JarrodMcDonald

I think the problem with the female lead character is this: Zanuck and Fox were committed to pushing Linda Darnell on the public...if her personality had suited the role of Clementine, you can bet there would've been more development of that character and the love story with Henry Fonda's Earp. The resulting film is off-balance because they are trying to give Darnell and fellow contract player Victor Mature extra screen time. The operation scene is a complete waste of time. We go through five or six minutes of nothing, then she dies. Instead of a film about Earp and Clementine, we have a story about Doc and Chihuahua.

We haven't mentioned GEORGE WHITE'S 1935 SCANDALS. It is scheduled for FMC in April. I've never seen it. Has anyone seen it? It's after the code, so I'm wondering if it's very toned-down or not...

His work is really good, I agree. If you look at this picture, you can see what his physique was like at the time. He undergoes a complete transformation in the role, especially with the aging of the character.

This is one of those films I feel should not have ever been remade. It is the definitive version. Restoration and preservation, yes...but remake, no.

The entire month was not posted yet, so I will add the rest of it when it becomes available. *APRIL 2010 HIGHLIGHTS ON AMC (American Movie Classics Channel)* 4.01 THE VERDICT (1982) 4.02 SIXTEEN CANDLES (1984) BLAZING SADDLES (1974) SPACEBALLS (1987) HISTORY OF THE WORLD: PART 1 (1981) THE WORLD?S GREATEST LOVER (1977) 4.03 THE COMANCHEROS (1961) JEREMIAH JOHNSON (1972) THE OUTLAW JOSEY WALES (1976) 4.04 HEIDI (1937) THE LITTLE PRINCESS (1939) BRIGHT EYES (1934) THE LITTLE COLONEL (1935) 4.05 THE SILENCE OF THE LAMBS (1991) 12 MONKEYS (1995) 4.06 THEY LIVE (1988) PSYCHO (1998) 4.07 THE UNTOUCHABLES (1987) DANCES WITH WOLVES (1990) 4.08 FIGHT CLUB (1999) MYSTIC RIVER (2003) 4.09 SILVERADO (1985) THE VERDICT (1982) THE COMANCHEROS (1961) JEREMIAH JOHNSON (1972) THE OUTLAW JOSEY WALES (1976) PALE RIDER (1985) 4.10 POLTERGEIST (1982) THE FOG (1980) SUPPORT YOUR LOCAL SHERIFF! (1969) SUPPORT YOUR LOCAL GUNFIGHTER (1971) THE OUTLAW JOSEY WALES (1976) THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD (2007) 4.11 HELLFIGHTERS (1968) THE BIG RED ONE (1980) SPACE COWBOYS (2000) MISSION: IMPOSSIBLE (1996) 4.12 MISSION: IMPOSSIBLE (1996) SPACE COWBOYS (2000) 4.13 BATTLE FOR THE PLANET OF THE APES (1973) PRIVATE BENJAMIN (1980) FERRIS BUELLER?S DAY OFF (1986) SPACEBALLS (1987) BLAZING SADDLES (1974) 4.14 SPACEBALLS (1987) THE SECRET OF MY SUCCESS (1986) BLAZING SADLES (1974) MISSION: IMPOSSIBLE (1996) TOP GUN (1996) 4.15 STARGATE (1994) MISSION: IMPOSSIBLE (1996) TOP GUN (1986) THE NINTH GATE (1999) 12 MONKEYS (1995) 4.16 THE NINTH GATE (1999) STARGATE (1994) 12 MONKEYS (1995) THE SHINING (1980) 4.17 HUSH?HUSH, SWEET CHARLOTTE (1964) DANCES WITH WOLVES (1990) SILVERADO (1985) GOODFELLAS (1990) 4.18 DANCES WITH WOLVES (1990) SILVERADO (1985) JEREMIAH JOHNSON (1972) THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD (2007) GOODFELLAS (1990) PULP FICTION (1994) 4.19 JEREMIAH JOHNSON (1972) THE ST. VALENTINE?S DAY MASSACRE (1967) GOODFELLAS (1990) PULP FICTION (1994)

