Film Score Monthly
Search Terms: 
Search Within:   search tips 
You must log in or register to post.
  Go to page:    
 Posted:   Jul 4, 2014 - 1:50 PM   
 By:   (Member)   (Member)

Here comes the season 8 end credits for actor David Watson.

 Posted:   Jul 17, 2014 - 6:53 AM   
 By:   (Member)   (Member)

Here comes the season 6 logo still under Vincent Fennelly and his team.

 Posted:   Jul 17, 2014 - 6:55 AM   
 By:   (Member)   (Member)

Here comes the season 6 opening credits for the three leading actors.
Notice the Alfred Hitchcock Presents shadowgraph style.

 Posted:   Jul 17, 2014 - 8:03 PM   
 By:   Richard-W   (Member)

Still a favorite thread.

Keep the posts coming mysterious (member).

 Posted:   Jul 17, 2014 - 11:28 PM   
 By:   (Member)   (Member)

I not only finished off season 8 but season 5 and I'm entering season 6.

•••More about season 5•••

First off, I'm glad to get back Mr. Favor which is missing from season 8.
Favor is the beacon, the center of the series.

¶ Disc #3 from volume 2
Amongst the four stories, only one truly shine: "Incident of White Eyes"
directed by Christian Nyby
guest starring Nita Talbot, William Schallert and Nehemiah Persoff playing a former cruel bandit.
It's a solid dramatic huit-clos in which the passengers of a stagecoach
along with wounded Favor end up marooned in a stage station because
a band of silent indian criminals surrounding the place to get a former member.
It's very Film Noir with low-key lighting.

¶ Disc #4 from volume 2
The last season 5 episode is an intriguing case: "Abilene"
directed by Tony Leader
It's not produced by the season 5 team but by the season 4 team,
meaning Andre Bohem is back and the main titles are different.
Perhaps, the greatest episode of season 5 in terms of characters development.
Favor decides to quit his job as a trail boss to buy a house for his kids at Abilene
when a sick young drover shows the symptom of small pox and all the drovers
must remain in quarantine in a small hotel at the end of the town.
All the drovers also cease to work in the trail business.
Rowdy Yates shows his mean side and even punches his former boss.
The guest drover played by Ken Lynch is also the center of this drama
and he first decides to quit the job because of his age and his back to open up a shop.
On the whole, it's another huit-clos.
For the anecdote, all the drovers buy some new cloths and are dressed as city dwellers
which is odd, especially from Rowdy Yates.

 Posted:   Jul 17, 2014 - 11:42 PM   
 By:   (Member)   (Member)

During season 5, actor Clint Eastwood plays the piano and performs many songs.
He sings well, by the way. He's got a good voice.

 Posted:   Jul 18, 2014 - 2:01 AM   
 By:   (Member)   (Member)

And now, let's dive into the sixth season of Rawhide.
It's the same production team: producer Vincent Fennelly and dp Jack Swain.
The only change is the main titles and the departure of the Clay Forrester character.

•••Here's the outfit for season 6•••
Gil Favor
Rowdy Yates
Jim Quince
Joe Scarlet
Hey Soos

¶ Disc #1 from volume 1

"Incident of the Red Wind"
written by Dean Reisner
directed by Thomas Carr
music composed and conducted by Leon Klatzkin
guest starring 'the tough as hell' Neville Brand as Lou Bowdark

It's a fine premiere episode that deals with superstition and fate.
It's also a hot desert episode in which a stranger pop-up from nowhere to sign up and leads the herd into the unknown of San Marcos. The stranger has a devilish flavor and provokes catastrophies among the leading drovers: Favor is severely injured during an arranged horse accident and falls down from a cliff, Quince is also injured while recovering a lost cow and Yates' authority is called into question. Only religious Hey Soos smells and feels the bad omen of the stranger.
Gil Favor remains in bed in the wagon of Wishbone during this drama but gives orders to Yates and the stranger willing to replace the ramrod.
The introduction of the stranger scene is splendid: Yates crosses the desert on foot while carrying his saddle and spots a wild black horse that he wishes to catch with a rope when the stranger appears!
The outcome is fantastic and meaningful (I won't spoil it).
The sign off scene and the end titles will be recycled in the late season 7 episodes.

 Posted:   Jul 18, 2014 - 9:40 AM   
 By:   Richard-W   (Member)

I don't like the opening title sequence in season 8. Titles flash over pen & ink sketches of faces and cattle trailing scenes. See (Member)'s frame captures above. The live-action photography in other seasons is far more effective. Also, the sketches are meant to remind us of the art on one-sheets for the two (he hadn't made the third yet) spaghetti westerns Clint had starred in.

The first episode "Encounter at Boot Hill" is a bizarre combination of soap opera and Gothic, with grotesque close-ups banging against far-away wide angles. Director Sutton Roley tries hard to make his shots interesting. One scene begins with a coffin sitting on four stands. The camera rises to reveal the sheriff, played by Simon Oakland, sitting behind it. Then the sheriff stands up, and the antlers hanging on the wall seem to be growing out of his head as he utters a strangely worded eulogy. Fans of Timothy Carey will relish his off-kilter performance as a bully deputy in this episode. Clint knocks him on his ass. Speaking of Clint, he acquits himself well in the lead. I say this as someone who is not a fan of Clint, but this is the earliest (1965) performance in which I see him emerge as a true actor. Instead of lending support or posturing in a serape, he takes charge.

I missed Gil Favor, however.

 Posted:   Jul 21, 2014 - 4:22 AM   
 By:   (Member)   (Member)

¶ Disc #1 from volume 1

Episode #4: "Incident of the Travellin' Man"
written by 'associate producer' Paul King
directed by Ted 'Magnum Force' Post
guest: Simon Oakland, Robert Middleton, Robert Donner, James B. Sikking

Up on the river, Hey Soos and Toothless spot a body lying on a floating beam. They remove the body and the drovers surround the man who wear chain-gang's irons on his ankles. Later on, we learn the man is Bolivar Jagger running away from abusive proprietor Matt Harger who pop-ups to claim the fugitive. Favor protects Jagger and asks the law. Later on and returning from a trip, Favor and Yates find wounded Mushy and Wishbone while Jagger escapes from the camp to avoid justice. Things are not what they appear to be…

It's a good two-faced character episode. The film-making and the performance of Simon Oakland are noteworthy. Notice the opening titles for Act I: the episode title and the writer/director credits appear with a wipe transition during a long lateral dolly shot depicting Mushy walking along a river but seen at a remote distance. Here and there, Ted Post inserts some quick zoom shot and lights some scenes with a Film Noir leaning.

You must log in or register to post.
  Go to page:    
© 2014 Film Score Monthly. All Rights Reserved.