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Discussion in 'DVD' started by MisterLime, May 26, 2011.
Very cool movie. There's a scene where the action just stops so Keenan Wynn and Lee Marvin can compare muscles.
Thank you for responding so quickly.
I just looked that one up, love this quote from the movie.
Slob:[Slob, standing next to Kotty] You smell nice, what is it?Kotty:Soap, you should try it sometime.
Shack Out on 101 is one of the great B noirs, kind of cheap and sleazy with a bizarre Cold War / Red scare plot, but just overflowing with character and buzzing with oddball ensemble byplay in the diner "shack" of the title. I can now retire my TV recording. And time to pull out my poster and hang it on the wall again.
Yes, this is a wonderful movie. Yet another one of those films Olive keeps coming up with that I never expected to have on a quality DVD, let alone a Blu.
Is Robert Siodmak's 1943 film Someone to Remember no longer part of the Republic library a la Borzage's Moonrise? It's a pretty great Republic film that has never had a home video release but I haven't seen it mentioned in connection with Olive.
I've been hoping that someone would release the thirteen A.C. Lyles westerns on DVD or Blu-ray. Paramount released one. Legend never did any. And now it looks as if Olive won't either. If we can get Republic B westerns, why not these Paramount B westerns?
Which titles & date, rdimucci?
Are you referring to JOHNNY RENO (1966) released on Paramount DVD?
The westerns you refer to were all shoestring budget productions shot on the backlot in a week. Tired old scripts from the 1940s, twenty years out of date when they were made. They're not very good and there isn't much love for them.
Still, as an almost-completist, I would buy every single one of them on DVD or blu-ray.
It's nice to see the old stars in those pictures.
Excellent suggestion, rdimucci
Here are the backlot westerns produced by A.C. Lyles from scripts by Steve Fisher:
1968 Arizona Bushwhackers
1967 Red Tomahawk
1967 Hostile Guns
1967 Fort Utah
1966 Johnny Reno
1965 Young Fury
1965 Town Tamer
1965 Black Spurs
1965 Apache Uprising
1964 Stage to Thunder Rock
1964 Law of the Lawless, AKA Invitation To a Hanging
The idea was to put some quick, low-budget formula films onto theater screens to pull Paramount out of an economic downslide. Strictly B films targeted for an older audience, but the screen was wide, the color was bright, the western ambiance was thick, the craftsmanship was quite good on a technical level, and the strategy worked at the box-office. Buckskin is notable for being photographed by 3-D pioneer Lothrop Worth. Encore Westerns airs some of these occasionally. Let the posters put a face on them:
More posters coming.
Nice job, Richard.
I had Johnny Reno on DVD. It's not a bad film but the sets were terrible, about the worst I have seen. The colour looked badly faded and I am not sure how much it would be improved on blu-ray when there probably wouldn't be much money spent on it.
Thanks for the series of posters, Richard. I really enjoying looking at them and observing how a sort of stock company of players rotated through this series of movies.
It also made me do a little quick research on Techniscope which I didn't know much about. Wow! Argo and Silver Linings Playbook used Techniscope!
I would buy some of these just for the casts.
Here are excerpts from a 2009 interview that 91-year-old A.C. Lyles did with Jon Zelazny, in which Lyles spoke of his operating methods:
“How did you first begin producing Westerns?
Paramount had a board meeting. They asked me to come in, and they said, “We have a problem. There’s no Western on the schedule.” I said, “Well, I have a great script.” And I did it. And it made money. And they said, “How many can you make a year?” I said, “Five!” They said, “Go make ‘em!”
Who did you report to?
I didn’t report to anyone. I told them I could only do it if I didn’t have a committee. I usually came up with an original story. I didn’t write screenplays—writers wrote the scripts—I just started it, cast it, made it, and shipped it to New York. I didn’t tell anybody what the story was, or what it would cost. I was a one-man studio within a major studio, and that was the only way I could make them.
What was a schedule like for one of your pictures?
I never told anybody.
And you’re still not?
I never told Paramount what they cost. Because you don’t preview a budget, you preview a picture. Vincent Canby once wrote a story about me. It was called “Money Invested, Money Returned,” and his opening line was, “A.C. Lyles has been the most profitable producer in the history of Paramount Pictures.” And it was true.
I only managed to find one of them at my video store: Johnny Reno (1966), with Dana Andrews and—
Jane Russell. Who else was in that one?
Lon Chaney, Jr. Richard Arlen. A lot of old-timers.
Those were my buddies. I always tried…
He indicates the poster of his film Black Spurs (1965).
Rory Calhoun, Linda Darnell, Scott Brady, Lon Chaney, Richard Arlen, Bruce Cabot, and Terry Moore. They’d call me and say, “When do we start the next one?” I’d say, “Three weeks.”
Were they studio contract players? Or was that system already gone?
They called them “The Lyles Posse.” I used them a lot. Richard Arlen had done so many Westerns in his time. When I was an office boy, he told me I’d be a producer some day, and that he wanted to be in every picture I made… and I never made a picture without Richard Arlen! And all the other people on the lot who were my friends… they did so much for me. So much.”
Paramount didn't release many peplum films back in the day. I wonder if they would still hold U.S. rights to 1962's SIEGE OF SYRACUSE, with Tina Louise, and 1963's DUEL OF THE TITANS with Steve Reeves and Gordon Scott.
I LOVE that interview. Is there any more to it?
And I like how Lyles worked. He got the job done without unnecessary fuss or expense -- just like Roger Corman was doing across down. Just let the filmmakers & the actors do what they do. That's how films get made and get profitable.
Suddenly I want to get my hands on all of Lyle's films.
Thanks for posting the interview.
You can find the complete interview with A.C. Lyles here: