Famous Faces on "Rio Lobo (1970)"
The stars I recognized on this film...
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- Actor
- Producer
- Soundtrack
American character actor, mainly in Westerns in comic or rustic roles. Born Norton Earl Worden in Rolfe, Iowa, during his parents' visit to a relative's home there, he was raised on a cattle ranch near Glendive, Montana. Educated at Stanford and the University of Nevada as an engineer, he trained as an Army pilot, but washed out of flight school. Worden toured the country in rodeos as a saddle bronc rider and broke his neck in a horse fall in his 20s, but didn't know it until his 40s. Chosen along with Tex Ritter from a rodeo at Madison Square Garden in New York to appear in the Broadway play "Green Grow the Lilacs", the play from which the musical "Oklahoma" was later derived, he afterward drove a cab in New York, then worked on dude ranches as a wrangler and as a guide on the Bright Angel trail of the Grand Canyon. Recommended by Billie Burke to several movie producers, Worden became friends with John Wayne, Howard Hawks, and later John Ford, all of whom provided him with much work. He was married to Louise Eaton, who predeceased him. Following his wife's death, he shared his house with Jim Beaver for several years, thus generously helping the young actor gain a foothold in Hollywood. He died in his sleep at 91, survived by his adopted daughter Dawn Henry."Hank - Hotel Clerk" (uncredited)- Actor
- Stunts
Ethan Wayne was born on 22 February 1962 in Los Angeles, California, USA. He is an actor, known for The Blues Brothers (1980), Big Jake (1971) and The Return of the Living Dead (1985). He was previously married to Gina Rivadenegry.(uncredited)- Actor
- Writer
- Soundtrack
American Western star and character actor whose career spanned six decades. The son of director Robert N. Bradbury, he appeared in vaudeville with his parents and with his twin brother Bill Bradbury appeared as a child in a series of 16 semi- documentary short films directed by their father, The Adventures of Bob and Bill. As Bob Bradbury Jr., he played juvenile roles in silent films, then took the stage name Bob Steele in 1927. He appeared in scores of films during the Thirties, rising to B-Western stardom and an apparently solid position as one of Republic Studios' top draws. Occasionally he made an appearance in more prominent films, as in his role as Curly in Of Mice and Men (1939). But he remained primarily a figure in Westerns. His stardom diminished by the mid-40s, and he spent the next quarter-century in character roles, some highly visible, such as his part in The Big Sleep (1946). But he also eventually turned up as a virtual extra in pictures like Shenandoah (1965). He appeared often on television and regained some fame in his role as Trooper Duffy in F Troop (1965). He died at St. Joseph's Hospital in Burbank, California, following a long illness."Rio Lobo Deputy" (uncredited)- Actress
- Producer
- Writer
Feisty, spirited and gutsy red headed actress Sondra Currie has amassed an impressive number of television, film and stage credits to her name - including "Linda Garner," Zach Galifianakis' doting mother, in one of the biggest all-time comedy franchises, "The Hangover" trilogy. "Would a cupcake kill you?" Sondra also recurred as "Ms. Vivian" in Tyler Perry's popular comedy series "Love Thy Neighbor" and starred alongside Barbara Bain and Eileen Grubba in a new film "Take My Hand".
Born and raised in Los Angeles, Sondra grew up in a "show business family." As the daughter of actress, Marie Harmon ("Gunsmoke," "The El Paso Kid," "Night Time in Nevada." "Ladies Courageous"), Sondra grew up with a natural passion for acting and the art of filmmaking. She was discovered in her teens by the legendary producer and director, Howard Hawks ("Sergeant York," "To Have and Have Not," "The Big Sleep," "Gentlemen Prefer Blondes," and "Rio Bravo.") Hawks cast Sondra in her first film, "Rio Lobo" starring the Duke himself, John Wayne. Sondra relates the story of their first meeting, as he extended his hand to the very young actress and said "How do you do, I'm John Wayne"...to which the red faced actress replied "Yes, I know, I'm Sandy Currie!"
Sondra was known for her adventurous spirit and her willingness to take risks in her film roles and choices - including performing her own stunts. She went on to star in numerous features, among them, 1970's cult favorites "Jessi's Girls," "Policewomen" and "Mama's Dirty Girls" and the '80's "Concrete Jungle". She refers to these early projects as "slice and dice" films where she definitely got her degree at the college of human nature. Since then, Sondra has continued her focus on working and training with the best that Hollywood has to offer. Sondra is a lifetime member of the famed Actors Studio, studying under such greats as Martin Landau, Mark Rydell, Lou Antonio and Salome Jens. Sondra also studied under Milton Katselas' as a member of his Master Class for 17 years.
Sondra has guest starred in well over 125 television shows, including "NCIS," "ER," "JAG," "7th Heaven," "Cheers," "Murder She Wrote," "The Golden Girls," multiples of "Three's Company," multiples of "Simon & Simon," "Magnum P.I.," and "Knight Rider." Starring roles in television Movies of the Week include two "Columbo" films, "Kid Cop," "The Secretary," "The Perfect Wife," "Thicker Than Water" and "Alien Nation: Dark Horizon."
Sondra and her husband, renowned producer/director Alan J. Levi, co-own Lumina Pictures and Entertainment LTD. together. Lumina Pictures has several projects in various stages of production, having just completed "Take My Hand." As part of a large, extended entertainment family, Sondra and Alan enjoy incorporating the talents of friends and family members alike in their creative endeavors... including Cherie Currie ("The Runaways"), Marie Currie ("The Narrow Road Of Light"), Robert Hays ("Airplane!") and Jake Hays ("Maudlin Strangers").
Sondra is also very active in Los Angeles area theatre - as an actress, producer and ardent advocate. Her favorite stage credits include "The Vagina Monologues," "Death of a Salesman," "AfterThe Fall," "The Chesterfield Woman" and "Hatful of Rain". She was a founding member of Camelot Artists - now the Katselas Theatre Company - and is a member of the prestigious Theatre West. She considers her mentor, her husband, her luckiest gift of all. "He's the most patient, giving, talented person I've ever known. And, I'm the smartest, I married him!"
Sondra and Alan served on the Board of the California Independent Film Festival together and were Jury Members for the first ten years of the Festival. In 2008 they were honored to be invited to be Jurors of the First International Indie Film Festival in Sapporo, Japan, where Sondra was the sole woman on the panel.
