The Sea Chase (1955)

The elusive Sea Captain and his blonde woman in an explosive, suspense-packed story of high daring on the high seas! A rare John Wayne Classic Old Movie.

The Sea Chase is a 1955 World War II film starring John Wayne and Lana Turner. The film was directed by John Farrow and written by James Warner Bellah. The plot is basically a nautical cat and mouse game, with Wayne determined to get his German freighter home during the first few months of the war, all the while being chased by British and Australian naval ships.

Watch Movie- the Sea Chase

Starring;
John Wayne as Capt. Karl Ehrlich
Lana Turner as Elsa Keller
David Farrar as Cmd. Jeff Napier
Lyle Bettger as Chief Officer Kirchner
Tab Hunter as Cadet Wesser
James Arness as Schlieter
Richard Davalos as Cadet Walter Stemme (as Dick Davalos)
John Qualen as Chief Engineer Schmitt
Paul Fix as Max Heinz
Lowell Gilmore as Capt. Evans
Luis Van Rooten as Matz
Alan Hale, Jr. as Wentz (billed as Alan Hale)
Wilton Graff as Counsel General Hepke
Peter Whitney as Bachman
Claude Akins as Winkler (billed as Claude Akin)

The Conqueror (1956)

In ancient times, the Mongolian warlord Temujin must do battle against the rival tribe that killed his father. The battles pale in comparison with Temujin's home life, as he attempts to woo the heart of the red-haired Tartar prisoner Bortai whom he has captured in a raid. He must also deal with various intrigues within his palace. Eventually, Bortai falls to his manly charms, Temujin defeats his enemies within and without, and is crowned Genghis Khan.

The Conqueror is a 1956 CinemaScope epic film produced by Howard Hughes and starring John Wayne as the Mongol conqueror Genghis Khan. Other performers included Susan Hayward, Agnes Moorehead, and Pedro Armendáriz. The picture was directed by actor/director Dick Powell. The film was principally shot near St. George, Utah.

The picture was a critical and commercial failure (often ranked as one of the worst films of the 1950s), which is remarkable given the stature of the cast. Wayne, who was at the height of his career, had lobbied for the role after seeing the script and was widely believed to have been grossly miscast. (He was so "honored" by The Golden Turkey Awards.)

Reportedly, Howard Hughes felt guilty about his decisions regarding the film's production (see Cancer controversy below) and kept the film from view until 1974 when it was first broadcast on TV. The Conqueror, along with Ice Station Zebra, is said to be one of the films Hughes watched endlessly during his last years.



The exterior scenes were shot on location near St. George, Utah, 137 miles downwind of the United States government's Nevada Test Site, Operation Upshot-Knothole, where extensive above-ground nuclear weapons testing occurred during the 1950s. The cast and crew spent many difficult weeks on the site. In addition, Hughes later shipped 60 tons of dirt back to Hollywood for re-shoots. The film-makers knew about the nuclear tests—there are pictures of Wayne holding a Geiger counter during production—but the link between exposure to radioactive fallout and cancer was poorly understood then.

Powell died of cancer in January 1963, only a few years after the picture's completion. Hayward, Wayne, and Moorehead all died of cancer in the mid to late 1970s. Cast member actor John Hoyt died of lung cancer in 1991. Pedro Armendáriz was diagnosed with kidney cancer in 1960 and committed suicide after he learned it was terminal. Skeptics point to other factors such as the wide use of tobacco—Wayne and Moorehead in particular were heavy smokers—and the notion that cancer resulting from radiation exposure does not have such a long incubation period. The cast and crew totaled 220 people. By 1981, 91 of them had developed some form of cancer and 46 had died of the disease. Dr. Robert Pendleton, professor of biology at the University of Utah, stated, "With these numbers, this case could qualify as an epidemic. The connection between fallout radiation and cancer in individual cases has been practically impossible to prove conclusively. But in a group this size you'd expect only 30 some cancers to develop...I think the tie-in to their exposure on the set of The Conqueror would hold up in a court of law."

She Wore A Yellow Ribbon (1949)

John Wayne stars in the Classic John Ford Western

She Wore a Yellow Ribbon is a 1949 western film directed by John Ford and starring John Wayne. The film was the second of Ford's trilogy of films focusing on the US Cavalry (and the only one in color), the other two films being Fort Apache (1948) and Rio Grande (1950). With a budget of $1.6 million, the film was one of the most expensive westerns of the time, but became a major hit for RKO and remains a popular classic today.

Known for its breathtaking views of Monument Valley located in the Navajo reservation, at the northern edge of Arizona; the cinematographer, Winton Hoch, won the 1950 Academy Award for Best Color Cinematography. Ford and Hoch based much of the film's imagery on the paintings and sculptures of Frederic Remington.

Ford demonstrated a number of standard Cavalry procedures in horse management in this and other movies. Strict rotation between walk, trot, and leading the horses made them last as long as possible. They were still no match for the lightly burdened Indian horses for endurance, but US Cavalry horses were fed grain (when available), and this helped even the odds a bit.