*APRIL 2010 HIGHLIGHTS ON FMC (Fox Movie Channel)* 4.01 THE BULLFIGHTERS (1945) THE SHERIFF OF FRACTURED JAW (1959) GENTLEMEN PREFER BLONDES (1953) OUR MAN FLINT (1966) 4.02 DEMETRIUS AND THE GLADIATORS (1954) HEAVEN KNOWS, MR. ALLISON (1957) THE RAINS OF RANCHIPUR (1955) NINE HOURS TO RAMA (1963) THE HUNTERS (1958) TRIBES (1970) 4.03 THE BIBLE (1966) GREENWICH VILLAGE (1944) THAT LADY IN ERMINE (1948) HE MARRIED HIS WIFE (1940) BACHELOR FLAT (1962) ELOPEMENT (1951) THE YOUNG SWINGERS (1963) 4.04 GEORGE WHITE?S 1935 SCANDALS (1935) FOOTLIGHT SERENADE (1942) BILLY ROSE?S DIAMOND HORSESHOE (1945) THE YOUNG SWINGERS (1963) WILD IN THE COUNTRY (1961) THE GIRL CAN?T HELP IT (1956) GENTLEMEN PREFER BLONDES (1953) 4.05 THE NEPTUNE FACTOR (1973) O. HENRY?S FULL HOUSE (1952) THE PRIDE OF ST. LOUIS (1952) IT HAPPENS EVERY SPRING (1949) TAKE HER SHE?S MINE (1963) 4.06 BROKEN ARROW (1950) CAVALCADE (1933) LEAVE HER TO HEAVEN 91945) WOMAN?S WORLD (1954) BUS STOP (1956) 4.07 NORTH TO ALASKA (1960) CRY OF THE CITY (1948) THE BLUE MAX (1966) SINK THE BISMARCK! (1960) 4.08 THE DARK CORNER (1946) DON?T BOTHER TO KNOCK (1952) WOMAN OBSESSED (1959) SON OF ROBIN HOOD (1959) IN LIKE FLINT (1967) MODESTY BLAISE (1966) 4.09 COMPULSION (1959) NO HIGHWAY IN THE SKY (1951) STOPOVER TOKYO (1957) THE HUNTERS (1958) THE UNDEFEATED (1969) 4.10 FIVE OF A KIND (1938) DANGEROUS CROSSING (1953) VICKI (1953) HANGOVER SQUARE (1945) NIGHT AND THE CITY (1950) RIO CONCHOS (1964) STAIRCASE (1969) 4.11 THREE BLIND MICE (1938) HOW TO MARRY A MILLIONAIRE (1953) MR. 880 (1950) NICE LITTLE BANK THAT SHOULD BE ROBBED (1958) TREASURE OF THE GOLDEN CONDOR (1953) HOW TO MARRY A MILLIONAIRE (1953) HOW TO STEAL A MILLION (1966) 4.12 LLOYDS OF LONDON (1936) 13 RUE MADELEINE (1947) NIGHT AND THE CITY (1950) PANIC IN THE STREETS (1950) THIEVES? HIGHWAY (1949) 4.13 FOOTLIGHT SERENADE (1942) GEORGE WHITE?S 1935 SCANDALS (1935) NOB HILL (1945) MEET ME AFTER THE SHOW (1951) THE GIRL CAN?T HELP IT (1956) THE YOUNG SWINGERS (1963) 4.14 SWAMP WATER (1941) TOBACCO ROAD (1941) THE HOUSE ON 92ND STREET (1945) THE GHOST AND MRS. MUIR (1947) HALF ANGEL (1951) THE LIEUTENANT WORE SKIRTS (1956) 4.15 THREE BLIND MICE (1938) HOW TO MARRY A MILLIONAIRE (1953) MR. 880 (1950) NICE LITTLE BANK THAT SHOULD BE ROBBED (1958) TREASURE OF THE GOLDEN CONDOR (1953) HOW TO MARRY A MILLIONAIRE (1953) HOW TO STEAL A MILLION (1966) 4.16 WOMAN OBSESSED (1959) THE PROUD ONES (1956) DECISION BEFORE DAWN (1951) TEN NORTH FREDERICK (1958) THE RAINS OF RANCHIPUR (1955) LEAVE HER TO HEAVEN (1945) A LETTER TO THREE WIVES (1949) 4.17 THE BULLFIGHTERS (1945) BENEATH THE 12 MILE REEF (1953) PRINCE VALIANT (1954) THE ALLIGATOR PEOPLE (1959) 4.18 THE MARK OF ZORRO (1940) THE FLIGHT OF THE PHOENIX (1965) SLATTERY?S HURRICANE (1949) FATHOM (1967) BOY ON A DOLPHIN (1957) 4.19 A ROYAL SCANDAL (1945) SECRET OF CONVICT LAKE (1951) THE OX-BOW INCIDENT (1943) THE LOST WORLD (1960) THE TWO LITTLE BEARS (1961) THE ALLIGATOR PEOPLE (1959) 4.20 CONFIRM OR DENY (1941) DANGEROUS CROSSING (1953) CRY OF THE CITY (1948) SOMEWHERE IN THE NIGHT (1946) DAISY KENYON (1947) THE CAPE TOWN AFFAIR (1967) 4.21 PRINCE OF PLAYERS (1955) NORTH TO ALASKA (1960) NIGHTMARE ALLEY (1947) HANGOVER SQUARE (1945) WILD IN THE COUNTRY (1961) THE PRIME OF MISS JEAN BRODIE (1969) STAIRCASE (1969) 4.22 OH, YOU BEAUTIFUL DOLL (1949) BILLY ROSE?S DIAMOND HORSESHOE (1945) TONIGHT WE SING (1953) THE SHERIFF OF FRACTURED JAW (1959) DO NOT DISTURB (1965) 4.23 RIO CONCHOS (1964) THE BIG TRAIL (1930) THE DARK CORNER (1946) PANIC IN THE STREETS (1950) INCIDENT ON A DARK STREET (1972) THE DETECTIVE (1968) DECISION BEFORE DAWN (1951) 4.24 THE SHERIFF OF FRACTURED JAW (1959) O. HENRY?S FULL HOUSE (1952) NO HIGHWAY IN THE SKY (1951) BROKEN ARROW (1950) WILD IN THE COUNTRY (1961) THE ONLY GAME IN TOWN (1970) 4.25 THE MARK OF ZORRO (1940) NIGHT TRAIN TO MUNICH (1940) COMPULSION (1959) NIGHT AND THE CITY (1950) FLAMING STAR (1960) 4.26 VIVA CISCO KID (1940) THE CALL OF THE WILD (1935) DON?T BOTHER TO KNOCK (1952) DAISY KENYON (1947) WABASH AVENUE (1950) ELOPEMENT (1951) 4.27 MY COUSIN RACHEL (1952) DEMETRIUS AND THE GLADIATORS (1954) THE NEPTUNE FACTOR (1973) FATHOM (1967) OUR MAN FLINT (1966) 4.28 THREE BLIND MICE (1938) MY LUCKY STAR (1938) ISLAND IN THE SKY (1938) LOVE THAT BRUTE (1950) BELOVED INFIDEL (1959) GENTLEMEN PREFER BLONDES (1953) 4.29 BARRICADE (1939) WAY DOWN EAST (1935) THE HOUSE ON 92ND STREET (1945) APARTMENT FOR PEGGY (1948) A LETTER TO THREE WIVES (1949) THE TRUE STORY OF JESSE JAMES (1951) 4.30 NINE HOURS TO RAMA (1963) SOMEWHERE IN THE NIGHT (1946) 13 RUE MADELEINE (1947) THIEVES? HIGHWAY (1949) HILDA CRANE (1956) THE SECRET LIFE OF AN AMERICAN WIFE (1968) THE ONLY GAME IN TOWN (1970)

