Will Mannon was Quantrell's executioner in the Civil War. In this episode, the actor who portrays Mannon develops his character almost totally by the way that Festus, Doc, Kitty and the entire town react, the subtlest but most potent way of drawing in an audience. Steve Forrest's portrayal of Mannon is an acting master class in underplaying the role. We see a Festus, a Kitty and townspeople never quite viewed in this manner before. It is my favorie of all of the "Gunsmoke" episodes. Forrest will reprise the type of gunfighter seasons later in another episode entitled "The Widowmaker."
Reviews
28 Reviews
White Collar
(2009–2014)
Great Sensitivity to Audience Interests!
1 April 2022
I watched "White Collar" when it first was telecast thirteen years ago. This week, I watched the third season again. The plot structure, the dialogue, the story arc, and the suspense are designed to compel audience interest, tension and suspense and a just conclusion. Over the range of the entire series, characters learn, are tested, grow and change, culminating in a just ending. I looked forward to each theatrical permutation, the introduction of each new supporting character. And the marvelous innovations wrought by the amazing array of directors and script writers.
The Quiet Man
(1952)
No Comparison
17 February 2022
In 1957. When I was a seventh grader, we read the original short story version of "The Quiet Man." and it remained one of my favorite stories until my father and I saw John Ford's seminal production of the film adaptation together. John Ford's direction packs together an entire Irish village to serve as the crucible for the deliverance of the man who in the text was Shawn Kelvin, but who in Ford's hands became Shawn Thornton. I guess that the powers that be cannot resist changing the classics once they have purchased the literary property, and of course, no one can stop them. John Wayne is at his very best and so is Maureen O'Hara. The suspenseful buildup to the confrontation between Thornton and Danaher consumes much of the movie plot whereas on the page the event is tightly compressed. Now 69 years after that movie was made, I watched it again this morning. And not only has it lost none of its charm and suspense. The final bonding of the boxer from Pittsburg and the colleen and her brother seems now to be near perfect poetic justice.
The Bourne Legacy
(2012)
Weisz and Renner Re-energize the Bourne Saga
27 October 2021
Rachel Weisz and Jeremy Renner together are the very best reason to watch this film, but their performances elevate every other performer. Renner's marathon survival under lethal conditions make the beginning electrifying from the way he interacts with several timber wolves and a deadly drone sent to Neutralize him (friendly fire). When post doctoral scientist Weisz is accosted by a team of investigators in her country place, we see more of what Renner's character is capable of. Then, on the run together, Renner and Weisz must become an instant team theselves as viewers are involved in an urgent mystery where their united actions just might save his life. This is acting at its best, when you forget in seconds that human beings are reading memorized lines and hitting very practiced marks. I have watched this movie many times since its inception in 2012, so obviously I am biased, but I think that it loses nothing compared with the other Bourne films, each of which is, in its own way, idiosyncratic, unique.
Avatar
(2009)
8-17-21
17 August 2021
Viewing "Avatar" more than twelve years after my first experience, the thrills are largely undiminished. Maybe it's largely because this has been the roughest summer, climatologically, in my 76 year experience, here in Michigan. My former students in Idaho, Wyoming, California and other unfortunate states are experiencing some of the direst environmental threats because scientific warnings since the 70's were given lip service. In a different, but altogether, just as trenchant sense, the violations of native cultures by so called sophisticated elitists demonstrate that pride, contempt and hubris are more deeply entrenched enemies to the survival of the human race and the earth. In that sense, I strongly suspect that "Avatar" may be perceived as just as evocative, eloquent and tragic as we proceed into the ever encroaching future, which shows no favors to arrogance, ignorance and privilege.
Far from the Madding Crowd
(2015)
My wife and I Fell in Love During the Course of This Movie
7 August 2021
She and I had no predispositions prior to viewing this adaptation. Neither of us were fans of Carey Mulligan, and the other performers were not familiar to us either. Both of us were, however, huge fans of the 1967 version. But this interpretation of Thomas Hardy's novel about a young woman who is pulled romantically in three directions by totally disparate young men, snuck right up on us, and won our hearts with its grounded, ever deepening development of character and compelling establishment of believable relationships in ways that left the 60's version far behind. Carey Mulligan, like Julie Christie, owns the character. Perhaps our own ages when we viewed the two film interpretations is a factor. I was 22 when I watched the 1967 rendition; my wife was about the same age. We both viewed the newer version when I was 70 and she was 58. If ever there was a movie to wield to woo a woman, it is the newer one, a true date movie. I believe that Carey Mulligan's staunch defense of her independence as a young educated woman was more credible to my wife to be and me. The score was heavily influential. The movie won our hearts paralleling Gabriel's winning of Bathsheba's heart. I thought that Michael Sheen performed a more believable Mr. Boldwood. I thought that the humbling of Bathsheba in several places: when she had to rehire an employee and when she had to apologize to and ask for the help of Gabriel when her sheep were in danger of death, the characters held our heart strings with great precision and poignancy.
