Although filming wrapped on Tim Story’s Shaft sequel in February, the cast have been assembled for some re-shoots in Atlanta. Casting agencies are on the lookout for extras who are former or current police or military. The call has also been made for an African American/Black Female with Gray Hair and extras of all ethnic backgrounds for a 1990s flashback scene. Filming will take place this weekend.
Back to Bataan (1945; USA; B&W; 95m) *** d. Edward Dmytryk; w. Ben Barzman, Richard H. Landau; ph. Nicholas Musuraca; m. Roy Webb. Cast: John Wayne, Anthony Quinn, Beulah Bondi, Fely Franquelli, Lawrence Tierney, Richard Loo, Philip Ahn, Alex Havier, ‘Ducky’ Louie, Leonard Strong, Paul Fix. After the fall of the Philippines to the Japanese in World War II, a U.S. Army Colonel stays on to organise guerrilla fighters against the conquerors. Well photographed story with expertly directed action sequences. Flag-waving approach has to be considered in the context of the time it was filmed. Wayne and Quinn are strong leads. Script tries to cram a lot in and the editing at times makes the story progression a little too neat, resulting in a lack of depth of characterisation. Based on a story by Æneas MacKenzie and William Gordon. As the script was being written, the battle for Bataan was still being fought, leading to constant rewrites. [PG]
Tall in the Saddle (1944; USA; B&W; 87m) ***½ d. Edwin L. Marin; w. Michael Hogan, Paul Fix, Gordon Ray Young; ph. Robert De Grasse; m. Roy Webb. Cast: John Wayne, George “Gabby” Hayes, Ward Bond, Ella Raines, Audrey Long, Elisabeth Risdon, Paul Fix, Raymond Hatton, Frank Puglia, George Chandler. When a stranger arrives in a western town he finds that the rancher who sent for him has been murdered. Fast-paced tale of deception with a love triangle thrown into the pot. Wayne is in his element as the stranger and Raines is feisty as a rancher’s hot-headed daughter. Hayes provides comic relief and whilst the story becomes more formulaic in its final act, it is never less than thoroughly enjoyable. This was the first Wayne film to be shown on American network television. Based on the novel by Gordon Ray Young. Also available in a computer colourised version. [U]
Fighting Seabees, The (1944; USA; B&W; 100m) ***½ d. Edward Ludwig; w. Borden Chase, Æneas MacKenzie; ph. William Bradford; m. Walter Scharf. Cast: John Wayne, Susan Hayward, Dennis O’Keefe, William Frawley, William Forrest, Leonid Kinskey, J.M. Kerrigan, Grant Withers, Paul Fix, Addison Richards, Roy Brent, Jay Norris, Duncan Renaldo, Roy Barcroft, Charles D. Brown. Construction workers in World War II in the Pacific are needed to build military sites, but the work is dangerous and they doubt the ability of the Navy to protect them. Action-packed WW2 drama tells the story of the creation of the Construction Batallion known as the “Seabees”. Wayne is hot-headed head of construction whose methods are at odds with navy commander O’Keefe whilst both fight for the attentions of journalist Hayward. Jingoistic and full of macho banter, it nevertheless is propelled via well-handled battle scenes and strong cast. Also available in a computer colourised version. [U]
Spoilers, The (1942; USA; B&W; 87m) *** d. Ray Enright; w. Rex Beach, Lawrence Hazard; ph. Milton R. Krasner; m. Hans J. Salter, Frederick Hollander, Frank Loesser. Cast: Marlene Dietrich, Randolph Scott, John Wayne, Margaret Lindsay, Harry Carey, Richard Barthelmess, George Cleveland, Samuel S. Hinds, Russell Simpson, William Farnum, Marietta Canty, Jack Norton, Ray Bennett, Forrest Taylor, Art Miles. An Alaskan miner and his partner financed by a saloon entertainer, fight to save their gold claim from a crooked commissioner. Rousing, if simplistic, entertainment benefits from star power of its three leads and strong production values. Enright directs efficiently and Wayne and Scott spar well for the attentions of Dietrich. Filmed three times previously (in 1914, 1923 and 1930) and remade again in 1955. [PG]
Dark Command (1940; USA; B&W; 94m) *** d. Raoul Walsh; w. Grover Jones, Lionel Houser, F. Hugh Herbert, Jan Fortune; ph. Jack A. Marta; m. Victor Young. Cast: John Wayne, Claire Trevor, Walter Pidgeon, Roy Rogers, George “Gabby” Hayes, Marjorie Main, Porter Hall, Raymond Walburn, Joe Sawyer, J. Farrell MacDonald, Helen MacKellar, Trevor Bardette, Richard Alexander, Roy Bucko, Mildred Gover. A cowpoke becomes a rival for a ruthless renegade. Strong production values and well directed action sequences cover cracks in this rushed and uneven Western. Wayne is a likeable hero and Pidgeon a charismatic villain who both court rich banker’s daughter, Trevor. Hayes adds comic relief. Plot takes a dark turn as Pidgeon’s guerrilla army loots its way across Kansas and there is a rousing climax. The character of Will Cantrell is loosely based on the real-life Confederate guerrilla leader William Quantrill. [U]
