Blake Lucas recently completed a terrific piece on Alfred Hitchcock’s Psycho (1960) that might make you look at the movie a little differently.
Click on Hitch and Anthony Perkins to read it.
Directed by Jack Smight
Produced by Jerry Gershwin & Elliott Kastner
Screenplay by William Goldman
Based on the novel The Moving Target by Ross McDonald
Cinematography: Conrad Hall
Film Editor: Stefan Arnsten
Music by Johnny Mandel
Cast: Paul Newman (Lew Harper), Lauren Bacall (Elaine Sampson), Julie Harris (Betty Fraley), Arthur Hill (Albert Graves), Janet Leigh (Susan Harper), Shelley Winters, Robert Wagner
For my money, Harper (1966) is the ultimate Paul Newman movie. He’s cool, funny and tough — and like all of his best films, his character’s got a little loser in him. He’s also got a cool car — a Porsche Speedster with the driver’s door sprayed in brown primer and the hubcaps missing. (Bet Newman had a lot of fun with that thing between takes.)
Harper is also a near-perfect 60s movie, touching on the mounting weirdness of the latter half of the decade, especially in Los Angeles, without going overboard in trying to be hip. Harper (Newman) is hired by a Lauren Bacall to locate her wealthy husband, who disappeared the night before. Harper’s investigation drags him through all sorts of stuff — kidnapping, smuggling illegal immigrants, heroin addiction, torture and crackpot religion. Along the way, he gets beaten up time and time again.
Elaine Sampson (Lauren Bacall): Los Angeles is the big leagues for religious nuts.
Lew Harper (Paul Newman): That’s because there’s nothing to do at night.
And it does all this while carrying on the tradition set by earlier private detective pictures like The Big Sleep (1946). You could say that this vibe was taken to the next level, a logical progression, by Robert Altman’s The Long Goodbye (1971).
Strother Martin is terrific as the weirded out holy man. Shelley Winters is a hoot as the washed up actress involved in the whole mess. Arthur Hill is perfect as Harper’s nerdy lawyer friend. And as I’ve already stated, cool just oozes out of Newman in every frame.
I am deeply indebted to this movie for two things. First, it introduced me to Ross MacDonald’s Lew Archer books. I’ve read them all, they’re great. Next, the shot underneath director Jack Smight’s credit — looking over Harper’s shoulder as he approaches Lauren Bacall’s house in his Porsche, it (and The Love Bug) helped kick off my fascination with Ferdinand Porsche and his vehicles.
Harper was shot in Technicolor and Panavision by the great Conrad Hall. The Blu-Ray from Warner Archive is near perfect, as good a presentation of original Technicolor as I’ve ever seen. Of course, it’s not the eye candy of something like Singing In The Rain (1950), but it shows us all exactly what the color process looked like in the 60s. Watch those reds — the cars, the waiters’ uniforms, etc. That’s dye transfer Tech — and it’s beautiful. Harper looks better than I’ve ever seen it look (and I’ve seen a 16mm IB Tech Scope print, the letterboxed laserdisc and the DVD). Essential.
At the same time, Warner Archive has brought the second Newman/Harper film, The Drowning Pool (1975), to Blu-Ray. It’s not as good — for one thing, the plot is really complex, but any movie featuring Murray Hamilton, Paul Koslo, Andy Robinson, Linda Haynes and Richard Jaeckel is worth seeing. This time, Harper winds up in Louisiana (the book kept Archer in California) to help out an old flame (Joanne Woodward) and people start winding up dead.
The scene with Newman and Gail Strickland trapped in a flooded hydrotherapy room, where the title comes from, is really cool.
The great Gordon Willis (The Godfather) shot this one, and it’s beautiful — and presently flawlessly on Blu-Ray by Warner Archive. Newman and all those character actors make The Drowning Pool worthwhile. Recommended.
