Top Ten Favorite Movies Set in the 1870s

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Below is my current list of favorite movies set in the 1870s:

TOP TEN FAVORITE MOVIES SET IN THE 1870s

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1. “The Age of Innocence” (1993) – Martin Scorcese directed this exquisite adaptation of Edith Wharton’s award winning 1920 novel about a love triangle within New York’s high society during the Gilded Age. Daniel Day-Lewis, Michelle Pfieffer and Oscar nominee Winona Ryder starred.

 

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2. “The Big Country” (1958) – William Wyler directed this colorful adaptation of Donald Hamilton’s 1958 novel, “Ambush at Blanco Canyon”. The movie starred Gregory Peck, Jean Simmons, Carroll Baker and Charlton Heston.

 

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3. “True Grit” (2010) – Ethan and Joel Coen wrote and directed this excellent adaptation of Charles Portis’ 1968 novel about a fourteen year-old girl’s desire for retribution against her father’s killer. Jeff Bridges, Matt Damon and Hattie Steinfeld starred.

 

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4. “Far From the Madding Crowd” (2015) – Carey Mulligan, Matthias Schoenaerts, Tom Sturridge and Michael Sheen starred in this well done adaptation of Thomas Hardy’s 1874 novel about a young Victorian woman who attracts three different suitors. Thomas Vinterberg directed.

 

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5. “Around the World in 80 Days” (1956) – Mike Todd produced this Oscar winning adaptation of Jules Verne’s 1873 novel about a Victorian gentleman who makes a bet that he can travel around the world in 80 days. Directed by Michael Anderson and John Farrow, the movie starred David Niven, Cantiflas, Shirley MacLaine and Robert Newton.

 

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6. “Stardust” (2007) – Matthew Vaughn co-wrote and directed this adaptation of Neil Gaman’s 1996 fantasy novel. The movie starred Charlie Cox, Claire Danes and Michelle Pfieffer.

 

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7. “Fort Apache” (1948) – John Ford directed this loose adaptation of James Warner Bellah’s 1947 Western short story called “Massacre”. The movie starred John Wayne, Henry Fonda, John Agar and Shirley Temple.

 

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8. “Zulu Dawn” (1979) – Burt Lancaster, Simon Ward and Peter O’Toole starred in this depiction of the historical Battle of Isandlwana between British and Zulu forces in 1879 South Africa. Douglas Hickox directed.

 

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9. “Young Guns” (1988) – Emilio Estevez, Kiefer Sutherland and Lou Diamond Phillips starred in this cinematic account of Billy the Kid’s experiences during the Lincoln County War. The movie was directed by Christopher Cain.

 

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10. “Cowboys & Aliens” (2011) – Jon Favreau directed this adaptation of Scott Mitchell Rosenberg’s 2006 graphic novel about an alien invasion in 1870s New Mexico Territory. The movie starred Daniel Craig, Harrison Ford and Olivia Wilde.dom

“THE SACKETTS” (1979) Review

Below is my review of the 1979 miniseries called “THE SACKETTS”:

“THE SACKETTS” (1979) Review

Thirty years ago, CBS aired a two-part miniseries (or television movie) based upon two novels written by the late Louis L’Amour. Directed by Robert Totten, “THE SACKETTS” starred Sam Elliott, Tom Selleck and Jeff Osterhage as the three Sackett brothers.

”THE SACKETTS” told the story of Tell (Elliott), Orrin (Selleck) and Tyrel (Osterhage) Sackett and their efforts to make new lives for themselves in the post-Civil War West. Screenwriter Jim Byrnes took two novels about the Sackett brothers – “The Daybreakers” (1960) and “Sackett” (1961) – and weaved them into one story. “The Daybreakers” mainly focused upon Tyrel and Orrin’s efforts to settle out West following the tragic circumstances of a family feud in East Tennessee. The two brothers eventually become involved in a between an elderly New Mexican rancher (Gilbert Roland) and a bigoted American businessman (John Vernon) in Santa Fe. At the same time, Tyrel struggles to keep the peace between a former New Orleans attorney named Tom Sunday (Glenn Ford), whom the two brothers had befriended during a cattle drive and Orrin. “Sackett”, on the other hand, focused upon the oldest Sackett brother and former Civil War veteran, Tell. Tell’s story centered around his search for gold in the Sangre de Cristo Mountains and his problems with a family of outlaws who want revenge for Tell’s killing of their brother, a crooked gambler.

