Scenes that I Love: Walter Matthau Talks To Robert Shaw in The Taking of Pelham One Two Three


100 years ago, on this date, Joseph Sargent was born in New Jersey.  Sargent would go on to become one of the busiest directors of the 70s, 80s, and 90s, working in both film and television.  Though he would never receive the type of critical attention as some of his contemporaries, Sargent was a skilled director who specialized in making entertaining, no-nonsense films.  Though his reputation was tarnished a bit by the fourth Jaws film, it should be remembered that Sargent was also responsible for films like Colossus: The Forbin Project, Tribes, Nightmares, and The Taking of Pelham One Two Three.

1974’s The Taking of Pelham One Two Three has come to be recognized as a genre classic.  It’s certainly one of my favorite films about how New Yorkers will be rude to anyone in any circumstances.  You can see an example of this in today’s scene that I love.  Having hijacked a train, Robert Shaw calls in his last of demands and gets a very New York response.

The Couch Trip (1988, directed by Michael Ritchie)


When renowned radio psychiatrist George Matlin (Charles Grodin) has a nervous breakdown, he takes a trip to Europe with his wife (Mary Gross) to both recover and also work on his marriage.  (Matlin’s breakdown was the result of an extramarital affair.)  Needing someone to host Dr. Matlin’s radio show, his producers call Dr. Lawrence Baird (David Clennon), who oversees a mental facility in Chicago.  They assume that Dr. Baird is just dumb enough that they won’t have to worry about him overshadowing Dr. Matlin while he’s guest-hosting.  However, when they call, Dr. Baird is out of his office and the phone is answered by John Burns (Dan Aykroyd), a con artist who has been pretending to be insane so that he can avoid serving time in prison.  Pretending to be Baird, Burns accepts their offer and then escapes from the asylum and heads to Beverly Hills.  The real Dr. Baird, not knowing about the offer, goes on vacation in Europe.  Though Burns had originally only been planning on doing the radio job long enough to get paid enough money to head to Mexico, he soon becomes a celebrity with his non-nonsense, blunt advice.

There’s a lot of talented people in The Couch Trip, including Walter Matthau as a former priest-turned-kleptomaniac and Aykryod’s wife, Donna Dixon, as Matlin’s colleague and Burns’s eventual love interest.  Director Michael Ritchie was responsible for some of the best films of the 70s and radio psychiatry is certainly a ripe subject for satire.  Why, then does, The Couch Trip fall flat?  Some of it is because the movie never seems to know if it wants to be wacky farce or a dramedy about a criminal who finds a new life helping people.  The other big problem is that the talented Dan Aykroyd is miscast as the type of unapologetic smartass that Bill Murray could play in his sleep.  (In a version where Murray played John Burns, Aykroyd would have been perfect casting as George Matlin.)

Aykroyd was one of the most talented members of the original Not Ready For Prime Time Players.  (His impersonations of Nixon and Jimmy Carter were second-to-none.)  Sadly, Hollywood has never figured out what to do with his off-center talent.  The Couch Trip is a prime example of that.

 

Insomnia File #69: Candy (dir by Christian Marquand)


What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable or streaming? This feature is all about those insomnia-inspired discoveries!

If you find yourself having trouble getting to sleep tonight, you can always pass the time by watching the 1968 film, Candy.  It’s currently on Tubi.

Based on a satirical novel by Terry Southern and Mason Hoffenberg, Candy follows Candy Christian (Ewa Aulin), a naive teenager from middle America as she has a number of increasingly surreal adventures, the majority of which end with her getting sexually assaulted by one of the film’s special guest stars.  It’s very much a film of the 60s, in that it’s anti-establishment without actually seeming to know who the establishment is.  It opens with a lengthy sequence that appears to be taking place in outer space.  It ends with an extended sequence of Candy walking amongst the film’s cast and a bunch of random hippies.  Director Christian Marquand appears as himself, directing the film.  Yep, this is one of those films where the director and the film crew show up and you’re supposed to be say, “Far out, I didn’t realize I was watching a movie, man.”