Directed by Jack Smight
Starring Paul Newman, Lauren Bacall, Julie Harris, Arthur Hill, Janet Leigh, Pamela Tiffin, Robert Wagner, Shelley Winters, Strother Martin
Warner Archive has announced the upcoming Blu-Ray release of the two Lew Harper movies, Harper (1966) and The Drowning Pool (1975), that featured Paul Newman as the (renamed) Lew Archer of Ross Macdonald’s terrific series of novels.
Harper was based on Macdonald’s first Archer novel, The Moving Target (the film’s title in the UK). It’s terrific, bringing the private detective into 1960s LA with ease and putting Newman’s wiseass detective Lew Harper up against an array of cheaters, crooks, losers and weirdos. William Goldman wrote the script.
Lew Harper (Paul Newman): “Your husband keeps lousy company, Mrs. Sampson, as bad as there is in LA. And that’s as bad as there is.”
Directed by Stuart Rosenberg
Starring Paul Newman, Joanne Woodward, Anthony Franciosa, Murray Hamilton, Gail Strickland, Melanie Griffith, Linda Haynes, Richard Jaeckel, Paul Koslo
William Goldman made an attempt to adapt another Archer novel, The Chill. Newman backed out and Sam Peckinpah was attached to it for a while. Nothing happened. In 1975, Newman and Harper were back in The Drowning Pool, with things heading to New Orleans.
Paul Newman: “It’s great fun to get up in the morning and play Harper.”
And that’s exactly what makes The Drowning Pool as good as it is. Newman as Harper is a hoot, and that’s enough. Consider that Gordon Willis shot it and it features the great character actors like Murray Hamilton, Richard Jaeckel and Paul Koslo, and you’re set.
There’s no way for me to recommend Harper enough. It’s one of my favorite movies, from one of my favorite authors, and I’d love to drive a Porsche Speedstar with the driver’s door sprayed in brown primer. And while The Drowning Pool isn’t as good, the character fits Newman so well, he’s a blast to watch. Who cares if it’s any good.
A key attraction for these Blu-Rays will be the hi-def treatment given to cinematographer Conrad Hall’s work on Harper and Willis’ on The Drowning Pool. These are choice releases, folks!
Directed by Richard Fleischer
Starring Kirk Douglas, Tony Curtis, Ernest Borgnine, Janet Leigh, James Donald
Richard Fleischer’s The Vikings (1957) will land on Blu-ray in March of 2016. It’s probably not much for history, but for late-50s epic cool, this is about as good as it gets. Originally released in Technirama and Technicolor, I can’t wait to see what this’ll look like in hi-def.
Kinda hate to see this Jack Webb thing come to an end. I’ve really enjoyed it. The posts were great, the bloggers were so nice, my wife and daughter got to participate, and I simply can’t get enough of Jack Webb.
The way the Bloggers’ Choice thing worked, everyone who posted sent in their favorite of all the posts that appeared over the weekend. The one with the most votes won. It’s that simple.
And the winner was Caftan Woman and her piece on Pete Kelly’s Blues (1955). She got me even more stoked for the upcoming Blu-ray from Warner Archive. The post on the Pete Kelly’s Blues radio show, over at Once Upon A Screen, was also a favorite.
I’ve got a few ideas for other blogathons, and will get around to those before too long. I’ve learned a few things on this one which should make it go a bit smoother.
To everyone who wrote something or read something, a great big thanks.
This post is part of The Jack Webb Blogathon, a celebration of his huge, and hugely influential, body of work. For more Webb on the web, appearing October 17-19, visit Dispatch (or click on the banner below).
As The Jack Webb Blogathon comes to a close, here’s some interesting trivia about Jack Webb and his work.
In lieu of compensation for assistance and information, what did Jack Webb’s Mark VII Production Company do for the Los Angeles Police Department?
The Company made generous contributions to the Los Angeles Police Orphans and Widows Fund.
How did Dragnet get the stories as basis for their episodes?
Through an arrangement with the Los Angeles Police Department, an officer wrote up a three-page report void of names and intimate details. Dragnet writers filled in the blanks and wrote a story around it. They were not given access to actual police files.
Where did the number 714 come from on the famous badge?