One of her most rewarding endeavors is being a member of SHARE Inc. (Est. 1953). SHARE inc. is a highly visible and successful Los Angeles charity devoted to helping at-risk youth, developmentally disabled and abused and children-in-need. "This is a place where I might really be able to make a difference," she says. "I see it first-hand. The children are so receptive, and it's such a positive experience. It helps me keep everything else in perspective."
In her spare time, Sondra is an avid photographer. "I love to explore through my lens, it really gives me an intimate look at my subject", she loves to garden and tend her orchids and she and her husband are ardent travelers. They've explored almost every canal in France and many canals in England, Belgium, Holland and Italy on a small boat that they manage themselves. "Alan navigates and I do the ropes and locks myself" she beams. Meeting the locals in the small villages is most rewarding and we've made some life-long friends. It's our time to just drop off the planet. "My life is very rich.""Blackthorne Prostitute" (uncredited)- Actor
- Writer
- Producer
Donald Barry went from the stage to the screen. After four years of playing villains and henchmen at various studios, Barry got the role that changed his image: Red Ryder in the Republic Pictures serial Adventures of Red Ryder (1940). Although he had appeared in westerns for two years or so, this was the one that kept him there. He acquired the nickname "Red" from his association with the Red Ryder character. After the success of "Red Ryder" Barry starred in a string of westerns for Republic. Studio chief Herbert J. Yates got the idea that Barry could be Republic's version of James Cagney, as he was short and had the same scrappy, feisty nature that Cagney had. Unfortunately, while Barry could in fact be a good actor when he wanted to be -- as he showed in the World War II drama The Purple Heart (1944) -- his "feistiness", combative nature and oversized ego caused him to alienate many of the casts and crews he worked with at Republic (ace serial director William Witney detested him, calling him "the midget", and director John English worked with him once and refused to ever work with him again). Barry made a series of westerns at Republic throughout the 1940s, but by 1950 his career had pretty much come to a halt, and he was reduced to making cheaper and cheaper pictures for bottom-of-the-barrel companies like Lippert and Screen Guild. Barry continued to work and still appeared in westerns up through the 1970s, but they were often in small supporting roles, sometimes unbilled. In 1980 he committed suicide by shooting himself."Feeny - Bartender" (uncredited)- Actor
- Producer
- Cinematographer
Excellent, prolific and versatile character actor Peter Jason was born on July 22, 1944, in Hollywood, CA, and grew up in Balboa. He attended Newport Beach Elementary School, Horace Ensign Junior High and Newport Harbor High School. He originally planned on being a football player, but fell in love with acting after playing the lead in a high school production of "The Man Who Came to Dinner." Following his high school graduation he attended Orange Coast Junior College and did a season of summer stock at the Peterborough Playhouse in New Hampshire. He then studied as a drama major at the Carnegie Institute of Technology in Pittsburgh, PA. More stage work followed with the acting group the South Coast Repertory Company. He made his film debut in Howard Hawks' final film, Rio Lobo (1970) (which Jason says is one of his favorites).
He worked with Orson Welles on the uncompleted The Other Side of the Wind (2018) as an actor, boom operator, prop man and even cook for the cast and crew.
Jason has appeared in many films for director Walter Hill; he's especially memorable as the racist redneck bartender in 48 Hrs. (1982). He has also appeared in many films for director John Carpenter: he's very engaging as the jolly Dr. Paul Leahy in Prince of Darkness (1987) and was terrific as underground guerrilla army leader Gilbert in They Live (1988).
Other notable roles include a sinister government agent in Dreamscape (1984), rugged Maj. G.F. Devin in Clint Eastwood's Heartbreak Ridge (1986), jerky detective Fedorchuk in Alien Nation (1988), a newspaper reporter in Seabiscuit (2003) and the U.S. president in Alien Apocalypse (2005).
Jason recently had a recurring role as dissolute gambler Con Stapleton in the superbly gritty cable Western TV series Deadwood (2004). He also had a regular part as Capt. Skip Gleason on Mike Hammer, Private Eye (1997).
Among the many TV shows Peter has done guest spots on are Desperate Housewives (2004), Sabrina the Teenage Witch (1996), Nash Bridges (1996), Coach (1989), The Golden Girls (1985), Murder, She Wrote (1984), Married... with Children (1987), Roseanne (1988), Dear John (1988), Quantum Leap (1989), Dr. Quinn, Medicine Woman (1993), B.J. and the Bear (1978), The Incredible Hulk (1978), Gunsmoke (1955) and Hawaii Five-O (1968). In addition to his substantial film and TV show credits, Jason has acted in over 150 plays and hundreds of TV commercials. An accomplished baritone vocalist, Jason has sung in such musical stage productions as "The Music Man" (this is one of his favorite plays), "Stop the World, I Want to Get Off," "The Roar of the Greasepaint" and "Threepenny Opera" (as Mack the Knife). He's been married to his wife Eileen for 33 years.