The film is named after a song common in the U.S. military, "She Wore a Yellow Ribbon", which is still used today to keep marching cadence. It is a variant of the song "All Around My Hat"



Plot Synopsis;

On the verge of his retirement at Fort Starke, a one-troop cavalry post, the aging US Cavalry Capt. Nathan Cutting Brittles (John Wayne) is given one last patrol, to take his troop and deal with a breakout from the reservation by the Cheyenne and Arapaho following the defeat of George Armstrong Custer. His task is complicated by being forced at the same time to deliver his commanding officer's wife and niece, Abby Allshard (Mildred Natwick) and Olivia Dandridge (Joanne Dru)), to an east-bound stage, and by the need to avoid a new Indian war. His troop officers, 1st Lt. Flint Cohill (John Agar) and 2nd Lt. Ross Pennell (Harry Carey, Jr.) meanwhile vie for the affections of Miss Dandridge while uneasily anticipating the retirement of their captain and mentor. Rounding out the cast are Capt. Brittles' chief scout, Sgt. Tyree (Ben Johnson), a one-time Confederate cavalry officer; his First Sergeant, Quincannon (Victor McLaglen); and Major Allshard (George O'Brien), long-time friend and C.O.

After apparently failing in both missions, Capt. Brittles returns with the troop to Fort Starke to retire. His lieutenants continue the mission in the field, joined by Capt. Brittles after "quitting the post and the Army". Unwilling to see more lives needlessly taken, Capt. Brittles takes it upon himself to try to make peace with Chief Pony That Walks (Chief John Big Tree). When that too fails, he devises a risky stratagem to avoid a bloody war.

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Fort Apache (1948)

John Wayne, Henry Fonda, Shirley Temple.

In Fort Apache,  John Ford's sombre exploration mythologising of American heroes, he slowly reveals the character of Owen Thursday, who sees his new posting to the desolate Fort Apache as a chance to claim the military honour which he believes is rightfully his. Arrogant, obsessed with military form and ultimately self-destructive, Thursday attempts to destroy the Apache chief Cochise after luring him across the border from Mexico, against the advice of his subordinates.
Plot;
Lieutenant-Colonel Owen Thursday arrives at a frontier fort to take up his new command. His harsh, unbending philosophy of soldiering creates something of a stir in the regiment. His pretty daughter Philadelphia causes a rather different commotion.

The headstrong commander refuses to listen to the advice of his loyal captain, Kirby York, who knows frontier life and enjoys a rapport with the indian chiefs. The two officers are both strong characters, and their differing ideas inevitably lead to a clash.




Cochise and his braves are willing to accommodate the white man so long as their concerns are handled with diplomacy. Unfortunately, the high-handed approach of Lieutenant-Colonel Thursday cause relations to deteriorate, and conflict ensues.

In the course of the 1940's and 50's, director John Ford returned repeatedly to this subject-matter, John Wayne in Monument Valley with the US cavalry, fighting redskins and singing Irish folksongs. The stirring anthem in this movie is "The Girl I Left Behind Me", sung as the regiment rides out in full panoply to meet Cochise - although "She Wore A Yellow Ribbon" gets an airing, too.

The cavalry regiment itself is a protagonist in the story, regarded as a living entity by its members. When Captain York is promoted to Colonel and commands the regiment, he makes a powerful speech stressing the continuity and tradition which have made the regiment great. The sense of hierarchy is strong. This is a world of order in which army regulations govern even the way an officer presents his calling-card. Soldiers can quote the regulations by heart. This well-regulated military force will, we feel, impose civilisation on this wild frontier.

Examples of the regiment's rigid code keep recurring. The NCOs' dance has its own elaborate protocol, which not even Colonel Thursday dares to flout. Feelings over the O'Rourke marriage reach boiling-point, but everyone adheres to the rules of military courtesy. Washington's Birthday is celebrated as a regimental occasion. The Irish sergeants are all related by blood and marriage, and as their exuberant fraternal greetings subside, military discipline asserts itself effortlessly.

"I'm not a martinet," protests Colonel Thursday, the most extreme martinet imaginable. He is inflexible in his enforcement of the military code, and too stubborn and wrongheaded to listen to the advice of his officers, who are experienced frontier campaigners. He completely misses the presence of Cochise's war party because he has no combat experience and doesn't know to watch the skyline for dust clouds. In addition, Thursday is a terrible snob. He calls young Michael O'Rourke a 'savage' for a perceived laxity of discipline, and sets his face against the marriage of Michael and Philadelphia because of "the barrier between your class and mine". He is dismayed that the son of a sergeant should have passed through West Point, and needlessly offends Cochise by talking down to him.



And yet even Owen Thursday has a human side. We gather that there is some personal secret between him and Captain Collingwood, and we almost smile when the armchair collapses under him. Most tellingly, Thursday returns to the beleaguered redoubt after he has been rescued. He redeems himself by rejoining his soldiers in the thick of the fighting.

