Escort West

Think 'wild west,' and a lot of people will think of the 30-plus years after the Civil War right on through the end of the 19th Century. But there is a crossover as the two historical eras overlapped. Yes, the Civil War western like Major Dundee, Escape from Fort Bravo, Two Flags West, and now, a new entry, 1958's Escort West.

It's been just a few months since the end of the Civil War, and ex-Confederate soldier Ben Lassiter (Victor Mature) is riding west with his 10-year old daughter, Abby (Reba Walters). They're heading to Oregon -- via Nevada? -- but now they've caught up with a Union patrol guarding a payroll shipment. Ben and Abby head their separate ways, but down the trail they ride across the massacred remains of the patrol with two female survivors, sisters Beth (Elaine Stewart) and Martha (Faith Domergue) Drury. A Modoc war party is on the warpath killing everything in its path. The Drury sisters tell Ben they were supposed to meet up with another Union patrol somewhere ahead of them, but they're not sure exactly where. While trying to avoid the Modoc warriors, can Ben and Co. manage to find the patrol and safety?

This western from director Francis D. Lyon is interesting for its writing staff; actor/writer Leo Gordon and Fred Hartsook (cool name). Gordon made a career out of playing tough guy roles in films like Tobruk (also wrote), Hondo and many others, including this one. He also wrote more than a few films and TV episodes and did it well. Gordon had a knack for writing meat and potato stories that audiences ate up. They're pretty straight forward, but they feature plenty of action and tough guys beating the hell out of each other. This one is pretty straightforward too, even a little short at 75 minutes, but western fans should enjoy it.

The Civil War western angle plays well here. A few months since the end of the war, Mature's Ben is looking for a fresh start. He's put the war behind him and wants to move on with his daughter. Meeting up with Union cavalry troopers though that aren't so forgiving, the hatred and rivalry from the war still very much alive. It's made worse when Ben meets the Drury sisters. Beth likes the Confederate and his daughter, but Martha isn't so forgiving, holding a hard-edged hatred for the Confederacy having lost her husband in the war (but there's more going on there too). The Union vs. Confederacy angle works well, giving a familiar western a fresh perspective. Then, the two former enemies must band together to survive Indian attacks. Good stuff all around.

The casting is good from top to bottom here, starting with Mature. He's a very capable soldier, but we also see a softer side of him as he looks out for his daughter. Stewart is solid and Domergue is appropriately shrill and hateful as the Drury sisters. Rex Ingram is a scene-stealer as Nelson, a black Union quartermaster wounded in the attack who bonds with Ben. The Union troopers include William Ching and Noah Beery Jr. as the officers in charge with Slim Pickens, Harry Carey Jr., Ken Curtis and Gordon. With a movie that's just 75 minutes, none of these familiar western faces are given much to do, but it's cool to see so many in one film. Would the movie be better with some more development in story and characters? Sure, what movie wouldn't? What's here is solid though.

Filmed in black and white, 'Escort' has the California hills/mountains posing as the Nevada mountains. It's got an interesting visual look to the story, the black and white adding a nice touch. The cavalry vs. Modoc story develops nicely with a claustrophobic touch as the canyons full of rocks and plants seem to be closing in on the troopers. Indians are hiding all around, just waiting to attack. An actor named X Brands play Tago, the Modoc leader. The biggest flaw may be that at 75 minutes, it feels rushed. The ending comes together too quickly, wrapping up in a flash because....well, because it does. It's a solid, entertaining B-western that could have been significantly better, but it's not bad for what it is.

Escort West (1958): ** 1/2 /**** 

Robin Hood (1973)

Errol Flynn, Kevin Costner, Russell Crowe, Sean Connery, Cary Elwes and an athletic, wise-cracking fox. What do they all have in common? They have all played the iconic literary character and legendary Middle Ages outlaw Robin Hood. Does that last one seem out of place? If it does, shame on you. You must not have had an entertaining childhood. Change of pace review today, a favorite from growing up, the 1973 animated Disney classic, Robin Hood.

Outlaws on the run, Robin Hood (voice of Brian Bedford) and his portly sidekick Little John (voice of Phil Harris) are living it up in Sherwood Forest. In the nearby town of Nottingham, the weakly Prince John (voice of Peter Ustinov) and his enforcer, the Sheriff (Pat Buttram), are taxing the population heavily to the point where there is no money left in town. Always one from steal from the rich and give to the poor, Robin and Little John do their best to cause all the problems they can for Prince John to deal with, but that roguish outlaw has other plans. Robin also wants to win back his longtime love, Maid Marian (Monica Evans). Wouldn't you know it? All these problems might end up crashing head-on.

Is there a more pointless plot description than the one I just wrote? Everyone and their Mother knows at least part of the Robin Hood story, right? Eh, maybe I'm wrong, but I weep for those people. The names are iconic and instantly recognizable, everyone from Robin Hood to Little John to Friar Tuck (voice of Andy Devine, a perfect, spot-on choice, Tuck as a badger) to the evil Sheriff of Nottingham. It's that familiar image of the iconic outlaw in his Lincoln green clothing, appearing out of Sherwood Forest to wreak havoc on the rich. This Disney classic is a classic for a reason, putting a spin on the story for a younger audience. I grew up watching this one, loved it then, loved it now. Yeah, I sound like an old fogy, but they just don't make them like this anymore.

Ready for the part that will blow your mind? Well, that is if you've already forgotten the first paragraph a few clicks up. All these characters are played by anamorphic animals. Flynn, Costner, Crowe, Connery, all fine actors, but they just don't hold a candle to Robin Hood as a....fox. Between the 1950s and the middle of the 1970s, the Disney animated movies were cranking on all levels, many of them using animals as main characters in this way. Maybe it's the little kid that grew up watching these movies, but there's something cool about seeing Robin Hood (a fox) and Little John (a bear) fighting the Sheriff (a wolf) and Prince John (a lion). It sounds criminally simple that it should work so well, but it does. So there. Deal with it. I love this movie and won't be swayed from my opinion.

All these old animated Disney movies are a gem in my head. Yes, some are better than others, but in the age before computer generated images, these movies were actually drawn. They look great, a portal into a time that we may never see again in movies aimed at families with young children. The screen is always full of color and action, and the animation -- dated though it may be -- is a gem to watch. Pixar Studios is immensely talented, and I'll always enjoy their ventures into animated movies, but there is an undeniable charm to these old school Disney flicks.

Oh, right, the voice talents involved. There's not a bad choice in the bunch as the Robin Hood story turns into a story performed by animals. British actor Bedford has some fun as Robin (called 'Rob' by Little John), giving an animated character some personality, as does the whole cast. Harris (Baloo in another classic, The Jungle Book) brings his big, booming voice to the table, providing a great sidekick for Robin. Ustinov is an inspired choice for the weakly, sniveling Prince John, Terry-Thomas playing his maligned "assistant" of sorts, Sir Hiss (a snake). Carole Shelley is very funny as Lady Kluck, always at Maid Marian's side (Evans doing a fine job as Robin's lost love). George Lindsey and Ken Curtis supply their voices as Trigger and Nutsy, two of the Sheriff's dimwitted vulture guards. Yes, vultures. I told you this movie was awesome. Watch the intro HERE to get a look at all the main characters. 

A childhood favorite. I love it and always will.  Also worthwhile for the voice talents of singer Roger Miller who plays Allan-a-Dale, the talented singing and colorful rooster of Sherwood. The main theme -- Oo-de-lally -- is a classic, listen to it HERE. There's a handful of other songs too, all of them memorable, especially Harris' song as Little John mocking Prince John. The soundtrack in general from frequent Disney composer George Bruns is a classic in itself, just one in a sea of positives about this movie.

Robin Hood <---trailer (1973): ****/****

The Alamo (1960)

From the time I was introduced to Fess Parker as Davy Crockett in the Disney episodes, I fell hook, line and sinker for the story of the siege and fall of the Alamo. Even as a kid, I was able to appreciate the courage, the sheer bravery of the defenders of the mission who sacrificed themselves. But while I love the Disney Davy Crockett episodes, one thing stands above. Right alongside The Great Escape as my favorite movie, 1960's The Alamo.

It's February 1836 and the Mexican province of Texas is fighting for its freedom against Mexico and its dictator Antonio Lopez de Santa Anna. Leading the Texas revolutionaries is General Sam Houston (Richard Boone) who leads a nonexistent army and needs time to assemble and train a fighting force. In the town of San Antonio stands the Alamo, an old mission built by Franciscan monks over a 100 years earlier, a mission never intended for military use. With hopes of buying Houston the time he needs, Lt. Colonel William Travis (Laurence Harvey), knife-fighter and adventurer Jim Bowie (Richard Widmark), and famed frontiersman and former Congressman Davy Crockett (John Wayne) and 180-odd volunteers have forted up in the Alamo and are quickly surrounded by Santa Anna's army of over 7,000 men.

For star John Wayne, The Alamo was a labor of love, a film he had wanted to make for 14 years. He not only stars in it but also produced it and directed, his first ever film as a director. The story of the battle of the Alamo had long appealed to him -- the bravery, the heroism, the sacrifice -- and it was a story he wanted and needed to tell. He spared no expense in this truly epic production. In Bracketville, Texas, Wayne had a complete Alamo mission built, not to mention the town of San Antonio too in the middle of the Texas desert. The set -- dubbed Alamo Village -- becomes an additional character, adding a sense of realism and authenticity that no studio set would have done justice. The actual Alamo mission constructed is a sight to behold, a behemoth fortress that puts in perspective how difficult it would have been for 180 men to defend against an army of thousands. Wayne's love child, most will disagree with me, but I think it's a nearly perfect movie.

Playing three legendary figures, Wayne, Widmark and Harvey all deliver layered, nuanced performances, all of them unique and different from the rest. As Davy Crockett, Wayne is a huge presence. It's far from his best acting roles -- The Searchers, She Wore a Yellow Ribbon -- but Crockett of the time was a legend in his own right. Who better to play him than one of Hollywood's biggest stars? Much of the tension in the movie comes from the rivalry over command between Widmark's Bowie and Harvey's Travis, both actors representing themselves flawlessly. Widmark is fiery and hot-tempered, Harvey condescending, intelligent and an idealist, but they share a common goal. All differences aside, both men are willing to sacrifice themselves for the cause they're fighting. I love the banter, the back and forth, the chemistry among the three. Making a two-scene cameo as Houston, Boone too doesn't disappoint, making those two scenes more than just throwaway fluff.

In terms of actual screentime, the big three dominate, but as a director, Wayne assembled quite a cast. Ken Curtis plays Capt. Dickinson, Travis' second-in-command, with Joan O'Brien as his loyal, equally brave wife, Susannah. Crockett's Tennessee volunteers include singer Frankie Avalon as Smitty, the youngest Alamo defender, Chill Wills (in an Oscar-nominated turn) as Beekeeper, the drinking, jovial fighter, Denver Pyle as Thimblerig, the thinker and gambler, Hank Worden as the Parson, a preacher, with Chuck Roberson (a talented stunt man and Wayne's double) and Rudy Robbins as two unnamed Tennesseans, engaging in their running bit; 'Do that mean what I think it do?....It do.'  Other defenders include Patrick Wayne as Lt. Bonham, the Alamo's famous messenger, John Dierkes as Jocko and his blind wife, Nell (Veda Ann Borg), Joseph Calleia as Juan Seguin, and Guinn Williams as Lt. Finn, and Jack Pennick as Sgt. Lightfoot. Two other worthwhile performances include singer Jester Hairston as Jethro, Bowie's slave, and the lovely Linda Cristal as Flaca, a young woman who shares a brief relationship with Wayne's Crockett.