In his spare time he makes his own furniture with found, recycled wood."Lt. Forsythe (gold train detail officer)"- Actor
- Writer
- Camera and Electrical Department
George Plimpton was born on 18 March 1927 in New York City, New York, USA. He was an actor and writer, known for Good Will Hunting (1997), Nixon (1995) and Just Cause (1995). He was married to Sara Whitehead Dudley and Freddy Medora Espy. He died on 26 September 2003 in Manhattan, New York City, New York, USA."4th Gunman"- Tall, rangy Jim Davis spent much of his early career in westerns mainly at Republic Pictures. The Missouri-born and -raised Davis' relaxed, easygoing manner and Southern drawl easily fit most moviegoers' image of the cowboy and Republic put him in a ton of them over the years (the fact that, unlike a lot of movie cowboys, he looked right at home on a horse didn't hurt, either). He alternated between good-guy and villain roles, one of his better ones being that of the devious, murderous fur trapper working for Kirk Douglas' competition in The Big Sky (1952). He is best known, however, for his role as Ewing family patriarch Jock in the long-running TV series Dallas (1978)."Rio Lobo Deputy"
- Actor
- Producer
- Director
David Huddleston was born on 17 September 1930 in Vinton, Virginia, USA. He was an actor and producer, known for The Big Lebowski (1998), Blazing Saddles (1974) and The Producers (2005). He was married to Sarah C. Koeppe and Carole Ann Swart. He died on 2 August 2016 in Santa Fe, New Mexico, USA."Dr. Ivor Jones (Rio Lobo dentist)"- Producer
- Actress
- Production Manager
Sherry was born in Chicago and pursued an acting career after graduating from Northwestern University. After appearing in two films, Loving (1970) and Rio Lobo (1970), Sherry decided to leave the acting field. In 1974, Sherry joined Talent Associates, as an executive in charge of development. In 1975 she joined MGM as an executive story editor. Three years later, she was appointed vice president in charge of production at Columbia. With the success that she achieved with a number of profitable movies, she was hired as President of 20th Century-Fox. In 1984, she joined Stanley R. Jaffe to form the independent production company, named Jaffe-Lansing. When Jaffe was appointed president of Paramount Communications in 1990, Sherry became Chairman of Paramount Pictures' Motion Picture Group."Amelita"- Actor
- Director
- Additional Crew
Victor French was the son of a stuntman. His debut was a small role in Lassie (1954), uncredited. He had his first real acting experiences in western-films, where he usually played the "bad guy" due to his rather gruff look. This changed with Little House on the Prairie (1974), (as Isaiah Edwards). In 1977, he left Little House on the Prairie (1974) to play in his own sitcom Carter Country (1977), which lasted for two seasons. French then teamed up again with Michael Landon in Highway to Heaven (1984), as (Mark Gordon). French, along with Leonard Nimoy, founded LA's "Company of Angels", one of the area's earliest attempts to establish LA as a type of "Off-Broadway-West Coast". Its limited seating arrangement (99 seats) served as the prototype of LA's Equity-Waiver code. After he left the company in the mid 1970s, he went on to teach acting privately. He was well sought-after, and it became apparent that he had to take students on "by referral only". His philosophy and style was gentle and encouraging to young actors just entering the field. He directed in LA Theaters and won the Critics Circle Award for "12 Angry Men." In the 1980s, he declined to play "bad guys." Victor French died 1989 after finishing the last episode of Highway to Heaven (1984)."Ketcham (boss of Rio Lobo)"- Actor
- Additional Crew
- Writer
Christopher Mitchum is the second son of actor Robert Mitchum destined, like older brother James Mitchum, to follow in the footsteps of his famous dad. Chris grew up avoiding the limelight and was educated at the University of Pennsylvania (1962-1966), attending Dublin's Trinity College as part of his Junior Year Abroad program. He attained a BA at the University of Arizona before developing a serious interest in filmmaking. He began as an extra while at the University of Arizona working in westerns at Old Tucson (1966-1967). That led to to acting jobs on the TV shows Dundee and the Culhane (1967) starring Britisher John Mills and The Danny Thomas Hour (1967), which featured Sammy Davis Jr.. Chris worked as a "gofer" in two of his father's westerns in 1969 before receiving his big acting break. He auditioned for John Wayne and won a small role in the western Chisum (1970) as Billy the Kid's sidekick. Duke introduced him to director Howard Hawks, who screen-tested Chris and gave him a starring roles in Hawks' last film, Rio Lobo (1970). Chris saddled up one more time with the Duke in Big Jake (1971) before striking out on his own. With such a strong foundation now formed and fully equipped with his father's laid-back good looks and adventurous nature, Chris proved to be an assured action lead. After a long dry spell, however, he was told by the casting director of Steelyard Blues (1973) that she could not interview him because he had worked with Wayne. In those highly political times, Chris' career took a downturn and he went to Europe to find work. The films he found, however, were of a lesser grade and quite violent in comparison to his father's sturdy work, with such obvious titles as Savage Harbor (1987), SFX Retaliator (1987), Aftershock (1990), Striking Point (1995) and Lycanthrope (1999). He was popular in such foreign market as Spain, Hong Kong, Indonesia and the Phillipines, however, so he continued to churn out product there including Master Samurai (1974), Chinese Commandos (1975), American Commandos (1985) and Final Score (1986). Chris actually prefers writing these days and co-penned the screenplay for Triple Cross (1990). After a noticeable absence, he filmed a role recently in son Bentley Mitchum's horror yarn The Ritual (2009). Chris' son, who also produced, wrote and directed, is part of a third generation of acting Mitchums, which includes older daughter Carrie Mitchum."Sgt. Tuscarora Phillips"- Actor
- Soundtrack
Colorful American character actor equally adept at vicious killers or grizzled sidekicks. As a child he worked in the cotton fields. He attended Santa Monica Junior College in California and subsequently became an accountant and, at one time, manager of the Bel Air Hotel. Elam got his first movie job by trading his accounting services for a role. In short time he became one of the most memorable supporting players in Hollywood, thanks not only to his near-demented screen persona but also to an out-of-kilter left eye, sightless from a childhood fight. He appeared with great aplomb in Westerns and gangster films alike, and in later years played to wonderful effect in comedic roles."Phillips"- Actress
- Soundtrack
Jennifer O'Neill was born on 20 February 1948 in Rio de Janeiro, Rio de Janeiro, Brazil. She is an actress, known for Scanners (1981), Summer of '42 (1971) and The Innocent (1976). She has been married to Mervin Sidney Louque, Jr. since 1996. She was previously married to Richard Alan Brown, Neil Leonard Bonin, John Lederer, Jeff Barry, Nick De Noia, Joseph Roster and Deed Rossiter."Shasta Delaney"- Actor
- Producer
- Art Department
John Wayne was born Marion Robert Morrison in Iowa, to Mary Alberta (Brown) and Clyde Leonard Morrison, a pharmacist. He was of English, Scottish, Ulster-Scots, and Irish ancestry.
