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Reviews
Yuma (1971)
Lawlessness needs a Real Lawman
I would have given this pilot movie a higher rating but for a few dings of the directorial, writing and production value variety.
First, though: Clint walker does the main character - lawman Dave Harmon justice: serious, capable, and won't buckle when the going gets tough (and it gets tough pretty quickly). BUT the director and set managers (whomever) gave him a bad hat (I'm a hat fancier -- on other people!) -- bad color, fit. Shirt color, nah. And those unreadable opening credits! Red is bad. Hard to read.
Moving right along, when, after arriving in the scrappy, dusty town of Yuma, Harmon boxes himself in a corner (writer's fault) by having to shoot a wild-eyed cowboy and his brother who pulled folks out of their stage coach and proceeded to exude excessive enthusiasm (guns ablazing) as they came to town to drink the place up. These were the King brothers, and they didn't cotton to Harmon's request to drop guns, etc. Had to kill when the hotheaded one started shooting. It happens.
Director problem? As Harmon shaves in his new rooms in Julie's hotel, a little Mexican boy enters for a spot of thieving. It can happen. But why did the director leave Walker with a half-shaved face, and shaving cream on the other half? Director problem/writer problem. Then there were the Indian sequences. These could have referenced the Cheyenne series -- for a less stilted more natural speech pattern -- not so broken, please!
On the plus side is the story itself, and the detective work that Harmon does to ferret out an apparently unprovoked murder and thefts of beef from the military base nearby -- sold and resold by crooked Nels Decker (well played by Barry Sullivan) -- but not finding their way to their rightful destination (the Reservation). Good action stuff. And a touching relationship developing between the orphan Mexican boy and Harmon (who lost a son, and so on).
The ending had some smiles. Very important to me, as I've said in other reviews: why feel miserable after spending quite a bit of time watching "entertainment" that only makes you feel worse afterwards? Nope. That didn't happen in Yuma.
A good western -- but, as I said earlier, someone should have brought up the snags I mentioned at the beginning of this review -- and Yuma would have been much better.
Cheyenne (1955)
Looking for a Hero? Clint Walker to the rescue...
"Cheyenne" series and Clint (Norman Eugene) Walker
Review by Rose Jenkins, May 30, 2022
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Somehow, I missed the "Cheyenne" series when it was on television, and never saw it featured in any of the cable channels we had at one time or another. However, I "discovered" the series early this year (2022) on one of my rampages of channel switching trying to find something worthy to watch, and happened upon a "Cheyenne" segment. I saw just a fragment, but it was enough to prompt me to see more.
How the "Cheyenne show" came into being -- Producer William Orr, and story developer, Roy Huggins, got the ball rolling at Warner Bros. (for the ABC network). Cheyenne was the first hour-long adult western, addressing issues that were incorporated into compelling stories, like the ending of the Civil War and its aftermath on Southerners; unleashing the Union army to "tame the west," i.e., moving tribes into reservations; and always, it seems, how the White man most often broke faith with Indian tribal leaders, overturned treaties, confiscated Indian lands; renegade whites who sold alcohol and guns to the Indians; Mexican-American border problems, and so on. But there were bridges built into all these conflicts, courtesy of the producers, writers, and the remarkable character and work by Walker. Lots of drama in all of these topics, too often glossed over in our scrubbed grade school education. Plus, there is just the romance of "opening up of the West": cowboys, Indians, buffalo, cattle runs, outlaws, swindlers, riverboat and saloon escapades; stage coaches, trains, stampedes; mean, nasty and greedy people; and those wild, vast empty lands inhabited by strange landscapes, contorted rocks; and other broad stroke effects.
That was the landscape that Cheyenne Bodie traveled; a wanderer, a "top hand," ready to intercede to help anyone in trouble - a Good Samaritan on horseback, intersecting with these characters moving west and south. (Caveat, sometimes a bit reluctantly, though.)
Backstory (& Tribute to Cheyenne) -- The Cheyenne character is blood-brother to the Cheyenne Indian nation - made a blood-brother and raised by that tribe after Cheyenne's family traveling west in a wagon train were massacred, along with most of those in the wagon train. This, apparently, was something that did happen in tribal history: a conflict might arise between tribes, followed by war. Consider this a parallel to European history, with the constant warfare between kingdoms, fiefdoms, etc. In tribal wars, if there were survivors, frequently these were raised as members of the victorious tribe. The moral nature depicting the Cheyenne nation as noble, with honor, integrity; how to build inner and physical strength; live in harmony with the earth; and how to treat others fairly was something that served the white boy they raised as "Cheyenne" well. (I think I learned more about this period of time from the Cheyenne series than from the history lessons in school.)
