Get-TV ADDS ‘TALL MAN’, ‘WHISPERING SMITH’, ‘LAREDO’ TO SATURDAY SHOWDOWN! PLUS ‘BONE TOMAHAWK’, ‘WESTERN RELIGION’, OPEN THIS WEEK!

Get-TV ADDS ‘TALL MAN’, ‘WHISPERING SMITH’, ‘LAREDO’ TO SATURDAY SHOWDOWN! 

A TALK WITH get-TV PROGRAMMER JEFF MEIER

Audie Murphy in WHISPERING SMITH

Get-TV, a SONY antenna movie network, or digi-net, has doubled-down on their Saturday Western series offerings.  In September they premiered NICHOLS, HONDO, and A MAN CALLED SHENANDOAH (you can read my coverage HERE.)

On Saturday, October 3^rd, they added three more Western series to their schedule: THE TALL MAN (1960-1962), WHISPERING SMITH (1961) and LAREDO (1965-1967).  While LAREDO played on Encore Westerns a few years ago, the other two have rarely been seen since their brief initial runs.  All are from Universal Studios. 

THE TALL MAN tells stories about Billy the Kid (Clu Gulager) and Pat Garrett (Barry Sullivan) when they were still friends (you can read some of Clu’s memories of the series – and a lot of other memories – HERE .) .   In WHISPERING SMITH, Audie Murphy, America’s most decorated soldier of the Second World War, takes on the role of the railroad detective popularized by Alan Ladd in the 1948 Paramount feature of the same title.  Based on the Frank Spearman novel, four earlier WHISPERING SMITH films was made starting in 1916, with the character variously portrayed by H.B. Warner, J. P. McGowan and George O’Brien.  In the series, Guy Mitchell plays Smith’s right hand, George Romack.  LAREDO, sort of a GUNGA DIN out west, is the story of three Texas Rangers, played by Peter Brown, William Smith, and Neville Brand (also one of the most decorated American soldiers of World War II), plus Robert Wolders in season two (read my interview with star Robert Wolders HERE ), and their long-suffering captain, played by Philip Carey.  

Earlier this week I had the chance to talk with Jeff Meier, get-TV’s Senior Vice President of Programming, about all of the exciting recent additions to the get-TV line-up. 

Audie Murphy and Guy Mitchell in

WHISPERING SMITH

Q: Most of the talk about ‘cord-cutters’, dropping satellite or cable service, is about people who decide to get all of their TV from the internet.  But there’s a whole other kind of cord-cutter, folks who are switching from cable back to antenna TV, and Sony’s Get-TV is a big part of that.  Why do you think it’s happening?

A: Well, the technology in the last few years has enabled the birth of a whole new group of channels, and that technology allows all the local (channels) to have the capacity to air three or four digital channels in addition to their regular feed.  Because there were already many millions of people who were just getting their television through the antenna, it created a market for these channels to develop, and it feeds upon itself.  Once you have another dozen channels available over the air, it makes people feel comfortable about using that as their main way to get entertainment.   

Q: How long have you been on the air?

A: get-TV’s been on the air since February of 2014.  So it’s been a little over a year and a half. 

Q:  I would classify you as a classic movie channel.  Initially, what audience were you aiming for? 

A:  We were looking for a classic movie audience.  We had looked at the landscape of digi-channels that had already launched, and it felt like there was a hole in the market for a classic movie channel.  And we were working at the Sony lot, and it’s something that I felt we could do really well.  We had always thought of the possibility of adding series to the channel, being generally classic across both TV and movies.  Now we’re at the beginning stages of adding some series to the mix.

Q:  Who watches – is it a rural or city audience, older or younger?

A:  Interestingly enough, our demographic information is not too extensive.  We gather a lot of our understanding of our audience by both social media, and by who writes to us.  I would imagine that our demographic is on the older side of the TV demographic.  It’s no surprise that when you’re airing classic TV and movies, the people who are most interested in that are people who experienced some of that content when they were growing up.  I wouldn’t make a guess as to whether we’re more rural or urban.  We’re carried in all of the top twenty-five markets, so we’ve got a lot of coverage in major cities.  By default, the most rural of places don’t get these stations because there’s not a local channel to carry our feed.

Q: Thus far you’ve drawn your content primarily – maybe exclusively – from the Columbia Pictures library, owned by SONY.  And you’ve had a particular focus on Westerns, both As and Bs.  Why?

A:  There’s such a passionate audience for Westerns.  When you look around the dial, whatever channels air westerns, they always get a tremendous audience.  So I knew there was a hunger there.  And I knew we had the potential to explore some Westerns that don’t get seen as often.  Since the very beginning of the channel we’ve been airing the Durango Kid movies, the Tim McCoys.  And those movies are a little bit on the older side, so they’re not the every-day fare of most of the channels that are airing Western content.  It felt like we could offer something new to an audience that was really hungry.  And that’s proven to be the case; we get a lot of great response about all of the Westerns that we air.

Q: How should viewers communicate with you, if they want to get in touch to say they’re enjoying something?

A: If you go to the get-TV website, on the bottom of the home page, there’s a section called ‘contact us.’  You can get in touch that way, if you want to reach us directly.  And on Facebook you can go to the get-TV page, like us there, and join that community – we have a very strong social media community, and we’re always looking to see what people say there.  And you can also engage with other viewers about the channel, and share your opinion.

Q: You’ve introduced an exciting new Saturday Line-up, Saturday Showdown, featuring NICHOLS, HONDO and A MAN CALLED SHENANDOAH.  And now you’re adding three more: LAREDO, THE TALL MAN, and WHISPERING SMITH.  Why did you choose these particular shows?

A:  I had both an overall goal and some specific goals.  I’m really interested in the whole area of how popular culture gets passed down from generation to generation.  It often seems like only a few big hits ever make it through the clutter.  Whether that’s a few big Beatles songs that make it through the clutter of music, or whether it’s things like BONANAZA and GUNSMOKE – they’ve made it through the clutter of Westerns, and they’ll be here forever; and those are great.  But there’s a lot of other really good stuff out there, and nobody’s let it see the light of day.  And I really think that there’s a lot of rabid interest, particularly in the Western content arena, and I thought that (viewers) deserved to have a few more options.

