Favourite movies: True Grit (1969)

I have lost track of how many times I have seen True Grit. It is one of those films that is committed to memory. Marguerite Roberts' screenplay is filled with some of moviedom's most delicious dialogue as she drew heavily on Charles Portis' remarkably fine novel. The tone is one of dramatic authenticity with a dark sense of absurdity at situation and character, particularly Mattie's intractable worldview. It is the adventure of a lifetime.

John Wayne as Rooster Cogburn and Kim Darby as Mattie Ross

Rooster Cogburn: Why, by God, girl, that's a Colt's Dragoon! You're no bigger than a corn nubbin, what're you doing with all this pistol?
Mattie Ross: It belonged to my father, he carried it bravely in the war, and I intend to kill Tom Chaney with it if the law fails to do so.
Rooster Cogburn: Well, this'll sure get the job done if you can find a fence post to rest it on while you take aim.

I was 12 years old when I saw True Grit for the first time in 1969. A 12-year-old who had grown up in an era of television westerns and Audie Murphy features at our local theatre. I loved the drama, the action and the morality, sometimes ambiguous, in those stories. True Grit was the same, yet it was different. Western fans play the game of "measuring up". We would stand up to the rancher Ryker. We would not refuse Will Kane's request for help. We would know a skunk when we saw one.

In True Grit, it wasn't the tall man in the hat to whom I had to measure myself, it was a girl. It was 14 years old Mattie Ross seeking justice, seeking vengeance for the killing of her father. It was Mattie Ross standing up to a world of adults who wanted to brush her aside. It was Mattie dealing with her sorrow and pain, yet determined to have her voice heard. It was the world around her that would have to measure up to Mattie.

John Wayne, Kim Darby, Glen Campbell (La Boeuf)

The viewers go on a journey with the spunky girl as she deals with the frustrations of bureaucracy and the societal expectations of children. Mattie knows she is capable and she knows what she must do. Her journey leads her to Rooster Cogburn, a marshal of skill and dubious reputation. A Texas Ranger played by Glen Campbell becomes part of the team which is an uneasy alliance. Musician Campbell does well enough considering it is a tyro acting effort, but how I wish an experienced actor had been cast in the role. I always pictured Doug McClure.

True Grit is filled with interesting characters and interesting character actors which gives the film its depth. Jeff Corey (Little Big Man) is the murderer Tom Chaney. Hank Worden (The Searchers) is a sympathetic undertaker. Edith Atwater (The Body Snatcher) is a pretentious boarding house landlady. Alfred Ryder (T-Men) a bombastic defense attorney. Donald Woods (A Tale of Two Cities) is cast as the district attorney, but sadly only has one line in the film, and doesn't appear on screen.

Strother Martin, Kim Darby

Strother Martin (Cool Hand Luke) is Colonel Stonehill, a horse trader whose scenes with Kim Darby are one of the highlights of the movie.

Mattie Ross: Do you know a Marshal Rooster Cogburn?
Col. G. Stonehill: Most people around here have heard of Rooster Cogburn and some people live to regret it. I would not be surprised to learn that he's a relative of yours.

Jeremy Slate (The Sons of Katie Elder) and Dennis Hopper (Hoosiers) are two unfortunate criminals who cross paths with Rooster. Robert Duvall (The Godfather) is 'Lucky' Ned Pepper, as determined an outlaw as Rooster is a lawman. 

John Wayne, John Fiedler, H.W. Gim

John Fiedler (The Odd Couple) is Mattie's lawyer, J. Nobel Daggett.

Mattie Ross: They're in this story together. Now, I've got business across the river and if you interfere with me you may land up in court which you don't want to be. I've got a good lawyer in J. Noble Daggett.
Rooster Cogburn: [to LaBoeuf] Lawyer Daggett again.
LaBoeuf: She draws him like a gun.

John Doucette as the Sheriff

Mattie Ross: Who's the best marshal they have?
Sheriff: Bill Waters is the best tracker. The meanest one is Rooster Cogburn, a pitiless man, double tough, fear don't enter into his thinking. I'd have to say L.T. Quinn is the straightest, he brings his prisoners in alive.
Mattie Ross: Where would I find this Rooster?