Anyone remotely familiar with the historical facts knows that on March 6, 1836, the Mexican army assaulted the Alamo and wiped out the defenders to a man in a brutal, bloody massacre; extreme casualties on both sides. For a first-time director, Wayne puts together one of the all-time great battle sequences ever committed to film (if not the best ever). Almost five full minutes are shown as the Mexican army marches into formation around the doomed mission, an eerie silence hanging in the air for several seconds before the attack begins. The assault features hundreds of extras -- and in one scene, thousands -- as the garrison tries to repel the soldiers from the walls only to be ultimately overwhelmed. Cavalry, infantry, artillery, this defines the SPECTACLE of an epic. More than that, it is a moving sequence, each of the defenders we've come to know meeting their death. More details later on this, but Dimitri Tiomkin's score here is some of his best work. You can watch the battle sequence HERE, but to be appreciated, see it on a large, large screen.   

Wayne's film has its share of detractors, and the complaints are fair (even if I disagree with them). The original version is 192 minutes and has its slower moments. Speechifying abound from James Edward Grant's script, but I eat this stuff up. Big speeches about freedom, Republic, right and wrong. That's John Wayne at his best. What does work? The very real emotion of the movie. Countless scenes impact me the more I watch this movie. Travis addressing his men, knowing death awaits those who stay, is beautifully simple. Watch it HERE. I love too, that Crockett's men dismount before him. Overlooking a field covered with casualties, Pyle's Thimblering says 'Speaks well for a man who's willing to die because he believes right is on his side...speaks well.' The night before the final assault is the most effective though, the defenders sitting quietly as they wait for the inevitable in the morning. Bowie releases Jethro, but the former slave decides to stay and fight. Roberson's Tennessean delivers a simple monologue that is profound in its outlook on life. And best of all, Crockett is asked by Thimblering, "What are you thinking about?" to which Crockett answers "Not thinking....just remembering." The last 45 minutes features some of the most perfect dialogue, emotion, music and spectacle of any movie ever. The Green Leaves of Summer (listen HERE), one of the most beautiful songs ever, playing over this sends chills up and down my back at the thought of it.

A criticism of The Alamo is the complete lack of historical accuracy as pertaining to the actual 1836 battle, and that's true. Wayne never set out to do a spot-on, dead-on accurate telling of the story. The 2004 film -- The Alamo -- does that. Instead, Wayne wanted to tell the story honoring the men who fought and died. They fight because they believe in what they're fighting for. Surrounded on all sides with no hope of reinforcement, the Alamo defenders stay inside the walls, knowing certain death awaits. They go out fighting, go down swinging. That is what Wayne was going for. I have difficulty even processing that sort of heroism. Crockett's Tennesseans dismounting before him illustrates that. Crockett has seen some of his men die already and doesn't want to see anymore die, but his men don't look to him for a decision. They do it because they want to, not because they're told. Say what you want about Wayne as a director/star with a heavy-handed message, but he got that part right to a T.

Initial reviews were mixed for The Alamo, forcing Wayne to cut 30 minutes from his 192-minute long movie. Those cut portions include Intro Music, an Intermission and Entr' Acte, and Exit Music with about 15-20 minutes of scenes, some better than others. The scene that truly needed to be in the final print was Parson's death, a beyond moving, effective scene as the battle becomes very real for Crockett and his men. Watch it HERE. The actual prints of the 192-minute version seem lost to the ages, but many of the deleted scenes are available at Youtube. Watch several of them in one video, HERE. Among them is Scotty's death, and a birthday party held for Lisa Dickinson, played by Wayne's daughter Aissa. As a fan of the movie, it's great to see any of this footage.

So what else can I ramble about? That's probably enough. I love this movie and everything about it. Wayne gets the spirit right, showing the bravery and heroism of the Alamo defenders as they faced certain death and didn't shy away from it. A true epic with scale and spectacle to impress all moviegoers. Great cast, an amazing set of the Alamo mission, Tiomkin's phenomenal score, and a battle sequence that few can even approach in terms of quality. They don't make them like this anymore.