Jack Webb thought 7 was a lucky number. The television series began in 1949 and Webb thought badges issued in the 700s was way in the future for police. So, he choose 7 as the first number and just doubled it for the last numbers – 14.
Mark VII Productions, Inc. was Jack Webb’s production company. What is the meaning behind the logo that can be seen at the end of Dragnet episodes (iron door with a hand pounding the Roman numerals with a hammer)?
Jack Webb “stole” the idea from Arm & Hammer baking soda. He said he liked the look of it as a kid. The door to him also meant strength. The VII for 7 was probably, again, use of his lucky number.
Jack Webb used a real badge and revolver during the first run of Dragnet. What happened to those items after the show ended and what did he use for a badge and revolver in the new Dragnet show?
When the show ended in 1958, he returned the official, registered items to the LA Police Department, which had issued them to Webb for the show. He got them back from the Police Department for the new Dragnet show.
What Emergency! regular doubled for Jack Webb’s Joe Friday character in long shots on the original Dragnet?
Marco Lopez. He also had small parts on Dragnet, as well. He admitted that he liked to cook while on that show and the cast and crew got to partake in his hobby to their delight. This led to the fully-equipped kitchen at the firehouse on Emergency! — he could not only be a regular on the show, but keep on cookin’.
Which actor did Jack Webb want as Sgt. Joe Friday in the original series, but reluctantly took the role himself, when it didn’t pan out?
Lloyd Nolan, best known for his acting roles portraying private detectives Michael Shayne and Martin Kane.
In 1953, a famous movie producer friend and his wife sold their house to Jack Webb, so they could be closer to a park for their son. Who was this producer and what special thing did they do to the house to sell it to him?
Stanley Kramer. He and his wife replaced the doorbell with one that played “dum-da-dum-dum.”
What was the “Jack Webb Special?”
A deluxe, chartered airplane provided by Warner Brothers for Webb’s cross-country tour promoting Pete Kelly’s Blues (1955). It had an eight-person crew, dining room, bedroom and even a conference room.
Speaking of Pete Kelly’s Blues, Herm Saunders played the pianist. What was his relationship to Jack Webb in real life?
At the time, he was Webb’s press agent.
How did Ozzie Nelson (of Ozzie And Harriet fame) come to direct a segment in an episode of Adam-12?
Nelson phoned Webb and requested the assignment. He said he wanted to work with his old family friend Kent McCord again. (As you may remember, McCord was a regular on The Adventures of Ozzie and Harriet.) Nelson did such an impressive job, he was asked to direct the episode called “The D.A.”
Jack Webb turned down the chance to make a movie, which lead to great animosity between the guy who wrote the story for the movie and Kent McCord. Who was the author, what was the movie and why all the hostility?
Joseph Wambaugh wrote The New Centurions, among other books about police like The Onion Field and The Blue Knight. He also created and advised on the television show Police Story. After Webb declined to do The New Centurions, according to McCord, Wambaugh set out to tarnish the badges of Jack Webb and his Adam-12. In interviews, Wambaugh would misquote McCord, trash the show’s acting and call into question the realism of the characters they portray. McCord was hot under the collar about Wambaugh’s mouthing off and was quoted as saying: “He spends his days sitting on his rear and reading burglary reports. I think he‘s out of touch with the guys who patrol the streets,” and “He shouldn’t be telling me how to act. I don’t give him advice on how to read burglary reports.” He also didn‘t like how Wambaugh‘s police characters were “jerks“ or “petty criminals,” which of course was an insult itself to Jack Webb’s style. McCord went on to say about Wambaugh, “If he had anything to say he could tell it to my face or I’d punch him in the face,” and “I’m tired of picking up newspapers and magazines and seeing Wambaugh rap me. If he keeps it up I’m going to rap him.”
Hopefully, this blogathon has you wanting to see more Jack Webb, or better yet, own it. (I can’t wait to revisit The D.I.) Here’s where you can get the stuff written about over the weekend. Physical evidence, I guess you could say.
Dragnet (TV, 1951-59)
Public domain episodes are available from various companies. Quality varies from pretty darn good to absolutely wretched. You can also find some on YouTube and Roku.
