Classic Movie Fight Scenes

AlSo by Gene FreeSe

And FroM MCFArlAnd

Richard Jaeckel, Hollywood’s Man of Character (2016)

Jock Mahoney: The Life and Films
of a Hollywood Stuntman (2014)
Hollywood Stunt Performers, 1910s–1970s:
A Biographical Dictionary, 2d ed. (2014)
 Classic Movie
Fight Scenes
75 Years of Bare Knuckle
Brawls, 1914–1989
Gene Freese

McFarland & Company, Inc., Publishers

Jefferson, North Carolina
 ISBN (print) 978-1-4766-6943-4
ISBN (ebook) 978-1-4766-2935-3

librAry oF ConGreSS CAtAloGuinG dAtA Are AvAilAble

britiSh librAry CAtAloGuinG dAtA Are AvAilAble

© 2017 Gene Freese. All rights reserved

No part of this book may be reproduced or transmitted in any form

or by any means, electronic or mechanical, including photocopying
or recording, or by any information storage and retrieval system,
without permission in writing from the publisher.

Front cover: John Wayne as tom dunson and Montgomery Clift

as Matt Garth in Red River, 1948 (united Artists/Photofest)

Printed in the united States of America

McFarland & Company, Inc., Publishers

Box 611, Jefferson, North Carolina 28640
www.mcfarlandpub.com
table of Contents

Preface 1
Introduction 2

the Fights 5
Epilogue 301
Bibliography 303
Index 307

v
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 Preface

i have been interested in movie fights as long dimitri in Hard Times (1975) was bare-
as i can remember. As a youngster, they ap- knuckle nirvana. the famous Sean Connery–
pealed to my own sense of athleticism and robert Shaw train fight in From Russia with
identification of heroic role models overcom- Love (1963) delivered the goods, and the leg-
ing adversity. it’s easy to cheer John Wayne end of the no-holds-barred fight between rod
when he gives a bad guy what he deserves on taylor and William Smith in Darker Than
the chin. Amber (1970) stirred further interest in the
Fight scenes tap into macho attitudes and subject.
red- blooded male sensibilities. in the early While there have been books dedicated to
1980s, cable television began showing movies stage combat training and fight scene choreog-
day and night. the first i recall was Any Which raphy, there hasn’t been a book examining fight
Way You Can (1980) featuring Clint east- scenes themselves in detail. this will be the
wood’s highly anticipated slugfest with William first. Fight scenes have been around since the
Smith. hbo showed that often and i watched early days of silent film and their evolution
it a dozen or more times. the monumental ex- merits historical interest.
change of punches was mesmerizing. the filming and presentation of fight scenes
i sought out John Wayne and victor Mcla- changed in the 1990s with advances in com-
glen’s epic brawl in The Quiet Man (1952). puter technology so i chose 1989 as a cut-off
that led to Wayne and randolph Scott’s fa- date for this project. in researching the book,
mous battle in The Spoilers (1942). bruce lee i viewed the films in question and exhausted
and Chuck norris in Way of the Dragon (1972) everything written and commented on or
created excitement in martial arts. Charles about these scenes and the participants by the
bronson taking on robert tessier and nick studios, the press and the filmmakers.

1
 introduction

throughout recorded history there has been to assert his manhood. it’s an ego trip in a pro-
an outlet for man’s competitive nature in either fession famous for egos. Sometimes the actors
sport or war. Something innate within man’s have the requisite background: former boxers,
psychological wiring forces him to prove him- wrestlers or martial artists who landed in
self not only to others but to himself in battle. movies because of their look or skill. they are
it might be showing off for the opposite sex to the proverbial last guy you’d like to meet in a
attract a mate. it might be natural selection, as dark alley. usually it’s all artifice.
only the strongest of a species can survive. it the best choreographed fights are the ones
could be a cathartic need to act out violent ten- that have something extra and provide an in-
dencies and let off steam. it might be vanity fu- tense edge. it’s possible the stars involved are
eled by testosterone and adrenaline. technol- doing their own stunts. Maybe they brought a
ogy has offered advantages in the form of boosted energy to the proceedings, which can
advanced weaponry, but the primitive standby drag on for days to capture what lasts a handful
remains brawn against brawn. Who hits the of minutes on screen. Perhaps the actors in-
hardest? Who can take a punch and stay on his volved truly dislike one another and play extra
feet? Who is the toughest? in some ways, it’s rough for the cameras. hollywood tough guys
the measure of a man. have been known to get carried away while
From the advent of storytelling on film, throwing fake punches that on occasion be-
many a third Act has pitted the antagonist come all too real. Sometimes it’s the emotion
against the protagonist in some form of violent of the character or the urgency of the situation.
conflict resolution. Sometimes this involves a oftentimes it’s the location that makes a fight
gunfight, a knife fight or a sword duel. Most interesting. it might be a raging river, a high
often it’s an old-fashioned bare-knuckle brawl cliff or a pit of mud. even then, it takes pros
with hollywood ignoring the damage a fist can behind the camera in the form of the director,
do to a face outside a trickle of blood from the fight coordinator and cameraman to capture it
mouth or nose. in the land of movie play- all correctly. editors and music conductors
acting, the participants struggle to a pre- have the ability to make a fight noteworthy in
determined outcome, with the best fights hav- post-production. Mostly it’s the brawlers them-
ing structure and an emotional context be- selves: hollywood he-men going mano a mano
tween the characters. Customarily the charac- to discover the toughest fighter in the land of
ters are on equal footing in regard to skill level make-believe. or at least, other guys wearing
and psychologically equipped to see a battle to their clothes while pretending to be them.
its end. the fight is well-rehearsed, and the Stunt doubles keep the stars out of physical
choreography practiced like a dance routine. danger and the investors’ insurance companies
yet it remains a forum for the real individual happy. in the early days of hollywood, little

2
 Introduction 3

effort was made to disguise this fact. occasion- his head to the opposite side looks like a solid
ally the stunt double and star were so obviously hit with correct camera placement even if the
mismatched as to lend an air of comedy to the punch misses by several inches. this is because
proceedings. in retrospect, early fights could the movie camera has no depth perception.
look comical. Stuntmen often improvised likewise, a straight Wayne right could pull up
quickly with pulled punches, open-handed an inch short of Canutt’s jaw, but if the stunt-
slaps to the shoulder, and old-fashioned man were to throw his head straight back with
wrestling in the dirt. Action was captured with proper timing, this too looks like a devastating
a static camera placement and hope for the punch. the same effect could be had with the
best. Still there were good fights from the silent camera shooting at the back of Canutt’s shoul-
era, most notably in The Spoilers (1914) with der. the new movie punches differed from a
William Farnum and tom Santschi exchanging real boxer’s punch: the movie blows were ex-
actual damage- inducing blows. they were aggerated roundhouse punches the camera
among a handful of actors from this period couldn’t miss. While boxers throw short,
who were unafraid to take lumps. “reel fights straight-on punches, movie fighters severely
must be real,” i.e. eubanks wrote in Motion Pic- telegraph blows for the camera and the audi-
ture magazine in 1917. “Good fighting is good ence, paying strict attention to never violate an
acting.” imaginary 180-degree viewing plane. this new
the brawling buddy picture originated with technique came to be known as the Pass Sys-
edmund lowe and victor Mclaglen’s Quirt tem. Sound effects (originally a mallet striking
and Flagg characters in raoul Walsh’s What a grapefruit) and editing could give the appear-
Price Glory (1926) and The Cock-Eyed World ance of a punch connecting, and audiences
(1929). they punched their way through sev- would never know the blow missed by a good
eral films together into the sound era, often at six inches. the possibilities seemed limitless.
odds over a woman. the Quirt and Flagg con- the b-western fight team of bob Steele and
cept was adopted by a variety of co-stars over Charlie King quickly picked up on the new
the years. Choreographed
fight routines entered the pic-
ture in the early 1930s as did
attention to a cinematogra-
pher’s camera placement and
angle. efforts were made to
suggest that the stars were en-
gaging in all the action even
when they weren’t.
two men are credited with
the change in filming philos-
ophy. they are actor John
Wayne and his stunt double
and frequent co-star yakima
Canutt. Wayne became a star
because he could throw a
great screen punch and could
“sell” his partner’s blow effec-
Yakima Canutt (left) and John Wayne are credited as the architects of the
tively. For example, a Wayne choreographed fight scene. Here they fight in Monogram’s Paradise
right cross with Canutt rolling Canyon (1935).
4 Introduction

technique, cementing their tremendous pop- dered on the ridiculous and the impossible for
ularity with audiences. Stunt coordinators and fight scene purists.
gaffers began to specialize in putting together What’s more, the combatants no longer
fight routines. directors and second-unit teams seemed to be real-life tough guys, but too often
took pride in thrilling audiences with fisticuffs model-types who had been put on strict diets
on film. the modern screen fight was born, and and spent three months in the gym with a cycle
it lasted over 50 years. of hormone enhancers to artificially pump up
the cut-off to realism arrived in the 1990s the muscles. Stunt doubles and gaffers who
with the increasing reliance on Mtv-style created some of the screen’s greatest moments
flash cuts, shaky cameras, computer graphics did so in anonymity for years. in the new era,
(CGi) and wire work. Combatants were flying not only were the stuntmen and coordinators
across the screen in all kinds of improbable given on-screen credit, but so were the actors’
ways, and oftentimes faster than the naked eye personal trainers, bodyguards and special
could see or comprehend. typical “old school” groomers. Modern studio budgets could spend
fights might have a dozen or more edits; the millions of dollars in time and resources to cre-
new fights could have hundreds, seeking to ate the big screen illusion these men could han-
provide a disorienting adrenaline rush to the dle themselves in a fight. however, one senses
audience. overhead wires and harnesses were they’d be lost without their entourages, cell
attached to legs and hips and assisted in creat- phones, designer clothes and cafe lattes. the
ing fancy martial art moves with no basis in re- new action stars were not veterans of world
ality. digitally enhanced artistry could put an wars, survivors of economic dust bowl de-
actor’s head on a cartoon image’s body. Action pression, or whiskey-drinking men whose idea
didn’t necessarily have to happen for it to ap- of a “gym workout” was to put on the gloves
pear to happen. once again, the possibilities and punch one another in the face for an after-
seemed endless, even if the results often bor- noon. they were soft no matter how hard they
appeared on screen.
but with the emer-
gence of cable televi-
sion, internet, and
dvds, new audiences
can easily rediscover
those 75 glorious
years of realistic
roughhousing from
men of action. here
they are, complete
with fight description,
significance, behind-
the-scenes stories of
legend and lore, and
biographies on the
actors and stuntmen
who made their rep-
utations as tough
Charlie King (left) and Bob Steele were quick to pick up the new fighting technique guys during the silent
in B-westerns like Supreme’s Brand of the Outlaws (1936). and sound era.
 The Fights
William Farnum vs. Tom case collapsed on the two staggering men. Santschi
Santschi in The Spoilers (1914) fell on a typewriter, injuring his back. There were
no breakaway props, stunt doubles or pulled
Colin Campbell directed this ambitious 1898 punches. It was all done for real with their shirts
Gold Rush story for Selig Polyscope. This silent literally ripped to shreds. When Farnum cinched
is renowned for its legendary climactic two-man in a painful hammerlock wrestling hold, Santschi
fight which Stage Combat calls “the brawl to end broke character and begged him to let go. By the
all brawls.” Variety labels it “one of the classic time cameraman Harry G. Gerstad stopped film-
brawls of filmdom,” while Films and Filming claims ing, Santschi had lost three teeth, bruised his ribs
it “set a standard in ruggedness which is said to re- and sprained a thumb. Farnum had suffered a bro-
main unequaled.” The landmark fight, totally im- ken nose, a fractured hand, damaged his ribcage
provised, was filmed over the course of one con- and sustained a blood clot on his cheek that nearly
tinuous hour, leaving both the exhausted protagonist killed him. The justifiably famous brawl sent both
and antagonist bloody, beaten men. Classics of the men to the hospital. Farnum claimed he was never
Silent Screen declares that it “created an under- the same physically after this fight. Ironically, the
standable sensation,” elaborating that “legends two actors became friends, convalescing together
about its merits, and tales about the savagery of at a Turkish bath where they received massages to
the famous fight scene, have been enabled to grow soothe their aching muscles.
without the counterbalance of critical analysis.” A “Fighting” Bill Farnum became cinema’s first
110-minute version of the groundbreaking film tough guy, realizing he needed to match emotion
was distributed in 1916. Surviving incomplete to the struggle. For training, he studied the scien-
prints show a choppy brawl lasting barely over two tific wrestling holds of popular grappler Frank
minutes. Legend would have one believe the orig- Gotch and applied them to his screen endeavors.
inal cut lasted up to ten times longer. It was so no- His follow-up films Fighting Blood (1916), When a
torious that single reels of the fight were passed Man Sees Red (1917), The Broken Law (1918),
around Hollywood for years for interested parties Wolves of the Night (1919) and The Man Hunter
to view. (1919) all featured mammoth fights that tried to
The husky actors agreed to make some physical emulate or better his Spoilers battle. Publicity
contact in a cramped interior set but quickly be- claimed a Farnum fight was “worth going miles to
came carried away in the heat of battle. Farnum, a see.” Santschi became an in-demand heavy, fight-
215-pound six-footer, had mentioned that he was ing Mitchell Lewis in Code of the Yukon (1918) and
contracted to begin another film in a week and Frivolous Sal (1925), Frank Mayo in The Plunderer
asked the 6'1", 218-pound Santschi to avoid hitting (1919) and William S. Hart in Cradle of Courage
him in the face. However, one of Santschi’s first (1920). Both original combatants were recruited
punches landed on Farnum’s nose, breaking it. A as technical advisors for the first re-filming of the
bleeding Farnum immediately decided that Spoilers tale occurring between Milton Sills and
Santschi did it on purpose and responded in kind. Noah Beery in 1923, a fight sequence that took five
Director Campbell kept the camera running. For days to film. They repeated the behind-the-scenes
the rest of the extended fight, the two exchanged assignment for the 1930 version that saw Gary
damaging uppercuts, tearing and clawing savagely Cooper and William “Stage” Boyd face off. Not
at one another’s faces. At one point, a real book- to be outdone by the youngsters, Farnum and

5
6 1917 / 19 2 0

Santschi staged another lengthy go-round for Ten equally willing to draw blood and get bruised and
Nights in a Barroom (1931). became Hart’s favored on-screen opponent. In ad-
The Spoilers fight was based on a legendary real dition to their three-minute Barbary Coast dive
battle between two miners that author Rex Beach brawl in Lambert Hillyer’s The Narrow Trail, they
witnessed in Alaska. Beach took a full nine pages fought tooth-and-nail in The Whistle (1920). Ko-
describing the fight in his 1905 novel, pitting the rtman is knocked out twice in The Narrow Trail
characters Glenister and McNamara against one an- fight, with Hart taking on a half-dozen thugs be-
other over mining rights. In the movie, dialogue tween Kortman’s KOs. Paramount Artcraft pub-
cards show Farnum announcing, “I’m going to kill licity declared that “for sheer spectacular features
you with my bare hands,” and claim-jumping [their fight] has no parallel in screen battles.”
Santschi responding, “I’d like to feel your throat.” French writer Jean Cocteau wrote effusively about
In addition to the 1923 and 1930 remakes, the pic- the fight, calling it “a little masterpiece,” while film
ture received its most famous reimagining with John historian William K. Everson compared the fight
Wayne and Randolph Scott in 1942 (see entry). The favorably to The Spoilers, claiming that classic 1914
story received additional mileage in 1955 with Jeff battle “pales beside some of the brawls Hart
Chandler and Rory Calhoun in the lead roles (see staged, particularly one in The Narrow Trail.”
entry). Once again, the fight was the main attrac- See: Everson, William K. The Hollywood West-
tion. Kent Taylor and Nils Asther did a low-budget ern. Secaucus, NJ: Carol, 1992; “Great Hart Pic-
off-shoot of the brawling story in Alaska (1944). ture is The Narrow Trail.” Artcraft Advance. Octo-
See: Bodeen, DeWitt. “The Farnum Brothers: ber 8, 1917; Hart, William S. My Life East and West.
Dustin and William.” Films in Review. November, New York: Houghton Mifflin Co., 1929; La Roche,
1983; Franklin, Joe. Classics of the Silent Screen: A Pete. “William S. Hart.” True West. June, 1971;
Pictorial Treasury. Secaucus, NJ: Citadel, 1960; O’Hara, Kenneth A. “A Story of Fists and Films.”
Owen, K. “Tom Santschi, Battler.” Photoplay. Au- The Movie Magazine. July, 1915.
gust, 1916.
Douglas Fairbanks vs. Wallace
William S. Hart vs. Bob Kortman Beery in The Mollycoddle (1920)
in The Narrow Trail (1917)
Foppish expatriate Douglas Fairbanks heads to
Early western star William S. Hart achieved his native Arizona to become a cowboy, toughen-
fame for producer Thomas Ince portraying realis- ing up to the point that by picture’s end he is able
tic, true-to-life cowboys who habitually drank, to take on diamond smuggler Wallace Beery in an
gambled, fought and hung out with saloon girls. extended two-minute brawl that became known
Astride his Pinto named Fritz, he became known within the industry as “the two-mile fight” due to
as the “good” bad man, redeemed at picture’s end the geographic distance it covered. The men fight
by the heroine after fighting far worse men than in a tree, fall through a roof, battle across a Hopi
himself. Although Hart was already 50 when he Indian village, tumble down a steep embankment,
debuted in films, True West claimed that he was and go over a waterfall before Beery succumbs. It
“well capable of handling himself in physical com- was one of the most brutal fights of the silent era
bat.” Standing 6'1" and weighing 184 pounds, Hart in large part because of Beery’s forcefulness. At
kept fit working out with noted boxing trainer one point the men smash through an adobe wall.
Billy Delaney. Hart’s rough-edged fights were fan The Tulsa Daily World called it “the most sensa-
favorites. He took special pride in mixing it up on tional fight scene ever staged for a motion picture,”
screen without a double, determined to put on a while the New York Times wrote that this conclud-
good show for the audience while taking on as ing sequence “outdoes anything of the kind.”
much punishment as he doled out. Despite suffer- United Artists publicity called it “the most red-
ing broken ribs after being kicked by a horse, he blooded scene of [Fairbanks’] screen career” and
fought Leo Willis in O’Malley of the Mounted declared, “Fairbanks stages his greatest fist fight.”
(1921), only to learn that the film was ruined and The 5'8", 150-pound actor was renowned for per-
that the scene needed to be reshot. forming his own elaborate stunts to showcase his
One actor who matched up well slugging with graceful athleticism and proficiency in boxing and
Hart was Bob Kortman. Six feet tall and 188 jujitsu. He trained with professional wrestler Bull
pounds, the menacing- looking Kortman was Montana and worked out the intricacies of the
 19 21 / 19 2 4 7

physical action ahead of time with stunt ace Richard Gone By called it “a brilliantly edited fight scene,”
Talmadge. In the case of The Mollycoddle, it was Tal- while Motion Picture Daily remarked that the scene
madge performing the 15-foot leap from a cliff into was “handled with superb skill.” The classic film
the tree. Fairbanks had already sprained his wrists was remade as a talkie in 1930 with Richard
and broken two fingers performing action in the Cromwell and Noah Beery. The original 1921 fight
film. The studio, however, continued to maintain sequence gained infamy for being the picture
to the viewing public that Fairbanks was never dou- shown on a movie theater screen in the cult horror
bled. Upon completing the fistic action, Fairbanks movie The Tingler (1959).
revealed, “It was the toughest fight I ever had.” See: Brownlow, Kevin. The Parade’s Gone By.
Harry Thorpe and William McGann ably handled Berkeley: University of California Press, 1968.
the outdoor cameras for director Victor Fleming.
See: “At the Theatres.” Evening Herald. February George O’Brien vs. Fred Kohler
18, 1923; Fairbanks, Douglas. “The Big Adven- in The Iron Horse (1924)
ture.” Boys’ Life. June, 1928; Vance, Jeffrey, and
Tony Maietta. Douglas Fairbanks. Berkeley: Uni- This epic John Ford transcontinental rail story
versity of California Press, 2008. from Fox Film Corporation concerns the 1862
joining of the Union Pacific and Central Pacific
Richard Barthelmess vs. Ernest rail lines. Two-fingered heavy Fred Kohler uses
Torrence in Tol’able David Cheyenne Indians to divert the rail builders onto
land he owns for personal profit. Buckskin-clad
(1921) young hero George O’Brien is out to stop him, un-
Courageous display of grit, determination and aware they have a long history with one another.
intestinal fortitude from Inspiration Pictures and Kohler subordinate Cyril Chadwick, fiancé of
director Henry King. It is in fact a David and Go- O’Brien’s childhood sweetheart Madge Bellamy,
liath story of young, slightly built Virginia mail- tries shooting O’Brien in the back; leading to a
man Richard Barthelmess besieged for six minutes rousing three- minute bare- knuckle match in a
by raging, murderous fugitive Ernest Torrence in crowded saloon where the brawny lad’s toughness
a backwoods shack. Towering over Barthelmess, is put on display. By picture’s end he’s facing off
the leering Torrence has stolen his mail, killed his against the evil Kohler as the Cheyenne storm the
dog, caused his father’s fatal heart attack and crip- rail workers around them. O’Brien finds extra
pled his brother. He’s even made unwanted ad- fighting spirit when he realizes Kohler is the same
vances toward Barthelmess’ girlfriend Gladys man who viciously killed his father many years ear-
Hulette, Both men lose family members at the lier. When Kohler comes at him with a pick-axe,
hands of the other, and it’s a violent fight to the O’Brien lifts the heavy in the air and body slams
finish the Los Angeles Times labeled “thrilling” and him to the ground. After a battle that sees both
Photoplay called “the greatest fight we have seen men’s shirts torn off, O’Brien chokes the life out
since The Spoilers.” It’s primitive desperation to of Kohler. The San Francisco Chronicle wrote,
the extreme with no punches thrown in the savage “George O’Brien stages what has been proclaimed
hand-to-throat action. The 6'4" Torrence brutally the greatest fistfight ever filmed,” while Variety
slams the 5'9" Barthelmess against the walls until added that Ford “puts his story over on the screen
the little guy jumps onto Torrence’s body and with a lot of punch.”
strangles the giant to the floor. Both exhausted Ironically, it was Ford who landed in a real fist-
men vie for a gun to determine the outcome. fight on the set with his brother Edward O’Fearna.
Barthelmess didn’t use a double when he is O’Brien had to pull them apart. Ford stages the
flung against a door and bounces back into Tor- climactic fight in an open-air log cabin on the
rence’s arms in a medium shot. The best moment Wadsworth Nevada desert location, with the com-
comes when cinematographer Henry Cronjager batants centered in a frame-within-a-frame door-
gets his camera in close on the terrifying Torrence, way shot from Ford’s cinematographer George
one of the best villains of the silent era. King cre- Schneiderman. The composition was one the au-
ates further suspense by having editor Duncan teur would return to throughout his career. Ford
Mansfield cut away to Hulette’s desperate run for also films his action from multiple angles and dis-
help, then linger on the open shack door waiting tances, creating a level of excitement seldom seen
for the fight’s survivor to emerge. The Parade’s on the screen. Both men swing furious punches
8 193 0

into the air between them with the occasional fist early talkie version of Frankie and Johnny “the most
thudding onto an arm or a shoulder. Ford thrillingly stirring fight sequence I have ever seen in motion
intercuts the fight with the Indian battle going on pictures.” Although commenting on its staginess,
around them. The six-foot, 200-pound Kohler was the New York Times tagged it “a prodigiously en-
in fact missing a thumb and digits on his right hand, ergetic brawl,” while the Oakland Tribune referred
the result of a mining accident. This never inter- to it as “one of the fiercest and most convincing
fered with his ability to be a convincing screen waterfront brawls that the screen has produced.”
puncher. He was considered one of the best fight- The Oregonian described it as “a big free-for-all
ing heavies of the silent era. The well-matched fight that makes the audience stand up and yell.”
Kohler and O’Brien continued to clash in Hard Director Tay Garnett pulls out all the stops in hav-
Rock Harrigan (1935), Painted Desert (1938) and ing a bar full of toughs led by heavy Ricardo Cortez
Lawless Valley (1938), but Iron Horse remains the descend upon two-fisted star Phillips Holmes as
best of their hard-socking struggles. he tries to make off with café singer Helen Twel-
O’Brien, six feet tall and 198 pounds, was a light vetrees. Holmes fights off the horde admirably
heavyweight boxing champion while in the U.S. until his sailor buddies arrive for a massive four-
Navy and entered films as a stuntman. He owed minute tilt. Everyone grabs a chair as a weapon as
his stardom to Ford casting him in Iron Horse, dur- bodies are tossed to and fro. Holmes, his shirt torn
ing which O’Brien won many female admirers to shreds, uses an overturned table as a weapon
when revealing his muscular torso. Ford would and a shield. Finally, a Holmes punch sends Cortez
only cast O’Brien after he’d proved himself in a backward into his own knife.
tough grappling audition with Kohler. Ford was The film’s leading man, the forgotten Holmes
impressed enough that he had O’Brien square off (listed at six feet and 155 pounds) is impressively
against Victor McLaglen the following year in a reminiscent of a wiry young Kirk Douglas. The
realistic street brawl for The Fighting Heart (1925), 6'1" Cortez, a former amateur boxer, is an appro-
a film that’s considered lost. priately fierce foil. The two go toe to toe, with
O’Brien took pride in doing his own fights. In Cortez burying a series of body shots into Holmes’
his youth he received boxing instruction from midsection. Garnett set a boisterous standard he
Gentleman Jim Corbett and weight-trained long tried to live up to with the screen brawls he di-
before it became trendy in Hollywood. He worked rected in Seven Sinners (1940) and Wild Harvest
out regularly with pro wrestler Al Baffert. O’Brien (1947) (see entries). Garnett and cameraman Ed-
became a popular B-western star who always fea- ward Snyder are especially innovative for the time
tured a big fight in his films in which he showed period with their varied action set-ups and multi-
off his athleticism against heavies such as Ward ple angles, while editors Joseph Kane and Doane
Bond, Harry Woods and Frank Hagney. Variety Harrison maintain a ferocious visual pace. When
once claimed, “O’Brien looks better in a scrap than he became a director, Kane demonstrated great
any other film land cowpoke.” His best fights came skill staging fights. Harold Stine and Earl A. Wol-
against Tom Santschi in Honor Bound (1928), Wel- cott’s synching is especially impressive for an early
don Heyburn in The Gay Caballero (1932), Noble sound film.
Johnson in Mystery Ranch (1932), William Hall in Garnett populates the scene with stuntmen and
Windjammer (1937) and Harry Cording in Mar- professional fighters the likes of Frank Hagney,
shal of Mesa City (1939). Harry Wilson, Chuck Hamilton, Chuck Sullivan,
See: Coons, Robbin. “No Doubles Take Risks Joe Rivers, Joe Silver, Abe Attell and Sailor Vin-
for George O’Brien.” Gettysburg Times. November cent. More than a dozen professional athletes from
11, 1932; “Film Fights Declared to be Real Battles.” three different sports took part, as well as USC
Los Angeles Times. April 5, 1925; Menefee, David football players George Dye, George Templeton,
W. George O’Brien: A Man’s Man in Hollywood. Al- Bill Armstead and Bill Emmons. Scrappy former
bany, GA: BearManor, 2009. baseball pro Mike Donlin plays the bartender.
Even B-western cowboy star Tom Tyler is in there.
The Havana Cafe Brawl Veteran stunt actor Pat Harmon, playing a drunk,
in Her Man (1930) claimed involvement in more than 1000 screen
battles through the 1920s. Co- writer Garnett
Al Sherman of The Morning Telegraph called the wanted to inject some levity into the chaotic vio-
mass Havana saloon scrum that concludes this lence. Throughout the story he had hard- luck
 1931 / 1933 9

