.

Michael A. Black, a retired policeman who has written thirty novels in various genres, keeps the telling lively as he cuts back and forth between hunter and quarry, peppered with humor, some of it pretty raunchy. He even provides an alternate story-teller, a character named Stutley, fresh from the east and hoping to be the next Ned Buntline, who is bullied into turning the despicable Donavan into The Rob Roy of The West.

While author Black does not endorse the currently popular theory that The Lone Ranger was based on Bass Reeves, but turned Caucasian, he runs with the idea in this year, the 70^th anniversary of the Clayton Moore and Jay Silverheels TV series. There are masks, and five ambushed Texas Rangers, and even a faithful Indian companion who keeps calling Bass “Gimoozabie.” 

‘LONE RANGER AND THE LOST CITY OF GOLD’ SCREENS SAT. 11/23 AT THE AUTRY!

Celebrating the 70^th anniversary of the Lone Ranger TV series, the second Lone Ranger theatrical feature, starring Clayton Moore and Jay Silverheels, will screen at the Wells Fargo Theatre.  The film will be introduced by Native actor & writer Jason Grasl (Blackfeet).  It will be followed with an interview with Clayton Moore’s daughter, Dawn Moore, conducted by Leonard Maltin.

AND THAT’S A WRAP!

Happy Trails,

Henry

All Original Material Copyright November 2019 by Henry C. Parke – All Rights Reserved

‘MAGNIFICENT 7’ MEMORIES, PLUS WESTERN PORTRAIT PROJECT, ME ON WRITER’S BLOCK, AND DON RICARDO RETURNS TO THE PICO ADOBE!

PRODUCER WALTER MIRISCH ON ‘THE MAGNIFICENT 7’

On Tuesday night, July 14^th, at Santa Monica’s Aero Theatre, an invited private audience attended the annual James Coburn Movie Night, part of the weekly KCET Cinema Series.  The James Coburn film to be screened was THE MAGNIFICENT 7, and it was that much more special a night, because the movie’s famed producer Walter Mirisch would be attending, and receiving the KCET Lumiere Award, recognizing excellence, artistry and innovation for outstanding contribution to film.

I spoke to Mr. Mirisch on the red carpet, and we talked about his early Western days, when he produced Joel McCrea Westerns at Monogram Studios (if you missed that, HERE is the link).

Also present were Coburn’s son and daughter, James Jr. and Lisa, and Lynda Erkiletian, exec director of the James and Paula Coburn Foundation.  Mirisch’s son and frequent collaborator Andrew Mirisch also attended.

The Coburn family

Onstage, KCET head of development Mary Mazur introduced Mr. Mirisch. “I am particularly pleased to have the opportunity to present this award to Walter tonight.  My first job in television was at NBC, and one of my first executive assignments was as the program executive on a series of TV Movies called DESPERADO, which were produced by Walter and his son Drew.”  There were five DESPERADO movies, the original written by Elmore Leonard.

WALTER MIRISCH: Somehow or other, receiving awards never gets old.  This is a wonderful evening.  It gives me a great opportunity to see one of my really treasured memories, THE MAGNIFICENT 7, which is really a milestone film in my career and in my life.  And I am deeply moved, honored and proud to receive this most distinguished award here this evening.  I am particularly proud to remember that it comes from KCET, whose studio was my home for ten years in the very beginning of my career, and where all the films of my earlier career were made.  (Note: the original home of KCET was Monogram Studios.)  I’m also proud that a sponsor of this event is the James and Paula Coburn Foundation, because Jim was a friend of mine.  I was crazy about him.  We first met when he was in a segment of a television show I was making, that starred Joel McCrea, WICHITA TOWN.  He was in the pilot episode, which was called THE NIGHT THE COWBOYS ROARED.  Jimmy was just great in it, and I remembered him, and as my career progressed, and as his did, I kept looking for opportunities to find a role.  It didn’t happen until THE MAGNIFICENT 7 came along, and then I did find the right role for him, and I think you’ll agree when you see the picture, because he’s just marvelous in it.    Later on we continued to work together, and then Jim appeared in THE GREAT ESCAPE, also a signal film in my curriculum.  And then finally, the last one he did for me was MIDWAY, in 1975.  I’m also proud to be a part of this continuing saga of KCET’s contribution to our community.  I’ve enjoyed it all my life, and I continue to.  So here we go, and if you ask me some questions, I’ll try to answer them, Pete, and I hope they won’t be too embarrassing.

