Fury At Gunsight Pass (1956, directed by Fred F. Sears)

Old west outlaws Whitey Turner (David Brian) and Dirk Hogan (Neville Brand) are plotting on robbing the bank in the town of Gunsight Pass.  They’ve even got an inside man to help them get away with the loot, local undertaker Peter Boggs (Percy Helton).  Peter is eager to make some money and get away from his nagging wife (Katherine Warren).  However, the robbery doesn’t go as planned.  Whitey attempts to betray Dirk, there’s a huge shoot out, and several people are killed, including the bank president (Addison Richards).  Whitey and his half of the gang are captured while Dirk barely escapes.

Because a satchel of money is missing, Dirk rescues Whitey from the posse and they return to the town of Gunfight Pass, determined to hold the entire town hostage until they get their money.  While a huge dust storm blows through the town, the citizens of Gunsight Pass start to turn on each other, accusing one another of having stolen the money for themselves.  The now dead bank president is accused of being a part of the robbery and it falls to his son (Richard Long) to try to not only clear his name but to also save the town from Dirk and Whitey.

Fury at Gunsight Pass is a nice discovery, an intelligent B-western that’s about more than just gunfights and money.  Though David Brian and Neville Brand are both convincing as the two gang leaders, the movie is mostly about the citizens of the town and how quickly they all turn on each other.  The citizens of this town make the ones from High Noon seem brave and supportive.  All it takes is a little fear and greed for everyone to turn on each other.  The film has such a cynical view of human nature that, in 1956, it probably couldn’t have gotten away with it if it had been anything other than a B-movie.

Fred F. Sears directed a lot of B-westerns, the majority of which were fairly undistinguished programmers.  Fury At Gunsight Pass is an exception to that rule and probably the best film that Fred Sears ever directed.  It’s a well-acted and well-directed movie that will take even the most experienced B-western fan by surprise.

26 Shots From 26 Films: Special Martin Scorsese Edition

4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking.

Today, the TSL wishes a happy birthday to one of the greatest director working today, the one and only Martin Scorsese!  And that means that it’s time for….

26 Shots From 26 Martin Scorsese Films

(That’s right.  We usually do 4.  Scorsese gets 26.  He deserves a hundred.)

Who’s That Knocking On My Door (1967, dir by Martin Scorsese)

Boxcar Bertha (1972, dir by Martin Scorsese)

Mean Streets (1973, dir by Martin Scorsese)

Alice Doesn’t Live Here Anymore (1974, dir by Martin Scorsese)

Taxi Driver (1976, dir by Martin Scorsese)

New York New York (1977, dir by Martin Scorsese)

The Last Waltz (1978, dir by Martin Scorsese)

Raging Bull (1980, dir by Martin Scorsese)

King of Comedy (1982, dir by Martin Scorsese)

After Hours (1985, dir by Martin Scorsese)

The Color of Money (1986, dir by Martin Scorsese)

The Last Temptation of Christ (1988, dir by Martin Scorsese)

Goodfellas (1990, dir by Martin Scorsese)

Cape Fear (1991, dir by Martin Scorsese)

The Age of Innocence (1993, dir by Martin Scorsese)

Casino (1995, dir by Martin Scorsese)

Kundun (1997, dir by Martin Scorsese)

Bringing out the Dead (1999, dir by Martin Scorsese)

Gangs of New York (2002, dir by Martin Scorsese)

The Aviator (2004, dir by Martin Scorsese)

The Departed (2006, dir by Martin Scorsese)

Shutter Island (2010, directed by Martin Scorsese)

Hugo (2011, dir by Martin Scorsese)

The Wolf of Wall Street (2013, dir by Martin Scorsese)

Silence (2016, dir by Martin Scorsese)

The Irishman (2019, dir by Martin Scorsese)

“Haxan Lane” Proves Philadelphia Is Even Scarier Than You Thought

Ryan C.'s Four Color Apocalypse

In between the veritable onslaught of unique and inventive autobio/memoir stuff that cartoonist Thomas Lampion has released over the past year or two, he’s also managed to take a side trip — down a grimy street and into a haunted house, at that — in the pages of his self-published ‘zine Haxan Lane, two issues of which have seen the light of day so far. Although “light of day” is a decidedly poor choice of words on my part —

Why, you ask? Well, this is a humor comic to be sure, but it’s one that goes bump in the night, and has very much a feel of a modern take on the Brothers Grimm to it, complete with “be careful what you wish for” and “if something seems too good to be true, it probably is” moralizing — but please don’t take that to mean it’s not a…

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Who Needs Vegas Or The Caribbean When You Can “Honeymoon In The Afterlife” ?

Ryan C.'s Four Color Apocalypse

Some comics just grab you from the word “go,” and one look at British cartoonist Matt Canning’s Honeymoon In The Afterlife is all it takes for you to know that this is one of them : self-published in newspaper broadsheet format, it’s a sizable thing to behold, no doubt about that, but equally it’s an impressive one, clean and simple black and white linework accentuated by decidedly contemporary shading techniques when and where necessary, with a kind of dusty rose hue deployed as an occasional “spot” color, it’s a triumph as far as production values go. But who are we kidding? While all that is certain to capture your interest, it takes considerably more to retain it.

Which rather sounds like a segue into me cataloging a list of shortcomings, but I promise you it’s not : in fact, if anything, Canning’s ability to keep you glued to the exploits…

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Music Video of the Day: Blood and Roses by The Smithereens (1986, directed by Albert Pyun?)

Blood and Roses was the lead single off of The Smithereens’s debut album, Especially For You.  In the U.S., it peaked at #14 on Billboard’s Mainstream Rock Chart.  That’s not bad for the first single from a debut album.

It was also the theme song for a teensploitation film called Dangerously Close.  Written by John Stockwell and directed by Albert Pyun, Dangerously Close is about a group of high school students who keep order in their school through fear and intimidation.  It’s meant to be a statement about fascism and out-of-control policing but mostly it’s just remembered for being the debut film of future Bond girl and Law & Order actress Carey Lowell.  Not surprisingly, the music video duplicates the film’s high school setting.

According to the imdb, this video was also directed by Pyun.  However, according to Wikipedia, the video for Blood and Roses features clips from the film, none of which are featured in the video that’s available on YouTube.  I’m going to guess that there were two versions of this video, one that just featured the band performing and another one that was done to promote Dangerously Close.  Did Pyun direct both of those videos?  I don’t know but for now, I’m going to assume that imdb is correct and that Pyun directed the video featured in this post.

Pat DiNizo, lead singer of the Smithereens, would later run for the U.S. Senate in New Jersey as the candidate of the Reform Party.  (Remember them?)  In the 2000 Senate election, he ran fourth with 0.4% of the vote.  That election was won by Jon Corzine.  Corzine later went on to serve as governor of New Jersey and did such a terrible job that he was defeated for reelection by Chris Christie.  Corzine was then appointed CEO of M.F. Global.  Under Corzine’s leadership, M.F. Global went bankrupt, investors lost over $1.2 billion in cash, and at least an extra two years were added to the Great Recession as a result.

In other words: you should have voted for DiNizo, New Jersey!