Wow, a ‘new’ Sam Peckinpah western! While we await the rumored Blu-ray of Pat Garrett and Billy the Kid to surface (or was Alex Cox misinformed?), correspondent Darren Gross has come across a watchable web encoding of a Peckinpah TV drama that seems to be more or less ‘lost.’ Good star performances and intense characterizations prove once again that Peckinpah could deliver superior dramatics. The home video companies should do some investigating — there’s a market out there for this one.
The Lady Is My Wife
TV episode of Bob Hope Presents the Chrysler Theater
CineSavant Revival Screening Review
1967 / Color / 1:33 TV / 47 min. / first Aired February 1, 1967 / Not on Home Video
Starring: Jean Simmons, Bradford Dillman, Alex Cord, Begoña Palacios, L.Q. Jones, Roberto Contreras, Alan Baxter, Jim Boles, Billy M. Greene, E.J. André, Billy M. Greene.
Cinematography: Dale Deverman
Art Director: Lloyd S. Papez
Costumes: Kay Hayden
Film Editor: Edward Biery...
The Lady Is My Wife
TV episode of Bob Hope Presents the Chrysler Theater
CineSavant Revival Screening Review
1967 / Color / 1:33 TV / 47 min. / first Aired February 1, 1967 / Not on Home Video
Starring: Jean Simmons, Bradford Dillman, Alex Cord, Begoña Palacios, L.Q. Jones, Roberto Contreras, Alan Baxter, Jim Boles, Billy M. Greene, E.J. André, Billy M. Greene.
Cinematography: Dale Deverman
Art Director: Lloyd S. Papez
Costumes: Kay Hayden
Film Editor: Edward Biery...
- 3/4/2023
- by Glenn Erickson
- Trailers from Hell
Sunni Welles, an actress, singer and one of the woman who accused Bill Cosby of sexual assault, has died. She was 72.
Welles’ passing was announced Tuesday by her son Shaun O’Banion, who referred to her as an “extraordinary woman.” She died Monday in a hospice care center in Downey, California.
Welles first got her start as a child actress, appearing on shows such as “Leave It to Beaver” and “My Three Sons,” taking her stage name from the word “Sunshine” and her surrogate father, screenwriter Halsted Welles.
Welles said in a statement through Gloria Allred in 2015 that she had met Cosby on set of “I Spy” when she was just 17 in the mid 1960s when her mother was working as a story editor at Paramount Studios. In meeting him she described her love of jazz and that she could do a good Nancy Wilson impression for him. She claimed she...
Welles’ passing was announced Tuesday by her son Shaun O’Banion, who referred to her as an “extraordinary woman.” She died Monday in a hospice care center in Downey, California.
Welles first got her start as a child actress, appearing on shows such as “Leave It to Beaver” and “My Three Sons,” taking her stage name from the word “Sunshine” and her surrogate father, screenwriter Halsted Welles.
Welles said in a statement through Gloria Allred in 2015 that she had met Cosby on set of “I Spy” when she was just 17 in the mid 1960s when her mother was working as a story editor at Paramount Studios. In meeting him she described her love of jazz and that she could do a good Nancy Wilson impression for him. She claimed she...
- 8/10/2021
- by Brian Welk
- The Wrap
Sunni Welles, a TV actor, musician and performer who later accused Bill Cosby of sexual assault, died on Monday in Downey, Calif., after a battle with lung cancer, her son, Shaun O’Banion, confirmed to Variety. She was 72.
Welles was born Nancy Kay Rihl in Caracas, Venezuela, and moved to the United States with her family when she was three years old. She became a child actor at the age of 10 and appeared in “Leave It to Beaver” and “My Three Sons.” Welles started going by her stage name as a teenager, taking it from her nickname “Sunshine,” as she was known by friends and family, and the surname of television writer Halsted Welles, who was a surrogate father to her.
During her career in the entertainment industry, Welles became friends with Elvis Presley while she toured the world as a singer and dancer. She later married singer and actor John O’Banion,...
Welles was born Nancy Kay Rihl in Caracas, Venezuela, and moved to the United States with her family when she was three years old. She became a child actor at the age of 10 and appeared in “Leave It to Beaver” and “My Three Sons.” Welles started going by her stage name as a teenager, taking it from her nickname “Sunshine,” as she was known by friends and family, and the surname of television writer Halsted Welles, who was a surrogate father to her.
During her career in the entertainment industry, Welles became friends with Elvis Presley while she toured the world as a singer and dancer. She later married singer and actor John O’Banion,...