The Mirisch family

DEADLINE: HOLLYWOOD writer Pete Hammond then took the stage, with a recommendation that we all read Walter Mirisch’s autobiography, I THOUGHT WE WERE MAKING MOVIES, NOT HISTORY.

PETE HAMMOND:  Look at the cover: all of those Oscars, and the Thalberg Award, and the Golden Globe.  This is one helluvah career that you’ve had.  I’m curious how MAGNIFICENT 7 came about, because there was this Japanese film, SEVEN SAMURAI.

WALTER MIRISCH:  Kurosawa, the great Japanese director, made THE SEVEN SAMURAI.  I saw it and thought it was wonderful.  It starred the great Japanese actor Toshiro Mifune, who I had the privilege of working with; he appeared in my film MIDWAY many years later.  For those of you who haven’t seen it, it’s the story of Japanese soldiers of fortune, in the medieval period of Japan.  And I kept thinking about whether it could be translated into an American picture, when a friend of mine who was associated with Yul Brynner called me up.  He said, you’d asked me about the rights to SEVEN SAMURI.  It’s funny, Yul Brynner brought the same question up to me, because he also had Japanese connections.  We both thought that perhaps he could intervene with Toho, the Japanese company that had produced it.  I had just succeeded in attracting to our company John Sturges.  I was a great fan of John’s movies, and I called him up and said, John, I think I’ve got the first movie for us to make.  I want you to come over, and I want to run THE SEVEN SAMURAI with you.  The two of us sat alone in a projection room and watched it, and had the best time ever, talking while the movie was running, and translating all of the sequences of Mr. Kurasawa’s movie into the western motif.  So in the projection room we made a western of THE SEVEN SAMAURI.  Then we hit on a marvelous writer, Walter Newman, who did the basic script of THE MAGNIFICENT 7. 

PETE HAMMOND:  I notice Walter Newman is not listed on the posters on the lobby.  Was he a blacklisted writer at that time?

WALTER MIRISCH:  No, he was not a blacklisted writer.  Don’t let that get around.  However, Walter was very stubborn.  While we were shooting the picture, we needed some work done while we were down in Mexico.  I asked Walter to come down, and for one reason or another, he couldn’t come.  I think the Writer’s Guild then had an arbitration, and decided the writer we had brought down had made a significant contribution, and should receive some kind of a shared credit.  Walter resented that; he was angry at his Guild, not at John or I, and he said that if they didn’t give him sole credit, he didn’t want anything.  It was a very serious career mistake that Walter, who was a wonderful writer, made.  And it was Bill Roberts who did the work down in Mexico, and helped us field the suggestions that came from our always cooperative cast, all of whom wanted to enlarge their roles.  That’s how that came about.    

PETE HAMMOND:  Actually I think James Coburn was one member of the cast who liked not having many lines in the film.  Does he have eleven lines?

James Coburn, Horst Bucholtz

WALTER MIRISCH:  I never counted them.  However, he plays this laconic character.  I shall never forget, one day Walter Newman came in to my office and said, I’ve got to ask you about something that I’ve been noodling with, and can’t make up my mind.  If two men faced one another, and one man had a gun and the other had a knife, and they both fired at the same time, which would arrive first?  I said, no question about it, the bullet would.  He said, I was thinking about having the knife-thrower do it.  I said that’s a great idea; and that’s how that got into the movie.  It was showmanship, and Jim was the perfect one to execute it. 

PETE HAMMOND:  Talk about the rest of the cast, because Steve McQueen was starring in a television series, WANTED: DEAD OR ALIVE, at the time.  

WALTER MIRISCH:  The casting of THE MAGNIFICENT 7 was kind of a fun exercise for John Sturges and myself.  Because we had these wonderful roles to fill.  And I’d try and get all of my favorite actors in, and John would try and get his.  That’s how Jim Coburn got in, because I had been looking for a really good Jim Coburn role since WICHITA TOWN.  John Sturges had made a movie for MGM with Frank Sinatra called NEVER SO FEW.  And he kept telling me he had this kid in it, and the kid is marvelous, and we’ve got to find a part for the kid.  And the kid, of course, was Steve McQueen.