The whole thing is a bit of a misfire.  The novel was meant to be smut that satirized smut.  The film isn’t really clever enough to work on any sort of real satirical level.  As was the case with a lot of studio-made “psychedelic” films in the 60s, everything is a bit too obvious and overdone.  Casting the Swedish Ewa Aulin as a character who was meant to represent middle America was just one of the film’s missteps.  Based on The Graduate, Mike Nichols probably could have made a clever film out of Candy.  The French Christian Marquand, a protegee of Roger Vadim’s, can not because he refuses to get out of the film’s way.  It’s all jump cuts, flashy cinematography, and attempts to poke fun at American culture by someone who obviously knew nothing about America beyond the jokes told in Paris.

That said, the main reason that anyone would watch this film would be for the collection of guest stars who all show up and try to take advantage of Candy.  Richard Burton plays an alcoholic poet named MacPhisto and his appearance goes on for far too long.  (Burton, not surprisingly, appears to actually be drunk for the majority of his scenes.)  Ringo Star — yes, Ringo Starr — plays a Mexican gardener who assaults Candy after getting turned on by the sight of MacPhisto humping a mannequin.  When Emmanuel’s sisters try to attack Candy, she and her parents escape on a military plane that is commanded by Walter Matthau.  Landing in New York, Candy’s brain-damaged father (John Astin) is operated on by a brilliant doctor (James Coburn) who later seduces Candy after she faints at a cocktail party.  Candy’s uncle (John Astin, again) also tries to seduce Candy, leading to Candy getting lost in New York, meeting a hunchback (Charles Aznavour), and then eventually ending up with a guru (Marlon Brando).  Candy’s adventures climax with a particularly sick joke that requires a bit more skill to pull off than this film can afford.

If you’re wondering how all of these famous people ended up in this movie, you have Brando to thank (or blame).  Christian Marquand was Brando’s best friend and Marlon even named his son after him.  After Brando agreed to appear in the film, the rest of the actors followed.  Brando, Burton, and Coburn received a share of the film’s profits and Coburn later said that his entire post-1968 lifestyle was pretty much paid for by Candy.  That seems appropriate as, out of all the guest stars, Coburn i the only one who actually gives an interesting performance.  Burton is too drunk, Matthau is too embarrassed, Starr is too amateurish, and Brando is too self-amused to really be interesting in the film.  Coburn, however, seems to be having a blast, playing his doctor as being a medical cult leader.

Candy is very much a film of 1968.  It has some value as a cultural relic.  Ultimately, it’s main interest is as an example of how the studios tried (and failed) to latch onto the counterculture zeitgeist.

Previous Insomnia Files:

  1. Story of Mankind
  2. Stag
  3. Love Is A Gun
  4. Nina Takes A Lover
  5. Black Ice
  6. Frogs For Snakes
  7. Fair Game
  8. From The Hip
  9. Born Killers
  10. Eye For An Eye
  11. Summer Catch
  12. Beyond the Law
  13. Spring Broke
  14. Promise
  15. George Wallace
  16. Kill The Messenger
  17. The Suburbans
  18. Only The Strong
  19. Great Expectations
  20. Casual Sex?
  21. Truth
  22. Insomina
  23. Death Do Us Part
  24. A Star is Born
  25. The Winning Season
  26. Rabbit Run
  27. Remember My Name
  28. The Arrangement
  29. Day of the Animals
  30. Still of The Night
  31. Arsenal
  32. Smooth Talk
  33. The Comedian
  34. The Minus Man
  35. Donnie Brasco
  36. Punchline
  37. Evita
  38. Six: The Mark Unleashed
  39. Disclosure
  40. The Spanish Prisoner
  41. Elektra
  42. Revenge
  43. Legend
  44. Cat Run
  45. The Pyramid
  46. Enter the Ninja
  47. Downhill
  48. Malice
  49. Mystery Date
  50. Zola
  51. Ira & Abby
  52. The Next Karate Kid
  53. A Nightmare on Drug Street
  54. Jud
  55. FTA
  56. Exterminators of the Year 3000
  57. Boris Karloff: The Man Behind The Monster
  58. The Haunting of Helen Walker
  59. True Spirit
  60. Project Kill
  61. Replica
  62. Rollergator
  63. Hillbillys In A Haunted House
  64. Once Upon A Midnight Scary
  65. Girl Lost
  66. Ghosts Can’t Do It
  67. Heist
  68. Mind, Body & Soul

Monday Live Tweet Alert: Join Us For Hard Time and Bad News Bears!