Kim Darby as Mattie Ross

Rooster Cogburn is who Mattie feels will get the job done for her, but is she ready for the realities in store? How will the violence and hardships to come shape her character? Is it Mattie's determination and her vulnerabilities that will shape her destiny and her relationships? The novel presents the events as a memory, the story of an adventure. The movie's viewpoint is from the young girl that is Mattie Ross. We are swept up in her journey of discovery and her adventure with the force of nature that is Rooster Cogburn.

John Wayne as Rooster Cogburn

Rooster Cogburn: Baby sister, I was born game and I intend to go out that way.

John Wayne won an Oscar for True Grit. He had been nominated once before for Sands of Iwo Jima. Personally, if I were the Academy I would have given Duke nods for She Wore a Yellow Ribbon, The Searchers, and Island in the Sky, but I'm not the Academy.

It is impossible to say how many John Wayne movies I had seen to that point in my life. He was, to me, a true movie star and he epitomized the West, with a capital W, as it had grown in my imagination. Since that time, my main movie cowboys have become Randolph Scott and Glenn Ford, and John Wayne has become more and more, an actor who gives me great joy.

John Wayne carried a legacy of classic western portrayals of close to 40 years when he played the character of Rooster. The marshal was a man who hadn't just seen much, he had done much. However, his world was turning fast. His previous autonomous ways were becoming accountable to courts and now to a youngster, and not just any youngster, a young lady. A young lady with as keen a sense of self as his own. Their clash of wills would lead to understanding, respect, and affection that neither would experience again.

Henry Hathaway directed True Grit on location in Colorado instead of the novel's actual setting of Arkansas. Although that decision may annoy purists, it mattered little to a Nova Scotian girl who marveled only at the vast and magnificent scenery against which the tale was told. Award-winning cinematographer Lucien Ballard breathtakingly captured the magnificent scenery, making it another character in the story. Elmer Bernstein's score is one of his "rousing" variety and pushes all the right buttons.

When I think of great female performances of the 1960s it is not the Academy Award winners or the glamour queens of the era that come to mind. It is Kim Darby's valiant, heartbreaking and inspiring Mattie Ross.

Introducing June and Art

Hello, friends. I want to direct your attention to a new blog on my "following" list. A special project from an IMDb Classic Film Board friend, lee-109 and sister, "The Story of June and Art" is a loving tribute to their parents and a time and place in their lives.

Enjoy!

As the World Turns, 1956 - 2010

1956 to 2010. That's quite an astonishing run for a television program. It is a feat to be applauded. It is an entertainment legacy to celebrate. However, as with last year's cancellation of (The) Guiding Light, the ending of the program leaves a bitter taste for fans.

Also created by Irna Phillips, As the World Turns was, along with The Edge of Night, the first of the soaps to be broadcast in 30 minute episodes. The Hughes, the Stewarts, the Lowells captured hearts and imaginations, and dedicated viewers for generations.

Kathryn Hayes (Kim), Don Hastings (Bob), Greg Marx (Tom), Hillary Bailey Smith (Margo)
Don McLaughlin (Chris), Helen Wagner (Nancy)
Julianne Moore (Franny) and Scott DeFreitas (Andy)

Soap fans appreciate a strong cast. By necessity, personalities drive many of the stories. Even the best of writers are going to dry up when trying to provide episodes for an hour (the show went to an hour in 1975), 5 days a week. A solid mix of experienced performers and youngsters who can take the opportunity and run with it make for exciting - almost theatrical television.

Note the Christmas tree in this cast photo. The weddings, the births, the funerals and the holidays made the characters and their travails important moments in the days of viewers.

Isn't this a fabulous photo? Who else remembers Lisa's Mom and Susan's Mom? Our "Aunt" Charlotte used to say "Oh, that John Dixon is a devil!" We all agreed and we all loved Larry Bryggman.

It's a rare thing to see a "soap" get a TV Guide cover. Apparently, the time of day in which a program aired was important in the hierarchy of entertainment. That would change with the advent of VCRs when people could choose their own timing.

However, that change in viewer's habits frightened television and program executives. They ran scared and in an effort to gain a new viewership, ignored the old. Ratings slipped and viewers were blamed for deserting the show. A look at any internet message board would have told them that the fans were still there, but the fans had had enough. Fans practically begged for stories where history of plot and consistency of character were honoured. Fans practically begged for a glimpse of cherished, veteran performers.