Then with each of the specific shows, there were different things that sold me on them.  In some cases it was star power: you can’t go wrong with James Garner in almost anything he does – he’s just wonderful.  So NICHOLS was important to me for that reason.  Others of the shows, because these are the first series we’re putting on the air after being primarily a movie channel, I wanted to have connection to movies.  HONDO is based off a movie; WHISPERING SMITH is based off a movie.  And WHISPERING SMITH stars Audie Murphy, who has been in a ton of movies, so I liked that connection.

Q: I suspect you’re going to be introducing Audie Murphy to a lot of people, because although he was a very big star in his day, his movies are very rarely shown.

A:  We’ve actually had some experience with Audie Murphy, because at one of the other channels we work on here at Sony, The Sony Movie Channel, we’ve aired a bunch of Audie Murphy movies, and they do really, really well for us, so I already knew he had that potential.  Frankly I hadn’t known he’d done a series, and when I discovered that he had, I crossed my fingers that it would look good, that we could get the materials, that we thought it would be a good hit for the channel.  And we were really happy that we could get it.  I was really interested in LAREDO because there are not that many Westerns series in color from those later years of the Western.  It’s important to me to have a mix of black and white and color on the channel, and this series has a sense of humor, and was well-regarded.  For all of the series we looked through information on-line that fans had written.  And we watched them and we tried to figure out which held up over time, and these all made the cut.  It’s an interesting mix, and it’s one that we expect in the future to be folding new series in on.  Viewers, if they have some particular favorites, they can use that contact information.  We’d love to hear their ideas of what they’d like to see, that they haven’t seen in a long time.

Clu Gulager, center, Barry Sullivan, right,

in THE TALL MAN

Q: What in particular attracted you to THE TALL MAN?

A: What I liked about TALL MAN was it’s Billy the Kid and sheriff Pat Garrett.  And even though it’s a series people have forgotten about, they’re iconic Western characters that people can still tap into now.  It provides an entry point that isn’t obscure, and allows Western fans of today to have a context with which to watch the show.   It’s a different take on that relationship.  And on A MAN CALLED SHENANDOAH, Robert Horton is from WAGON TRAIN, so he’s an established Western star.  This show didn’t fit a lot of my other parameters: it wasn’t based on a movie, it wasn’t in color, it wasn’t with a movie star.  But we watched it, and we just thought it felt like such a quintessential Western story that we couldn’t not try it out.  It also has a lot of great guest stars, and a great creative pedigree, and felt like it would be a fun show to watch.

Q: Does the smaller number of episodes in these series concern you?

LAREDO stars William Smith, Peter Brown,

and Neville Brand

A: No actually.  Because we’re airing our Saturday Showdown once a week, having a smaller number of episodes is fine.  If we were trying to air these episodes Monday through Friday for two years running, then I think they’d burn out pretty quickly.  But in the context of how we’re using them, I think they’ll be just fine.  And we hope to refresh the line-up and mix it up from time to time, too, so I think it’s just the right number of episodes.

Q: With adding these series, with adding THE JUDY GARLAND SHOW and THE MERV GRIFFIN SHOW, are you redefining get-TV away from being a ‘movie channel’?

A: I think we are trying to redefine it a little, to be a channel that runs classics, and the classics can be classic movies or TV, but in no way are we going away from the core of being a classic movie channel.  Later this month we’re working with the Bogart Film Festival in Florida.  We’re always trying to figure out some classic movies we could help preserve, or premiere again.  And that remains very important to us.  We just wanted to add the extra elements and see how it goes.

Q: Did you grow up watching westerns?  Did you have favorites as a kid?

A: I’m probably too young for the core era of the Western.  I very specifically remember watching BRET MAVERICK, which was a sequel to MAVERICK, probably in the early ‘80s, with my father, who was always a James Garner fan – I remember that very vividly.  And we also watched a year-long mini-series called CENTENNIAL (1978-79), based off of the James Michener book.  I would say that was my first really big experience with an epic Western, and I thought that was a phenomenal show.  But like I was telling somebody yesterday, I’m from the LITTLE HOUSE ON THE PRAIRIE era of Michael Landon, not the BONANZA era of Michael Landon.

Q:  The kinder, gentler Landon.  What are your favorite western features?

A:  Oh gosh, it’s too hard for me to pick.  The most famous, classic ones, I fall in line with those:  HIGH NOON, SHANE, some of the big John Wayne ones.  Not an atypical general fan kind of point of view.   I have people here on my team who help us program all this, who are more specialists in Westerns than I am.

Q: What was your first job in television?

A:  I was an assistant in the scheduling department at Comedy Central before it was Comedy Central, when it was Comedy Channel in New York. 

Q: Are you a New Yorker?  I’m a Brooklyn boy myself.

A: I actually grew up in southern New Jersey, near Philadelphia.

Q: Anything else I should know?

A:  We’ll have more shows on the way, and more movies on the way.  And I hope people keep on watching, and let us know what they like.

Here’s the Saturday Showdown line-up:

Noon - THE TALL MAN

12:40 p.m. - WHISPERING SMITH

1:20 p.m.  – A MAN CALLED SHENANDOAH

2 & 3:15 p.m. – LAREDO

4:30 p.m. – HONDO

5:45 p.m. – NICHOLS

You’ll notice that the half-hour shows are in 40-minute slots, and the hour shows are in 75 minute slots.  That’s because the episodes are being show with commercials, but uncut.

‘BONE TOMAHAWK’ PLAYS TUES 10/6 AT HOLLYWOOD EGYPTIAN!

As part of the Beyond Fest the much-anticipated new Western with horror overtones (if you consider cannibalism horrible), BONE TOMAHAWK, written and directed by Craig Zahler, and starring Kurt Russell, Richard Jenkins, Sean Young, Matthew Fox and many other notables, will play at 7:30 pm at Hollywood’s famed Egyptian Theatre.  Director Zahler and star Matthew Fox will attend.  For more information, go HERE.  

On October 23^rd, the limited national release will begin. 

‘WESTERN RELIGION’ CONVERTS HOLLYWOOD OCT. 10-15!