PETE HAMMOND:  Charles Bronson?

WALTER MIRISCH:  Charlie Bronson I had known for a long time, and the O’Reilley part just cried out for Bronson.  I think the most exciting piece of casting comes with the story.  A couple of years ago, The Museum of Modern Art in New York honored me.  At the event they asked Eli Wallach to come and speak about me.  I hadn’t seen Eli a lot in recent years; he always lived in New York, and we didn’t run across one another too often.  Eli got up and said, I think I owe my whole career to Walter Mirisch.  Well, I perked up.  I didn’t know why he felt that way, but I was interested, as I hope you all are.  And Eli said, before I met Walter Mirisch, I was just another Jewish actor in New York.  After I met him, I became a Mexican bandit for life!

PETE HAMMOND:  It was Sturges’ idea?

WALTER MIRISCH:  It was John’s idea.  And it was brilliant.  I said, are you crazy?  He said no, no, think, and we looked at some film, and then I met him, and it came together.  John and I had a wonderful relationship.  As a matter of fact I am indebted to him for the title of my book.  He had called me once, while I was writing it.  He was retired by then.  He loved boats, and he was down in Mexico someplace, on his boat.  He called me and said, Walter, I’ve been asked to do an article about THE GREAT ESCAPE.   And I don’t really remember some things that I wanted to write about.  And I was wondering if you still have a copy of the script?   I said John; I can’t believe you don’t have a copy of the script: this is one of the best movies of your whole life.  He said, what are you talking about?    I thought we were just making movies, not history.  So that resonated with me, and I used that as the title.

PETE HAMMOND:  You really didn’t think you were making history when you were making all these movies?

WALTER MIRISCH:  No – I was trying to make a living.

PETE HAMMOND:  They say music is the soundtrack of your life; your movies are the soundtrack of my life, from SOME LIKE IT HOT to WEST SIDE STORY.  WEST SIDE STORY and THE APARTMENT were back to back Best Picture winners.  Billy Wilder, you did nine films with him.

WALTER MIRISCH:  Actually he worked for nobody else during the period of seventeen years when we were together.  However, the important thing in my career was not just making those movies with Billy Wilder; what was more important was having a thousand lunches with him.  He was the most interesting, stimulating, brilliant man.

KCET CEO Michael Riley, Mirisch, KCET COO Mary Mazur

PETE HAMMOND:  Can I say how old you are?  Because you’re still working every day, going to the office, developing movies.  And you’re 93 years old.

WALTER MIRISCH:  I have done nothing to deserve that.  It’s probably genetic.

PETE HAMMOND:  I heard you just had a Hallmark movie done.

WALTER MIRISCH:  Yes, they just reran it a couple of weeks ago.

PETE HAMMOND:  And another PINK PANTHER?

WALTER MIRISCH:  Yes, I’m working on the script of that for MGM now.  It’s going to be a combination of live action and animation.  It’s really challenging and something new, and I’m very excited about it.

PETE HAMMOND:  Do you have any favorites among your films?

WALTER MIRISCH:  How many children do you have?  Do you have a personal favorite?  If you have, you won’t tell.

PETE HAMMOND:  Your films really hold up.  They live on.

WALTER MIRISCH:  That’s what classic movies are, I guess.  And that’s the exciting thing about living to this ripe old age.  You get to see how succeeding generations react to your films, and to the things you wanted to say to your audiences.  And it’s particularly true to WEST SIDE STORY, and the message of WEST SIDE STORY.  That message needs to be repeated again and again, because we still haven’t learned our lesson.  IN THE HEAT OF THE NIGHT, in which attacked the racial issue right in the heart of the civil rights revolution, I hoped would make a real contribution to better understanding, and tolerance.  I like to think that it made some kind of contribution, but it didn’t solve it; the problem is still with us.  Motion pictures, besides entertaining, can be tremendously important in educating people.  Because it’s a way to make people understand issues in a way that’s easy to accept.  And hopefully they will come away from it feeling much more sympathetic to that black detective who is the protagonist. 

PETE HAMMOND:  Now THE MAGNIFICENT 7 lives on; you made three sequels yourself to this movie.

WALTER MIRISCH:  Yes, the first one, Yul Brynner appeared in, RETURN OF THE 7.  Then other people played him.  And over the years we used the franchise a number of times. 

