Daily Archives: August 19, 2017
A Movie A Day #223: The Texas Rangers (1936, directed by King Vidor)
Sam (Lloyd Nolan), Jim (Fred MacMurray), and Wahoo (Jack Oakie) are three outlaws in the old west. Wahoo works as a stagecoach driver and always lets Sam and Jim know which coaches will be worth holding up. It’s a pretty good scam until the authorities get wise to their scheme and set out after the three of them. Sam abandons his two partners while Jim and Wahoo eventually end up in Texas. At first, Jim and Wahoo are planning to keep on robbing stagecoaches but then they realize that they can make even more money as Texas Rangers.
At first, Jim and Wahoo are just planning on sticking around long enough to make some cash and then split. However, both of them discover that they prefer to be on the right side of the law. After they save a boy named David from Indians, Jim and Wahoo decide to stay in Texas and protect its settlers.
The only problem is that their old friend Sam has returned and his still on the wrong side of the law.
Made to commemorate the Texas centenary (though it was filmed in New Mexico), The Texas Rangers is a good example of what’s known as an oater, a low-budget but entertaining portrayal of life on the frontier. King Vidor does a good job with the action scenes and Fred MacMuarry and Jack Oakie are a likable onscreen team. The best performance comes from Lloyd Nolan, as the ruthless and calculating Sam. Sam can be funny and even likable but when he’s bad, he’s really bad.
Jack Oakie was better known as a comedian and The Texas Rangers provides him with a rare dramatic role. Four years after appearing in The Texas Rangers, Oakie would appear in his most famous role, playing a parody of Benito Mussolini in Charlie Chaplin’s The Great Dictator.
Dead Pigeons Make Easy Targets: THE CHEAP DETECTIVE (Columbia 1978)
THE CHEAP DETECTIVE could easily be subtitled “Neil Simon Meets MAD Magazine”. The playwright and director Robert Moore had scored a hit with 1976’s MURDER BY DEATH, spoofing screen PI’s Charlie Chan, Sam Spade, and Nick & Nora Charles, and now went full throttle in sending up Humphrey Bogart movies. Subtle it ain’t, but film buffs will get a kick out of the all-star cast parodying THE MALTESE FALCON, CASABLANCA , TO HAVE AND HAVE NOT, and THE BIG SLEEP .
Peter Falk does his best Bogie imitation as Lou Peckinpaugh, as he did in the previous film. When Lou’s partner Floyd Merkle is killed, Lou finds himself in a FALCON-esque plot involving some rare Albanian Eggs worth a fortune. Madeline Kahn , John Houseman, Dom De Luise , and Paul Williams stand in for Mary Astor, Sydney Greenstreet, Peter Lorre, and Elisha Cook Jr, respectively, and they milk it for every…
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Artwork of the Day: Brenda Caldwell
Kirby Is Here! : “The Eternals” #1
Music Video of the Day: Shadow Of A Doubt by Sonic Youth (1986, dir. Kevin Kerslake)
The title is from a Hitchcock movie. It looks like the consensus is that the song is based on Strangers On A Train (1951)–more Hitchcock. I haven’t watched either film recently.
While the music video is gorgeous, I can’t find anything on it other than a quote from Kevin Kerslake in the book, I Want My MTV:
It was a point of honor among bands on 120 Minutes to not show up in regular rotation on MTV. They wanted to be the bad kids on the block, who showed up for those two hours on Sunday night and ran riot. At that point, indie rock was thriving. You had great underground labels like SST and Rough Trade, and they’d give you complete freedom. I wanted to do something totally new. I’d shoot Super 8, and play with the color palette to make it more psychedelic. The punk rock ethos really drove the visual content, even if you weren’t working with punk bands. My first music video–“Shadow Of A Doubt,” for Sonic Youth–used horrible quality, super-grainy performance footage. It was fantastic.
The part with the performance footage doesn’t do a whole lot for me–except to provide a strong tie between song and video by putting the harder part of the song in there. I like what Kerslake did before and after that the most. It makes me think of a very colorful, indie, and simplified version of one of those collage-style videos that Jim Blashfield made for And She Was by Talking Heads or Don’t Give Up by Peter Gabriel & Kate Bush. It gives the video an ethereal quality that I love.
It’s very appropriate that this was on 120 Minutes back in the 1980s. This is exactly the kind of thing I would have expected to see on late night cable back in the 1980s and 1990s.
Enjoy!