What we got were recasts in name only ("we're going in a different direction with the character), promises of storylines for veterans (Bob gets sick on Tuesday and forgotten about by Thursday). Gimmicky summer mysteries (a slasher on the loose at a camp for teens!) and SORAS'ed (soap opera rapid aging syndrome) teenagers making out at the Snyder pond.

I believe it is the lack of listening to the fans, and the proliferation of SPOILERS that have brought about the decline in viewership. There is still a place for the continuing story arc in entertainment. Most of the popular primetime series of today emulate that model.

Eventually the bitterness will fade and fans will check out clips on YouTube to relive favourite stories and moments that are as real to us as anything we've experienced. However, right now, during the last week of As the World Turns we hang on every last moment and curse the people who took a cherished storytelling legacy and let it die.

Farewell Lisa, Bob, Kim, Susan, James, Barbara, Lucinda, John, Tom & Margo, Lily & Holden. Good-bye to the all the stories told and all the stories untold.

Monday's Child is Fair of Face

Born to Tracey Nolan and Jim Clayton of Toronto, a daughter on August 16, 2010, Eileen Agnes Clayton. It looks like the happy couple will get along with their new boss.

Eileen Agnes Clayton

Babies born under the sign of Leo are the happiest children of the Zodiac. They respond positively to love and tenderness. They are blessed with the qualities of nobility, generosity, self-reliance, leadership and magnanimity. They possess an understanding beyond their age, love adventure and are naturally idealistic.

"Lenny"

The Leo child acts from motives of the heart, not the brain and are quickly moved by an emotional appeal. They are better leaders than followers. They are imaginative and quick-tempered, vital and fun to be around.

"Lenny" too

The lucky little girl has been given the middle names of her doting grandmothers. Government forms and teachers may refer to this child as "Eileen", but her parents affectionately call her "Lenny".

Eileen from the Greek means "light". Agnes from the Greek means "pure". Lenny is a form of Leo from the Latin for "brave", also from contemporary television for incessant wisecracker.

Welcome to the world, little one. Your family knows one truism in raising children - there is no such thing as too much love.

The poet Burns, Ben Franklin and Gandalf

O would some power the giftie gie us to see ourselves as others see us.

Robert Burns

Apparently the healthiest thing about me are my eyes, and even they need help. It is said that Benjamin Franklin invented that rite of passage for the middle-aged, the bifocal, because of his own advancing years. I think that, like me, old Ben was a secret chorister who couldn't juggle looking at both the music and the conductor. It is time.

I was drawn by two pair of frames in the shop. One was bold and black. The other was pretty with crystals or something on the arms. I needed to put on my reading glasses to check it out properly.

First I tried on the bold and the black frames.

"Cool!" I remarked.
The saleslady tilted her head and said "H'mm. Those are very popular now with the..."
"The younger type?" I offered.
"H'mm. The arty type."
"Perfect! I'm the arty type."
The saleslady tiled her head the other way and said "H'mm".
Well, I am, I thought. Anyway, I'm the only one at the laundromat who's working on a novel.

My mind wandered back a few years, to 1984. I had taken my youngest sister Tracey to the Royal Alexandra Theatre to see Ian MacKellan in his show Acting Shakespeare. During intermission we observed the milling throng in the lobby. The well-heeled in pearls and suits sipping their wine. The comfortably dressed yet intense individuals also sipping their wine. I nodded toward the fashion-forward crowd and said "You can certainly pick out the actors in the crowd." My ten year old sister commented, "If you have to dress like one, you probably aren't."

I chose the pretty glasses with the crystals or something on the arms. I don't have to dress like I'm arty, I am arty. Just ask the folks at the laundromat.

Favourite Guest Star: Morgan Woodward

Tall, rugged Texan with a booming voice, all Morgan Woodward has to do is show up, but he's also a fine actor.

Born September 16, 1925 in Arlington, this veteran of the Korean War, musically inclined former law student entered show business in the 1950s and television fans are the better for that decision.