PETE HAMMOND:  The TV series.

WALTER MIRISCH:  And it is now being remade.  We’re shooting it now, down in Louisiana.  It stars Denzel Washington, who plays the part that Yul Brynner played.  Chris Pratt, who plays the lead in JURASSIC WORLD.  And Ethan Hawk.  It’s got a wonderful cast.

PETE HAMMOND:  And you’re going to have an executive producer credit on it.  Is it going to have any of that iconic theme by Elmer Bernstein, one of the most famous pieces of music in movie history?

WALTER MIRISCH:  It was not nominated.  Actually it was nominated in one of the sequels; but not in the original.  It just goes to show you that the Academy Awards are not perfect. (Note: Elmer Bernstein’s scores for MAGNIFICENT 7 and RETURN OF THE 7 were both Oscar-nominated, and both lost)

Mirisch and Hammond admiring a huge poster

PETE HAMMOND:  This coming from a man who used to be president of the Academy.

WALTER MIRISCH:  It is a magnificent piece of music, and it developed its own life.  It became the theme of the Marlboro cigarette company, and they played  it for years and years and years.

JAMES HORNER COMPOSED ‘MAGNIFICENT 7’ REMAKE’S SCORE BEFORE HIS DEATH!

And on the heels of our MAGNIFICENT 7 story, a remarkable surprise!  While composer James Horner recently died in a private plane crash, we will hear more of his music.  During an NPR interview, MAGNIFICENT 7 remake director Antoine Fuqua revealed that Horner, who also scored Fuqua’s just-released SOUTHPAW, surprised him with a completed score for MAGNIFICENT 7 based on the screenplay – currently shooting.  For the complete interview, go 

HERE.  

SPENT SUNDAY WITH BRUCE BOXLEITNER!

watching the GUNSMOKE and HOW THE WEST WAS WON star pose for photographer/action director Steve Carver (LONE WOLF MCQUADE, BIG BAD MAMA).  For his upcoming photography book, UNSUNG HEROES & VILLAINS OF THE SILVER SCREEN, Carver uses 19^th Century photo techniques, and he’s been taking these portraits of stars and characters actors for 22 years!  There aren’t a lot of smiles in them, either: just like the old tintype days, they have to pose motionless for 8 seconds.  Try it!  The whole story, and wonderful portraits, and my interview with Bruce, coming soon to the Round-up!

I’M THE ‘WRITER’S BLOCK’ GUEST THURSDAY NIGHT!

Jim Bell, Bobbi Jean Bell & me

On Thursday, July 30^th at 8 pm, I’ll be joining hosts Jim Christina and Bobbi Jean Bell for an hour of talk about writing and up-coming Westerns on their weekly show, Writer’s Block, on L.A.Talk Radio.  You can listen live (at ‘Listen Live 2’) HERE.  You can call in live at 818-602-4929.  And if you miss the live broadcast, or want to catch up on earlier shows, you can find podcasts of them HERE .

SEE ‘DON RICARDO RETURNS’ FRIDAY NIGHT AT ANDRES PICO ADOBE!

The Andres Pico Adobe Museum is a jewel in the San Fernando Valley.  The headquarters of the San Fernando Valley Historical Society, built in 1853, it is the second oldest home in Los Angeles.  On Friday night, July 31^st, at 8 pm, they will screen the 1946 swashbuckler DON RICARDO RETURNS, starring Fred Coby and Lita Baron (a.k.a. Isabelita).  This rarely seen (I’ve never seen it) PRC Studios Spanish adventure story was filmed in part at the Pico Adobe itself, so seeing it there should be particular fun.  The story is by Johnston McCulley, the creator of Zorro.  The screenplay is co-written by Jack DeWitt, who would later gain fame for scripting A MAN CALLED HORSE, and Renault Duncan, pen-name for the screen’s Cisco Kid, Duncan Renaldo!  The address is 10940 Sepulveda Ave., Mission Hills 91346.  Their phone is 818-365-7810.  Their website is www.sfvhs.com. 

The movie is free, the gates open at 7 pm, so you can come early, and bring snacks or a picnic dinner.  If you’ve never visited the Adobe before, here’s a perfect opportunity.        

AND THAT’S A WRAP!

Have a great week – or what’s left of the week!

Happy Trails,

Henry

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