WESTERN RELIGION, James O’Briens’s exuberant Western fable about a gathering of high-rollers for a legendary poker tournament, kicks off its national release with a private red-carpet opening on Friday, Oct. 9^th, followed by six days of screenings at the Arena Cinema in Hollywood, at 1625 North Las Palmas Ave., 90028.  It will also play dates in Austin, Iowa City and New York City.  Go HERE to buy tickets.   .  Go HERE  to read my review, and interview with James O’Brien.  Go HERE here to read about my on-set adventures: 

TED TURNER BUYS ‘DANCES WITH WOLVES’ RANCH!

Thanks to author and ‘Dances With Wolves’ soldier Bill Markley for passing this on to me!  Recently I wrote that the historic TRIPLE U RANCH, location for much of ‘Wolves’ was up for sale.  Good news: it has been bought by the man who created Turner Classic Movies, Ted Turner.  Details HERE.  

THAT’S A WRAP!

Angie Dickinson & John Wayne in RIO BRAVO

I’ll be at the openings for BONE TOMAHAWK and WESTERN RELIGION this week, and report back.  And hopefully I’ll have part two of my SILVER SPURS coverage in the next Round-up.  And speaking of the Spurs, Wednesday was the 84^th birthday of Angie Dickinson.  At the Spurs I had the chance to interview the talented and beautiful actress about her work on GUNSMOKE, RIO BRAVO and her other Westerns, and she could not have been more charming and funny.

And Monday was the 81^st birthday of Brigitte Bardot, a fine actress and eye-popping delight in VIVA MARIA, SHALAKO and FRENCHIE KING, and a lifelong advocate for the protection of animals!

And Friday would have been the birthday of the great singing cowboy, actor, filmmaker, sports lover, visionary Gene Autry!

Happy Trails,

Henry

All Original Contents Copyright October 2015 by Parke – All Rights Reserved

HONORING WESTERN VETS

HAPPY VETERANS DAY -- HONORING WESTERN VETS

 

Audie Murphy

 

Back on the 4^th of July, 2010, I wrote an article to give a special nod of gratitude to the Westerners, both in front of and behind the camera, who did their part to keep us free.  I’m doing an update for Veterans Day, but I know that there are many names left out, and I would be grateful if readers will contribute names for inclusion.

 

Charles Durning

 
Tom Mix was an artillery sergeant in the Philippine campaign from 1898-1901. Ken Maynard fought with Gen. Pershing against Pancho Villa, and served in the First World War. Hoot Gibson was an Army Sergeant in the Tank Corps during World War One. With the outbreak of World War One, Tim McCoy organized a regiment of cavalry, and was commissioned Captain of Cavalry, later transferred to the Horse Artillery, was a Colonel by age thirty, and was appointed Adjutant General of Wyoming. He also served in the Second World War, and again achieved the rank of Colonel. Buck Jones enlisted in the Army in his teens, served first on the U.S. – Mexico border, then in the Moro uprising in the Philippines. Buck reenlisted in World War One, training horses for the Allies. During World War II, Buck took part in a cross-country series of Bond Rallies. He died with hundreds of others when a fire tore through Boston’s Cocoanut Grove nightclub.

 

Neville Brand

The two most highly decorated American soldiers of the Second World War both went on to acting careers: Audie Murphy and Charles Durning. Not far behind in honors was Neville Brand, who won the Silver Star, Purple Heart, and three Battle Stars among many other decorations. One of the Hollywood cowboys who did not return from the war was Lee Powell, U.S.M.C., the screen’s first Lone Ranger, who was killed in action on Tinian, Marianas Islands.

 
Among the many western actors who served in the Navy during World War II were Richard Boone, Ernest Borgnine, Charlton Heston, Earl Holliman, Kirk Douglas, Strother Martin, Robert Montgomery, Jack Lemmon, Wayne Morris, Rock Hudson, Paul Newman, Strother Martin, Jeffrey Hunter, Robert Stack, Richard Jaekal, Lee Van Cleef, GUNSMOKE’s Dennis Weaver, and GUNSMOKE on radio’s Matt and Doc, William Conrad and Howard McNear. Harry Carey Jr. was a Navy Medical Corpsman in the Pacific. Henry Fonda won the Navy Bronze Star for Valor, Jason Robards Jr. was a radioman on duty in Pearl Harbor when Japan attacked, and Glenn Ford served in World War II, Korea and Vietnam, retiring as Captain in the Naval Reserve. Humphrey Bogart, who was injured in World War One, tried to enlist in World War Two, but was turned down because of his age.

 
Those who served in the Army included John Agar, Charles Bronson, George Kennedy, Eli Wallach, Robert Mitchum, James Coburn, and Gene Evans. Forrest Tucker was in the Cavalry, Dale Robertson was in a tank battalion in North Africa,   Burt Lancaster was in the Army Special Services, and James Arness was wounded at Anzio. Mel Brooks (we’re counting BLAZING SADDLES as a western), a combat engineer, cleared German mines after the Battle of the Bulge. Gene Autry was an Army Flight Officer in the Air Transport Command.

 
Those in the Army Air Corps included Jimmy Stewart, Clark Gable, Jack Palance, Ronald Reagan, Lee J. Cobb, Joseph Cotten, Van Heflin, Tim Holt, Arthur Kennedy, Alan Ladd, Ray Milland, Cameron Mitchell, George Montgomery, Clayton Moore, Robert Preston, George Reeves, Ken Curtis and Robert Taylor.  Parley Baer, radio’s Chester, was a Captain.  Morgan Woodward was in the Air Corps in World War II, and in the Air Force in Korea. 

 
Among those who served in the Coast Guard were Alan Hale Jr., Buddy Ebsen, Cesar Romero, Jim Davis and Victor Mature.

 
And in the Marine Corps were Brian Keith, Lee Marvin, Steve McQueen, Tyrone Power, John Russell, Robert Ryan, Sterling Hayden and Jock Mahoney.

 
Clint Walker served in the Merchant Marine.


And because actors don’t make movies by themselves, Director John Ford commanded the photography group of the OSS and was present when the troops landed on Normandy. Ford left the Navy as a Rear Admiral. Director Howard Hawks was a Lieutenant in the Signal Corps during the First World War before joining the Army Air Corps and serving in France. Directors George Roy Hill and Sam Peckinpah were Marines. Directors William Wyler, Sam Fuller, John Sturges and Don Taylor served in the U.S. Army Air Corps, as did producers Jack Warner and Daryl F. Zanuck. Writer and director Burt Kennedy was in the Army Cavalry.  Producer Saul David served in the Army. And Yakima Canutt, stunt man extraordinaire, was in the Navy during World War I.