Silverado
(1985)
"Now I don't wanna kill you, and you don't wanna be dead . . . "
26 April 2021
I love this movie. But it is clogged with movie stars. Bumping into each other on the sagebrush, in the saloon . . . There is great writing, pretty good writing, and some writing that just falls flat immediately, E.g. When Kevin Costner asks Danny Glover if was "Wonderful." Despite those flaws and the fact that the entire movie was far too long, it also dramatizes some great scenes! I enjoyed being entangled with the love triangle between three of my favorite actors, and I thought that Danny Glover's every line carried menace, grit and authenticity. Kevin Kline and Scott Glenn portrayed characters who were consistently true to self, true to type and true to life. Linda Hunt was solid and integral to her character and the plot. These three performers made me forget immediately that they were not truly the flesh and blood individuals they were enacting. The scene in which the little boy was taken was over the top for me, lugubrious and the music was more than occasionally overpowering. Brian Dennehy was perfect, malicious, egotistical and delighted with his machinations throughout the movie. The cinematography and editing were both exemplary. I thought that Jeff Goldblum's considerable talents were wasted for the most part, however, Lynn Whitfield shone in every scene, even as a minor character. I watch it every year, but I always wish that Lawrence kasdorn had disciplined himself to keep only the very best events, characters, speeches, lines and effects. Despite my criticism, i wish I were gifted enough to have written the screenplay and I recommend it highly for devotees of classic westerns. Watch "Red River" and compare its concision with the creative largesse of "Silverado."
The Equalizer 2
(2018)
"Man" is not spelled g-u-n!"
22 March 2021
I have studied this sequalizer three times, and it just keeps getting better. Whereas the first movie had one phenomenal scene, this film keeps on giving me master class scene after scene. Pedro Pascal plays what E.M. Forster would call a round character, sandwiching in his persona the tender daddy who teases his daughter about calling a puzzle piece "New Hamster" and then in an ensuing scene reverts to the brutal thug betraying his good friend and ex-team leader. The director here makes far more efficient use of major and minor characters and you really must pay close attention or you will miss something integral! It is almost as if the very weather is a character: How Shakespearean! Took me a while to recognize Orson Bean in his last on camera role, his scenes also a keeper. But the life lesson about the young artist at a crossroads: turn killer or marshal his artistic gifts? In our grisly inner cities where macho is king, that lesson could change our world.
The Mentalist
(2008–2015)
The Roundest Character of All
17 March 2021
E.M. Forster defined round and flat characters in his "Aspects of the novel." The former are multidimensional, even ambiguous, often ambivalent or openly paradoxical. Flat characters are the opposite of complex; they are one sided, all good, or all bad, easy to categorize. Patrick Jane is one of the roundest characters I have encountered. Like Sherlock Holmes, his deductive and inductive abilities are stellar, so is his Renaissance Man style knowledge base; however, unlike Holmes,
Jane is quite often a clown, or an outrageously daring risk taker and specialist in confronting potential perpetrators. Also unlike Holmes, Jane lacks a substance addiction, but he is very obsessed with bringing Red John to justice; and he is not in the least reticent about avenging the serial killer himself, single-handed, vigilante style. Jane is also part of a reperatory team of actors portraying detectives working for a state detective agency. Jane also continually inserts himself into the back stories of all of his detective mates. Very much like Holmes, Jane is only spurred to give his best for the most challenging cases involving outre murders. His sense of humor is extremely far ranging from allusions to abstruse bon mots to the driest, erudite wit. Both men care avidly about the "chase" not so much about money. Theresa Lisbon, supervisor of the CBI, proves to be not only an excellent foil for Jane, but much, much more. It doesn't surprise me at all to witness the accolades that Simon Baker has garnered for his portrayal of this extremely diverse killer catcher.
Brother John
(1971)
Philosophical
9 January 2021
One of the most thought-provoking movies, "Brother John" breaks all sorts of stereotypes about how to approach and deal with mankind's eternal mental cages built about race, wealth, power, gender, nationality, ethnicity and other so-called human differences. The protagonist is a man of peace and healing yet fully capable of meeting violence head on successfully, albeit regretfully. An allegory for breaking the borders and rigid edges of the way that people categorize and dismiss or make war against almost any sort of human variables different from their own clique.
The Left Hand of God
(1955)
One of Humphrey Bogart's Great Performances
7 November 2020
Although Bogart fans and critics may strenuously disagree, I find "The Left Hand of God" tugs at my heart strings. Late in his career, Humphrey Bogart delivers a bravura performance as Father O'Shea, nee James Carmody, an American pilot shot down and captured over China in the late 40's. This classic film adaptation of William Barrett's excellent novel by the same name, contains circles within circles in terms of plot, character, theme, conflict and symbolism. The over riding issue of doing the right thing, despite powerful self-serving temptations represents a dynamic link to our contemporary world in which grasping for power quite often masters sacrificing something of individual needs or wants in order to secure a higher level of valor, altruism, or nobility. Other Bogart movies are flashier, contain more conventional conflicts ("The Maltese Falcon" and "The High Sierras" for instance; but "The Left Hand of God" demonstrates something that Ernest Hemingway believed and whose stories illustrated, the man can be defeated but not destroyed.
The Professor and the Madman
(2019)
Ode to the OED
24 February 2020
Having read Simon Winchester's electrifying book, "The Professor and the Madman," I was still overwhelmed by the cinematic victory that the movie achieves. Probably the very best that any cinematic rendition of a great book could ever achieve is a dramatic outline hitting the most salient scenes, emotions and lyrics. The makers of this film have gleaned the book, then, as Pablo Neruda might have limned, resurrected a work of art that leads in and out of the literary experience, an excitng mobius strip of wonders. I wonder if the metacritics who savaged the movie for the most part bothered to read this book. I suspect not.
How Green Was My Valley
(1941)
Hollywoodizing Richard Llewellyn's Classic Novel
10 November 2019
Director John Ford strongly felt that Donald Crisp and Sara Allgood closely resembled his own parents in Ireland. Darryl F. Zanuck worried about the movie's portrayal of unions in the film. Only one of the actors was born in Wales, and Rhys Williams, who portrayed Dai Bando, and served as the film's technical adviser, was miscast and played for laughs. So was Barry Fitzgerald, who was great in movies such as "Going My Way," but terribly miscast as the youthful and athletic boxer, Cyfartha. Anyone who encountered the Dai Bando in print, would not laugh. In the novel, the character greatly intimidated his boxing protege, Huw Morgan, when the former took off his shirt. Rhy Williams might have played one of the bartenders at the Three Bells. Skilled actor? Indeed! Funny? Always! But menacing? Not his forte at all.
The screenwriter changed nearly every scene, rewording Richard Llewellyn's poetic prose into something that would only seem wonderful by those who had not read the book, a blend of his own words with some of the author's,thus avoiding what he referred to as the "many somber, turgid speeches"
The biggest problem with this movie is that no one ages. Roddy McDowell still seems to be about 13 at the end of the film. In the course of the novel, he ages from 6-61.
I recently taught this novel to people my age, senior citizens, none of whom had previously read the novel, and many of whom had viewed the movie at some point in the past 78 years.
After the conclusion of the course, i spoke to several of my students who had followed my advice and checked out the movie. Everyone one of them concluded that the movie eluded much of the power coursing through the novel.
"How Green Was My Valley" mines the golden ore of reader imagination. The film adaptation changes almost every scene in a novel that has never been out of print in the past 80 years.
Ironically, those who have only seen the movie may never experience the profound difference.
The screenwriter changed nearly every scene, rewording Richard Llewellyn's poetic prose into something that would only seem wonderful by those who had not read the book, a blend of his own words with some of the author's,thus avoiding what he referred to as the "many somber, turgid speeches"
The biggest problem with this movie is that no one ages. Roddy McDowell still seems to be about 13 at the end of the film. In the course of the novel, he ages from 6-61.
I recently taught this novel to people my age, senior citizens, none of whom had previously read the novel, and many of whom had viewed the movie at some point in the past 78 years.
After the conclusion of the course, i spoke to several of my students who had followed my advice and checked out the movie. Everyone one of them concluded that the movie eluded much of the power coursing through the novel.
"How Green Was My Valley" mines the golden ore of reader imagination. The film adaptation changes almost every scene in a novel that has never been out of print in the past 80 years.
Ironically, those who have only seen the movie may never experience the profound difference.
Shane
(1953)
Great film for anyone not familiar with the novel
10 November 2019
Once a writer sells his intellectual property to a film company, he loses artistic control. Envision Tom Clancy striding angrily away from the set where his "Clear and Present Danger" was remolded around the charisma of Harrison Ford. I taught Jack Schaefer's great novel for decades to all ages from middle school to adults, and there is no comparison between the concise magic of Schaefer's whiplash descriptions of fist fights, gun fights, gorgeous scenery and the suspenseful interplay of a beleaguered group of homesteaders bullied by Luke Fletcher and his human jackels in the book as opposed to the film, Alan Ladd is true to the spirit of the character Shane except for the fact that the character Shane in the novel is weary of using his gun to solve problems; he would never ride into a movie wearing his gun with its gaudy gun belt. Jack Palance, in contrast, is perfectly cast as Stark Wilson, meaner than a rattler and deadly fast, who registers sadistic glee when his bullet explodes Ernie Wright right off the boardwalk splat into the mud of the street.
Hollywood most often adapts great book into movies that will sell tickets, while, simultaneously, they hope, at least somewhat placating readers who hoped that the cinematic analogue will come close to the artistic impact in print. The one film adaptation that comes closest to the accuracy and power of its source might be "The Grapes of Wrath."
In my experience, working with kindergartners through senior citizens, I gained a lot of mileage through comparing and contrasting characters, plot strands, ambiance and other nuances of literature and film, to each other. In nearly every case in which a class had seen the film first and then read the book, the former almost always pales in significance.
Hollywood most often adapts great book into movies that will sell tickets, while, simultaneously, they hope, at least somewhat placating readers who hoped that the cinematic analogue will come close to the artistic impact in print. The one film adaptation that comes closest to the accuracy and power of its source might be "The Grapes of Wrath."
In my experience, working with kindergartners through senior citizens, I gained a lot of mileage through comparing and contrasting characters, plot strands, ambiance and other nuances of literature and film, to each other. In nearly every case in which a class had seen the film first and then read the book, the former almost always pales in significance.
Point Break
(2015)
Local Color as Adrenalin High
4 October 2018
I have enjoyed watching this reboot of a classic film. I like both films, but I tend to be much more of a "both/and" kind of film aficionado than an "either/or" type. The actors all knew their lines, spoke with the sort of authority of those who have become their respective characters wholly, passionately and very convincingly. It is a brave film. The world has always been a very violent place. "In a world where anything goes, judgement is everything." One of my favorite high school counselors imparted that wisdom to me in 1983 when the school we both served in was stunned by a movie about the nuclear destruction of the world. Many teachers presented and discussed it; and counselors and additional professional people were on hand to provide solace, clarity, comfort, and advocacy. The film dramatizes what is humanly possible in terms of mind/body and soul. Socrates insisted and I still insist that "The unexamined life is not worth living." Ideas don't hurt people; fear of using our God given critical thinking gifts is what produces a Charles Manson, an Adolf Hitler, or a Boston Marathon fanatic.
I love experiencing something via a book or a film, a lecture, anecdote, or reminiscence that vicariously imparts to me important truths; whether to accept or reject them is not up to a producer, director, or the performers. However, just as I would not attempt to explain the workings of a reciprocating engine to my new grand daughter, not every work of art is ready to be viewed, understood, and appreciated for what it is and what it is not.
This film or clips from it would have provided a novel, sensory, discussion-worthy prompt for a film class, a creative writing group, or any audience that appreciates expanding their experiences in life.
Were I still teaching Advanced Placement English Literature and Composition to high school seniors, I would couple this movie with the original 1991 "Point Break" along with "Donnie Brasco" for students to fully explore in a scholarly essay investigating synonymous, antithetical and synthetic parallels.
I love experiencing something via a book or a film, a lecture, anecdote, or reminiscence that vicariously imparts to me important truths; whether to accept or reject them is not up to a producer, director, or the performers. However, just as I would not attempt to explain the workings of a reciprocating engine to my new grand daughter, not every work of art is ready to be viewed, understood, and appreciated for what it is and what it is not.
This film or clips from it would have provided a novel, sensory, discussion-worthy prompt for a film class, a creative writing group, or any audience that appreciates expanding their experiences in life.
Were I still teaching Advanced Placement English Literature and Composition to high school seniors, I would couple this movie with the original 1991 "Point Break" along with "Donnie Brasco" for students to fully explore in a scholarly essay investigating synonymous, antithetical and synthetic parallels.
Alphas
(2011–2012)
Gets better the more I Experience the Series
25 July 2018
Real acting talent isn't depend upon language. The skillful utilization of space and time, combined with agile adaptation of voice, eyes, body language and other nuances, to character, conflict, imagination and verisimilitude (convincing me wholly that what is fantasy, is truly happening before my eyes). "Alphas" evinces every one of these essential ingredients; I quickly forget that they are merely acting; the story and the performers come alive within their personae like a glove indistinguishable from skin.
I suppose that when an intriguing series is cut short after only two seasons, that truncation leaves aficionados of the performers with keenly whetted curiosities, eager for more, somehow, some way, some day.
I suppose that when an intriguing series is cut short after only two seasons, that truncation leaves aficionados of the performers with keenly whetted curiosities, eager for more, somehow, some way, some day.
Refreshing Addition to Paladin's Character Development
25 June 2018
I taught a course examining five episodes of "Have Gun, Will Travel," two years ago; and I would include this episode if I taught it again. Although the conflict involves ambush and vindication of Paladin, Abel Hix's wife, best friend and pastor serve as able reflectors to facilitate yet one more dimension of Paladin's ability to pan for golden ore in loss and suffering, despite the scurvy slime of some craven bully's hubristic power trip. The plot reveals nothing ahead by not disclosing spoilers with foreshadowing clues, which promotes suspense. The writing is memorable, concise and succinct; and Robert Blake provides four surprising twists unique to this episode in contrast with the 224 other episodes over the course of the series. The greatest strength resides, however, in what is not spoken. The most skillful actors do not require language with which to communicate the Human Condition.