Clyde developed a lung condition that required him to move his family from Iowa to the warmer climate of southern California, where they tried ranching in the Mojave Desert. Until the ranch failed, Marion and his younger brother Robert E. Morrison swam in an irrigation ditch and rode a horse to school. When the ranch failed, the family moved to Glendale, California, where Marion delivered medicines for his father, sold newspapers and had an Airedale dog named "Duke" (the source of his own nickname). He did well at school both academically and in football. When he narrowly failed admission to Annapolis he went to USC on a football scholarship 1925-7. Tom Mix got him a summer job as a prop man in exchange for football tickets. On the set he became close friends with director John Ford for whom, among others, he began doing bit parts, some billed as John Wayne. His first featured film was Men Without Women (1930). After more than 70 low-budget westerns and adventures, mostly routine, Wayne's career was stuck in a rut until Ford cast him in Stagecoach (1939), the movie that made him a star. He appeared in nearly 250 movies, many of epic proportions. From 1942-43 he was in a radio series, "The Three Sheets to the Wind", and in 1944 he helped found the Motion Picture Alliance for the Preservation of American Ideals, a Conservative political organization, later becoming its President. His conservative political stance was also reflected in The Alamo (1960), which he produced, directed and starred in. His patriotic stand was enshrined in The Green Berets (1968) which he co-directed and starred in. Over the years Wayne was beset with health problems. In September 1964 he had a cancerous left lung removed; in 1977 when Star Wars: Episode IV - A New Hope was being made, John Waynes archive voice was used for the character Garindan ezz Zavor, later in March 1978 there was heart valve replacement surgery; and in January 1979 his stomach was removed. He received the Best Actor nomination for Sands of Iwo Jima (1949) and finally got the Oscar for his role as one-eyed Rooster Cogburn in True Grit (1969). A Congressional Gold Medal was struck in his honor in 1979. He is perhaps best remembered for his parts in Ford's cavalry trilogy - Fort Apache (1948), She Wore a Yellow Ribbon (1949) and Rio Grande (1950)."Col. Cord McNally"- Actor
- Additional Crew
Michael Dennis Henry was born August 15th, 1936. He was an athletic professional football player at the time he entered the movies. He played for the Pittsburgh Steelers (1958-61) and the Los Angeles Rams (1962-64). During part of that time (1961-64) he was under contract with Warner Brothers and played a variety of bit parts (TV's Surfside 6 (1960), Hawaiian Eye (1959), Cheyenne (1955) & the movie, Spencer's Mountain (1963)). He earned the role of Tarzan when series producer, Sy Weintraub began looking for a "younger Burt Lancaster" type, anticipating not only more Tarzan movies but a TV series as well. Weintraub was a Rams fan and had seen a TV documentary about them called Men from the Boys, produced by and featuring Mike Henry. Mike only made three Tarzan movies. He suffered animal bites, food poisoning, infections, and impossible work schedules in Mexico and especially Brazil. He wound up suing Weintraub for "maltreatment, abuse, and working conditions detrimental to my health and welfare." Just before his second Tarzan release in 1967 he was signed as Sgt. Kowalski in John Wayne's The Green Berets (1968). He made more movies, including the part of "Junior", as a naive son of Jackie Gleason, with the role of Buford T. Justice! in the Smokey and the Bandit (1977) movie set there were three."Rio Lobo Sheriff 'Blue Tom' Hendricks"- Susana Dosamantes was born on 9 January 1948 in Guadalajara, Jalisco, Mexico. She was an actress, known for Darker Than Night (1975), Corazón salvaje (1977) and Amalia Batista (1983). She was married to Luis Rivas, Carlos Vasallo and Enrique Rubio González. She died on 2 July 2022 in Miami, Florida, USA."María Carmen"
- Actor
- Producer
Very handsome and muscular Mexican leading man, on-screen from the mid-1960s. Ironically, in his debut film he played a masked wrestler and his face was never shown. Rivero soon became a sex symbol and a major box-office star, and was called by Hollywood to star with John Wayne in Howard Hawks's Rio Lobo (1970). Since the 1980s he has worked only occasionally in Mexican films and soap operas -- he has lived in Southern California for more than a decade -- but shows up in international productions, sometimes billed as "George Rivero.""Capt. Pierre Cordona aka Frenchy"- Stunts
- Actor
- Director
As the highest paid stuntman in the world, Hal Needham broke 56 bones, his back twice, punctured a lung and knocked out a few teeth. His career has included work on 4500 television episodes and 310 feature films as a stuntman, stunt coordinator, 2nd unit director and ultimately, director.
He wrote and directed some of the most financially successful action comedy films, making his directorial debut with the box office smash, Smokey and the Bandit (1977). The ten features he directed include Hooper (1978) and The Cannonball Run (1981)... A real outlaw race from coast-to-coast, where he drove a fake ambulance that could peg the speedometer at 150 mph, on which the movie, "Cannonball Run", was based. He also set trends in movies - the first director to show outtakes during end credits.
Needham wrecked hundreds of cars, fell from tall buildings, got blown up, was dragged by horses, rescued the cast and crew from a Russian invasion in Czechoslovakia, set a world record for a boat stunt on Gator (1976), jumped a rocket powered pick-up truck across a canal for a GM commercial and was the first human to test the car airbag.
He invented and introduced to the film industry, the air ram, air bag, the car cannon turnover, the nitrogen ratchet, the jerk-off ratchet, rocket power and The Shotmaker Camera Car to make stunts safer and yet more spectacular at the same time.
Needham revolutionized the art of the stuntman - from new devices and techniques, to conceptualizing the organization and execution of complicated action set pieces. To a large degree, he elevated the stuntman and his craft to become important and critical elements in contemporary American Film.
He mentored a new generation of stuntmen and fought for the respect and recognition that stuntmen and stuntwomen deserve for their contribution to moviemaking.
Life also got exciting outside of the movie business. Needham owned a NASCAR race team and was the first team owner to use telemetry technology. His Skoal-Bandit race team was one of the most popular NASCAR teams ever - second only to that of the King, Richard Petty. Needham set Guinness World Records and was the financier and owner of The Budweiser Rocket Car. The car is now on display in the Smithsonian's National Air & Space Museum.
His many awards include an Emmy and an Academy Award.Stunts (uncredited)- Music Department
- Composer
- Additional Crew
Born on February 10, 1929, Jerry Goldsmith studied piano with Jakob Gimpel and composition, theory, and counterpoint with Mario Castelnuovo-Tedesco. He also attended classes in film composition given by Miklós Rózsa at the Univeristy of Southern California. In 1950, he was employed as a clerk typist in the music department at CBS. There, he was given his first embryonic assignments as a composer for radio shows such as "Romance" and "CBS Radio Workshop". He wrote one score a week for these shows, which were performed live on transmission. He stayed with CBS until 1960, having already scored The Twilight Zone (1959). He was hired by Revue Studios to score their series Thriller (1960). It was here that he met the influential film composer Alfred Newman who hired Goldsmith to score the film Lonely Are the Brave (1962), his first major feature film score. An experimentalist, Goldsmith constantly pushed forward the bounds of film music: Planet of the Apes (1968) included horns blown without mouthpieces and a bass clarinetist fingering the notes but not blowing. He was unafraid to use the wide variety of electronic sounds and instruments which had become available, although he did not use them for their own sake.