- 8/10/2021
- by Jordan Moreau
- Variety Film + TV
“To really live, you must almost die,” sings Marty Robbins, a lesson learned by Austrian import star Maria Schell. Delmer Daves’ best western puts virtue and faithfulness to the test: Gary Cooper’s distrustful, manipulative doctor hides his dark secrets and punishes those that admire and love him. Yet the ultimate reckoning demonstrates that sins can be forgiven and goodness rewarded, even in a corrupt and lawless community. That’s a fairy tale I still want to believe in.
The Hanging Tree
Blu-ray
Warner Archive Collection
1959 / Color / 1:78 widescreen / 107 min. / Street Date January 23, 2018 / available through the WBshop / 21.99
Starring: Gary Cooper, Maria Schell, Karl Malden, Ben Piazza, George C. Scott, Karl Swenson, Virginia Gregg, John Dierkes, King Donovan.
Cinematography: Ted McCord
Film Editor: Owen Marks
Original Music: Max Steiner
Written by Wendell Mayes, Halsted Welles from the novel by Dorothy M. Johnson
Produced by Martin Jurow, Richard Shepherd
Directed by Delmer...
The Hanging Tree
Blu-ray
Warner Archive Collection
1959 / Color / 1:78 widescreen / 107 min. / Street Date January 23, 2018 / available through the WBshop / 21.99
Starring: Gary Cooper, Maria Schell, Karl Malden, Ben Piazza, George C. Scott, Karl Swenson, Virginia Gregg, John Dierkes, King Donovan.
Cinematography: Ted McCord
Film Editor: Owen Marks
Original Music: Max Steiner
Written by Wendell Mayes, Halsted Welles from the novel by Dorothy M. Johnson
Produced by Martin Jurow, Richard Shepherd
Directed by Delmer...
- 1/13/2018
- by Glenn Erickson
- Trailers from Hell
“No one, and I mean no one wanted to make this movie.”
James Mangold delivered one of this year’s best films with Logan, and among its many acclaimed aspects is its vibe and feel of a modern-day western. It’s something he’s done before with Cop Land, but Mangold also made a point of directing an actual western as well.
Keep reading to see what I heard on the commentary track for…
3:10 to Yuma (2007)
Commentator: James Mangold (director)
1. He assumes the first question we might have for him regarding this film is “why” make a remake at all? “That original film had had such power on me ever since I saw it when I was seventeen years old, and I felt that the story could have power again in a very relevant way now.”
2. While he thinks most remakes are motivated by greed in his eyes for easy, recognizable...
James Mangold delivered one of this year’s best films with Logan, and among its many acclaimed aspects is its vibe and feel of a modern-day western. It’s something he’s done before with Cop Land, but Mangold also made a point of directing an actual western as well.
Keep reading to see what I heard on the commentary track for…
3:10 to Yuma (2007)
Commentator: James Mangold (director)
1. He assumes the first question we might have for him regarding this film is “why” make a remake at all? “That original film had had such power on me ever since I saw it when I was seventeen years old, and I felt that the story could have power again in a very relevant way now.”
2. While he thinks most remakes are motivated by greed in his eyes for easy, recognizable...
- 4/26/2017
- by Rob Hunter
- FilmSchoolRejects.com
Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2013—in theaters or at a festival—and creatively pair it with an old film they also saw in 2013 to create a unique double feature.
All the contributors were given the option to write some text explaining their 2013 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How...
All the contributors were given the option to write some text explaining their 2013 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How...
- 1/13/2014
- by Notebook
- MUBI
The “adult” Western – as it would come to be called – was a long time coming. A Hollywood staple since the days of The Great Train Robbery (1903), the Western offered spectacle and action set against the uniquely American milieu of the Old West – a historical period which, at the dawn of the motion picture industry, was still fresh in the nation’s memory. What the genre rarely offered was dramatic substance.
Early Westerns often adopted the same traditions of the popular Wild West literature and dime novels of the 19th and early 20th centuries producing, as a consequence, highly romantic, almost purely mythic portraits the Old West. Through the early decades of the motion picture industry, the genre went through several creative cycles, alternately tilting from fanciful to realistic and back again. By the early sound era, and despite such serious efforts as The Big Trail (1930) and The Virginian (1929), Hollywood Westerns were,...
Early Westerns often adopted the same traditions of the popular Wild West literature and dime novels of the 19th and early 20th centuries producing, as a consequence, highly romantic, almost purely mythic portraits the Old West. Through the early decades of the motion picture industry, the genre went through several creative cycles, alternately tilting from fanciful to realistic and back again. By the early sound era, and despite such serious efforts as The Big Trail (1930) and The Virginian (1929), Hollywood Westerns were,...
