Accused and convicted of a murder that he didn’t commit, John Brant (John Wayne) breaks out of prison in Maryland and, following the advice of Horace Greeley, he goes west. After making a narrow escape from the authorities, he meets and befriends Joseph Conlan (Lane Chandler). Conlan brings Brant into his gang, where Brant starts out as a cook but is soon being assigned to help rob stores and stagecoaches. Despite his time in prison, Brant is no criminal and he secretly thwarts every robbery that the gang tries to pull off. When the gang starts to suspect that Brant might be an undercover cop, Conlan is the only one willing to stand up for him and help him. Conlan is also responsible for the murder that Brant was accused of committing.
John Wayne as a hardened escaped convict? Maybe the older John Wayne could have pulled that off but, in 1933, Wayne was still too cheerful and easy going to be believable as someone who had spent the last few months doing hard time. Fortunately, even early in his career, Wayne was convincing when riding a horse or shooting a gun and that’s probably all that the audience for these short programmers demanded. There’s also an exciting scene where Wayne is forced to swim across a pond while his pursuers shoot at him. As the criminal with a conscience, Lane Chandler steals the film.
Fans of westerns will want to keep an eye out for legendary stuntman Yakima Canutt, playing yet another outlaw gang leader. Yakima Canutt started out his career risking his life as a rodeo rider and then went on to risk his life ever more as Hollywood’s most daring stunt performer. When he got too old to continue doing stunt work, he became a second unit director, for John Ford and others. He staged Ben-Hur‘s famous chariot race and was credited with making sure that not a single horse was hurt and not a single human was seriously injured during filming. Yakima Canutt lived to be 90 years old, outliving most of the actors from whom he doubled as a stuntman.
The 1983 Italian film, Warrior of the Lost World, opens with a long title card that explains that society has collapsed, due to radiation, disease, wars, and multiple bank bail-outs. The world of the future is a dangerous place, where the roads are ruled by dangerous scavengers. It’s a world where survival is not guaranteed and only those who are willing to fight will live to see another day and….
Well, look, I’ll be honest. It was a really long title card and, as anyone who knows me can tell you, I don’t have a particularly long attention span. I read about the radiation and the diseases and then I kind of zoned out. The important thing to know is that the film takes place in the future and that the film was made in the wake of the international success of The Road Warrior. In the early 80s, the Italian film industry briefly abandoned zombies to make movies about people driving cars through a post-apocalyptic landscape. In fact, I initially assumed that David Worth was a pseudonym for someone like Enzo Castelleri or even Umberto Lenzi. David Worth is actually a cinematographer who worked on a few Clint Eastwood films and who went to Italy to make his directorial debut with Warrior of the Lost World. After this film, Worth went on to direct Kickboxer and handful of others.
(One thing that’s always interesting about watching these films is discovering that people were speculating about the collapse of society long before 2023. It’s kind of nice to be reminded that people have always been panicking about something, even while society itself continued to survive and grow.)
Robert Ginty stars as The Rider, a man so tough that he doesn’t even need a name. The Rider and his motorcycle travel across the country. The Motorcycle can talk, though it’s screechy voice might make you wish that it couldn’t. It warns The Rider whenever there’s danger nearby. When a bunch of punk rock rejects attempt to attack the Rider, his motorcycle identifies them as being “dorks.” Later, when the Rider is looking at a woman who he has just saved from death, the Motorcycle orders, “Kiss the girl!” The Motorcycle has a weird quirk where it says everything three times. The Rider talks back to the Motorcycle but he always mumbles all of his lines, to the extent that it’s often difficult to really understand what he’s saying. It’s hard not to get the feeling that Robert Ginty couldn’t believe that he was actually having to pretend as if he was a heart-to-heart with a motorcycle.
(The Rider’s bike is actually named Einstein but, to me, it will always by The Motorcycle.)
After the Rider crashes into a wall, he’s nursed back to health by a bunch of old people who are trying to organize a rebellion against the evil Prossor (Donald Pleasence), who rules the State of Omega. Prossor has kidnapped the rebellion’s leader, Prof. McWayne (Harrison Muller, Jr). The old people want The Rider to accompany McWayne’s daughter, Natasia (Persis Khambatta), to Prossor’s city. The Rider whines about being asked but eventually agrees to do so. I’m not sure why The Rider agrees to help because The Rider seriously never stops complaining about how inconvenient the whole journey is. While The Rider does manage to rescue McWayne, Natasia gets left behind so, of course, the Rider has to do it all over again. Fortunately, it turns out that the Omega army isn’t quite as competent as everyone claims that they are. In fact, outsmarting Prosser is so easy that you can’t help but wonder why no one bothered to it before.
Warrior of the Lost World is not necessarily a good movie but, when watched with a group of friends and with the right snarky attitude, it is a fun movie. The action and the plotting is just so over-the-top and ridiculous that it’s hard to look away from the screen and Robert Ginty seems so genuinely annoyed by every little thing that happens that it’s hard not to wonder if maybe The Rider read the script before heading off to confront Prossor. An extended sequence is devoted to everyone singing the Rebellion’s national anthem, the great Donald Pleasence rants like a pro, Fred Williamson has a largely pointless cameo, and the film features what appears to be a 20-minute kiss between The Rider and Natasia. (The Motorcycle watches.) If you can’t have fun while watching Warrior of the Lost World, I just don’t know what to tell you.
Cowboy John Mason (John Wayne) rides into a frontier town. He is planning on working with his father, rancher Dad Mason (Joseph De Grasse). Unfortunately, John arrives just in time to witness his father being killed by a gang of thieves. John is wounded while chasing the thieves but, once he recovers, he’s determined to get vengeance against the man who killed his father. That man is Rudd Gordon (Dennis Gordon), who is also the brother of Alice Gordon (Marion Burns), the woman who nursed John back to health and who is also engages to marry John’s best friend, Ben McLure (Reed Howes).
There is a little deliberate humor to be found in The Dawn Rider. Every time someone is shot, the undertaker (Nelson McDowell) steps out of his office and measures the body while the town doctor celebrates having some business coming his way. Otherwise, this is one of the most serious films that John Wayne made in the years before Stagecoachmade him a star. John Mason is determined to get revenge, even if his obsession means hurting his best friend’s fiancé. (Though John Mason is less fanatical, it is easy to imagine him growing up to be The Searchers‘s Ethan Edwards.) Ben has to decide whether to support his friend or the woman that he loves. (Complicating matters is that John is in love with Alice, too.) John Wayne and Reed Howes are a good team and Dennis Gordon is a convincing villain. There’s a good action scene involving John protecting a gold shipment from the gang and the final shootout is handled well. This 55-minute programmer undoubtedly taught many young viewers about frontier justice, even if they didn’t pick up on the film’s ambiguity. The Dawn Rider is one of the more mature of John Wayne’s early films and offers hints of the actor that John Wayne would eventually become.
The 1977 film, Heroes, tells the story of Jack Dunne (a young Henry Winkler).
Jack spent four years fighting in Vietnam. Since returning to America, he has struggled to adjust to civilian life. Though he’s mentally blocked out much of what happened in Vietnam, he’s haunted by nightmares, When we first meet him, he’s a patient at a mental health facility in New York City. He has big plans, though. He wants to open up a worm farm in Eureka, California. He’s convinced that he can make a ton of money selling worms to fisherman and he wants all of the old members of his unit to join him in the venture. After Jack escapes from the hospital, he boards a bus heading for California.
He also meets Carol (Sally Field), who is supposed to be getting married in four days but who has decided to board a bus and take an impromptu vacation instead. When Carol is told that the bus is already full and she’ll have to wait for the next one, Jack bribes the ticket agent to get Carol on the bus. Once on the bus, Jack makes himself into a nuisance, continually bothering the driver (Val Avery) and embarrassing Carol. (In the film’s defense, it’s later established that Jack isn’t just being a jerk for fun. The driver’s uniform makes Jack nervous. That said, it’s hard not to feel bad for the driver, who is just doing his stressful job to the best of his ability.) Carol and Jack do eventually strike a tentative friendship. They’re linked by the fact that they’re both trying to escape from something.
At a diner, Jack tells her that he served in Vietnam.
“I protested the war,” Carol says.
“I fought it,” he replies.
Carol eventually joins with Jack in his quest to track down the three people who he expects to go into business with. One of them is missing. One of them never returned home from the war. And the third, Ken (Harrison Ford), is living in a trailer and raising rabbits for a living. Ken is also a stock car racer, though he eventually admits that he rarely wins. In fact, he seems to spend most of his time drinking and shooting off the M16 that he keeps in his car’s trunk. Meeting Ken sends Jack spiraling into depression but, with Carol’s help, Jack is finally starts to come to terms with the reality of what happened to him and his friends in Vietnam.
Heroes was one of the first films to sympathetically portray the plight of Vietnam veterans struggling to adjust to life back in the United States and it certainly deserves a lot of credit for its good intentions. (Indeed, it’s implied that a part of Carol’s concern from Jack comes from her own guilt over how the anti-war movement treated the returning soldiers.) That said, the film itself is an awkward mix of drama and comedy. The first half of the film, in which Henry Winkler comes across like he’s doing a manic Al Pacino impersonation, is especially uneven. Winkler and Field are both naturally likable enough that the film remains watchable but, during the first half of the film, most viewers will never buy their relationship for a second. It’s hard to believe that the driver wouldn’t have kicked Jack off the bus as soon as he started to cause trouble and the other passengers often seem to be unrealistically charmed by Jack’s behavior. If I’m on a crowded bus and some dude insists on walking up and down the aisle and taunting the driver, I’m probably going to get off at the first stop and refuse to get back on. Traveling with a bunch of strangers is already nerve-wracking enough without having to deal with all of that.
Not surprisingly, things improve once Harrison Ford shows up. This was one of Ford’s last character parts before he was cast as Han Solo in Star Wars. (Heroes, however, was released after Star Wars, which explains why Ford is mentioned prominently in the trailer despite having a relatively small role.) Ford gives a strong performance as the amiable but ultimately self-destructive Ken. Ford plays Ken as someone whose quick smile is a cover for the fact that his entire life is a mess. Whereas Jack wears his emotions on his sleeve (and Winkler never stops projecting those emotions), Ken is someone who has repressed his anger and his sadness and Ford gives an internalized and controlled performance. Perhaps not coincidentally, Winkler calms down a bit when he’s acting opposite Ford and, as a result, his own performance starts to improve.
After the meeting with Ken, Jack starts to realize that it’s not going to be as easy to start his business as he thought. Jack starts to come down from his manic high and, even more importantly, Henry Winkler stops overacting and instead, starts to dig into the sadness at the heart of Jack’s life. During its second half, the film finally settles on being a drama and Heroes becomes a much stronger story as a result. Even Jack and Carol’s relationship seems to make more sense during the second half of the film. Things end on a note of cautious optimism, which also acknowledging that life can never go back to what it was before the war.
Today, if anyone watches Heroes, it’s probably going to be for Harrison Ford. (I imagine the presence of Harrison Ford is the reason why it’s currently available on Netflix.) It’s a bit of an uneven film, one that feels as if it should have been stronger than it actually was. Still, it’s a worthwhile time capsule of 1977 and America’s struggle to come to terms with the Vietnam War. Today, we’re still struggling to come to terms with what happened in Iraq and with the botched withdrawal from Afghanistan and, again, it seems like the country is too busy trying to move on to take the time to take care of its veterans. It’s sad that so many people only seem to care about the soldiers who fight in popular wars. Heroes was a plea to America not to forget its veterans. It’s a plea that still needs to be heard.
When the invention of the telegraph puts the Pony Express out of business, two veteran riders — John Blair (John Wayne) and Larry Adams (Lane Chandler) — decide to start their own stagecoach line. The richest man in Buchanan City, “Honest” Cal Drake (Douglas Cosgrove), sells them the line to nearby Crescent City. Though initially grateful, Blair and Larry soon discover that Crescent City is now a ghost town that serves as home to exactly two inhabitants. Rather than give up, Blair and Larry set up their stagecoach and they suddenly get lucky as settlers start to find themselves in Crescent City. Blair is even able to convince the local telegraph company to run the wire though Crescent City, which leads to an influx of even more people. Now, Blair just needs to land the contract delivering mail for the area. To do that, he’ll have to win a stagecoach race against Drake, who turns out to not be very honest at all.
Winds of the Wastelands is one of John Wayne’s better pre-Stagecoach programmers. While it has the western action that most people would expect from a B-western, it also has a lot more comedy than some of Wayne’s other poverty row productions. For instance, a skunk tries to turn the stagecoach into his home and, of course, shows up at a key moment during the big race. When one of bad guys tries to convince Blair to take his donkey to Crescent City in the stagecoach, Blair asks if there are any other “jackasses” who want a ride while casting a look at Drake’s men. The movie takes a more serious turn when Drake goes to extreme methods to try to stop Blair and, as a result, Larry is wounded in a gunfight. Doc Forsythe (Sam Flint), the founder of Crescent City, has to rediscover his confidence to perform the operation that can save Larry’s life. Fortunately, the doctor’s daughter (Phyllis Fraser) is there to both help him out and to fall in love with John Blair.
This 55-minute programmer featured John Wayne playing the type of character for which he best known, the level-headed westerner who wasn’t going to let anyone push him around but who still fought fair. Watching this movie, it’s easy to see why, just three years later, John Ford used him in Stagecoach.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Sundays, I will be reviewing the made-for-television movies that used to be a primetime mainstay. Today’s film is 1972’s The Weekend Nun! It can be viewed on YouTube!
By day, Marjorie Walker (Joanna Pettet) is a probation officer who, some might say, cares just a little too much.
By night and on the weekends, she’s Sister Mary Damian, a nun who has taken the three vows of poverty, chastity, and obedience.
Mother Bonaventure (Ann Sothern) isn’t sure that she’s happy about Sister Damian working as a probation officer. And the tough and cynical Detective Chuck Jardine (Vic Morrow) certainly isn’t happy when he discovers that the reason why Marjorie has never invited him into her home for a drink is because she lives at a convent. But Marjorie is determined to make a difference, especially in the life of a troubled teen runaway named Audree (Kay Lenz).
Now, this may sound like the premise of a socially relevant sitcom and, indeed, The Weekend Nun is one of those titles that might lead some to expect wacky hijinks and an intrusive laugh track. However, The Weekend Nun is not only loosely based on a true story but the film also takes itself very seriously. From the minute that Sister Damian agrees to take part in a program that would allow her to work a real job during the day while returning to the convent at night, she’s exposed to the harsh realities of the world. She goes from being sheltered to dealing with distraught parents, drug addicts, teen prostitutes, and violent criminals. Because Captain Richardson (James Gregory) doesn’t want anyone to feel uncomfortable, he hides the fact that she’s a nun. Of course, this leads to be people like Chuck Jardine wondering why Marjorie is so shocked when she witnesses the thing that he has to deal with a day-to-day basis.
And, indeed, the film’s biggest flaw is that Marjorie is often portrayed as being ridiculously naïve. The film acts as if spending time in a convent is somehow the equivalent of spending a decade hiding out in a bomb shelter or something. (Speaking as a Catholic school survivor, nuns are usually some of the least naïve people around.) Marjorie is portrayed as being such a wide-eyed innocent that it’s hard not to wonder why she was hired to work as a probation officer in the first place. Of course, Marjorie quickly gets an education on just how dangerous and unforgiving life on the streets can be and she soon has to make a choice between being a nun or being a probation officer. Will she give her life to God or will she potentially give it to Vic Morrow?
Joanna Pettet overplays Marjorie’s innocence but that’s more the fault of the script than anything else. James Gregory, Vic Morrow, and Ann Sothern are all believable as the authority figures in Marjorie’s life and Kay Lenz has a few good scenes as the teenage runaway who Marjorie tries to save. Beverly Garland has a small but brief role as Lenz’s horrifically unconcerned mother. It’s a well-acted film, regardless of any other flaws.
The Weekend Nun is not perfect but it’s still preferable to The Flying Nun. It’s a sincerely heartfelt film, one that’s earnest in a way that can seem a bit quaint but which is still likable when watched today. For better or worse, there’s not a hint of snark to be found.
The 2013 film, This Is Our Time, opens with a college graduation and a voice-over from Ethan (Shawn Culin-Young), who explains that everyone goes through four stages when they go to college. The first stage is being excited about getting away from home and being on you own. The second and third stages are about settling down, choosing your major, and maybe meeting the person with whom you want to spend the rest of your life. The fourth stage is all about looking forward to graduation and finally getting to enter the real world.