Dragnet (Feature, 1954)
Available from Universal’s Vault program. If I didn’t consider this movie absolutely essential to life as a human, I’d tell you to wait till it was redone, preferably for Blu-ray.
Dragnet (TV, 1967-70)
You’ll find Dragnet on MeTV and Hulu Plus, along with Adam-12 and Emergency! They’re also on DVD from Shout Factory, complete with some really terrific extras, including the 1966 TV movie.
He Walked By Night (1948)
Several DVD sources for this one. Stay away from Alpha, and you’ll be OK.
Dark City (1950)
This is available on DVD from Olive Films—and in the same Blu-ray noir set as Appointment With Danger.
Appointment With Danger (1951)
Olive Films has brought this to DVD as a stand-alone disc and on Blu-ray as part of a film noir set.
Pete Kelly’s Blues (1955)
Warner Brothers brought this out on DVD, and Warner Archive recently announced a Blu-ray. Can’t wait.
The D.I. (1957)
You can get this one on DVD from Warner Archive (and you should).
Again, our friends at Warner Archive can set you up with this one on DVD.
SOURCES: Various newspapers, 1954-1976
Thanks to my wife Jennifer for researching and writing the trivia stuff.
Welcome to Dispatch for The Jack Webb Blogathon. Here, you’ll find links to all the posts going up over the weekend in celebration of Jack Webb’s huge, and hugely influential, body of work.
Day Three. October 19.
It was warm in Los Angeles.
Day Two. October 18.
It was cloudy in Los Angeles.
– 30 – (1959)
Johnny LaRue’s Crane Shot
Dragnet (1954, feature)
Laura’s Miscellaneous Musings
Day One. October 17.
It was sunny in Los Angeles.
Dragnet (1966 TV movie)
The Pacific Edible Seaweed Co.
Pete Kelly’s Blues (radio)
Once Upon A Screen
Directed by Jack Webb
Starring Jack Webb, Janet Leigh, Edmond O’Brien, Peggy Lee
Seems like Jack Webb’s everywhere these days, which is fine by me. TCM. MeTV. Shout Factory.
And now Warner Archive. They’ve just announced the upcoming Blu-ray of Pete Kelly’s Blues (1955).
• Aspect Ratio: 2.55:1
• Audio: DTS-HD Master Audio 5.1 Surround
• Subtitles: English SDH
• Discs: One 50GB Blu-ray Disc
• Run Time: 95 Minutes
• Color (1080p HD)
• SPECIAL FEATURES (all in 1080p HD): Original Theatrical Trailer (Color/CinemaScope)/ Alternate Theatrical Trailer/ (B&W/CinemaScope)/ Vintage 1955 Warner Bros. Short “Gadgets Galore”/ Vintage 1955 Warner Bros. Cartoon “The Hole Idea”
Orson Welles’ Touch Of Evil (1958) is unlike any film I’ve ever seen. It’s highbrow and lowbrow at the same time, as Welles put his masterful cinematic stamp on a most lurid story. To me, it’s a true masterpiece, an incredible stylistic exercise, while a friend called it the skankiest movie they’d ever seen. Maybe we’re both right.
Here’s Welles with cinematographer Russell Metty and Charlton Heston.
Valentin De Vargas (back to camera) with Welles on the set. Though most of credits are in TV, De Vargas worked for three of my favorite directors: Welles, Howard Hawks (Hatari!, 1962) and William Friedkin (To Live And Die In L.A., 1985).
Here’s Welles with Charlton Heston and Janet Leigh. Note the sling: Leigh broke her arm a week before rehearsals. In the finished film, her arm is obscured by sweaters and other things quite a bit.
This shows us of what Welles looked like during production. It’s easy to imagine him being as big and slovenly as Hank Quinlan. This was just 17 years after Welles the wunderkind made Citizen Kane (1941). Wish I could’ve found a shot of Dennis Weaver between takes.
How cool is this? Color! Welles is directing the opening single-shot bomb-in-the-car sequence. That crane’s about to get a real workout.