Tag Archives: Robert Carricart

MAN WITH A CAMERA (TV Series) – starring Charles Bronson – S1, E2: The Warning

Posted on by Bradley Crain

This episode opens with Mike Kovac (Charles Bronson) receiving an anonymous phone call to come to the corner of Myers St. and Brooklyn Ave., and he’s told to bring his camera! When he gets there, he’s forced at gunpoint by two masked man to take a picture as they kill another man. After the killers drive off, Kovac immediately calls the police. We meet Lt. Abrams (Robert Ellenstein), who tells Kovac that the dead man is a new merchant in town named Sam Bartlett (Bill Erwin) who has been refusing to pay the head of the local protection racket, Glenn Markey (Berry Kroeger). Lt. Abrams asks Kovac to let them plant a story in the paper that says they have an eyewitness to the murder, ace photographer Mike Kovac. Worried that he might be the next man to get killed, Kovac turns him down. Not feeling good about refusing to help the police, Kovac goes to see his dad Anton and tells him the story. Shocked to hear that his son has refused to help the police, especially since it could help put an end to Marky’s reign of terror, Anton asks his son if it’s because he’s afraid. Somewhat shamed into it, Kovac finally agrees and calls Lt. Abrams and tells him they can run the story saying he witnessed the murder. Wouldn’t you know it, the next night Glenn Markey and his funky bunch kidnap Anton in order to force Kovac’s hand. Will Kovac be able to save his dad, and his own skin in the process? Will the police be any help? 

“The Warning” seems to be built upon an irrational request from the police of Mike Kovac… let us plant a fake story and put your life in danger so we can hopefully catch the killer as he tries to kill you. When Kovac refuses to be used that way, as any other rational human being would, Lt. Abrams tells him he’d been told that “Mike Kovac doesn’t scare easily. Guess I heard wrong.” It’s bad enough when anyone implies you’re a coward, but when Mike’s own dad seems disappointed that he’s not helping the police out of fear, Mike is almost forced to help. This is not how it would go down if I found myself in this position, and my dad would be on my side! Even though the premise is somewhat flimsy, there are definitely some good moments in the episode. Once Markey has kidnapped his “Pop,” Kovac turns into the badass Bronson we’ve been waiting for. I enjoyed this tough guy exchange as Markey tries to force Kovac to come with him at gunpoint, not knowing Kovac has brought his own gun:

Markey – “This gun says you’re coming along with me.”

Kovac – “This gun says I’m not.”

Markey – “You’re bluffing, Kovak.”

Kovac – “You just think about that when these slugs start ripping into your body. Maybe it’ll be a comfort to you.”

I also like it when Anton admits he was wrong at the end. After somewhat shaming his son into helping the police, and then having to be rescued later, Anton says, “You were right Michael, these things are dangerous. The next time the police ask for your help, you say NO!” It’s a funny, and more realistic, conclusion to the episode! 

Overall, I enjoyed the episode very much, mainly because of Bronson’s strong central performance. I’m looking forward to seeing where the series goes from here! 

Happy 74th Birthday, Kurt Russell! In GUNS OF DIABLO (1964), a young Kurt graces the screen with cinema icon Charles Bronson.

Posted on by Bradley Crain

As a person who sees his love of movies through a lens of “Bronson connections,” I have a special fondness for Kurt Russell. In 1963 and 1964, Charles Bronson worked on a television series with Kurt Russell called THE TRAVELS OF JAIMIE MCPHEETERS. The series itself is the story of twelve year old Jaimie McPheeters (Kurt Russell) who, along with his ne’er-do-well doctor dad (Dan O’Herlihy) and a ragtag group of pioneers, travel westward from Paducah, Kentucky to the California gold fields in 1849. Charles Bronson first appeared on episode 10 of the series, and would stay with the series until it ended after 26 episodes. Russell was the star, with Charles Bronson riding along in the important role of Linc Murdock, the guide who gets them through all sorts of dangerous situations. 1964’s GUNS OF DIABLO is an interesting concoction, using the final episode of the series, “The Day of Reckoning” and adding some new scenes shot specifically for a movie release.

GUNS OF DIABLO opens with Linc Murdock (Charles Bronson) leading the wagon train across a raging river. The group constructs a wooden barge, and most of the group makes it across safely. Unfortunately for one of the groups, a tree floating down the river smashes into the barge, causing it to sink along with the wagon and the man on top of it. Murdock jumps into the river and is able to save the man who unfortunately suffers a broken leg. Needing to rest for a few days, Murdock decides to go into the local town, Devil’s Gap, to get supplies. Jaimie (Kurt Russell), a boy with the wagon train, asks his dad if he can go with him. Dad says yes under one condition, Jaimie gets a real bath while he’s in town. So Linc and Jaimie head off together. When they get to town, Linc immediately goes to the saloon to get a beer, where he sees the beautiful Maria (Susan Oliver), a woman with whom he has a dangerous past. Via flashback, we learn the story of Linc and Maria falling in love while he was working as a hand on the Macklin ranch five years earlier. But it was a doomed love affair as Maria had been promised to the eldest son of the family, Rance Macklin (Jan Merlin). When Linc and Maria plan to elope and get married, Rance and his brothers get the drop on them. A big gunfight ensues, with Rance taking a shot in the arm, and Maria being shot in the crossfire. Believing her to be dead, Linc barely escapes with his own life.

Back in the present time we meet a Maria who is stuck in a loveless marriage to a one-armed Rance. Rance and his brothers have lost the ranch and are always trying to stay one step ahead of the law. That’s why Maria’s been reduced to working as a waitress at the saloon. She also believes that Linc ran out on her five years ago, so she’s mad at him. But soon those old feelings start stirring up deep within her when Linc talks sweet to her. When the duplicitous bartender Ives (John Fiedler) sees Linc go into Maria’s room, he sends word to Rance. Soon the Macklin Brothers are on their way back to town to settle their old score with Linc. What they didn’t count on was the 12 year old Jaimie McPheeters, with all of his youthful exuberance and ingenuity, being there to swing the odds in Linc’s favor! I made up that last line, but Jaimie does help Linc a couple of times. 

I mentioned earlier that GUNS OF DIABLO was assembled together using the final episode of THE TRAVELS OF JAIMIE MCPHEETERS, along with some new footage added specifically for the movie. I’ve never seen the final episode of the series that this movie was based on, but I have seen some of the earlier episodes and I did notice one key difference. The TV series revolves mostly around the trials and tribulations of Jaimie and his dad, Dr. Sardis McPheeters. Dan O’Herlihy played Dr. McPheeters in the series, but actor Russ Conway plays him in this movie. He’s not a big part of the movie, just appearing at the beginning and the end, but it was odd seeing a different actor portraying Jaimie’s dad. It sure would be great if the series were to become more widely available at some point in time. I’d love to compare the TV version to this movie version.

Charles Bronson was not a big movie star when GUNS OF DIABLO was released, but he was a well respected character actor. He had already headlined his own TV series, MAN WITH A CAMERA (1958-1960), and he had prominent roles in the massive box office hits THE MAGNIFICENT SEVEN (1960) and THE GREAT ESCAPE (1963). This movie heavily focuses on his character, and Jaimie McPheeters takes a back seat. Bronson, already 43 years old, was more than up to the challenge. He comes across as a decent, hardworking man, who’s capable of taking care of himself. In other words, he shows the strength and charisma that would make him the most popular actor in the world just a few years later. Susan Oliver is quite beautiful as Maria. Although primarily known as a blonde, blue eyed beauty, her hair is dark here. She’s so beautiful that I can understand why a man with such limited options would be willing to fight to the death for her. And what can you really say about Kurt Russell?! He’s such a good child actor. While Jaimie McPheeters may not be the focus of the movie, he’s still so good in the role, showing kindness, loyalty and bravery in equal measure. In a world where so many child actors can’t adjust to life as an adult, Russell has made it look easy for the last six decades. In my opinion, he’s one of the all time greats. 

Overall, GUNS OF DIABLO will never be confused with HIGH NOON (1952) or RIO BRAVO (1959), but for a movie assembled from a 60’s TV western and a few newly shot scenes, it’s actually quite enjoyable. And the storyline may not be the most original, but the time tested tale of true love and honor winning out over greed and evil will always make for compelling viewing. I got my first VHS of this film in the 80’s and I still own it to this day. I even watched it multiple times while I was writing up this review. As far as I’m concerned, GUNS OF DIABLO is well worth watching for fans of westerns or fans of the stars. 

Rather than sharing a trailer for the film I thought I’d share this heartwarming story of the time Kurt Russell bought Charles Bronson a birthday gift while they were working together on this series. It’s a classic. Enjoy, my friends!

Film Review: The Don Is Dead (dir by Richard Fleischer)

Posted on by Lisa Marie Bowman

“The Don is Dead!” shouts the title of this 1973 film and it’s not lying.

After the powerful and respect leader of the Regalbuto crime family dies, the Mafia’s governing body meets in Las Vegas to debate who should be allowed to take over the family’s operations.  Frank Regalbuto (a smoldering Robert Forster) wants to take over the family but it’s agreed that he’s still too young and hot-headed.  Instead, control of the family is given Don Angelo DiMorra (Anthony Quinn), an old school Mafia chieftain who everyone agrees is a man of respect.  Don DiMorra will serve as a mentor to Frank while Frank’s main enforcers, The Fargo Brothers, will be allowed to operate independently with the understanding that they will still respond if the mob needs them to do a job.  Tony Fargo (Forrest) wants to get out of the rackets all together while his older brother, Vince (Al Lettieri), remains loyal to the old ways of doing things.

Frank is not happy with the arrangement but he has other things to worry about.  He knows that there’s a traitor in his family.  While he and the Fargo brothers work to uncover the man’s identity so that they can take their revenge, Don Angelo falls in love with a Vegas showgirl named Ruby Dunne (Angel Tompkins).  However, Ruby is engaged to marry Frank and, when Frank returns from taking care of the traitor, he is tipped off as to what has been happening in his absence.  Frank goes crazy, nearly beating Ruby to death.  Don Angelo declares war on Frank and the Fargo brothers are forced to decide which side they’ll serve.

In the 1970s, almost every crime film was either a rip-off of The French Connection or The Godfather.  The Don Is Dead is unique in that it attempts to rip off both of them at the same time.  The film opens French Connection-style with a couple of hoods trying to double-cross Frank during a drug deal, leading to shoot-out.  (Keep an eye out for Sid Haig as one of Frank’s men.)   The film is full of scenes that are meant to duplicate the gritty feel of The French Connection though, needless to say, none of them are directed with the cinema verité intensity that William Friedkin brought to that classic film.  Meanwhile, Anthony Quinn plays a character who is very much reminiscent of Don Vito Corleone, even pausing at one point to tell Frank that “drugs are a dirty business.”  The Godfather‘s Abe Vigoda and Al Lettieri show up in supporting roles and Robert Forster gives a performance that owes more than a little to James Caan’s Oscar-nominated turn as Sonny Corleone.  (Interestingly enough, both Quinn and Forster were among the many actors considered for roles in The Godfather.)

Unfortunately, the film itself is slowly-paced and never really draws us into the plot.  Director Richard Fleischer, who directed a lot of films without ever developing a signature style, brings none of the intensity that William Friedkin brough to The French Connection nor can he duplicate Francis Ford Coppola’s operatic grandeur.  The Don is Dead plays out like a particularly violent made-for-TV movie.  There’s a lot of talented people in the cast but they’re defeated by thinly drawn characters.  Robert Evans often said that Coppola was hired to direct The Godfather because, as an Italian-American, he would bring an authenticity to the material that a non-Italian director would not be able to do.  The Don Is Dead would seem to indicate that Evans knew what he was talking about.