- 1/4/2013
- by Bill Mesce
- SoundOnSight
Directed by: John Badham, Jeannot Szwarc, Timothy Galfas, Jack Laird
Written by: Rod Serling, Jack Laird, Halsted Welles, David Rayfiel
Starring: Rod Serling, Joanna Pettet, Burgess Meredith, Vincent Price, Bill Bixby, Geraldine Page
Rod Serling’s Night Gallery is a beloved cult series with a complicated history. It was Serling’s follow-up to his critically acclaimed Twilight Zone, which ran on CBS from 1959–64. Its eerie opening introduction featuring Serling in a dark gallery surrounded by dynamic, often disturbing paintings was the hallmark of the show. Serling would introduce new paintings (by gifted artist Tom Wright) each week, which would segue into a story that usually revolved around a supernatural or occult theme.
Night Gallery began its run with a well-received two-hour pilot on NBC in November 1969. The following year it was included as part of NBC’s Four-in-One programming wheel. It rotated every fourth Wednesday with The Psychiatrist, McCloud and San Francisco International Airport.
Written by: Rod Serling, Jack Laird, Halsted Welles, David Rayfiel
Starring: Rod Serling, Joanna Pettet, Burgess Meredith, Vincent Price, Bill Bixby, Geraldine Page
Rod Serling’s Night Gallery is a beloved cult series with a complicated history. It was Serling’s follow-up to his critically acclaimed Twilight Zone, which ran on CBS from 1959–64. Its eerie opening introduction featuring Serling in a dark gallery surrounded by dynamic, often disturbing paintings was the hallmark of the show. Serling would introduce new paintings (by gifted artist Tom Wright) each week, which would segue into a story that usually revolved around a supernatural or occult theme.
Night Gallery began its run with a well-received two-hour pilot on NBC in November 1969. The following year it was included as part of NBC’s Four-in-One programming wheel. It rotated every fourth Wednesday with The Psychiatrist, McCloud and San Francisco International Airport.
- 4/24/2012
- by Bradley Harding
- Planet Fury
Super first directorial effort for .3:10 to Yuma. writer Michael Brandt features layered darkness upon a simmering foundation of secrecy and fear.It is good to see Richard Gere again, not to mention Martin Sheen. We have to assume they had their choice of a hundred scripts before they chose this tightly wound spy thriller. They chose a screenplay written by the top-notch team of edgy anti-hero screenplays, Michael Brandt and Derek Haas.In their previous underground indie hit, Brandt and Haas penned .3:10 to Yuma. (along with Halsted Welles). The sweltering, dark anti-hero parade starring Russell Crowe and Christian Bale was, and is, a hit on the cult-indie circuit..The Double. exudes even darker undertones than .Yuma.. Old hands Gere and Sheen...
- 10/31/2011
- by Ron Wilkinson
- Monsters and Critics
Super first directorial effort for .3:10 to Yuma. writer Michael Brandt features layered darkness upon a simmering foundation of secrecy and fear. It is good to see Richard Gere again, not to mention Martin Sheen. We have to assume they had their choice of a hundred scripts before they chose this tightly wound spy thriller written by the top-notch team of edgy anti-hero screenplays, Michael Brandt and Derek Haas. In their previous underground indie hit, Brandt and Haas penned .3:10 to Yuma. (along with Halsted Welles), the sweltering, dark anti-hero parade starring Russell Crowe and Christian Bale. .The Double. exudes even darker undertones than .Yuma. does, and old hands Gere and Sheen turn out to be remarkably able to...
- 9/25/2011
- by Ron Wilkinson
- Monsters and Critics
Pulling into theaters a full 50 years after the arrival of the original Van Heflin-Glenn Ford classic, James Mangold's expanded take on 3:10 to Yuma makes for a largely compelling ride on the strength of a powerful cast led by Russell Crowe and Christian Bale.
Based on a Elmore Leonard short story originally published in a 1953 issue of Dime Western magazine, this thoughtful remake -- and how often do those two words go hand in hand? -- attempts to delve even deeper into the complex dynamic between a struggling rancher and the notorious outlaw he volunteers to escort to a prison-bound train.
While a good part of the 1957 version was confined to a single hotel room and Mangold's decision to open up the piece considerably doesn't always work in its favor, Crowe, Bale and the rest of the crack ensemble keep the trip intriguing, even over those occasional bumpy parts.