Stagecoach (1939; USA; B&W; 96m) ****½ d. John Ford; w. Dudley Nichols, Ernest Haycox; ph. Bert Glennon; m. Gerard Carbonara. Cast: John Wayne, Claire Trevor, John Carradine, Andy Devine, Thomas Mitchell, Donald Meek, George Bancroft, Berton Churchill, Tim Holt, Tom Tyler, Louise Platt, Yakima Canutt, Si Jenks, Chris-Pin Martin, Merrill McCormick. A group of people travelling on a stagecoach find their journey complicated by the threat of Geronimo and learn something about each other in the process. Highly influential western became the first classic of its genre by taking it from low-budget B-picture fillers to something with more substance and no little art. Whilst some of the set pieces and characterisations may now seem overly familiar, it must not be forgotten that this was the film that started it all. Wayne became a star following his imposing performance as the Ringo Kid and Trevor is his equal as a woman trying to escape her past. There is top-class support from Carradine as a dignified gambler with a violent past and Mitchell as a drunk doctor. Spectacular stunt chase sequences and a moodily shot showdown finale add to what is a winning mix. Ford handles the story and characters with his trademark confidence. Won Oscars for Best Actor in a Supporting Role (Mitchell) and Best Music (adapted from folk songs by Richard Hageman, W. Franke Harling, John Leipold, Leo Shuken). Also available in a computer-colourised version. Remade in 1966 and again for TV in 1986. [U]
Having just completed my third go-round of all six series of the TV series Justified (2010-2015) and also having recently read all of Elmore Leonard’s printed stories featuring modern-day Deputy US Marshal Raylan Givens, I have concluded Justified is the perfect example of how to take a literary creation and expand on the character and to create something even better for the TV screen. Even after three full viewings I haven’t tired of the series and will probably go round again in another couple of years. Timothy Olyphant was born to play Raylan, with his laconic no-nonsense delivery and old-west values. Walton Goggins was so charismatic as local gangster Boyd Crowder he was resurrected from the dead, having been killed off in Leonard’s novella Fire in the Hole and again in the adaptation of that novella for the pilot. The supporting cast are all wonderful and the colourful and quirky characters they portray reflect the locale perfectly.
Elmore Leonard created the character of Raylan Givens in his 1993 novel Pronto. This was followed by Riding the Rap two years later. Both novels set the template for the Raylan Givens character, which was closely followed in the TV series. It was Leonard’s third Givens story, the excellent 2002 novella Fire in the Hole, that was the basis for the series, with Raylan being relocated to Harlan County to end the criminal activities of Boyd Crowder. Raylan and Boyd dug coal together in the Harlan mines in their younger years, but now they are either side of the law with Raylan determined to bring Boyd to justice. A fourth book, Raylan, followed in 2012. This was three separate stories linked together by a theme of a female opponent for Raylan. The novel was based on story lines Leonard contributed to the TV series and also allowed him to resurrect the character of Boyd in print.
Justified‘s first series was more a run of singular episodes with an over-riding arc. The stories were therefore episodic, but vastly entertaining. It was the second season where the series really took off with the introduction of the Bennett clan, run by matriarch Mags, wonderfully played by Margo Martindale. The series began a new approach of a continuing story thread with each season bringing a new major character into the story, whilst the regular cast continued the longer arc that would reach its brilliantly written and satisfying conclusion at the end of the sixth and final season. I wrote a short review of each season in an earlier piece I posted and I don’t want to give too much away here, in case anyone has yet to experience what in my opinion is amongst the very best American TV series of all time.