 

As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter and occasion ally Mastodon.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of Mastodon’s #MondayActionMovie!  Every week, we get together.  We watch a movie.  We snark our way through it.

Tonight, for #MondayActionMovie, the film will be 1998’s Hard Time, a film featuring Burt Reynolds!

Then, on twitter, #MondayMuggers will be showing 1976’s Bad News Bears, starring Walter Matthau!  The film is on Prime and it starts at 10 pm et!

It should make for a night of fun viewing and I invite all of you to join in.  If you want to join the live tweets, just hop onto Mastodon, pull up Hard Time on YouTube, start the movie at 8 pm et, and use the #MondayActionMovie hashtag!  Then switch over to twitter, pull Bad News Bears up on Prime, and use the #MondayMuggers hashtag! 

Enjoy!

Scenes that I Love: Walter Matthau Talks To Robert Shaw in The Taking of Pelham One Two Three


98 years ago, on this date, Joseph Sargent was born in New Jersey.  Sargent would go on to become one of the busiest directors of the 70s, 80s, and 90s, working in both film and television.  Though he would never receive the type of critical attention as some of his contemporaries, Sargent was a skilled director who specialized in making entertaining, no-nonsense films.  Though his reputation was tarnished a bit by the fourth Jaws film, it should be remembered that Sargent was also responsible for films like Colossus: The Forbin Project, Tribes, Nightmares, and The Taking of Pelham One Two Three.

1974’s The Taking of Pelham One Two Three has come to be recognized as a genre classic.  It’s certainly one of my favorite films about how New Yorkers will be rude to anyone in any circumstances.  You can see an example of this in today’s scene that I love.  Having hijacked a train, Robert Shaw calls in his last of demands and gets a very New York response.

Film Review: The Taking of Pelham One Two Three (dir by Joseph Sargent)


Welcome to New York in the 1970s!  While the intellectuals flock to the latest Woody Allen movie and the wealthy throw radical chic parties in Manhattan and disturbed young men drive taxis at night and pray for a real flood to clear away all the vermin, most of the city’s citizens are just trying to make it through the day.  For many of them, that means spending an hour or two riding the subway.  In some ways, the subway is the great equalizer.  The minute that you sit down on a filthy train car, it doesn’t matter how old you are or how you vote or the color of your skin.  All that matter is finding a way to avoid making eye contact with anyone else.

Four men, all wearing obvious disguised, board the downtown Pelham 1-2-3 train.  They all look suspicious but, this being New York, no one wants to make eye contact.  Everyone just wants to reach their next stop.  The men — who are known as Mr. Blue (Robert Shaw), Mr. Green (Martin Balsam), Mr. Grey (Hector Elizondo), and Mr. Brown (Earl Hindman) — have other plans.  Revealing that they’re armed, they take the 18 passengers of the first car hostage.  Their leader, Mr. Blue, has a simple demand.  He wants a million dollars to be delivered to the car within an hour.  If the money’s late, he will kill one hostage every minute, until he receives what he wants.

While the cold-stricken mayor (Lee Wallace) tries to figure out how to 1) raise a million dollars and 2) handle the situation without losing any potential votes in his reelection campaign, Lt. Zach Garber (Walter Matthau) communicates with Mr. Blue via radio.  With Mr. Blue underground and Zach above ground, the two of them establish a cautious rapport.  Robert Shaw plays Blue as being efficient, polite, but ruthless while Walter Matthau plays Garber with his usual rumpled but intelligent style.  As embodied by Matthau, Garber is New York City in human form while Shaw is perfectly cast as the outsider who, for at least an hour or two, has managed to bring the city to its knees.

