Tag Archives: El Dorado

Robert Mitchum Centennial

6 Aug

Robert Mitchum was born on August 6th, 1917, 100 years ago today. (My father was born less than two months later.) I was born on August 6th also, on Mitchum’s 36th birthday. Mitchum died on July 1, 1997, a little over a month shy of his 80th birthday. He happens to be my favorite movie star. I wrote about him here three times already, covering his debut film, BORDER PATROL (1943); his 1949 film, HOLIDAY AFFAIR; and in a piece about Sam Fuller’s THE BIG RED ONE, his appearance in THE LONGEST DAY (1962), where he played the general leading the attack on Omaha Beach, site of the bloodiest fighting on D-Day.

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The Art of EL DORADO

29 Jun

50 years ago today, EL DORADO opened in New York City. It was the next-to-last film directed by Howard Hawks and it starred John Wayne and Robert Mitchum. I didn’t see it in 1967; I had to wait till it came back as part of a double feature with William Wyler’s last movie, THE LIBERATION OF L.B. JONES, in 1970, shown at the Earl Theater on 161st Street in the Bronx, just a block away from Yankee Stadium. It’s something of a follow-up to Hawks’ earlier western, RIO BRAVO (1959), which had a similar situation of a small band of lawmen holding a powerful prisoner and fending off attempts by the prisoner’s army of gunslingers to free him. In both films, one of the lawmen is a drunk and has to sober up fast when all hell breaks loose. I wrote about RIO BRAVO in my Dean Martin Centennial piece and I’ll write more about EL DORADO in my upcoming Robert Mitchum Centennial piece, slated for August 6, and in an upcoming piece on the best films of 1967. RIO BRAVO is arguably the better film, offering more layered characters and focusing less on plot mechanics than on character relationships and interactions. It’s a more complex, serious film while EL DORADO is more light-hearted and entertaining. RIO BRAVO is more demanding and, ultimately, more satisfying, but I’ve seen EL DORADO much more often (about ten times to RIO BRAVO’s four or five). It has more clever scenes and imaginative bits of action and great chemistry among its group of lead actors (Wayne, Mitchum, James Caan, Arthur Hunnicutt, Charlene Holt). It also introduces the drunk character (Mitchum) when he’s sober and in full command of his faculties, so we know what he’s like before he sinks into an alcoholic daze. In RIO BRAVO, we just have to accept Wayne’s word that the drunk (Dean Martin) was once his best man with a gun, since we only see him in his drunk phase for roughly the first half of the movie.

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1967: Action Cinema’s Greatest Year

23 Sep

45 years ago this month, I went to see the fifth James Bond movie, YOU ONLY LIVE TWICE (1967), when it finally came to the Fairmount, one of my neighborhood theaters. It was a single feature, very unusual for this theater, but interest was so high they didn’t have to book a second film (although other theaters in the neighborhood ran it with second features). They’d even raised the prices for this showing so I wound up paying kids’ price even though I was 14 (I was short enough for my age to get away with it) and sat with my 12-year-old sister Claire in the children’s section, presided over by a matron in a white dress and white gloves and wielding a flashlight. This film marked the first time American audiences got to see ninja action in a mainstream studio film. We’d never even heard of ninjas before this film. It was also the first time most kids got to see people fight with samurai swords in an action scene in a big-budget feature film. When the climactic assault by Bond and the ninjas on SPECTRE’s volcano rocket base began, the crowd in the theater went completely nuts. We’d never seen anything like this before and kids were roaring and applauding and cheering and jumping up and down like I’d never seen an audience react before. (Two little wise guys behind me simply exclaimed “Ooooh!” in unison every time something happened.)

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