Among those who have served since World War II are Clint Eastwood, Army; Peter Graves, Air Force; Buck Taylor, Navy; Luke Askew, Air Force and Navy; Robert Vaughn, Army drill sergeant; Clu Gulager, U.S.M.C., and James Garner and Ty Hardin, both Army in Korea. 
 

MARK OF THE GUN, ‘NEW’ B&W 1969 WESTERN COMING SOON!

 

Western fans will soon have the unique opportunity of seeing a ‘new’ black & white 1969 Western for the first time.  Fred Olen Ray, the talented and prolific director of films like BAD BLOOD: HATFIELDS & MCCOYS and AMERICAN BANDITS – FRANK AND JESSE JAMES, will be releasing the film to DVD this December.  The movie stars Ross Hagen, the handsome, gravel-voiced character actor that played likeable tough guys on both sides of the law, in cop shows and westerns.  He passed away in 2011.   

 

Ross Hagen

 

Making his first credited appearance on THE BIG VALLEY, Ross was a busy actor from the mid-sixties, when he made multiple appearances on series like GUNSMOKE, THE VIRGINIAN and HERE COME THE BRIDES.  He continued throughout his life, also writing and directing films like MURDER ON THE YELLOW BRICK ROAD (2006), and his final credits included the Western SHADOWHEART (2009), and the voice of Landon Ricketts in the RED DEAD REDEMPTION video games.

 

Hagen starred in MARK OF THE GUN in 1969.  Shot at or around the famed Iverson Movie Ranch, it’s the only directing credit of actor Wally Campo, who is still active, and worked frequently for Roger Corman in the 1960s.  Here’s the kicker – it was shot by one of the greatest cinematographers of all time, Laszlo Kovacs, just before he shot EASY RIDER!

 

Fred Olen Ray and Ross Hagen worked together on more than twenty projects.  “I bought the copyright and negative (from Ross’ estate)”, Fred told me.  “I couldn’t let it disappear.  I don’t know if it ever had a release.  There’s no evidence I can find.”  Although there is some info at IMDB (http://www.imdb.com/title/tt0312950/), there are absolutely zero comments, suggesting no one has seen this movie.  When Fred releases it in December, there will be extras, but I don’t yet know what they are.   I’ll be back with more details soon.

 

‘DR. WHO’ WESTERN AIRS MONDAY, NOVEMBER 19^TH

 

Fort Bravo, in Almeria, Spain, a core of the spaghetti western world, was just the location for the Almeria Western Film Festival.  But it also remains a very active shooting location, and this summer the BBC sent their DR. WHO crew to Fort Bravo to shoot A TOWN CALLED MERCY.  In this episode, Matt Smith, as Dr. Who, becomes the reluctant sheriff of a Western town which is under siege by a cyborg.  It’s airing on BBC America on Monday, November 19^th, check your local time.  For a preview, here is a two-minute montage from the episode, to the tune of GUNFIGHT AT THE O.K. CORRAL, posted by José Manuel Hita Segura.
 

‘HEATHENS & THIEVES’ ARE EVERYWHERE!

 

Just heard from writer/co-director John Douglas Sinclair that HEATHENS & THIEVES is now available on DVD from Amazon, Barnes & Noble, Best Buy, CD Universe and Family Video. It’s available streaming video-on-demand at iTunes, Amazon, Bright House, Charter, CinemaNOW, Comcast, Cox, Dish Network, Google Play, Time Warner, Verizon, Vudu, Xbox Live, YouTube Movies and Walmart.com.  It’ll be available at Walmart and Redbox some time in December.  John and company got a particular kick when they checked out the YouTube Movie Page ‘Staff Picks’ last week, and found out they were #1, ahead of PARANORMAL ACTIVITY and the TWILIGHT SAGA. 

‘SIX-GUNS AND SLAY BELLS’ SIGNING

 

If you’re looking for the perfect Western book to both delight and creep out your loved ones, don’t overlook SIX-GUNS AND SLAY BELLS – you can read my review HERE.  http://www.henryswesternroundup.blogspot.com/2012/10/slay-bells-ring-for-holidays.html.  And if you’re in Southern California, and would like a signed copy one of the authors, Courtney Joyner will be signing at Dark Delicacies on Friday, November 16^th, at 6 p.m. http://www.darkdel.com/ .
 

 

TCM FANATIC - WESTERN NOW ONLINE!

And speaking of TCM (okay, nobody was), 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 entrepreneur 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 permanent 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 Hollywoodwestern, 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.



WELLSFARGO 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.


WESTERN ALL OVER THE DIAL


INSP’s SADDLE-UP SATURDAY features a block of rarely-seen classics THE VIRGINIAN and HIGH CHAPARRAL, along with BONANZA and THE BIG VALLEY. On weekdays they’re showing LITTLE HOUSE ON THE PRAIRIE, BIG VALLEY, HIGH CHAPARRAL and DR. QUINN, MEDICINE WOMAN.


ME-TV’s Saturday line-up includes BRANDED, THE REBEL and THE GUNS OF WILL SONNETT. On weekdays it’s DANIEL BOONE, GUNSMOKE, BONANZA, BIG VALLEY, WILD WILD WEST, and THE RIFLEMAN.


RFD-TV, the channel whose president bought Trigger and Bullet at auction, have a special love for Roy Rogers. They show an episode of The Roy Rogers Show on Sunday mornings, a Roy Rogers movie on Tuesday mornings, and repeat them during the week.


WHT-TV has a weekday afternoon line-up that’s perfect for kids, featuring LASSIE, THE ROY ROGERS SHOW and THE LONE RANGER.


TV-LAND angered viewers by dropping GUNSMOKE, but now it’s back every weekday, along with BONANZA.

Veterans Day Weekend is a three-day weekend, so if you haven't had a chance to thank a vet for his or her service, you've got another chance tomorrow.  And if you already have, find another to thank.  There are plenty of men and women out there who have put their lives on the line to make us free!