Credit where it's Due -- With the happy marriage of producers willing to produce quality shows, very good writers, conjuring up characters and stories from historical happenings; directors calling forth those characters, and actors, fulfilling the written word and breathing life into those characters, it is lucky for those of us who value good entertainment that all these happened so splendidly in the Cheyenne series.
The casting of Clint Walker for the lead role was a master stroke, as Walker, a "good guy" in real life, embodied the manly virtues too often discounted and lacking in our world today. Rather like a "Silver Knight of the Plains": valiant, chivalrous, honest, strong, kind, forthright, modest, thoughtful...
Clint Walker's Special Magic -- There is alchemy in such portrayals - as when an actor embodies his character so completely, that an activation of an Archetype occurs. (In this case, a kind of Cowboy Hercules.) Clint Walker also had an ability to create an *emotional field*, one that seemed to induce women to be more womanly and men more manly - charisma that was a true gift of the Spirit.
His singing voice is a warm, fuzzy baritone, sweet and comforting, while his speaking voice had a kind of growly, molasses drawl that could get "barky" when dealing with difficult people. (For the record, just seeing him walk into a room is a treat. Also, for the record, to be balanced, if we appreciate the Divine Feminine, shouldn't we also appreciate the Divine Masculine?)
In one interview, Clint said that "people need heroes, someone to look up to, who they can model themselves after. And if a good model isn't there, a child will likely model themselves after a bad one." So true. Asked how he wanted to be remembered, he said, "... as one of the good guys.
For those who know something about Astrology -- Astrologically, consider that he has a Venus/Mars conjunction in Cancer, sign of emotional sensitivity (enhanced by both Venus and Mars being out-of-bounds - an excessive or pronounced energetic trait) trine Jupiter in Pisces (psychic sensitivity). Also, that Neptune in Leo, sextile his Gemini Mercury - driving inspiration farther afield. Larger than life...
Confession: After I saw that man in action, I became hooked on Clint -- and found his brand of acting suited to those action roles he was featured in, and the kind, good, strong, silent type -- so refreshing after being inundated with nasty-minded, misanthropic, dystopic stuff coming out of "Follywood" for quite a while now. And those geeky guys with no charms... ! Thus saith the feminine spirit. (Happy Birthday, May 30, 2022 -- in all the dimensions, Norman-Eugene-Clint Walker!) ###
The Bounty Man (1972)
Bounty Man finds his life
Director John Moxey does a great job with writer Jim Byrnes' "Bounty Man," bringing sharp visual and moral contrasts, realistic period touches... and humor. (The humor is courtesy of the Basehart character, Agnus Keough, who has his own group of bounty men -- all fine in their roles.) Keough is a wily "man of the road," whose dialog is punctuated with gritty, picturesque phrases. A big plus is the musical score. (Most enjoyable entertainment is accompanied by good music!)
Synopsis (w/Spoilers):
The Legendary Kincaid: Walker plays his "Kincaid" role believably and beautifully -- a mustachioed, hard, crusty, still gorgeous, blue-eyed man dedicated to the task. Going for Billy Riddle (John Ericson), his "retirement" catch with laser-like single-mindedness. (Please! Don't get in his way!) He gets provisions and advice from his old friend and former bounty man, Tom Brady (Gene Evans). (We get a hint from Brady that there is more to living than hunting men for money.)
Rousting his bounty amid the frivols of a wayside saloon (cum brothel?) The Man (Kincaid), extracts his catch -- and rides off to deliver Riddle to his destiny. -- However, they are followed by Billy's winsome girlfriend, young Mae (Margot Kidder). She was rescued from a dingy life by Riddle, and manages to retain an aura of innocence (and deep down virtue) that is touching.
Kincaid, Riddle and Mae are followed by Keough's group, who aim to take Riddle from Kincaid, providing an escalating level of dramatic tension. And some funny lines. -- Meanwhile, Mae helps Kincaid discover he is catching (and killing) crooks but missing out on life: "When did you stop living?," she asks. This question causes Kincaid to begin looking at his past. Mae also discovers the reason for the intensity of Kincaid's vendetta against wandering crooks and killers. (Enough said.)