In the era of episodic television it was possible to see a favourite actor stretch those muscles with varied and interesting portrayals. With more of today's programs are going for the "soap opera" or continuing story arch such feats are less noticeable. For instance, Woodward scored high with his appearances as Johnny Renko on Hill Street Blues (And, by the way, where's his Emmy nomination?), the identification with a core character meant we were denied having him come back as a hard-line police captain or a crime kingpin.

When a season of programming meant 30 plus episodes a year you could count on seeing that familiar face in an unfamiliar situation. Gunsmoke (see my post of April 25, 2008) was a quality series for 20 seasons and used a roster of fine actors to great effect, Mr. Woodward more than most, but it was a happy time if Denver Pyle, Victor French, Royal Dano, Shug Fisher, Jacqueline Scott, Jeanette Nolan, Louise Latham and Nora Marlowe were listed in the TV Guide.

Watching a good actor do their thing is like watching a ballplayer accomplish something amazing. So today, let's look at some of the great catches, amazing slides and inside-the-parkers Morgan Woodard pulled off on Gunsmoke.

Vengeance (1967)
A two-part dramatic episode written by Calvin Clements Sr. and directed by Richard Sarafian. It will leave you depressed for days. As Zack Johnson, Woodward dies slowly and movingly after being shot by town boss Parker leaving his son, James Stacey, hurting for vengeance.

Death Train (1967)
In this episode written by Ken Trevey and directed by Gunnar Hellstrom, Woodward is a millionaire whose private railway car harbours a plague. His money and power are helpless when confronting a germ.

Lyle's Kid (1968)
Woodward is a bitter, crippled gunman who uses his son, Sam Melville as an instrument of revenge in this episode written by Calvin Clements Sr. and directed by Bernard McEveety.

Lobo (1968)
Another one of those compelling downers written by Jim Byrnes and directed by Bernard McEveety. As Luke Brazo, loner and mountain man teams up with Matt to track down a wolf that has become a hazard to cattle. Two of a kind- Brazo and the wolf. Brazo rampages against the town when the wolf's carcass is not afforded dignity, placing Matt in an untenable position.

Stryker (1969)
This episode written by Herman Groves and directed by Robert Totten features Woodward as Josh Stryker, the former marshal of Dodge City. Released from jail he's looking for Matt to pay.

Hackett (1970)
Woodward plays Quentin Sargent, a farmer whose former criminal associate, Earl Holliman, is a little bit on the psycho side in this story by William Kelley directed by Jack Miller. Woodward is quite convincing as a frightened coward.

Luke (1970)
Woodward is dying again. An old-time outlaw seeks to makes amends with his saloon hostess daughter played by Katherine Justice. The episode was written by Jack Miller and directed by Bernard McEveety.

A Game of Death...An Act of Love (1973)
Written by Paul F. Edwards and directed by Gunnar Helstrom this two-parter is one of the long-running series best. Woodward is Bear Sanderson whose wife was murdered, but was it by the Indians now held in the Dodge jail. Matt is not so certain as the townsfolk and convinces a part-Indian lawyer played by Paul Stevens to champion their cause. There is a lot of intense emotion in this episode.

Matt Dillon Must Die (1974)
Woodward is Adam Wakefield in a "Most Dangerous Game" scenario involving Matt.

A bonus for fans is the made-for-TV movie from 1992, Gunsmoke: To the Last Man featuring Pat Hingle as a cattle baron and Morgan Woodward as a sheriff.

Honoured with Lifetime Achievement Awards from the Texas Arts Council and the Wild West Film Festival, Morgan Woodward also has the admiration and affection of fans.

Pretty Pauline Moore

Pauline Moore
June 14, 1914 - December 7, 2001

Born in Harrisburg, Pa., Pauline Moore had a busy and vibrant career as an actress and model in the 1920s and 30s. That she never made the "big time" in Hollywood is one of the unfathomable mysteries of the era. Her attractiveness cannot be questioned. Her throaty, quirky voice was appealing and her talent evident.

In a 1990 interview, Pauline remarked "I was the girl who was always being discovered by the press. 'Watch this girl', a reviewer would say, and then forget to. The trouble was, if you were any good at all at doing B movies, then the more B movies you did." B movies, however, have a way of winning a place in fan's hearts that is unassailable.

Pauline's modeling career boasted of covers for Ladies Home Journal, Cosmopolitan, and McCalls. Her image graces one of the collectible Coca Cola trays from 1934. She is the "Hostess Girl".