Happy Trails,

Henry

All Original Contents Copyright November 2012 by Henry C. Parke -- All Rights Reserved

LAREDO’S ROBERT WOLDERS REMEMBERS

LAREDO, the lighthearted adventures of a group of Texas Rangers, was spun off of an episode of THE VIRGINIAN in 1965.  That first season it starred Neville Brand, Peter Brown and William Smith as the Rangers, with Philip Carey as their long-suffering Captain and comic foil.  There was a big change with season two.  A fourth lead, Robert Wolders, was added to the Rangers, as Erik Hunter, a suave European of non-specific nationality, and with an unbelievable wardrobe.  Robert was the Turhan Bey of his generation: when someone handsome, sophisticated and exotic was needed, he was the man to call. 

LAREDO ended after the second season.  Although there are only 56 episodes, it’s fondly remembered, a popular seller on DVD, and runs daily on the Encore Western Channel. 

I first met Robert Wolders a few months back, when he and co-star William Smith were appearing at an autograph show in Burbank – Peter Brown was supposed to be there as well, but had to cancel.  When I interviewed Robert a couple of weeks ago, I explained to him the sort of topics I cover in the Round-up.  “A lot of it is about current production, and a lot of it is about classic stuff as well.  Like LAREDO.”

ROBERT: (laughs) It’s fun to hear of LAREDO referred to as classic. 

HENRY:  I remember so well watching it with my sister; we were both big Western fans as kids.  And it’s funny – your wardrobe was always so distinctive –

R: I’ll say it was.

H: -- that my sister, to this day, whenever she looks at elegant jackets, says, “That’s what I want: an Erik jacket.” 

R: You know, it was actually based on the Carnaby Street fashions.  A lot of people in their late teens, especially in London, and here, and in Haight-Ashbury, were wearing very colorful clothing.  Officer’s jackets and old uniforms. 

H: It always looked ratty on Haight-Ashbury, but very elegant on you. 

R: Thank you.  It happens sometimes that someone, especially a ladyfriend has seen one of those shows.  She’ll say, “I wish I had one of those jackets.”  And they ask me what happened to them, and I have no idea.  They went back to Western Costume, perhaps.  But they were specifically designed for the show. 

H: I’m sure they were.  What everyone else wore – I’m sure they could pull something off the rack for the other guys – for Neville Brand particularly.

R: Well, in the second season, to match, somewhat, the outrageous clothing that I wore, they gave Bill Smith something made of chamois, with the fringe hanging from it.

H:  And all of those Indian necklaces. 

R: Right, right – and boots to the knees, and so on.  And Peter had something not as colorful or extravagant.  And Neville always looked the same.  He was a good man.  He actually became my neighbor – or I became his neighbor, I should say, because he had been living in Malibu for many years.  Then I moved two doors away from him, after the show.  I must tell you that the best thing about that show was the friendships that we developed with one another. And I was especially appreciative of that because I came in the second year, as you might know.  And I expected that they might be resentful, you know, new fellow coming in.  Because it meant, in a way, that the show needed new vigor.  But they didn’t show any resentment whatsoever.  They were extremely helpful.  Especially as I’d never done a Western, in fact I was a novice altogether to acting, you know.  And they really helped me along.  They were extremely cordial. 

H: That’s really nice to hear, because frankly that’s not what I was expecting.

R: Especially Bill. You must remember that I had never ridden a horse, and I never held a pistol -- I had about two weeks to learn to ride a horse.  Fortunately I had a stuntman for when they required it.  In the first show I was to impersonate somebody who was the fastest draw in the West.  And I really did not know how to handle that – I thought that they would fake it somehow.  And they weren’t prepared for that.  So Bill took me aside.  He had done many of those types of shows, and in the space of half an hour, which is what you had between (camera) setups, he tried to teach me how to draw.  And of course I didn’t succeed very well.  So then he said to me, “Take off your pants.”  I thought he was being funny, I said, “I hardly know you.”  But I realized he was serious.  So I took off my pants.  He made me take off my jacket.  Once Bill had my clothing on, they went to close-up, to the holster, and from the chest down, and he did the draw.  Then we put the clothing back on me, and it worked extremely well.  Except that Bill had very skinny legs, which he always complained about, because he was a body-builder.  His upper body was very built up.  I had stout legs, and so if you look very carefully, if you know the two of us, you can see the difference.  And I thought it was so sweet of him, because as I say, that was the very first show, I hardly knew him, and he wanted me to look as good as possible. 

LAREDO cast pre-Wolders: Philip Carey, Peter Brown,

Neville Brand and William Smith

H: That’s very nice.

R: Yes.  With Peter, I think it took a little longer for us to become friends, because he had been the lady’s man in the first year, and then in the second year, they gave me at least two ladies to have love scenes with in almost every episode.  So I think he was a little resentful of that, and perhaps also because of the clothing that I wore, which I thought silly.  After about three months of shooting, on Friday night, they kept us until ten o’clock in the evening, and everyone wanted to go home.  But we are waiting for one of my costumes, (laughs) so that took even longer.  I knew how fed up they were all getting, huddled around, waiting.  And I had had a drink at cocktail time, and was a little more belligerent than usual.  So once my jacket arrived, I threw it into the horses’ trough, which was full of water, and so we had to stop shooting.  And Peter really seemed to have appreciated that, and his attitude towards me became extremely kind.   So I have many good memories of the show.  It was forty-eight years ago, so it’s not something that I dwell on a great deal, but those are a few of the things that I remember.

H: You were born in Rotterdam.  How did you get involved in show business?  Was your family involved? 