Imaginative Explicit Reboot
12 January 2017
Just as the reboot of "Cape Fear" reconfigured the entire film adaptation of John D. Macdonald's seminal novel, so does this one, starring Jennifer Connelly and Keanu Reeves creatively flesh-out the set pieces depicted in the classic 1951 rendition with Michael Rennie and Patricia Neal.
It isn't merely a matter of enhanced computer generated special effects: Keanu Reeves delicately walks a thespian tightrope between terrifying godlike powers and an overriding mission dedicated to persuading an earth on a collision course with its own self perpetuating doom---to help itself before it is too late.
As a matter of taste, any work of art may be alternately extolled or parodied; "The Day the Earth Stood Still" is no exception. However, as a devotee of world peace and a believer in the ability of united enlightened irenic and compassionate human beings, I was heartened by this cinematic presentation. I think that Michael Rennie and those who produced the 1951 version might also be cheered---especially in light of the Hitleresque antics of Vladimir Putin, Assad and Kim Il and others in our times. No well intentioned effort to eradicate rampant, destructive, vengeful, revanchist maniacal demagogues- is a waste of time. I believe that this 2008 envisioning of the earlier movie reaches a much wider audience, which may keep the salient themes simmering.
It isn't merely a matter of enhanced computer generated special effects: Keanu Reeves delicately walks a thespian tightrope between terrifying godlike powers and an overriding mission dedicated to persuading an earth on a collision course with its own self perpetuating doom---to help itself before it is too late.
As a matter of taste, any work of art may be alternately extolled or parodied; "The Day the Earth Stood Still" is no exception. However, as a devotee of world peace and a believer in the ability of united enlightened irenic and compassionate human beings, I was heartened by this cinematic presentation. I think that Michael Rennie and those who produced the 1951 version might also be cheered---especially in light of the Hitleresque antics of Vladimir Putin, Assad and Kim Il and others in our times. No well intentioned effort to eradicate rampant, destructive, vengeful, revanchist maniacal demagogues- is a waste of time. I believe that this 2008 envisioning of the earlier movie reaches a much wider audience, which may keep the salient themes simmering.
Rising Above Catastrophe
6 October 2016
I have spent several months preparing to teach a course examining 5 episodes of "Have Gun - Will Travel." In so doing, I studied all 225 episodes of the televised Western, and developed a list of my top 20 episodes. "The Hanging of Aaron Gibbs" remains at the very top of my list.
Richard Boone offers a most evocative performance in support of Odetta Holmes' lead performance, one in which both actors utilize time, space, their eyes, mouths, faces and body language -without language. That is the touchstone of truly great acting. This episode passes an even more exalted test, the test of time. Originally broadcast November 4th, 1961, six months to the day following the inception of the Freedom Riders, it illustrates a fact that was common to this series: Minority actors like Rupert Crosse, Hari Rhodes and Odetta were commonly hired even when the script did not necessarily call for a minority performer.
Peggy Rea, who played many roles over the years in this series, was also one of many acting students of Richard Boone in his Brentwood Market School for Actors. It was she who knew someone who knew Odetta, reached her in Boston, whereupon, Odetta contacted the production company and requested the part.
The crew was filming in Bend, Oregon; and, prior to the hiring of Odetta, there had been considerable tension in the community until Odetta arrived; then, everyone calmed down and became quite focused.
No gunplay. A plot which might evolve in modern guise out of events of nearly any age in any community as a wolf in various sheep's clothing, and one all-too-familiar to us in 2016: the virulent effects of racial prejudice, the impact of a distinct dearth of emotional intelligence transforming ordinary people into a blunt unthinking tool of pure vengeance.
"The Hanging of Aaron Gibbs" written by Robert E. Thompson, Academy Award winner for "They Shoot Horses, Don't They?" exemplifies a tour-de-force of acting.
Richard Boone offers a most evocative performance in support of Odetta Holmes' lead performance, one in which both actors utilize time, space, their eyes, mouths, faces and body language -without language. That is the touchstone of truly great acting. This episode passes an even more exalted test, the test of time. Originally broadcast November 4th, 1961, six months to the day following the inception of the Freedom Riders, it illustrates a fact that was common to this series: Minority actors like Rupert Crosse, Hari Rhodes and Odetta were commonly hired even when the script did not necessarily call for a minority performer.
Peggy Rea, who played many roles over the years in this series, was also one of many acting students of Richard Boone in his Brentwood Market School for Actors. It was she who knew someone who knew Odetta, reached her in Boston, whereupon, Odetta contacted the production company and requested the part.
The crew was filming in Bend, Oregon; and, prior to the hiring of Odetta, there had been considerable tension in the community until Odetta arrived; then, everyone calmed down and became quite focused.
No gunplay. A plot which might evolve in modern guise out of events of nearly any age in any community as a wolf in various sheep's clothing, and one all-too-familiar to us in 2016: the virulent effects of racial prejudice, the impact of a distinct dearth of emotional intelligence transforming ordinary people into a blunt unthinking tool of pure vengeance.