comedy-relief character James Gleason repeatedly tive camera angles and editing. The Louis King–
drop a coin into a slot machine without a payoff. directed B- western boasts superior lens work
In the midst of the brawling, Gleason is knocked throughout from L.W. O’Connell. Sound techni-
into the slot machine, which rains coins down cian Glenn Rominger and editor Otto Meyer cre-
upon his head. ate excitement with the crowd noise and reaction
One important change with the advent of shots.
sound: The projection speed of film became stan- Columbia publicity trumpeted, “There is a fist-
dardized at 24 frames per second so audio could fight sequence that is said to reach the high peak
be easily understood. Silent movies had been shot of thrill-dom,” as they distributed articles on Jones’
at varying speeds on hand-cranked cameras, typ- pugilistic skill. Film Daily praised the film for “a
ically averaging 18 fps (frames per second). In re- couple of good fights that carry a kick,” and Variety
gard to action scenes, this created fast, jerky body claimed the brawling action “grips the average
motions when played back at normal speed. adult attention.” Jones biographer Buck Rainey
Therefore, silent movie fights appear unnatural. called Border Law “a real dust stirrer, with enough
The new 24 fps standard smoothed action out, gunfights and brawls to make action fans forgive
making punches look much more realistic. This the implausibilities of the script.” Columbia re-
created several areas of experimentation. Directors made the same story three years later with Jones
and cinematographers began playing around with starring as The Fighting Ranger (1934). He once
camera and shutter speeds, realizing they could again shed his shirt to fight heavy Ward Bond.
film fights slowly and safely in real time but play Breaking into the film business as a stuntman,
it back on screen so it would look relatively nor- Jones was a popular action star from the days of
mal. This method of filming is called under- silent films into the early sound era. Sturdy, mas-
cranking. However, when actors or stuntmen per- culine and courageous at 5'10" and 175 pounds,
formed their fight routines punching at regular the former boxer performed his own fights on
speed, under-cranked film created comically fast screen against such tough hombres as Ward Bond,
movements upon playback. Under-cranking at the Harry Woods and Fred Kohler. Jones favored the
rate of 22 fps worked best to liven up fights with- old-style movie punch-ups, freely punching his
out making them look too ridiculous. opponent’s arms and shoulders while demanding
See: “Noted Athletes Are Starred in Her Man.” they do the same to him. He had a great deal of
Berkeley Daily Gazette. November 26, 1930; pride and didn’t want anyone pulling their
Tasker, Yvonne. The Action and Adventure Cinema. punches in a Buck Jones fight. Even into middle
New York: Routledge, 2004. age, he sported muscular arms and remained re-
markably fit and agile. He worked out with Olympic
Buck Jones vs. Louis Hickus gymnast turned boxing trainer Frank Merrill. Dur-
in Border Law (1931) ing the making of Black Aces (1937), Jones and his
stuntmen took on a group of drunken, unruly min-
Former Texas Ranger Buck Jones is searching ers on location in a real brawl that became known
south of the border for the killer of his brother, in the industry as “The Battle of Kernville.”
and ex-prizefighter Louis Hickus is a prime sus- See: “New Film Reveals Jones as Pugilist.”
pect. Stinging from an insult, Hickus challenges Kings port Times. November 22, 1931; Rainey,
Jones to a fight. The men have an unusually formal Buck. The Life and Films of Buck Jones: The Sound
two-minute Mexican cantina knuckle-buster, both Era. Waynesville, NC: World of Yesterday, 1991.
doffing their shirts for the fistic action that sees
Jones knock the bigger man clear off his feet and Wallace Beery vs. George Raft
spin him through the air with the power of his in The Bowery (1933)
right hook. The actors fight to contact throughout,
pounding away at one another’s arms, chests, ribs Raoul Walsh directed this robust slice of 1890s
and shoulders. Several times the fight realistically New York City life featuring the memorable real-
goes to the floor. Jones’ final knockout punch is life characters Chuck Connors (Wallace Beery)
delivered straight into the camera. There’s some and Steve Brodie (George Raft), a Quirt and Flagg
evidence of an awareness of the direction fights set of rivals who laid down wagers and brawled
would take. None of the powerful haymakers to over everything from girls to the boxers they man-
the jaw land on Hickus but are the result of decep- aged. Raft’s masked fighter turns out to be bare-
10 193 4

knuckle legend John L. Sullivan (portrayed by the the self- described face “like an old squash”
director’s brother George Walsh, a silent movie knocked out Clark Gable for several minutes on
tough guy). Much of the highly offensive film is Hell Divers (1932) when he failed to pull a punch.
played as broad comedy with Beery raising his fists Beery, who played the toughest con in the joint in
at the slightest provocation. At one point, a Chi- The Big House (1930) and won a Best Actor Oscar
nese laundry is on fire and the stars pit their fire- as a broken-down boxer in The Champ (1931), felt
fighting brigades against one another in a massive he had a tough guy reputation to uphold for the
street brawl over who’ll put out the fire and save cameras. One of his best pals was former cham-
the screaming laundrymen. Among the brawling pion boxer Jack Dempsey. Future champ Joe Louis
firemen are stunt actors Pat Harmon, Frank Mills termed Beery the best battler in the film business.
and Harry Tenbrook. Real professional boxers To play a wrestler in Flesh (1932), Beery was
populate the scene, including Phil Bloom, Kid taught submission holds by pro grappler Count
Broad, Pueblo Jim Flynn, Joseph Glick, Jack Her- Rossi.
rick, Joseph Herrick, Al McCoy, Frank Moran and In a screen career comprising over 250 battles,
Abe Hollandersky. two of his best showcases came in The Mollycoddle
Issues come to a head between the main char- (1920) and Stand Up and Fight (1939) (see en-
acters at the climax after Raft’s alleged dive off the tries). Beery fought Tom Kennedy in We’re in the
Brooklyn Bridge wins him Beery’s saloon. They Navy Now (1926), George Bancroft in Old Iron-
battle out their differences on a fog-enshrouded sides (1928), John Gilbert in Way for a Sailor
barge with a throng of spectators eagerly awaiting (1931), Frank Hagney in The Champ (1931), Ward
the outcome. 20th Century publicity declared that Bond and Nat Pendleton in Flesh (1932), John
Walsh insisted his actors not pull their punches Barrymore in Grand Hotel (1932), Alan Hale in A
for the sake of realism. Variety called the finale Message to Garcia (1936), Warner Baxter in Slave
fight “an exciting interlude,” while the New York Ship (1937), Dennis O’Keefe in Bad Man of Brim-
Times noted that the audience in the theater was stone (1938), Chester Morris in Thunder Afloat
“quite enthusiastic” over the clash. After screening (1939), Douglas Fowley in 20 Mule Team (1940),
the final brawl, in which a bloodied but victorious Barton MacLane in Barnacle Bill (1941), Dick
Beery rows to shore, a boxing promoter contacted Curtis in Jackass Mail (1942), Jerome Cowan in
Beery about putting on a fight with professional The Bugle Sounds (1942), Reginald Owen in Salute
heavyweight champ Max Schmeling. Beery had no to the Marines (1943), J. Carrol Naish in Bad Bas-
interest in that match-up. comb (1947) and Jimmie Dundee in The Mighty
The Bowery garnered lasting notoriety for the McGurk (1947).
actual animosity existing between the mismatched See: “Bowery Screens Famous Pugilists.” Times-
stars. It was common of the era to work out a short Picayune. December 3, 1933; Katchmer, George
series of punches thrown at the arms and shoul- A. Eighty Silent Film Stars. Jefferson, NC: McFar-
ders beforehand so the actors could appropriately land, 1991.
plan their reactions and roll with the blows. Raft,
5'7" and 160 pounds, claimed that in setting up John Wayne vs. Yakima Canutt
the fight, the 6'1", 235-pound Beery asked to throw in The Lucky Texan (1934)
the first punch. Beery promptly sucker-punched
Raft on the jaw, momentarily knocking him out. Six-foot-four, 200-pound John Wayne and 6'3",
When Raft came to, the former professional light- 210-pound Yakima Canutt worked out fight rou-
weight boxer attacked Beery’s bulging midsection tines on several early 1930s quickies under the
with a flurry of punches before crew members Monogram–Lone Star banner. They were assisted
pulled them apart. Walsh claimed that attempting on some of these films by stuntmen Eddie Parker
to direct the two leads “was like trying to keep the and Allen Pomeroy. Occasionally Canutt doubled
peace between a lion and a tiger.” Much of the 90- Wayne. Sometimes it was Parker. Often the former
second fight for Barney McGill’s camera is an over- USC football player Wayne did his own fights with
head shot of stunt doubles Sailor Vincent and Har- one of the stuntmen as his opponent. Wayne was
vey Parry. Editor Allen McNeill cut in close-ups wise during this period to work one on one with
of the stars pounding away at one another. top stuntmen who could effectively sell the power
Beery was known to work “stiff ” in fights and of his blows and build him up as a convincing
barely hold back. The former elephant trainer with screen fighter for audiences to cheer on. Stuntmen
 193 4 11

prefer to work fights with fellow stuntmen; trained recently been hospitalized with fractured ribs,
professionals who will maintain distance, keep a skull and back after stuntman Joe Bonomo erred
loose fist, and are unlikely to lose their bearings in in throwing a heavy chair into him during a wing-
a fight routine. Actors will rush fights and inadver- it bar brawl in The Deadline (1932). In 1928, Col-
tently make contact. If a mistake is made, stunt- lier’s wrote, “Every actor-fighter is covered with
men can start over. If a mistake is made with an honorable scars of battle.” Wayne and Canutt
actor resulting in an injury, it can cause a produc- showed that needn’t be the case.
tion delay and cost the stuntman his job and rep- Through repeated practice, Wayne and Canutt
utation. It’s a testament to Wayne that stuntmen learned to effectively “travel” with one another
considered him like one of their own. Canutt across a set during a faked fight while maintaining
claimed Wayne was as good if not better at doing balance and never making contact. Wayne would
screen fights than any stuntman he knew. They throw a punch at Canutt’s eye level. Canutt would
fought one another in Riders of Destiny (1933), react and back up a step as Wayne glided forward
Sagebrush Trail (1933), The Lucky Texan (1934), for the next punch; they were always aware of the
Randy Rides Alone (1934), West of the Divide camera’s placement. The result was a knockout in
(1934), ’Neath the Arizona Skies (1934), Dawn terms of audience response for Wayne, and Canutt
Rider (1935), Paradise Canyon (1935) and Pals of earned the reputation of an innovative stunt coor-
the Saddle (1938). dinator. They both moved on to bigger and better
In The Lucky Texan, Wayne has a memorable material, far beyond the quickie B-westerns turned
match-up with Canutt in the entertaining climax. out by this film’s director Robert N. Bradbury,
Hero Wayne jumps from a horse onto a railcar to whose contributions to the technical side of the
exchange blows with Canutt, then “bulldogs” the fight scene shouldn’t be ignored. Bradbury’s cam-
gold mine–robbing villain to the ground. Producer era operator Archie Stout gained a sterling repu-
Paul Malvern erred in having one stuntman on the tation for filming second unit action scenes.
set in the form of Canutt. He could double Wayne Wayne, known as “Duke,” was determined to
making the jump from the horse, but that meant set himself apart from other cowboy heroes by
somebody needed to double Canutt playing the showing a character who wasn’t afraid to fight dirty
bad guy on the railcar. The problem was solved and gave as good as he got. In later years, he incor-
when Wayne exchanged wardrobes with Canutt porated generous doses of humor into his fights,
and doubled him being jumped on. So for this one but in these early oaters the emphasis was on re-
stunt Canutt became Wayne and Wayne became alism and letting the audience know he was doing
Canutt. After switching wardrobes again, they all the fighting stunts. Wayne based his fighting
punch it out in the dust with Wayne emerging vic- style on heavyweight boxing champ Jack Dempsey,
torious via a flurry of haymakers. When doubling studying newsreels of the fighter he admired to
an actor, Canutt used a specially designed hat with learn to position his hands and arms effectively.
a tightened wire brim that wouldn’t come off. It He had a strong stance and, upon delivering a
kept his facial features hidden or disguised when punch, looked confident that it was damage-
the action became hot and heavy. inducing. His wide signature roundhouse punch
Though it may now be seen as dated and hokey, became known in the business as a “John Wayne.”
the fight choreography and alternating camera an- Wayne benefitted from his long arms and keen
gles looked more realistic and exciting than any- sense of camera awareness which allowed audi-
thing that had come before. Hollywood Corral ences to see his punches and their powerful effect
wrote, “The fights are admittedly perpetrated with through the full range of motion. When Wayne
more dash than the average western of the period, drew his arm back with elbow up for a blow, it
but there is little evidence that Wayne and Canutt looked like the person on the receiving end was
had come upon any great innovation as yet.” Iron- done for. With age and added weight, his already
ically, Canutt came up with the Pass System be- formidable presence became overwhelming on a
cause Wayne’s hard punches were leaving his arms theater screen. Boxing trainer Ralph Volkie claimed
and shoulders black and blue, and he was tiring of that Wayne had the biggest closed fist he’d ever
the constant pain. However, there was a pressing seen and the most devastating right hand knock-
need for improved safety standards in the industry out punch since Joe Louis. In Volkie’s estimation,
and extensive rehearsal to improve the overall Wayne could have been a successful professional
product. B-western cowboy star Buck Jones had boxer. To give an idea of how iconic his punch
12 1935

became, Wayne’s fist-print was literally put into Prescott Evening Courier. November 18, 1948;
the cement outside Grauman’s Chinese Theatre. “John Wayne Had Calibre of Heavyweight
In the late 1960s, he did a special strobe sequence Champ.” Morning Record. January 9, 1967; Price,
project for photographic artist Phil Stern, showing Michael. “Tall in the Saddle.” Chicago Tribune. May
the viewer what it was like to be on the receiving 3, 1992.
end of the famous John Wayne punch.
There are notable John Wayne fights in Seven Henry Fonda vs. Charles Bick-
Sinners (1940), The Spoilers (1942), In Old Cali- ford in The Farmer Takes a Wife
fornia (1942), Pittsburgh (1942), The Lady Takes
a Chance (1943), Tall in the Saddle (1944), Dakota
(1935)
(1945), Angel and the Badman (1947), Red River Henry Fonda made his film debut as a simple
(1948), The Quiet Man (1952), Big Jim McLain farm boy in this well-received Victor Fleming–di-
(1952), Hondo (1953), The Wings of Eagles (1957), rected 20th Century-Fox film about workers on
The Barbarian and the Geisha (1958), North to the Erie Canal. Fonda had played the part success-
Alaska (1960), Donovan’s Reef (1962), McLintock! fully on Broadway, but the studio wanted the al-
(1963), The Sons of Katie Elder (1965), El Dorado ready established Gary Cooper or Joel McCrea for
(1967), The War Wagon (1967), Hellfighters their movie version. The 6'1", 175-pound Fonda
(1968), The Undefeated (1969), Chisum (1970), is ridiculed for his cowardice by 6'1", 190-pound
The Cowboys (1972) and Brannigan (1975) (see bully Charles Bickford, but then Fonda stands up
entries). Fights of interest came against Allen for himself in a violent two-minute fistfight on the
Pomeroy in Blue Steel (1934), Eddie Parker in The edge of a canal in front of cheering, betting hordes.
Star Packer (1934), Reed Howes in Dawn Rider Bickford thinks he’s going to have an easy time
(1935), LeRoy Mason in Texas Terror (1935), Mo- with the rube and doesn’t even take a pipe from
roni Olsen in Adventure’s End (1937), Ward Bond his mouth until he suffers his first knockdown. It’s
in The Shepard of the Hills (1941), Ray Milland in a realistic battle with both actors doing the major-
Reap the Wild Wind (1942), Albert Dekker in In ity of the fighting. After a tough exchange of blows,
Old Oklahoma (1943), Harry Woods in Tycoon Fonda emerges victorious when he knocks Bick-
(1947), Rosanno Brazzi in Legend of the Lost ford into the waterway. He gains Bickford’s respect
(1957), Stuart Whitman and Lee Marvin in The as well as female lead Janet Gaynor. Esquire termed
Comancheros (1961), Vic-
tor French in Rio Lobo
(1970), Tom Hennesy,
Christopher Mitchum and
his own son Patrick Wayne
in Big Jake (1971) and Al
Lettieri in McQ (1974).
During the making of Blood
Alley (1955), Wayne took a
break from filming a fight
to do a public service an-
nouncement for Christmas
Seals to combat tuberculo-
sis. On a 1966 episode of
The Lucy Show, “Lucy and
John Wayne,” the star ap-
peared in a cowboy saloon
brawl with veteran bad guy
Morgan Woodward.
See: “Duke Reveals
Health Secret.” Ottawa Jour-
nal. September 14, 1968;
Handsaker, Gene. “Holly- Henry Fonda (left) and Charles Bickford fight dirty in Fox’s The Farmer Takes
wood Sights and Sounds.” a Wife (1935).
 1935 13

it “a good windup fight sequence,” and The New Bickford fought John Miljan in The Sea Bat
York Times added, “Charles Bickford brawls and (1930), Victor McLaglen in Under Pressure (1935),
carouses splendidly as the bully.” The Farmer Takes Randolph Scott in High, Wide and Handsome
a Wife was remade in 1953 with Dale Robertson (1937), Barton MacLane in The Storm (1938),
and John Carroll fighting between two barges in Wayne Morris in Valley of the Giants (1938) (see
the final reel. entry), Bob Burns in Our Leading Citizen (1939),
When the principal actors worked on their por- Dick Foran in Riders of Death Valley (1941), Bruce
tion of the fight on the Fox back lot, Bickford was Cabot and Dana Andrews in Fallen Angel (1945),
blinded by the glare of a Klieg light and miscalcu- Robert Ryan in The Woman on the Beach (1947),
lated a punch, landing a crushing haymaker on Stephen McNally in Johnny Belinda (1948) and
Fonda’s chin that crumpled the star into uncon- Alan Ladd in Branded (1950). In Pride of the
sciousness. On the next take, Fonda claimed to be Marines (1936), Bickford was cast as the Armed
blinded by the same light and socked Bickford be- Services’ boxing champion. Gangs of New York
tween the eyes. For the next week, Bickford had a (1938) saw Bickford playing two roles and fighting
walnut-sized lump on his forehead. Fonda later himself on screen!
broke a bone in his right hand when he punched See: Bickford, Charles. Bulls, Balls, Bicycles, and
Bickford in his barrel chest. Fonda kept going de- Actors. New York: P.S. Eriksson, 1965; Coons,
spite the pain until the take was in the can, earning Robbin. “Hollywood Sights Sounds.” State Times
the applause of the cast and crew for his toughness. Advocate. December 9, 1935; “Henry Fonda Gets
Ernest Palmer was behind the camera and Harold Broken Finger in Battle on Barge.” Omaha World
Schuster edited. Herald. May 15, 1935.
Yakima Canutt was assigned as a double but
faced ridicule from fellow stuntman Jack Stoney. James Cagney vs. Fred Kohler
The latter fought professionally and had been work- in Frisco Kid (1935)
ing for the big studios for the past decade as a top
stuntman. Stoney was upset that the studio had Inspired by the oft-told brawl in The Spoilers,
sent a “cowboy” out to do a fight. At this time, stunt- this Warner Bros. film contains James Cagney’s
men had one or two specialties and stuck to them. greatest screen fight. In the pages of The Spectator,
They didn’t need a broad range of skills as com- noted writer Graham Greene called it “the most
petition in the industry had not reached its zenith. brutal and convincing I can remember seeing on
Stoney opted to ad-lib instead of choreograph and the screen.” The New York Times termed it “mon-
neglected to pull all his punches. Canutt in turn let umental” while the Los Angeles Times called it “ter-
his own fists fly to contact. After a handful of takes, rific.” The Sunday Morning Star said it was “dis-
both went full-bore until director Fleming was turbingly realistic.”
frantically yelling “Cut!” By the time the dust set- Director Lloyd Bacon staged the spirited affair
tled, Canutt had proven himself to the fight spe- in a San Francisco waterfront saloon between
cialist, and Stoney saw the error of his ways. The Cagney and Fred Kohler, here playing a white slave
two became friends, and Canutt’s reputation as a trader named Shanghai Duck. The husky Kohler
“fight man” was solidified with the major studios. has a hook for a hand and uses it to his advantage,
Gruff character actor Bickford, a former dock- adding an extra element of danger to the proceed-
worker, lumberjack and World War I veteran, had ings. The two actors went at each other so fero-
a real-life tough guy reputation. Quick with his ciously that Cagney worried about his adversary’s
fists and fearless, he regularly sparred in the boxing health when Kohler was too exhausted to rise from
ring with heavyweight champion Gentleman Jim the floor. Cagney’s concern was well- founded.
Corbett. Hollywood legend maintains that the Kohler succumbed to heart disease less than three
combative Bickford punched out director Cecil B. years later at the age of 49. The six- foot, 230-
DeMille during production of Dynamite (1929), pound actor was one of the top ruthless, sneer-
causing many directors to live in fear of him. While ing bad guys of silent film, often opposing the likes
making East of Java (1935), Bickford ill-advisedly of George O’Brien, Tom Mix and George Ban-
eschewed the use of a stunt double and wrestled croft.
a lion on screen, and nearly lost his life. He sur- Pro boxer turned movie stuntman Chick
vived, but the heavy scars on his neck ruined his Collins doubles Kohler in a few spots, while Cag-
days as a leading man. ney’s stuntman is Harvey Parry. As the doubles
14 193 6

fought it out in front of 240 extras, Cagney rode energy seldom seen from the usual lumbering gi-
cinematographer Sol Polito’s camera crane and ants. Since he often played anti-heroes, it wasn’t
Kohler sat on the sidelines reading a book. When atypical for Cagney to throw the first punch in a
it came time for the principals to shoot the close-fight, and if his opponent didn’t go down, there’d
ups, Cagney sprained an ankle dodging Kohler’s be a flurry of fists to follow. He was literally full
hook on the first of five days of filming on the fight.steam ahead as evidenced by his fistic freak-out
Another brief delay was caused by a group of vis- against the prison guards when he learns of the
itors to the set. When Cagney and Kohler began death of his beloved mother in White Heat (1949).
punching one another and Kohler fell against a Cagney never worried about blocking out a fight.
table, a female visitor let out a piercing scream, ne-
He simply instructed his opponents to swing for
cessitating the set be redressed and the sequence his head, and he’d make them miss by ducking in-
shot anew. In all, there were four tables broken, side their blows.
half a dozen chairs smashed, and several glasses Cagney stayed in shape with boxing, judo and
shattered. Cagney injured his shoulder and elbows weightlifting. He often sparred with former pro
and suffered several skin abrasions. Kohler, who boxer Mushy Callahan at the gym on the Warner
outweighed Cagney by nearly 80 pounds, cut a lot. Fight trainer Callahan claimed Cagney could
forearm. As if fighting Kohler weren’t enough of a hold his own in the professional ring. In regard to
challenge, Cagney also tangles with imposing the judo, Cagney became a black belt in the art
heavy Barton MacLane. Makeup artist Perc West- (he was the first movie actor to accomplish this
more was responsible for the fake blood seen in feat). Whenever Cagney had a big fight, he trained
the film. with his stunt double Parry, a former boxer. The
Much has been made of Cagney’s height, with two lived on a houseboat docked off Catalina Is-
estimates pegging him at 5'5" with a typical weightland and spent several weeks swimming, running
of 155 pounds. To his credit, Cagney favored fight- and sparring in the ring as if they were training for
ing big guys on screen to show how tough he was. a real boxing match. Parry called Cagney pound
He had been an amateur boxer, finishing as a for pound the hardest puncher of any actor in Hol-
runner-up for the New York state title as a light- lywood.
weight. Because of his early dance training, he There are notable Cagney fights in The Okla-
bounced across the screen in fights with a fantastichoma Kid (1939) and Blood on the Sun (1945) (see
entries). Fights of interest
came against Donald
Cook in The Public Enemy
(1931), George Raft in
Taxi! (1932) and Each
Dawn I Die (1939), Duke
York in Footlight Parade
(1933), Pat O’Brien in
Here Comes the Navy
(1934) and Devil Dogs of
the Air (1935), Robert
Barrat in The St. Louis Kid
(1934), Edward Pawley in
“G” Men (1935), Joe
Sawyer in Great Guy
(1937), Duke Green and
Chick Collins in Some-
thing to Sing About (1937),
Alan Hale in The Fighting
69th (1940), Bob Steele in
City for Conquest (1940),
Dennis Morgan in Cap-
James Cagney (left) and Fred Kohler put on a memorable battle in Warner tain of the Clouds (1942),
Bros.’ Frisco Kid (1935). Bill Henry in Johnny Come
 193 6 15

Lately (1943), Ward Bond in Kiss Tomorrow Good- piness (1939). Fights of interest came against An-
bye (1950), Alan Hale, Jr., in The West Point Story thony Quinn in Swing High, Swing Low (1937),
(1950), Dan Dailey in What Price Glory (1952) Sterling Hayden in Virginia (1941), Robert Pres-
and Stephen McNally in Tribute to a Bad Man ton in New York Town (1941), Peter Whitney in
(1956). Murder, He Says (1945), Bruce Cabot in Smoky
See: Callahan, Mushy. “Films Make Actor- (1946), Roy Roberts in Borderline (1950), Ward
Boxer Look Good.” Pittsburgh Post-Gazette. July 6, Bond in The Moonlighter (1953), Charlton Heston
1939; “Film Battle Lasts Week.” Los Angeles Times. in The Far Horizons (1955), Jeffrey Hunter in Gun
November 26, 1935; “Sock in Hollywood.” Des for a Coward (1957), Skip Homeier in Day of the
Moines Register. July 21, 1940. Bad Man (1958) and Alan Baxter in Face of a Fugi-
tive (1959).
Henry Fonda vs. Fred MacMur- The principals are doubled by the top stuntmen
ray in The Trail of the Lonesome in the business, Yakima Canutt and Richard Tal-
madge. The latter staged the action and recruited
Pine (1936) his real brothers Otto and Victor Metzetti to fill
Henry Hathaway’s beautifully filmed Hatfields the ranks. The stuntmen put on a show. Much of
and McCoys–inspired family feud is highlighted the action was ad-libbed on the spot because at
by a hectic three-minute brawl that begins as a this point, Talmadge preferred not to routine
two-man fight between Henry Fonda and inter- fights out. He was known as a free swinger. In his
loper Fred MacMurray for the hand of female lead early days, he rarely choreographed fight action,
Sylvia Sidney. The two combatants join forces preferring to make it up on the fly with his expe-
when the bad guys Robert Barrat, Bob Kortman rienced brothers. They’d fight in a huddle with
and Philip Barker arrive. The fight becomes a wild their chins buried into their chests for protection,
melee in and around a small mountain town’s directing punches toward the shoulder. Each man
makeshift structures. Paramount publicity touted awaited Talmadge’s cue for them to take a knock-
it as “one of the fiercest screen battles ever waged” down blow. Once again Canutt was earning his
with a half dozen participants seeking medical care stripes with his peers, especially when Talmadge
after two entire days devoted to fighting. Fonda didn’t hear the director call “Cut” and accidentally
received a real-life black eye when he was acciden- split Canutt’s lip. It was all right with Canutt as he
tally struck by MacMurray. The entire movie was knew they had great footage in the can. The fight-
made on location in and around Cedar Lake near ing became so hectic that Otto Metzetti was found
Big Bear, California, literally up in the clouds for knocked unconscious beneath the rubble of a
many scenes. It was the first outdoor film to be porch that had collapsed.
made in Technicolor with cinematographer How- Fonda possessed a quiet strength of character
ard Greene behind the camera and Robert C. that helped overcome a natural physical awkward-
Bruce lending assistance. ness in fights. He slugged his way through many
MacMurray was marketed as “the fistic cham- early assignments as a man who had to rely on his
pion of films” because for a three-year run all his fists for his own survival. The U.S. Navy veteran
films featured at least one or two fight sequences. seemed real in every endeavor and audiences be-
Ironically, most modern audiences know him best lieved him. Fights of interest came against Charles
from mild-mannered roles in Walt Disney films Bickford in The Farmer Takes a Wife (1935) (see
and the mid–1960s TV sitcom My Three Sons. entry), Joe Sawyer in Slim (1937), George Raft in
MacMurray was surprisingly muscular and at 6'3" Spawn of the North (1938), Barton MacLane in
and 185 pounds makes for a stalwart leading man. Wild Geese Calling (1941), Jack Carson in The
He played football at Carroll College, and legend Male Animal (1942) and Roy Jenson in The Red
has it he was the inspiration for artist Charles Pony (1973). He fought alongside Glenn Ford in
Clarence Beck’s rendition of the comic superhero a humorous brawl in The Rounders (1965) with
Captain Marvel. MacMurray’s career went in a de- both veteran actors able to handle enough action
cidedly different direction from action star, a tes- for the camera to move in close.
tament to his range and abilities as an actor. He See: “MacMurray: Film’s Fistic Champ.” Pitts-
more than holds his own here in the fights. burgh Press. May 31, 1936; “Screen Battle Puts Ac-
MacMurray trained with pro boxer John In- tors on Sick List.” Hartford Courant. March 8,
drisano to portray a pugilist in Invitation to Hap- 1936.
16 193 6 / 1937