R: No, no one in my family at all.  No, I came to the United States in the ‘60s, to attend university at Rochester.  I wanted to go into psychodrama, a branch of psychotherapy.  And I was rather timid or reticent.  Maybe just shy, I guess.  One of my professors told me that I should join the stage society of the university.  I became involved in play production, and I realized that I rather cared for it.  After I finished at the university I applied to the American Academy of Dramatic Arts in New York City, fully expecting to go back to my studies, to finish my doctorate.  And instead, as soon as I finished at the Academy I got an offer from Universal to come out for a test.  I thought it was a lark, and I’d never been to the west coast, but I did have a few friends here that I’d met in Europe, and I thought it was a nice opportunity to come over, (expecting) then to be sent back with my tail between my legs.  Because I wasn’t much of an actor, which I proved on LAREDO.  And instead, the day after doing the test, before I had a chance to go back to the airport, they told me that I would start in two weeks.   I was somewhat reluctant to accept, but then when they told me what they were paying, I accepted readily.  I had just enough time to go back to New York and close my apartment, and prepare to come back here.  And somehow I stayed with it for about three years.  But I did several pictures at Universal before I did the series, and that I rather enjoyed, because there were wonderful people.  The first picture I did was did a remake of BEAU GESTE with Guy Stockwell and Leslie Nielsen, Telly Savalas.  Then I did TOBRUK, with Rock Hudson and George Peppard. I greatly enjoyed that, and was somewhat resentful of being put in a series, because by that time I’d had a number of people who were in a series – David Jansen, who was in THE FUGITIVE, and John Forsythe -- all counseled me to try and keep away from them, because on television I’m typed.

H: While BEAU GESTE was not a Western, it was in fact shot in Yuma, Arizona.

R: That was quite amusing. We went to Yuma, to this miserable little motel, and we were there for about seven weeks or two months.  Then I came back, and I had one week here, and they said I was in another picture, with Rock Hudson and George Peppard – I said fantastic!  Where do we go?  To Yuma!  We went back to the same place, I think I had the same room at the motel, and I spent another six or seven weeks there, yes. 

H: That’s so interesting, because I had read that TOBRUK was shot in Almeria, Spain. 

R: The part that I was in was all done in Yuma.  Then the remainder they went to the Salton Sea, and they went to other places, but I wasn’t part of, so I don’t know what their locations were.

H: On television you did a JOHN FORSYTHE SHOW.

 

R: I did one of the Ben Gazzara things, RUN FOR YOUR LIFE.  They don’t want you to be idle, so they push you into those things.  They loaned me out to MGM for THE MAN FROM U.N.C.L.E.  David McCallum, the one who played the Russian, was suspended because he was asking for an increase in salary, which they wouldn’t give him.    So they just changed the name of the character and gave me his part.  They made me into a Greek, Andreas something.  So I did a few things like that.  When I gave up acting altogether many years later, I was living in Malibu, and Grant Tinker, who was producing his wife’s show, THE MARY TYLER MOORE SHOW, offered me a part in one of the shows.  He described it, and I wasn’t eager to take it on.  But it was one of the best experiences I ever had, because it was such a generous group of people, and we rehearsed for two or three days, and shot it in front of a live audience.  That I enjoyed greatly.  But apart from that, acting for me was a hardship.  I had no confidence. 

H: So LAREDO was your first Western.  Were you ever a fan of Westerns before being in them?

R: Yes, the John Waynes and the Randolph Scotts, all those pictures of my youth, and Gary Cooper.  LAREDO certainly was, you’ll agree, a different kind of Western.  It wasn’t the rough, gritty Western we were used to.  (It was) more lighthearted.

H: How did you get cast for the show?

R: The day I came out of the second picture, TOBRUK, they called me in to be tested for that. I think they tested all the people under contract.  In fact Horst Buckholtz told me they had been tested for it. One of the sons of John Wayne, Patrick Wayne, was tested for it.  I think I got the part, in part, because I was under contract.  If they got somebody from the outside they would have to pay him much more.  I think you are well aware of how Universal worked in those days.  But the contract system doesn’t work, doesn’t fly anymore. 

H: LAREDO had a shorter run than many series, just 56 episodes.  But it’s still very fondly remembered, and of course they’re running it on Encore Western Channel.  What do you think was special about LAREDO that it still has a following after all these years?

R: It’s hard for me to define that.  Perhaps because it was lighthearted.  Many of the shows at that time tried to be.  It was the time of GET SMART, the quick riposte and the witty comeback.  I think Jimmy Garner, who’s become a great friend over the years, he sort of set the style for that with MAVERICK.  The lighthearted anti-hero, that type of individual.  I’ve been to two of the autograph shows.  I went to one in Memphis, because Bill and Peter were going, and a friend of mine, Barbara Luna, persuaded me to go as well.  I hadn’t seen the fellows in so many years.  And I was very pleasantly surprised by the people who remember the show.  In fact, I was extremely touched.  This one man, who was probably in his sixties, came over.  And he started to cry.   I said, what’s the matter?  Are you alright?  And he explained that as a child, he had leukemia.  And he was either at the hospital, or at home, not able to go out, and the only release he had was watching Westerns, and LAREDO was his very favorite.  He was so grateful, and he said, I want to thank you guys for helping me through this ordeal.  And other people came up who loved the costumes, and they related how they begged their parents to stay up after nine o’clock so they could watch the show.  One of the problems of the show was that it was Friday night at ten o’clock.  And against a lot of other shows of the time.  I don’t know what they were. 

H: I can’t remember offhand, because I didn’t watch the other shows: I watched you.

R: You didn’t mind the love scenes?  Because I had people come to the autograph shows who said their parents wouldn’t let them watch because of the love scenes. 

H: That was not a problem at my house.  You said that Neville Brand was a friend in later years.  What was he like off-camera?

R: He had great difficulty with himself, as you know, I’m sure.  He was the second most heavily decorated Veteran of the Second World War.  Having been in the theatre of war, he tried to drown the memory of what he had to do, because he had to kill people, by drinking.  Actually he wasn’t that secure as an actor either, so he would show up drunk, when he’d come to the studio, after having his all-night binges.  In fact, in the middle of the season Claude Akins, you’ll remember, came in (to possibly replace him).  I saw Neville in later years, he wasn’t acting anymore, and he was much easier to take.  He was very introspective.  I enjoyed him a great deal. He had issues.  He was gruff, and in general when he was drinking he was hard to take.  I remember one of the promotional shows, THE TODAY SHOW, with Barbara Walters and Hugh Downs.  The other fellows and I were already there, and we were ready to start, and Barbara said, ‘Where is Mr. Brand?’  And just at that moment he was coming in.  He hadn’t gone to make-up or anything, and he yelled out some obscenity, and ‘I’m right here!’  And that sort of behavior is unconscionable.  He’d had one of his all-night binges.  I think I understood him, and he knew that, so we had a good relationship, which was even better in the years after the show. 