"The Hanging of Aaron Gibbs" written by Robert E. Thompson, Academy Award winner for "They Shoot Horses, Don't They?" exemplifies a tour-de-force of acting.
Shortcut to Happiness
(2003)
Don't Believe Anything you Hear and only Half of What you Read
4 October 2016
As a teacher of fifty years experience in language and cinematic arts,I taught "The Devil and Dan'l Webster" as part of the fictional pantheon of American Literature. Although Alec Baldwin certainly has burned some bridges along the way in his career, this film takes creative risks, many of them worthy of consideration, which exemplify a significant part of Americana. Like its forbear, the 1941 cinematic adaptation starring Walter Huston, this version was attacked, condemned and dismissed when it was released. I believe that every adaptation of any book is an aesthetic fossil caught in cinematic amber.
The movie substantiates the same sort of meretricious value system in its depiction of Jabez Stone that struck Stephen Vincent Benet and the makers of the 1941 gem. In its lampooning of pretentious high society panderers of cheesy albeit popular writing, casting them as best-sellers, "Shortcut to Happiness"dramatizes a contemporary examination of what actually constitutes success in the dizzying world of publications.
Anthony Hopkins was well cast in the role of Daniel Webster. It is instructive to compare and contrast Edward Arnold's portrayal of Webster in the 1941 classic with that of Hopkins, because both actors have earned a lifetime of accolades, portraying both admirable and despicable characters. Hopkins and Arnold remain symbols of financial and thespian success.
Hollywood has a bad record for disapproving of movies solely on the basis of profit. I would love to see "Shortcut to Happiness" go into post-production, be subjected to a diverse array of test audiences after a skillful rewrite. The issues that concerned Stephen Vincent Benet in 1937 are alive and with us all today in almost every area of business, politics, entertainment, and government. Success is whatever you can get away with.
Audiences will go to see bad movies. But Hollywood only seems to take the loving and meticulously-artistic care to produce two or three cinematic gems each year. Whoever had the final say in terms of condemning this movie wasted time, money, and the potential for achieving what its creators had in mind when the idea was but an inspiration culled from reading the classic and wishing to update it.
If one of my students had submitted this movie script to me, I would have said, "Promising rough draft," and suggest various ways to improve it with my reasons for doing so.
The movie substantiates the same sort of meretricious value system in its depiction of Jabez Stone that struck Stephen Vincent Benet and the makers of the 1941 gem. In its lampooning of pretentious high society panderers of cheesy albeit popular writing, casting them as best-sellers, "Shortcut to Happiness"dramatizes a contemporary examination of what actually constitutes success in the dizzying world of publications.
Anthony Hopkins was well cast in the role of Daniel Webster. It is instructive to compare and contrast Edward Arnold's portrayal of Webster in the 1941 classic with that of Hopkins, because both actors have earned a lifetime of accolades, portraying both admirable and despicable characters. Hopkins and Arnold remain symbols of financial and thespian success.
Hollywood has a bad record for disapproving of movies solely on the basis of profit. I would love to see "Shortcut to Happiness" go into post-production, be subjected to a diverse array of test audiences after a skillful rewrite. The issues that concerned Stephen Vincent Benet in 1937 are alive and with us all today in almost every area of business, politics, entertainment, and government. Success is whatever you can get away with.
Audiences will go to see bad movies. But Hollywood only seems to take the loving and meticulously-artistic care to produce two or three cinematic gems each year. Whoever had the final say in terms of condemning this movie wasted time, money, and the potential for achieving what its creators had in mind when the idea was but an inspiration culled from reading the classic and wishing to update it.
If one of my students had submitted this movie script to me, I would have said, "Promising rough draft," and suggest various ways to improve it with my reasons for doing so.
Brutal Story, a Bit Too Realistic, but Well Written, Well Acted
2 September 2016
In preparing to teach my upcoming course examining the television series "Have Gun - Will Travel," I chose 5 with (a) the least violence (b) the most touching, unforgettable stories (c) the best writing and acting (d) a balance including great acting by women and minorities (often when the script did not necessarily call for a specific gender or race).
I considered "Hunt the Man Down" many times, but, in the end, rejected it for inclusion into my course. It is a bit too real, especially considering how graphically the Human Condition is depicted in its scenes. I wanted stories with powerful life lessons, ones that can be applied to our own lives, proactively. The harsh lessons of "Hunt the Man Down" reverberate quite somberly making it quite clear how absurd and damaging revenge can be, how pernicious and permanently devastating the hatred coursing through a personal vendetta can truly be.
I considered "Hunt the Man Down" many times, but, in the end, rejected it for inclusion into my course. It is a bit too real, especially considering how graphically the Human Condition is depicted in its scenes. I wanted stories with powerful life lessons, ones that can be applied to our own lives, proactively. The harsh lessons of "Hunt the Man Down" reverberate quite somberly making it quite clear how absurd and damaging revenge can be, how pernicious and permanently devastating the hatred coursing through a personal vendetta can truly be.