GREG KINNEAR LADY GAGA ALICE BRADY MEGAN FOX ROSCOE LEE BROWNE JAMES DUNN OSCAR POLK TOM SIZEMORE

I recorded HOUR OF THE GUN last night on TCM, and I will watch it this weekend. Thanks for the heads up. There is much criticism levied against Earp. Pro-Clanton followers view his actions as a political vendetta and abuse of authority. It seems that continued after the gunfight at the O.K. Corral.

Here, hand me your Ike button. I like him. I will wear it to the Cattle Rustler's Ball. I was just reading some background information about all this...and it seems that there is a much more interesting chapter that occurs after the gunfight. There is something called a 'vendetta ride' which Earp, Holliday and others went on to track down more killers.

Hmmm, we're never going to know the truth about what really happened, are we? LOL Hollywood has Hollywoodized it so much. The book would probably be closest to the truth, but even then, it only gives us Earp's account. I wonder if there are any cousins of the Clantons still alive today...they would have their own version.

Okay, thanks for corroborating my statements. LOL I knew he was particularly proud of the film (and probably thought it deserved a wider audience).

Okay, and I don't feel like paying $93 or whatever it costs for an old copy. LOL

Yes, that's what I meant. It does seem meaningful. But I have to admit (and this won't be a popular view with Ford enthusiasts), but I did have a growing impatience with the structure of the plot and Ford's slow pacing of CLEMENTINE. Sometimes he followed a character or a subplot too long and the story meandered. The Alan Mowbray stuff could've been cut in half. More than once, the protagonist seemed like Doc Holliday instead of Earp...the love triangle with Doc and the two women, then his leaving town, then his performing the operation...Henry Fonda is merely a supporting presence in those scenes. I think the story should've focused more on Earp-- such as his relationship with his surviving brothers; his growing attraction to the east coast woman (I would've had more with them besides just the dance); Earp's frustration at not being able to control Holliday (show Holliday's actions more through Earp's reactions); and the operation scene I would've eliminated entirely, since she dies anyway (as soon as the procedure started, I would've done a quick dissolve, then briefly mentioned in the next scene that she didn't make it); this would have freed the narrative up and I would've moved the plot back to the Clantons and had more scenes with them and the stolen cattle at their ranch. That's another problem I had with the narrative...we get these great villains right at the beginning, but then very little is done with them in terms of character development. Walter Brennan and his sons have two quick cameos in the middle of the film, then we don't really get back to them and the story's central conflict until the last fourteen minutes of the film. Again, I think Ford sort of misses the main thrust of the story by getting sidetracked with all these other secondary plots. He does this again in THE MAN WHO SHOT LIBERTY VALANCE, and the focus in that film shifts away from John Wayne which is another mistake. So while I like the atmosphere and the meaningful, human quality of a Ford film...I don't always like the fact that Ford puts a lot of extra subplots or filler in his movies. Stay with the A plot, that's what we bought the ticket to see, not the B, C or D plot. Really...the Alan Mowbray recitation in the saloon was the worst! It was drawn-out, boring and nearly halted the entire movie. We could still have had him spouting the Bard when he takes the stage out of town...that would've conveyed a sense of his character in 30 seconds, not 3 minutes and 30 seconds of him performing in the saloon. He is the one that should've been a background character, not the Clantons.

