RSS Feed

Tag Archives: Ralph Peters

Trail to San Antone (Jan. 25, 1947)

Have you ever wanted to see Gene Autry rope a stallion from the air? I hadn’t until I saw the climactic few minutes of John English’s Trail to San Antone, but as soon as Gene leaned out of the passenger side of the airplane piloted by feisty Kit Barlow (Peggy Stewart) and dropped a lariat, I said to myself, “Yee haw, Gene! Git ‘er done.”

It’s not as dangerous for the horse as it might sound. Kit doesn’t bring the plane in for a landing while Gene continues to control the horse or anything like that. As soon as the lariat is around the stallion’s neck, Gene drops the rope, which has a spare tire attached to the other end. One more good ropin’ job, and that stallion ain’t goin’ nowhere fast, pardner.

Trail to San Antone is solid entertainment for fans of Gene Autry. He’s backed up by the Cass County Boys (Fred S. Martin, Jerry Scoggins, and Bert Dodson), who do double duty as ranch hands and Autry’s back-up band. Dependable Republic Pictures heavy Tristram Coffin plays the bad guy, Cal Young, who’s attempting to derail the career of a young jockey named Ted Malloy (Johnny Duncan), whom Gene has taken under his wing. And the horrible comic relief is provided by the rubber-faced Sterling Holloway, as the cowardly and pencil-necked Droopy Stearns.

The film is bookended by performances of “Down the Trail to San Antone,” by Deuce Spriggins. Over the course of the picture, Autry and the Cass County Boys belt out plenty of pleasant country & western tunes, including Autry and Cindy Walker’s “The Cowboy Blues,” Spade Cooley’s “Shame on You,” Sid Robin’s “That’s My Home,” and Marty Symes and Joseph Burke’s “By the River of the Roses.”

Advertisements

Nobody Lives Forever (Nov. 1, 1946)

Jean Negulesco’s Nobody Lives Forever is far from a great film, but it’s crackerjack entertainment. Warner Bros. had been making crime pictures for 16 profitable years at this point. While the heyday of the Warner gangster film may have been in the ’30s, this is a fine example of the quality product the studio was still churning out in the post-war era.

The screenplay is by W.R. Burnett, whose 1929 novel Little Caesar was made into a film in 1931 starring Edward G. Robinson — the first of Warner’s great cycle of gangster movies. Nobody Lives Forever is based on Burnett’s novel I Wasn’t Born Yesterday, and while it may not be as significant as Little Caesar, it’s still a tight thriller with plenty of snappy tough-guy dialogue.

Besides the good script and excellent direction, the picture works as well as it does because of impeccable casting. When you’re looking for a hard-bitten but essentially decent con man, you can’t ask for a better protagonist than John Garfield. A kindly, doddering old mentor of cons named “Pop”? Who better than Walter Brennan? A sweaty, bug-eyed, paranoid louse named “Doc” who desperately needs one decent score to get back on top? Is George Coulouris available?

Garfield plays Nick Blake, a World War II veteran honorably discharged after being wounded in action. One of his hands doesn’t close quite right, but other than that he’s none the worse for wear. After his sidekick Al Doyle (George Tobias) picks him up from the hospital in Governor’s Island, they take the ferry back to Manhattan, where he reunites with his girl, Toni Blackburn (Faye Emerson). As she sings “You Again” in a swanky nightclub, Nick follows the mustachioed club owner Chet King (Robert Shayne) into his office to settle a beef over money. Rudi Fehr’s editing in this sequence is superb, cutting between Toni on stage, Al standing guard outside the office, and Nick bracing Chet inside.

After Toni finishes her number, Nick confronts her, then kisses her passionately, then smacks her in the face for double crossing him.

The action soon switches to California, where Al has gotten a line on a widow with a $2 million fortune, which — as Pop points out — is a lot of money, even after taxes. Nick, a handsome “diamond in the rough,” is the perfect candidate to pose as a shipping magnate and charm her out of her cash.

Unlike most long cons, Nick, Pop, Doc, Al, and the other members of their crew meet in smoky back rooms as if they’re planning a bank heist. The only problem with the job is that Nick actually starts to fall for the widow, Gladys Halvorsen (Geraldine Fitzgerald), who turns out to be younger than most widows, and a dish to boot.

When Doc pushes Nick to close the deal, he shoots back, “I’m not used to operating with a bunch of cheap, hungry chiselers who should be in the strong-arm racket. Big deals take time.”

Garfield has great chemistry with his co-stars, particularly the ladies, but the relationships take a back seat to the action, especially during the final climactic 20 minutes.

Sure, there are some holes in the plot, and there’s nothing deep about Nobody Lives Forever, but it’s a hell of a way to kill an hour and 40 minutes.