Bob Steele vs. Charlie King A former amateur boxer, Steele reigned as a
in Last of the Warrens (1936) cowboy star well into the 1940s. He preferred
fighting from a boxing stance and would jump in
This low-budgeter from director Robert N. the air to bring a blow crushing down on his op-
Bradbury and Supreme Pictures sees 5'5", 150- ponent’s jaw for his final signature knockout
pound cowboy star Bob Steele tangling with 5'8", punch. Steele was noted for his resiliency and abil-
200-pound Charlie King in a small western town. ity to take punishment. He’d get knocked down or
Bad guy King is intercepting Steele’s mail so the staggered by an opponent’s punch, often bouncing
town will think he’s dead, and that’s nearly reason on one foot to maintain his balance, but he’d fight
enough for “Battling Bob” to put a major hurt on back until the opposition could take no more.
him. The slow-talking King has beat up and shot Steele did all his own fights with his fistic skills
Steele’s dad, made overtures to Steele’s girlfriend, held in high enough esteem by the major studios
and has sent henchmen to make trouble for Steele. to obtain him jobs fighting Lon Chaney, Jr., in Of
The 52-minute film takes its time getting around Mice and Men (1939), James Cagney in City for
to the inevitable fisticuffs but at last Steele an- Conquest (1940) and Humphrey Bogart in The Big
nounces, “I’m going to break you with my bare Sleep (1946). He had an especially good fight with
hands.” King and Steele unload nearly a minute of veteran heavy William Haade in Exposed (1947)
non-stop punches onto each other’s chins until and performed memorably with Audie Murphy in
King curls up in a heap on the floor. It might not Drums Across the River (1954) (see entry). On
be their greatest fight together but it is represen- TV’s The Rebel, Steele fought Nick Adams in the
tative of the quality of high-octane action they episodes “Judgment” (1959) and “In Memoriam”
were able to perform. (1960).
In the same way that John Wayne worked reg- See: DeMarco, Marco. The Photo Story of Bat-
ularly with Yakima Canutt on fisticuffs, Steele tling Bob Steele. Self-published, 1981; Nareau, Bob.
worked with King on more than 25 films and The Films of Bob Steele. Self-published, 1997.
nearly 30 fights. One of their best came in Lightnin’
Crandall (1937). Interestingly, King shows up as a The Prison Brawl in Nancy Steele
stunt double for fellow bad guy Harry Woods in Is Missing! (1937)
Westward Bound (1944), giving him one more
crack at fighting Steele. B-western writer Mario Large-scale movie brawls such as the prison riot
DeMarco referred to the pair as “the slugger and in Nancy Steele Is Missing! inevitably end up mixing
the boxer, a perfect match.” Author William C. several qualified stuntmen with dozens of less than
Cline concurred: “The particular sight of the light- qualified extras. Some of these rough-hewn extras
weight, ring-trained Steele absorbing the licks of were known as “bump men.” They typically made
the heavier brawler and then so deftly overpower- $15 a day for engaging in fisticuff action, more
ing his brute strength with boxing prowess was a than double the unskilled extra. Many “bump
crowd-pleaser for several years.” Western Clippings men” aspired to be elevated to higher stunt pay.
calls their fights “legendary screen battles we all However, the actual experienced stuntmen on a
eagerly anticipated.” film looked down on them and thought they took
The actors carefully worked over their fights unnecessary risks in hopes of impressing a direc-
until they had the distance and timing down per- tor. The most opportunistic of extras were known
fect, with King throwing his head back in time to to position themselves so actors or stuntmen who
Steele’s repetitive jabs. The two often filmed their had just taken a punch would collide into them on
fisticuffs later in the day after a liquid lunch, giving camera, giving them a valid reason to seek higher
them the spirit to tear the set apart. That spirit is pay. Some studios tried getting away with filling a
on display here, as the fight is an excellent example fight with inexpensive “bump men,” ultimately
of their enthusiasm. It’s been said that heavyweight paying the price as inferior action made it to the
boxing champion Joe Louis was inspired in his screen. The size of this riot scene required there
training by the brawling of Steele and King. Vet- be an intermingling of stuntmen and extras, and
eran action director Bradbury was in actuality The Milwaukee Sentinel felt the resulting prison
Steele’s real father, so extra care was put into the break action was “staged expertly.” 20th Century-
fight scenes as they guaranteed Steele’s immense Fox employed nearly three dozen experienced
popularity with audiences. stuntmen, 100 bump men and an additional 400
 1937 17

extras running away from the fight. Among the Victor McLaglen vs. Preston
skilled stuntmen were Yakima Canutt, Harvey Foster in Sea Devils (1937)
Parry, Oscar “Dutch” Hendrian, Gordon Carveth,
Chick Collins, Roger Creed, Duke Green, Billy Coast Guard members Victor McLaglen and
Jones, Otto Metzetti, Victor Metzetti, Pat McKee Preston Foster are at odds with one another
and Bobby Rose. throughout the course of Sea Devils, an entertain-
Anti-hero Victor McLaglen starts the fight in ing multiple fight punch-up that sees Foster ro-
the prison’s mess hall by throwing a loaf of bread mancing McLaglen’s daughter Ida Lupino against
at John Carradine, at which point mass mayhem the elder man’s wishes. One of their battles is on
breaks loose among the convicts for cinematogra- an iceberg! Whenever they call a truce to shake
pher Barney McGill’s camera. Cups and assorted hands, one of them takes the opportunity to land
kitchenware fly everywhere. Director George Mar- a sucker punch. There are enough minutes be-
shall gave strict orders that only stuntmen were al- tween the fights for audiences to catch their
lowed to hurl chairs at one another. He’d immedi- breath. By the end of director Ben Stoloff ’s film,
ately call “Cut!” if any extra picked up a chair. the stars join forces for the common good, but
Veteran stuntman Harvey Parry became angered they have inflicted plenty of bruises on one an-
when his forehead was cut by a plate haphazardly other. This was the case for the tough guy actors,
thrown by an extra. Parry went after the man, only who elected to do much of their on-screen action
to be engaged midway to his target by fellow stunt- for the cameras of Joseph August and J. Roy Hunt.
man Duke Green. The extra escaped a real on- Several punches landed, and both visited RKO’s
screen thrashing. infirmary to deal with assorted nicks and scrapes
The friction between stuntmen and overly am- from their overenthusiastic brawling. Publicity
bitious extras continued for the next several years compared it to the original Spoilers, declaring that
with cost-conscious studios always looking to save the fights were “far more realistic and nerve-
a buck. Tensions reached a head during a brawl tingling than any other currently seen upon the
scene on the otherwise inconsequential naval screen.” The Motion Picture Review wrote, “There
comedy Everything’s Ducky (1961). An extra are enough blows to afford vicarious joy to fight-
wrecked a barroom set while showing off, creating loving men.”
a delay that prompted star Mickey Rooney to walk McLaglen, 6'3" and 240 pounds, was a fight
off the film until more qualified stuntmen were scene legend with a real background as a profes-
brought in for the fight. During the wait, stuntmen sional prizefighter in Canada where he was re-
Loren Janes and Richard Geary
began discussing the idea of a
stunt coordinator hiring from a
fraternal organization of quali-
fied performers with an empha-
sis on professionalism and
safety. This led to the formation
of the Stuntmen’s Association
of Motion Pictures which re-
sulted in less power for a film’s
production manager or assis-
tant director to hire and assign
stunts from the extra ranks.
See: “Bump Men Play Rough
in Picture.” Seattle Daily Times.
March 24, 1937; “Path to Hol-
lywood Glory Carved in Frac-
ture Fame.” Springfield Republi-
can. February 7, 1937; Setlowe,
Rick. “Biz’s Fall Guys Join
Hands.” Variety. December 5, Preston Foster prepares to break a chair over Victor McLaglen in RKO’s
1996. Sea Devils (1937).
18 1937

gional champ. He once fought heavyweight cham- Melodrama.” Seattle Daily Times. March 14, 1937;
pion Jack Johnson to a draw in an exhibition and McLaglen, Victor. Express to Hollywood. London:
also engaged fellow champ Jess Willard. Although Jarrolds, 1934; “Medical Help Needed by Two
he held his own in these encounters, they con- Film Fighters.” Chicago Tribune. November 7,
vinced him his talents were less than world-caliber. 1936.
A World War I veteran, McLaglen did win the
British Army heavyweight boxing championship. Tex Ritter vs. Charlie King
He also wrestled professionally, taking on all in Riders of the Rockies (1937)
comers as a traveling circus attraction. Concur-
As Bob Steele had his preferred fight partner in
rently, his showman brother Leopold McLaglen
film after film, B-western singing cowboy Tex Rit-
distributed jujitsu and bayonet fighting manuals
ter also favored the rotund roughhousing of his
for the British Army but ran afoul of Vic for occa-
pal Charlie King. Ritter fought King a total of 23
sionally fighting under his name in various terri-
times on screen, with their best battle coming in
tories.
Riders of the Rockies (1937). Western Clippings in-
Brought to the United States to portray the title
cludes it among the “great screen fights,” while
boxer in The Beloved Brute (1924), the real Victor
Mario DeMarco wrote the realistic fights were “the
McLaglen became known for movie fights after
highlight of the early Ritter films.” The Filming of
battling George O’Brien in The Fighting Heart
the West claims this fight was “the most bloodcur-
(1925). He worked with Edmund Lowe in many
dling of their eleven fights at Grand National.”
popular Quirt and Flagg pictures beginning with
Both men draw blood in the roughhousing, and
What Price Glory (1926) and The Cock-Eyed World
Ritter’s famous hair gets plenty mussed. The three-
(1929) that saw them regularly facing off. Audi-
minute cantina brawl features many upended ta-
ences came to expect fights in a McLaglen picture,
bles and a tense, realistic struggle for a pistol. A
even after he won a Best Actor Oscar as the star of
highlight comes when Ritter puts a headlock on
John Ford’s The Informer (1935). McLaglen could
King and flings him across the floor. Every time
work “stiff ” in fights and often failed to properly
the audience thinks the fight is over, the two
pull his mighty knockout punches. He did a one-
charge at one another and begin swinging again.
man fight with a dozen stuntmen on The Magnifi-
Yakima Canutt worked on the film, but the sur-
cent Brute (1936) and left more than a few profes-
prisingly athletic Ritter does the entire fight.
sional fall guys nursing wounds. Stuntmen typi-
Veteran fight man King carefully tutored the
cally put in for extra hazard pay whenever working
6'2", 180-pound Ritter in the art of screen fighting
a fight with the ham-fisted McLaglen.
and found an enthusiastic opponent. It has been
Other notable fights include She Wore a Yellow
said that the heavy-drinking, fun-loving King often
Ribbon (1949) and The Quiet Man (1952) (see en-
woke Ritter in the middle of the night to go over
tries). Fights of interest came against Donald Crisp
the next day’s fight work. Ritter obliged, knowing
in The River Pirate (1928), Robert Armstrong in
full well a King fight was the highlight of any B-
A Girl in Every Port (1929), Frank Hagney in Cap-
western. Unfortunately for King, when Ritter or
tain Lash (1929), Charles Bickford in Under Pres-
Steele went on a publicity tour to put on fight dis-
sure (1935), William Hall in The Magnificent Brute
plays for the fans, they used stuntman Jack O’Shea.
(1936), Brian Donlevy in Battle of Broadway
Because of King’s drinking, he couldn’t be trusted
(1938), Brian Aherne in Captain Fury (1939), Nel-
on the road. Nevertheless, King was well-liked by
son Eddy in Let Freedom Ring (1939), Jon Hall in
all those who worked with him.
South of Pago Pago (1940), Sammy Stein in Powder
See: Bond, Johnny. The Tex Ritter Story. New
Town (1942), John Payne in Strictly Dynamite
York: Chappell Music Co., 1976; DeMarco, Mario.
(1942), George Montgomery in China Girl (1942)
Tex Ritter and Fred Scott: The Singing Buckaroos of
and Chester Morris and Tom Kennedy in Rough,
the Movies. Self-published, 1988.
Tough, and Ready (1945). On TV he fought Rich-
ard Boone in the 1958 Have Gun, Will Travel epi- The Taxi Cab Brawl in Big City
sode “The O’Hare Story” and Clint Eastwood in
the 1959 Rawhide episode “Incident of the Sham- (1937)
bling Man.” Big City (aka Skyscraper Wilderness) is noted for
See: “An Epic Set-To.” Richmond River Herald. the gimmick casting of real boxers and wrestlers
February 18, 1938; “Fight Scenes Bring Thrills to for a climactic waterfront war between rival taxi
 1937 19

cab companies. As if there wasn’t enough going Bob Livingston vs. Yakima
on plot-wise, director Frank Borzage has leading Canutt in Heart of the Rockies
lady Luise Rainer giving birth during the melee.
Like many in Hollywood during this time, Borzage
(1937)
was a fight fan. Among the boxers cast in the The enduringly silly, good- natured Three
MGM pic were former heavyweight champs Jack Mesquiteers entries from director Joseph Kane
Dempsey and Jim Jeffries, former light heavy- and Republic Pictures mixed comedy and western
weight champ Maxie Rosenbloom, former welter- action. The films benefited greatly from having
weight champs Jackie Fields and Jimmy McLarnin, Yakima Canutt on hand to ramrod the stunts and
lightweight Joe Rivers, heavyweight contenders portray henchmen. Kane and cinematographer
George Godfrey and Neal Clisby, and Australian Jack Marta also distinguished themselves with
Olympic standout Rex “Snowy” Baker. The pro- their handling of fights. Heart of the Rockies is a far
fessional wrestling lineup includes Man Mountain more serious entry and boasts two lengthy and
Dean, Bull Montana and Gus Sonnenberg, while spectacular battles between hero Bob Livingston,
judo masters Tasuke Hagio and Don Sugai Mat- a 180-pound six-footer, and bearded villain Ca-
suda were added for good measure. USC quarter- nutt. The first is an intense, knock-down drag-out
back Cotton Warbutton, Olympic runner Frank affair around a lakeside cabin, and the second is a
Wykoff, and Olympic decathlete turned pro foot- running shot stretching from the driver’s seat to
ball standout Jim Thorpe round out the fighting the tongue of a moving covered wagon. There are
cast. The group of athletes are recruited on screen no process shots here, it was all done for real.
by Spencer Tracy from Dempsey’s New York City Canutt was becoming a seasoned pro at these dan-
restaurant. George B. Seitz handled the second gerous moves. The studio would simply hand him
unit direction for the brawl on location. Much of screenplays with blank segments stating, “See
the action is played tongue-in-cheek. Argus called Yakima Canutt for action.” Although his regular
it an “uproarious comic brawl,” while The Sydney double Duke Taylor worked on the film, Liv-
Mail found it “one of the screen’s liveliest mass ingston did all his own stunts for the cabin fight,
fight sequences.” which was filmed in the San Jacinto Mountains
Guinn “Big Boy” Williams and experienced near Lake Hemet. The star was proud of the
stunt actors Bud Geary, Harry Wilson and Frank brawl and credited Canutt with teaching him
Hagney took on the parts of cab drivers, as did fa- how to picture-fight. For the wagon battle, Taylor
miliar tough mugs Lew Harvey, James Flavin and and stuntman Kenny Cooper stood in for Liv-
Jack Pennick. The casting call for extras: “Only ingston.
tough guys wanted.” There weren’t many estab- Kane was expert at shooting action and had one
lished stunt pros clamoring for the assignment. of the largest personal film libraries consisting of
While professional wrestlers were accustomed to more than 100 fight scenes dating back to the 1914
enhancing the theatricality of their performance, Spoilers. He’d show his film combatants favorites
boxers were trained to make contact. Nobody to inspire them before shooting. On Heart of the
wanted to catch a famous Dempsey punch on the Rockies, the camera follows the fighters fluidly and
chin. A 190-pound six-footer, the Manassa Mauler’s from multiple angles. It took a full day to film the
punching power was legendary. Native American three-minute brawl at the cabin, a near eternity in
Thorpe, six feet tall and 210 pounds, was also the world of quickie B-westerns. Canutt emerged
known to pack a powerful punch and was a much with a minor injury to his elbow, but undying re-
feared bar fighter. Professional wrestler Man spect from his fellow stuntmen for putting on a
Mountain Dean broke his leg during filming. He great screen fight under the conditions. Western
subsequently did all his screen fighting while sup- Clippings terms it “one of the best fights in B-
ported against a post. westerns,” and author Merrill McCord calls it “a
See: Dumont, Herve. Frank Borzage: The Life well- executed and exciting affair and could be
and Times of a Hollywood Romantic. Jefferson, NC: compared with what are probably considered to
McFarland, 2006; “Luise Rainer and Spencer be the greatest fist fights in the history of film.”
Tracy Have Leading Roles.” San Jose News. Sep- See: McCord, Merrill. Brothers of the West: The
tember 23, 1937; “Theatre Gossip.” Evening Inde- Lives and Films of Robert Livingston and Jack Ran-
pendent. October 30, 1937. dall. Bethesda, MD: Alhambra, 2003; “New Film
Boasts Rough and Ready Fight Sequence.” The
20 1937

News and Eastern Townships Advocate. March 8, Mayer. The Movies: The Sixty-Year Story of Holly-
1951. wood and Its Effect on America. New York: Simon
& Schuster, 1957; “Hot Fist Fight.” Cumberland Eve-
Charles Starrett vs. Dick ning Times. June 24, 1938.
Curtis in The Old Wyoming
Trail (1937) Wayne Morris vs. Charles
Bickford in Valley of the Giants
Cowboy hero Charles Starrett ( 6'2", 190
pounds) and hulking villain Dick Curtis (6'3", 220 (1938)
pounds) squared off against one another in more Lumberjacks battle it out in rich Technicolor
than 15 Columbia films from 1937 through 1940. among the redwoods of California in this scenic
Starrett took to calling their assembly line run-ins Warner Bros. outing from director William Keigh-
“the never-ending fight,” joking that a feature film ley. Beefy blond Wayne Morris is the hero, going
could have been made of their battles alone. The against nefarious Charles Bickford in a film full of
Old Wyoming Trail from director Folmer Blangsted fight action. During the climax, the two have a
is perhaps the best known of their bruising en- solid one-minute brawl on a rocky ledge overlook-
counters with publicity comparing the dynamite ing a dam that’s about to be dynamited. The fight
action to the original The Spoilers. The Richmond is aided immensely by the work of stunt doubles
Times Dispatch called it “a sensational screen fight,” Wes Hopper and Fred Graham, who do all the
while Western Clippings declares it “probably the dangerous ledge shots for Sol Polito’s camera. A
best of all the Starrett-Curtis bare-knuckle brawls.” heavy bed of moss on the rocks gives them some
The battle received nice press for a B-film, partic- padding for their falls. Publicity called it “a terrific
ularly in a photo spread and write-up in the 1957 battle” and revealed that studio executives were
coffee table book The Movies. Stuntman Ted comparing the climactic fight to the early versions
Mapes was on hand to double Starrett, but the of The Spoilers, then regarded as the benchmark
cowboy star was able to do the majority of his own for all two-man fights. Morris and Bickford come
fight work with perennial villain Curtis. to blows earlier in the picture as well, with Bick-
Starrett played football at Dartmouth College ford getting the upper hand on that occasion. In
and later became beloved by B-western fans as the the climactic fight, Bickford lost his footing and
Durango Kid. He noted that
former wrestler Curtis, who
carried the moniker “The
Meanest Man in the West,”
was well-coordinated for his
imposing size and had good
reflexes. In all their fights to-
gether, they never once suf-
fered an injury. Initially the
cameramen sped up their
fights from 24 frames per
second to 22, but their tim-
ing became so good to-
gether they were able to
stage them successfully at
normal speed. One of their
best fights came in a burn-
ing cabin in Riders of Black
River (1938).
See: DeMarco, Mario.
Charles Starrett: The Du-
rango Kid, Gallant Defender.
Self-published, 1982; Grif- Alan Hale (left) and Wayne Morris charge into a saloon fray in Warner Bros.’
fith, Richard, and Arthur Valley of the Giants (1938).
 193 8 21

took a 30-foot fall into the Van Duzen River. He Big Gusher (1951), Alan Hale, Jr., in Arctic Flight
was pulled out by stuntman Don Turner. (1952) and Mickey Simpson in Star of Texas
Early in the film, there’s an action-packed sa- (1953). Morris served as an ace pilot for the U.S.
loon fight where Morris comes to the aid of Alan Navy in World War II.
Hale against a barroom full of henchmen the likes See: “Alan Hale Gets Two-Fisted Jobs.” Boston
of Harry Cording, Lew Harvey and Dick Purcell. Globe. June 13, 1939; Callahan, Mushy. “Films
The minute-and-a-half battle royal took five days Make Actor-Boxer Look Good.” Pittsburgh Post-
to film and exposed thousands of feet of film for Gazette. July 6, 1939; Carroll, Harrison. “Behind
editor Jack Killifer to sift through. The 6'2", 220- the Scenes in Hollywood.” Victoria Advocate. June
pound Hale proves to be an energetic centerpiece 12, 1938; Kahn, Alexander. “Film Stunt Men Mad
in the blistering action as he demolishes every- at Mr. Morris.” Pittsburgh Press. July 8, 1938;
thing in his path. Even in scenes of violence, the “Movie Acting Often Strenuous.” Murray Pioneer
hearty Hale kept a gleam in his eye that lent a and Australian River Record. December 15, 1938.
comic touch to the proceedings. Stuntmen em-
ployed in the 20-man lumberjack brawl include Peter Lorre vs. Leon Ames
Graham, Hopper, Turner, Sol Gorss, Gil Perkins, in Mysterious Mr. Moto (1938)
Cliff Lyons, Buster Wiles, Bob Perry and fight co-
ordinator Sailor Vincent. The 20th Century-Fox Mr. Moto series was no-
The stunt work is solid throughout, with beau- table in fight lore as one of the first to showcase
tiful locations in Eureka, California, making the the Japanese martial art of jujitsu, thrilling audi-
otherwise routine film pleasant to look at. Many ences with the way the pint-sized Asian detective
of the action scenes (including the main two-man (played by German actor Peter Lorre) could man-
fight) were intercut into the 1952 film The Big Trees handle any number of big ugly brutes. The fifth of
(1952). The Hollywood Reporter wrote, “It’s one eight films, Mysterious Mr. Moto is the best Moto
good struggle after another from the first line of for fighting. There’s a major 90-second saloon
dialog to the last fight between hero and villain on brawl in a Limehouse causeway tavern, The Blue
the edge of a cliff.” The Repository called the scuf- Peter, midway through the film that leaves nearly
fles “a couple of the swellest fights ever recorded every participant unconscious. Highlights include
by the camera,” while The Oregonian declared the a waiter climbing a light fixture to escape and a
saloon skirmish “one of the greatest film fights ever couple of overhead crane shots from cinematog-
seen.” rapher Virgil Miller. These camera angles were
Six-foot-two, 200-pound Wayne Morris, fresh normally avoided in fight action because it was too
off playing a boxer in Kid Galahad (1937), angered easy for the audience to spot missed punches from
several stuntmen working on the film when he in- above. Lorre flips henchman John Rogers over the
sisted on doing his own fighting during the saloon counter before making his escape with Karen Sor-
brawl. Stuntmen could become highly agitated rell as the bar descends into chaos. Director Nor-
when an actor dipped into their potential earnings, man Foster disguised himself as a hoodlum for the
and they gave Morris a rougher time than they’d fight and does a walk-through before bartender
have one of their own. The brash Morris, reput- Cecil Weston cuts off the power. The fast-paced
edly a football star at Los Angeles City College, climax in a dusty attic sees Lorre battle villainous
was sporting a slightly discolored eye on the train assassin Leon Ames for a full minute of head-first
trip to the northern California location and was dives and hip tosses over a hole in the floor.
more than willing to hand over fight duties from Publicity falsely claimed that Lorre was a jujitsu
that point on. Nevertheless, studio trainer Mushy expert, supposedly having trained with Professor
Callahan rated Morris one of the strongest punch- Haiku Watsutu. In reality, Lorre didn’t know mar-
ers among actors. He accidentally knocked out tial arts and rarely if ever became involved in ac-
tough steelworker William Haade for real filming tion scenes, preferring to let stunt doubles Harvey
in the ring and played power-punching boxers in Parry or Johnny Kascier take over. In this film, it’s
The Kid Comes Back (1938) and The Kid from Parry who handles all the fights. He also shows up
Kokomo (1939). Fights of interest came against as a fighter in the saloon brawl started by Frank
Humphrey Bogart in Men Are Such Fools (1938), Hagney and Allen Pomeroy. Other stuntmen in-
Rod Cameron in Stage to Tucson (1950), Preston volved in the brawling include Sailor Vincent,
Foster in The Tougher They Come (1950) and The Chick Collins, Billy Jones, Bobby Rose, Jack
22 193 9

Woody, Barney O’Toole and Harry

Wilson. During the fighting, Parry
was accidentally knocked cold by a
punch from U.S. Navy boxing cham-
pion Vincent, who has a humorous
bit as a drunk who wakes up from his
stupor throwing punches.
See: Berlin, Howard M. The Com-
plete Mr. Moto Film Phile: A Casebook.
Berkeley Heights, NJ: Wildside,
2005; “Theatres.” Winnipeg Tribune.
November 18, 1938; Youngkin,
Stephen D. The Lost One: A Life of
Peter Lorre. Lexington: University
Press of Kentucky, 2005.