Even though the original The Taking of Pelham One Two Three is often described as being a Walter Matthau film or a Robert Shaw film, the film’s main character actually is the city of New York City.  The film portrays the city as being chaotic, angry, and unpredictable but, at the same time, also resilient and strong.  Yes, Garber may spend a lot of time bickering with his co-workers but, in the end, he and Lt. Rico Patrone (Jerry Stiller, another great New York figure) work together to do what has to be done to resolve the situation.  For all the time that’s spent on how Mr. Blue and his compatriots take that train hostage, just as much time is spent focusing on how the police, the politicians, and the Transit Authority react to what’s happened.  Not having any firsthand knowledge of the New York subway system (beyond being told not to use it when I was in NYC a few years ago), I can’t say whether or not the film is realistic but what’s important is that it feels realistic.  Even though the film is full of familiar character actors, it still seems as if you’re just watching a bunch of New Yorkers having a very long day.  Though guns are fired and there is a runway train, The Taking of Pelham One Two Three takes a refreshingly low-key approach to its story.  There’s no huge action set pieces.  The film’s classic final shot hinges not on Garber’s marksmanship but instead on his ability to remember the small details.

The Taking of Pelham One Two Three is one of my favorite heist movies.  It’s well-acted.  It’s got an interesting plot.  It’s got a few moments of unexpected humor.  Robert Shaw is a great (and, at times, almost compelling) villain while Walter Matthau and Jerry Stiller make for a great detective team.  The great Martin Balsam also turns in a wonderful turn and, even though he’s playing a bad guy, it’s hard not to sympathize him.  You need only see his apartment to understand why exactly he felt the city of New York owed him more than it had given him.  Best of all, The Taking of Pelham One Two Tree is a tribute to a great American city.  The Taking of Pelham One Two Three celebrates New York City in all of its rude, messy, and brilliant glory.

When It Comes To Halloween, Should You Trust The IMDb?


Dr. Sam Loomis

Like a lot of people, I enjoy browsing the trivia sections of the IMDb.  While it’s true that a lot of the items are stuff like, “This movie features two people who appeared on a television series set in the Star Trek Universe!,” you still occasionally came across an interesting fact or two.

Of course, sometimes, you just come across something that makes so little sense that you can only assume that it was posted as a joke.  For instance, I was reading the IMDb’s trivia for the original 1978 Halloween and I came across this:

Peter O’Toole, Mel Brooks, Steven Hill, Walter Matthau, Jerry Van Dyke, Lawrence Tierney, Kirk Douglas, John Belushi, Lloyd Bridges, Abe Vigoda, Kris Kristofferson, Sterling Hayden, David Carradine, Dennis Hopper, Charles Napier, Yul Brynner and Edward Bunker were considered for the role of Dr. Sam Loomis.

Now, some of these names make sense.  Despite the fact that Sam Loomis became Donald Pleasence’s signature role, it is still possible to imagine other actors taking the role and perhaps bringing a less neurotic interpretation to the character.

Peter O’Toole as Dr. Loomis?  Okay, I can see that.

Kirk Douglas, Sterling Hayden, Charles Napier, Steve Hill, or Lloyd Bridges as Dr. Loomis?  Actually, I can imagine all of them grimacing through the role.

Walter Matthau?  Well, I guess if you wanted Dr. Loomis to be kind of schlubby….

Abe Vigoda?  Uhmmm, okay.

Dennis Hopper?  That would be interesting.

Mel Brooks?  What?  Wait….

John Belushi?  Okay, stop it!

Dr. Sam Loomis

My point is that I doubt any of these people were considered for the role of Dr. Loomis.  Both director John Carpenter and producer Debra Hill have said that they wanted to cast an English horror actor in the role, as a bit of an homage to the Hammer films of the 60s.  Christopher Lee was offered the role but turned it down, saying that he didn’t care for the script or the low salary.  (Lee later said this was one of the biggest mistakes of his career.)  Peter Cushing’s agent turned down the role, again because of the money.  It’s not clear whether Cushing himself ever saw the script.

To be honest, I could easily Peter Cushing in the role and I could see him making a brilliant Dr. Loomis.  But, ultimately, Donald Pleasence was the perfect (if not the first) choice for the role.  Of course, Pleasence nearly turned down the role as well.  Apparently, it was his daughter, Angela, who changed his mind.  She was an admirer of John Carpenter’s previous film, Assault on Precint 13.  Carpenter has said that he was originally intimidated by Donald Pleasence (the man had played Blofeld, after all) but that Pleasence turned out to be a professional and a gentleman.

