Charles Seel Movies

Welcome to Westworld, where nothing can go wrong...go wrong...go wrong....Writer/director Michael Crichton has concocted a futuristic "Disneyland for adults", a remote resort island where, for a hefty fee, one can indulge in one's wildest fantasies. Businessmen James Brolin and Richard Benjamin are just crazy about the old west, thus they head to the section of Westworld populated by robot desperadoes, robot lawmen, robot dance-hall gals, and the like. Benjamin's first inkling that something is amiss occurs when, during a mock showdown with robot gunslinger Yul Brynner, Brolin is shot and killed for real. It seems that the "nerve center" of Westworld has developed several serious technical glitches: the human staff is dead, and the robots are running amok. Suddenly promoted to the film's hero, Benjamin (who seems as surprised and shocked as the audience) must first avoid, then face down the relentless Brynner. Much of Westworld was lensed on the expansive grounds of the old Harold Lloyd estate in Beverly Hills, so it's no surprise that there's something Lloydlike about Dick Benjamin's instinct for self-preservation. ~ Hal Erickson, All Movie Guide

Driving down a deserted Southern California highway at a safe and sane 55 miles per hour, David Mann (Dennis Weaver) steps on the pedal to pass a large gas trailer truck. Moments later, the truck is back, dangerously tailgating Mann before abruptly cutting him off. For the next 90 minutes, Mann and the never-seen truckdriver are pitted against one another in a motorized duel to the death. Author Richard Matheson conceived Duel after a similar experience with a reckless trucker. The story first appeared in Playboy magazine, then was picked up for adaptation by the producers of The ABC Movie of the Week. The director chosen to helm Duel on location in Soledad Canyon was a bright 23-year-old who'd shown promise on such series as Night Gallery and Columbo: Steven Spielberg. First telecast on December 18, 1971, Duel was so popular that a somewhat longer version (with added violence and profanity) was prepared for theatrical release in 1983. ~ Hal Erickson, All Movie Guide

Today's shift finds mobile officers Pete Malloy (Martin Milner) and Jim Reed (Kent McCord) chasing after a man suspected of kidnapping a child. The two cops also deal with an escaped prisoner, and with a vicious gang of armored-car hijackers. Featured in the supporting cast is venerable character actor Burt Mustin (84 years old when this episode was filmed) and former Western sidekick Rand Brooks, who in 1970 was the owner of an ambulance service which provided a number of vehicles for Jack Webb's various police shows. ~ Hal Erickson, All Movie Guide

Uncle Joe (Edgar Buchanan) is in hot water again, this time for catching far more than the legal limit during a fishing trip. All that can save Joe from jail is for someone to step forward and vouch for his "good character"--and who in Hooterville is willing to risk committing perjury? This episode introduces Jonathan Daly as Orrin Pike, bumbling game warden and erstwhile boyfriend of Joe's niece Bobbie Jo (Lori Saunders). ~ Hal Erickson, All Movie Guide

Written and directed by Michael Landon, "The Wish" would remain Landon's favorite Bonanza episode long after its original airing on March 9, 1969. Preparing for a two-month fishing trip, Hoss Cartwright meets Sam Davis (Ossie Davis), an ex-slave trying to make a go of a drought-plague farm. Though Hoss would like to offer assistance, he hesitates, fully aware that Sam is too fiercely proud to accept help from a white man. Conversely, Sam's son John (George Spell) immediately bonds with Hoss-and expresses the disturbing wish that his own father was white! Recalling his participation in this episode, guest star Ossie Davis told TV Guide "I like the script. It shows a black man heading a family and fighting to keep it together. He encounters prejudice. . .There's no pat ending. The story says a great deal without making speeches." Unfortunately, "The Wish" is one of those "lost" Bonanza episodes which, for various reasons, is seldom rebroadcast today. ~ Hal Erickson, All Movie Guide

In the series' second takeoff of the TV western Branded, Cpl. Agarn faces death by firing squad for the murder of Sgt. O'Rourke. As Agarn awaits his fate, flashbacks reveal how all this came about (and though we don't want to spoil the suspence, it can be noted that O'Rourke is still alive and kicking). The storyline is fused together by a plaintive ballad, composed by F Troop producer Herm Saunders and the episode's cowriters Austin Kalish and Irma Kalish, and performed by John Mitchum, who'd made several appearances in Season One as Trooper Hoffenmueller. (And yes, John Mitchum is the brother of Robert Mitchum). ~ Hal Erickson, All Movie Guide

This dull House of Wax variant involves a claw-handed escaped maniac (Patrick O'Neal), who rampages through late 19th-century Baltimore on a mission of vengeance. Hot on his trail are the proprietors of a "House of Horrors" wax museum and their Mexican dwarf sidekick Tun-Tun. Initially conceived as a TV movie, this tepid horror-thriller was instead spiced up with additional gore and violence for theatrical release. Apparently this was still not enough, as the producers then decided to add a few William Castle-type gimmicks -- the "Fear Flasher" and "Horror Horn" -- to prepare audiences for upcoming bouts of onscreen bloodletting. Unfortunately, no such device was employed to warn viewers of imminent boredom. ~ Cavett Binion, All Movie Guide

