THE STREETS OF SAN FRANCISCO (TV) (1972, USA) ***
Action, Crime, Drama, Mystery
dist. American Broadcasting Company (ABC); pr co. Quinn Martin Productions (QM) / Warner Bros. Television; d. Walter Grauman; w. Edward Hume (based on the novel “Poor, Poor Ophelia” by Carolyn Weston); exec pr. Quinn Martin; pr. Arthur Fellows, Adrian Samish; ass pr. Howard P. Alston; ph. William W. Spencer (Colour. 35mm. Spherical. 1.33:1); m. Patrick Williams; m sup. John Elizalde; ed. Richard K. Brockway; ad. Richard Y. Haman; set d. Hoyle Barrett; cos. Edward McDermott, Paula Giokaris; m/up. Don Schoenfeld, Annabell Levy; sd. Ray Barons, Bill Phillips (Mono); rel. 16 September 1972 (USA), 19 November 1973 (UK); cert: PG; r/t. 98m.
cast: Karl Malden (Detective Lt. Mike Stone), Robert Wagner (David J. Farr), Michael Douglas (Inspector Steve Keller), Andrew Duggan (Capt. A.R. Malone), Tom Bosley (Saretti), John Rubinstein (Lindy), Carmen Mathews (Sally Caswell), Edward Andrews (Joe Caswell), Lawrence Dobkin (Gregory Praxas), Kim Darby (Holly Jean Berry), Brad David (Del Berry), Mako (Kenji), Naomi Stevens (Mrs. Saretti), Lou Frizzell (Lou), Bill Quinn (Medical Examiner), Richard Brian Harris (Auto Mechanic), William Swan (Larry Pyle), Victor Millan (Tony – Detective), June Vincent (Diana), Robert Mandan (Dockmaster).
SFPD Detective Lieutenant Michael Stone (Malden) is partnered with a young college-educated Inspector, Steven Keller (Douglas), as they investigate a girl found dead in the water with a lawyer (Wagner) she knew as the primary suspect. Introductory film for the TV series that ran for five seasons from 1972-7. The film benefits from extensive location work and the instant chemistry between leads Malden and Douglas. The mystery is adapted from a novel by Carolyn Weston, which featured different lead characters. Wagner is the chief suspect as the slimy lawyer who became involved with the dead girl (played in flashback by Darby). Dobkin also gives a notable performance as an eccentric former movie star. The material is handled a little flatly by Graumann but is tightly edited and contains a memorable theme from composer Williams. Followed twenty years later by BACK TO THE STREETS OF SAN FRANCISCO (1992).
WESTBOUND (USA, 1959) ***
Distributor: Warner Bros.; Production Company: Warner Bros.; Release Date: 25 April 1959 (USA), May 1959 (UK); Filming Dates: 8 October 1957-early November 1957; Running Time: 72m; Colour: WarnerColor; Sound Mix: Mono (RCA Sound Recording); Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.85:1; BBFC Cert: U.
Director: Budd Boetticher; Writer: Berne Giler (based on a story by Berne Giler and Albert S. Le Vino); Executive Producer: ; Producer: Henry Blanke; Director of Photography: J. Peverell Marley; Music Composer: David Buttolph; Film Editor: Philip W. Anderson; Art Director: Robey Cooper (uncredited); Costumes: Marie Blanchard, Alexander Velcoff (both uncredited); Sound: Samuel F. Goode.
Cast: Randolph Scott (Capt. John Hayes), Virginia Mayo (Norma Putnam), Karen Steele (Jeanie Miller), Michael Dante (Rod Miller), Andrew Duggan (Clay Putnam), Michael Pate (Mace), Wally Brown (Stubby), John Daheim (Russ (as John Day)), Walter Barnes (Willis – Stage Depot Cook).
Synopsis: In 1864 a Union captain goes to Colorado to take over the stagecoach line and keep the flow of Western gold flowing and help the North win the Civil War.
Comment: This was the sixth collaboration between Scott and director Boetticher. However, this time writer Burt Kennedy is missing from the mix. The screenplay treatment here is by Giler and as such the story veers much more into the traditional B-movie territory. the story sees Union soldier Scott take over the Overland stage company to ensure gold gets from California to the Union coffers. Duggan and his confederate sympathising town are out to stop him. Duggan is aided by Pate’s gunslinger. Scott is commanding, as ever, and Steele and Duggan also turn in strong performances. Pate is a stock heavy and Dante lacks depth as the romantic hero returning from the war to his bride Steele with only one arm. Mayo is Scott’s ex-flame, now married to Duggan. The pot boils nicely toward its shootout finale before the whole thing is wrapped up a little too slickly. Perhaps the weakest of the Scott/Boetticher Westerns, but still an entertaining ride.
DECISION AT SUNDOWN (USA, 1957) ***½
Distributor: Columbia Pictures; Production Company: Columbia Pictures Corporation / Scott-Brown Productions; Release Date: 10 November 1957 (USA), January 1958 (UK); Filming Dates: 1 April 1957–24 April 1957; Running Time: 77m; Colour: Technicolor; Sound Mix: Mono (Westrex Recording System); Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.85:1; BBFC Cert: PG.
Director: Budd Boetticher; Writer: Charles Lang (based on a story by Vernon L. Fluharty); Producer: Harry Joe Brown; Associate Producer: Randolph Scott; Director of Photography: Burnett Guffey; Music Composer: Heinz Roemheld; Film Editor: Al Clark; Art Director: Robert Peterson; Set Decorator: Frank Tuttle; Costumes: Harvey Gerhard, Iva Walters (both uncredited); Make-up: Lee Greenway, Bob Mieding (both uncredited); Sound: John P. Livadary, Jean G. Valentino.
Cast: Randolph Scott (Bart Allison), John Carroll (Tate Kimbrough), Karen Steele (Lucy Summerton), Valerie French (Ruby James), Noah Beery Jr. (Sam (as Noah Beery)), John Archer (Dr. John Storrow), Andrew Duggan (Sheriff Swede Hansen), James Westerfield (Otis), John Litel (Charles Summerton), Ray Teal (Morley Chase), Vaughn Taylor (Mr. Baldwin), Richard Deacon (Reverend Zaron), H.M. Wynant (Spanish).
Synopsis: Scott and his sidekick arrive in the town of Sundown on the wedding day of the town boss, whom the Scott blames for his wife’s death years earlier.
Comment: Well-made Western where all the characters are shades of grey. Scott delivers one of his best performances as an angst-ridden ex-civil war vet out for revenge on Carroll, who he believes drove his wife to suicide. Duggan is the town Sheriff, who is in Carroll’s pocket and Steele is the girl Carroll is about to marry, much to the annoyance of mistress French. The story is initially conventional in its straight-forward revenge plot, but once the siege is underway, the plot navigates several unexpected twists and turns leading the characters to re-evaluate themselves. A bold and strong script, with occasional contrivances, challenges standard Western conventions. Third of seven superior Westerns Scott and Boetticher made together.