Out West
- Episode aired Mar 4, 1980
IMDb RATING
8.1/10
60
YOUR RATING
The development of the uniquely American film genre, the Western, is shown from its inception with archival footage and interviews with surviving artists.The development of the uniquely American film genre, the Western, is shown from its inception with archival footage and interviews with surviving artists.The development of the uniquely American film genre, the Western, is shown from its inception with archival footage and interviews with surviving artists.
Photos
James Mason
- Self - Narrator
- (voice)
R.L. Hough
- Self
- (as Lefty Hough)
Jesse Lasky Jr.
- Self
- (as Jesse L. Lasky Jr)
Buffalo Bill Cody
- Self
- (archive footage)
- (uncredited)
- Directors
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- ConnectionsFeatures The Massacre (1912)
- SoundtracksOh, Susannah
(uncredited)
Minstrel song composed by Stephen Foster
Instrumental version heard with clip of "The Covered Wagon"
Featured review
Real Cowboys, Real Outlaws, and the Real Old West in Silent Westerns
Realizing the impossibility of doing justice to silent western movies and stars in less than hour, the ninth episode in the Brownlow-Gill documentary "Hollywood" wisely focuses on a handful of western stars and three epic films. Entitled "Out West," the excellent episode opens with the crudely painted backdrops used in westerns shown at the early nickelodeons. The film industry was rooted in the East, and any location trip to shoot out West would have taken longer than making an entire film.
Fortunately, the film industry went west, where the landscapes and atmosphere of the Old West lingered. Genuine out-of-work cowboys found work in western films, and the shootings, drinking, and shenanigans depicted on screen spilled over into the off hours. D.W. Griffith's "The Massacre," made in 1912 with Blanche Sweet, was among the early westerns filmed on authentic locations. The episode's first half is devoted to a small group of western stars, among them, a genuine cowboy, Tom Mix, who could handle horse, ride well, and shoot skillfully. Mix, who also directed, was the most popular of silent western stars. A man who enjoyed a flamboyant lifestyle, Mix is remembered fondly by John Wayne in a filmed interview. Another real cowboy and outlaw as well, Al Jennings had robbed banks and trains and was imprisoned several times for his crimes; however, Jennings eventually went straight, and he used his experiences when acting and directing early westerns. With little financial backing, Jennings did not romanticize the West, but shot such films as "The Lady of the Dug Out" in 1918 on the streets of real western towns. His films showed the West as it really was and depicted the hardships and primitive living conditions in sod houses as they had been. Other Western stars profiled include the strong, silent, stoic William S. Hart, an iconic western hero who starred in such films as "Hell's Hinges" in 1916. Like Hart, another non-cowboy who loved the West, Harry Carey, teamed with director John Ford on his early Westerns; his widow, Olive Carey, and John Wayne reminisce about Carey's life and work, and Wayne talks of his silent homage to Carey in the final shot of "The Searchers."
The second half of the episode focuses on three big-budget western epics. Jesse Lasky, Jr, talks about his father, who wanted to film his grandfather's experiences crossing the plains by covered wagon in 1848. Lasky's dream was realized in the 1923 film, "The Covered Wagon," which was directed by James Cruze. With Lasky's financial backing, the film transformed the previously low-budget westerns into big-budget spectacles. Cameraman Karl Brown and star Lois Wilson provide background to the film's production, which employed 500 Native Americans and used genuine Conastoga wagons, which had been kept as heirlooms by descendants of the original pioneers. Influenced by the Cruze film, John Ford made "The Iron Horse" the following year; the film depicted the building of the transcontinental railroad, and a few of the original Chinese workers who built the actual transcontinental railroad worked on the film. Prop man Byron Haskin recounts the hardships of filming and the Wild-West atmosphere that prevailed on the set both during and after shooting. Among the last silent western epics was Henry King's "The Winning of Barbara Worth;" made in 1926, the film dealt with the reclamation of California's Imperial Valley and climaxed with a spectacular dam bursting and flood. Director Henry King's interview adds background and color to the production details.
The ninth segment of the 13-part documentary on silent film realizes its time limitations and pares the scope to significant actors and films, rather the broad-brush approach that marred the previous episode about comedy. With the priceless interviews, profiles of some lesser-known personages, and generous clips and background on three important western films, "Out West" ranks among the best entries in the groundbreaking series.
Fortunately, the film industry went west, where the landscapes and atmosphere of the Old West lingered. Genuine out-of-work cowboys found work in western films, and the shootings, drinking, and shenanigans depicted on screen spilled over into the off hours. D.W. Griffith's "The Massacre," made in 1912 with Blanche Sweet, was among the early westerns filmed on authentic locations. The episode's first half is devoted to a small group of western stars, among them, a genuine cowboy, Tom Mix, who could handle horse, ride well, and shoot skillfully. Mix, who also directed, was the most popular of silent western stars. A man who enjoyed a flamboyant lifestyle, Mix is remembered fondly by John Wayne in a filmed interview. Another real cowboy and outlaw as well, Al Jennings had robbed banks and trains and was imprisoned several times for his crimes; however, Jennings eventually went straight, and he used his experiences when acting and directing early westerns. With little financial backing, Jennings did not romanticize the West, but shot such films as "The Lady of the Dug Out" in 1918 on the streets of real western towns. His films showed the West as it really was and depicted the hardships and primitive living conditions in sod houses as they had been. Other Western stars profiled include the strong, silent, stoic William S. Hart, an iconic western hero who starred in such films as "Hell's Hinges" in 1916. Like Hart, another non-cowboy who loved the West, Harry Carey, teamed with director John Ford on his early Westerns; his widow, Olive Carey, and John Wayne reminisce about Carey's life and work, and Wayne talks of his silent homage to Carey in the final shot of "The Searchers."
The second half of the episode focuses on three big-budget western epics. Jesse Lasky, Jr, talks about his father, who wanted to film his grandfather's experiences crossing the plains by covered wagon in 1848. Lasky's dream was realized in the 1923 film, "The Covered Wagon," which was directed by James Cruze. With Lasky's financial backing, the film transformed the previously low-budget westerns into big-budget spectacles. Cameraman Karl Brown and star Lois Wilson provide background to the film's production, which employed 500 Native Americans and used genuine Conastoga wagons, which had been kept as heirlooms by descendants of the original pioneers. Influenced by the Cruze film, John Ford made "The Iron Horse" the following year; the film depicted the building of the transcontinental railroad, and a few of the original Chinese workers who built the actual transcontinental railroad worked on the film. Prop man Byron Haskin recounts the hardships of filming and the Wild-West atmosphere that prevailed on the set both during and after shooting. Among the last silent western epics was Henry King's "The Winning of Barbara Worth;" made in 1926, the film dealt with the reclamation of California's Imperial Valley and climaxed with a spectacular dam bursting and flood. Director Henry King's interview adds background and color to the production details.
The ninth segment of the 13-part documentary on silent film realizes its time limitations and pares the scope to significant actors and films, rather the broad-brush approach that marred the previous episode about comedy. With the priceless interviews, profiles of some lesser-known personages, and generous clips and background on three important western films, "Out West" ranks among the best entries in the groundbreaking series.
helpful•00
- dglink
- Apr 13, 2019
Details
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