To Totten and Byrnes’ credit, they did an admirable job of fusing the two novels by adding two reunions between the brothers near the ends of Parts 1 and 2. They also allowed the supporting character of Cap Roundtree (Ben Johnson), a grizzled former mountain man whom Tyrel and Orrin also meet on the cattle drive; to break away from the two younger brothers and join Tell’s hunt for gold following the three brothers’ reunion at the end of Part 1. “THE SACKETTS” is also an entertaining and solid Western with two interesting tales that involve land feuds, romance, brotherly love, political change, vengeance and plenty of action.

One of the best aspects of the miniseries focused upon the developing hostility between the middle Sackett brother Orrin, and the brothers’ friend, Tom Sunday in Part 2. It was an interesting tale on how a solid friendship could easily sour over a difference of opinion regarding moral compass. After Cap had hooked up with Tell; Tyrel, Orrin and Sunday encountered the smoking remains of an emigrant family that had been killed by Ute warriors. Sunday wanted to split the money between the three of them. Orrin, upon discovering a letter written to the family by a relative, wanted to send the money back to said relative. Orrin got his way. And Tom’s resentment toward Orrin ignited. That same resentment exacerbated when he lost the election of Santa Fe’s new sheriff to the middle Sackett.

Politics also played a major role in the miniseries. The topic focused upon a feud between an aging New Mexican rancher Don Luis Alvarado (Gilbert Roland) and American businessman Jonathan Pritts (John Vernon). The feud was mainly the old Anglos vs. Mexican conflict that still dominates the Southwest to this day. The Sacketts became dragged into it, due to Orrin’s courtship of Pritts’ daughter (Marcy Hanson) and Tyrel’s romance with Don Luis’ granddaughter, Drusilla (Ana Alicia). In the end, the Sacketts and even Sunday sided with the New Mexicans. One has to applaud L’Amour for introducing this topic into the story, and for screenwriter Byrnes for maintaining it. But if I must be honest, I thought the execution of Don Luis’ feud with Pritts came off as heavy-handed and preachy.

One would think that Tell Sackett’s hunt for gold would dominate his storyline. Amazingly, it did not. Well, Tell did meet and fall in love with a woman named Ange Kerry (Wendy Rastattar), who had been stranded in the Sangre de Cristo Mountains for several years. But his story mainly focused upon his problems with the brothers (Jack Elam, Slim Pickens and Gene Evans) of crooked gambler named Bigelow (James Gammon), whom he had killed early in Part 1. This reminded me of a line from the 1984 adventure-comedy, “ROMANCING THE STONE”“But if there was one law of the West, bastards had brothers . . . who seemed to ride forever.” And both Tell and Cap eventually discovered that the Bigelows had brothers and allies everywhere. One ally turned out to be an insecure gunfighter named Kid Newton (Paul Kelso), who had an unfortunate and humiliating encounter with Tell and Cap at a local saloon. Tell’s problems with the Bigelows culminated in a tense situation in the Sangre de Cristo foothills and a violent showdown in a nearby town.

Most of the performances featured in “THE SACKETTS” struck me as pretty solid. To the cast’s credit, they managed to use mid-to-late 19th century dialogue without being sloppy or indulging in what I considered the cliché ‘Frontier’ speech pattern that seemed popular in the Westerns of the late 1970s and early 1980s. However, I found at least four performances that really impressed me. One of them belonged to Sam Elliott, who portrayed the oldest brother, Tell. I might as well be frank. He has always been a favorite actor of mine for a long time. With his grizzled, deep voice and demeanor, the man looked as if he had stepped out of a 19th century daguerreotype. He also did an effective job of conveying Tell Sackett’s loner personality, making it easy for viewers to accept the idea that this is a man who would wait years before contacting any members of his family.

Another performance that impressed me belonged to Jeff Osterhage as the tense, yet pragmatic youngest Sackett, Tyrel. To this day, I am amazed that Osterhage never became a big star in television or movies. He seemed to have possessed both the looks and screen presence to become one. And I was certainly impressed by his ability to portray Tyrel’s pragmatic, yet intimidating nature. Traits that led him to be the best shot in the family.

I also enjoyed Wendy Rastattar’s performance as Ange Kerry, the young woman that Tell and Cap had discovered in the mountains. Rastattar did a first-rate job in portraying a tough, yet passionate young woman, who ended up falling in love with Tell. But the best performance came from Hollywood icon, Glenn Ford as the enigmatic friend of the Sacketts, Tom Sunday. In Ford’s hands, Sunday became one of a gallery of complex characters he had portrayed during his career. For me, it was sad to watch Sunday regress from Orrin and Tyrel’s wise mentor to Orrin’s drunken and embittered foe. And Ford did an excellent job in exploring Sunday’s many nuances, including those flaws that led to his downfall.