Laurie Strode

Of course, Halloween is best known for being the first starring role of Jamie Lee Curtis.  Curtis was actually not Carpenter’s first choice for the role of Laurie Strode.  His first choice was an actress named Annie Lockhart, who was the daughter of June Lockhart.  Carpenter changed his mind when he learned that Jamie was the daughter of Janet Leigh.  Like any great showman, Carpenter understood the importance of publicity and he knew nothing would bring his horror movie more publicity then casting the daughter of the woman whose onscreen death in Psycho left moviegoers nervous about taking a shower.

There was also another future big name who came close to appearing in Halloween.  At the time that she was cast as Lynda, P.J. Soles was dating an up-and-coming actor from Texas named Dennis Quaid.  Quaid was offered the role of Lynda’s doomed boyfriend, Bob but he was already committed to another film.

Not considered for a role was Robert Englund, though the future Freddy Krueger still spent some time on set.  He was hired by Carpenter to help spread around the leaves that would make it appear as if his film was taking place in the October, even though it was filmed in May.

Robert Englund, making May look like October

Interestingly enough, Englund nearly wasn’t need for that job because Halloween was not originally envisioned as taking place on Halloween or any other specific holiday.  When producer Irwin Yablans and financier Moustapha Akkad originally approached Carpenter and Hill to make a movie for them about a psycho stalking three babysitters, they didn’t care when the film was set.  It was only after Carpenter and Hill wrote a script called The Babysitter Muders that it occurred to Yablans that setting the film during Halloween would be good from a marketing standpoint.  Plus Halloween made for a better title than The Babysitter Murders.

And, of course, the rest is history.  Carpenter’s film came to define Halloween and it still remains the standard by which every subsequent slasher movie has been judged.  Would that have happened if the film had been known as The Babysitter Murders and had starred John Belushi?

Sadly, we may never know.

30 Days of Noir #25: Gangster Story (dir by Walter Matthau)


The 1959 film, Gangster Story, holds the distinction of being the only film ever directed by the Oscar-winning actor, Walter Matthau.

That’s right, this low-budget film about a bank robber and the people who want to kill him was directed by TCM’s favorite curmudgeon.  The man who would later be nominated for multiple Oscars and who would star in numerous Neil Simon adaptations only directed one film and that movie was a low-budget, 68-minute, black-and-white movie about cops and robbers.

(And no, Jack Lemmon is nowhere to be found.)

Walter Matthau not only directed this film but he starred in it as well.  He plays Jack Martin, a career criminal who pulls off a daring bank robbery.  How does he do it?  Well, first, he rents an office in the same building as the bank.  He gets to know everyone at the bank.  He wins their trust.  No one can resist the charms of Jack Martin, which I guess is the advantage of getting to direct yourself.

On the day of the robbery, Jack approaches the cops who are hanging around outside the bank.  He tells them that he’s from Hollywood and he’s going to be shooting a scene in which he pretends to rob the bank.  He assures them that it will look realistic.  They might even see a rather flustered bank manager leading him into the vault.  But it’s just a movie and therefore, it’s very important that the cops not rush into the bank with their guns drawn or anything silly like that.

Of course, the cops fall for it.  While Jack is busy robbing the bank, the cops are just hanging around and shooting the breeze outside.  When Jack walks out of the bank, he thanks the cops for not ruining the scene and then promptly leaves.  Needless to say, the cops are humiliated when they realize how they’ve been tricked.  For them, tracking down Jack isn’t just about upholding the law.  It’s about vengeance.

Meanwhile, the local mob boss is upset because not only did Jack rob the bank without permission but he also failed to shared any of the stolen money.  Not only does Jack have the cops after him but he also has all the local gangsters!

What a mess!

However, Jack isn’t worried.  He’s happy because he’s met and fallen in with a local librarian, Carol (played by Carol Grace).  Will Jack find love or will his criminal past find him?