H: How did William Smith, Peter Brown and Neville Brand get along together?

R: Not competitive.  I think both Pete and Bill would grow impatient with (Neville), but it was hard to dislike Neville.  He never really offended anyone intentionally.  Well, I’m contradicting myself because he surely offended Barbara Walters intentionally, but that’s because he was under the influence.  But I don’t think that he ever struck out at any of the fellows in the show, or the crew or anyone.  He did some things that were disturbing, because they had just started at Universal with those trams that go around.   They used to pass our dressing rooms.  They’d stop and give all the names, ‘This is Alfred Hitchcock’s room,’ and he disliked that more than anyone else.  So on one occasion he came out with a tray of peanuts, and he started to sell peanuts to the people, and that didn’t work.  He’d been drinking, and the next time the tram came by, he came out, and I’m sorry to be vulgar, but he stood outside the dressing room and pee’d.  But there were kids on the tram; that wasn’t quite considerate of him.  And that was reported to the Black Tower, so I’m sure he got Hell for it. 

H: The format of the series always seemed like GUNGA DIN, very Kipling-esque.  Was there much awareness of that?

R: I think in the sense that in GUNGA DIN the Cary Grant and the Fairbanks character were always teasing each other, trying to best one another.  And that existed very much especially between Peter and myself.  That was kind of an irony, especially in that he had been a lady-killer, and this guy comes in and he gets the better of him, where he was left with egg on his face.  But in a kind-hearted way, never in a mean way.  It was a comic Western, if that’s the right term.

H: Speaking of the GUNGA DIN comparisons, I can certainly see the similarities between Victor MacLaglen and Neville Brand. 

R: Very true, yes.

H: Neither you nor any of the other Rangers ever wore anything that looked like a Texas Ranger uniform.  No one ever wore a badge.  Did anyone ever talk about that?

R: That’s a good point.  One of the people whom I met at the autograph show in Memphis sent me a Texas Rangers badge.  She is quite an expert on the Texas Rangers.  And I said, I was never given a badge, and I couldn’t remember anyone else wearing a badge, not even Phil Carey, the captain.  And she said they would have this badge as an I.D., like the police carry an I.D., I suppose, a shield.  And they would show it to identify themselves, but they didn’t wear it on their clothing.  And she says that the early Texas Rangers just wore civilian clothes.

H:  So it’s more accurate than I would have guessed.  What was Philip Carey like to work with?

R: Oh he was very kind.  He was especially considerate. I remember when members of my family would come, two of my sisters, and my mother, he was so extremely courteous, even though he didn’t owe me that, because we didn’t know each other so very well.  And he invited me to his home for dinner immediately.  He was very philosophically inclined, and we would have great talks.  And after I got to know him somewhat, he was a very fine man.  I don’t think he was always the happiest person. I can’t be sure but I think he might have been somewhat resentful of not having had a greater participation in the show; with five guys, it was difficult to give everyone an equal part.  And of course Phil had a promising film career.  He did some major films.  So he might have felt that doing television was a bit of a comedown.  He never complained, but sometimes I sensed it.

H: Do you have favorite episodes of the series?

R: I do.  It’s the one where I look, perhaps, least self-conscious.  And it was an excellent script with a wonderful director, R. G. Springsteen.  It was called COUP DE GRAS, and I impersonate one of Maxamillian’s officers.  Everything between the fellows and myself is extremely well-written, and went very smoothly.  And then the two people whom I had most of the other scenes with were Barbara Luna, and I’m sure you know Barbara – we have remained great friends -- and a New York stage actor called Arnold Moss.  He had this great vibrant voice.  And even though we were doing a comedy, he played it so beautifully; he played it the way comedy is supposed to be played, as if it’s a serious matter, never laughing at the material.  And if you ever come across that show, you will see why it’s my favorite.

H: I’m sure if I wait a couple of weeks I’ll get it on the Encore Western Channel. 

R: They sent me from a couple of years ago the DVDs of the show.  I hadn’t known that they were available up until then. 

H: Any particular favorite co stars other than Barbara Luna, or any favorite directors?

R: Oh God, as I said, it was forty-eight years ago.  But I do remember people that I knew from films, like Gene Nelson, who had become a director by that time, and he was superior to the other directors because of his experience, and also because of having been an actor-dancer.  People like that I enjoyed working with a great deal.  And Jack Kelly, from MAVERICK.  What I’m shocked to find out is that so many ladies from the show are no longer with us.  You know, they were younger than I.  Like Maura McGiveney, who was in the first show.  Or Ahna Capri, she was killed in a car crash last year, I believe.

H: You worked a bit with Claude Akins.  How did you like him?

R: Oh, he was wonderful, very dependable, very professional.  In the shows that he was in I didn’t have that much to do, and I never had the type of scenes with him that I had with Neville, because I would always be sort of teasing him, which was kind of horrible because of the kind of character he portrayed.  But Claude Akins didn’t play him as a bumbling character – at least not as much.

H: Why do you think LAREDO didn’t have a third season?

R: I think it was in part because of the timeslot.  Ten o’clock Friday nights is not a very good time.  I guess it’s always a matter of ratings.  So I don’t know.  I’d like to think it wasn’t because of me. 

H: Certainly not because of you.  I think you invigorated the show.

R: But what I think they expected was that because there was new blood in the show, that suddenly the ratings would increase tremendously.   I learned from a number of people at these signings, that they didn’t see the first shows, but that they would be told about the show, by word of mouth they heard that it was something enjoyable, and they started to watch it.  But I think what the people at Universal Studio went by was the initial reaction.

H: Now, after LAREDO you did an episode of DANIEL BOONE, and that’s the nearest thing to a Western that I’ve found. 

R: Oh I did, with Maurice Evans, yes.  I remember that well because he too became a great friend.   That is the most rewarding part of my brief acting career is that I formed so many great friendships.  He’s gone too, now.  I would be absolutely dumbfounded that these people whom I’d known about, and who I had seen on stage in New York, that they would be doing Westerns; that I would be performing with them.  It’s a very odd sensation. 

H: Was the part of Erik originally written for a European, or was that something that was adapted for you because they liked you best?