This Is Our Time follows the story of five friends as they discover what comes after the fourth stage. For two of them, it’s making a living as corporate workers and being pressured to behave unethically. For two others, it’s marriage and a new life working as missionaries in India, ministering to the needs of leprosy sufferers and their children. For Ethan, it means giving up his dream of being a writer and working as a waiter at his father’s bar. But, as Ethan warns us in his narration, one of the five is not going to be alive in a year. The movie follows the friends as they deal with death and try to learn how to live.
Some of the acting is a bit stiff and the attempt to capture the feel of corporate America feels rather comical. (Erik Estrada glowers his way through the role of a dishonest executive.) But, at the same time, the film does end with a message from the founder of Embrace a Village, which actually does provide support for people dealing with Leprosy and the guy is so sincere that it kind of makes you feel guilty for all the snarky thoughts that you had while watching the movie. Whatever else you might want to say about the film, the intentions are good and there’s something to be said for that.
Add to that, Eric Roberts is in the film. Roberts plays Ethan’s father and he brings a lot of genuine emotion to the role. The scene where he breaks down behind the bar in response to having gotten some bad news is well-done. Roberts is kind of famous for accepting almost any role that’s offered to him and he’s said that he hasn’t actually watched the majority of the films in which he’s appeared. Who knows if Roberts actually watched this film but, regardless, his performance was definitely the highlight.
Previous Eric Roberts Films That We Have Reviewed:
On a stormy night, frontier Sheriff Jake Withers (George “Gabby” Hayes) and undercover U.S. Marshal Carruthers (John Wayne) both check into the same inn. They are both searching for the infamous Polka Dot Bandit (Yakima Canutt), who has been burglarizing homes and businesses all over California. They both figure that, on a rainy night like this, there’s no way that the Bandit is going to be out. It turns out they are both wrong. The Bandit breaks into the inn and robs the safe but also leaves behind one of his spurs. The sheriff comes across Carruthers investigating the safe and mistakenly believes that Carruthers is the bandit.
Later, when Sheriff Winters goes out to Carruthers’s cabin, he’s planning on arresting Carruthers. Before he can do so, they both hear gun shots. Outside, another group of bandits is chasing Betty (Eleanor Hunt) and her father. The Sherriff and Carruthers manage to save Betty but her father is killed. The grieving Betty is taken in by a local rancher named Malgrove (Edward Peil, Jr.) but it turns out that Malgrove is the head of the Polka Dot Gang and he is planning on killing Betty in order to keep a shipment of supplies from coming to the town! Carruthers and the sheriff have to work together to thwart Malgrove’s plan and bring the Polka Dot Bandit to justice.
This 54-minute programmer was one of the many B-westerns that John Wayne made for Monogram Pictures in the days before John Ford made him a star by casting him in Stagecoach. Though Wayne was still learning how to act on camera, the screen presence that would make him a star can be seen in Blue Steel and he and Hayes make a good team. The story is simple enough but there’s enough horse riding and fistfights to keep most B-western fans entertained. It’s still hard not to imagine how much different the movie would have been if the sheriff had arrested Carruthers at the scene of the crime instead of letting him ride out to his cabin. It’s a good thing these old programmers never had to make too much sense.
Once upon a time, Casey Rhodes (Beau Mirchoff) was a football star. He was a quarterback. Everyone expected great things from him. He was going to be the next Tom Brady. But then a knee injury took him out of the game and a subsequent drug addiction took him out of mainstream society. Now, Casey makes his living pulling off robberies. He may be a criminal but he’s not a bad-hearted one. He may carry a gun but he tries not to shoot anyone who doesn’t shoot at him first. Working with him are a former baseball player named Mike (Trevor Getzky) and Nikki (Keeya King), who is the smartest member of the crew.
Despite Casey’s attempts to do his job with as little violence as possible, a gunfight does break out during one robbery in Los Angeles. When Detectives James Knight (Bruce Willis) and his partner, Eric Fitzgerald (Lochlyn Munro), interrupt the robbery, Fitzgerald ends up getting shot multiple times as Casey and his crew make their escape. With Fitzgerald in the hospital, Knight decides to follow the crew to New York and take out both them and their boss, a former Internal Affairs officer named Winna (Michael Eklund). It turns out that there’s a history between Knight and Winna. Knight wants his revenge on Winna but, at the same time, Winna knows some dark secrets from Knight’s past.
