western movies

HOLLYWOOD FANTASIES, GARRY ARMSTRONG

I love movies. Old movies  Movies from the 30’s, 40’s and 50’s. I grew up watching these films. They were movies from Hollywood’s golden age when fantasy really trumped reality. These were films seen in theaters. First, second and the beloved third run or neighborhood movies houses.

old hollywood glamor shots

This was before television. The movie theater experience was as much fun as seeing the film. That’s where the fantasy began.

I saw my first movie in 1946. I was four years old. The movie was “The Best Years Of Our Lives”. My Mom and Dad took me to see the film in a big glittery theater in Manhattan. New York. The city that never sleeps. My Dad, in his Army dress uniform with ribbons and medals, had just returned from Europe. World War Two had ended less than a year earlier. I vaguely remembered the headlines. My Dad seemed ten feet tall in his uniform. My Mom was more beautiful than I could ever recall. She looked like a movie actress in one of those popular magazines of the day. I felt as if we were in a movie that evening. It was magical!

I remember some of the scenes from the movie. The returning GIs, looking down on their hometown from the air. The family reunions. The men looked like my father and yet they didn’t. I was bothered, but didn’t understand. I dreamed about the movie that night. My Dad was the star. My Mom was Myrna Loy. I was the son receiving souvenirs from my Dad. I could see myself in the movie.

astair and rogers

That fantasy would replay itself many times over ensuing decades. It grew with the films of my youth. The westerns, especially. I adored westerns. I liked seeing the good guys always beat the bad guys. I liked the way the good guys dressed and the horses they rode. Curiously, none of the guys — good or bad — looked like anyone in my family but that didn’t matter to me. Didn’t think much about it. I was  all of those good guys! Most of all, I was John Wayne. Later, I was so much John Wayne I enlisted in the Marine Corps right out of high school. Another story.

As my fantasy grew, I also discovered I was a romantic. This is a guy secret. I liked romantic movies with happy endings. I was Joseph Cotten pursuing Jennifer Jones in “Love Letters” and “Portrait of Jennie”. I was Spencer Tracy, the underdog to Clark Gable, vying for the affections of Myrna Loy and Claudette Colbert.

Somewhere, stashed away, I have an old notebook. One of those notebooks with lined pages used for compositions in grade school. I used to write imaginary castings for movies with myself as the star opposite Hollywood legends. Actually, I added some reality. I worked my way up from “and introducing Garry Armstrong”, to co-star, and finally star. Fortunately, that notebook was never discovered in class.

Marilyn and I have been watching (again) a series, “MGM – WHEN THE LION ROARED”. It’s a fascinating look at the rise and fall of Hollywood’s most prestigious studio. As we look at the series, I fantasize again, now at age 72, about being there in Hollywood during its golden age.

MGM_backlot

Fantasy dissolved into a dream last night. I was in 1930’s Hollywood. I was at MGM. I saw the legends. Gable, Tracy, Garbo, Crawford and all the others. The dream unfolded rather skillfully. I was a freelance writer working under a pseudonym in separate quarters. This is how I, a man of color, could exist in that world. It was perfectly splendid. My work was excellent. Others took credit but all knew who I was, especially Louis B. Mayer. I never asked for a raise. My scripts all had the MGM touch.

In real life, I’ve had the chance to meet many of those legends who’ve been part of my dreams. As a TV news reporter, I’ve actually had the opportunity to socialize with some of them. You’ve read about some of them in other posts. It’s funny when reality meets your dreams and fantasies.

I’ve done some extra or background acting. It’s been interesting but the hours are too long, like those I logged for almost 40 years in television. I don’t like getting up early anymore. I haven’t quite closed the door, mind you. I hang onto the fantasy I’ll get “the call” for a lead role in a major movie.