Kincaid punctures some of her illusions about Billy, that "when the chips are down, he'll throw you to the wolves"; that Billy won't serve or save anyone but himself. It's proved at a couple of inflection points as the story unfolds. Mae finds herself turning away from narcissistic Billy and towards the strong, silent Kincaid.
Summary: This is a Western that's also a satisfying, nuanced romance. Characters very well drawn, acted; excellent score and photography and other production values. Beautiful, appropriate ending. Life and love. And some thrills along the way.
The Great Bank Robbery (1969)
Making "Great Bank Robbery" better (?)
When I looked up the critics' reviews, I was appalled that so few of them liked this movie. Bad on them. Obviously, their "funny bones" were creaky.
My take on this darn funny movie is this: with a little snipping here and there, at the director (Averback) and screenwriter level (Blatty), could have made this a VERY funny movie. By judicious trimming (e.g., eliminating some of the grotesque ending with too many posse members, too many bandits, too much train blow-up, etc.) I would have given this giggler a 9.
(As it happens, I liked all but perhaps 13-17 minutes of gratuitous - even rococo - excess: The bandito component(s) could have been reduced to make room for more on the Lyda/Ben picnic and just more of Walker's character in general.)
Even so, I enjoyed it enough for repeat viewings. (If I like something enough, I like to see it again. Or even again.)
Spoilers:
First of all, the premise was fine: three gangs lined up to rob the "Outlaw Bank." And a couple of tunnel crews.
The Big Guy, Clint Walker's character of Ben Quick was well done I thought. Anyway, I always like to see that man in action. I chuckled at his undercover role as "Ben Smith, the laundry man."
The Picnic: I liked Kim's surprisingly outrageously funny take as the grifter (part of Rev. Pius Blue's expert crook round-up for the bank heist). I laughed so hard I could hardly see straight. That bustle! That strip-off! And straight-laced, large, "silo-built" undercover ranger, Ben Quick, undergoing a bit of melt-down was knee-slapping. (Again, I liked Walker's contribution to the scenery. Perhaps a little less goofy, but good nonetheless.)
Pius Blue's crew: All able and specialized for the task. Enjoyable display of specialties. The trickery! Such timing! And execution! Then there's the distraction afforded by Kim riding virtually nude on that white pony! (Poor bank guard!)
Secret Service and the 2nd Tunnelers: Funny. Cute. Silly. As was the schmozzle (melee) between the Chinese tunnelers and Blue's group.
The local sheriff(s) to the distraught gunman (played by Claude Akins): "What's the charge?" (after breaking a bottle) ... " 'Litterin!' "
Akins: (conflicted, crying): "Is this going to go on my record?"
Anyway, quite a few tongues-in-cheek references that make watching this "comedy western" worthwhile. (Especially in these days of too much hard and unhappy news.)
Eddie and the Cruisers II: Eddie Lives! (1989)
Beauty Lifes
My take on movies, music, whatever art form, is, "Does it make me feel better at the end?" The sequel to Eddie and the Cruisers fulfills that maxim fully. Most "rock-u-dramas" focus on the failures and ugly stuff: sex, drugs, egos gone bad and staying bad, leaving voids and shreds. -- Thank God! (and the gods of art), there was a sequel to the Eddie odyessy: "We want our heroes to live." Yes. We do.
The re-emergence of Eddie from oblivion, able to step back into his "real" life was very, very satisfying. A mythic feel, and all that that means. Beyond the ordinary, into the archetypal. The saving graces (of his friends and those who help bring Eddie/Joe back to life, as it were) gave me the love-over-all the best feeling I've had after watching a movie in a long time. -- Loved the casting, photography, soundtrack. ":Eddie Lives."
Star Trek: Deep Space Nine (1993)
Best of the Star Trek Franchise
I've held back on reviewing this series, because I felt it was unnecessary. But now I think differently.
One of the best features of this Trek is the spiritual content: Cisco is the Emissary... A spiritual guide for the people of Bajor. There are many sub-themes woven into this series, and quite a few laughs (largely provided by the Ferengi barkeep and "goings' on" involving the albeit materialistic home planet and its denizens on Ferenginar). And then there is my favorite Klingon, Worf! (Even if he insists on singing Klingon opera!) ...And Vic's: AI with humor, perception, intuition, and maybe something like soul (???).