He rose rapidly to the top of his profession in the early to mid-1960s, with scores such as Freud (1962), A Patch of Blue (1965) and The Sand Pebbles (1966). In fact, he received Oscar nominations for all three and another in the 1960s for Planet of the Apes (1968). From then onwards, his career and reputation was secure and he scored an astonishing variety of films during the next 30 years or so, from Patton (1970) to Star Trek: The Motion Picture (1979) and from Chinatown (1974) to The Boys from Brazil (1978). He received 17 Oscar nominations but won only once, for The Omen (1976) in 1977 (Goldsmith himself dismissed the thought of even getting a nomination for work on a "horror show"). He enjoyed giving concerts of his music and performed all over the world, notably in London, where he built up a strong relationship with London Symphony Orchestra.
Jerry Goldsmith died at age 75 on July 21, 2004 after a long battle with cancer.Original Musical Score by..- Director
- Producer
- Writer
What do the classic films Scarface (1932), Twentieth Century (1934), Bringing Up Baby (1938), Only Angels Have Wings (1939), His Girl Friday (1940), Sergeant York (1941), To Have and Have Not (1944), The Big Sleep (1946), Red River (1948) Gentlemen Prefer Blondes (1953) and Rio Bravo (1959) have in common? Aside from their displays of great craftsmanship, the answer is director Howard Hawks, one of the most celebrated of American filmmakers, who ironically, was little celebrated by his peers in the Academy of Motion Picture Arts and Sciences during his career.
Although John Ford--his friend, contemporary and the director arguably closest to him in terms of his talent and output--told him that it was he, and not Ford, who should have won the 1941 Best Director Academy Award (for Sergeant York (1941)), the great Hawks never won an Oscar in competition and was nominated for Best Director only that one time, despite making some of the best films in the Hollywood canon. The Academy eventually made up for the oversight in 1974 by voting him an honorary Academy Award, in the midst of a two-decade-long critical revival that has gone on for yet another two decades. To many cineastes, Hawks is one of the faces of American film and would be carved on any film pantheon's Mt. Rushmore honoring America's greatest directors, beside his friend Ford and Orson Welles (the other great director who Ford beat out for the 1941 Oscar). It took the French "Cahiers du Cinema" critics to teach America to appreciate one of its own masters, and it was to the Academy's credit that it recognized the great Hawks in his lifetime.
Hawks' career spanned the freewheeling days of the original independents in the 1910s, through the studio system in Hollywood from the silent era through the talkies, lasting into the early 1970s with the death of the studios and the emergence of the director as auteur, the latter a phenomenon that Hawks himself directly influenced. He was the most versatile of American directors, and before his late career critical revival he earned himself a reputation as a first-rate craftsman and consummate Hollywood professional who just happened, in a medium that is an industrial process, to have made some great movies. Recognition as an influential artist would come later, but it would come to him before his death.
He was born Howard Winchester Hawks in Goshen, Indiana, on Decoration Day, May 30, 1896, the first child of Franklin Winchester Hawks and his wife, the former Helen Brown Howard. The day of his birth the local sheriff killed a brawler at the town saloon; the young Hawks was not born on the wild side of town, though, but with the proverbial silver spoon firmly clenched in his young mouth. His wealthy father was a member of Goshen's most prominent family, owners of the Goshen Milling Co. and many other businesses, and his maternal grandfather was one of Wisconsin's leading industrialists. His father's family had arrived in America in 1630, while his mother's father, C.W. Howard, who was born in Maine in 1845 to parents who emigrated to the U.S. from the Isle of Man, made his fortune in the paper industry with his Howard Paper Co. Ironically, almost a half-year after Howard's birth, the first motion picture was shown in Goshen, just before Christmas on December 10, 1896. Billed as "the scientific wonder of the world," the movie played to a sold-out crowd at the Irwin Theater. However, it disappointed the audience, and attendance fell off at subsequent showings. The interest of the boy raised a Presbyterian would not be piqued again until his family moved to southern California.
Before that move came to pass, though, the Hawks family relocated from Goshen to Neenah, Wisconsin, when Howard's father was appointed secretary/treasurer of the Howard Paper Co. in 1898. Howard grew up a coddled and spoiled child in Goshen, but in Neenah he was treated like a young prince. His maternal grandfather C.W. lavished his grandson with expensive toys. C.W. had been an indulgent father, encouraging the independence and adventurousness of his two daughters, Helen and Bernice, who were the first girls in Neenah to drive automobiles. Bernice even went for an airplane ride (the two sisters, Hawks' mother and aunt, likely were the first models for what became known as "the Hawksian women" when he became a director). Brother Kenneth Hawks was born in 1898, and was looked after by young Howard. However, Howard resented the birth of the family's next son, William B. Hawks, in 1902, and offered to sell him to a family friend for ten cents. A sister, Grace, followed William. Childbirth took a heavy toll on Howard's mother, and she never quite recovered after delivering her fifth child, Helen, in 1906. In order to aid her recovery, the family moved to the more salubrious climate of Pasadena, California, northeast of Los Angeles, for the winter of 1906-07. The family returned to Wisconsin for the summers, but by 1910 they permanently resettled in California, as grandfather C.W. himself took to wintering in Pasadena. He eventually sold his paper company and retired. He continued to indulge his grandson Howard, though, buying him whatever he fancied, including a race car when the lad was barely old enough to drive legally. C.W. also arranged for Howard to take flying lessons so he could qualify for a pilot's license, an example followed by Kenneth.
The young Howard Hawks grew accustomed to getting what he wanted and believed his grandfather when C.W. told him he was the best and that he could do anything. Howard also likely inherited C.W.'s propensity for telling whopping lies with a straight face, a trait that has bedeviled many film historians ever since. C.W. also was involved in amateur theatrics and Howard's mother Helen was interested in music, though no one in the Hawks-Howard family ever was involved in the arts until Howard went to work in the film industry.