Lionsgate has bumped up the film's release to get a prime berth on the awards-season express, but Yuma still remains a tricky commercial proposition.
Obviously much is being made of the fact that the film is from the directing and producing team responsible for Walk the Line as well as that matchup of two of the more intense actors in the business.
But the genre and the darker subject matter is still going to require strong word-of-mouth and stronger marketing to attract audiences.
And then there's that curious title.
As it turned out, the particular screening at which Yuma was reviewed commenced at precisely 3:10 p.m. Perhaps exhibitors should take note.
While on the subject of time, both versions of the picture owe a tip of the Stetson to High Noon, which also was governed by a ticking clock and featured good guys and bad guys who wore intricate shades of gray.
Here, Bale is Dan Evans, a peaceable rancher and former Union Army sharpshooter with a bad limp who's about to lose his drought-ravaged land to a deed-holder looking to make a tidy profit from the incoming railroad.
He's also fighting a losing battle to win the respect of his 14-year-old son, Will (movingly played by Logan Lerman), and his wife, Alice (Gretchen Mol) as he falls deeper into debt.
Fate plays its hand when Evans witnesses the capture of Ben Wade (Crowe), a ruthless outlaw, who, with his fearsome gang, has just pulled off yet another violent Pinkerton robbery.
Still smarting from previous Wade Gang attacks, Southern Pacific Railroad rep Grayson Butterfield (Dallas Roberts) enlists volunteers who will ensure that his prisoner makes the three-day trek to the town of Contention, where he will board the 3:10 prison train bound for the Federal Court in Yuma, Ariz.
Evans offers his services in exchange for a $200 delivery fee, and he finds himself joining the decidedly motley posse that also includes a grizzled bounty hunter who was injured in the most recent Wade attack (a terrific Peter Fonda) and a gentle veterinarian (Alan Tudyk).
But with Wade's fiercely loyal second-in-command, Charlie Prince (a perfectly psychotic Ben Foster) hot on their trail, a showdown is only a matter of time.
With an extra half-hour to play around with over the original's 92-minute length, Mangold -- whose 1997 film Cop Land also took its inspiration from the Delmer Daves-directed, Halsted Welles-penned picture -- has plenty of opportunity to lay down all that extra psychological track, as well as build in action sequences and scenic vistas, vibrantly captured by cinematographer Phedon Papamichael.
While all that opening up makes sound commercial sense and allows a greater interplay between its two intelligent leads, it's at the expense of the original's satisfyingly self-contained structure and tightly calibrated claustrophobia.
As it is, the Mangold version, credited to original screenwriter Welles along with Michael Brandt & Derek Haas, feels truncated in places, most notably after a sequence taking place just before the arrival at Contention.
By the time it gets down to the final philosophical face-off between Evans and Wade in that hotel room, the exchanges already feel somewhat played out, with Crowe's character doing an awful lot of asking questions for a guy with a reputation for shooting first.
But Mangold again draws memorable performances across the board, and while Crowe and Bale should figure into awards campaigning, all -- including Kevin Durand as a smirking thug and an unbilled Luke Wilson -- are right on the money.
The impressive work extends behind the scenes to Andrew Menzies' effectively parched production design and Marco Beltrami's percolating score, which subtly yet effectively signals "Yuma's" status as a thinking-person's Western.
3:10 TO YUMA
Lionsgate
Lionsgate in association with Relativity Media presents
a Tree Line film
Credits:
Director: James Mangold
Screenwriters: Halsted Welles and Michael Brandt & Derek Haas
Based on the short story by: Elmore Leonard
Producer: Cathy Konrad
Executive producers: Stuart Besser, Ryan Kavanaugh, Lynwood Spinks
Director of photography: Phedon Papamichael
Production designer: Andrew Menzies
Music: Marco Beltrami
Costume designer: Arianne Phillips
Editor: Michael McCusker
Cast:
Ben Wade: Russell Crowe
Dan Evans: Christian Bale
William Evans: Logan Lerman
Byron McElroy: Peter Fonda
Grayson Butterfield: Dallas Roberts
Charlie Prince: Ben Foster
Emma Nelson: Vinessa Shaw
Doc Potter: Alan Tudyk
Alice Evans: Gretchen Mol
Running time -- 117 minutes
MPAA rating: R...
Based on a Elmore Leonard short story originally published in a 1953 issue of Dime Western magazine, this thoughtful remake -- and how often do those two words go hand in hand? -- attempts to delve even deeper into the complex dynamic between a struggling rancher and the notorious outlaw he volunteers to escort to a prison-bound train.
