Chuck Roberson Movies

Like Pontius Pilate, director John Ford asks "What is truth?" in The Man Who Shot Liberty Valance--but unlike Pilate, Ford waits for an answer. The film opens in 1910, with distinguished and influential U.S. senator Ransom Stoddard (James Stewart) and his wife Hallie (Vera Miles) returning to the dusty little frontier town where they met and married twenty-five years earlier. They have come back to attend the funeral of impoverished "nobody" Tom Doniphon (John Wayne). When a reporter asks why, Stoddard relates a film-long flashback. He recalls how, as a greenhorn lawyer, he had run afoul of notorious gunman Liberty Valance (Lee Marvin), who worked for a powerful cartel which had the territory in its clutches. Time and again, "pilgrim" Stoddard had his hide saved by the much-feared but essentially decent Doniphon. It wasn't that Doniphon was particularly fond of Stoddard; it was simply that Hallie was in love with Stoddard, and Doniphon was in love with Hallie and would do anything to assure her happiness, even if it meant giving her up to a greenhorn. When Liberty Valance challenged Stoddard to a showdown, everyone in town was certain that the greenhorn didn't stand a chance. Still, when the smoke cleared, Stoddard was still standing, and Liberty Valance lay dead. On the strength of his reputation as the man who shot Valance, Stoddard was railroaded into a political career, in the hope that he'd rid the territory of corruption. Stoddard balked at the notion of winning an election simply because he killed a man-until Doniphon, in strictest confidence, told Stoddard the truth: It was Doniphon, not Stoddard, who shot down Valance. Stoddard was about to reveal this to the world, but Doniphon told him not to. It was far more important in Doniphon's eyes that a decent, honest man like Stoddard become a major political figure; Stoddard represented the "new" civilized west, while Doniphon knew that he and the West he represented were already anachronisms. Thus Stoddard went on to a spectacular political career, bringing extensive reforms to the state, while Doniphon faded into the woodwork. His story finished, the aged Stoddard asks the reporter if he plans to print the truth. The reporter responds by tearing up his notes. "This is the West, sir, " the reporter explains quietly. "When the legend becomes fact, print the legend." Dismissed as just another cowboy opus at the time of its release, The Man Who Shot Liberty Valance has since taken its proper place as one of the great Western classics. It questions the role of myth in forging the legends of the West, while setting this theme in the elegiac atmosphere of the West itself, set off by the aging Stewart and Wayne. ~ Hal Erickson, All Movie Guide

Paladin (Richard Boone) is hired to bring outlaw Bud McPhater (Ed Faulkner) to trial. Unfortunately, rumors persist that Bud's brother has died of diptheria. Before proceeding any further, Paladin, his prisoner and several other people are compelled to await confirmation of those rumors in the town of Soledad Crossing--whose citizens are violently opposed to being exposed to a possible diptheria epidemic. This is the final episode of Have Gun, Will Travel's fourth season. ~ Hal Erickson, All Movie Guide

The final film of stars Clark Gable and Marilyn Monroe is an elegy for the death of the Old West from writer Arthur Miller and director John Huston. Gable stars as Gay Langland, an aging hand traveling the byways and working at rodeos with his two comrades, Guido (Eli Wallach) and young Perce Howland (Montgomery Clift). The three men come up with a plan to corral some misfit mustangs and sell them for dog food, but Gay's new girlfriend Roslyn Taber (Marilyn Monroe), a high-minded ex-stripper who has just divorced her husband Ray (Kevin McCarthy) in Reno, is appalled by the plan. Although both Guido and Perce are also in love with Roslyn, she stands by Gay, sure that in the end he will do the right thing, even as he and his pals begin their planned roundup. ~ Karl Williams, All Movie Guide

Billy Banjo (Jacques Aubuchon), an old friend of Paladin (Richard Boone), is currently running for the Wyoming State Senate. Billy's wife Elise (Rita Lynn) is so devoted to her husband that she is willing to do anything--anything!--to assure his victory. As a result, a nervous Billy hires Paladin (Richard Boone) to prevent Elise from arranging the murder of the opposing candidate! ~ Hal Erickson, All Movie Guide

