Paramount Ranch

Old wagon

My saloon-loving dog.

As many of you probably know, back in the classic Hollywood era, most films were filmed either on the studio lot or in the surrounding areas. Location shooting, which dominates today, was a lot more rare, although there are notable instances in during the 1930s and 40s (think John Ford and Monument Valley). The landscapes around Los Angeles became Western locales or other exotic locations when studios needed exterior locations. Many of the studios owned land specifically for this purpose, known as “movie ranches.” Although there are still remnants of these properties still in the Los Angeles area, many of them have been developed, or exist as private property that is closed off to visitors. One exception is Paramount Ranch in Agoura Hills.

A section of what used to be the Paramount Ranch land still exists as part of the Santa Monica Mountains National Recreation Area. According to the park website, 2,700 acres of land was purchased by the studio in 1927 for their use on films. Stars like Gary Cooper and Joel McCrea walked the grounds in many productions, most of them B-movies. The Ranch has titles like Wells Fargo and Sullivan’s Travels to its credits.

I had to leave my apartment for maintenance for a few hours the other day, and was trying to figure out what I could do for that time span with the dog in tow. I decided to head out to the Ranch and do a hike and check out the Western Town set that still stands on the property. The whole area is quite pretty, a welcome difference from the hustle and bustle of Los Angeles. It’s hilly terrain, but there are wide expanses of meadows and lots of large tree cover. It’s easy to see how the location could’ve been used for various landscapes.

The Western Town is not the original sets from the 1920s. When Paramount sold the Ranch in the early 1950s, dentist and Western fan William Hertz bought a section of the property. He and his son erected the town sets which exist today. The new structures brought in television crews for The Cisco Kid and Dick Powell’s Zane Grey Theater. From the late 1950s through the 1970s, the Ranch property passed through several hands before the National Park Service purchased a 750 acre section in 1980. The most popular recent production that used the sets was Dr. Quinn, Medicine Woman during the 1990s.

If you’re ever in the area, I would definitely recommend going. It’s a lot of fun to explore the town, and the surrounding area is really quiet and beautiful. The trail I hiked was relatively flat, so it was pretty accessible if you want to explore a little. Overall it was a great way to spend the afternoon!

On the Road with Crosby and Hope

When I met Carley from The Kitty Packard Pictorial at the Egyptian Theater last night for the Hope/Crosby “Road” film double-feature, she asked me if I had ever seen these films. I said no, to which she replied, “They’re ridiculous.”

I would totally agree. They’re ridiculous in the best way. Ridiculous in the sense that the experience of watching both of these films, Road to Morocco and Road to Utopia was one of over-the-top hilarity and craziness. Ridiculous because that’s probably the best way to describe a movie that I simultaneously enjoyed and wondered what the heck was going on during the entire length of the film. And ridiculous because these films included exotic (aka, soundstages with rear projection of mountains and desert) landscapes, animals that were made to talk by animation, and virtually the same plot starring the same love triangle twice. That being said, I can honestly say I loved every minute of it.

The double-feature began with a thirty minute talk by Maureen Solomon, who has worked in different capacities with the Hope and Crosby families. She gave some background history on both Crosby and Hope, their careers together and the Road film franchise. She alluded to the in-jokes inserted into the films about Hollywood and the franchise itself, references to other events or culture of the day and the frequent ad-libbing of both stars.

Road to Morocco was screened first followed by Road to Utopia. Both appeared to be film prints in really nice condition, so that was a treat. I won’t go through the plots of each because the a lot of the fun comes from just watching the movie and going along with whatever is onscreen. Basically, Bing and Bob find themselves in some remote area, run into Dorothy Lamour, and end up vying for her affections. There’s danger in the form of some sort of villain, the aforementioned animal encounters, and a lot of self-reflexivity.

I can’t really say which film I liked best. I thought I laughed more during Morocco, but in a lot of ways Utopia is more over the top. In the latter, Robert Benchley appears throughout the film to “explain” the plot or make little references. I felt the address to the audience, or “breaking the fourth wall” in Utopia was used to great comic effect as well.

Bing Croby, Dorothy Lamour and Bob Hope

Then there are the songs. Morocco features Bing singing my favorite song from both films, a laid-back swing tune called “Ain’t Got a Dime to My Name.” He also croons “Moonlight Becomes You,” which is definitely swoon inducing. Utopia also has the beautiful “Welcome to My Dream.” Dorothy Lamour has a gorgeous voice and has features on “Constantly” in Morocco, and “Personality” in Utopia. Perhaps the most fun song of both films was “(We’re Off on the) Road to Morocco,” sung by Crosby and Hope while riding a camel. The song references the basic repetitions in the plots of the Road films, as well as their contracts at Paramount.