The Alamo <---trailer (1960): ****/****

Conagher

Growing up, I became a reader at a young age, and I'd read just about anything having to do with the old west.  Fiction and non-fiction, novels, short stories or encyclopedias, they were all the same to me.  The master of the western story, Louis L'Amour, obviously appealed a lot to me, and I still remember the first book of his I read, The First Fast Draw.  I still read his books from time to time because above all else, they're the literary equivalent of comfort food.  You know what you're getting each time you open one of his books.

In the last few months, I've reviewed several L'Amour ventures into movies, made for TV movies and even TV shows.  Unlike bigger scale westerns where the scale was important, L'Amour's novels never had that problem.  They usually focused on a handful of main characters instead of hundreds of speaking parts and were about the problems of those individuals rather than a bigger western where a whole town or territory might be in danger.  So with that thought, maybe Louis L'Amour and his novels were cut out for made-for-TV movies where the smaller scale was a benefit, not a hindrance.  Not one of the best examples but a decent enough western, 1991's Conagher.

Traveling west with her recently married husband and his two kids from his previous marriage, Evie Teale (Katharine Ross) finds herself running the homestead by herself in unforgiving territory.  Her husband went to buy cattle and has been missing for months, leaving her to believe he died somehow because he wouldn't just abandon his family.  But Evie trudges on, living the toughest of frontier lives from day to day.  A drifting cowboy, Conn Conagher (Sam Elliott), stops by one day on the trail and helps out briefly before moving on.  There is a connection immediately between Evie and Conn, but they seem almost fated not to be together. But trying to carve out a living on their own, the two similar minded people can't help but be drawn to each other.

Some actors are cut out for certain genres, and Sam Elliott belongs in westerns, plain and simple.  He has the look and the acting style that fits in perfectly with the genre.  More than that, he's cut out to play a L'Amour hero, hard-working, tough, always willing to help, and honest/loyal to a fault.  Basically, he's a man of principle.  This was Elliott's fourth appearance in a movie based off a L'Amour novel, and he's got the part down to an art by now.  His performance is the best part of the movie, and the story tends to drag when he's not around.  It drags some even when he is around, but that's not entirely his fault.

Now I haven't read Conagher so I may be criticizing the movie more than I am the book here.  At 117 minutes, this feels too disjointed without any unifying connection through the story.  There are these little episodic sidebars that reveal more about the character but never anything surprising.  Conagher signs on with an old rancher (Ken Curtis in a solid supporting turn) who is being run out by a rival ranch.  These scenes show Conn's willingness to do what's right when it'd be easier to bail, but that's nothing we didn't know already. Then to add insult to injury, this drifter cowboy must tangle with two rustlers (James Gammon and Paul Koslo).  Streamline the story some and these segments are gone for an overall more well organized story.   

It isn't often I'm about to say this, but this is a western that could have used more of the romantic subplot that it introduces but doesn't do anything with until the end.  Married in real life, Elliott and Ross have an obvious chemistry together without much in the way of words spoken.  After a brief scene early where they meet, they spend most of the rest of the movie apart.  Maybe I was just expecting something different from the story where they meet early, fall for each other and go from there, but I was disappointed in how the relationship developed.  Basically they spend too much time apart in the slow-moving middle sections that don't do much anyways.

The rest of the cast is solid for a TV western.  Barry Corbin is the best part as McCloud, the stagecoach driver who frequents the Teale's place. Billy Green Bush appears very briefly as Jacob, Evie's husband, with Gavan O'Herlihy making a reliably evil bad guy.  Also look for recognizable western faces Buck Taylor as a rival cowboy and Dub Taylor as a stagecoach station agent.  It's a decent enough western, but other than Elliott and Ross I'm remembering little to recommend.  Average in every way and probably only for western completists.

Conagher <---trailer (1991): **/****