Hollywood History Lesson: Errol Flynn in SANTA FE TRAIL (Warner Brothers 1940)


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A movie lover could get pretty spoiled living on a steady diet of Errol Flynn/Warner Brothers epics from the 30’s and 40’s. You’ve got Flynn, the personification of the classic “movie star”, performing heroic feats and romancing his leading lady (usually Olivia de Havilland ). A historical setting   serving as the backdrop to move the story along, expertly directed by Michael Curtiz or Raoul Walsh, a cast full of Hollywood’s greatest character actors, a majestic music score (mainly Max Steiner , but there were others equally as talented), action, drama, humor, conflict… what more could a film fan ask for?

SANTA FE TRAIL has all this and more, an energetic pre-Civil War tale guaranteed to hold your interest for its 110 minutes no matter which side of the Mason-Dixon Line you live on. It’s characters are drawn from history, but historic accuracy be damned… these films were all about…

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Dead Man Walking: Clint Eastwood in HANG ‘EM HIGH (United Artists 1968)


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Clint Eastwood  returned to America after his amazing success in Sergio Leone’s Man With No Name Trilogy as a star to be reckoned with, forming his own production company (Malpaso) and filming HANG ‘EM HIGH, a Spaghetti-flavored Western in theme and construction. Clint was taking no chances here, surrounding himself with an all-star cast of character actors and a director he trusted, and the result was box office gold, cementing his status as a top star.

Clint plays ex-lawman Jed Cooper, who we meet driving a herd of cattle he just purchased (reminding us of his days on TV’s RAWHIDE). A posse of nine men ride up on him and accuse him of rustling and murder, appointing themselves judge, jury, and executioner, and hang him. He’s left for dead, until Marshal Dave Bliss comes along and cuts him down, taking Jed prisoner and transporting him to nearby Ft. Grant. Evidence…

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Weird Western Tale: Lee Van Cleef in SABATA (United Artists 1970)


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Let’s face it, Lee Van Cleef was one cool hombre, and he’s at his coolest in SABATA, the first film of a trilogy written and directed by Gianfranco Parolini (aka Frank Kramer). The beady-eyed Van Cleef is obviously enjoying himself as Sabata, a trickster with a sinister chuckle and an array of tricked-out weapons who always manages to stay one step ahead of the bad guys.

The movie begins traditionally enough, as $100,000 in Army payroll is deposited for safe keeping in the town of Daughtrey’s bank. A daring robbery finds the guards murdered and the safe heisted. It’s all a plot by banker Ferguson, Judge O’Hara, and ex-Confederate Colonel Stengel to buy up land needed for the railroad to come through. What they didn’t count on is the presence of the mysterious Sabata, who stops the bandits with his extra-long range Winchester, carting their carcasses back to town with…

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Smile When You Say That: Randolph Scott in BUCHANAN RIDES ALONE (Columbia 1958)


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The usually stoic Randolph Scott gets to show a sense of humor in BUCHANAN RIDES ALONE, his fourth collaboration with director Budd Boetticher. The humor comes from Burt Kennedy’s script, who did an uncredited rewrite of Charles Lang’s original, foreshadowing his own, later comic Westerns. The result is a good (not great) little film that’s not up to other Scott/Boetticher teamings , but still a gun notch above average.

This one finds Scott as the title character, crossing the border from Mexico to the unfriendly Agry Town, where it seems everyone’s an Agry, and they don’t cotton to strangers. Buchanan just wants to make a pit stop on his way back to West Texas, get himself a nice steak, a bottle of whiskey, and a good night’s sleep. But he runs into trouble at the saloon with young Roy Agry, who is gunned down by Juan de la Vega. Apparently…

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Western Noir: James Stewart in BEND OF THE RIVER (Universal-International 1952)


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BEND OF THE RIVER, the second of the James Stewart/Anthony Mann Westerns, isn’t quite as good as the first, WINCHESTER ’73 . That’s not to say it isn’t a good film; it’s just hard to top that bona fide sagebrush classic. Stewart continues his post-war, harder edged characterizations as a man determined to change his ways, and is supported by a strong cast that includes a villainous turn by the underrated Arthur Kennedy .

Jimmy plays Glyn McLyntock, an ex-outlaw now riding as trail boss for a group of farmers heading to Oregon to begin a new life. He encounters Kennedy as Emerson Cole, a horse thief about to be hanged, and enlists his help on the trail west. Both men know each other’s reputations; they were both once raiders along the Missouri/Kansas border. The wagons are attacked at night by Shoshone, an arrow piercing young Laura Baile, daughter of…

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Lonely As The Night: Randolph Scott in COMANCHE STATION (Columbia 1960)


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COMANCHE STATION was the final entry in the Randolph Scott/Budd Boetticher/Burt Kennedy series of Westerns, and in many ways a fitting ending. The loneliness of the Westerner is again a key theme as the film begins with the solitary figure of Scott as Jefferson Cody, riding across that rocky, barren, now mighty familiar Lone Pine terrain. He bargains with hostile Comanches for a captive white woman named Nancy Lowe, wife of a wealthy rancher. Stopping at Comanche Station, Cody and Mrs. Lowe encounter three men being chased by the tribe.

We learn one of these men is Ben Lane, a bounty hunter who shares a dark past with Cody. The two were formerly in the Army together, where then-Major Cody busted Lane out of the service for the slaughter of a village of friendly Indians. We also learn Mrs. Lowe’s husband is offering a five thousand dollar reward for her…

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Lonesome Cowboy: Randolph Scott in RIDE LONESOME (United Artists 1959)


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Randolph Scott and director Budd Boetticher  teamed again for RIDE LONESOME, their sixth of seven Westerns and fourth with writer Burt Kennedy. Scott’s a hard case bounty hunter bringing in a killer, joined in his trek by an old “acquaintance” with an agenda of his own. Everyone’s playing things close to the vest here, and the stark naked desert of Lone Pine’s Alabama Hills, with its vast emptiness, plays as big a part as the fine acting ensemble.

Ben Brigade (Scott) has captured the murderous Billy John and intends to bring him to justice in Santa Cruz. Coming to a waystation, he finds Sam Boone and his lanky young companion Whit, known outlaws who’ve heard the territorial governor is granting amnesty to whoever brings in Billy. Also at the station is Mrs. Crane, whose husband has been murdered by marauding Mescaleros. Sam’s interested in forming a partnership and taking Billy…

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