Pauline earned her acting stripes with the Edna Preston Players touring in repertoire throughout the eastern seaboard. Her Broadway debut in 1921 was in a David Belasco revival of Eugene Walter's The Easiest Way. Many non-hits came her way as in Eugene O'Neill's The Fountain which ran for 28 performances in 1925 and the anarchist's delight Ernst Toller's Man and the Masses which had a 32-night run in 1924.

It must have been joyous to have a hit when Earl Carroll's Murder at the Vanities opened in 1933. The show ran for 207 performances and was filmed in 1934 by Mitchell Leisen. Her last play was 1934s Dance With Your Gods by Kenneth Perkins. Running for a scant 9 performances, it has the distinction of introducing a young Lena Horne.

Pauline's movie career began as one of Valerie Hobson's uncredited bridesmaids in 1931s Frankenstein. Better roles came Pauline's way later in the decade after signing with Fox although not in A level pictures with the deserved publicity build-up. 1938s Three Blind Mice is a comedy from the three girls on the hunt for rich husbands formula. Loretta Young's career did nothing but gain momentum and she would win an Oscar and television fame as well. Marjorie Weaver, like Pauline, would enliven B pictures such as Charlie Chan's Murder Cruise and Mike Shayne Private Detective.

Roy Rogers, Pauline Moore, Gabby Hayes
Young Buffalo Bill, 1940

Young western fans probably took no notice of the talent behind the stock characters setting up the longed-for action sequences, but this trio knew their business and always gave one hundred percent. Pauline could almost give Dale Evans a run for her money, appearing with Roy in 5 pictures between 1939 - 1941: Days of Jesse James, Young Buffalo Bill, The Carson City Kid, Colorado, and Arkansas Judge. Also unafraid to work with children, Pauline is featured with Jane Withers in Wild and Woolly and The Arizona Wildcat, and with the Dionne Quintuplets in Five of a Kind.

If you don't happen to be a fan of westerns or quintuplets you will find Pauline an incandescent Lady Constance in 1939s The Three Musketeers opposite Don Ameche and the Ritz Brothers. She's a sympathetic teacher in 1937s Heidi starring Shirley Temple, and the personification of a dream as Ann Rutledge in John Ford's Young Mr. Lincoln.

Keye Luke, Pauline Moore

Pauline's first appearance of three Charlie Chan features is Charlie Chan at the Olympics, 1937. It is a gold medal winner featuring archival footage of the Berlin games. Pauline is athlete Betty Adams, a teammate of Keye Luke's Lee Chan and the romantic interest for Alan "Rocky" Lane. She's a strong rooter of Jesse Owens and a great one for screaming for help when a kidnapping is in progress. Foreign spies will stop at nothing to get their hands on an aviation remote control device, but they have another thing coming when they decide to use a nice American girl as an unwitting smuggler!

The second Chan to star Sidney Toler, Charlie Chan in Reno, 1939 is great fun. What a grand double bill it would make with The Women for your next movie night. Pauline plays Mary Whitman who needs old friend Charlie's help when she's accused of murdering the woman who broke up her marriage. Catty gals, great fashions, and just the right amount - not too much - of laughs from Sen Yung and Slim Summerville give this picture major oomph.

As backstage murder mysteries go, Charlie Chan at Treasure Island, 1939 (what was in the water those Hollywood folks were drinking that year?!) is one of the best. Pauline is Eve Cairo, mind reader. Her boyfriend, a reporter played by Douglas Fowley and boss, a magician played by Caesar Romero are out to unmask a phony psychic and maybe find a murderer. Twists, turns and interesting character actors make it a must-see for newcomers to the series and an honoured favourite among fans.

Pauline's husband objected to her career and a move east during WW2 curtailed the actress's options. After raising her family and becoming involved in church work which including writing plays, the twice-widowed mother of three did a smattering of television and commercial work, including Death Valley Days, Studio 57, Medic, and The Littlest Hobo. Pauline lived her later years close to family in Sequim, Washington, and passed away from ALS in 2001.

Pauline Moore's enchanting presence in much-loved genre films keeps her alive for generations of classic movie fans.

You will enjoy this interview with Pauline from Mike Fitzgerald's Western Clippings.