Robert Taylor vs. Wal-

lace Beery in Stand Up
Robert Taylor (left) and Wallace Beery square off in MGM’s Stand
and Fight (1939) Up and Fight (1939).
A forgotten MGM release, director
W.S. Van Dyke’s Stand Up and Fight has rarely been had to reassure fans that Beery struck no real blows
seen on TV because of its depiction of blacks as upon Taylor’s treasured visage. The stars liked one
slaves. Set in the 1850s, the plot pits railroad man another and had a good time throwing fake snow-
Robert Taylor versus blustery, scheming stage- balls at the crew when the cameras weren’t on. The
coach owner Wallace Beery as free slaves in the final fight in a foot of manufactured snow was
North are kidnapped and resold to the South. Cue filmed simultaneously by three cameras. Cine-
called it a “bang-up, brawling melodrama from matographer Leonard Smith placed two on plat-
start to finish,” while Variety noted, “It holds a sock forms and positioned one at eye level to capture
almost every 100 feet of film.” Taylor biographer the action at different angles. The combatants and
Lawrence J. Quirk wrote, “Van Dyke extracted their uncredited stunt doubles tore up the set. At
every possible value out of [the fights], staging one point, Beery initiated a kick to the head that
them for electric, well-paced results.” Two realistic caught Taylor unaware. Director Van Dyke was
and exciting fistfights occur between the stars, quick to step in and call a break so an on-set nurse
with lots of jostling and little hint of pre-planned could examine Taylor whenever Beery became too
choreography. There is no musical accompani- rough.
ment. Taylor takes a great pounding from the MGM became determined to toughen the
much larger Beery in the first encounter, with image of their good-looking star. They placed Tay-
Beery challenging him, “Stand up and fight!” Tay- lor on a weightlifting program with physical
lor manages to triumph in the second fistfight, a trainer Don Loomis and had him spar with boxing
crowd-pleasing one-minute battle in a heavy snow- trainer Mickey Cianci for the prizefight picture
fall. Taylor bleeds and bruises but refuses to back The Crowd Roars (1938). The training paid off and
down, even when Beery starts hitting him over the a newly muscled 5'11", 175-pound Taylor was able
head with a tree branch. When Taylor stands over to handle action scenes convincingly throughout
a beaten Beery, he says, “Come on! Stand up and his career. After service with the U.S. Navy during
fight!” Beery admits defeat, blaming the altitude, World War II, he worked regularly with Golden
and the two reach an alliance and share a drink. Gloves champ Terry Robinson.
As was typical of Beery’s carefully established Fights of interest came against Griffith Jones in
screen image, in the end he turns out to be a lov- A Yank at Oxford (1938), George Sanders in Her
able cuss with a soft heart. Cardboard Lover (1942), Van Heflin in Johnny
MGM was inundated with letters of concern Eager (1942), John Hodiak in Ambush (1949),
from female fans who were worried about the James Millican in Devil’s Doorway (1950), Stewart
damage done to Taylor’s famous face. The studio Granger in All the Brothers Were Valiant (1953),
 193 9 23

Alan Hale, Jr., and George Raft in Rogue Cop is shot by Cagney’s mortally injured brother Har-
(1954) (see entry), Carlos Thompson in Valley of vey Stephens. Cagney’s double Harvey Parry
the Kings (1954), Alan Hale, Jr., in Many Rivers to sprained his wrist taking the stair fall.
Cross (1955), Jack Lord in Tip on a Dead Jockey Making matters especially interesting, there was
(1957), Lee J. Cobb in Party Girl (1958), Henry no love lost between the two stars. Bogart, still a
Silva in The Law and Jake Wade (1958) and Rich- few films away from superstardom, had become
ard Devon in Cattle King (1963). On his TV series tired of playing second fiddle to Cagney and let
The Detectives (1959–1962), he engaged in a judo his displeasure be known. The two shared dinner
exhibition with Bruce Tegner in 1960’s “Karate.” at the restaurant Chasen’s before filming, ostensi-
See: Quirk, Lawrence J. The Films of Robert Tay- bly to discuss the film and iron out any hard feel-
lor. Secaucus, NJ: Citadel, 1975; “Robert Taylor ings. The dinner didn’t last long enough for drinks,
and Wallace Beery Stage All-in Scrap.” The Queens- suggesting that animosity remained. Once on the
lander. February 22, 1939; Wayne, Jane Ellen. set, Bogart thought Cagney looked foolish and an-
Robert Taylor: The Man with the Perfect Face. New nounced, “In that ten gallon hat, you look like a
York: St. Martin’s, 1989. mushroom.” Cagney saved his reply for the fight,
where he had far greater experience than Bogart
James Cagney vs. Humphrey and could take delight in seeing his co-star hit the
Bogart in The Oklahoma Kid floor. Bogart’s tough guy act proved to be just that.
When all was said and done and shooting
(1939) wrapped, Cagney commented, “When it came to
Top screen gangsters James Cagney and Hum- fighting, Bogart was about as tough as Shirley
phrey Bogart are absurdly miscast in cowboy garb Temple.”
as they face off at the climax of this Cherokee Strip U.S. Navy veteran Bogart’s reputation as a two-
western for director Lloyd Bacon. Nevertheless, fisted star was curious. Five-foot-eight and 150
it’s a match-up made in classic cinema heaven, pounds, he was given judo training by June Tegner
even if the stuntmen step in for much of the action for Tokyo Joe (1949), but when it came to fights
and editor Owen Marks gets overly aggressive with he usually handed over the majority of action to
the scissors. Composer Max Steiner provides a stunt doubles. In real life he talked tough and made
pulse-pounding score for the fist-slinging. Graham people think he could handle himself but rarely
Greene called it “a magnificent slug feast” in The resorted to blows. On occasion in nightclubs such
Spectator, while Commonweal praised the “bang- as the Trocadero and the Mocambo, he took a
up fights.” The Morning Herald labeled it “one of swing at someone who was pushing him. Stunt-
the greatest fight scenes ever seen on the screen.” man Harvey Parry called Bogart an expert at the
According to The Western: From
Silents to the Seventies, “It was fast,
vigorous action all the way, com-
plete even to the last-reel fist fight
in the saloon.”
In the Warner Bros. film, black
hat Bogart lynches Cagney’s father,
setting up the dynamic final action
lensed by cinematographer James
Wong Howe. The minute- and-a-
half fight begins as Cagney opens a
second story door and steps out
with guns drawn into the Territory
Saloon. Bogart is waiting and hits
him over the head with a breakaway
chair. The two exchange punches
and fall down a staircase onto the
empty bar floor, where they fight
vigorously with fists and broken James Cagney is about to be clobbered by a chair-wielding Humphrey
bottles until Bogart, going for a gun, Bogart in Warner Bros.’ The Oklahoma Kid (1939).
24 193 9

sneak punch. Bogart’s wife Mayo Methot was dio to allow Warner’s top star to participate, al-
known to jump into a fray to keep him from the though Flynn does throw Fowley (doubled by
action. She was as hard-drinking as Bogie, and the Buster Wiles) through a barbershop window later
two became known in Hollywood as the Battling in the film. There’s plenty of humor mixed with
Bogarts during their brief and tenuous time to- the sprawling action courtesy of Williams, who is
gether. She stabbed him in the back and even shot showcased at his grinning best. He nearly steals
him. After seeing him with two Mayo-related black the film thanks to his amicable, punched-up per-
eyes, stuntman Buster Wiles suggested the two formance.
should book Madison Square Garden for one of Dodge City was a huge hit, and stock footage
their fights. from this donnybrook was used for many years in
On screen he came across as a world- weary other Warner Bros. films such as Frontier Days
cynic, staying on his feet after absorbing a Barton (1945) and Cattle Town (1952), as well as the TV
MacLane punch in The Maltese Falcon (1941) and series F Troop (1965–1967). Every western saloon
withstanding a Victor Sen Yung judo flip in Across showdown on film and television ultimately tried
the Pacific (1942). Bogart had fights of interest to measure up. Robert Buckner’s script used the
against Lyle Talbot in Big City Blues (1932), Joe Civil War as a motivating force between the com-
Sawyer in San Quentin (1937), Wayne Morris in batants, but it became a point of humor in subse-
Men Are Such Fools (1938), George Brent in Racket quent films that every saloon cowboy seemed will-
Busters (1938), Edward G. Robinson in Brother ing to join a fray no matter the reason or cost.
Orchid (1940), Eddie Albert in The Wagons Roll Blake Edwards’ The Great Race (1965) and Mel
at Night (1941), Sol Gorss in All Through the Night Brooks’ Blazing Saddles (1974) famously spoofed
(1942), Joe Downing in The Big Shot (1942), Fred the battle.
Graham in Passage to Marseille (1944), Bob Steele Film Daily called the Dodge City donnybrook
and Jack Perry in The Big Sleep (1946), Clifton “probably the most exciting mob fight scene ever
Young in Dark Passage (1947), Barton MacLane filmed,” while Newsweek termed it “extra-special.”
in The Treasure of the Sierra Madre (1948) (see en- Variety remarked that it contained “some of the
try), Teru Shimada and Hideo Mori (aka Howard dandiest melee stuff screened,” and The Hollywood
Kumagai) in Tokyo Joe (1949), John Derek in Reporter weighed in with, “No show in this re-
Knock on Any Door (1949) and Jack Lambert and viewer’s memory has ever crammed so much
Ted DeCorsia in The Enforcer (1951). punch and drama into one scene as the free-for-
See: “Bogart Learns Judo from Woman Expert.” all brawl in the Gay Lady saloon.” According to
Pittsburgh Press. March 16, 1949; Meyers, Jeffrey. the Pittsburgh Post- Gazette, “Never have the
Bogart: A Life in Hollywood. New York: Fromm In- movies produced such a tumultuous display of
ternational, 1999; “Sock in Hollywood.” Des wholesale bone-cracking,” and The Stanford Daily
Moines Register. July 21, 1940. said, “It beats any of the fight scenes ever filmed.”
Blazing West tags it “the wildest, wooliest mass sa-
The Saloon Brawl in Dodge City loon fight of them all.” Film historian/critic
(1939) Leonard Maltin identifies it as “the granddaddy of
all barroom brawls,” and Western Clippings calls it
The blueprint for all barroom brawls, this rip- “spectacularly staged.” USA Today ranks it among
roarer from director Michael Curtiz employed sev- the Top 10 movie fights of all time, writing that it
eral rough and tumble actors (Guinn “Big Boy” is “slickly choreographed, almost operatic.”
Williams, Bruce Cabot, Alan Hale, Victor Jory, Bodies fly right and left. Furniture is smashed.
Ward Bond and Douglas Fowley) and three dozen Tables are overturned. Broken bottles explode on
of Hollywood’s top stuntmen as the North takes walls. Men and shelves are lassoed and brought
on the South in the famous frontier town. Every- down. It’s shoulder-to-shoulder, wall-to-wall fight-
thing that would become a western cliché is here, ing for nearly four solid minutes at the Gay Lady
including a chair thrown into the mirror behind Saloon (actually Stage 16 as designed by art direc-
the bar, several men crashing through the front tor Ted Smith). The fight took a week for Curtiz
window, and whiskey bottles and chairs smashed and Sol Polito to film at a budgeted cost of
over heads. The only thing missing in this leg- $75,000. Some reports placed the fight’s final cost
endary fight is the film’s heroic star Errol Flynn. as high as $112,500. Among the highlights are
The melee was deemed too dangerous by the stu- stuntmen Duke Green, Harvey Parry and Sol
 193 9 25

Gorss crashing through a staircase (for which theyeffectively to avoid injury. A properly prepared
were each paid $485), Green going headfirst chair must be swung at full force to ensure that it
through a breakaway window, and Buster Wiles breaks fully and looks good for the camera. Swing-
and Hurley “Red” Breen flying off a second floor ing a chair too softly can hurt a target if it doesn’t
balcony onto a half a dozen men. Among the 105 break. Hitting someone with the seat must be
stuntmen and brawling atmosphere players pres- avoided as that’s the heaviest area and edges can
ent were Yakima Canutt, Cliff Lyons, Fred Gra- be painful. Breakaways could sometimes lead to
ham, Gil Perkins, Don Turner, Jack Stoney, Sailor humorous moments on the set. Often an actor or
Vincent, Allen Pomeroy, Paul McWilliams, Reed stuntman became caught up in the heat of the mo-
Howes, Pat Flaherty, Glenn Strange, Ralph San- ment and gripped a prop too tightly, having it fall
ford, Herbert Holcombe, Jack Williams, George apart in their hands.
“Tex” Bloom, Bud Osborne, Chick Collins, Ben While on location, star Flynn decided that he
Corbett, Chet Brandenburg and trick roper Sam was going to discover who was the toughest of his
Garrett. co-stars. Having once come out on the losing end
Mention should be made of the props involved of a fight with Victor Jory, Flynn put former USC
in such a scene. The breakaway movie glass found football player Ward Bond up to testing the U.S.
in window panes and whiskey bottles is called Coast Guard boxing champ. Jory promptly broke
candy glass. It’s also known as sugar glass and isBond’s nose. Suitably impressed, Flynn next told
just that: sugar baked until it takes on the appear-
“Big Boy” Williams that Jory had his girlfriend in
ance of glass with none of the latter’s heaviness or
his hotel room. An irate Williams broke down
danger. In later years, a form of light plastic re-
Jory’s door and was promptly hit several times and
placed candy glass. Breakaway chairs and tables placed in a headlock. The struggle attracted the
are commonly made of light balsa wood or yucca, police, who were set to arrest the two until Jory
a pliable wood that’s mostly hollow. They are heldconvinced them they were play-acting despite the
together by glue instead of potentially dangerous broken door. Realizing he had been set up by
nails and are lightly scored to break easily on im-
Flynn, Williams made amends and split a bottle
pact. This is how actors and stuntmen can with- of gin with Jory.
stand the punishment of falling through furniture Six-foot-two, 230-pound Williams played foot-
or having it broken over their head. Even then, itball at Texas Normal University and served with
takes skill to learn to administer and take the blows
the U.S. Army in World War I. He entered films as
a stuntman. By the 1930s, “Big
Boy” was a much-in-demand
studio supporting player and
enthusiastic low- budget B-
western star. He could play
good guys, bad guys and come-
dic foils with equal aplomb.
Often he was cast as boxers,
football players or U.S. Ma -
rines. He became known for
his powerful physique and was
a legendary figure in old-time
Hollywood as a drinking
buddy of Flynn and John
Wayne. He had the reputation
of being one of filmdom’s
toughest men. Williams was
convincing in his action scenes
and enjoyed performing his
own fisticuffs on screen even
into his later years. He packed
Guinn “Big Boy” Williams (right) throws a punch during the famous a mighty punch.
saloon brawl in Warner Bros.’ Dodge City (1939). Williams had notable fights
26 193 9

in Big City (1937), The Desperadoes (1943) and ever,” and Legendary Westerns includes it among
Station West (1948) (see entries). Fights of interest the top screen scraps.
came against J. Gordon Russell in Trail of Hate The Dietrich-Merkel match-up, a riotous tooth-
(1922), Randolph Scott in Heritage of the Desert and-nail catfight lasting over two minutes, took
(1933), Dick Alexander in Cowboy Holiday five days to film. Dietrich was adamant about
(1934), George Raft in The Glass Key (1935), doing as much of her own fighting as possible on
Frank Hagney and Maxie Rosenbloom in Kelly the screen, and dished it out to Stewart as well as
Second (1936), Jack Holt in North of Nome (1936), Merkel. Co-star Merkel realized Dietrich wasn’t
Pat Flaherty in End of the Trail (1936), Herman pulling punches and opted to do her own fighting
Brix in Flying Fists (1937), Frank Hagney in Wise as well. In reality, Dietrich whispered to Merkel
Girl (1937), Ward Bond and William Haade in throughout the fight to make sure she was okay
Pardon Our Nerve (1938) and Dana Andrews in even as she was stomping on her toes with French
Swamp Water (1941). He greatly impressed view- heels. Both actresses became carried away in the
ers busting heads alongside Roy Rogers in a comic moment in front of Hal Mohr’s camera, coming
brawl in Cowboy and the Senorita (1944). On late away with scrapes, bruises and even splinters. A
1950s TV, a still-tough Williams knocked out Clint first aid station was set up off the soundstage for
Walker with one punch on Cheyenne and fought injuries. Pioneering stuntwoman Helen Thurston
James Arness in the 1957 Gunsmoke episode “Skid filled in for Dietrich when the action became too
Row.” heavy. Publicity claimed the stars did all their own
See: Rainey, Buck. The Strong Silent Type. Jef- stunts in one continuous take and were presented
ferson, NC: McFarland, 2004; Vieira, Mark A. with champagne toasts by their stunt doubles and
Majestic Hollywood: The Greatest Films of 1939. applause from the cast and crew. Stuntman Duke
Philadelphia: Running Press, 2013. York coordinated the action.
The film was loosely remade as Frenchie (1950)
Marlene Dietrich vs. Una with Shelley Winters and Marie Windsor and
Merkel in Destry Rides Again again as Destry (1954) with Mari Blanchard and
Mary Wickes. They were all shown the Dietrich-
(1939) Merkel battle as a point of reference. Other female
George Marshall’s western contains what re- match-ups of interest include Penny Singleton and
mains the most famous female vs. female fight ever Ann Miller in Go West, Young Lady (1941), Arlean
captured on film. Legendary German actress Mar- Whelan and Katy Jurado in San Antone (1953),
lene Dietrich and Una Merkel go at it as fero- Joan Crawford and Mercedes McCambridge in
ciously as any pair of men in the Bloody Gulch’s Johnny Guitar (1954), Peggie Castle and Betty
Last Chance Saloon as they fight over a pair of pants Brueck in Jesse James’ Women (1954), Angie Dick-
to the tune of composer Frank Skinner’s energetic inson and Lyla Graham in The Return of Jack Slade
score. Universal’s publicists called it “an epochal (1955), Beverly Garland and Allison Hayes in
fist-fight.” They slap, punch, kick, wrestle, scratch, Gunslinger (1956), Coleen Gray and Randy Stuart
bite and pull one another’s hair until James Stewart in Star in the Dust (1956), Nancy Kovack and Sally
resorts to pouring a bucket of water on them to Starr in The Outlaws Is Coming (1965) and stunt-
cool them off. This unleashes Dietrich’s fury on woman Polly Burson and Barbara Werle (doubled
him, as she throws everything but the kitchen sink by Julie Ann Johnson) in Gone with the West
at Stewart. Even a banjo is used as a weapon. In (1969). The Aliza Gur–Martine Beswick gypsy
the climax, Dietrich’s Frenchy leads other female fight in From Russia with Love (1963) is perhaps
cast members into the saloon armed with rolling the most famous outside the western genre. On
pins to take on Brian Donlevy’s bad guys. TV, Barbara Stanwyck took on Julie Adams in the
Variety called the Dietrich-Merkel fight “out- 1968 Big Valley episode “The Emperor of Rice.”
standing,” while The Adelaide Advertiser termed it Unfortunately, researching additional female cat-
“one of the best screen brawls we have ever seen.” fights inevitably leads into a maze of underground
The New York Times wrote, “We thought the battle fetish films or outright pornography amidst the le-
between Paulette Goddard and Rosalind Russell gitimate efforts. Destry Rides Again will be the sole
in The Women was an eye-opener; now we realize entry here for girl-on-girl fighting, a subject that
it was just shadow-clawing.” The Big Damn Book undoubtedly warrants its own volume for those
of Sheer Manliness calls it “the greatest cat fight interested parties.
 19 4 0 27

See: Anderson, Nancy. “Una Merkel Loved Sec- black eyes, boasts great sound effects and no in-
ond Fiddle.” Beaver County Times. December 5, trusive music, with only choppy editing from Sher-
1978; “Glamor Girl Swings Fist in Western.” Pitts- man Rose a drawback to perfection. Jory and Tyler
burgh Press. October 4, 1939; “This Is a New High also fought in Riders of the Timberline (1941). The
in Movie Roughhouse.” Life. October 9, 1939. 6'2", 200-pound Tyler was an amateur boxer who
entered films as a stuntman. An AAU weightlifting
Victor Jory vs. Tom Tyler in The champion, he earned his bones in B- westerns
Light of Western Stars (1940) fighting ubiquitous heavies Charlie King, Dick
Alexander, Harry Woods and Slim Whitaker in
This fine adaptation of a Zane Grey western fea- film after film. One of his best fights came against
tures an interesting role reversal as frequent screen Rod Cameron in Boss of Boomtown (1944).
villain Victor Jory is cast as the roguish hero and Six-foot-one, 190-pound Victor Jory boxed in
Tom Tyler, who made his name as a strong cowboy Golden Gloves and fought professionally. He held
hero, is the shady sheriff who takes Jory on in a British Columbia and U.S. Coast Guard boxing
wild one-minute saloon brawl. Director Lesley Se- and wrestling championships, played football at
lander builds tension between the men when Tyler Fullerton Junior College and worked as a circus
slaps Alan Ladd for dancing with his girl. A gen- strongman. He habitually squeezed cork grips to
tleman’s wager solves that showdown, but after maintain his forearm strength and could tear apart
Ladd is killed it’s no-holds-barred as Jory stares two decks of cards stacked together. He was widely
Tyler down with perhaps the most intensely cold regarded as one of the toughest men in Holly-
eyes the screen has ever seen. The two actors have wood. When Jory hit someone for real, they stayed
a great dialogue exchange before Tyler goes for his down. He favored doing his own fights though
gun. Jory instinctively knocks it away, and all hell they resulted in an assortment of bruises, slashes
breaks loose. and minor broken bones. Jory had heroic leads in
No stunt doubles were used, and it’s a fierce and the serials The Green Archer (1940) and The Sha-
realistic struggle as the men spend as much time dow (1940) but became best known as a foil to
wrestling on the floor as they do connecting with Hopalong Cassidy in B-westerns.
punches. This is how real fights often develop as Jory had notable on-screen fights in Dodge City
opposed to punches traded back and forth. Many (1939), Hoppy Serves a Writ (1943) and The Kan-
of their falls look unrehearsed and spontaneous, san (1943) (see entries). Fights of interest came
with furniture occasionally getting in the way as against James Dunn in Sailor’s Luck (1933), LeRoy
chairs are thrown and tables
overturned. The way their bod-
ies twist and turn against one
another, it’s a wonder they both
weren’t in need of chiropractic
care when all was said and done.
Tyler tries to smash Jory with a
whiskey bottle, but Jory lands a
knockout punch that puts Tyler
out on his feet. Tyler’s vacant,
glassy-eyed face is one of the
cinema’s most memorable fight-
dazed expressions, perfectly
captured by cameraman Russell
Harlan. Jory lands two more
punches before Tyler drops for
good.
When the scene wrapped,
the crew gave the men a stand-
ing ovation. The fight, saved
until the last day of shooting in Victor Jory presses Tom Tyler against a bar counter in Paramount’s The
case the participants sustained Light of Western Stars (1940).
28 19 4 0

Mason in Smoky (1933), Dewey Robinson in Too Claudette Colbert and Hedy Lamarr, from the
Tough to Kill (1935), Cecil Perry in Men with muddy streets of Texas to the high rises of New
Whips (1936), George Bancroft in Hell-Ship Mor- York City. Director Jack Conway keeps events
gan (1936), George Raft in I Stole a Million moving as the two nearly come to blows more than
(1940), Dennis Morgan in River’s End (1940), once for Harold Rosson’s camera. Screenwriter
Russell Hayden in Knights of the Range (1940), John Lee Mahin provides five fights. In one hu-
Dennis O’Keefe in Girl from Havana (1940), Rich- morous but highly unbelievable exchange with
ard Dix in Buckskin Frontier (1943), Joel McCrea husky mugs Frank Hagney, Olin Francis and Mal-
in South of St. Louis (1949), Randolph Scott in colm Walte, Gable and Tracy compete to see who
Canadian Pacific (1949), Sterling Hayden in Flam- can knock their opponent the furthest across the
ing Feather (1952), Vaughn Moore in Toughest Man saloon floor. The inevitable fight between the stars
in Arizona (1952) and Glenn Ford in The Man is set in a locked Manhattan office, and it’s a hum-
from the Alamo (1953). On TV he played a San dinger full of pithy one-liners and challenges as
Diego cop in the syndicated Manhunt (1959– they belt one another over the furniture. The office
1961), squaring off against Jim Davis in the 1961 and its contents are demolished by their actions.
episode “Kidnapped.” Editor Blanche Seward offers too many close-up
See: Chapman, Mike, and Bobby J. Copeland. shots of the stars waiting either to throw a punch
The Tom Tyler Story. Newton: Culture House, or take one. Tighter snipping would have helped
2005; Thomas, Bob. “Victor Jory Specializes in the flow of the fight.
Movie Fight Scenes.” Toledo Blade. June 14, 1948. Six-foot-one, 205-pound Gable and five-foot-
nine, 170-pound Tracy co-starred in San Francisco
Clark Gable vs. Spencer Tracy (1936) and liked working together. They even
in Boom Town (1940) stepped into the boxing ring to good-naturedly
spar with one another on screen. By the time of
This popular MGM entry stars screen giants Boom Town, however, U.S. Navy veteran Tracy was
Clark Gable and Spencer Tracy as oil field wild- tired of not getting the girl on screen and let his
catters. They become rich and go bust throughout displeasure be known on the set. This came
the course of the picture while fighting over through in his performance with Gable continu-
ally referring to him on
screen as “Shorty.” As ten-
sions rise between the
characters, Tracy punches
Gable before they are bro-
ken up. By the last act, the
audience is geared up to
see these two men go at it
behind closed doors.
MGM publicity declared
the fight “spine-tingling”
and “nothing short of sen-
sational.” Hollywood
columnist Sheilah Gra-
ham called it “a terrific
fistic fight.” The Evening-
Independent termed it “the
champion fighting pic-
ture,” and the New York
Times labeled it “a bang-
up fist fight.”
A notable mishap oc-
curred while Gable bat-
Spencer Tracy takes a big punch from Clark Gable in MGM’s Boom Town tled Tracy’s double George
(1940). DeNormand (legend says
 19 4 0 29

it was Tracy). DeNormand accidentally hit Gable Gary Cooper vs. Forrest
with a roundhouse right that split the star’s lip and Tucker in The Westerner (1940)
created a large bruise. Worse, the blow broke
Gable’s dentures and he had to be away from the William Wyler’s The Westerner pits lanky cow-
set for more than a week. The delay in Gable’s re- boy drifter Gary Cooper against Walter Brennan’s
turn cost the production a reported $50,000, Judge Roy Bean (an Oscar-winning performance),
significant at the time. Full of remorse, director a worthy mental opponent with questionable
Conway was replaced by Victor Fleming, who morals and the law on his side. Cooper vs. the aged
completed the fight with stuntmen. Gable’s double Brennan physically was a mismatch the audience
Joe Hickey finished the fight with DeNormand. wouldn’t buy. The film was in need of a credible
Tracy flatly refused to take part in extended movie physical threat to Cooper among the home-
fights for the rest of his career, though he was steading farmers upon whom cattleman-friendly
coaxed into action for Bad Day at Black Rock Brennan was applying pressure. Looking for a suit-
(1955) (see entry). In real life, Tracy garnered a able young actor to play a sympathetic heavy and
reputation as a brawler who came to blows multi- match up with Cooper in a subplot over leading
ple times with director William Wellman. lady Doris Davenport, the film’s producer Samuel
The rough-hewn, robust Gable was a former oil Goldwyn stumbled across the husky Forrest
field roughneck and Oregon lumberjack. He Tucker. At nearly 6'5" and 215 pounds, Tucker was
reigned as an MGM star for over 20 years and was more than the studio had bargained for. In addi-
known in the industry as “The King,” command- tion to his physical attributes, he was a capable
ing attention with his presence and animal mag- actor who could call Cooper “a snake and a liar”
netism in such films as Mutiny on the Bounty and look like he meant it. After those words are
(1935) and Gone with the Wind (1939). Studio uttered, both men slowly undo their gun belts,
publicity played up his punching power when he fully aware they are about to tear into one another.
supposedly flattened stuntman Allen Pomeroy It’s hero Cooper who surprises the audience by
during the making of Cain and Mabel (1936). Pro- throwing the first punch.
moters tried to lure him into the boxing ring with Tucker had a boxing background and proved
Max Baer, but Gable had more sense. Gable was especially good at fights, a requirement for this
confident enough in his real-life fighting skills to film’s one minute of dust-covered, knee-buckling
face down his Irish drinking buddy Jack Doyle, a fisticuffs which The New York Sun termed “the
6'5" contender for the heavyweight crown. Gable toughest fist-fight filmed since the silent The Spoil-
later trained with former Golden Gloves champ ers.” The strapping Tucker was concerned he
and World War II hand-to-hand combat instructor might hurt the 6'3", 180-pound Cooper because
Terry Robinson. Gable served with the U.S. Army he had so much weight on him. However, Cooper
Air Corps during the war as an aerial gunner. entered films as a stuntman and boxed recreation-
He had movie fights of interest against William ally on the side. He worked on the 1930 version
Boyd in The Painted Desert (1931), Wallace Beery of The Spoilers with boxer Sailor Vincent and could
in Hell Divers (1931), Franchot Tone in Mutiny on handle himself in a movie fight. When Cooper ac-
the Bounty (1935), Edgar Kennedy in San Francisco cidentally connected with a punch, he was imme-
(1936), Pat Flaherty in Parnell (1937), Albert diately apologetic to the film newcomer. Cooper
Dekker in Strange Cargo (1940) and Honky Tonk took a fall during the nine-hour battle that banged
(1941), Tom Tully and Frank Hagney in Adventure up his knee, and he had to have water drained from
(1945), Richard Rober in Any Number Can Play it during the remainder of the picture.
(1949), Raymond Burr in Key to the City (1950), The fight was shot on location near Tucson, Ari-
Broderick Crawford in Lone Star (1952) (see zona, in a real horse corral. Wyler and cinematog-
entry), and Mel Welles in Soldier of Fortune (1955). rapher Gregg Toland obtained long shots of stunt
Gable took part in a mass stuntman brawl in Across doubles doing the fight but abandoned them for
the Wide Missouri (1951). close-up action cut together by Daniel Mandell.
See: “Film Calendar.” Brooklyn Daily Eagle. Oc- The makeup department applied bruises and suffi-
tober 13, 1940; Graham, Sheilah. “Accidents Do cient dust and straw to the men’s heads to accen-
Happen—Even to Movie Stars.” Toledo Blade. tuate their rolling around in the dirt. Off-camera,
March 18, 1951; Marsh, W. Ward. “One Moment, a giant fan blew Fuller’s Earth across the screen
Please!” Plain Dealer. September 25, 1940. and into their faces. The Western: From Silents to
30 19 4 0

the Seventies praised the intentional clumsiness of See: “Forrest Tucker Talks of Hit.” New York
the fight between a cowboy and a farmer, writing Sun. 1940; “90 Second Tussle Takes Nine Hours.”
that the action content was “unusually well- Detroit Free Press. April 11, 1940.
handled” and didn’t reek of a typical stunt fight.
To even out their height difference on screen, The Café Fight in Seven Sinners
Tucker wore flat-heeled boots while Cooper had (1940)
on built-up heels. Toward the end, Wyler ingen-
iously resorted to filming the men’s shadows bat- Seven Sinners was Universal’s answer to Warner
tling on the ground. Bros.’ Dodge City brawl. It employed over 30 stunt-
Cooper had a reputation as a superb technical men and took director Tay Garnett and first assis-
actor possessing the physical ability to consistentlytant Phil Karlson ten days to shoot the fistic acro-
hit his marks and perform repetitive action take batics between sailors and waterfront thugs in a
after take. He was a real cowboy but also possessed South Seas island café designed by art director Jack
expert comic timing. In Mr. Deeds Goes to Town Otterson. Editor Ted Kent cut cameraman
(1936), he drops Douglass Dumbrille and three Rudolph Mate’s footage together at a breakneck
other men with a single punch! He had notable pace with Hans Salter and Frank Skinner’s fitting
fights in Saratoga Trunk (1945), Cloak and Dagger score providing the background energy for the
(1946), High Noon (1952) and Man of the West dizzying action. The New York Times called it “sim-
(1958) (see entries). He had other fights of inter- ply magnificent,” while the St. Petersburg Times
est against William “Stage” Boyd in The Spoilers opined it was the “wildest brawl any camera has
(1930), Henry Wilcoxon in Souls at Sea (1937), ever filmed.” The Los Angeles Times wrote, “Prac-
William Haade in Sergeant York (1941), Dana An- tically the biggest café fight in history gives the
drews in Ball of Fire (1941), Warren Hymer in Meet production an action impact that is unrivaled,” and
John Doe (1941), Ray Teal and Lane Chandler in Commonweal called it “a new high in slug fests.”
Along Came Jones (1945), Larry Chance in Distant Newsweek said it offered “a screen high in mass
Drums (1951), Lon Chaney in Spring field Rifle mayhem” and The Mercury termed it “the most
(1952), Cameron Mitchell in Garden of Evil complete and thorough rough- and-tumble the
(1954), Charlton Heston in The Wreck of the Mary screen has seen tis [sic] for many a long day.” The
Deare (1959) and Eric Portman in The Naked Edge Hollywood Reporter described it as “a tremendous
(1959). climax which offers the wildest, most uproarious,
spine- tingling, free- for-all
brawl which ever has
reached the screen.” USA
Today included it in the Top
10 all-time movie fights.
John Wayne starts the ac-
tion by confidently taking
on a dozen thugs before
Broderick Crawford arrives
with reinforcements. Even
leading lady Marlene Diet-
rich throws a few punches.
There’s plenty of humor
mixed in with the flying fists
to keep things light and en-
tertaining. Producer Joe
Pasternak called it the best
fight ever put on film and
granted Garnett two extra
days of production time.
The mostly bloodless fin-
Forrest Tucker (left) and Gary Cooper stage one of the screen’s dustiest ished product lasts six min-
fights in United Artists’ The Westerner (1940). utes with stars Wayne, Craw-
 19 4 0 31