The Ox Bow Incident ala Paladin
14 June 2016
At the start of the third season of "Have Gun-Will Travel," this episode featured several prominent actors who played a seminal part in other excellent shows in this series. Ken Curtis distinguishes himself by portraying an entirely different personality and mind set as contrasted with his long-standing portrayal of Festus Haggen on "Gunsmoke" or even the two other rather slap-sticky roles Curtis fulfilled for this series. This was a television show which gave disciplined carte blanche to actors and actresses who truly wished to stretch their creative resumes and break new ground dramatically and artistically.
"The Posse" begins in media res, like many of the episodes by simply jumping Paladin into the hubbus, reminiscent of "The Ox Box Incident"
the great feature length film from the 1940's starring Henry Fonda and Dana Andrews. "The Posse" is a masterpiece in terms of exploring in considerable depth and range, the power of the character's intuitive abilities to unmask treachery, dissimulation, greed, and murderous intent. The story keeps the audience in suspense until nearly that last inch of footage. Throughout much of the fierce interrogation that transpires, seemingly leading to imminent catastrophe, the protagonist is not permitted to utter a word in his defense. Tension thick enough to sever with an ax. Dobie O'Brien again proves his versatility as an actor of tremendous range and tone. Denver Pyle, another HGWT reliable histrionic force, provides just the right blend of power, blindness, lack of humility and pompous indignation. Harry Carey, Jr. who played roles in 12 HGWT episodes, continues to stretch himself here as a dramatic complicator, neither initiating nor resolving a conflict, yet making the fabric of the plot deeply intriguing. Paladin declaims a speech, the sort of message aimed at the mind in a situation in which words and careful arguments would probably just be wasted. I thought that Paladin's two comments garnered from Erodius were stilted, very academic, and, again, aimed at a scholarly, dispassionate audience, not people anxious for and eager to consummate summary justice. This episode is not to be missed, however; it adds important dimensions to the character development of its chief protagonist who is, nonetheless, proved to be all too human in this allegory of the old West, demonstrating as history has often done, that bad things can readily happen to good people unless good is equally poised and more crafty.
"The Posse" begins in media res, like many of the episodes by simply jumping Paladin into the hubbus, reminiscent of "The Ox Box Incident"
the great feature length film from the 1940's starring Henry Fonda and Dana Andrews. "The Posse" is a masterpiece in terms of exploring in considerable depth and range, the power of the character's intuitive abilities to unmask treachery, dissimulation, greed, and murderous intent. The story keeps the audience in suspense until nearly that last inch of footage. Throughout much of the fierce interrogation that transpires, seemingly leading to imminent catastrophe, the protagonist is not permitted to utter a word in his defense. Tension thick enough to sever with an ax. Dobie O'Brien again proves his versatility as an actor of tremendous range and tone. Denver Pyle, another HGWT reliable histrionic force, provides just the right blend of power, blindness, lack of humility and pompous indignation. Harry Carey, Jr. who played roles in 12 HGWT episodes, continues to stretch himself here as a dramatic complicator, neither initiating nor resolving a conflict, yet making the fabric of the plot deeply intriguing. Paladin declaims a speech, the sort of message aimed at the mind in a situation in which words and careful arguments would probably just be wasted. I thought that Paladin's two comments garnered from Erodius were stilted, very academic, and, again, aimed at a scholarly, dispassionate audience, not people anxious for and eager to consummate summary justice. This episode is not to be missed, however; it adds important dimensions to the character development of its chief protagonist who is, nonetheless, proved to be all too human in this allegory of the old West, demonstrating as history has often done, that bad things can readily happen to good people unless good is equally poised and more crafty.
The Romantic, the Scholar and the Democratic Partner
14 June 2016
"The Princess and the Gunfighter" is one of my favorite episodes in the "Have Gun-Will Travel" series; and it is unique. Paladin does not shoot his pistol; in fact, there is no violence whatsoever in this story. The main focus of the plot involves Paladin as helper, a guide, and briefly the promise of something far more intimate, possibly more lasting - a distinct departure from the other 224 episodes in which Paladin usually makes it quite clear that he is an inveterate bachelor.
This is certainly Paladin's most pensive and philosophical episode. In guiding a stranger through a perilous land, he employs the wisdom of a Sanscrit saying, advice from Aristotle about tyranny, democracy and anarchy, and two very poetic utterances from Marcus Aurelius. In each case, Paladin's delivery of these examples of sage advice about life, is presented with considerable empathy and tenderness and all of them apply to a certain innocent young lady trying to find herself.
This episode also demonstrates Paladin's patience and his droll sense of humor as well as distinctly-compassionate fatherly qualities.
Just as Robert Frost's persona admits that he "took the (road) less traveled by and that has made all the difference," the destination Paladin arrives at by the end of this episode leaves him a little sad, and more than a bit wistful.