And, the Oscar goes to …

MY HOLLYWOOD FANTASY – GARRY ARMSTRONG

I love movies. Old movies  Movies from the 30’s, 40’s and 50’s. I grew up watching these films. They were movies from Hollywood’s golden age when fantasy really trumped reality. These were films seen in theaters. First, second and the beloved third run or neighborhood movies houses.

This was before television. The movie theater experience was as much fun as seeing the film. That’s where the fantasy began.

HollywoodSign

I saw my first movie in 1946. I was four years old. The movie was “The Best Years Of Our Lives”. My Mom and Dad took me to see the film in a big glittery theater in Manhattan. New York. The city that never sleeps. My Dad, in his Army dress uniform with ribbons and medals, had just returned from Europe. World War Two had ended less than a year earlier. I vaguely remembered the headlines. My Dad seemed ten feet tall in his uniform. My Mom was more beautiful than I could ever recall. She looked like a movie actress in one of those popular magazines of the day. I felt as if we were in a movie that evening. It was magical!

The_Best_Years_of_Our_Lives_film_posterI don’t remember much about the movie. I remember some of the scenes. The returning GI’s looking down at their hometown from the air. The scenes of the town as the taxi took the men to their respective homes. The family reunions. The men looked like my father and yet they didn’t. I was vaguely disturbed but didn’t understand. I dreamed about the movie that night. My Dad was the star. My Mom was the lady played by Myrna Loy. I was the son receiving souvenirs from my Dad. Yes, I could see myself in the movie.

That fantasy would replay itself many times over ensuing decades. But it grew with the films of my youth. The westerns, especially. I adored westerns. I liked seeing the good guys always beat the bad guys. I liked the way the good guys dressed and the horses they rode. Curiously, none of the guys — good or bad — looked like anyone in my family but that didn’t matter to me. Didn’t think much about it. I was  all of those good guys! Most of all, I was John Wayne. Later, I was so much John Wayne I enlisted in the Marine Corps right out of high school. Another story.

As my fantasy grew, I also discovered I was a romantic. This is a guy secret. I liked romantic movies with happy endings. I was Joseph Cotten pursuing Jennifer Jones in “Love Letters” and “Portrait of Jennie”. I was Spencer Tracy, the underdog to Clark Gable, vying for the affections of Myrna Loy and Claudette Colbert.

Somewhere, stashed away, I have an old notebook. One of those notebooks with lined pages used for compositions in grade school. I used to write imaginary castings for movies with myself as the star opposite Hollywood legends. Actually, I added some reality. I worked my way up from “and introducing Garry Armstrong”, to co-star and finally star. Fortunately, that notebook was never discovered in class.

Duke and Lone

Marilyn and I have been watching (again) a series, “MGM – WHEN THE LION ROARED”. It’s a fascinating look at the rise and fall of Hollywood’s most prestigious studio. As we look at the series, I fantasize again, now at age 72, about being there in Hollywood during its golden age.

Fantasy dissolved into a dream last night. I was in 1930’s Hollywood. I was at MGM. I saw the legends. Gable, Tracy, Garbo, Crawford and all the others. The dream unfolded rather skillfully. I was a freelance writer working under a pseudonym in separate quarters. This is how I, a man of color, could exist in that world. It was perfectly splendid. My work was excellent. Others took credit but all knew who I was, especially Louis B. Mayer. I never asked for a raise. My scripts all had the MGM touch.

In real life, I’ve had the chance to meet many of those legends who’ve been part of my dreams. As a TV news reporter, I’ve actually had the opportunity to socialize with some of the legends. You’ve read about some of them in other blogs. It’s funny when reality meets your dreams and fantasies.

I’ve done some extra or background acting. It’s been interesting but the hours are too long, like those I logged for almost 40 years in television. I don’t like getting up early anymore. I haven’t quite closed the door, mind you. I hang onto the fantasy I’ll get “the call” for a lead role in a major movie.