ford, Billy Gilbert, Mischa

Auer and villain Oscar Ho-
molka doing many of their
own stunts. Crawford re-
ceived a concussion after
taking a flower pot over the
head. Standing out among
the heavies was 6'2", 215-
pound Frank Hagney, who
singles out Crawford for a
one-on-one, then goes off a
balcony with him. Hagney
had been the Australian box-
ing champ and was a long-
time sparring partner for
heavyweight champ Jack
Johnson.
Among the stunt aces
working on the film were
Dave Sharpe, Duke Green,
Gil Perkins, Eddie Parker, Oscar Homolka (left) and John Wayne exchange haymakers in Universal’s
Ken Terrell, Jimmy Fawcett, Seven Sinners (1940).
Tom Steele, Fred Graham,
Harvey Parry, Eric Alden, Mike Lally, Bud Wolfe, Broderick Crawford, a 240-pound six-footer,
Carey Loftin, Bobby Rose, Ted Billings, Loren played football at the Dean Academy and dabbled
Riebe, Louis Tomei, Harry Wilson, Chick Collins as a professional fighter. He joined the U.S. Navy
and Richard Talmadge. Even the director Garnett before embarking on an acting career. He re-upped
shows up as a drunken sailor who gets involved. during World War II and served as a combat in-
The stuntmen were hurled over balconies, thrown structor for the U.S. Army Air Force. Best known
through doors and windows, smashed into mir- as the star of TV’s Highway Patrol (1955–1959),
rors, tossed down stairs, slammed against walls he had a reputation as one of Hollywood’s heaviest
and splayed on top of furniture. There were 24 ta- drinkers. Often he’d be approached by someone
bles broken, 72 chairs crushed, and a bar, a pool in a bar who wanted to see how tough he was.
table, and a staircase demolished. When the police came to break it up, Crawford
It was a virtual tour de force for Dave Sharpe as tussled with them and made headlines. He had
he showed up as six different characters in the his nose broken seven times. The worst came in
fight. He and Jimmy Fawcett take a 25-foot bal- a Mexican cantina and involved a beer bottle
cony fall onto a table. He’s catapulted ten feet smashing his beak. Most weekends Crawford
through the air, landing on his belly on a low- brawled for fun with pal Lon Chaney, Jr. The two
hanging beam. Wayne smashes him through a would as soon fight with each other as they would
door, flips him from a stage onto a breakaway table, strangers.
and heaves him upside down into a wall of shelves. Crawford was proud of his tough guy rep and
Sharpe even completes a stunt Duke Green began enjoyed doing the bulk of his fights, even if others
for Wayne, being jettisoned from a chandelier. were wary of tangling with him. He rushed through
Wayne’s assigned double Eddie Parker wasn’t con- dialogue and had a similar approach when it came
sidered good working at heights. Most of the to roughhousing with his fellow actors. Notable
stuntmen were under contract for $35 a day, but fights include North to the Klondike (1942), Sin
Sharpe was making an extra $250 per take for each Town (1942) and Lone Star (1952) (see entries).
of his spectacular leaps and falls. At the fight’s con- There were more fights of interest against Joel Mc-
clusion, the audience must suspend disbelief at the Crea in Woman Chases Man (1937), Pat O’Brien
comic sight of unconscious bodies literally hang- in Slightly Honorable (1939), George Raft in
ing motionless from the Seven Sinners Cafe’s Broad way (1942), Rod Cameron in The Run -
rafters and light fixtures. around (1946), John Ireland in Cargo to Capetown
32 19 4 0 / 19 41

(1950), Neville Brand in The Mob (1951) and John and Demetrius and the Gladiators (1953) as the title
Derek in The Last Posse (1953). strongmen. Mature fought in Golden Gloves tour-
See: Krebs, Albin. “Broderick Crawford; Oscar- naments as a youth and played a boxer in Footlight
Winning Tough.” New York Times. April 27, 1986; Serenade (1942). However, the U.S. Coast Guard
“Tay Garnett Sparing of Bloody Makeups.” Spo- veteran was quick to hand over the more strenuous
kane Daily Chronicle. October 15, 1940; “Thirty activities to his stunt doubles throughout his Hol-
Stuntmen Used in Fight Scenes.” Los Angeles lywood career. Mature fought Brad Dexter in The
Times. December 13, 1940. Las Vegas Story (1952), Don Haggerty and Karl
Davis in Gambling House (1952), Vincent Price in
Victor Mature vs. Bruce Cabot Dangerous Mission (1954) and Peter Whitney in
in Captain Caution (1940) The Last Frontier (1956).
See: “Daring Action Is Highlight of Big Epic of
“A veritable melee of manliness” screamed the Sea.” Herald-Journal. October 20, 1940; McKay,
film’s publicity as Victor Mature engages Bruce James. The Films of Victor Mature. Jefferson, NC:
Cabot in a full minute of fierce hand-to-hand com- McFarland, 2013; “Movie Scrap Real Brawl!” Pitts-
bat for the hand of leading lady Louise Platt. burgh Press. July 7, 1940.
Produced independently by Hal Roach and di-
rected by Richard Wallace, the rollicking action George Raft vs. Edward G.
film is set during the War of 1812 and pits not only Robinson in Manpower (1941)
the two principals against one another, but also a
host of shipboard battles between British sailors Despite the participation of director Raoul
and pirates using swords and cutlasses. Cabot Walsh, Manpower is a standard Warner Bros. melo-
gives a charismatic performance as the oppor- drama about power linemen and the frictions that
tunistic villain who deems Mature’s chin worthy develop when a girl enters the story. It’s more no-
of his fist. Richard Talmadge was stunt coordinator torious for the real animosity existing between
and second unit director with stuntmen Otto Met- stars George Raft and Edward G. Robinson, which
zetti, Victor Metzetti, Tom Metzetti, James Dime, resulted in fisticuffs and newspaper headlines.
Bud Geary, George Suzanne, Carl Mudge, William Plenty of punch-ups punctuate the picture as the
Sundholm, Jack Perry, Constantine Romanoff and hot-headed Robinson takes swings at Ward Bond
Ethan Laidlaw doubling actors and filling out the and John Kelly. Raft is cool and handy with his
ranks of the battling seamen. Mature also engages fists, willing to stick up for his friend whenever
in a bare-knuckle boxing match with brutish pro- Robinson gets out of line over unsavory comments
fessional wrestler Jules Strongbow. about his girlfriend Marlene Dietrich. Raft shows
The main fight took three days to film in 90 de- off his superior fighting skill in a nightclub brawl
gree heat with Mature losing seven pounds and with Barton MacLane. He later takes on loud-
Cabot dropping five. Both men had boxing back- mouth Dick Wessel in a diner. Walsh, who debuted
grounds, yet considered the struggle to be their in films as a stuntman, especially enjoyed staging
most strenuous bout of endurance. Cabot suffered action and fights.
a two-inch gash on his scalp when he was hit by a Inevitably the two leads come to blows over Di-
belaying pin during the battle. The two fought all etrich in a climactic two-minute sequence atop a
over the 200 feet of space on the Olive Branch ship transformer in a driving rainstorm. The New York
for Norbert Brodine’s camera. Thick synthetic fog Times called the battle “suspenseful” and “titanic.”
blanketed the wet deck as the men struggled from Stuntmen Allen Pomeroy and Duke Green earn
port to starboard in a fight the Pittsburgh Press said their pay for the elevated fight work (all done on
“made the famous brawl in The Spoilers look like a controlled studio set for cinematographer Ernest
a game of patty-cake.” The Sydney Morning Herald Haller’s camera), commanding $800 apiece for the
wrote, “Many fist fights have been seen on the brawl. Buster Wiles doubled Alan Hale as a fellow
screen but few to equal that between Captain Cau- lineman who tries to stop the wrench-swinging
tion and Bruce Cabot.” Robinson, who incorrectly believes Dietrich has
Audiences took to the husky (6'3", 205-pound) been cheating on him with his friend Raft. Raft
Mature. who bared his beefy chest in film after mostly defends himself and ultimately must try to
film. Two of his most notable assignments came save Robinson after the latter loses his footing and
in the Biblical epics Samson and Delilah (1949) dangles perilously from the end of a safety belt.
 19 4 2 33

Ralph Dawson’s editing and Adolph Deutsch’s Broderick Crawford vs. Lon
score add to the suspense. Chaney in North to the Klondike
It’s safe to say Robinson and Raft came from
two different strata of society. The short, chunky
(1942)
Robinson was highly cultured in the arts and Significant weight gets thrown around in this
looked down on any type of physical activity, climactic, nearly three-minute grunt-and-groaner,
while Raft was a boxer with scant education and set in the Klondike but filmed on picturesque Big
mob ties. Raft often felt he was spoken down to Bear, California, locations. Some feel it’s one of
by Robinson and didn’t take well to Robinson’s the best rough’n’tumble fights ever put on film,
many acting pointers. Dietrich created additional and it’s easy to see why. Man against man sur-
tension, entertaining both men socially during rounded by dangerous elements is always enticing.
filming. At some point, tempers flared on Stage 11. Broderick Crawford and Lon Chaney were both
Co-stars Bond and Hale pulled the men apart be- large, heavy-framed men who elected to film as
fore Raft could do too much damage, but there much without doubles as they could. They were
were enough reporters present that day to get ac- aware this act would take work away from a pair
counts and pictures to the public. It was the first of stuntmen, so they demanded that Universal pay
fight Robinson had ever been in his life. For Raft, their assigned doubles $75 apiece; the men would
it was probably his first that week. Raft seemed to then take a seat to watch the actors do their own
catch the most flak, and his career began to go fight. Chaney takes wild bumps as he crashes onto
downhill in the ensuing years. Years later the two tables and eats dirt hitting the ground. Both men
actors made light of their feud at social functions take in smoke from a broken stove, and Crawford
to the delight of audiences. (in a close-up) is hit over the head with a bottle
Raft boxed professionally in an undistinguished that left a real lump. The extended fight stretches
career spanning 17 fights. He made more impact from a saloon, onto the patio, off a bridge and into
once he hit Hollywood, with one of his first screen a creek before Crawford drags Chaney out. The
fights coming against James Cagney in Taxi! stuntmen were used for the bit where they crash
(1932). He scored that same year playing Paul through the cabin window and likely the long shot
Muni’s deadly bodyguard in the gangster classic of the two going off the bridge. Editor Ted Kent
Scarface (1932). Raft was quick to react with real conceals their identities well. Variety labeled it
punches when provoked and needed to be pulled “spectacular,” while Photoplay called it “the best
apart from Wallace Beery while filming a fight in screen fight you’ve seen in many a day.” The
The Bowery (1933) (see entry). In 1943 he punched Spokane Daily Chronicle wrote, “It is doubtful if
out Peter Lorre during the making of Background any battle since that memorable one in The Spoilers
to Danger after Lorre blew smoke in his face during has surpassed this spectacularly bruising and
a scene. To stay in shape, Raft sparred regularly mauling conflict between the two fist-flailing gi-
with Mushy Callahan, stuntman Joe Gray and mid- ants.” Western Clippings honors it among their
dleweight contender Carmen Barth. “great screen fights.”
He had movie fights of interest against “Big Universal had the stars coached by boxing ex-
Boy” Williams in The Glass Key (1935), Henry pert Frankie Van in preparation for their screen
Fonda in Spawn of the North (1938), William confrontation, and improbable publicity empha-
Holden in Invisible Stripes (1939), Victor Jory in I sized that no punches were pulled. The fights were
Stole a Million (1940), James Cagney and Joe filmed first over four days; Crawford accidentally
Downing in Each Dawn I Die (1939), William chipped one of Chaney’s front teeth. Chaney
Haade in They Drive By Night (1941), Broderick elected to do the rest of his part with the imper-
Crawford in Broadway (1942), Bern Hoffman in fection, feeling it made his character appear nas-
Nocturne (1946), George Macready in Johnny Al- tier. Chaney knocked Crawford out for real when
legro (1949) and Robert Taylor in Rogue Cop they were fighting in the water and Crawford’s foot
(1954) (see entry). slipped, placing his jaw directly in the path of a
See: “Allen Pomeroy.” Catholic Digest. Novem- Chaney blow. The impressive fight provides a
ber 1947; “Fighting Is Film Motto for Raoul Walsh rousing finish to director Erle C. Kenton’s film.
in Manpower.” Montreal Gazette. August 8, 1941; Crawford and Chaney also battled in Badlands of
“Robinson & Raft Stage Impromptu Fight on Set.” Dakota (1941), with Chaney again coming out the
Life. May 12, 1941. loser.
34 19 4 2

In real life, the participants were good friends Six-foot-two, 230-pound Chaney entered films
and drinking buddies. Legend has it they once de- as a stuntman and relished doing his own fight
stroyed a dressing room when they became carried work. He claimed to have choreographed many of
away tussling together. Between camera set-ups, his own brawls although he had a reputation for
they played a violent game of rock, paper, scissors becoming over-enthused and out of control in the
in which the loser took a hard slap to the face. heat of battle. Many actors were wary of working
Wardrobe and makeup were constantly on their with him for fear he’d accidentally belt them. His
toes to cover the real blood shed by the stars. Per- best fights came against Tom Tyler in Cheyenne
sonnel at Universal took to calling the duo “The Rides Again (1937), Bob Steele in Of Mice and Men
Monsters” in regard to their behavior. Chaney fa- (1939), Claude Rains in The Wolf Man (1941),
mously portrayed the Wolf Man, the Frankenstein Marc Lawrence in Eyes of the Underworld (1942),
Monster, Dracula and the Mummy while at the Bela Lugosi in Frankenstein Meets the Wolf Man
studio, which might have contributed to his nick- (1943), Randolph Scott in Albuquerque (1948),
name. He and Crawford drank together at Foster’s Lloyd Bridges in 16 Fathoms Deep (1948), John
Bar and were the originators of the “Shin Kicking Payne in Captain China (1950) (see entry), Gary
Club.” They were also members (alongside John Cooper in Spring field Rifle (1952) and Cornel
Wayne and Ward Bond) of the macho “Slap Club.” Wilde in Passion (1954).
Between drinks, the men would good-naturedly See: Chapman, John. “Looking at Hollywood.”
kick one another with cowboy boots. One thing Chicago Tribune. October 17, 1941; Graham, Shei-
the two had in common was the part of huge sim- lah. “The Gadabout of Hollywood.” Milwaukee
pleton Lennie in Of Mice and Men. Crawford had Journal. May 16, 1943; “Hollywood Tough Guy
scored on Broadway in the part, while Chaney Lon Chaney Likes Nothing Better Than Rough
played the part on film to critical acclaim. Fight Scene.” St. Petersburg Times. June 19, 1949.

Broderick Crawford drops Lon Chaney, Jr., to the ground in Universal’s North to the Klondike (1942).
 19 4 2 35

Tyrone Power vs. George where he died of a massive heart attack at age 44.
Sanders in Son of Fury (1942) Close friend Sanders was devastated, as were the
rest of the cast and crew. Yul Brynner was brought
Reviewing this period piece about a young man in to take over Power’s role (Power can still be
seeking his birthright, The New Yorker noted that spied in long shots in the finished film). Power’s
it contained “some of the meanest fist fights in a best fights came against Peter Graves in The Long
long time.” Variety called the fights “among the Gray Line (1955) and Richard Egan in Untamed
best ever screened.” Those are fair assessments as (1955).
villain George Sanders hits star Tyrone Power as See: Gill, Ted. “There’s Art in Preserving Hero’s
he takes off his coat. Early in the 20th Century- Face in Film Fisticuffs.” The Sun. January 25, 1942;
Fox film, dandy aristocrat Sanders teaches his Sanders, George. Memoirs of a Professional Cad.
nephew Power how to be a man by fighting dirty, Metuchen, NJ: Scarecrow, 1992.
then flogging him. Power toughens up while sail-
ing the South Seas. At the end of the episodic cos- Kane Richmond vs. Ken Terrell
tume picture, the two meet again and Power asks and Duke Green in Spy Smasher
to continue his education. This time he’s a match
for the older man, and the two have a furious brawl
(1942)
all over Sanders’ stateroom. They go over furni- Republic Pictures’ greatest action serial comes
ture, upend tables and smash mirrors. Sanders puts thanks to the sure-handed direction of William
Power into a headlock and flings him onto a col- Witney, the competency of cameraman Reggie
lapsing table. Power emerges triumphant as Lanning, the fast-paced editing of Tony Martinelli
Sanders lies bloody and beaten at the one-minute and Edward Todd, and the incredible fighting ac-
mark. As Power slowly makes his way to the door, robatics of stuntman Dave Sharpe, who doubles
Sanders rallies and the incredible fight goes on for star Kane Richmond as he takes on nefarious
another 30 seconds, backed by Alfred Newman’s Nazis for 12 exciting chapters. Sharpe was heading
dramatic score. This time Power puts Sanders out the Republic stunt team and is matched especially
for good. well with stuntmen Ken Terrell and Duke Green.
The fight took four days to film. The action was Terrell and Green fly and tumble in their fights
originally diagrammed by director John Cromwell, nearly as incredibly as Sharpe, and the result is
but the actors and stuntmen deviated and ended some of the greatest fights ever put onto film. With
up having a more traditional “old school” brawl. hats securely fastened to their heads to help con-
Initially each faked punch was photographed in- ceal their identities, Witney’s energetic stuntmen
dividually with great precision by cinematogra- became legendary with their non-stop flying fists
pher Arthur C. Miller, which would have been a and judo throws. Films in Review called the fights
chore for editor Walter Thompson to cut back and “a spectacular achievement,” and author William
forth. It’s likely that approach would have been too C. Cline wrote that the Spy Smasher fight chore-
disconcerting for the audience to absorb. The end ography “set the standard for the remainder of the
product is largely the efforts of the stuntmen, giv- serial era.”
ing the fight a proper feel for the set and surround- It’s amazing that these ballets of violence were
ing props. Sanders’ double Jack Stoney broke a performed on low budgets with minimum chance
hand in the fight. Sanders, an interscholastic for retakes. The highlights are Sharpe’s fight with
heavyweight boxing champ at Brighton College, Terrell in a tower and Sharpe’s fight with Green on
also has a bare-knuckle match with pro wrestler a lumber platform. Green makes a 20-foot stair-
Louis Bacigalupi in a different part of the movie. case jump onto Sharpe, only to be jettisoned an-
Power (six feet, 170 pounds) and Sanders (six- other 30 feet onto a table. Other stuntmen work-
three, 215 pounds) appeared in several films to- ing fights on the film as henchmen or doubles
gether. They had fights in The Black Swan (1942) include Tom Steele, Duke Taylor, John Daheim,
and Solomon and Sheba (1959), where U.S. Marine Gil Perkins, Jimmy Fawcett, Bud Wolfe, Loren
Corps pilot Power showcased his fencing skill to Riebe, Carey Loftin, Eddie Jauregui, Bert LeBaron,
great effect. The latter fight had tragic conse- Louis Tomei, Bill Wilkus and Yakima Canutt. They
quences: It was cold in Madrid, Spain, when this are all at the top of their game. Cline wrote that this
swashbuckling duel scene was shot and Power be- group “staged some of the most incredible rough
came tired. He retreated to his dressing room and tumble brawls ever seen on the serial screen.”
36 19 4 2

Director Witney became an important figure in “a lulu.” Time labeled it “a beaut.” Newsweek said it
the filming of action and kinetic fight scenes. An was “a brawl guaranteed to give even Joe Louis the
assistant and second unit director at Mascot in the fainting vapors,” and the Ottawa Citizen anointed
early 1930s, he moved to Republic when they ab- it “the greatest slugfest in movie history.” The
sorbed that outfit and became one of Hollywood’s Daily News wrote, “It puts to shame any fight
youngest directors with a solid reputation for effi- you’ve ever seen anywhere at any time between
ciency and visual flair. His quick and able shooting two mad men and is the film’s redeeming feature.”
style was perfectly suited to the fly-by-the-seat-of- Stage Combat calls it “a truly great example of the
the-pants Republic serials of the late 1930s, and barroom brawl,” while Legendary Westerns ranks it
he developed an innovative technique for handling one of the top screen fights. The Best of Universal
fights. He studied Busby Berkeley musicals to see calls it “a true classic of well-choreographed, ex-
how the dance segments were broken apart and tended barroom brawling that has never been
decided to do the same with his fights. All his var- equaled.” Action Films ranks it among the best
ied camera shots were afforded two minutes of fights ever, as does USA Today. The Manly Movie
concentrated action before changing set-ups. His Guide says it is “one of the most celebrated fist-
stuntmen (nicknamed “The Cousins”) were given fights in film history,” and The Big Damn Book of
a rest and were able to go all-out for every brief Sheer Manliness calls it “a mythic match-up.” It re-
series of punches instead of tiring during an ex- mains one of the all-time greats, both in technical
tended routine which could become sloppy. Wit- ambition and big star gusto. Wayne and Scott slug
ney hated seeing stuntmen lose their place in front away for over five exhausting minutes, battering
of the camera or begin looking for someone to hit one another into bloody, ripped- shirt pulps.
as a long fight progressed. Now they had time and Wayne is knocked down a total of 30 times, while
energy to perfect their moves. Scott hits the floor 31 times. It’s been reported
Witney looked for another edge as he regularly there was animosity existing between the stars,
under-cranked the camera to 22 frames per sec- and not all the punches were pulled.
ond. When it was played back at the normal speed Six-three and 190 pounds, Randolph Scott was
of 24 frames per second, it made the combatants career-savvy and originally wanted the leading role
and their punches look amazingly quick. Some- of Glennister. Co-star Marlene Dietrich, who was
times this method was a safety precaution as well. having an affair with Wayne, intervened on
If the stuntmen were in a dangerous location, they Wayne’s behalf with the studio to land him the
could slow their movements down so as not to lose more heroic role. Veteran cowboy star Scott was
their footing. When the sped-up fight action was unaccustomed to playing villainy and managed to
combined with Mort Glickman’s relentlessly driv- negotiate second billing behind Dietrich. Wayne
ing score (“V for Victory” from Beethoven’s 5th is incredibly billed third, and his pride was hurting
Symphony), it produced edge-of-the-seat excite- over that. Both men were in real pain by the time
ment for young Saturday matinee audiences. the fight concluded. Wayne could sometimes get
See: Cline, William C. Serials-ly Speaking: Es- carried away with the intensity of his on-screen
says on Cliffhangers. Jefferson, NC: McFarland, fighting and connected with too many blows. Scott
2000; Nevins, Francis M. “Ballet of Violence: The responded in kind when Wayne began throwing
Films of William Witney.” Films in Review. Novem- his weight around. In at least one take, the fight
ber 1974. briefly turned real before they could be separated
by the nearly 30 stuntmen comprising the crowd.
John Wayne vs. Randolph Scott Both men suffered cuts and contusions, and Scott
in The Spoilers (1942) injured a hip when Wayne knocked him into a
prop. The biggest blow proved to be a Scott punch
Nothing like this magnificent battle had been that damaged Wayne’s nose. Wayne was upset over
seen on screen before, and The Spoilers set the this contact. Except for the scripted dialogue in
benchmark for every two-man fight that came after their immediate follow- up Pittsburgh (1942),
it. The Hollywood Reporter called previous versions Wayne wouldn’t speak to Scott again for another
of the fight “prelims by comparison to the bruising decade. The two made amends in the 1950s.
punishment John Wayne and Randolph Scott in- The Lawrence Hazard–scripted action begins
flict on each other.” The Los Angeles Times termed in a hotel bedroom where the two have words over
it “spectacular” while the New York Times called it Dietrich, spills onto the hallway balcony, and hits
 19 4 2 37

every nook and cranny of the giant Northern Sa- the fight again with Wayne for the inserts that re-
loon set designed by Oscar-nominated art director placed the unusable footage. The main stuntmen
Jack Otterson before crashing through a window were paid $150 a day, over five times the basic rate.
and finishing on the muddy streets of Nome. The The original (1914) version of the Spoilers fight
fight took five days to film on the Universal lot and cost $5000 to film and was shot in 60 minutes.
involved an unheard-of 15 cameras and a seven- The Wayne- Scott version cost ten times that
ton crane. It’s one of the first times actors throw money.
punches directly into the camera for effect. Direc- See: Chapman, John. “Looking at Hollywood.”
tor Ray Enright let noted second unit specialist Chicago Tribune. February 21, 1942; “Film Fight
“Breezy” Eason handle much of the action with Makes Cinema History.” Dayton Review. August 5,
Clarence Kolster cutting it together at an espe- 1943; The Spoilers pressbook; Wagoner, Ronald
cially fast pace to maintain continuity and keep W. “Death Recalls Most Fervid Film Battle.” Berke-
the lengthy battle interesting for the viewer. Hans ley Daily Gazette. April 11, 1931.
J. Salter provided the enthusiastic musical backing
in post-production. Sound director Bernard Richard Arlen vs. Buster
Brown’s effects also merit special mention. From Crabbe in Wildcat (1942)
top to bottom, it’s a fine collective achievement.
Throughout the fight, it’s mostly Wayne and Hollywood stuntmen once voted former ama-
Scott battling away. Doubles Eddie Parker and teur boxer Richard Arlen the best puncher in the
Allen Pomeroy are apparent in long shots and in movie business, having logged 200 fake fights for
the more daring stunts. These include a banister the camera against such foes as Buddy Rogers in
Wings (1927), William “Stage” Boyd in Gun Smoke
leap, a stair fall, tumbles onto and over the bar, and
crashing through glass. They are visible for an ex- (1931), Bruce Cabot in Let ’em Have It (1935) and
tended period during the ambitious crane shot Reed Hadley in The Return of Wildfire (1948). The
when a stovepipe is knocked loose and falls onto fistic champion of filmdom received fan letters
the combatants. Stand-in Jack Parker and stunt- urging him to take on heavyweight Joe Louis in a
man Gil Perkins also stepped in for Scott. Eddie real bout. However, Arlen broke both his hands
Parker and Pomeroy mapped out the master plan punching to contact in silent films and was smart
for the fight, but rushes showed some footage to enough to avoid getting into the ring with a pro.
be overly speeded-up by Milton Krasner’s camera. In director Frank McDonald’s low-budget Wildcat,
It had to be reshot. Eddie Parker was, however, off the 5'11", 170-pound Arlen is paired against a 185-
on another assignment so Pomeroy ran through pound six-footer, Buster Crabbe. The latter was a
local boxing champion while a teen-
ager in Hawaii so throwing punches
came easily to both men. In this story,
con man Arlen enters the oil business
only to meet his match in female lead
Arline Judge as he tries to go straight.
Crabbe shows up as his rival and the
two have a lively 90-second exchange
of haymakers that Hollywood colum-
nist Erskine Johnson called “one of
the most realistic in movie fight his-
tory.”
William Ziegler’s editing is choppy,
but the stars are commended for
doing all their own stunts. They fling
coffee pots and chairs, go over tables,
pound one another against the side
of a building, and roll in the dirt with
little regard for keeping their profiles
Randolph Scott (left) and John Wayne stage one of the screen’s fresh for Fred Jackman, Jr.’s camera.
most famous fights in Universal’s The Spoilers (1942) Arlen later said he considered actors
38 19 4 2