While a good part of the 1957 version was confined to a single hotel room and Mangold's decision to open up the piece considerably doesn't always work in its favor, Crowe, Bale and the rest of the crack ensemble keep the trip intriguing, even over those occasional bumpy parts.
Lionsgate has bumped up the film's release to get a prime berth on the awards-season express, but Yuma still remains a tricky commercial proposition.
Obviously much is being made of the fact that the film is from the directing and producing team responsible for Walk the Line as well as that matchup of two of the more intense actors in the business.
But the genre and the darker subject matter is still going to require strong word-of-mouth and stronger marketing to attract audiences.
And then there's that curious title.
As it turned out, the particular screening at which Yuma was reviewed commenced at precisely 3:10 p.m. Perhaps exhibitors should take note.
While on the subject of time, both versions of the picture owe a tip of the Stetson to High Noon, which also was governed by a ticking clock and featured good guys and bad guys who wore intricate shades of gray.
Here, Bale is Dan Evans, a peaceable rancher and former Union Army sharpshooter with a bad limp who's about to lose his drought-ravaged land to a deed-holder looking to make a tidy profit from the incoming railroad.
He's also fighting a losing battle to win the respect of his 14-year-old son, Will (movingly played by Logan Lerman), and his wife, Alice (Gretchen Mol) as he falls deeper into debt.
Fate plays its hand when Evans witnesses the capture of Ben Wade (Crowe), a ruthless outlaw, who, with his fearsome gang, has just pulled off yet another violent Pinkerton robbery.
Still smarting from previous Wade Gang attacks, Southern Pacific Railroad rep Grayson Butterfield (Dallas Roberts) enlists volunteers who will ensure that his prisoner makes the three-day trek to the town of Contention, where he will board the 3:10 prison train bound for the Federal Court in Yuma, Ariz.
Evans offers his services in exchange for a $200 delivery fee, and he finds himself joining the decidedly motley posse that also includes a grizzled bounty hunter who was injured in the most recent Wade attack (a terrific Peter Fonda) and a gentle veterinarian (Alan Tudyk).
But with Wade's fiercely loyal second-in-command, Charlie Prince (a perfectly psychotic Ben Foster) hot on their trail, a showdown is only a matter of time.
With an extra half-hour to play around with over the original's 92-minute length, Mangold -- whose 1997 film Cop Land also took its inspiration from the Delmer Daves-directed, Halsted Welles-penned picture -- has plenty of opportunity to lay down all that extra psychological track, as well as build in action sequences and scenic vistas, vibrantly captured by cinematographer Phedon Papamichael.
While all that opening up makes sound commercial sense and allows a greater interplay between its two intelligent leads, it's at the expense of the original's satisfyingly self-contained structure and tightly calibrated claustrophobia.
As it is, the Mangold version, credited to original screenwriter Welles along with Michael Brandt & Derek Haas, feels truncated in places, most notably after a sequence taking place just before the arrival at Contention.
By the time it gets down to the final philosophical face-off between Evans and Wade in that hotel room, the exchanges already feel somewhat played out, with Crowe's character doing an awful lot of asking questions for a guy with a reputation for shooting first.
But Mangold again draws memorable performances across the board, and while Crowe and Bale should figure into awards campaigning, all -- including Kevin Durand as a smirking thug and an unbilled Luke Wilson -- are right on the money.
The impressive work extends behind the scenes to Andrew Menzies' effectively parched production design and Marco Beltrami's percolating score, which subtly yet effectively signals "Yuma's" status as a thinking-person's Western.
3:10 TO YUMA
Lionsgate
Lionsgate in association with Relativity Media presents
a Tree Line film
Credits:
Director: James Mangold
Screenwriters: Halsted Welles and Michael Brandt & Derek Haas
Based on the short story by: Elmore Leonard
Producer: Cathy Konrad
Executive producers: Stuart Besser, Ryan Kavanaugh, Lynwood Spinks
Director of photography: Phedon Papamichael
Production designer: Andrew Menzies
Music: Marco Beltrami
Costume designer: Arianne Phillips
Editor: Michael McCusker
Cast:
Ben Wade: Russell Crowe
Dan Evans: Christian Bale
William Evans: Logan Lerman
Byron McElroy: Peter Fonda
Grayson Butterfield: Dallas Roberts
Charlie Prince: Ben Foster
Emma Nelson: Vinessa Shaw
Doc Potter: Alan Tudyk
Alice Evans: Gretchen Mol
Running time -- 117 minutes
MPAA rating: R...
- 8/17/2007
- The Hollywood Reporter - Movie News
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