And, the Oscar goes to …

LOVING THE WESTERNS

Western movies. You love them or hate them. Hardly anyone is neutral. I’ve always loved them, since I was a little girl, pretending to be a cross between The Lone Ranger and Jesse James. But why? What is it about westerns that makes them so appealing to those of us that love them? Let’s work […]

True Grit (2010)

True_Grit_PosterHaving just watched the 1969 version of the film starring John Wayne, I thought it was time to see the remake. I usually avoid remakes of favorite movies, and the original True Grit is a favorite. I have always thought it was the Duke’s best performance, portraying a character full of life and humor.

I made an exception for this particular remake. I figured if anyone could do a credible Rooster Cogburn, Jeff Bridges was the guy to do it. So the day after watching the original, we fired up the Roku, popped over to Netflix and selected True Grit.

Ahead of shooting, Ethan Coen said that the film would be a more faithful adaptation of the novel than the 1969 version. It’s partly a matter of the perspective from which we see the story unfold. The book is written from the point of view of a 14-year-old girl. Thus, it has a certain feel to it, very different from th first movie which was clearly skewed to a John Wayne sensibility.

The book is known for being funnier than the original movie … but the remake is not lighter or more humorous than the original movie. It may be more faithful to the book in some ways, but honestly, I didn’t see a huge difference in attitude, perspective or even the story from the first movie. In fact, the two movies are different … but not hugely different. Different scripts, actors and so on with the differences that inevitably arise from these changes, but in fact, the remake is darker and more violent than the 1969 movie. It is not only darker in feeling, it’s visually darker and a great deal of the action takes place at night.

A Grievance – Slight Digression

This makes It hard on the eyes when viewed on television and I really wish the people who press the DVDs would take into consideration that watching on the big screen and watching at home are two very different visual experiences. Lighten it up when you put it on DVD please. And rebalance the audio so the sound effects and music do not completely overwhelm the voices … requiring closed captions to have any idea what anyone is saying. This is especially annoying, especially when I’ve just paid a premium for Blu-ray.

Television does not render darkness as well as big screens do. But movies these days don’t spend much time in theatres. They have them out on DVD faster than a speeding bullet, often before they’ve finished their first theatrical run. Considering that the majority of a movie’s life will be on DVD, shown at home on smaller screens, directors might take that into consideration and brighten these movies up a bit. I don’t want to put a damper on anyone’s art, but shouldn’t the actual viewing conditions under which most people will see the picture carry some weight? I’m just saying.

And now, back to our main feature, already in progress

ht_jeff_bridges_true_grit_101229_mn

Much of the original movie’s dialogue is identical in the 2010 version. The best and most important scenes in both versions are word for word the same. Between those signature scenes, the dialogue is different. The character of Cogburn is very similar in some way, but very different in others. Wayne’s taciturn old marshal contrasts sharply with Jeff Bridges’ loquacious  version whose Rooster Cogburn talks a blue streak.

Hailee Steinfield’s Mattie Ross is more like her original character than Bridges’ Cogburn is like Wayne’s.

None of this is real criticism. This is a good movie on its own merits. It stands on its own legs. Obviously the two movies derive from the same source, but despite large amounts of identical dialogue, the two movies feel very different. If you had never seen the original and didn’t compare them, I would simply say the 2010 True Grit is a good western with fine performances.

But it’s a remake and there’s no avoiding comparisons. It may not be entirely fair, but it’s inevitable. Some of the scenes, when the dialogue is the same in both, are not only played the same way — Bridges even manages to do the “Duke’s walk” — they are shot the same way. Several key scenes are pretty much identical, frame by frame. Then, the movies diverge only to come together again a bit further down the  cinematic path. The convergence-divergence pattern can be disconcerting.

Regardless, you could never mistake this for an old-fashioned western.Its gritty, dark texture is typical of modern westerns. It isn’t necessarily an improvement, but it’s a constant visible reminder that this is a recent film, not an older one.

Characters are less heroic and more ambivalent. True Grit makes a moderately successful attempt to integrate both old and new, moving back and forth, mixing John Ford with Clint Eastwood. Sometimes it feel a bit disconnected and jumpy, leaping from familiar dialogue common to both movies, to completely different dialogue and mood … with no bridge. Whoa, I cry … where are we now? The sudden shifts might actually be a continuity and/or editing issue, but as a member of the audience, I can’t tell the why of it, only discuss the result.

TRUE GRIT

There’s no cheery ending for the new True Grit. It’s not sad, but it’s not happy either.

If I had to choose, I prefer the original, but the remake is a good movie too. Jeff Bridges is a great actor. The entire cast is excellent. Perhaps the comparison is unfair and it’s better to take each movie on its own merits. That being said, I am not likely to watch the 2010 True Grit a second time. Too grim for my taste, though I appreciated the art that went into its making.

How you feel about each movie is of course subjective. Two good films, genetically related. Take your pick. You won’t go far wrong either way.

Garry Armstrong: The Movie Maven’s Take

Reading Marilyn’s review of the True Grit remake, the obvious occurred to me. I am a child of the old school of movies. My heroes and heroines are the stars from the 30’s, 40’s, 50’s and 60’s. My film morality sensibilities have been shaped and nurtured by movies from Hollywood’s “golden era” through the 60’s. Not surprisingly, John Wayne is probably my favorite movie star. “Star” not actor. I thoroughly enjoyed Wayne’s “True Grit”.

His “Rooster Cogburn” was a sum of all the heroes Wayne had played for 40 years. Older, fatter and more prone to corn liquor, Rooster’s sense of morality was still pretty simple. There was good and bad and few in-betweens. Wayne nailed all that with a self-deprecating sense of humor. Wayne was Rooster and Rooster was Wayne. The original’s end with Rooster frozen in frame and time as he and his horse leap a fence is “print the legend” stuff.  Veteran director Henry Hathaway (“The Sons of Katie Elder”, etc), is in familiar territory and gives the original “Grit” lots of traditional, old school western flavor.

All that said, Jeff Bridges’ Rooster Cogburn in the “True Grit” remake is also memorable and can stand alone. Jeff Bridges as an actor can stand alone. He invests his own irascible charm into “Rooster” while paying homage to the Duke. Matt Damon’s “LaBeouf” is much better and more complex than Glenn Campbell’s Texas Ranger in the original. Josh Brolin gives Tom Chaney much more depth and compassion than acting school guru Jeff Corey gave the original villain. I still prefer Robert Duvall’s “Lucky Ned Pepper” but Barry (“61″) Pepper is also pretty good in the remake.

The remake gives us an extended look at Mattie with an ending closer to the book than the original film. Hailee Steinfeld is her own Mattie — equal to Kim Darby’s offering in the original. So, while I can enjoy the “True Grit” remake, I am still very partial to the Duke’s original film. Arguments?? That’ll be the day!!

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Listeria – Western Actors Edition

Marilyn Armstrong:

Great choices!

Originally posted on Surrounded By Imbeciles:

I know that this edition of Listeria is coming along soon after the last edition of Listeria, but I went overboard on my last trip to the magazine stand. Besides, this one covers one of my favorite subjects – Western movies. I grew up watching them with my dad, and that experience played a role in my interest in the history of the West.

American Cowboy published a special issue called “Legends of Western Cinema” and listed the 20 greatest Western actors. However, there is one problem that needs to be addressed before I begin. When people think about Westerns, or the history of the West, they think about cowboys first. Some of the greatest Westerns don’t involve cowboys at all. They involve mountain men, Native Americans, cavalry and all sorts of characters. In the real West, not everyone were cowboys. A good way to see this? If there are…

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The Last Stand (2013) The Western Revisited

Marilyn Armstrong:

Overall, I’ve been seeing mostly good reviews on this one. Here’s another.