Well, it makes for great movie-making, regardless of how much fact or fiction is involved. I wonder if the book is still in print.

Interesting anecdote. I hate to say it, but I think most Americans try to find a 'comfortable truth...' a version that they can accept and live with...and it often contradicts scientific evidence. I am sure Earp embellished. The greatest detail is the duration of the fight, which he claims to have been 20-30 seconds. I have a hard time believing it all ended in a half-minute. That just seems too easy and makes him too heroic. It was probably more of a prolonged battle. Also, I find it interesting that many people had never heard of the incident, until Earp told some writer in Hollywood who then wrote it down and published the account. Wouldn't the legend of that shoot-out have been so great that time would not have diluted it? I am sure it happened, but compared to what else happened in those days, it may not have been considered as major an event as we take it to be today.

While I liked Lancaster and Douglas in GUNFIGHT AT THE O.K. CORRAL, this film (the John Ford version) seems more realistic and authentic to me. The script was crafted by using the book about Earp's life. Earp died in 1929, but he told the story to a writer in Hollywood in 1927. The book hit the market in 1931. How do we know that Earp was recounting the events exactly as they happened? Many years had passed, after all. And who would still be alive almost fifty years later to challenge his interpretation. I am sure there were embellishments. I would like to look at the book, though.

Thanks for providing the picture and the link. There's a timeless quality to it.

Filed Under: *DEADLY ENCOUNTERS* Today's Picks: *D.O.A. (1950)* & *THE HITCH-HIKER (1953)* Edmund O?Brien is ?dead on arrival,? or D.O.A., in this 1950 film noir. The drama was directed by Rudolph Mat?, and it is considered a classic of the genre. The story is about a doomed man's quest to find out the identity of the person that has poisoned him. Edmond O?Brien portrays the dying man who only has a short time to live. The film was remade in 1969 as Color Me Dead in Australia. Then, in 1988 it was filmed again as D.O.A. with Dennis Quaid. O?Brien once again deals with danger in The Hitch-Hiker (1953). This time, Ida Lupino directs from a script she co-authored with her husband, Collier Young. The film is about two fishing buddies who pick up a mysterious hitch-hiker during a trip to Mexico. It is based on the true story of Billy Cook, a psychopathic murderer. In 1998, The Hitch-Hiker was selected for preservation in the United States National Film Registry. It was the first film noir directed by a woman.

On March 19, TCM will air the classic film GOODBYE, MR. CHIPS. Robert Donat and Greer Garson star in this favorite 1939 version from director Sam Wood. The script is based on a novel that was written in four days by its author, James Hilton. It tells the story of a much-loved instructor and his long career at a boys' public boarding school in England. Donat won an Academy Award for Best Actor for his performance in the lead role as Mr. Chipping. He plays a man that overcomes his inability to connect with students and coworkers. He also learns to conquer his shyness when he marries a young woman he has met while on vacation (played by Garson). The film retains the charm of the original story. It was remade in 1969 as a musical film, starring Peter O'Toole and Petula Clark.

Yes...I guess we can say one of two things: either, they respected the original; or they were afraid to revise any of the earlier story. I like both versions of the film.

The numbers in FOOTLIGHT PARADE are all at the end...there are three big numbers and they fill the last 20 minutes of the movie.

I think 42ND STREET's narrative is a bit smoother...there is more of a melodramatic storyline in place. With FOOTLIGHT PARADE, the plot is secondary...and it's basically 80 minutes of mishmash before the Berkeley numbers finally get on screen.

The 1993 film DAVE, starring Kevin Kline, was a later remake of THE PRISONER OF ZENDA. Instead of British royalty, the story focused on a presidential double.

They are both available in a double-DVD release. And I guess there was a 1979 comedy version with Peter Sellers (from Universal).