Hawks was sent to Philips Exeter Academy in Exeter, New Hampshire, for his education, and upon graduation attended Cornell University, where he majored in mechanical engineering. In both his personal and professional lives Hawks was a risk-taker and enjoyed racing airplanes and automobiles, two sports that he first indulged in his teens with his grandfather's blessing.
The Los Angeles area quickly evolved into the center of the American film industry when studios began relocating their production facilities from the New York City area to southern California in the middle of the 1910s. During one summer vacation while Howard was matriculating at Cornell, a friend got him a job as a prop man at Famous Players-Lasky (later to become Paramount Pictures), and he quickly rose trough the ranks. Hawks recalled, "It all started with Douglas Fairbanks, who was off on location for some picture and phoned in to say they wanted a modern set. There was only one art director . . . and he was away on another location. I said, 'Well, I can build a modern set.' I'd had a few years of architectural training at school. So I did, and Fairbanks was pleased with it. We became friends, and that was really the start."
During other summer vacations from Cornell, Hawks continued to work in the movies. One story Hawks tells is that the director of a Mary Pickford film Hawks was working on, A Little Princess (1917), became too inebriated to continue working, so Hawks volunteered to direct a few scenes himself. However, it's not known whether his offer was taken up, or whether this was just one more of his tall tales. During World War I Hawks served as a lieutenant in the Signal Corps and later joined the Army Air Corps, serving in France. After the Armistice he indulged in his love of risk, working as an aviator and a professional racing car driver. Drawing on his engineering experience, Hawks designed racing cars, and one of his cars won the Indianapolis 500. These early war and work experiences proved invaluable to the future filmmaker.
He eventually decided on a career in Hollywood and was employed in a variety of production jobs, including assistant director, casting director, script supervisor, editor and producer. He and his brother Kenneth shot aerial footage for motion pictures, but Kenneth tragically was killed during a crash while filming. Howard was hired as a screenwriter by Paramount in 1922 and was tasked with writing 40 story lines for new films in 60 days. He bought the rights for works by such established authors as Joseph Conrad and worked, mostly uncredited, on the scripts for approximately 60 films. Hawks wanted to direct, but Paramount refused to indulge his ambition. A Fox executive did, however, and Hawks directed his first film, The Road to Glory (1926) in 1926, also doubling as the screenwriter.
Hawks made a name for himself by directing eight silent films in the 1920s, His facility for language helped him to thrive with the dawn of talking pictures, and he really established himself with his first talkie in 1930, the classic World War I aviation drama The Dawn Patrol (1930). His arrival as a major director, however, was marked by 1932's controversial and highly popular gangster picture Scarface (1932), a thinly disguised bio of Chicago gangster Al Capone, which was made for producer Howard Hughes. His first great movie, it catapulted him into the front rank of directors and remained Hawks' favorite film. Unnder the aegis of the eccentric multi-millionaire Hughes, it was the only movie he ever made in which he did not have to deal with studio meddling. It leavened its ultra-violence with comedy in a potent brew that has often been imitated by other directors.
Though always involved in the development of the scripts of his films, Hawks was lucky to have worked with some of the best writers in the business, including his friend and fellow aviator William Faulkner. Screenwriters he collaborated with on his films included Leigh Brackett, Ben Hecht, John Huston and Billy Wilder. Hawks often recycled story lines from previous films, such as when he jettisoned the shooting script on El Dorado (1966) during production and reworked the film-in-progress into a remake of Rio Bravo (1959).
The success of his films was partly rooted in his using first-rate writers. Hawks viewed a good writer as a sort of insurance policy, saying, "I'm such a coward that unless I get a good writer, I don't want to make a picture." Though he won himself a reputation as one of Hollywood's supreme storytellers, he came to the conclusion that the story was not what made a good film. After making and then remaking the confusing The Big Sleep (1946) (1945 and 1946) from a Raymond Chandler detective novel, Hawks came to believe that a good film consisted of at least three good scenes and no bad ones--at least not a scene that could irritate and alienate the audience. He said, "As long as you make good scenes you have a good picture--it doesn't matter if it isn't much of a story."
It was Hawks' directorial skills, his ability to ensure that the audience was not aware of the twice-told nature of his films, through his engendering of a high-octane, heady energy that made his films move and made them classics at best and extremely enjoyable entertainments at their "worst." Hawks' genius as a director also manifested itself in his direction of his actors, his molding of their line-readings going a long way toward making his films outstanding. The dialog in his films often was delivered at a staccato pace, and characters' lines frequently overlapped, a Hawks trademark. The spontaneous feeling of his films and the naturalness of the interrelationships between characters were enhanced by his habit of encouraging his actors to improvise. Unlike Alfred Hitchcock, Hawks saw his lead actors as collaborators and encouraged them to be part of the creative process. He had an excellent eye for talent, and was responsible for giving the first major breaks to a roster of stars, including Paul Muni, Carole Lombard (his cousin), Lauren Bacall, Montgomery Clift and James Caan. It was Hawks, and not John Ford, who turned John Wayne into a superstar, with Red River (1948) (shot in 1946, but not released until 1948). He proceeded to give Wayne some of his best roles in the cavalry trilogy of Fort Apache (1948), She Wore a Yellow Ribbon (1949) and Rio Grande (1950), in which Payne played a broad range of diverse characters.
During the 1930s Hawks moved from hit to hit, becoming one of the most respected directors in the business. As his fame waxed, Hawks' image replaced the older, jodhpurs-and-megaphone image of the Hollywood director epitomized by Cecil B. DeMille. The new paradigm of the Hollywood director in the public eye was, like Hawks himself, tall and silver-haired, a Hemingwayesque man of action who was a thorough professional and did not fail his muse or falter in his mastery of the medium while on the job. The image of Hawks as the ultimate Hollywood professional persists to this day in Hollywood, and he continues to be a major influence on many of today's filmmakers. Among the directors influenced by Hawks are Robert Altman, who used Hawksian overlapping dialog and improvisation in M*A*S*H (1970) and other films. Peter Bogdanovich, who wrote a book about Hawks, essentially remade Bringing Up Baby (1938) as What's Up, Doc? (1972). Brian De Palma remade "Scarface" (Scarface (1983)). Other directors directly indebted to Hawks are John Carpenter and Walter Hill.