Though it works as a stand-alone film, 2022’s Detective Knight: Rogue is actually the first part of a trilogy that follows the adventures of Detective Knight. (Detective Knight: Redemption was released at the end of 2022 while Detective Knight: Independence came out last month.) The Detective Knight films were among the last of the movies in which Bruce Willis appeared before announcing his retirement. It can be strange to watch Willis’s final films, knowing what we know about what he was going through at the time that he made them. Though he’s definitely the star of the film, Willis is used sparingly in Detective Knight: Rogue and there’s little of the cocky attitude that we tend to associate with Willis’s best roles. Instead, he’s a grim avenger, determined to get justice for both his partner and himself. Willis is convincing in the role, even if the film is edited in such a way that the viewer gets the feeling that a stand-in may have been used for some of the long-shots involving Detective Knight. That said, Willis still looks convincing carrying a badge and a gun and it’s nice to see a Willis film where he’s again playing a hero instead of a villain.
As the football player-turned-thief, Beau Mirchoff gets more screentime than Willis but, fortunately, Casey is an interesting character and Mirchoff gives a strong performance as a criminal who would rather be a family man and who is desperately looking for a way to make up for the mistakes of his past. Towards the end of the film, he does a flawless job delivering a surprisingly well-written monologue about how he went from being a football star to being a common thief. Mirchoff’s strong performance adds a good deal of ambiguity to the film. The criminals aren’t necessarily that bad at heart and, as we learn, the good guys haven’t always been angels in the past. Detective Knight: Rogue becomes more than just another low-budget thriller. It becomes a meditation of regret and redemption.
Detective Knight: Rogue took me by surprise. As directed by Edward Drake (who was also responsible for another effective late Bruce Willis starrer, Gasoline Alley), it’s an intelligent thriller and it’s one that pays tribute to Bruce Willis as an action icon. It’s proof that a good story can sometimes be found where you least expect it.
Randy (John Wayne) rides his horse into a frontier town. He is planning to pay a visit to his old friend, saloon owner Ed Rogers. But when Randy enters the saloon, he discovers that everyone, including Ed, has been shot dead and a hand-written note has been left by the perpetrator, warning the sheriff not to come after him.
The sheriff and a posse of citizens arrive at the saloon and refuse to believe Randy when he says that he didn’t commit the crime. Matt the Mute (George Hayes, before he became known as Gabby) hands the sheriff a note in which he suggests arresting Randy and hanging him for the crime. Matt’s note is written in the same handwriting as the note that was left at the saloon but no one notices because Matt has a reputation for being a fine, upstanding citizen.
With the help of Ed’s niece, Sally (Alberta Vaughn), Randy escapes from the posse and makes his way to a cave, which he discovers is the hideout for a gang of thieves led by Matt the Mute, who isn’t even a mute! When the gang kidnaps Sally, Randy has to rescue her and clear his name.
A 56-minute programmer, Randy Rides Alone is one of the many B-westerns that John Wayne made before Stagecoachmade him a star. In the 30s, every poverty row studio was churning out short westerns that would play as double features and which would entertain audiences looking for an escape from the present day. Randy Rides Alone is one of the better examples of the genre, due to John Wayne’s authoritative presence and a better-than-average plot. The opening, with a smiling John Wayne entering the saloon just to discover that all of his friends have been murdered, establishes the stakes early on and the movie is as much about revenge as it is about Randy clearing his name. George Hayes, who became best known for playing comedic relief sidekicks, is an effective villain. The film’s target audience was probably bored with Sally and Randy falling in love but they also probably enjoyed Randy climbing a mountain to rescue her. The movie ends with Sally announcing that Randy won’t be riding alone much longer. Randy may have settled down but John Wayne had 150 more films ahead of him.
Accused and convicted of a murder that he didn’t commit, John Brant (John Wayne) breaks out of prison in Maryland and, following the advice of Horace Greeley, he goes west. After making a narrow escape from the authorities, he meets and befriends Joseph Conlan (Lane Chandler). Conlan brings Brant into his gang, where Brant starts out as a cook but is soon being assigned to help rob stores and stagecoaches. Despite his time in prison, Brant is no criminal and he secretly thwarts every robbery that the gang tries to pull off. When the gang starts to suspect that Brant might be an undercover cop, Conlan is the only one willing to stand up for him and help him. Conlan is also responsible for the murder that Brant was accused of committing.
Through the Shattered Lens