Everything considered, I find this episode uniquely delightful and quite a departure from many other tension-saturated episodes where the fist and the pistol are king. Two human beings reaching hopefully through the bars of their existence, touch, just briefly.
This is certainly Paladin's most pensive and philosophical episode. In guiding a stranger through a perilous land, he employs the wisdom of a Sanscrit saying, advice from Aristotle about tyranny, democracy and anarchy, and two very poetic utterances from Marcus Aurelius. In each case, Paladin's delivery of these examples of sage advice about life, is presented with considerable empathy and tenderness and all of them apply to a certain innocent young lady trying to find herself.
This episode also demonstrates Paladin's patience and his droll sense of humor as well as distinctly-compassionate fatherly qualities.
Just as Robert Frost's persona admits that he "took the (road) less traveled by and that has made all the difference," the destination Paladin arrives at by the end of this episode leaves him a little sad, and more than a bit wistful.
Everything considered, I find this episode uniquely delightful and quite a departure from many other tension-saturated episodes where the fist and the pistol are king. Two human beings reaching hopefully through the bars of their existence, touch, just briefly.
Now You Can Be Your Own Judge and Jury
14 June 2016
Warning: Spoilers
This episode penned by veteran screenwriter, Robert E. Thompson, wastes not one word or gesture in focusing upon helpless innocence under the supposedly civic minded heel of the power of blind hatred. This episode is one my top two stories in the "Have Gun-Will Travel" (HGWT) series from the late 50's and early 60's. Buzz Martin plays the role of a young man who has been stereotyped and condemned by vicious association with the image of killers in his family even though he proves to be a very gentle, kind, sensitive, even a scholarly young adult. "The Prisoner" demonstrates, grimly, just how the machinery of so-called justice can crush, grind up and spit out the truly innocent when fear and rage rule a courtroom, a town, or a group of sheep-like mentalities.
Like my favorite episodes, this drama scarcely depends on the use of force for its story-telling potency. Here, logic and common sense joust with a vituperative juggernaut of misguided city fathers who were absolutely sure their cause was just. The story demonstrates, quite clearly, that reason will not prevail in the face of hatred, conformity and obstinacy.
"What good is the law?" Justin inquires, rhetorically, near the conclusion of this allegorical tale. Paladin's eloquent rejoinder to the young man begins with "Freedom doesn't come in a book . . ."
I think that this story should be viewed, examined and even debated by anyone who enjoys fine literature on film and those who care deeply about the truth, the whole truth and nothing but the truth.
I have used this episode teaching ethics to high school students, and I am about to teach it to a class of senior citizens.
Like my favorite episodes, this drama scarcely depends on the use of force for its story-telling potency. Here, logic and common sense joust with a vituperative juggernaut of misguided city fathers who were absolutely sure their cause was just. The story demonstrates, quite clearly, that reason will not prevail in the face of hatred, conformity and obstinacy.
"What good is the law?" Justin inquires, rhetorically, near the conclusion of this allegorical tale. Paladin's eloquent rejoinder to the young man begins with "Freedom doesn't come in a book . . ."
I think that this story should be viewed, examined and even debated by anyone who enjoys fine literature on film and those who care deeply about the truth, the whole truth and nothing but the truth.
I have used this episode teaching ethics to high school students, and I am about to teach it to a class of senior citizens.
Gentleman, Scholar, Lover and Renaissance Man in the Wild West
14 June 2016
"Maggie O'Bannion" is another gem from the second season of the very dark Western Series called "Have Gun-Will Travel," which proceeded from 1857-1963. In this Episode, Paladin displays many of his most sophisticated sensitivities and aptitudes impressively. But the episode begins as many other episodes do, with the black knight being duped, ambushed, knocked unconscious and forcibly deprived of his possessions. Most of the dramatic action in this episode occurs in the kitchen and dining room of Maggie O'Bannion's ranch. Here, Paladin displays his skill in the kitchen, his artistry in the living room, and,in general, his versatile array of skills that mark him as a man's man and a lady's man par excellence. "Have Gun-Will Travel" deviated sharply from the other competing Western television shows of that time period, particularly in its audience, said to be around 60% female; and women playing roles were honored as leaders, as thinkers, as human beings who nether let society's impediments stop them nor detract from their success and happiness. This episode is no exception. "Have Gun-Will Travel" is also noteworthy for its stellar, state of the art cinematography, emulating many of the film noir techniques pioneered by such cinematic luminaries as Alfred Hitchcock. Like many of the highest quality stories, "Maggie O'Bannion" scarcely needs any allusion to guns to make it work. You can almost always detect the television programs with the highest qualities: Great actors and actresses are drawn to the lode stone of great story and great writing. This episode is one of 24 penned by Gene Roddenberry, who demonstrates here again, that simply because this episode might be classified as a Western, does not mean that it cannot be measured by the same standards as those applied to Guy de Maupassant, Chekhov or Bernard Shaw.
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