R: No, I think they made him a European because of my accent.  And even the name…he was called Paul.  I said Paul is…I couldn’t say a weak name because the producer was called Paul Mason.  But it’s kind of a weak name.  And I said, what about Erik?  And they accepted it.  And then they added Hunter, Erik Hunter, sounds kind of nice.  Has a spring to it.  If any other actor had been chosen, he would have been an American.  

H: Over the next few years you had guest shots in a lot of top shows.  THE NAME OF THE GAME, F.B.I., BANACEK, BEWITCHED, MACMILLAN AND WIFE.  Were any particularly memorable?

R: No.  The BANECEK and MACMILLAN AND WIFE were because of having worked with Rock Hudson and George Peppard.  I would see them socially in the years afterwards, and they got me involved in those shows.  But there wasn’t anything memorable that I did.  In MACMILLAN AND WIFE I played a tennis star based on Ilie Nastase, who gets killed, I believe.  But I only did this for two or three years after leaving Universal.  And then I left the field of acting altogether.

H: In 1973 you starred in INTERVAL, where you costarred with, and later married, Merle Oberon.  How did that one come about?

Robert Wolders and Merle Orberon in INTERVAL

R: Merle and I had met and fell in love.  And she was about to do this picture.  A lot of other people had been considered.  And she proposed that I read for it.  And Daniel Mann, who was the director at the time, after I read, said, ‘Great!’  The problem with the picture is that he didn’t have a finished script when we started shooting.  And that really showed in the final product.  And the funding left something to be desired.  And Joe Levine, and Embassy Pictures made many, many promises that he didn’t live up to.  So it turned out to be a disappointment, but it didn’t harm our relationship.

H: Well, that’s more important than any movie. 

R: Exactly, yes.  But I wish we hadn’t done it, or I wish that I had not done it with her.  Because there are people, who are far better actors than I ever was, being considered, one of them being Ryan O’Neal.  It’s a love relationship between a younger man and an older woman.  By necessity.  It was, perhaps, a mistake. 

H: And after that you pretty much gave up acting.  Do you miss it?

R: No, except on occasion now, especially when I recognize bad acting, and I say to myself, ‘I could have done better than that.’  But you know, I’m 75 years old, so it’s a little late.  I know that I’m not really qualified.

H: Do you keep in touch with anyone from your Universal LAREDO days?

R: Well I just saw the fellows, Peter and William, but there are not that many left to be honest.  I developed great friendships with many people in this town.  And part of the reason that I keep coming back here, because I lived back in Europe for sixteen years, until fourteen years ago, in Switzerland.  Because I lost Merle in ’79.  And two years later I became involved with someone who had been a great friend to Merle, as you know quite well, Audrey Hepburn.

H: Yes, as I think I told you, my daughter is named Sabrina after her.

Robert Wolders with Audrey Hepburn

R: But Audrey had always lived in Switzerland since the beginning of her career, and she didn’t want to move to the United States; her life was in Europe.  So I decided that if we wanted to be together, then I should move back.   I returned here every two to three months, because I have a part of my life here.  After I lost Audrey I came back here because I had so many friends from the early years, from the ‘60s, when I first came here.  Unfortunately many of them have died, but because of Merle and Audrey, I met so many people.  And then, several years after I lost Audrey, one of my great friends had been Hank Fonda and his wife, who I met when I first came here.  And Shirley, his widow, and I started living together fourteen years ago.   And the odd thing is that Shirley was a great friend of Audrey, and a great friend of Merle.  In the same circle.  Maybe it sounds odd.  They were friends, each one, and I knew that Merle would have approved of me being with Audrey certainly, instead of becoming the extra man.  And Audrey would have approved of Shirley.  So now I’m the step-father to Jane and Peter.  (laughs) I’m kidding, I’m kidding, because Shirley and I are not married.  But in a sense; Jane’s son calls me grandpa. 

LAREDO stars William Smith, Robert Wolders and Peter Brown today.

Picture by Boyd Magers, Western Clippings

H: What should I know about you that I didn’t know to ask?

R: That I was a terrible actor. (laughs) Perhaps about my involvement with UNICEF.  Because Audrey and I traveled for UNICEF for eight years.  Audrey became their Ambassador to the world.  And we have a foundation in Audrey’s name.  The Audrey Hepburn Children’s Fund.  Please tell Sabrina that I’m very pleased that she’s named after one of Audrey’s films.

If you’d like to make a contribution to The Audrey Hepburn Children’s Fund, please go HERE.

HATFIELDS AND MCCOYS – THE FIRST TRAILER

Here’s the first look at Kevin Costner’s mini-series for The History Channel.

LONE RANGER DEJA VU

As happened with DARK KNIGHT, Dwight Yoakam, citing scheduling conflicts, is out, and William Fichtner is in as the lead villain in LONE RANGER. Thus far the character has no official name, so we don't know if he's the Masked Man's old nemesis Butch Cavendish, or some other bad man.

PETER BRECK, NICK OF ‘THE BIG VALLEY’ DIES AT 82

Peter Breck, the star of many Western and non-western films and TV shows, including Sam Fuller's SHOCK CORRIDOR, will always be remembered as Victoria Barkley toughest and most likable son, Nick, on THE BIG VALLEY.   Peter also starred in the series BLACK SADDLE, where he played Clay Culhane, a gunfighter-turned-lawyer.  He appeared as a frequent guest in all of the Warner Brothers Western series – SUGARFOOT, BRONCO, CHEYENNE, LAWMAN, and played Doc Holliday six times on MAVERICK.  We'll miss him. You can see him as Nick Barkley every weekday on INSP.

 

FROM THE PAGES OF TV GUIDE

 

I’ve been receiving some great scans from old TV Guides, from playwright, comedy writer and documentarian Karl Tiedemann, and I’ll be sharing them in the coming weeks.  Enjoy!

 

That’s all for this week’s Round-up!  I thought I’d have a follow-up story from last week, about the Los Angeles Italia screening of JONATHAN OF THE BEARS, after which Franco Nero was to do a Q&A.  They switched movies at the last minute, and showed a brand new post-apocalyptic sci-fier, NEW ORDER, also starring Franco Nero.  At least I got him to sign my Venezuelan DJANGO STRIKES AGAIN video box!

 

Enjoy the Oscars!

 

Henry

 

All Original Contents Copyright February 2012 by Henry C. Parke – All Rights Reserved