One might noticed that I had failed to include Tom Selleck’s performance as one of the more impressive ones, considering that both Elliott and Osterhage made the list. I found nothing wrong with Selleck’s performance. Unfortunately, he had the bad luck to portray Orrin, the least interesting member of the Sackett family. Orrin was an affable, yet solid character that lacked any nuances, which could have made him as interesting as his brothers. A great deal happened to Orrin in this story. He lost his bride in a family feud, fell briefly in love with the villains’ daughter and pissed off Tom Sunday. Yet, he was not very interesting character. Which left the talented Selleck with very little to work with.

The movie’s production values struck me as very impressive. Production designer Johannes Larson, costume designers Carole Brown-James and Barton Kent James, and cinematographer Jack Whitman did an excellent job in capturing the ambiance of the Old West circa 1869-1870. Along with the director Totten, they managed to create a West during a period before it truly threatened to become settled. They managed to capture the ruggedness and beauty of the West without overcompensating themselves, like many other Westerns released after the 1960s tend to do.

Many years have passed since I have read “The Daybreakers” and “Sackett”. Which is my way of saying that I cannot tell whether the miniseries was a completely faithful adaptation of the two novels. If I must be honest, I really do not care whether it is faithful or not. The television version of the two novels – namely “THE SACKETTS” – is a first-rate and entertaining saga. I am certain that many fans of Louis L’Amour will continue to enjoy it.

“AROUND THE WORLD IN 80 DAYS” (1956) Review

“AROUND THE WORLD IN 80 DAYS” (1956) Review

Based upon Jules Verne’s 1873 classic novel, ”AROUND THE WORLD IN 80 DAYS” is the story of a 19th century English gentleman named Phileas Fogg and his newly employed French valet, Passepartout, attempt to circumnavigate the world in eighty (80) days on a £20,000 wager set by his friends at the Reform Club. Produced by Michael Todd, the Academy Award winning film starred David Niven, Cantinflas, Shirley MacLaine and Robert Newton. 

Could someone please explain how ”AROUND THE WORLD IN 80 DAYS” managed to win the 1956 Best Picture Academy Award? How on earth did this happen? Do not get me wrong. Ever since I first saw ”AROUND THE WORLD IN 80 DAYS” on television years ago, I have been a fan of the movie. The idea of someone taking a long journey around the world – especially in an age before air travel – greatly appealed to me. It still does. I like the idea of travel, whether I am doing it myself or watching it on the big screen or on television. And even after all of these years, I still enjoy watching this movie. And yet . . . I simply cannot fathom the idea of it being considered the Best Picture of 1956. Even more surprising is the fact that John Farrow, S. J. Perelman, and James Poe all won Oscars for Best Adapted Screenplay.

Perhaps the reason behind the movie’s accolades centered around Hollywood’s amazement that first time movie producer, Mike Todd, had succeeded in not only completing the film, but also creating an entertaining one. Two men directed this film – Michael Anderson, an Englishman who had only directed seven movies before ”AROUND THE WORLD IN 80 DAYS”; and John Farrow, a well-known Australian director who had co-written the film’s script. Farrow, by the way, did not receive any credit for his work as a director of this film. Which makes me wonder how many scenes he actually directed. Considering the movie’s running time of 183 minutes (3 hours and 3 minutes), I find it surprising that it took only seventy-five (75) days to shoot it. Along with the four leading actors, the movie featured over forty (40) stars, 140 locations, 100 sets and over 36,000 costumes. No wonder Hollywood seemed amazed that Todd managed to finish the film.

Set around 1872, ”AROUND THE WORLD IN 80 DAYS” told the story an English gentleman named Phileas Fogg (David Niven) who claims he can circumnavigate the world in eighty days. He makes a £20,000 wager with several skeptical fellow members of his London gentlemen’s club (Trevor Howard, Robert Morley and Finlay Currie included), the Reform Club, that he can arrive back within 80 days before exactly 8:45 pm. Together with his resourceful valet, Passepartout (Mario Moreno “Cantinflas”), Fogg sets out on his journey from Paris via a hot air balloon. Meanwhile, suspicion grows that Fogg has stolen his £20,000 from the Bank of England. Police Inspector Fix (Robert Newton) is sent out by Ralph the bank president (Robert Morley) to trail and arrest Fogg. Hopscotching around the globe, Fogg pauses in Spain, where Passepartout engages in a comic bullfight; and in India, Fogg and Passepartout rescue young widow Princess Aouda (Shirley MacLaine) from being forced into a funeral pyre so that she may join her late husband. The threesome visit Hong Kong, Japan, San Francisco, and the Wild West. Only hours short of winning his wager, Fogg is arrested upon returning to London by the diligent, yet misguided Inspector Fix.