If you have never watched Justified, go seek out the pilot and I guarantee you’ll be hooked.
FIRE IN THE HOLE AND OTHER STORIES by ELMORE LEONARD (2004, William Morrow, 228pp) ***½
Blurb: Originally published as When the Women Came Out to Dance, Elmore Leonard’s extraordinary story collection, Fire in the Hole reconfirms his standing as the “King Daddy of crime writers” (Seattle Times)–a true Grand Master in the legendary company of John D. MacDonald, Dashiell Hammett, and James M. Cain. These nine riveting tales of crime and (sometimes) punishment–including the title story starring U.S. Marshal Raylan Givens, which was the basis for the smash hit TV series Justified–feature all the elements that have made the great Elmore Leonard great: superb writing, unforgettable characters, breathtaking twists, and the sharpest, coolest dialogue in the mystery-thriller genre.
An interesting collection of some of Elmore Leonard’s short stories and two novellas. The key story of interest is “Fire in the Hole”, which became the basis for the TV series Justified. This is one of two novellas included, the other being Tenkiller, which also plays like a modern day western. Sparks (1999, 17pp) ***½ is the story of an insurance investigator looking into a house fire of a property owned by a wealthy widow. It has echoes of Double Indemnity and gets the collection off to a solid start. Hanging Out at the Buena Vista (1999, 5pp) **½ is a short throwaway vignette set in a nursing home where two elderly people are coming to terms with their mortality. Chickasaw Charlie Hoke (2001, 17pp) *** is the story of an out-of-work ex-ball player trying to trade off his name. The story is insubstantial but features strong characters. When the Women Come Out to Dance (2003, 17pp) **** is one of the strongest stories in the collection and concerns a red-headed ex-stripper who has married into money and become Mrs Mahmood. She hires a maid she suspects had killed her own husband with the intention she does the same for her. This story too has some marvellous noir-ish touches and a satisfying twist climax. Fire in the Hole (2002, 56pp) ****½ is the main draw here. It features US Deputy Marshal Raylan Givens, star of Leonard’s novels Pronto and Riding the Rap, as he returns to his home town in Kentucky and comes across Boyd Crowder, who he “dug coal with” before he became a lawman. Crowder is now a bigoted criminal looking to wage war against black Americans and take control of the local drug trade. Most of the characters used in the TV series are introduced here and this is the best of Leonard’s stories to feature Givens. Karen Makes Out (1996, 22pp) *** features another of Leonard’s popular creations, US Marshal Karen Sisco. This story demonstrates her fallibility when she unknowingly becomes romantically involved with a bank robber. The story plays out in pretty predictable fashion, but Leonard is obviously at home with his characters here. Hurrah for Capt. Early (1994, 17pp) ***½ is a Western story of a returning black soldier from the Cuban war who faces bigotry from cowboys in a town welcoming home a war hero. The story plays out well with a strong, dignified, central character in Bo Catlett. The Tonto Woman (1982, 17pp) *** is also set in the west, where a rancher has his Indian wife living in exile in a log cabin, where she is befriended by a charming Mexican cattle rustler. This story plays out more as a morality tale and has familiar tropes of the genre. The final story Tenkiller (2003, 60pp) ***½ features ex-Rodeo rider now Hollywood stunt man, Ben Webster returning to his homestead to find three criminals have rented the property on which they are stripping hijacked trucks. There is the re-kindling of a romance and a satisfying showdown thrown into the mix. It is a formula that Ace Atkins would explore in his Leonard-inspired Quinn Colson series. This ends a satisfying mix of stories that demonstrate Leonard’s strength with handling plot, characters and dialogue in his distinctive economical style.
Samuel L Jackson was briefly interviewed at the premiere of The Incredibles 2 in London on 8 July and was asked about the new Shaft movie. He stated the movie’s 2019 June release date was to tie in with Father’s Day, given the nature of the relationship between his character and the of Jessie T Usher in the movie. HIs hinting toward a family orientated theme seems at odds with the previous films in the series, but may just be reflective of the nature of the three generations of Shaft in the movie, with Richard Roundtree also present to reprise his original role.