who didn’t do their own fights

to be sissies. The action-
packed quickie is over in
under 70 minutes, so the fight
registers strongly. Wildcat was
produced for Paramount by
the frugal team of Bill Pine and
Bill Thomas. They were
known as “The Dollar Bills.”
Showing up on the set, they
were dismayed to find the stars
rehearsing their fight for 20
minutes of production time
with no cameras rolling. Pine
half-jokingly suggested Arlen
should knock over a light and
they could film 500 feet of
dark film and simply add
sound effects.
Multi-sport athlete Crabbe
excelled at the University of Ward Bond (left) and Broderick Crawford put on a furious fight in Uni-
Hawaii before transferring to versal’s Sin Town (1942).
USC so he could train for the
Olympics in swimming. At the 1932 Los Angeles the most hectic cinema donnybrook since The
Olympic Games, he took Gold. Crabbe entered Spoilers,” while Variety labeled it “a dilly of a rough
films as a stuntman but was soon starring in pop- and tumble battle.” The Showmen’s Trade Review
ular serials as Tarzan, Flash Gordon and Buck announced, “There’s a brawl between Brod Craw-
Rogers. These typed him, and he languished in B- ford and Ward Bond that runs the famous one in
westerns throughout the 1940s staging countless The Spoilers a close second,” and Universal Sound
fights with Glenn Strange, Charlie King, Jack In- Westerns terms it “an impressive knockdown, drag-
gram, Kermit Maynard, Frank McCarroll and John out fistfight.” Western Clippings includes it on their
Cason. Crabbe’s best battles came against Ran- list of great screen fights.
dolph Scott in To the Last Man (1933), Gene Autry The 1910 oil boom story made use of Spoilers
in Colorado Sunset (1939) and Johnny Weissmuller director Ray Enright, who filmed the crushing ac-
in Swamp Fire (1946) and Captive Girl (1950). tion with three of D.P. George Robinson’s cameras
See: “Best Film Puncher Title Goes to Arlen.” running simultaneously. The entire fight between
Pittsburgh Post-Gazette. June 8, 1942; Coons, anti- hero Crawford and bad guy Bond was al-
Robin. “Cut-Rate Duo Finds Success in Quick legedly done in one take barely lasting more than
Style.” Port Arthur News. March 1, 1942; Johnson, 20 seconds. Enright was so concerned about the
Erskine. “Screen Chats.” Shamokin News Dispatch. safety of his actors that he stopped filming. He rea-
December 18, 1943; Vermilye, Jerry. Buster soned that with the multiple cameras, he had more
Crabbe: A Biofilmography. Jefferson, NC: McFar- than enough footage for Edward Curtiss to piece
land, 2008. together a usable fight. Any further takes would
have endangered his actors, who were too wound
Broderick Crawford vs. Ward up for their own good. They appear to be doubled
Bond in Sin Town (1942) for the climactic fall from a stairwell onto a poker
table. The action demolished art director Jack Ot-
Coming fast on the heels of The Spoilers was an- terson’s parlor set. The men landed together in a
other slam-bang western fight that, despite its corner of the bar with several chairs, overturned
minute-and-a-half brevity, was even more relent- tables and a splintered three-walled booth left in
lessly violent. Universal publicity termed it “the the wake of their destruction. Interestingly, it’s
most vicious second-for-second fistic melee of all Bond who emerges as the fight’s winner in this
time.” The New York Times called it “undoubtedly cheaters cheat cheaters tale. Many years later, the
 19 4 2 39

fight was referenced in A Little Romance (1979) poised to fight it out in every state of the union for
with Crawford playing himself and recalling the Republic Pictures. The two-minute western sa-
movie in which he punched Ward Bond in the gut. loon brawl here is a show-stopper, but ultimately
Ward Bond, a six- foot-three 220-pounder, fails to live up to the legend that the Spoilers fight
played football at USC and dabbled in amateur was becoming. The Duke is cast as a discredited
boxing. One of his first movie assignments was Sacramento pharmacist who can bend a silver dol-
taking a punch from Spencer Tracy in Up the River lar between his fingers. He butts heads with
(1930). A larger-than-life presence, he excelled at crooked saloon keeper Dekker in an effort to make
playing exaggerated brutes and was often called the latter admit to his wrongdoing in framing him.
upon to provide powerful fighting skills against Dekker is motivated to fight by the attention his
Buck Jones and Ken Maynard in B-westerns. The girl Binnie Barnes has shown toward Wayne. Great
boisterous Bond was best friends with John Wayne punches are thrown with plenty of furniture bro-
and a John Ford stock player who found his way ken, including a chair onto Dekker’s unidentified
into many classic films. In the 1940s, a badly bro- stunt double. This was the first film in which Fred
ken leg severely hindered his mobility. Even then, Graham doubled Wayne, and he takes a great fall
he held a reputation as a good fight man and re- with Dekker’s double off a balcony into a piano.
mained a top name when it came to being a screen The Seattle Daily Times called it “a devastating bar-
heavy. Bond loved doing fight scenes because he room brawl.” William C. McGann directed with
felt as an actor it gave him a wonderful opportu- Jack Marta behind the camera.
nity to react in a scene. He became a TV star on There were real political overtones in the
the early days of Wagon Train (1957–1960) and match-up between Wayne and the 6'3", 240-pound
on publicity tours staged fights for audiences with Dekker, a former amateur boxer and football
stuntman Lennie Geer. player for Bowdoin College. Wayne was develop-
Notable fights include Dodge City (1939), Gen- ing his sense of Republican ideas while Dekker
tleman Jim (1942), Tall in the Saddle (1944) and was a die-hard and vocal Democrat. He’d serve as
Canyon Passage (1946) (see entries). Fights of in- a Democratic assemblyman for the state of Cali-
terest came against Buck Jones in The Sundown fornia from 1945 to 1946. Dekker came danger-
Rider (1933), Fighting Ranger (1934) and The ously close to blows with Wayne’s pal Ward Bond
Crimson Trail (1935), Ken Maynard in Western while making the 1949 stage version of What Price
Courage (1935) and Cattle Thief (1936), Barton Glory. No doubt Wayne and Dekker relished the
MacLane in Prison Break (1938), John Garfield in opportunity to roughhouse with one another.
Dust Be My Destiny (1939), John Wayne in The Dekker fought Clark Gable in Strange Cargo
Shepherd of the Hills (1941), Dana Andrews in (1940) and Honky Tonk (1941), Joel McCrea in
Swamp Water (1941), James Cagney in Kiss To- Reaching for the Sun (1941), Robert Preston in
morrow Goodbye (1950), Robert Ryan in On Dan- Wake Island (1942) and Bill Elliott in Wyoming
gerous Ground (1951), Fred MacMurray in The (1947) (see entry).
Moonlighter (1953) and Lee Van Cleef in Gypsy Stuntman Fred Graham doubled John Wayne
Colt (1954). He took part in a bar brawl alongside throughout the 1940s and was nicknamed “Slug-
Gary Cooper in Sergeant York (1941). Bond was ger” for his fight prowess. Action director William
Captain Flagg to Pat O’Brien’s Sgt. Quirt in John Witney called Graham the best when it came to
Ford’s 1949 stage version of What Price Glory. screen brawling, and B- western writer Boyd
See: “Fight Biggest Feature of Sin Town.” St. Pe- Magers named him “one of the greatest ‘fight’ men
tersburg Times. December 24, 1942; “Movies Held ever in the film business.” Graham would emerge
Over for Shows Today.” Herald Journal. January 2, from B-western bits into small character heavies
1943; “The Old Wagonmaster Gets Rolling.” TV requiring him to punch it out with the stars. He’d
Guide. April 11, 1959. say a few lines and slug away. In this capacity, he
had memorable battles against Humphrey Bogart
John Wayne vs. Albert Dekker in Passage to Marseille (1944), Robert Preston in
in In Old California (1942) Tulsa (1949), Robert Ryan in The Woman on Pier
13 (aka I Married a Communist) (1949), Joel Mc-
Between their monumental brawls in this film Crea in The San Francisco Story (1952), Arthur
and the following year’s In Old Oklahoma (1943), Kennedy in Rancho Notorious (1952), Rod
it seemed John Wayne and Albert Dekker were Cameron in Fort Osage (1952) and Jock Mahoney
40 19 4 2

in Overland Pacific (1954). Graham’s presence in roust the crowd, who begin jumping into the water
a brawl as actor or double enlivened the proceed- to escape.
ings and always added a sense of professional pol- Cinematographer Sid Hickox shot the wharf ac-
ish. tion utilizing five cameras on an expansive Warner
See: Andrews, Bart. “Fred Graham: Super Stunt- Bros. soundstage created by art director Ted
man.” Falling for Stars. Vol. 1 #7. September- Smith. The Sea Wolf ship is moored in the back-
October 1965; Sherman, Sam. “Albert Dekker ground with a huge tank of water the size of a foot-
Rides.” Wildest Westerns. #6. August 1961. ball field simulating San Francisco Bay. Technical
advisor Mushy Callahan trained Flynn for six
Errol Flynn vs. Sammy Stein weeks before filming and had him perfect Cor-
in Gentleman Jim (1942) bett’s signature left jab. Despite his pugilistic skill,
Flynn was prevented from serving in the military
Errol Flynn is perfectly cast as 1890s heavy- during World War II because of a diagnosed “Ath-
weight champion Gentleman Jim Corbett, the lete’s Heart.” He was allowed to film the boxing se-
bridge between old-style bare-knuckle brawlers quences for a minute at a time and claimed to have
and gloved scientific boxers who utilized footwork suffered a mild heart attack while making this film.
and jabs under the new Marquess of Queensberry Because of the star’s physical restrictions, Freddie
rules. A cocky up-and-comer, Corbett has his eyes Steele, a middleweight champ reputed to be one
set on legendary champ John L. Sullivan (Ward of the era’s hardest punchers, stood in for him in
Bond) but must first make a name for himself as the long shots. Close-ups of Corbett’s footwork
he rises up through the ranks in sometimes un- were of Callahan’s feet. Sammy Stein connected
sanctioned bouts. The highlight of Raoul Walsh’s with the punch that sent Flynn’s stuntman Paul
entertaining film is an illegal wharf bout on a barge Stader into the water. An angry Stader climbed
against the fearsome Joe Choynski (Sammy Stein), back into the ring and began connecting with his
a bruiser who beat Corbett when they were own punches until Walsh said “Cut!” The six-foot,
younger. Choynski’s manager throws his gloves 205-pound Stein, a professional wrestler and foot-
into the bay and outfits him with illegal mitts he ball player, appeared in 40-odd films, always as
guarantees will cut Corbett. Makeup artist Perc wrestlers or tough mugs.
Westmore applied the blood and bruising. The The climactic boxing match with Bond’s Sulli-
five-minute battle features knockdown after van in New Orleans was shot on Stage 22 with 500
knockdown and a spill into the bay before Choyn- extras in attendance. Steele once again doubled in
ski goes down for the count. The police arrive to long shots with pro wrestler Ed “Strangler” Lewis
doubling Bond. Lewis also appears
as a bare-knuckle fighter. Wrestlers
and boxers Frank Sexton, Frank Hag-
ney, Mike Mazurki, Jack Roper, Wee
Willie Davis, Pat McKee, Jack Her-
rick and Frank Moran have bit parts,
as does Art Foster as English boxer
Jack Burke. Walsh cast them because
their bulky physiques best resembled
the old- time bare- knuckle boxers.
Pro boxer Roper had fought Flynn
in The Perfect Specimen (1938). He
knocked Flynn out more than once
during sparring sessions, even leav-
ing the star unconscious for over two
hours. When Roper became too
docile in the ring for fear of hurting
Flynn, the star whacked Roper be-
tween the legs to raise his dander.
Sammy Stein takes a punch from Errol Flynn during their wild wharf Roper promptly knocked Flynn out
fight in Warner Bros.’ Gentleman Jim (1942). again on instinct. Flynn wears Bond
 19 4 2 41

down after 21 rounds and captures the champi- per (1937) and Silver River (1948), Douglas Fow-
onship, ushering in a new era in boxing. There’s ley in Dodge City (1939) (see entry), Van Heflin
an especially well-acted scene between the two in Santa Fe Trail (1940), Arthur Kennedy in They
men when Bond hands over the championship Died with Their Boots On (1941), Craig Stevens in
and Flynn acknowledges the legendary fighter. Dive Bomber (1941), Paul Kelly in San Antonio
Ironically, Corbett is shown to come from a family (1945), Ian MacDonald in Montana (1950), Ray-
of brawlers. A running gag has him going bare- mond Burr and Howard Chuman in Mara, Maru
knuckled against his husky brothers Pat Flaherty (1952), Michael Ross in Against All Flags (1952)
and James Flavin while pop Alan Hale referees and and John Dennis in Too Much, Too Soon (1958).
onlookers declare, “The Corbetts are at it again!” See: Gronsky, Norman K. Let’s Feel the Wind
Variety called all the fight scenes “excellent” While We May: An Oral History of People Who
while Magill’s Survey of Cinema announced, “The Knew Errol Flynn. Soho, 2011; “Wrestlers Are the
fights in Gentleman Jim are beautifully choreo- Best Movie Fighters.” The Milwaukee Journal. Au-
graphed instead of being gory contests of survival; gust 23, 1942.
they are like fencing matches with skillful feinting,
parrying, and riposting.” The New York Times George Brent vs. Bruce Cabot
called the film “a fight fan’s delight,” while News- in Silver Queen (1942)
week wrote, “Raoul Walsh stages the frequent fight
sequences for all their potential excitement and George Brent ( 6'1", 185 pounds) and Bruce
with genuine appreciation for the footwork, brain- Cabot (6'1", 200 pounds) fight over Nevada City
work, and jolting left hook that made Corbett one mining rights and gambling debts incurred by so-
of the greatest fighters in boxing history.” ciety gal Priscilla Lane. It’s a standard western
Six-foot-two, 190-pound Flynn, an amateur from director Lloyd Bacon that did garner Oscar
boxer in New South Wales, claimed Gentleman Jim nominations for Victor Young’s score and the set
was his own favorite film. The charismatic Flynn’s decoration of Ralph Berger and Emile Kuri. Cam-
penchant for fisticuffs was well known around eraman Russell Harlan shot the fight, and Sherman
Hollywood, as was his engaging personality. It Rose cut the action together. The film’s publicists
wasn’t uncommon for Flynn to come to blows compared this climactic brawl to the real epic bare-
with a perceived rival and soon be sharing drinks knuckle battle between John L. Sullivan and Jake
with his new pal. Flynn didn’t always win his fights. Kilrain.
He lost a bare-knuckle brawl with Victor Jory at a This is far from an organized affair, as the com-
fancy Hollywood party and was dropped by batants break saloon chairs, tables and glassware
Olympic medal winner Jim Thorpe in a bar. Both in their effort to emerge victorious. Both actors
men became close friends with the actor. Flynn’s incurred minor injuries. The Los Angeles Times
most legendary fight came against director John wrote of the fight, “Like the recent one in The
Huston in David O. Selznick’s garden in 1945. The Spoilers, [it’s] full of sound if not fury,” while The
lengthy brawl over actress Olivia de Havilland Milwaukee Sentinel said that the fight “rivals the
lasted anywhere from ten minutes to an entire memorable bout in The Spoilers.” The Schenectady
hour. It made all the trades as Flynn broke Hus- Gazette offered, “The best thing in the film is the
ton’s nose and three of his ribs, requiring overnight final battle of fisticuffs between Cabot and Brent,
hospitalization and several stitches for both men. a battle staged as redundantly as everything else
As a screen fighter, Flynn was polished and in the production, but played with ardor and aban-
poised, displaying an uncommon grace of move- don and wholly satisfying to watch.”
ment for a big man. In addition to his boxing back- Cabot played football at the University of the
ground, he had judo training with Sego Murakami South, worked as a sparring partner in the squared
and extensive fencing instruction with Fred circle, and was a bouncer at the Coconut Grove
Cavens, Ralph Faulkner, Paddy Crean and Bob Bar before starring in the adventure classic King
Anderson. Most of the swashbuckling Flynn’s no- Kong (1933) where he did many of his own stunts.
table film confrontations came with an epee or Most of his career was spent as a sinister screen-
sword in hand in classics such as Captain Blood villain, with time out during World War II to serve
(1935), The Adventures of Robin Hood (1938) and with Army Intelligence. Cabot was a drinking
The Sea Hawk (1940). He had fistfights of interest crony of both John Wayne and Errol Flynn and
against Barton MacLane in The Prince and the Pau- had a reputation as a man who could be quick with
42 19 4 2

his fists. He and Flynn occasionally came to blows it “a classic for unbridled viciousness.” Scott
even when they were close friends. Cabot was still swings a mean-spirited shovel, and Wayne tries to
throwing movie punches over 25 years later. crush him with chunks of coal as they forget they
Notable fights include Dodge City (1939), Cap- were good-humored friends at the film’s begin-
tain Caution (1940), Hellfighters (1968), and The ning. The best moment occurs as they battle on
Undefeated (1969) (see entries). Other fights of an open elevator rising to the surface. Wayne falls
interest came against Richard Arlen in Let ’em Have back and a wooden fence is broken, crushed
It (1935), Robert Barrat in The Last of the Mohi- against the side of the jutting wall of rock rapidly
cans (1936), Glenn Ford in My Son Is Guilty flying by Robert De Grasse’s camera. A moment
(1939), Marc Lawrence in Homicide Bureau later, Wayne is nearly decapitated but he moves
(1939), John Carroll in Pierre of the Plains (1942), away in the nick of time. The segment is excitingly
Charles Bickford in Fallen Angel (1945), Fred edited by Paul Landres and backed by Hans
MacMurray in Smoky (1946), Bill Elliott in The Salter’s suspenseful score. Scott gets the better of
Gallant Legion (1948), Forrest Tucker in Rock Is- Wayne in the fight. Dietrich is injured in a de-
land Trail (1950) and Dale Robertson in Law of scending elevator, and the men come to their
the Lawless (1964). senses. The Washington Evening Post declared,
See: Parish, James Robert, and William T. Leon- “The movie would have been nigh ridiculous if
ard. Hollywood Players, the Thirties. New Rochelle, blasting fists had not been written generously into
New York: Arlington, 1976; “Silver Queen Here the script.”
This Week.” Deer Park Union. June 6, 1943. Universal publicity played up the fight, describ-
ing it as “a terrific fistic battle” and “one of the most
Randolph Scott vs. John Wayne violent fistfights ever staged for the screen.” Scott
in Pittsburgh (1942) initiated one blow that knocked Wayne back so
hard the latter lost his balance and stumbled into
Following the success of The Spoilers, Universal Dietrich, knocking them both over and leaving her
again teamed Marlene Dietrich, Randolph Scott with real bruises. Still upset over the busted nose
and John Wayne for director Lewis Seiler’s mod- he suffered in the Spoilers fight, Wayne went on
ern Pennsylvania mining tale. The catch is that record as saying he didn’t think Scott was much of
Wayne is the good guy who has turned bad with an actor. Scott responded by calling Wayne un-
enterprising greed, and it’s a role his fans didn’t couth and ungentlemanly. Wayne didn’t care for
care for. Screenwriter Kenneth Gamet does a fine losing a screen fight now that he was creating his
job building tension between the male friends over popular screen image. He wouldn’t even let his
Dietrich until the inevitable climax. The highlight own children see him in this role.
is another lengthy battle between Scott and Wayne A Southern gentleman, Scott carried himself
in a darkened mine shaft, but it falls short of The with dignity and came away from his lengthy Hol-
Spoilers’ lofty standards because of the limitations lywood career a legendary cowboy star. He served
of the claustrophobic setting. Scott biographer his country with the 2nd Trench Mortar Battalion
Robert Nott writes, “The fight will forever be com- during World War I. He had ambitions of playing
pared to the one in The Spoilers, which is both un- professional football but was injured on the field
fortunate and accurate. It’s not a bad fight.” The at the Georgia Institute of Technology. The noto-
brawl is now remembered as one of the few fights riously reclusive Scott was at home in westerns
Wayne lost. Consider it Scott’s revenge for taking and became a tight-lipped, slim-hipped stalwart
such a beating in The Spoilers. Ace stuntmen Allen of the genre. He starred in many early 1930s Zane
Pomeroy and Eddie Parker returned to double the Grey adaptations for director Henry Hathaway,
stars, with Gil Perkins and Fred Graham pitching where a stuntman wasn’t always required. Scott
in. The moment when Pomeroy swings a shovel was able to handle all the action demands. He kept
into a pillar and the blade goes flying over a duck- in shape working with boxing trainer Mickey
ing Parker’s head is perhaps the most expertly Cianci. Ironically, Scott claimed he had never
timed and dangerous-looking stunt ever captured been in a real-life fistfight. This didn’t stop him
on film. from throwing some of the screen’s most con -
In the three-minute showcase, there’s a plethora vincing punches. Scott brought a consistent emo-
of head-snapping punches and some nearly homi- tional tone to his men of action. They were of
cidal actions. The Richmond Times Dispatch called strong moral fiber, stood their ground, and fought
 19 43 43

for what they believed in. Audiences embraced There’s fine tension built between Boyd and
him. Jory during a card game that sees Jory fold on a
Notable fights include The Spoilers (1942), The winning hand. When he discovers Boyd bluffed
Desperadoes (1943), Abilene Town (1946), Coroner him with a pair of deuces, the fight is on.
Creek (1948), Return of the Bad Men (1948), Santa Boyd and Jory go over tables and chairs and up
Fe (1951), Man in the Saddle (1951), Hangman’s a staircase for two minutes in a wild battle that
Knot (1952), and A Lawless Street (1955) (see en- makes fine use of many saloon props. The chore-
tries). Other fights of interest came against Fred ography is awkward, but the unrehearsed nature
Kohler in Wild Horse Mesa (1933), Noah Beery in tends to make it more realistic. The men slip and
Man of the Forest (1933), Buster Crabbe in To the slide with only the sound of their boots hitting the
Last Man (1933), “Big Boy” Williams in Heritage floor and fists hitting face audible on the sound-
of the Desert (1933), Robert Barrat in Village Tale track. Unfortunately, cinematographer Russell
(1935), Charles Bickford in High, Wide, and Hand- Harlan is unable to consistently get proper filming
some (1937), Grant Withers in The Gunfighters angles. A few obviously missed punches are scored
(1947), Lon Chaney in Albuquerque (1948), Vic- as hits, and Boyd’s stunt double (either Ted Wells
tor Jory in Canadian Pacific (1949), Frank Fenton or Frosty Royce) is all too apparent at key times.
in The Doolins of Oklahoma (1949), John Ireland Jory does the entire fight and takes wild bumps.
in The Walking Hills (1949), Lou Nova, Gregg Bar- Robert Mitchum, making his film debut, is in the
ton and Michael Ross in Fighting Man of the Plains background watching the action as one of Jory’s
(1949), Jim Davis in The Cariboo Trail (1950), thugs.
Forrest Tucker in The Nevadan (1950), David The character of Hopalong Cassidy exemplified
Brian in Fort Worth (1951), Mickey Simpson in the ideal cowboy role model for children. He
Carson City (1952) and Tall Man Riding (1955), didn’t drink or smoke and he didn’t fight dirty
Lex Barker in Thunder Over the Plains (1953), Lee when it came to taking on the bad guys. Differ-
Marvin and Ernest Borgnine in The Stranger Wore ences were settled with words before fists and fists
a Gun (1953), Robert Keys in The Bounty Hunter before guns. He never threw the first punch, but
(1954) and Leo Gordon in Ten Wanted Men he nearly always threw the last as he tried to set
(1955) and 7th Cavalry (1956). filmdom’s dark hearts on a righteous path. Young
See: “Dietrich’s Famous Legs Bruised in Fight audiences wouldn’t see Hoppy biting, kicking,
Scene.” Omaha World Herald. September 25, 1942; scratching or eye-gouging. There would be no rab-
Pittsburgh pressbook. bit punches to the back of an opponent’s neck, and
when a bad guy hit the floor the fight was over in
William Boyd vs. Victor Jory Hoppy’s mind. It wasn’t sporting to hit a fellow
in Hoppy Serves a Writ (1943) when he was down. It was akin to shooting some-
one in the back. Kids of the 1930s and ’40s learned
Perhaps the most enduringly popular of all the their morals from virtuous clean fighters and
B-western characters was William Boyd’s Hopa- straight shooters such as Hopalong Cassidy, the
long Cassidy. Boyd made 66 films as the heroic Durango Kid, Gene Autry and Roy Rogers.
black-suited do-gooder, and one of the staples of A 180-pound six-footer, Boyd toiled at several
the series was a good old-fashioned fistfight. Boyd hard-scrabble jobs as a young man, among them
often matched up with character actor Victor Jory, lumberjack, miner and oil field worker. He became
whom he fought in Wide Open Town (1941), Colt a star in Cecil B. DeMille silent films despite a head
Comrades (1943) and Bar 20 (1943). Their best of prematurely whitened hair. Boyd was a good
fight was in director George Archainbaud’s Hoppy actor but wasn’t an athlete or fond of horses. He
Serves a Writ, and it’s arguably the best fisticuffs in was quick to let stunt doubles take over action
the entire series. Variety called it “a lusty barroom scenes. Some fans complained that Boyd was bor-
fight,” while the New York Post noted, “The hand- derline inept as a screen fighter, but that didn’t
to-hand encounters find Boyd struggling through stop him from being in a bunch of them. A handful
a vast and gratifying amount of shattered furni- were decent depending on the opponent and pro-
ture.” Hollywood Corral said the movie’s highlight duction value. Boyd didn’t particularly like doing
was “a bruising slugging session between Boyd and extended fights. He felt, because of his star status,
Victor Jory,” and Western Clippings anoints it that if he punched a bad guy once, it should be suf-
among their “great screen fights.” ficient for them to stay on their back. Boyd fought
44 19 43

Alan Hale in Skyscraper (1927), Spencer Tracy in Movie fight veteran Reed Howes is on hand as a
Sky Devils (1931), Addison Richards in The Eagle’s waiter, and even Charlie King is supposedly in
Brood (1935), Morris Ankrum in Pirates on Horse- there somewhere. Nervous saloon keeper Irving
back (1941), Tom Tyler in Riders of the Timberline Bacon gets the majority of laughs as he tries to save
(1941), Robert Mitchum in False Colors (1943) his liquor inventory with little success. A poker
(see entry) and Douglass Dumbrille in Lumberjack game continues unabated as fists fly and bottles
(1944). He battled several stuntmen in Santa Fe smash all around. However, Ford and Nedell’s
Marshal (1940). fighting is serious throughout, like they’re in a dif-
See: Agnew, Jeremy. The Creation of the Cowboy ferent movie as cut together by Gene Havlick.
Hero: Fiction, Film and Fact. Jefferson, NC: McFar- Richard Talmadge served as the fight’s technical
land, 2015; Nevins, Francis. The Films of Hopalong director with Ford doing the majority of his own
Cassidy. Waynesville, NC: World of Yesterday, 1988. fighting for George Meehan’s camera. Due to the
war effort, such saloon brawl staples as balsa wood
The Saloon Brawl in and resin glass were in high demand. Therefore
The Desperadoes (1943) the Desperadoes brawl employed real chairs and
actual bottles and glasses, so the principal actors
The saloon brawl is afforded a comic touch in and stuntmen had to be extra careful when they
Charles Vidor’s The Desperadoes, Columbia’s first were using props as weapons. Future western di-
Technicolor film. The New York Times called it “a rector Budd Boetticher was the assistant to Vidor,
straightaway sock-’em and shoot-’em western,” but who demanded that Boetticher throw a chair into
the Los Angeles Times recognized it as “one of the the melee. But the chair hit star Ford, and Boet-
most hilarious barroom brawls ever staged.” Ran- ticher was fired by Vidor. Williams threw a chair
dolph Scott and Glenn Ford star as friendly rivals, so hard at 6'5", 220-pound Glenn Strange that it
but Scott doesn’t participate in the slugfest against stuck in the wall after sailing over his head. Vidor
bad guy Bernard Nedell and his accomplices chastised Williams for damaging the set. Williams
Glenn Strange, Ethan Laidlaw and Slim Whitaker. threatened with tongue- in-cheek to pick up a
Ford’s buddy “Big Boy” Williams is given center horse and throw it at Vidor if he didn’t let up on
stage as the most rambunctious fighter. He doles his demands. Vidor wasn’t about to test Williams’
out head butts and cartoon-like fist poundings to legendary strength. Williams suffered his first real
any who get in his way. Bartender Billy Jones is the injury doing a screen fight when he broke a rib in
one who bears the brunt of “Big Boy”’s attacks. the tussle.
Ford, 5'11" and 165 pounds,
was a Coast Guard veteran and
served with the Marine Corps
during World War II. He was one
of the best horsemen in Holly-
wood, fast with a gun, and con-
sistently put on a good fight. Half
of his Hollywood films were
westerns, and he was made an
honorary member of the Stunt-
men’s Association. Ford worked
closely with stunt doubles Rob-
ert “Buzz” Henry and Bill Hart
so he could do the majority of his
own screen fights for the camera.
At MGM he worked out with
boxing trainer Terry Robinson
to keep his reflexes sharp. His
characters were quick to throw a
punch and carried themselves
Bernard Nedell takes a beating from Glenn Ford in Columbia’s The Des- with a brash confidence, often
peradoes (1943). displaying the hint of a smirk in
 19 43 45

knowing the damage they could do when under- University of Wisconsin Press, 2011; Marsh, W.
estimated. On film, Ford’s fists were always getting Ward. “Desperadoes Goes to Utah for Real Back-
him into or out of trouble. ground.” Plain Dealer. March 21, 1943.
Fights of interest came against Bruce Cabot in
My Son Is Guilty (1939), Ian MacDonald in The Robert Ryan vs. Mike Mazurki
Adventures of Martin Eden (1942), Pat O’Brien in in Behind the Rising Sun (1943)
Flight Lieutenant (1942), Joe Sawyer in Gilda
(1946), William Holden in The Man from Col- This propagandist film from director Edward
orado (1948), John Ireland in Mr. Soft Touch Dmytryk is an early look at the debate of who’d
(1949), Lloyd Bridges in The White Tower (1950), prevail in a fight between a boxer and a martial
Victor Jory in The Man from the Alamo (1953), artist. Judo represents the Japanese style of fight-
Sean McClory in Plunder of the Sun (1953), Chris ing while boxing represents the American way.
Alcaide in The Big Heat (1953), Vic Morrow in The fight was based on an actual pre–World War
Blackboard Jungle (1955), Mickey Shaughnessy in II incident in which the American Naval boxer
The Sheepman (1958), Charles McGraw in Cimar- won. Lensed by esteemed cinematographer Rus-
ron (1960), Arthur Kennedy in Day of the Evil Gun sell Metty, the Robert Ryan–Mike Mazurki fight
(1968) and David Carradine in Heaven with a Gun consumed nearly ten minutes of screen time,
(1969). He brawled alongside Henry Fonda in The unheard-of at the time, with Ryan prevailing with
Rounders (1965). As host of the 1979 TV special a mighty knockout punch to Mazurki’s jaw. The
When the West Was Fun, Ford demonstrated in a pro–Axis Argentinines were so impressed, they cut
saloon brawl how to break a chair over stuntman the fight out and ran it as a special short. Time
Jock Mahoney’s back. called the fight “as savage as anything in the history
See: Ford, Peter. Glenn Ford: A Life. Madison: of screen roughhouse,” while Motion Picture Daily