The main differences between Jules Verne’s novel and the movie centered around Fogg and Passepartout’s efforts to leave Europe. Quite frankly, the novel never featured Fogg’s journey through Europe. In the novel, there were no stops in either France or Spain. Fogg had considered using a hot air balloon in Chapter 32, but quickly dismissed it. Also, Fogg never punched Detective Fix after being released from jail near the film’s finale. He simply insulted the detective’s skills as a whist player.

I might as well stop beating around the bush. What is my opinion of the movie? Like I had stated earlier, I still find it entertaining after all these years. I love travel movies. And I found the movie’s caricatures of the different nationalities that Fogg, Passepartout, Aouda and Fix encounters on the journey rather amusing – including encounters with a boorish American politician portrayed by John Caradine, Charles Boyer’s Parisian travel agent/balloonist and Reginald Denny’s parody of an Anglo-Indian official. The movie’s funniest moment featured Fogg and Aouda’s encounter with a Chinese gentlemen portrayed by Korean actor Philip Ahn, who proved that his English was a lot better than Fogg’s Chinese-English pidgin. The locations in this movie are absolutely gorgeous, especially Fogg and Passepartout’s trip over France, and the rail journeys through India and the United States. And Lionel Lindon’s Oscar winning photography is accompanied by the memorable score written by another one of the film’s Oscar winners – Victor Young. In fact, the most memorable thing about ”AROUND THE WORLD IN 80 DAYS” is Young’s score. Even after 52 years, it is the first thing many fans mention about the film.

I was surprised to learn that Cantinflas had won a Golden Globe Award for Best Actor in a Musical/Comedy for his portrayal of Passepartout. Frankly, I found this as astonishing as the movie’s Best Picture Oscar. Mind you, his performance was a little more animated than David Niven’s portrayal of the stiff-upper lip Phineas Fogg. And his dance with a young dancer at a Spanish cantina was entertaining. But a Golden Globe award? I cannot think of one actor or actress in that movie who deserved any acting award. As for Niven, I think he may have gone a little too far in his portrayal of the reserved Fogg. There were times when he came off as a bit inhuman. I have to wonder about Todd’s decision to cast a young American actress from Virginia to portray the Indian Princess Aouda. Shirley MacLaine, ladies and gentlemen? She is the last person I would have chosen for that particular role. I must give her credit for not succumbing to some clichéd portrayal that would have left moviegoers wincing and instead, gave a restrained yet charming performance. Robert Newton’s portrayal of the persistent detective, Mr. Fix, was just as restrained. Which turned out to be a miracle, considering his reputation as a cinematic ham. Sadly, Newton passed away from a heart attack before the movie’s release.

One might ask why I had expressed astonishment at the thought of ”AROUND THE WORLD IN 80 DAYS” winning the Best Picture Oscar for 1956. Quite frankly, I do not believe that the movie deserved such a major award. Sure, the movie is entertaining. And that is about the best thing I can say about the film. Granted, Victor Young’s score and Lionel Lindon’s photography deserved its Oscars. But I feel that the movie did not deserve to be acknowledged as 1956’s Best Picture. Not over other films like ”THE KING AND I””FRIENDLY PERSUASION””GIANT””THE SEARCHERS” or even ”THE TEN COMMANDMENTS”. Nor do I feel that the three men who won Oscars for Best Adapted Screenplay deserve their statuettes. Heck, the movie featured a major blooper carried over from the novel – namely Fix’s revelation to Passepartout in Hong Kong about the British authorities’ suspicions that Fogg may be responsible for robbing the Bank of England before his departure. Passepartout told Aouda about Fix’s suspicions . . . but neither of them ever told Fogg. Not even when they were about to reach the shores of Britain. Why?

Another scene that continues to baffle me centered around Passepartout’s bullfight in Spain. Impressed by the manservant’s cape work during a dance in a cantina, a Spanish-Arab sea captain named Achmed Abdullah (Gilbert Roland) promised to give Fogg and Passepartout passage to Marseilles if the manservant would take part in a bullfight. What started as a comic moment for Cantinflas turned into a bullfight that promised to never end. The damn thing lasted five minutes too long and I felt more than happy when Fogg and Passepartout finally arrived in Suez.

I have read Jules Verne’s novel. At best, it was entertaining fluff. I could say the same for the 1956 movie. Like the novel, lacks any real substance. For me, both versions struck me as nothing more than a detailed travelogue disguised as a series of vaguely written adventures. Unfortunately, the movie’s entertaining fluff lasted slightly over three (3) hours. Three hours? I like the movie a lot, but an obviously dated three hour movie based upon a piece of fluff like Verne’s novel just does not seem worthy of a Best Picture Oscar. Despite the movie’s undeserved Oscar, I still find it entertaining after all these years.