Spartacus (Kirk Douglas) is a rebellious slave purchased by Lentulus Batiatus (Peter Ustinov), owner of a school for gladiators. For the entertainment of corrupt Roman senator Marcus Licinius Crassus (Laurence Olivier), Batiatus' gladiators are to stage a fight to the death. On the night before the event, the enslaved trainees are "rewarded" with female companionship. Spartacus' companion for the evening is Varinia (Jean Simmons), a slave from Brittania. When Spartacus later learns that Varinia has been sold to Crassus, he leads 78 fellow gladiators in revolt. Word of the rebellion spreads like wildfire, and soon Spartacus' army numbers in the hundreds. Escaping to join his cause is Varinia, who has fallen in love with Spartacus, and another of Crassus' house slaves, the sensitive Antoninus (Tony Curtis). The revolt becomes the principal cog in the wheel of a political struggle between Crassus and a more temperate senator named Gracchus (Charles Laughton). Anthony Mann was the original director of Spartacus, eventually replaced by Stanley Kubrick, who'd previously guided Douglas through Paths of Glory. The film received 4 Academy Awards, including Best Supporting Actor for Ustinov. A crucial scene between Olivier and Curtis, removed from the 1967 reissue because of its subtle homosexual implications, was restored in 1991, with a newly recorded soundtrack featuring Curtis as his younger self and Anthony Hopkins standing in for the deceased Olivier. ~ Hal Erickson, All Movie Guide

One of producer Walt Disney's more blatant efforts to duplicate the success of his early TV miniseries Davy Crockett, the eight-part Swamp Fox featured another flamboyant frontiersman hero who wore coonskin-style headgear and whose adventures were introduced with a catchy, memorable theme song. Based on a book by Dr. Robert D. Bass, The Swamp Fox stars Leslie Nielsen as real-life American patriot Francis Marion, a wealthy landowner who during the Revolutionary War led a hardy band of guerilla fighters against the Redcoats and pro-British tories in his native South Carolina. The villain of the piece (at least in the first few episodes) was another actual historical figure, the ruthless Banastre Tarleton (John Sutton), an officer in the British Green Dragoons (Marion and Tarleton later served as the models for the hero and villain, respectively, of the 1999 Mel Gibson film Patriot). In the first episode, Marion is prevailed upon by his friends and neighbors to help free South Carolina from the grip of British rule. His task is made difficult by the fact that his sweetheart, Mary Videaux (Joy Page), is from a pro-Tory family. "The Birth of the Swamp Fox" originally aired as part of the Walt Disney Presents anthology. ~ Hal Erickson, All Movie Guide

Although a mood of melancholy or worse pervades this excellent western, it remains an honest and hard-hitting look at the realistic adventures of Martin Brady (Robert Mitchum -- who produced). Brady fled to Mexico while still quite young in order to avoid prison in the U.S. -- he had killed his father's murderer. After years spent working as a gunman for a wealthy "padron," he hates white Americans but has to go north to get weapons. Once on the wrong side of the border, he gets into trouble with U.S. Army for not helping them hunt down Apaches. But the people he meets in a small town, one a European immigrant, begin to change his black-and-white view of the world. Meanwhile, he and Ellen Colton (Julie London), the unhappy wife of an army major, begin to fall in love. Several more adventures and a tragedy or two affect the unlikely couple's future -- ultimately for the better. Baseball hero "Satchel" Paige shows up in a cameo role, leading an Afro-American unit of the U.S. army. Mexican star Pedro Armendariz is Brady's boss, Governor Castro. ~ Eleanor Mannikka, All Movie Guide

In the second episode of Walt Disney's 17-part miniseries Tales of Texas John Slaughter, newly installed Texas ranger Slaughter (Tom Tryon) has succeeded in rounding up the last members of Frank Davis' outlaw gang. Unfortunately, Davis (Robert Middleton) has been released on bail and has fled to Laredo. Together with fellow ranger Ben Jenkins (Harry Carey Jr.), Slaughter tracks Davis down to his new hideout, where he is conferring with five other outlaw bosses in hopes of creating a vast criminal empire. Originally telecast as part of the Walt Disney Presents anthology, "Ambush at Laredo" was in 1960 edited together with the previous episode "Texas John Slaughter", and released theatrically overseas as a "feature film", also titled Texas John Slaughter. ~ Hal Erickson, All Movie Guide

A "Shock Theater" perennial since it was first released to television in the early 1960s (stretch-framed to pad out its running time), The Amazing Colossal Man is firmly in the "So Bad It's Good" category. While overseeing the atomic tests in the Nevada desert, Army colonel Glenn Langan is exposed to extensive amounts of radiation. As a result, Langan grows, and grows, and grows, at the rate of ten feet per day. This sudden height gain adversely affects the poor man's mind, and soon he's as mad as a hatter. Looking for all the world like Mr. Clean in a diaper, the Colossal Man goes on a murderous rampage, laying waste to several Las Vegas landmarks before he is killed by army bullets while standing atop the Boulder Dam. The special effects are adequate, but the dialogue is ridiculous-in fact, if we didn't know better, we'd say that the film was intended to be funny. Our favorite bit: the huge hypodermic needle. ~ Hal Erickson, All Movie Guide