It’s always a bit strange to watch a film that’s been directed by an actor with a firmly entrenched persona.  Matthau was famous for playing urban misanthropes and, when watching Gangster Story, your natural instinct is to look for signs of that curmudgeonly worldview.  There are hints of it in the scene where Jack tricks the cops outside the bank but, for the most part, there’s really not much personality to be found in any of the film’s scenes.  Matthau’s direction is workmanlike but never particularly memorable.  For reasons that will soon become clear, as a director, Matthau seems far more interested in the unlikely love story between Jack and Carol than in the film’s criminal-on-the-run storyline.  After making this film together, Walter Matthau and Carol Grace married.  It was her third marriage and Matthau’s second and it lasted for 41 years, ending only with Walter Matthau’s death in 2000.

Not surprisingly, the scenes between Jack and Carol are the best in the film.  As for the rest of it, it’s pretty much a standard crime film.  As a director, Matthau struggles to keep the story moving at a steady pace and the film’s low-budget certainly doesn’t help.  Watching the film, you can tell why Walter Matthau devoted the rest of his career to acting as opposed to directing.  It’s hard not to feel that he made the right choice.

A Movie A Day #17: The Laughing Policeman (1973, directed by Stuart Rosenberg)


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San Francisco in the 1970s.  Revolution is in the air.  Hippies are on every street corner.  A man named Gus Niles knows that he’s being tailed by an off-duty cop, Dave Evans.  Gus boards a city bus, knowing that Evans will follow him.  On the bus, an unseen gunman suddenly opens fire with an M3 submachine gun, not only killing both Evans and Gus but six other people as well.  After the bus crashes, the gunman calmly departs.  At first, it is assumed that the massacre was another random mass shooting, like Charles Whitman in Austin or Mark Essex in New Orleans.  But one San Francisco detective is convinced that it wasn’t random at all.

The Laughing Policeman was one of the many police procedurals to be released after the box office success of Dirty Harry and The French Connection and, despite the name, it’s also one of the grimmest.  While the complex mystery behind why Evans was following Gus and who killed everyone on the bus is intriguing, The Laughing Policeman‘s main focus is on the often frustrating nitty gritty of the investigation, complete with false leads, uncooperative witnesses, unanswerable questions, and detectives who frequently make stupid mistakes.  The movie’s first fifteen minutes are devoted to the police processing the bus, with Stuart Rosenberg (best known for directing Paul Newman in Cool Hand Luke) using overlapping dialogue to give the entire scene a documentary feel.  As Detective Jake Martin, Walter Matthau is even more cynical and downbeat than usual while Bruce Dern provides good support as a younger, more volatile detective.  The supporting cast is full of 70s character actors, like Lou Gossett, Anthony Zerbe, Gregory Sierra,and playing perhaps the sleaziest drug dealer ever seen in an American movie, Paul Koslo.

The Laughing Policeman was based on a Swedish novel that took place in Stockholm but, for the movie, Swedish Detective Martin Beck became world-weary Sgt. Jake Martin and Stockholm became San Francisco.  Rosenberg directed the entire film on location, giving The Laughing Policeman the type of realistic feeling that would later be duplicated by TV shows like Hill Street Blues, NYPD Blue, and Law & Order.  Though it may not be as well-known as either Dirty Harry or The French Connection, The Laughing Policeman is a dark and tough police procedural, an underrated classic of the genre.

Incidentally, The Laughing Policeman was one of the first films for which character actor Bruce Dern shared top billing.  According to Dern’s autobiography, Matthau generously insisted that Dern be credited, with him, above the title.

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The Medium is the Message: Andy Griffith in A FACE IN THE CROWD (Warner Brothers 1957)


gary loggins's avatarcracked rear viewer

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If you only know Andy Griffith from his genial TV Southerners in THE ANDY GRIFFITH SHOW and MATLOCK, brace yourself for A FACE IN THE CROWD. Griffith’s folksy monologues had landed him a starring role in the hit Broadway comedy NO TIME FOR SERGEANTS. The vicious, wild-eyed Lonesome Rhodes was thousands of miles away from anything he had done before, and the actor, guided by the sure hand of director Elia Kazan, gives us a searing performance in this satire of the power of the media, and the menace of the demagogue.

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When we first meet Larry Rhodes, he’s in the drunk tank in rural Pickett, Arkansas, a small town not unlike Mayberry. Local radio host Marcia Jeffries is doing a remote broadcast there, hoping to catch some ratings. The no-account drifter is hostile at first, but when the sheriff promises him an early release, you can practically see the wheels spinning…

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