When young Philadelphia Thursday (Shirley Temple) studies Michael O'Rourke in her purse mirror, we know that these two will be the love interest. Also, as this incident illustrates, the womenfolk of Fort Apache tend to run the show in this masculine enclave. The Thursday residence is somewhat joyless, especially when compared with Aunt Emily's cosy quarters. The women brush aside the colonel's seniority and call in Mrs. O'Rourke to refurnish the place. In one of the film's good jokes, no fewer than eight Mrs. O'Rourkes answer the call. There is a touching scene when the regiment moves out and the women are left together. Mrs. Collingwood is torn, because her husband has his safe posting back east and needn't go into battle, but she knows how important it is for him to prove his courage. The womenfolk urge her to call him back, but she reluctantly allows him to ride out.

John Ford laced many of his films with Irish humour, and "Fort Apache" is no exception. The ubiquitous Victor McLaglen plays Sergeant Festus Mulcahy, and he and the O'Rourkes run the fort - that is, whenever they are not in the jailhouse on charges of drinking and brawling. Outrageously, Mulcahy promotes a raw recruit to corporal, simply because he's Irish. Quincannon virtually lives in the jailhouse, but he has a fine tenor voice, so he is released from custody in order to serenade the young lovers with his rendition of "Genevieve". When the dishonest trader Meacham has his whisky stock confiscated and marked for destruction, the sad faces of the sergeants make a comical picture, and the subsequent 'destruction' is even funnier.

Ford is a master of composition. York rides out to parley with Cochise and is engrossed in dialogue, leaving Thursday stranded and excluded. We hear the thunder of hooves offscreen before we see the charge, and its impact is magnified accordingly. In the sequence where York and Beaufort ride to negotiate with Cochise, the screen is filled with stunning images of rock and sky. The charging cavalry are cleverly 'lost' in their own dust, which closes behind them like a curtain, ending the scene.

Wayne is curiously subdued in this film. This is partly because he plays a conscientious subordinate, and partly because the confrontation with Fonda is eclipsed by other plot developments.

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Rio Bravo (1959)

John Wayne is Chance in Rio Bravo, a lean Western classic packing solid heroics and a strong emotional core. He's joined by Dean Martin as the deputy coming off a two-year drunk, Walter Brennan as the old coot whose spirit outmatches his hobbled stride, Ricky Nelson as a youth out to prove himself and Angie Dickinson as a scarlet woman with her eyes on Chance.
On one side is an army of gunmen dead-set on springing a murderous sidekick from jail. On the other is Sheriff John T. Chance and his two deputies: one a drunk, the other a cripple.

The sheriff of a small town in southwest Texas must keep custody of a murderer whose brother, a powerful rancher, is trying to help him escape. After a friend is killed trying to muster support for him, he and his deputies - a disgraced drunk and a cantankerous old cripple - must find a way to hold out against the rancher's hired guns until the marshal arrives. In the meantime, matters are complicated by the presence of a young gunslinger - and a mysterious beauty who just came in on the last stagecoach.



In the town of Rio Bravo, Dude ("Borachón"; played by Dean Martin), the town drunk, enters a saloon wanting a drink. Joe Burdette (Claude Akins), seeing Dude eying his glass, throws a silver dollar into a spittoon to mock him. Just as Dude goes for the spittoon, Presidio County, Texas, Sheriff John T. Chance (John Wayne) kicks the spittoon away, looking at Dude with pity and disgust. As Chance turns to face Joe Burdette, Dude grabs a small piece of firewood and clubs Chance on the head, knocking him unconscious. Dude then starts toward Burdette, but two of his hired cow punchers grab Dude. Burdette starts to beat Dude with the two men holding him. A bystander grabs Burdette's arm so he can't swing on Dude again. Burdette draws his gun and shoots the bystander in the stomach. The close-up of Joe's revolver discharging is the first close-up in the film. Burdette then leaves the saloon and heads for another one thinking that he can do no wrong.

In the second saloon, after Burdette has another drink, Sheriff Chance enters with his Winchester aimed at Burdette, to arrest him for the murder of the bystander. One of Burdette's men then draws his Colt revolver on Chance and creates a stalemate. Dude enters behind two of Burdette's men and then takes the revolver of the man standing in front of him and shoots the gun out of the hand of the Burdette man. Chance then whips Burdette across the face with the rifle, knocking him unconscious. Chance and Dude drag Burdette out of the saloon, headed for the jail.

 

Joe Burdette is the brother of a powerful rancher, Nathan Burdette (John Russell). The rancher's men then quarantine the town in preparation to breaking Burdette out of jail. The only help Chance has are his deputies Dude and Stumpy (Walter Brennan), an old cripple. Pat Wheeler (Ward Bond), a wagoneer, enters town with a wagon load of supplies from Fort Worth. Tensions are further strained by the presence of a young gunslinger hired by Wheeler to guard his wagons, Colorado Ryan (Ricky Nelson), and the arrival of a mysterious woman, Feathers (Angie Dickinson), who becomes romantically involved with Chance.

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