Archive | Westerns RSS feed for this section

Happy Birthday, Lisa Lu: The Veteran Actress Turns 95!

19 Jan

Actress Lisa Lu turns 95 today, January 19, 2022. I’ve written about her four previous times, the last one being a celebration on her 90th birthday five years ago. It’s great to celebrate someone’s career while they’re happily still with us. Since that last post, she had a major supporting role in CRAZY RICH ASIANS (2018), marking her 60th year in the film/TV industry. In the film she played the mother of Michelle Yeoh’s character and the grandmother of the male lead played by Henry Golding, who struggles to get their approval of his marriage to a Chinese-American woman (Constance Wu) who is considered by his wealthy family to be beneath their station. Here’s what I wrote about her and Yeoh after I’d seen the film: “It’s great to see Michelle Yeoh and Lisa Lu onscreen together, but they’re so antagonistic to the poor heroine that I found it jarring. I’ve never seen them in roles like that before.”

Lisa Lu, Henry Golding in CRAZY RICH ASIANS (2018)

Continue reading

Charles Bronson Centennial

3 Nov

He was an iconic action star who was one of The Magnificent Seven, one of The Dirty Dozen and one of three who made good The Great Escape. He was Charles Bronson and November 3, 2021 marks his centennial. (He died in 2003 at the age of 81 after a 48-year acting career.)

I first saw Bronson on the big screen in John Sturges’ THE GREAT ESCAPE (1963), where he was among the 76 POWs in a German prison camp during World War II who made a dramatic prison break in 1943. He played Danny, the “tunnel king,” whose background in coal mining propelled him to take a major role in digging the escape tunnels. Bronson himself had worked as a coal miner in Pennsylvania before military service in WWII. In the movie his character was one of the three who successfully reaches neutral territory without being recaptured. The other two were played by James Coburn and John Leyton.

Continue reading

50 Years in Times Square: Kurosawa and his Western Remakes

8 Apr

On April 8, 1971, 50 years ago today, I made my first trip to see a Japanese movie on the big screen. It was Akira Kurosawa’s SEVEN SAMURAI (1954) and it may have been the first time the full three-and-a-half-hour cut of the film was shown on the big screen in New York. It was also the first fully foreign-language film with English subtitles that I would see in a theater. The theater was the tiny Bijou Cinema on West 45th Street, between Broadway and 8th Avenue in Times Square in Manhattan.  Interestingly, just over two months earlier, on January 28, 1971, I’d seen John Sturges’ THE MAGNIFICENT SEVEN (1960), a western remake of SEVEN SAMURAI, for the first time at a theater around the corner from the Bijou, the Victoria on Broadway and 46th Street. On May 20 of that year, I would see Sergio Leone’s A FISTFUL OF DOLLARS (1964), the first in the Italian director’s “Man with No Name” western trilogy starring Clint Eastwood, at the Astor Theater, adjacent to the Victoria on Broadway between 45th and 46th Streets. A FISTFUL OF DOLLARS was an Italian western remake of Kurosawa’s YOJIMBO (1961), which I would then see on July 17, 1971, at the Bijou Cinema around the corner. So I saw Kurosawa’s two greatest samurai films and their western remakes in a six-month time period on one strip of real estate in Times Square, all while I was still in high school. Where else and at what time period could that have happened? I was so lucky to be coming of age as a film buff at just that time.31337908446_1655225bc8 Continue reading

Kirk Douglas: A Painter, a Gambler and a Warrior

8 Feb

Hollywood legend Kirk Douglas died on February 5, 2020, at the age of 103. I’ve seen 45 of his 74 movies. In a nearly 60-year film career, he made more than his share of classics. My favorites include THE STRANGE LOVE OF MARTHA IVERS (1946), OUT OF THE PAST (1947), ALONG THE GREAT DIVIDE (1949), YOUNG MAN WITH A HORN (1950), ACE IN THE HOLE (1951), DETECTIVE STORY (1951), THE BIG SKY (1952), LUST FOR LIFE (1956), GUNFIGHT AT THE O.K. CORRAL (1957), PATHS OF GLORY (1957), THE VIKINGS (1958), SPARTACUS (1960), THE LAST SUNSET (1961), LONELY ARE THE BRAVE (1962), SEVEN DAYS IN MAY (1964), IN HARM’S WAY (1965), HOLOCAUST 2000 (1977), and THE FURY (1978). Among the great directors he worked with were Lewis Milestone, Jacques Tourneur, Raoul Walsh, Michael Curtiz, Billy Wilder, William Wyler, Howard Hawks, Vincente Minnelli, King Vidor, John Sturges, Richard Fleischer, Stanley Kubrick, Robert Aldrich, John Huston, John Frankenheimer, Otto Preminger, Anthony Mann, Martin Ritt, Elia Kazan, Joseph L. Mankiewicz and Brian De Palma. That’s quite a record.

Continue reading

Great Moments in Classic TV 2019

25 Jan

In 2019, I saw 425 TV episodes, 325 of them American and 100 Japanese. I will focus here on highlights from classic American TV that I discovered this past year.