Hawks was unique and uniquely modern in that, despite experiencing his career peak in an era dominated by studios and the producer system in which most directors were simply hired hands brought in to shoot a picture, he also served as a producer and developed the scripts for his films. He was determined to remain independent and refused to attach himself to a studio, or to a particular genre, for an extended period of time. His work ethic allowed him to fit in with the production paradigms of the studio system, and he eventually worked for all eight of the major studios. He proved himself to be, in effect, an independent filmmaker, and thus was a model for other director-writer-producers who would arise with the breakdown of the studio system in the 1950s and 1960s and the rise of the director as auteur in the early 1970s. Hawks did it first, though, in an environment that ruined or compromised many another filmmaker.
Hawks was not interested in creating a didactic cinema but simply wanted to tell, give the public, a good story in a well-crafted, entertaining picture. Like Ernest Hemingway, Hawks did have a philosophy of life, but the characters in his films were never intended to be role models. Hawks' protagonists are not necessarily moral people but tend to play fair, according to a personal or professional code. A Hawks film typically focuses on a tightly bound group of professionals, often isolated from society at large, who must work together as a team if they are to survive, let alone triumph. His movies emphasize such traits as loyalty and self-respect. Air Force (1943), one of the finest propaganda films to emerge from World War II, is such a picture, in which a unit bonds aboard a B-17 bomber and the group is more than the sum of the individuals.
Aside from his interest in elucidating human relationships, Hawks' main theme is Hemingwayesque: the execution of one's job or duty to the best of one's ability in the face of overwhelming odds that would make an average person balk. The main characters in a Hawks film typically are people who take their jobs with the utmost seriousness, as their self-respect is rooted in their work. Though often outsiders or loners, Hawksian characters work within a system, albeit a relatively closed system, in which they can ultimately triumph by being loyal to their personal and professional codes. That thematic paradigm has been seen by some critics and cinema historians as being a metaphor for the film industry itself, and of Hawks' place within it.
In a sense, Hawks' oeuvre can be boiled down to two categories: the action-adventure films and the comedies. In his action-adventure movies, such as Only Angels Have Wings (1939), the male protagonist, played by Cary Grant (a favorite actor of his who frequently starred in his films between 1947 and 1950), is both a hero and the top dog in his social group. In the comedies, such as Bringing Up Baby (1938), the male protagonist (again played by Grant) is no hero but rather a victim of women and society. Women have only a tangential role in Hawks' action films, whereas they are the dominant figures in his comedies. In the action-adventure films society at large often is far away and the male professionals exist in an almost hermetically sealed world, whereas in the comedies are rooted in society and its mores. Men are constantly humiliated in the comedies, or are subject to role reversals (the man as the romantically hunted prey in "Baby," or the even more dramatic role reversal, including Cary Grant in drag, in I Was a Male War Bride (1949)). In the action-adventure films in which women are marginalized, they are forced to undergo elaborate courting rituals to attract their man, who they cannot get until they prove themselves as tough as men. There is an undercurrent of homo-eroticism to the Hawks action films, and Hawks himself termed his A Girl in Every Port (1928) "a love story between two men." This homo-erotic leitmotif is most prominent in The Big Sky (1952).
By the time he made "Rio Bravo," over 30 years since he first directed a film, Hawks not only was consciously moving towards parody but was in the process of revising his "closed circle of professionals" credo toward the belief that, by the time of its loose remake, "El Dorado" in 1966, he was stressing the superiority of family loyalties to any professional ethic. In "Rio Bravo" the motley group inside the jailhouse eventually forms into a family in which the stoical code of conduct of previous Hawksian groups is replaced by something akin to a family bond. The new "family" celebrates its unity with the final shootout, which is a virtual fireworks display due to the use of dynamite to overcome the villains who threaten the family's survival. The affection of the group members for each other is best summed up in the scene where the great character actor Walter Brennan, playing Wayne's deputy Stumpy, facetiously tells Wayne that he'll have tears in his eyes until he gets back to the jailhouse. The ability to razz Wayne is indicative of the bond between the two men.
The sprawl of Hawks' oeuvre over multiple genres, and their existence as high-energy examples of film as its purest, emphasizing action rather than reflection, led serious critics before the 1970s to discount Hawks as a director. They generally ignored the themes that run through his body of work, such the dynamics of the group, male friendship, professionalism, and women as a threat to the independence of men. Granted, the cinematic world limned by Hawks was limited when compared to that of John Ford, the poet of the American screen, which was richer and more complex. However, Hawks' straightforward style that emphasized human relationships undoubtedly yielded one of the greatest crops of outstanding motion pictures that can be attributed to one director. Hawks' movies not only span a wide variety of genres, but frequently rank with the best in those genres, whether the war film ("The Dawn Patrol"), gangster film ("Scarface"), the screwball comedy (His Girl Friday (1940)), the action-adventure movie ("Only Angels Have Wings"), the noir (The Big Sleep (1946)), the Western ("Red River") and "Rio Bravo"), the musical-comedy (Gentlemen Prefer Blondes (1953)) and the historical epic (Land of the Pharaohs (1955)). He even had a hand in creating one of the classic science-fiction films, The Thing from Another World (1951), which was produced by Hawks but directed by Christian Nyby, who had edited multiple Hawks films and who, in his sole directorial effort, essentially created a Hawks film (though rumors have long circulated that Hawks actually directed the film rather than Nyby, that has been discounted by such cast members as Kenneth Tobey and James Arness, who have both stated unequivocally that it was Nyby alone who directed the picture).
Though Howard Hawks created some of the most memorable moments in the history of American film a half-century ago, serious critics generally eschewed his work, as they did not believe there was a controlling intelligence behind them. Seen as the consummate professional director in the industrial process that was the studio film, serious critics believed that the great moments of Hawks' films were simply accidents that accrued from working in Hollywood with other professionals. In his 1948 book "The Film Till Now," Richard Griffin summed this feeling up with "Hawks is a very good all rounder."