The overall story arc brings us to a startling and unexpected consummation that is too rare in the Science Fiction genre: Love, not just fancy technology, conquers all! Questing, jesting, seeking and finding...
Loved this series -- especially its mystical content. Capt. Cisco, though somewhat wooden, is masterful, caring, highly competent to handle the crises that arise. Supporting characters add deep notes of caring, loyalty, dedication and sparks. And there are cool space battles!
One more thing: the characters are treated with respect at the conclusion of the series -- not thrown into the trashcan or ash pit as happens in too many series' endings -- a "feel good" way to end something, not a bash over the head or ripped out heart. Thank you! to those who made Deep Space possible, and those who fleshed it out!
On Deadly Ground (1994)
Taking out the Destroyers
Action Hero, you bet. Dedicated to removing the toxic, noxious earth-spoilers and destroyers. Yeah! Using ones power to protect this precious planet. YES! Stephen is always impressive (to me); big, fast, powerful with great skill and ...conscience. Too often we see mealy-mouth apologetic gestures dealing with true evil on our savaged planet -- evildoers who find excuses for us to keep them around. I don't think we need to turn any more cheeks, here, folks: they've had they way for a very long time, corrupting, poisoning and stealing the ground out from under us.
That's what's so attractive about the character Stephen plays in "Dangerous Ground": it strikes just the right note. Like a Bond extravaganza, the megalomaniac(s) and their henchmen without a speck of conscience -- are spectacularly consumed by their own greed, along the mechanical beast (massive oil platform set up in the fragile Arctic) they unleashed to devour the earth.
The environmental note is a sub-theme as "our hero" sets out to right a terrible wrong affecting the lives and lands of Native Alaskans and Native Americans. Justice and "right action" is strongly underlined in this movie; perhaps that's why some "reviewers" write disparagingly about this movie. I beg to differ.
The villains are as they are in "real life" -- conscienceless, brutal, selfish, etc. Stephen's character is motivated by personal loss, true, but the target(s are those crying out for an Action Hero to save the day! His police side-kick, so to speak, helps lighten the load without succumbing to idiocy. Bravo! Bravo! Summarizing: Fierce integrity; duty and service to a Higher Cause. Amen.
Beauty and the Beast (1987)
Beauty in the eye of the beholder
It was an astonishing thing, that a network like CBS (?) would have a visionary somewhere in its innards that permitted such a feast of imagination and mystery as "Beauty and the Beast" to run even for so few years...
Musically, perceptually, casting, staging, and on and on, B&B had more than enough power for viewers who wanted to be engaged in the lives of its characters, believing in the power of imagination and its ability to bridge the sordid now and a possible when, with grace, kindness, intelligence and love. Lush poetry and ravishing music. Nifty costumes and awful villains. Beautiful readings... Characters that might be. (We have to wonder why there's so much mindless sadism, brutality, depravity and stupidity infesting the airwaves now -- forcing us "sensitive folks" to retreat into the past.)
Was B&B just a miraculous aberration? Perhaps. Nevertheless, I was (and am) grateful to the creators,writers, directors, actors and all those who participated in this piece of theater, and those romantic beings who were and are its fans.
The Karate Kid (2010)
Powerful, beautiful. Helpful display of some training techniques
First, I'm a martial arts fan -- mainly of the "antique" type rooted in ancient China and tails of tai chi/kung fu mysteries of mind over body.
This modern retelling of "Karate Kid" takes the storyline of "student finds a teacher" and infuses it with magical qualities that can be sensed underneath the flying fists/feet. A profound hint of powerful forces that can work through us, when "we empty our minds" -- have a passionate teacher (are dedicated, naturally skilled and have a strong focus). Other qualities I appreciated: Heart, strength, the value of courage and compassion, were shown and illuminated -- not to mention some pretty fancy moves! Added to the beauty of China, this version is truly special.
Jackie Chan proves very emotive, sensitive and caring about the youngster he trains from the inside out -- and young Jaden Smith is a compelling exponent of this art form.
Supporting cast, very nice indeed. The "bad guys" are also powerfully drawn, with the sifu of the "Fighting Dragons" subtle but menacing. Highly recommended.