The single series I watched the most episodes from was “Perry Mason,” for a total of 70. I’ve been going slowly, but methodically, through the nine-season box set I purchased in 2017 and I watched from “The Case of the Renegade Refugee” (Season 5 / #13, Dec. 9, 1961) to “The Case of the Simple Simon” (Season 7 / #24, April 2, 1964).

Continue reading

Asians in TV Westerns: “The Virginian: Hour of the Tiger”

17 Dec

I recently stumbled across an episode about Chinese laborers in “The Virginian,” a long-running NBC western series that ran in a 90-minute time slot from 1962 to 1971 and is now running every weekday evening on the Starz Encore Western Channel. This particular episode was called “The Hour of the Tiger” (Season 3 / #16, airdate  December 30, 1964) and it turned out to be a suitable entry for my ongoing series on “Asians in TV Westerns.” Its chaste relationship between the title hero and a cultured Asian woman echoes those in other westerns I’ve written about here, including Laramie: “Dragon at the Door,” and two with Lisa Lu: Cheyenne: “A Pocketful of Stars” and Bonanza: “Day of the Dragon.” In all of these, the hero and the Asian character (Japanese in “Laramie” and Chinese in “Cheyenne and “Bonanza”) discuss their cultural differences at length, with the American suggesting that she doesn’t have to follow tradition, but can follow her heart and take advantage of the freedom possible in America. The Virginian episode shares a plot element with two of the others, in that the woman is promised to another man. In each case, respect is shown by the hero toward the other culture. He’s never condescending or critical, but simply offers the option of another way. (These episodes were made at a time when cold war tensions prompted frequent expressions of American values in popular culture to contrast the lack of basic rights in the Soviet Union and Communist China. Conversely, these episodes can also be seen as a way of inserting messages into network entertainment about racial prejudice and the civil rights battles of the time when TV executives were still timid about treating the topic directly. )

Continue reading

Marie Windsor Centennial: Femme Fatale Extraordinaire

11 Dec

Marie Windsor would have turned 100 today, December 11, 2019. She was an unforgettable character actress who had a 50-year career in movies and television (1941-1991) and died in 2000 at the age of 80. She’s best known for playing femmes fatale in crime movies and film noir and outlaw women in westerns throughout the 1940s and ’50s. Her most memorable roles for me were in THE NARROW MARGIN (1952) and THE KILLING (1956) and the westerns, HELLFIRE and DAKOTA LIL. She also guest-starred in numerous TV shows, including four episodes of “Perry Mason.”

Continue reading

“Picture Parade” – The Films of 1949

6 Oct

Once upon a time I purchased a used book entitled Peter Noble’s Picture Parade. It turned out to be from the U.K. and was one of an annual series of pictorial books in which English film critic Peter Noble covered the year’s releases, concentrating mostly on Hollywood and British films. The volume I have is from 1949, 70 years ago, and features a mix of movie star head shots and scenes from different films that premiered in England in 1949, some of which are older Hollywood films, with brief captions. While most of the illustrations are in black-and-white, there are a good number of color pages and I was struck by how beautiful the color shots were despite being printed on ordinary book paper, rather than glossy pages. There are many obscure films and stars highlighted, but most of the Hollywood stars featured in the color shots are generally still well-known and embraced by film buffs and TCM viewers today, like Marlene Dietrich:

Continue reading

The Cinematic Landscape of 1969: A Film Buff’s Coming of Age

28 Aug

I’d been planning a piece about the films of 1969, but I decided to wait until I’d seen Quentin Tarantino’s ONCE UPON A TIME…IN HOLLYWOOD before finalizing my approach to it. I was curious to see what films from that period would be referenced and how that contrasted with my own experience at the movies that year. I was glad to see posters and marquees in the film highlighting films I’d seen back then, but his film takes place mostly on two weekends in 1969, one in February and one in August, so there was a limit to the references he could make. Besides, most of the film’s recreated production scenes focused on TV shows of the time, most of which I didn’t see because my household didn’t have a TV set for that entire year. More on OUATIH later.

For me, 1969 was the year I got an after-school job and was able to go to many more movies than I previously could on my meager allowance. It was also the year I started seeing movies in Manhattan by myself, usually in Times Square near my high school, the High School of Performing Arts (the “Fame” school).

Continue reading

ONCE UPON A TIME IN HOLLYWOOD and the Art of Recreating an Era

29 Jul

Quentin Tarantino’s newest film offers a love-letter to the pop culture of the 1960s—films, television, music, celebrities, parties, etc. He takes the careers of three distinct individuals, two fictional, one real, employed in the film and TV industry in 1969 and uses incidents in their lives, including numerous flashbacks spanning the 1960s, to depict what it was like to live and work in the industry town of Los Angeles at the time. The key figure is Rick Dalton (Leonardo DiCaprio), a onetime star of a TV western now reduced to guest shots as “villain of the week” in assorted network TV dramas and faced with the dilemma of how to resuscitate his stardom or just settle for life as a working actor. The second figure is Cliff Booth (Brad Pitt), Dalton’s stuntman, who, when not doubling Dalton in a film or TV role, is acting as Dalton’s chauffeur, handyman and paid companion. (Dalton lives in a sprawling ranch house on Cielo Drive in the Hollywood Hills, while Booth lives miles away in a trailer parked near an oil rig behind a drive-in theater in Van Nuys.)

Continue reading