American boxer Robert Ryan goes up against Japanese judoka Mike Mazurki (on floor) in RKO’s Behind the
Rising Sun (1943).
46 19 43

said it was “exciting and certainly different.” The As a screen fighter, Ryan was a consummate pro
film’s director proudly proclaimed it “a beautifully who put in the required training time with the
choreographed battle between two superior ath- stuntmen to master a fight routine and its required
letes.” Variety called it “a rouser” and the Pittsburgh footwork. They afforded him a tremendous
Post-Gazette wrote, “It is a grim, grisly affair, which amount of respect and were glad he kept his dis-
makes that fabled encounter in The Spoilers look tance when doing fights. He had a reputation of
like a pink tea by comparison.” being able to hit like a mule and could have done
Sinewy 6'4", 190-pound Ryan, a college boxing serious damage to anyone unfortunate enough to
champ, plays U.S. boxer Lefty O’Doyle. He is re- step in front of one of his punches. One of his first
cruited by a serviceman pal on a bet to represent screen roles was boxing Richard Denning in
the Americans against towering judoka Mazurki. Golden Gloves (1940), and Denning had to report-
(Mazurki was a professional wrestler who looked edly get x-rays, as he was convinced that Ryan’s
little like a man of Japanese persuasion.) The two body punches had broken his ribs. Ryan once had
actors went all-out for three days of filming, with a political argument during a dinner with John
both dropping nearly ten pounds apiece through Wayne and invited his fellow actor to step outside
water loss under the hot lights. Since the RKO film to settle their differences. Wayne wanted no part
required Ryan to wear boxing gloves, both men of a real fight with Ryan and quickly made amends.
agreed to pull as few punches as possible. Mazurki Ryan’s characters meant business, and he ap-
largely used pulls, grabs, monkey flips, chops, proached fight scenes with a dead seriousness that
kicks, eye gouges, arm-locks, bear-hugs and choke- came across the screen.
holds while Ryan jabbed and body punched away Notable fights include Return of the Bad Men
at an opponent who outweighed him by nearly 50 (1948), City Beneath the Sea (1953) and Day of the
pounds. Mazurki even uses the old- time pro Outlaw (1959) (see entries). Fights of interest
wrestling airplane spin. The fight was done under came against Harry Woods in Trail Street (1947),
the supervision of John Indrisano, a student of Charles Bickford in The Woman on the Beach
judo. Mazurki later commented that Ryan im- (1947), Michael Harvey in Berlin Express (1948),
pressed him with his boxing ability. He felt Ryan Willard Parker in The Secret Fury (1950), Ward
was the lone actor who could have had a successful Bond in On Dangerous Ground (1951), Robert
heavyweight boxing career. Ryan took pride in per- Preston in Best of the Badmen (1951), Raymond
forming his own fights, He kept in lean shape with Burr and James Arness in Horizons West (1952),
regular gym workouts and sparring. Many rank William Lundigan in Inferno (1953), Brian Keith
Ryan’s on-screen boxing match with real boxer Hal in Alaska Seas (1954), Wayne Rogers in Odds
Baylor in The Set-Up (1949) as one of the best cho- Against Tomorrow (1959), Richard Burton in Ice
reographed ring fights committed to celluloid. Palace (1960) and Stewart Granger in Crooked
While studying at Dartmouth College, Ryan Road (1965). On TV, Ryan fought Robert Fuller
played football and won the National Collegiate in the 1964 Wagon Train episode “The Bob Stuart
Heavyweight Boxing Championship. He was un- Story.” Ryan’s skill at screen fights came in handy
defeated in the ring but lost enthusiasm for ath- for co-star Montgomery Clift’s fight with Mike
letics. His father talked him out of turning profes- Kellin in Lonelyhearts (1958). Clift, dealing with
sional, convincing him that all boxers were washed a myriad of emotional and chemical problems, ac-
up by the time they were 30. Ryan did, however, cidentally hit Kellin and became so distraught that
fight once professionally for money under an as- he was unable to finish the scene. Ryan stepped in
sumed name. Among the manly professions he as Clift’s stuntman, donning his shirt and jacket
toiled at during the Great Depression were sand- to throw the necessary punch at Kellin for the
hog, coal-stoking seaman, miner, cowboy, union cameras.
bodyguard and loan collector. When World War See: “Plenty Fight in Movie Set-To.” Baltimore
II reached its zenith, Ryan enlisted in the Marines Sun. May 30, 1943.
and became a drill instructor at Camp Pendleton.
He was one of the big screen’s most dependable William Boyd vs. Robert
character leads, appearing in such high- Mitchum in False Colors (1943)
testosterone fare as Bad Day at Black Rock (1955),
The Professionals (1966), The Dirty Dozen (1967) Hollywood’s favorite symbol of virtuosity Hop-
and The Wild Bunch (1969). along Cassidy takes on notorious bad boy Robert
 19 43 47

Mitchum in a one- minute

slugfest in director George Ar-
chainbaud’s False Colors. Boyd
comes to the aid of sidekick
Andy Clyde, whom bully
Mitchum has in a nose-lock for
taking too close an interest in
his card game. It’s a one-sided
fight as Boyd knocks Mitchum
all over a saloon and sends him
over the bar a bloodied and
embarrassed mess. Russell
Harlan gets in on the action
with his camera so the audi-
ence can feel the blows.
Mitchum does the entire fight
without the aid of a double, er-
roneously thinking that only
the star merited the benefit of
a stuntman. Boyd uses Ted
Wells or Frosty Royce for the William Boyd’s Hopalong Cassidy puts a hurt on bad guy Robert Mitchum
long shots. Archainbaud was in United Artists’ False Colors (1943).
blessed with the vision to edit
in-camera as he filmed so the fight footage was him to keep odd hours and still arrive on the set
nearly complete by the time it reached post- knowing his lines and technical cues. He had
production. Boyd fights bad guy banker Douglass tremendous screen presence and the know-how
Dumbrille to climax the film, and in a couple of to mimic the way real punches were thrown de-
brief glimpses it looks like it may even be Mitchum pending on the scenario. He had vast experience
taking the falls for Dumbrille. to draw from. He sometimes landed in saloon
Broad-shouldered and barrel-chested, the 6'1", scrapes, where he emerged victorious because of
205-pound Mitchum epitomized cool as a sleepy- a penchant for not fighting by any set of pre-
eyed film noir tough guy. He gave off a vibe of re- established rules. The Hollywood Stuntmen’s As-
luctance to undertake any action called upon, yet sociation voted him the actor they’d most like on
he was a natural athlete who looked smooth and their side in a barroom brawl. In the early 1950s,
effortless in all physical activity. His varied back- Mitchum broke the jaw of heavyweight boxing
ground laid the foundation for a powerful contender Bernie Reynolds in a bar fight. In the
physique and handy athleticism. He had tramped late 1950s, he bested a trio of Marines in a
across the country as a teen and tried his hand at Caribbean brawl. In Ireland, he cleaned out a pub
being a longshoreman, stevedore, quarry worker, with fellow actor Richard Harris. The fisticuffs all
ditch digger, bar bouncer and tank town boxer became part of Mitchum lore. On screen, Mitchum
who brawled his way through more than 20 throttled Frank Sinatra in Not as a Stranger (1955)
loosely organized bouts. By 1942–1943 he was re- and unleashed a vicious karate chop to Jacques
placing a dead stuntman in the Hoppy series. Nat- Aubuchon’s face in Thunder Road (1958), giving
urally he was expected to learn the art of screen an indication to the type of unconventional striker
fighting to earn his pay. Boyd and Mitchum also he was in a real fight.
tangled in Hoppy Serves a Writ (1943), Colt Com- Notable fights include Lone Star Trail (1943),
rades (1943) and Riders of the Deadline (1943). Blood on the Moon (1948), His Kind of Woman
Another physical role that attracted early attention (1951), Second Chance (1953), Cape Fear (1962),
came as a Marine Raider taking on the Japanese El Dorado (1967) and The Good Guys and the Bad
in fierce hand-to-hand combat in Gung Ho! Guys (1969) (see entries). Fights of interest came
(1943). against Harry Woods in Nevada (1944) and West
Mitchum was a legendary drinker and mari- of the Pecos (1945), John Rodney in Pursued
juana smoker. A photographic memory allowed (1947), Steve Brodie in Out of the Past (1947),
48 19 43

William Holden in Rachel and the Stranger (1948), tion, although Fred Graham was on the film as his
William Bendix in The Big Steal (1949), Eddie double. Graham can be spotted as one of the bar
Parker in The Racket (1951), Brad Dexter in Macao fighters. Other stuntmen include George DeNor-
(1952), Arthur Kennedy in The Lusty Men (1952), mand, Bud Geary, Jack Stoney, Sailor Vincent, Ray
Rory Calhoun in River of No Return (1954), Jack Jones, Artie Ortega, Mike Lally, Bobby Barber,
Lemmon in Fire Down Below (1957), Chuck Jack O’Shea and Richard Talmadge; the latter also
Roberson in The Wonderful Country (1959), Stan- coordinated the action. Wayne and Arthur escape
ley Baker in The Angry Hills (1959), Jack Kelly in at the minute-and-a-half mark by jumping out a
Young Billy Young (1969), Jan-Michael Vincent in second story window into a bale of hay. Robert
Going Home (1971), Bill Saito in The Yakuza Aldrich served as an assistant director.
(1975), Richard Egan in The Amsterdam Kill There was a fantastic story released to the press
(1977), Richard Boone in The Big Sleep (1978) about Arthur’s involvement in the fight. As a
and Asher Brauner in the TV movie One Shoe young woman in New York City, she was nearly
Makes It Murder (1982). Mitchum also partook in run over by a speeding taxi, pulled to the pavement
screen brawls in Till the End of Time (1946) and from harm’s way by a local actor. After recovering
The Sundowners (1960). In The Red Pony (1949), from her injuries, she sought the actor out to thank
he had an extended fight with professional wrestler him. When she visited his talent agency, she was
Wee Willie Davis. It was cut out by Republic as “discovered” there by agents and put on the path
too brutal for audiences interested primarily in the to Hollywood. Whether by design or coincidence,
John Steinbeck story. the actor assigned in this film to pull her out of the
See: Gefen, Peark Sheffy. “Mitchum the Ambas- way of a flying chair was Charles Winninger, the
sador.” Montreal Gazette. December 13, 1983; Sey- same actor who had saved her in New York.
more, James. “Rough, Tough, & Rowdy: Robert See: “In Hollywood.” Trenton Evening Times.
Mitchum.” People. February 14, 1983. March 1, 1943.

The Beer Hall Brawl in A Lady The Saloon Brawl in Lone Star
Takes a Chance (1943) Trail (1943)
The John Wayne starrer A Lady Takes a Chance Reliable screen fighter Johnny Mack Brown
is a fun little film. The comedy is good-natured takes on tough newcomer Robert Mitchum in this
and appealing as two-fisted modern-day cowpoke quickie from director Ray Taylor about a recent
Wayne romances big city girl Jean Arthur while on parolee trying to clear his name. Outside the pres-
a bus trip across the west. Early on in the William ence of soon-to-be-star Mitchum playing a bad
A. Seiter–directed film, Arthur finds herself in a guy, it’s a standard Brown cowboy flick complete
situation all too familiar to the rodeo man: a beer with obligatory 90-second saloon brawl. B-western
hall brawl. RKO publicity hailed it “the wildest bar enthusiasts consider this to be one of the genre’s
fight ever filmed,” and The Big Damn Book of Sheer better fights, though the focus isn’t on Brown
Manliness includes it among the screen’s best bar- against Mitchum. Co-star Tex Ritter lends a pair
room brawls. It’s not of that magnitude, but it’s en- of fists as henchmen Jack Ingram and Eddie Parker
tertainingly enacted. The Boston Globe found that become involved in the brawling. Brown ex-
the movie contained “nicely choreographed stunt changes more punches on a staircase with Ingram
work,” while Variety remarked the fight was “done than he does with Mitchum. The highlight is un-
with finesse that distinguishes it from the series of doubtedly the hero delivering punches while sit-
similarly staged sequences in westerns.” ting astride Mitchum on the bar counter. The cli-
The frenetic fight begins when a drunk Don max has Brown once again fighting Mitchum and
Costello throws a sucker punch and Wayne clob- dress heavy George Eldredge. Tom Steele doubled
bers him with a beautiful roundhouse. The drunk- Mitchum with Carl Matthews doubling Brown.
ard falls into a chair that collapses and slides across The action is well-choreographed and appropri-
the floor. Mass mayhem ensues as diving, flying, ately energetic in both fights.
colliding bodies fill the screen for Frank Redman’s According to The Best of Universal, the film is
camera. Highlights include Wayne ducking a “well remembered by western buffs thanks to the
three-person dive and Allan Pomeroy flipping savage barroom brawl between Brown and a young
onto and breaking a table. Wayne does all the ac- villain named Robert Mitchum.” It’s included
 19 43 49

among the “great screen fights” in Western Clip- eraman Reggie Lanning and a talented group of
pings, and Mitchum biographer Alvin H. Marill stuntmen headed by Tom Steele and Dale Van
writes that the fight “still ranks among the very Sickel. These two stunters became so integral to
best in the eyes of B-western enthusiasts.” Holly- the studio that Republic began casting their lead-
wood Corral adds, “There was a tremendously vi- ing men based on their resemblance to the stunt-
cious, realistic barroom scrap, with Brown making men. Ace stuntman Steele literally has the leading
his punches appear to land solidly, and sporting role in The Masked Marvel, although he went with-
cuts and bruises at the conclusion, something rare out credit to lend mystery to the fedora-clad char-
in these antiseptic low-budget westerns.” acter who takes on Japanese spies with little more
In the early 1940s, Ritter was often paired with than his two flying fists and Mort Glickman’s en-
Brown at Universal in the two-star format in such ergetic background score. Beneath the mask, he’s
films as The Old Chisholm Trail (1942), Little Joe, one of four lookalike characters played by Rod
the Wrangler (1942) and Raiders of San Joaquin Bacon, David Bacon, Bill Healy and Richard
(1943). Capitalizing on the success of the Univer- Clarke, but Steele makes the role his own with a
sal hit The Spoilers (1942), the duo often had a tour de force action performance. Serial fans think
fight with one another before joining forces to take of no one other than the great screen fighter Steele
on the villains. The studio hoped to bring in fans in the part. In his excellent serial retrospective In
of both these complimentary talents: those who the Nick of Time, William C. Cline writes, “The
liked fighting and those who preferred singing Masked Marvel holds a place as one of the finest
cowboys. Other pairings of this nature consisted mystery serials released, because of the outstand-
of Wild Bill Elliott and Ritter and Charles Starrett ing work by its team of able stuntmen, headed by
and Russ Hayden. the lanky Steele.”
Johnny Mack Brown, 5'11" and 190 pounds, was The non-stop action becomes slightly disori-
an All-American football player at the University enting after a while, but never stops being enter-
of Alabama and a 1926 Rose Bowl standout. He taining. Editors Wallace Grissell and Earl Turner
was a popular big screen cowboy noted for his cut back and forth between multiple fights occur-
fighting ability. Western stuntmen claimed that ring at the same time at different locations. Stunt-
Brown had the best punch in the business. His sig- men play characters who are killed in one chapter
nature move was to place one hand behind the bad only to show up as another character in a later
guy’s head and pull him into his approaching fist. chapter. Steele and Van Sickel square off several
His films featured at least one fistfight, and Brown times during the serial’s 12 chapters, as Van Sickel
had good ones against heavies Charlie King, Dick plays three characters and doubles more. Steele
Alexander, Harry Cording, Dick Curtis and Roy even manages to have two fights with himself play-
Barcroft. Fans liked how he’d never start a barroom ing additional characters. Ken Terrell plays three
brawl but always finished it. He’d dust off his hat, characters and doubles villain Johnny Arthur in
reposition it on his head, and order a sarsaparilla the climactic fight. Other stuntmen filling out the
from the barkeep. Fights of interest came against thug ranks include Fred Graham, Allen Pomeroy,
Yakima Canutt in Branded a Coward (1935), Wil- Eddie Parker, Bud Geary, John Daheim, Duke
liam Farnum in Between Men (1935), Harry Woods Green, Carey Loftin and George Suzanne.
in West of Carson City (1940), Frank Hagney in Steele insisted that Republic schedule one fight
Boss of Hangtown Mesa (1942), Marshall Reed in a day to keep the quality high. Often times he
Trailin’ Danger (1947) and Oklahoma Justice (1951) paired up with the stockier Van Sickel, who dou-
and Pierce Lyden in Whistling Hills (1951). bled the villains in outstanding fights with Steele
See: Copeland, Bobby J. Johnny Mack Brown: seen in G-Men vs. the Black Dragon (1943), Secret
Up Close and Personal. Madison, NC: Empire, Service in Darkest Africa (1943), The Tiger Woman
2005. (1944), Zorro’s Black Whip (1944), The Purple
Monster Strikes (1945), Manhunt on Mystery Island
Tom Steele vs. Dale Van Sickel (1945) and The Crimson Ghost (1945). They
in The Masked Marvel (1943) worked countless westerns at Republic, then the
dynamic duo moved over to Columbia to stage
Former stuntman Spencer Gordon Bennet was fights for the serial Bruce Gentry (1949). Other
one of the best directors of the serial genre, crank- films they worked on together as a fight team in-
ing them out for Republic while relying on cam- clude Thunder in the Pines (1948), Day the World
50 19 43 / 19 4 4

Ended (1956), Flesh and the Spur (1957) and Cattle nominated. Having come from an athletic back-
King (1963). ground in his native Minnesota, he was an adept
See: Mallory, Michael. “Tom Steele.” Filmfax. action actor, portraying prizefighters in The Shock
April-May 1992; Mallory, Michael. “Tom Steele: Punch (1925) and Knockout Reilly (1927). He
King of the Cliffhangers.” Starlog. #137, December broke ribs boxing real heavyweight contender Jack
1988; Mathis, Jack. Republic Confidential: The Stu- Renault in the latter. Trainer Jimmy De Forest in-
dio. Self-published, 1999. sisted Dix could have had a successful ring career
as a light-heavy. Dix had notable screen brawls
The Saloon Brawl in The Kansan with George Siegmann in Manhattan (1924),
(1943) Matthew Betz in Shooting Straight (1930), Fred
Kohler in West of the Pecos (1935) and Skelton
United Artists tried to match the epic Warner Knaggs in The Ghost Ship (1943). By the 1940s he
Bros. western Dodge City (1939) with a three-and- was on the downside of his career but still made a
a-half-minute fight in the town of Broken Lance, fine leading man.
Kansas. Harold Shumate and Frank Gruber’s The same filmmakers also released the western
script presents wall-to-wall action featuring stal- Buckskin Frontier (1943) with Dix and Jory squar-
wart marshal Richard Dix and good bad guy Victor ing off in the climax.
Jory clashing with Douglas Fowley and Albert See: “A Real Fighter.” Pittsburgh Press. March 20,
Dekker’s small army of heavies. A little levity is 1927; Dix, Robert. Out of Hollywood. Chatsworth,
present as heavyset character player Eugene Pal- CA: Ernest, 2009; “Richard Dix Injured.” Reading
lette uses a belly bump to take out foes. This was Eagle. February 18, 1927.
a move popularized by Andy Devine in other films.
Actor Jack Norton also gets laughs as a drunk con- John Wayne vs. Ward Bond in Tall
tinually knocked over during the skull-cracking in the Saddle (1944)
melee, though his musical cues are too obvious.
Composer Gerard Carbonara was Oscar nomi- Tall in the Saddle, an entertaining John Wayne
nated for this film. Set decorator Emile Kuri filled western from RKO and director Edwin L. Marin,
the cavernous saloon, which features appropriately is highlighted by a 30-second punch-up between
rounded edges on the bar and tables to lessen the Wayne and crooked judge Ward Bond in the lat-
likelihood of actors or stuntmen being injured on ter’s office. Western Clippings considers this one of
a sharp angle. cowboy cinema’s “great screen fights.” It was
Combatants swing from chandeliers, fall from Wayne and Bond’s fourth screen battle, the others
balconies and tumble down stairs. Even the dance occurring in Conflict (1936), A Man Betrayed
hall girls become involved. As can be expected, a (1941) and The Shepherd of the Hills (1941). The
chair is thrown into the mirror behind the bar. It latter fight in a sheep pen is the longer and better,
is standout action on a small-scale budget capably but Tall in the Saddle is more widely known. The
directed by George Archainbaud and pho- USC football teammates throw great punches at
tographed by Russell Harlan. Motion Picture Her- one another for Robert De Grasse’s camera with
ald called it “a saloon brawl of unusual dimensions the lone drawback being the fight’s brevity, not its
and ferocity,” while Western Clippings deems it “the ferocity. Bookcases are turned over and a chair
wildest free-for-all saloon brawl outside of Dodge goes flying out a window onto the street below
City.” The New York Times wasn’t as impressed, re- while composer Roy Webb capably fills the sound-
marking there were too many “haymakers that track with a cacophony of strings and horns. Bond
wouldn’t have stunned a fly.” Stuntmen include is knocked through a door and onto a bed as
John Daheim, Jack Stoney, Lew Morphy, Cliff Wayne emerges triumphant. Doubles Fred Gra-
Parkinson, Ralph Bucko and Frank McCarroll. ham and Allen Pomeroy contribute solid work
Stunt actors Glenn Strange, Rod Cameron and when called upon. Significant fight footage was left
Pierce Lyden have parts and might be participating out by editor Philip Martin.
somewhere in the background of the massive There’s a climactic fight alongside a bridge with
brawl. Harry Woods (doubled by Fred Graham) that re-
Rugged Richard Dix, six feet tall and 180 pounds, peatedly knocks down co- star Gabby Hayes to
enjoyed success in both silents and talkies in fare comic effect. Ben Johnson briefly doubles Wayne
such as Cimarron (1931), for which he was Oscar- in this scene for a jump off a wagon and through
 19 4 4 51

a fence. It’s been said that no

actor’s face met Wayne’s fists on
film more than veteran heavy
Woods. The burly Woods special-
ized in playing cruel, sneering bad
guys, and his size and demeanor
made him an effective opponent
for Wayne even if Woods often
turned the action over to the
stuntmen. Welcome touches of
humor are displayed in the Woods
fight, but it’s the Wayne-Bond ex-
change that audiences remember.
The personal relationship be-
tween Wayne and Bond was built
on macho posturing and rough-
housing over drinks. They regu-
larly hurled insults and sarcasm at
one another on the set to the point
some thought they’d really come
to blows. That was part of the
daily repartee the two had been
carrying on for over 15 years.
They were taken in by John Ford
in the late 1920s and became reg-
ular guests on the director’s fishing
yacht Araner. They were familiar
faces at the Hollywood Athletic
Club, where they sparred with one
another in the boxing ring, took John Wayne smashes a chair across Ward Bond’s back in RKO’s Tall
steam baths to sweat out the in the Saddle (1944).
booze, lifted weights and imbibed
more spirits at the club’s lounge. Wayne and Bond Bond’s jaw, winning the bet. At personal appear-
formed a fraternity of sorts with other hard ances and benefits, Wayne and Bond enacted a
drinkers Johnny Weissmuller, Preston Foster and corny fight routine where Wayne pinched Bond’s
Bruce Cabot and called themselves “The Young cheek and tweaked his nose. Wayne later did that
Men’s Purity Total Abstinence and Snooker Pool same routine on film to Big John Hamilton in
Association” in jest. McLintock! (1963).
All the drink occasionally landed them in trou- See: Bond, Ward. “The Duke and I.” Motion Pic-
ble. Wayne and Bond had a challenge with one an- ture. June 1951.
other at the Athletic Club that evacuated all the
gym members and had the actors paying for sev- Allan “Rocky” Lane vs. Roy
eral hundred dollars in damages after they Barcroft in Corpus Christi
punched holes in all the doors. They were both
suspended from the gym for a year. Another time
Bandits (1945)
they roughhoused in the middle of director Frank Allan “Rocky” Lane was called “America’s Fight-
Capra’s living room and destroyed the carpet. A ing Cowboy” and it’s a title he took pride in. Lane
legendary story had Bond betting Wayne he and top Republic bad guy Roy Barcroft made 38
couldn’t knock him off a newspaper with a punch. films together and wound up fighting one another
When Wayne took the bet, Bond put a newspaper in most of them, including such titles as Stagecoach
down in a doorway, stood on it, then closed the to Denver (1946), Code of the Silver Sage (1950)
door while laughing heartily. Wayne allegedly put and Desert of Lost Men (1951). Their fights were
his fist through the door and connected with noted for their brutality, and Wallace Grissell’s
52 19 4 5

Corpus Christi Bandits features one of their more Lane Revealed. Albany, GA: BearManor, 2014;
furious fights. Lane wins the Lone Star Saloon Brooker, John. “Roy Barcroft Interview.” Western
from crooked owner Barcroft in a poker game, and Clippings. #81. January-February 2008; Thornton,
the latter refuses to give up his property without Chuck. Allan “Rocky” Lane: Republic’s Action Ace.
a fight. Barcroft goes for his gun which Lane im- Madison, NC: Empire, 1990.
probably avoids by fanning a deck of cards in his
face. For the next two minutes they brawl wildly Sunset Carson vs. Roy Barcroft
over every square inch of the set. A generic backing in Santa Fe Saddlemates (1945)
score from musical director Richard Cherwin has
no bearing to the action. When he wasn’t fighting Allan Lane, Roy Bar-
Cinematographer Bud Thackery filmed many croft was putting in time against 6'6", 200-pound
fights on Republic serials and worked well with Sunset Carson. The two close friends made half a
stuntmen. However, Thackery had little to do here dozen films together during Carson’s brief Repub-
other than capture the thrilling action in a basic lic cowboy reign. Santa Fe Saddlemates is their best
wide shot. Tom Steele doubled liberally for Lane match-up, a lengthy skirmish in the tradition of
while Eddie Parker doubled Barcroft going over The Spoilers that begins in a speeding wagon bed
tables and against the bar until Lane delivers a final and ends in a livery stable. Thomas Carr was the
knockout blow. The Republic film fights were cho- director, but Yakima Canutt handled the second
reographed by Steele and/or Dale Van Sickel with unit stunt direction. Ben Johnson and Carol Henry
Blazing West declaring them “some of the best doubled Carson while Fred Graham doubled Bar-
brawls ever put onto film.” The stunt doubles per- croft in the climax. The fight was the lone time
formed in a master shot with two or three cameras Barcroft was hurt in the business, when Carson
capturing the action from different angles in the accidentally fell on him and twisted his knee. Bar-
morning. After lunch, the prop men redressed the croft was forced to miss a couple of days work. The
set and Lane and Barcroft did everything but the two fought again, most notably in Alias Billy the
hardest stunts so editor Charles Craft could cut Kid (1946).
close-ups in appropriately. Lane also fights Kenne Santa Fe Saddlemates is full of fights, opening
Duncan atop a stagecoach during the exciting cli- with Carson making his way into an office by slug-
max, a scene marred by the too obvious process ging it out with henchmen Fred Graham, George
shots taken on a soundstage. Magrill and Bill Nestell. He knocks Graham into
Not everyone enjoyed working with the perfec- a barrel and sends Magrill down a flight of stairs.
tionist Lane, but former oil field roughneck Bar- These battles turn out to be a test for the under-
croft was a professional who tolerated any ego. cover assignment he’s about to take on. Western
Nevertheless the 6'2", 240-pound Barcroft occa- Clippings calls this one of the “great screen fights,”
sionally had to send a message to the star, espe- while Hollywood Corral labels the movie “the fight-
cially when Lane became carried away in his quest in’est horse opera seen for many a moon.” Carson
for realism. Barcroft claimed the 6'1", 190-pound also has a saloon brawl with henchman Bud Geary,
Lane sometimes neglected to pull punches and who remains Carson’s opposition until Barcroft is
found humor in damage he had done. Lane once revealed to be the real heavy.
hit Barcroft wrong with a breakaway chair, landing Rodeo champion Carson had no idea how to
the edge of the seat and nearly knocking Barcroft picture fight but began working with Tom Steele
unconscious. In response, Barcroft let his body go and Dale Van Sickel to learn the ropes. His films
limp when Lane had to lift him off the saloon floor. were especially heavy on action, and Carson’s fist-
Every so often, Barcroft gave Lane a light pop in fights became crowd-pleasers. Although limited as
the jaw to remind him to tone it down. Lane’s sig- an actor, he proved to be a highly capable screen
nature move, often performed during fights, was fighter. Unfortunately, he fell afoul of Republic
an all-out dive and roll directly into the camera. boss Herbert Yates and was soon unemployed.
Outside of Barcroft, Lane most often fought Dick Carson remained popular with the public and
Curtis and stunt actors Dale Van Sickel, Ted spent a good portion of the 1950s making personal
Mapes and Lane Bradford. One of his best fights appearances.
came against Mickey Simpson in Leadville Gun- See: Copeland, Bobby J. Sunset Carson: The Ad-
slinger (1952). ventures of a Cowboy Hero. Madison, NC: Empire,
See: Alexander, Linda. I Am Mr. Ed: Allan “Rocky” 2007.
 19 4 5 53