Originally posted on MikesFilmTalk:

The Last Stand Movie Poster

Despite the poor reviews that this film has garnered, I could not wait to see it. I wanted to see it in the cinema, but due to low viewing figures, by the time I could see it, it’s run in the theatres had finished.

This film felt like a reworking of two “classic” westerns. High Noon and Rio Bravo. Borrowing from the High Noon script of the bad guys (or guy) who  are coming in on the train (or via the road in a super duper corvette) and I/we need to stop him works well for the continuation of the story. Then it borrows from the Rio Bravo bit of the sheriff trying to get himself sorted out to defeat the baddies and having the help of his deputies, new and old and a bit of help from at least three citizens from the town.

But maybe I am…

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How Come They Don’t Simply Open the Windows? A Film Maven’s Dialogue

Earlier today, my husband the movie maven wrote me and a few of his old TV pals. He had a question, perhaps one that has long needed answering. Given the cost and scarcity of panes of glass in Ye Olde West, how come instead of breaking all the glass before shooting, why didn’t they open the windows? Following is the actual dialogue of leading movie experts.

Here’s the dialogue:

Garry (Chief Movie Maven and Former TV Journalist): Surprise!! I’m watching an old “High Chaparral” episode: ( A) Why do they always break the windows before the shootouts? Couldn’t they open the window first? Glass was expensive! ( B) How come the guys stationed on rooftops always get shot first in those shoot outs? – Big John Cannon

Marilyn (Blogger Supreme and Former Writer of Books Nobody Ever Read): I never thought about the windows. Not only are they expensive, but they’d be pretty hard to get. I mean, did they make that stuff on the ranch? Or did they have to haul it from back east?

Texas Tom

Texas Tom (Retired Famous TV Anchor): This reporter is nowhere near the movie expert that you are. However, my sense is they always break the windows for (first of all) the visceral sound effect of the breaking and shattering glass, which  also is a much stronger macho gesture than simply opening a window. Besides, opening the  window just might require one or two more seconds than smashing the glass, which can be interpreted as an act of absolute crazed panic and desperation, and also shows the blood curdling anger and hostility of the glass breaker’s killer instinct. As for always shooting the guys on the roof first, my sense again runs to the most bang for the moment answer. Having a stunt man tumble a story or two from a roof, balcony, overhang or whatever has a much more visceral (there’s that word again) impact on the  viewer’s brain and gut than simply shooting a guy standing  in front of you, or  on the same level with you.  It’s a much more dramatic way of saying “this is the real deal here”.  – T. Texas Tom: Champion Cap Gun Fighter of the Entire West

Garry: Damn, you are so much more cerebral than me. You sound more like a Pilgrim than a Texican. Mebbe it’s because we’re on a fixed income that I wince when they just break the windows rather than opening them to spray lead. That’s another thing. You would think they would be more economical with their bullets. Let the bad guys use up their ammo and shoot when you have a clear target. I guess the Duke would be pissed if he heard this austerity rant.

Jordan (Well-Known Radio Talk-Show Host): Do you think they only manufactured breakaway glass and furniture back in the old west?  Thought stuff back then was made to last?

Marilyn: You’d think the chairs would collapse if you sat in them. Balsa must be sturdier than I thought.

Garry: Yeah, I used to laugh my ass off at the six shooters that never ran out of bullets. Also, Roy, Gene and our other heroes being chased by hordes of bad guys could shoot over their shoulder with precision and nail three bad guys with one bullet.

Texas Tom: Remember (of course you do) in the old Westerns with Hoot, Gene and Roy and Tex and those old guys would chase the bad guys and shoot for a whole reel without ever reloading?   We used to laugh about that never-ending stream of bullets … they never ever fired their last one.

Marilyn: No one ever went into town to buy bullets, either. They must have had an armoury somewhere. Even the Lone Ranger never told Tonto to go into town and buy some ammo. They only ran out of bullets if the script writer decided it was the time to heighten the tension.

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