Why is Herman (Fred Gwynne) prancing around the mansion singing "Shuffle Off to Buffalo"? Well, it seems that he's in line for a big promotion, which he will receive if he relocates to Buffalo with his family. Unfortunately, Eddie (Butch Patrick) has just been made captain of his high school baseball team and doesn't want to move. Ultimately, Herman decides to remain in Mockingbird Heights--just as Grandpa (Al Lewis) has made arrangements to have the Munster Mansion demolished! ~ Hal Erickson, All Movie Guide

John Ford's last western film, Cheyenne Autumn was allegedly produced to compensate for the hundreds of Native Americans who had bitten the dust in Ford's earlier films (that was the director's story, anyway). Set in 1887, the film recounts the defiant migration of 300 Cheyennes from their reservation in Oklahoma territory to their original home in Wyoming. They have done this at the behest of chiefs Little Wolf (Ricardo Montalban) and Dull Knife (Gilbert Roland), peaceful souls who have been driven to desperate measures because the US government has ignored their pleas for food and shelter. Since the Cheyennes' trek is in defiance of their treaty, Captain Thomas Archer (Richard Widmark), who agrees with the Indians in principle, reluctantly leads his troops in pursuit of the tribe. While there was never any intention to shed blood, the white press finds it politically expedient to distort the Cheyennes' action into a declaration of war. Thanks to the cruelties of such chauvinistic whites as Captain Oscar Wessels (Karl Malden), the Cheyennes are forced to defend themselves--and whenever Indians take arms against whites in the 1880s, it's usually misrepresented as a massacre. Only the intervention of US secretary of the interior Carl Schurz (Edward G. Robinson) prevents the hostilities from erupting into wholesale bloodshed. Based on a novel by Mari Sandoz, Cheyenne Autumn is a cinematic elegy--not only for the beleaguered Cheyennes, but for John Ford's fifty years in pictures. It is weakest when arbitrarily throwing in a wearisome romance between Richard Widmark and pacifistic schoolmarm Carroll Baker, who out of sympathy for the Indians has joined them in their 1500-mile westward journey. When the Warner Bros. people decided that the film ran too long, they chopped out the wholly unnecessary but very funny episode involving a poker-obsessed Wyatt Earp (James Stewart). Contrary to popular belief, this episode was included in the earliest non-roadshow prints of Cheyenne Autumn; the scene was excised only when the film went into its second and third runs in 1966 (it has since been restored). ~ Hal Erickson, All Movie Guide

Betty Rose (Carmen Phillips) is ticked off when her boyfriend, Dandy Arthur (Robert Loggia), returns from military service with a young wife named Mieko (Pilar Seurat) in tow. After "helpfully" warning Mieko that Dandy has a homicidal streak, Betty confronts her ex-beau, resulting in a violent argument which ends with Betty's death. For a while, Mieko refuses to believe that her husband might be responsible for the tragedy -- until she stumbles upon some evidence that may well sign her own death warrant. ~ Hal Erickson, All Movie Guide

John Ford's last film to deal with World War II, Donovan's Reef is an alternately comical and sentimental look back on the fighting Navy men from that war, and how and where -- in Ford's eyes, and Frank Nugent and James Edward Grant's script -- they should have ended up. Michael "Guns" Donovan (John Wayne), Thomas "Boats" Gilhooley (Lee Marvin), and Dr. William Dedham (Jack Warden), a trio of navy veterans who fought on the Pacific island of Haleakalowa during the war, now live on the island. Donovan and Gilhooley, biding time and enjoying themselves, engage in rough-house hijinks among themselves, and are both part of the doctor's extended family, enjoying the good will of the islanders for whom they fought during the war. While Dedham is away on a call to a neighboring island, his grown daughter, Amelia (Elizabeth Allen), from his first marriage, whom he has never seen, announces that she is arriving from Boston to determine Dedham's fitness of character to inherit the majority shares in the family shipping business. Donovan contrives to present Dedham's three Polynesian children, whom the doctor had with the island's hereditary princess, as his own, and also squires Amelia around the island in her father's absence. In the process, the cold Bostonian woman discovers a whole world -- of passion, joy, heroism, and a life among men and women whose lives have been about something other than making money -- that she's never known. She also understands all of the good that her father has accomplished away from Boston, even though it entailed abandoning her. Sparks and even a few fists fly between Donovan and Amelia (and between Donovan and several other characters), in the usual Ford rough-house manner, before their eventual reconciliation and a romantic clinch at the end, in this sweet, sentimental comedy-drama. ~ Bruce Eder, All Movie Guide

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