Night Passage is so similar in spirit to the successful collaborations between star James Stewart and director Anthony Mann that it comes as a surprise that this film is directed by James Nielson. Stewart plays Grant McLaine, ex-railroad employee and the level-headed brother of firebrand gunslinger The Utica Kid (Audie Murphy). When Grant is entrusted to guard a train delivering $10,000, The Kid's gang holds up the train and steals the money. Grant takes off to hunt his felonious brother down and attempts to convince him to go straight. Unfortunately, The Kid refuses, and the brothers face off in a showdown. ~ Hal Erickson, All Movie Guide

The Wings of Eagles is filmmaker John Ford's paean to his frequent collaborator--and, it is rumored, drinking buddy--Cmdr. Frank "Spig" Wead. John Wayne stars as Wead, a reckless WW1 Naval aviator who (it says here) was instrumental in advancing the cause of American "air power". In private life, Wead becomes estranged from his wife Minnie (Maureen O'Hara) after the death of their baby. Drinking heavily, Wead tumbles down the stairs of his home, and as a result he is apparently paralyzed for life. With the help of happy-go-lucky Navy mechanic Carson (Dan Dailey), Wead is able to regain minimal use of his legs, but it seems clear that his Naval career is over. Fortunately, he manages to find work as a prolific Hollywood screenwriter, and after the attack of Pearl Harbor he is called back to active duty to oversee the construction of "jeep carriers". Not one of John Ford's more coherent films--in fact, it's downright sloppy at times--The Wings of Eagles nonetheless contains several highlights, not least of which are the "I'm gonna move that toe" scene with John Wayne and Dan Dailey, and Ward Bond's inside-joke performance as irreverent film director "John Dodge". ~ Hal Erickson, All Movie Guide

If John Ford is the greatest Western director, The Searchers is arguably his greatest film, at once a grand outdoor spectacle like such Ford classics as She Wore a Yellow Ribbon (1949) and Rio Grande (1950) and a film about one man's troubling moral codes, a big-screen adventure of the 1950s that anticipated the complex themes and characters that would dominate the 1970s. John Wayne plays Ethan Edwards, a former Confederate soldier who returns to his brother Aaron's frontier cabin three years after the end of the Civil War. Ethan still has his rebel uniform and weapons, a large stash of Yankee gold, and no explanations as to where he's been since Lee's surrender. A loner not comfortable in the bosom of his family, Ethan also harbors a bitter hatred of Indians (though he knows their lore and language well) and trusts no one but himself. Ethan and Martin Pawley (Jeffrey Hunter), Aaron's adopted son, join a makeshift band of Texas Rangers fending off an assault by renegade Comanches. Before they can run off the Indians, several homes are attacked, and Ethan returns to discover his brother and sister-in-law dead and their two daughters kidnapped. While they soon learn that one of the girls is dead, the other, Debbie, is still alive, and with obsessive determination, Ethan and Martin spend the next five years in a relentless search for Debbie -- and for Scar (Henry Brandon), the fearsome Comanche chief who abducted her. But while Martin wants to save his sister and bring her home, Ethan seems primarily motivated by his hatred of the Comanches; it's hard to say if he wants to rescue Debbie or murder the girl who has lived with Indians too long to be considered "white." John Wayne gives perhaps his finest performance in a role that predated screen antiheroes of the 1970s; by the film's conclusion, his single-minded obsession seems less like heroism and more like madness. Wayne bravely refuses to soft-pedal Ethan's ugly side, and the result is a remarkable portrait of a man incapable of answering to anyone but himself, who ultimately has more in common with his despised Indians than with his more "civilized" brethren. Natalie Wood is striking in her brief role as the 16-year-old Debbie, lost between two worlds, and Winton C. Hoch's Technicolor photography captures Monument Valley's savage beauty with subtle grace. The Searchers paved the way for such revisionist Westerns as The Wild Bunch (1969) and McCabe & Mrs. Miller (1971), and its influence on movies from Taxi Driver (1976) to Close Encounters of the Third Kind (1977) and Star Wars (1977) testifies to its lasting importance. ~ Mark Deming, All Movie Guide