Bing and Bob

Road to Morocco and Road to Utopia were the third and fourth films of the seven film franchise, with Morocco released in 1942 and Utopia coming in 1946. They spoofed the exotic adventure film genres of the time, and were highly successful for Paramount. Having seen these for the first time just last night, to me the are the perfect example of a well-put together comedy film. It’s a fun experience. The cast is great and both are well-crafted films with witty lines, jokes and good music. I thoroughly enjoyed the chance to be entertained by two of the greatest entertainers we’ll ever see.

Fabulous Films of the 1940s Blogathon: Key Largo (Huston, 1948)

This entry is part of The Classic Movie Blog Association’s Fabulous Films of the 1940s blogathon. 

The title of John Huston’s Key Largo perhaps suggests a rousing adventure on the southern island, yet in reality the film presents itself more as an intimate character study than anything else. In stars Humphrey Bogart, Edward G. Robinson and Lauren Bacall, Huston has strong faces that he uses to his full advantage. Adapted from a Broadway play of the same name, the action stays mostly limited to interiors, giving the film a very theatrical feel. Except for the references to the hurricane weather that traps the characters inside, it isn’t until the final gun battle out at sea that the film makes full use of its location. In some ways, this story could’ve taken place anywhere.

But the film does open in Key Largo, one of the islands off the southern coast of Florida. As a bus comes down the highway connecting the island to Miami, we meet Frank McCloud (Humphrey Bogart), a former Major in the Army. He heads to the Hotel Largo looking for the proprietor, James Temple (Lionel Barrymore). Upon his arrival, he’s greeted by a small group of shady characters, but otherwise the hotel seems empty. After meeting Temple and his daughter, Nora (Lauren Bacall), McCloud learns that hotel is closed for the season, but the group of guests offered a sum they couldn’t refuse in order to stay for their fishing trip. McCloud served with Temple’s son, George, in Italy, and is welcomed to stay by Temple and Nora, George’s widow. On the horizon, a major hurricane is brewing.

At the same time, two Seminole brothers, the Osceolas, escaped from jail and are being sought out by the local sheriff and his deputy, Sawyer. Temple is close to some of the local Seminoles, inviting them into the hotel during the hurricanes. The police know he is friendly with the Osceolas, and make a stop by the hotel to see if they’ve been there. Temple hasn’t seen them, but says if they do come by he will use his influence to convince the brothers to turn themselves in. Shortly after, the Seminole group rows into the docks at the hotel looking for shelter, and Temple and the Osceolas brothers decide that since they were in for minor crimes, it’s probably best to just turn themselves in after the storm.

Within the fishing vacation group are Curly (Thomas Gomez), Angel (Dan Seymour), Toots (Harry Lewis), Ralph (William Haade), and Gaye Dawn (Clare Trevor). It is apparent that Gaye has a drinking problem, and the rest seem tight-lipped about their stay in Key Largo. There is a sixth member of their group, but it is mentioned that he doesn’t leave his room.

As the storm rolls in, the men in the group pull guns on Temple, Nora and Frank. It’s revealed that their sixth man is gangster Johnny Rocco (Edward G. Robinson), who had been exiled from the US for eight years. Rocco had been living in Cuba, and is up in the Keys to make a deal with an American contact. Rocco is a bitter man, believing he will rise back to prominence. He also holds Gaye’s dependence on alcohol over her head.

Robinson, Bogart, Barrymore and Bacall. What a cast!

The gang reveals that they have the deputy, Sawyer, who was caught looking around the hotel trying to find the Osceola brothers. Frank is given the chance to shot Rocco in a gun duel but refuses. Sawyer takes the gun and tries to escape but the firearm is unloaded and Rocco kills him. The action shows Frank’s seeming cowardice to do the right thing in favor of non-violence and self-preservation.

As the storm reaches a head, the Seminoles who usually find shelter with Temple inside the hotel knock to get in, and are locked out by Rocco’s gang. Two members of the gang are sent out to sea to dump Sawyer’s body into the ocean. The whole time Rocco’s gang is holding the Temples and Frank hostage, Gaye is begging for a drink, which Rocco refuses her. He finally relents, saying that if she sings a song, he’ll allow her a drink. Clearly not wanting to, Gaye reminisces about the glamor of her career as a nightclub singer, which is in contrast to her sorry state now. She gives a raw performance of “Moanin’ Low,” and then is a refused the promised alcohol by Rocco. Frank can’t stand to see her treated this way, and grabs her the drink. Nora notices that he does have the capacity for heroism, something she suspected right after she met him.