Serious critics at the time attributed the mantle of "artist" to a director only when they could discern artistic aspirations, a personal visual style, or serious thematic intent. Hawks seemed to them an unambitious director who, unlike D.W. Griffith or the early Cecil B. DeMille, had not made a major contribution to American film, and was not responsible for any major cinematic innovations. He lacked the personal touch of a Charles Chaplin, a Hitchcock or a Welles, did not have the painterly sensibility of a John Ford and had never matured into the master craftsman who tackled heavy themes like the failure of the American dream or racism, like George Stevens. Hawks was seen as a commercial Hollywood director who was good enough to turn out first-rate entertainments in a wide variety of genre films in a time in which genre films such as the melodrama, the war picture and the gangster picture were treated with a lack of respect.
One of the central ideas behind the modernist novel that dominated the first half of the 20th-century artistic consciousness (when the novel and the novelist were still considered the ultimate arbiters of culture in the Anglo-American world) was that the author should begin something new with each book, rather than repeating him-/herself as the 19th century novelists had done. This paradigm can be seen most spectacularly in the work of James Joyce. Of course, it is easy to see this thrust for "something new" in the works of D.W. Griffith and C.B. DeMille, the fathers of the narrative film, working as they were in a new medium. In the post-studio era, a Stanley Kubrick (through Barry Lyndon (1975), at least) and Lars von Trier can be seen as embarking on revolutionary breaks with their past. Howard Hawks was not like this, and, in fact, the latter Hawks constantly recycled not just themes but plots (so that his last great film, "Rio Bravo," essentially was remade as "El Dorado (1966)" and Rio Lobo (1970)). He did not fit the "modernist" paradigm of an artist.
The critical perception of Hawks began to change when the auteur theory--the idea that one intelligence was responsible for the creation of superior films regardless of their designation as "commercial" or "art house"--began to influence American movie criticism. Commenting on Hawks' facility to make films in a wide variety of genres, critic Andrew Sarris, who introduced the auteur theory to American movie criticism, said of Hawks, "For a major director, there are no minor genres." A Hawks genre picture is rooted in the conventions and audience expectations typical of the Hollywood genre. The Hawks genre picture does not radically challenge, undermine or overthrow either the conventions of the genre or the audience expectations of the genre film, but expands it the genre by revivifying it with new energy. As Robert Altman said about his own McCabe & Mrs. Miller (1971), he fully played on the conventions and audience expectations of the Western genre and, in fact, did nothing to challenge them as he was relying on the audience being lulled into a comfort zone by the genre. What Altman wanted to do was to indulge his own artistry by painting at and filling in the edges of his canvas. Thus, Altman needed the audience's complicity through the genre conventions to accomplish this.
As a genre director, Hawks used his audience's comfort with the genre to expound his philosophy on male bonding and male-female relationships. His movies have a great deal of energy, invested in them by the master craftsman, which made them into great popular entertainments. That Hawks was a commercial filmmaker who was also a first-rate craftsman was not the sum total of his achievement as a director, but was the means by which he communicated with his audience.
While many during his life-time would not have called Hawks an artist, Robin Wood compared Hawks to William Shakespeare and Wolfgang Amadeus Mozart, both of whom created popular entertainments that could also appeal to elites. According to Wood, "The originality of their works lay not in the evolution of a completely new language, but in the artist's use and development of an already existing one; hence, there was common ground from the outset between artist and audience, and 'entertainment' could happen spontaneously without the intervention of a lengthy period of assimilation."
The great French filmmaker Jean-Luc Godard, who began his cinema career as a critic, wrote about Hawks, "The great filmmakers always tie themselves down by complying with the rules of the game . . . Take, for example, the films of Howard Hawks, and in particular 'Rio Bravo'. That is a work of extraordinary psychological insight and aesthetic perception, but Hawks has made his film so that the insight can pass unnoticed without disturbing the audience that has come to see a Western like all the others. Hawks is the greater because he has succeeded in fitting all that he holds most dear into a well-worn subject."
A decade before Godard's insight on Hawks, in the early 1950s, the French-language critics who wrote for the cinema journal "Cahiers du Cinema" (many of whom would go on to become directors themselves) elevated Howard Hawks into the pantheon of great directors (the appreciation of Hawks in France, according to Cinématheque Francaise founder Henri Langlois, began with the French release of "Only Angels Have Wings." The Swiss Éric Rohmer, who would one day become a great director himself, in a 1952 review of Hawks' "The Big Sky" declared, "If one does not love the films of Howard Hawks, one cannot love cinema." Rohmer was joined in his enthusiasm for Hawks by such fellow French cineastes as Claude Chabrol, François Truffaut and Jacques Rivette. The Cahiers critics claimed that a handful of commercial Hollywood directors like Hawks and Alfred Hitchcock had created films as artful and fulfilling as the masterpieces of the art cinema. André Bazin gave these critics the moniker "Hitchcocko-Hawksians".
Rivette wrote in his 1953 essay, "The Genius of Howard Hawks," that "each shot has a functional beauty, like a neck or an ankle. The smooth, orderly succession of shots has a rhythm like the pulsing of blood, and the whole film is like a beautiful body, kept alive by deep, resilient breathing." Hawks, however, considered himself an entertainer, not an "artist." His definition of a good director was simply "someone who doesn't annoy you." He was never considered an artist until the French New Wave critics crowned him one, as serious critics had ignored his oeuvre. He found the adulation amusing, and once told his admirers, "You guys know my films better than I do."
Commenting on this phenomenon, Sarris' wife Molly Haskell said, "Critics will spend hours with divining rods over the obviously hermetic mindscape of [Ingmar Bergman], [Michelangelo Antonioni], etc., giving them the benefit of every passing doubt. But they will scorn similar excursions into the genuinely cryptic, richer, and more organic terrain of home-grown talents."
Hawks' visual aesthetic eschews formalism, trick photography or narrative gimmicks. There are no flashbacks or ellipses in his films, and his pictures are usually framed as eye-level medium shots. The films themselves are precisely structured, so much so that Langlois compared Hawks to the great modernist architect Walter Gropius. Hawks strikes one as an Intuitive, unselfconscious filmmaker.
Hawks' definition of a good director was "someone who doesn't annoy you." When Hawks was awarded his lifetime achievement Academy Award, the citation referred to the director as "a giant of the American cinema whose pictures, taken as a whole, represent one of the most consistent, vivid, and varied bodies of work in world cinema." It is a fitting epitaph for one of the greatest directors in the history of American, and world cinema.Directed and Produced by...