After the storm passes, the sheriff comes by the hotel looking for Sawyer, having gotten a phone call from him earlier. Rocco meets him and tell him that Sawyer wasn’t there. As the sheriff pulls out of the driveway, he notices Sawyer’s body, which was washed back on shore during the storm. He then sees the group of Seminoles heading back to their boats, including the Osceola brothers. Believing that Sawyer knew the brothers were at the hotel and that he was murdered by them, the sheriff kills both men.

Rocco notices that his yacht captain pulled away during the storm even through he was warned not to, thus leaving the gang stranded. After completing the deal with his contact, Rocco enlists Frank to take him back to Cuba on the hotel’s small boat. Gaye manages to get Rocco’s gun off of him and gives it to Frank, telling him his best chance is to run under cover of darkness when they head out to the boat. To both the Temple’s and Gaye’s surprise, Frank gets on the boat with the gang and doesn’t try to run.

While out at sea, Frank cleverly plans and takes out Rocco’s crew one by one. He then sets back towards the hotel. Back at the hotel, the sheriff learns of the whole situation with Rocco and laments killing the Osceola brothers. The film ends with Nora’s joy at hearing that Frank is returning.

As mentioned at the beginning, Key Largo is an interesting movie because of its intimacy. Huston chooses to film his characters in close-ups, letting their faces tell the story. Many times there are shots where it’s just one group making eyes at the other, which helps to build the suspense. It’s a film that could’ve very well have been just a filmed stage performance because it doesn’t require the expansive environment of other stories, but Huston’s framing choices elevate it to a level that could only be achieved in film. Of course those faces are strong ones in their own right, and Bogie, Robinson and Bacall are all wonderful in their roles. I thought Robinson, older and bigger than in his younger days, really fit into this role. It was like he was the gangster of his younger days but now his stature on film and his physicality had elevated him to that larger-than-life gangster that I had always imagined. Claire Trevor actually won the Supporting Actress Academy Award for her portrayal of Gaye, and she stands out just as much as the heavyweights all around her.

This was Bogart and Bacall’s last film together, and while they don’t get to share in the same steamy romantic scenes as in previous films, they’re still so much fun to watch on screen together. It’s kind of cheesy, but even when he touches her hair or they share a look it’s magical. On another fun note, the boat that Frank takes the gang out on is named the Santana, just like Bogie’s real yacht.

Overall, I enjoyed this film. I really knew nothing about it, so I guess I was expecting a more action-packed noir, but I really liked the chance to just hang out with these characters. I do think the way this film is put together is really amazing as well, so it was a pleasure to watch.

Visiting The Autry

This gallery contains 16 photos.

I’ve been wanting to go to the Autry Museum for a while now, and finally made it up there today. As a bonus, when I got there, it turned out that admission is free on the second Tuesday of the … Continue reading →

2012 In Film

After seeing 152 movies last year, including re-watches, this year was a lot less prolific. The total came to 105 films watched this year. I was really bad at watching things over the summer, but things picked up again once I got back in school this fall and was watching things for class as well as seeking out as many classic film screenings as I could cram in.

I continued the Truffaut trend, finishing the Antoine Doinel series, which was so neat to follow one character through a significant chunk of his life. I also watched Truffaut’s The Last Metro and The Wild Child, both of which I enjoyed greatly. In my continuing attempt to love Godard, I saw his Week End on 35mm, which was a trip!

I had the honor of participating in some great contests and blogathons this year. Jill from Sittin’ on a Backyard Fence and Michael at ScribeHard on Film hosted the Summer Under the Stars blogathon, and I chose to write about 42nd Street, one of my favorite musicals. Jill and Michael, along with The Lady Eve hosted contests for TCM’s screening of Singin’ in the Rain, and I was lucky to be chosen to get tickets to see one of my all-time favorite films on the big screen. Jessica at Comet Over Hollywood hosted the Gone Too Soon blogathon, and I got to learn more about Alan Ladd. Page at My Love of Old Hollywood hosted her Horseathon, which was an event after my own heart. If there’s anything I love more than movies, it’s horses, and racehorses especially, so I decided to look at Frank Capra’s Broadway Bill. Last but not least, the CMBA celebrated Gene Kelly’s centennial with a blogathon focusing on his films. I revisited a movie from my childhood, Brigadoon.

Some of my highlights from this year were getting to see some classics on the big screen. I got to see My Fair Lady and West Side Story in 70mm, How the West Was Won in Cinerama, and some other great prints of silents like Hitchcock’s The Ring and Show People introduced by Kevin Brownlow. I got to see Kirk Douglas introduce his favorite film, Lonely Are the Brave, which I absolutely loved. I’ve slowly chipped away at some of the post-1960s films I haven’t seen that everyone else has, like The Graduate, All the President’s Men and The Shawshank Redemption.

Overall, it’s been a great year of movie watching. I’m excited to experience the TCM Classic Film Festival in April, which will be my first time attending. I want to wish everyone a wonderful and prosperous New Year and I look forward to joining with you all in more movie watching and writing this coming year!

Time to Begin Again…

Hi all,

Sorry for the lack of blogging around here lately. I kind of had to figure out what graduate school was going to be like and adjust to living in the big city. I can say that living in Hollywood is movie heaven, and I’m loving my graduate program so far. So with that said, I hope to get back in the saddle and start posting more. There are so many cool opportunities to see classic films in LA that I’m dying to share with you all.

Happy Holidays!

How the West Was Won (1962)

I’ve now been in Hollywood for about a month, and school finally began a week ago. It’s definitely been an adjustment coming from much calmer suburbia to the hustle and bustle of the city. Screenings, the thing I always imagined would be a perk of living here has turned out to be one of my favorite things so far, and I’m lucky to be within walking distance to a few of the major venues.

In celebration of Cinerama’s 60th anniversary, the Cinerama Dome in Hollywood screened a series of Cinerama films. Some were shown in digital or 70mm, but there were a few exhibited in their original 3-projector format. Being a big western fan, I decided to go to How the West Was Won last Thursday, and what a treat it was.

The Cinerama Dome opened in 1963 and remains one of the few places in the world that is set up for showing movies in their 3-projector format. It’s huge inside, with seating for over 800 people. The seats are assigned as well, so you have to choose where you want to sit when you buy a ticket. The theater has stadium seating but there is a bottom tier and a top tier, so I chose to sit just to the left of center in the bottom half of the theater.

The unique ceiling at the Cinerama Dome. Photo by me.

The movie started with the curtains left in front of the screen as the overture played. As the MGM lion came on, the curtains parted and the title credits rolled. The Cinerama screen is curved, which created some strange optical effects when I went to see The Master in 70mm a few weeks ago at the same theater, but the print of How the West Was Won fit it perfectly. It’s an amazing sight, as the image wraps all the way around to cover your peripheral vision.

The film follows the settlement of the West from the prospective of several generations of a pioneer family. As the opening credits note, the idea for the movie came from a Life magazine series. There are five segments with an intermission: 1. The Rivers, 2 . The Plains, 3. The Civil War, 4. The Railroad, and 5. The Outlaws. Veteran Western directors John Ford (The Civil War), Henry Hathaway (The Rivers, The Plains, The Outlaws) and George Marshall (The Railroad) helped bring the film to life. The cast is equally impressive, featuring Jimmy Stewart, John Wayne, Debbie Reynolds, Henry Fonda, Lee J. Cobb, Karl Malden and Gregory Peck to name a few.

I won’t go into the plot as the movie is epic at almost 3 hours in length. I will say that even though I’ve only been here a short time, this screening immediately went to the top of my list of all the things I’ve seen so far. Sequences like the Cheyenne attack, the buffalo stampede and the train robbery were breathtaking on the big screen. I will admit that the opening areal shots of the mountains got me kind of homesick as I do miss the open spaces of Colorado.

Another fun thing was seeing a familiar landscape that I recognized immediately. In the southwestern corner of Colorado, near Telluride, is the little town of Ridgway. Once a major railroad town, it sits right at the base of the San Juan mountain range. Ridgway is most famous for being a major shooting location for the John Wayne version of True Grit, but How the West Was Won filmed there as well. In the same meadow where Rooster Cogburn famously faces off with Ned Pepper and his gang, reins in mouth and guns in each hand, the wagon train that Debbie Reynolds is heading West with makes camp. You can tell by the wall of aspens, all golden in their fall glory, ringing the meadow, and the sight of Chimney Rock in the background.

Chimney Rock, Ridgway, Colo.

A friend said to me the next day that they hadn’t seen the movie before, but even if it wasn’t a “great” movie it was probably awesome in Cinerama. While I wouldn’t say How the West Was Won is the greatest Western ever, I don’t think it’s a bad or mediocre film at all. Sure, it’s a pretty one-sided version of history, but I think the scope of the production is quite something. Images of buffalo running through the camp, rafting down the river, you can’t recreate that with all the CGI in the world. I think in that way the film is effective at pulling you into the story and getting the audience to experience the perils that the characters are facing on screen. It was definitely memorable, and if the opportunity arises again, I wouldn’t hesitate to recommend it.