James Cagney vs. John Halloran which took two days to film on a houseboat an-
in Blood on the Sun (1945) chored on the set of a General Service Studios
water tank. In the end, a tenacious Cagney prevails
Billed as the mightiest fight of James Cagney’s with a flurry of boxing punches that knocks the
career, this energetic David vs. Goliath judo con- much larger Halloran through a wall and into the
frontation is the best opportunity to see Cagney water. The fight was symbolic of America prevail-
ing over the Japanese while beating them with
show off his martial arts skill, even if there’s liberal
use of his stunt double for all the upending and their own skill to boot.
table-smashing. The double is most likely veteran The New York Times gushed that the fight was
stuntman Harvey Parry, who had judo training and “a beauty,” while the Los Angeles Times wrote, “The
claimed he worked on all Cagney’s films. Always climax … is quickened by Cagney’s combination
aware of camera placement, the double buries his judo-and-fists battle with John Halloran.” Time
face into his shoulder at opportune times to con- opined that Cagney “uses judo to thrilling and pro-
ceal his identity. Cagney was in there for a great tracted effect,” and Life claimed that the film was
deal of the Frank Lloyd–directed action, so much “mainly notable for a quantity of fist fighting, judo,
so he suffered an ear infection from all the rough-stabbing, shooting and hari kari that for sheer lux-
housing and head-cuffing. Set in 1920s Tokyo, uriance and international variation has seldom
been matched in a single picture.” The American
Blood on the Sun is notable as one of the first Amer-
ican films to prominently display the art of judo Martial Arts Film calls it “[o]ne of the first and
being used by a Caucasian. Judo slowly began to most intense displays of martial arts in an Ameri-
emerge on screen as American soldiers returned can film,” while Action Films ranks it among the
from World War II and incorporated the hand-to- screen’s best fights and tagged it as “an awesome
hand combat skills they picked up in the service. achievement.”
Today the fight may seem hokey with overly Judo black belt Halloran made his film debut in
melodramatic Miklos Rozsa music and sometimes Blood on the Sun, looking as Oriental as any tow-
rushed choreography. The movie is an entertain- ering U.S. citizen born in Argentina could expect
ing programmer based on a real pre–World War II to be given the circumstance. His real name was
incident, and the final two-minute fight in a wa- Jack Sergel (aka Sergil) and he was a former Los
terfront shack remains the United Artists film’s Angeles police sergeant with backgrounds in box-
ing, wrestling and knife fighting. He was forced
selling point. It’s a treasure for Cagney fans featur-
ing a multitude of judo tosses, chops, wristlocks to resign from the force at the outset of World
and a rear chin-lock. Ippon Seoi Nagi (one-armed War II when the FBI investigated him because his
shoulder throw), Harai Goshi
(sweeping hip throw), Ogoshi
(large hip throw), Tomoe
Nagi (monkey flip), Ukemi
(safe fall) and Kesa Gatema
(controlled side hold) are fea-
tured, and Cagney’s technique
is sound. Cagney held a black
belt in judo and wanted a
chance to show off his skill on
film as well as introduce the
Japanese art to a broader au-
dience.
Cagney’s regular judo part-
ner John Halloran was his op-
ponent in this film. Cagney re-
ceived additional instruction
from pro wrestler Abe Stein
(aka actor Aaron Saxon).
Cagney spent six weeks spe- Japanese villain John Halloran takes a punch from American judoka James
cifically training for this fight, Cagney in United Artists’ Blood on the Sun (1945).
54 19 4 5

favorite sport was the Asian art of judo. Such was No moment is more infamous than the Wayne
the imperialist hysteria of the time. He adopted punch through Mazurki’s hat. During their fight,
John Halloran as a stage name in light of publicity Wayne pulls Mazurki’s hat over his face and buries
in the Los Angeles newspapers. Ironically, the Ma- his fist into the material. Unfortunately, Wayne
rine Corps retained his services as a judo instruc- buried his fist too deeply, misjudging the space be-
tor. Sergel appeared in several films and taught Ed- tween the hat and Mazurki’s proboscis. The punch
mond O’Brien judo for the Cagney film White broke Mazurki’s nose. Wayne recounted that it was
Heat (1949). one of the few movie punches he threw in error
Cagney became so enthused with judo that he (forgetting a punch that injured actor Victor Kil-
had a dojo built in his home. He trained regularly ian’s eye in 1942’s Reap the Wild Wind). Mazurki
with 5th degree black belt master Ken Kuniyuki, didn’t seem to mind, as he had already broken the
who postwar became the Cagney family’s live-in nose numerous times in the wrestling arena. Still,
butler. Outside of Blood on the Sun, one of the best the damage had been done and needed to be cov-
showcases for Cagney’s judo came in the espi- ered up. Wayne’s normal double Fred Graham
onage film 13 Rue Madeleine (1946). In 1950, there stepped in to double Mazurki, though he was sev-
was a real judo battle at the Cagney home between eral inches shorter. Wayne injured his shoulder in
the masters Kuniyuki and Sergel after a domestic the tussle and had to step out of the action. Canutt
disturbance. The police arrested Kuniyuki after took over for Wayne. Considering that Canutt and
his estranged wife felt threatened and Cagney’s Graham were two legends of the movie fight game,
wife called for Sergel’s help. Sergel emerged victo- the fight still could have amounted to more. Their
rious and detained Kuniyuki until the police ar- sudden presence was hidden by cameraman Jack
rived. James Cagney wasn’t home. Marta’s lighting choice and editor Fred Allen’s
See: “Cagney Home Scene of Judo Battle.” splicing. Wayne and Mazurki do unleash a few big
Prescott Evening Courier. March 9, 1950; Chapman, blows for their fans. Wayne also tangles with Cliff
John. “He’s Never Lost a Fight.” Los Angeles Times. Lyons, Jack Roper and Graham, who gets his front
March 16, 1947; “Star Learns Judo for Screen teeth knocked out for his trouble. Variety con-
Role.” Toledo Blade. July 23, 1945. cluded, “Action isn’t always robust, but there are
a number of knock-down fights to help carry it
John Wayne vs. Mike Mazurki along.”
in Dakota (1945) Gravel-voiced Mazurki was Hollywood’s resi-
dent goon heavy for decades. He had the market
This one had all the makings of a legendary cornered on dimwitted thugs in classic film noir
brouhaha as John Wayne slugs it out with 6'4", such as Nightmare Alley (1947) and I Walk Alone
240-pound professional wrestler Iron Mike Ma- (1948) where he was called upon to rough up stars
zurki. Publicity called it “the screen fight to end Tyrone Power and Burt Lancaster, respectively.
all screen fights.” However, what made the screen His most notable assignment came as the towering
is a disappointment. The fight is over with too Moose Malloy in Murder, My Sweet (1944), where
quickly, and bits are staged off-screen or in com- he made quick work of Dewey Robinson. Sporting
plete darkness. It seems odd not to put these a 52" chest and a 21" neck, former professional
heavy-handed tough men front and center for an football and basketball player Mazurki found his
all-out punchfest. It’s still a serviceable display of true calling as a wrestler, becoming one of the
two fight giants butting heads, but it could have biggest names in the mat business as a bad guy. In
been so much more. A combination of factors the 1930s, Mae West employed him as a body-
likely played into what ultimately made the screen guard and introduced him to Hollywood. During
and what did not. First and foremost, both actors a 35-year wresting career, he competed in approx-
were injured during the fight. In addition, director imately 5000 matches around the world, taking
Joseph Kane may have been toeing the line for Re- on such notables as Ed “Strangler” Lewis, Lou
public and run into budget and time constraints. Thesz, Primo Carnera and Gorgeous George.
Stunt coordinator–second unit director Yakima Notable fights include Behind the Rising Sun
Canutt was likely eyeing the staging of the impres- (1943), Night and the City (1950), Davy Crock-
sive prairie fire finale over his umpteenth fight ett—King of the Wild Frontier (1955), Donovan’s
scene. The Walter Scharf music score is standard, Reef (1963), 4 for Texas (1963), Seven Women
but memorable bits still occur. (1966) and The Wild McCullochs (1975) (see en-
 19 4 5 55

tries). Fights of interest came against Barton fights. Cooper, playing a Texan, is easily identifi-
MacLane in The Spanish Main (1945), Sammy able throughout the two-minute fight due to wear-
Stein in The French Key (1945), Morgan Conway ing a white ten gallon hat (which becomes a weap-
in Dick Tracy (1945), Victor Mature in Samson and on). The New Yorker commented, “Mr. Cooper
Delilah (1949), Charlton Heston in Dark City conducts himself in assorted brawls with dour and
(1950), Stewart Granger in The Light Touch impressive competence.”
(1951), Rod Cameron in The Man Who Died Twice Ted Mapes and Slim Talbot were on hand as
(1958) and Requiem for a Gunfighter (1965), and doubles, but their presence was minimized by
Roddy McDowall in The Adventures of Bullwhip Cooper’s willingness to partake in the chaotic ac-
Griffin (1967). He fought TV’s toughest men such tion and Ralph Dawson’s expert, fast-paced cut-
as Richard Boone on Have Gun—Will Travel, Dan ting. Harvey Parry and Allen Pomeroy headed up
Blocker on Bonanza, Charles Bronson on The the fight planning, with the bodies from both sides
Travels of Jamie McPheeters and William Smith in colliding head-on like the two trains. Stuntmen
a bare-knuckle ring on the 1965 Laredo entitled and tough guy actors Lane Chandler, Glenn
“Pride of the Rangers.” Mazurki’s karate fight with Strange, Ethan Laidlaw, Sailor Vincent, Dale Van
Lee Marvin in the 1959 M Squad episode “Decoy Sickel, Duke Green, Cliff Lyons, Buster Wiles, Paul
in White” was especially noteworthy, as was his Stader, Benny Corbett, Bobby Rose, Bob Reeves,
fight with Mike Connors in the 1960 Tightrope Leo Anthony, Al Lloyd, Chet Brandenburg, Jack
episode “Long Odds.” On 1969’s Land of the Giants Tornek and boxer Freddie Steele all contributed
episode “Giants and All That Jazz,” he duked it out to the brawling action. New York–based stuntman
with boxing champion Sugar Ray Robinson. One Bob Oran and other eastern stuntmen were also
of Mazurki’s highest profile assignments came as recruited for the film, which was lensed during the
a craggy senior citizen punching out Rod Stewart summer of 1943. Because of a shortage of stunt-
in the 1984 music video “Infatuation.” VH1 hu- men, a national call was put out for at least 50 men
morously voted him one of ten actors who could with fighting experience. In all, over 175 stuntmen
take a folding chair to the face. were used. In addition, nearly 70 extras were
See: Clary, Patricia. “Strenuous Life of Husky upped from $10.50 a day to $35 for the two weeks
Actor.” Avalanche-Journal. September 23, 1945; it took to film the battle on Stage 9 at Warner Bros.
Lousararian, Ed. “Mike Mazurki: Mean Only on Approximately 4500 balsa wood pickaxes, shovels
Screen.” Wildest Westerns. #1, 1998; Scheuer, Philip and railroad ties were used as prop weapons. In
K. “Former Matman Likes Hollywood Atmos- the end, 27 men were taken to the hospital. Most
phere.” Los Angeles Times. April 15, 1945. were the inexperienced extras who didn’t know
the tricks of the trade such as distance and timing.
The Trainyard Brawl in Saratoga Among the professionals, Cliff Lyons pulled Duke
Trunk (1945) Green away from fiery debris in front of a blazing
railroad engine just in time to avoid serious injury.
Set in 19th century New Orleans, Saratoga Warner Bros. liked to recycle footage of the train
Trunk boasts a huge climactic brawl for possession crash and snippets of the brawl, used for the
of the Saratoga rail line, and it’s fought with clubs episode “The Brasada Spur” on the TV series Mav-
and gun butts. A collision between two trains erick.
punctuates the action handled by second unit di- Composer Max Steiner was known in Holly-
rector Don Siegel and expertly photographed by wood circles as “the Father of Film Music.” He was
Ernest Haller. Max Steiner provides dramatic a pioneer when it came to adding musical accom-
backing music to the spirited melee while Perc paniment to enhance a film. Unlike studio-hired
Westmore’s makeup unit worked round the clock musicians who simply inserted their original com-
to apply the required bruises and blood. Star Gary positions into a soundtrack, Steiner waited until
Cooper squares off against Frank Hagney, who is the film was fully edited and near completion to
so mean he strikes midget Jerry Austin with a add the music of his full 100-piece orchestra. He
shovel. Although the shovel was a breakaway was able to tailor his music specifically for the film
model and Harry Monty was present as a stunt itself in tempo. He measured every cue on screen
double, director Sam Wood was particularly con- to the split second with his score rising and falling
cerned about Austin. He was less worried about in perfect time to the action and drama on screen.
Cooper, who was an old hand at doing movie In time, Hollywood filmmakers discovered that
56 19 4 5 / 19 4 6

fights were able to play effectively without any Mills pulls Granger’s jacket down over his arms so
music at all. Sound effects and the labored breath- Granger can’t defend himself. The plot twist ex-
ing and grunting of the combatants was more than plaining Mills’ superiority involves a fake medical
enough. However, the prolific orchestrator condition for Granger that turned out to be all too
Steiner’s scores never failed to add an extra some- real. The husband and remorseful wife are re-
thing to fight action. united by film’s end. In real life, both actors were
See: Foster, Ernest. “Midget Jerry Austin Thinks discharged from the British military due to ulcers.
He’s Jack the Giant Killer.” Pittsburgh Press. August Best known as the swashbuckling star of Scara-
1, 1943; “Gary Cooper Ex-Stuntman.” Oregonian. mouche (1952) and The Prisoner of Zenda (1952),
February 10, 1946; Wilson, Elizabeth. “Hollywood Granger’s best slugging showcases were Soldiers
Hardpans.” Liberty. October 20, 1945; Yolen, Will. Three (1951) and North to Alaska (1960) (see
“New York Develops Stuntmen for Television and entry). He was proud of his sportsman back-
Pictures.” Spokane Daily Chronicle. March 21, 1950. ground at Epsom College and would place his
boxer’s hands before studio executives as a deter-
John Mills vs. Stewart Granger rence to miscasting if he thought a part was too
in Waterloo Road (1945) milquetoast for his liking. To stay in shape, he
stepped into the ring to spar with pro light heavy-
Waterloo Road contains one of the classic fights weight boxing champ Freddie Mills. Fights of in-
of British cinema. The Sydney Morning Herald terest came against Mike Mazurki in The Light
termed it “as exciting a brain-versus-brawn episode Touch (1951), Howard Petrie in The Wild North
as has appeared in any film for a long time,” while (1952), Robert Taylor in All the Brothers Were
British Film Noir Guide says, “Waterloo’s highlight Valiant (1953), Fred Graham, Dale Van Sickel and
is a nicely staged fight scene.” Co- star Stewart Terry Wilson in The Last Hunt (1956), Arch John-
Granger considered it the toughest fight he’d ever son in Gun Glory (1957) and Robert Ryan in
done, as he battles it out with soldier John Mills Crooked Road (1965).
over the latter’s unfaithful wife Joy Shelton. See: Carroll, Harrison. “Dirty Fighting Com-
Granger inadvertently took a fist to the stomach mon on TV but Not in Movies.” Boston Daily Rec-
while Mills was accidentally hit on the chin, al- ord. March 11, 1953; Ellis, James. “Sir John Mills.”
though both men tried to remain as calm as pos- Metro. October 27, 2009; Keaney, Michael F.
sible in blocking out the fight moves. It took seven British Film Noir Guide. Jefferson, NC: McFarland,
days to film the action with the combatants going 2008; Shiach, Don. Stewart Granger: The Last of
up and down a staircase, over bannisters, and into the Swashbucklers. London: Aurum Press, 2005.
windows above the Amusement Arcade. Much of
the fight was filmed amidst broken glass on the Randolph Scott vs. Jack Lam-
floor. What’s more, it was occurring during a Ger- bert in Abilene Town (1946)
man air bombing raid, adding to the heightened
drama from director-writer Sidney Gilliat’s sce- This brisk western from director Edwin L.
nario. Former British lightweight boxing champ Marin and screenwriter Harold Shumate has la-
Dave Crowley was the fight arranger, training the conic Randolph Scott cast as a marshal trying to
actors two weeks beforehand to pull their punches keep peace between warring factions of cattlemen
an inch short of the chin so the fight wouldn’t need and homesteaders. Into the fray steps scowling
to be filmed over the shoulder by cinematographer hired gun Jack Lambert, and it becomes inevitable
Arthur Crabtree. the two are going to have a rousing confrontation.
Stewart Granger, 6'2" and 195 pounds, was The Prescott Evening Courier called this fight “one
playing a slick boxer and hated the idea that his of the most furniture-wrecking hand-to-hand bat-
character could lose a fight to a smaller man. tles on screen record.” When the back-and-forth
Granger didn’t think it made sense for him to be action ends after 90 seconds, Scott wipes the sweat
chinned, and most tended to agree. Granger biog- from his forehead with a gloved hand and sighs in
rapher Don Shiatch wrote that the fight “teeters relief. Resourceful actors such as Scott preferred
on the edge of farce” because of this physical dis- wearing gloves during fights to add extra protec-
crepancy. Mills stood roughly 5'7" and barely tion to their own hands. Unfortunately, the use of
tipped the scales at 140 pounds. He did have a stunt doubles is painfully evident. Editor Otho
background in boxing. The fight turns corny when Lovering would have been wise to break away from
 19 4 6 57

the stuntmen and incorporate varied

close-ups of Scott and Lambert.
Normally reliable Archie Stout also
could have set up better camera an-
gles, but time and budget were con-
straining factors. It’s an entertaining
fight, but it could have been done
better.
When insufficient fight footage
was provided to the editor, special
effects technician Linwood Dunn
was brought in to fix any obvious
gaffes in post-production. Dunn had
an optical printer and was able to
blow up the footage and split the
screen. By slightly delaying one side
of the whole image, he could correct
any errors in timing between a Jack Lambert goes for Randolph Scott’s throat in United Artists’
punch and an actor’s reaction. A Abilene Town (1946).
swing and a miss could look like a
solid hit to the naked eye. A legend in the business See: Eyman, Scott. Five American Cinematogra-
for his work on Orson Welles’ Citizen Kane phers: Interviews with Karl Struss, Joseph Rutten-
(1941), Dunn used his optical printer and special berg, James Wong Howe, Linwood Dunn, and Wil-
matte work on many Oscar-nominated films. liam H. Clothier. Metuchen, NJ: Scarecrow, 1987.
Six-foot-one, 210-pound Jack Lambert, a former
boxer and True Crime cover model, once spoke Dana Andrews vs. Ward Bond in
contemptuously of actors who claimed to the press Canyon Passage (1946)
and fans to have done their own stunts during
fights with him. But he too was sometimes dou- Film noir tough guy Dana Andrews’ best fight
bled when a finished product hit the screen. In Abi- came against bullying thief Ward Bond in Jacques
lene Town it is possible Lambert may have done Tourneur’s scenic 1850s Oregon- set western
run-throughs of the fight with the star’s stunt dou- Canyon Passage (1946). It’s a brutal and bloody
ble, only to have both stuntmen work a master minute-and-a-half encounter in the Golden Nug-
shot when Lambert wasn’t on the set. Most stars get Saloon that Ernest Pascal’s screenplay had the
were hesitant to engage the squint-eyed Lambert whole community itching to see, including leading
in fisticuffs because he looked so menacing and lady Susan Hayward. The much smaller Andrews
they were aware of his threatening screen image. dominates the big man with his quickness and su-
Notable fights include 99 River Street (1953), perior fighting skills. Not only is there a great ex-
Kiss Me Deadly (1955) and Day of the Outlaw change of punches, but store owner Andrews is a
(1959) (see entries). Fights of interest came hero unafraid to fight dirty. He uses a knee, breaks
against Burt Lancaster in The Killers (1946), Ralph a chair and cracks a bottle over Bond’s head, al-
Byrd in Dick Tracy’s Dilemma (1947), Rod Came- lowing the split cranium to bleed red in glorious
ron in River Lady (1948) and Brimstone (1949), Technicolor for Edward Cronjager’s camera. Bond
George Montgomery in Belle Starr’s Daughter is unable to see and punches a wooden post before
(1948), Roy Rogers in North of the Great Divide realizing he is defeated, a moment well played.
(1950), Humphrey Bogart in The Enforcer (1951), Universal’s publicity machine touted this as “the
James Stewart in Bend of the River (1952), Brian greatest fight scene ever shown,” and the Toledo
Keith in Chicago Confidential (1957) and Ken Cur- Blade declared it “one of the most brutal fight
tis in Freckles (1960). As a regular on Riverboat scenes ever filmed, a bar-room brawl to top them
(1959–1961), Lambert often fought alongside se- all.” The New York Times agreed: “The slaughter is
ries star Darren McGavin. One of his best TV something to behold,” while Commonweal labeled
fights came against Preston Foster in the 1954 Wa- it “a slug-fest as brutal as movies have ever offered.”
terfront episode “Cap’n John’s Dilemma.” The Pittsburgh Post- Gazette wrote, “When Mr.
58 19 4 6

Andrews and Mr. Ward Bond come to blows in a extra to the show and have great camera awareness.
barroom brawl the crunch and crackle blow the When seen in profile, they subtly raise a shoulder
roof off.” and bury their chin into their chest, making it
Stuntman Fred Graham does portions of the more difficult to view their face. They learn to
fight for Bond, while Andrews is doubled by Dale match an actor’s movements on set and are able
Van Sickel in seamless editing by Milton Carruth. to pick up exactly where an actor left off in a par-
Both Andrews and Bond sought medical attention ticular cut. More importantly, they realize they are
after too many punches made contact. Andrews not only doubling an actor but a character placed
struck Bond with a mighty blow that split his lip in a situation. They are telling and selling a story
open, so not all the blood was coming from to the audience as much as the actors. Stuntman
makeup artist Jack Pierce. During the remainder tricks such as slicked-back hair, water in the mouth
of the filming, Bond had trouble eating solid foods or Fuller’s Earth in the hand let loose at the point
because he kept tearing the stitches from his lip. of impact can greatly sell the force of movie blows.
He was forced to go on a liquid diet until the Five-foot-ten and 175 pounds, Andrews, for-
wound healed. Bond and Andrews also fought one merly a football player for Sam Houston State, was
another in Swamp Water (1941). well-cast as a sturdy two-fisted sort. He moved
Dale Van Sickel is the spitting image of An- with confidence in his physical abilities and came
drews, which enhances the believability of the by his toughness honestly. During the Depression,
fight scene. Even with the camera directly on Van he had found jobs as a ditch digger, gas pumper
Sickel, the audience still buys that it is Andrews and truck driver. The real-life brother of equally
they are seeing. When casting a stunt double for rough-hewn actor Steve Forrest, Andrews became
a fight sequence, it’s important to find someone of the archetypal trenchcoated 1940s film hero after
similar looks, build and stature. However, it’s not starring as a tough detective in the noir classic
a necessity. Wigs, lifts, camera angles and efficient Laura (1944). He can lay claim to throwing one
editing can fool the audience easily enough, espe- of the big screen’s most perfectly realized knockout
cially in the days before home video and the ability punches against Ray Teal in The Best Years of Our
to pause and rewind. A stunt double may be a few Lives (1946). His greatest fight, however, came
inches shorter or taller, but if his opponent is the against alcohol, which ultimately affected his ca-
same ratio of height as the actor he is doubling, reer as a leading man.
the audience is unable to tell the difference. The Andrews had notable fights in Where the Side-
best stunt doubles manage to bring something walk Ends (1950) and Strange Lady in Town (1955)
(see entries). Fights of inter-
est came against Gary Cooper
in Ball of Fire (1941), Vincent
Price in Laura (1944),
Charles Bickford in Fallen
Angel (1945), Louis Jourdan
in No Minor Vices (1948),
Ray Teal in Edge of Doom
(1950), David Farrar in Duel
in the Jungle (1954), Richard
Webb in Three Hours to Kill
(1954), Rex Reason in Smoke
Signal (1955), Henry Bran-
don in Comanche (1956),
Ted DeCorsia in Enchanted
Island (1958), Kelly Thord-
sen in The Fearmakers
(1958), Roger Torrey and
DeForest Kelley in Town
Tamer (1965) and Lyle Bett-
Ward Bond (left) and Dana Andrews engage in a brutal slugfest in Univer- ger and John Agar in Johnny
sal’s Canyon Passage (1946). Reno (1966).
 19 4 6 / 19 4 7 59

See: Carroll, Harrison. “Behind the Scenes in istic; with filmmakers unafraid to show blood or
Hollywood.” The Dispatch. December 6, 1945; Fu- wrenched limbs. War veterans had been exposed
jiwara, Chris. Jacques Tourneur: The Cinema of to hand-to-hand combat skills and the Asian fight-
Nightfall. Jefferson, NC: McFarland, 1998. ing arts. Popular self- defense books were pub-
lished such as boxing champion Jack Dempsey’s
Gary Cooper vs. Marc Lawrence How to Fight Tough, which he co-wrote with fellow
in Cloak and Dagger (1946) Coast Guard self-defense instructor Barney Cos-
neck. The latter had distinguished himself as a Big
This World War II spy thriller from Warner Ten wrestling champion at the University of Illi-
Bros. features a tremendously effective battle to nois before turning pro on the mat. He followed
the death between Gary Cooper and a knife- his Dempsey collaboration with the book Ameri-
wielding Nazi henchman Marc Lawrence in a can Combat Judo. W.E. Fairbairn’s Get Tough and
building’s entryway. Upon its release, Common- All-In Fighting were other popular teaching tools,
weal dubbed it “terrifically brutal,” while Esquire detailing how to prevail in close-quarter combat.
called it “hair-raising.” Variety found it “a high mo- The ensuing generation of stuntmen and big
ment of thrill.” Cooper astutely wraps a jacket screen tough guys, many war veterans themselves,
around his arm to protect his vital arteries and is were all exposed to this material and began incor-
able to knock Lawrence’s knife away. Set in Italy, porating these moves into their fights. Judo chops
the flavorful local tenor music from the outside and throws proved adaptable enough for film cam-
street provided by orchestrator Max Steiner is the eras to capture without too much head-scratching.
only thing heard over the desperate grunts of the See: Lawrence, Marc. Long Time No See: Con-
eye-gouging, shin-kicking, foot- stomping and fessions of a Hollywood Gangster. Riverwood, 1997;
finger-bending combatants. It’s one of the first McElhaney, Joe. A Companion to Fritz Lang. Bog-
times heightened, melodramatic studio music nor Regis: John Wiley & Sons, 2014.
wasn’t dubbed in during post-production, and the
film is much better off for it. Judo chops, arm-bars Roy Rogers vs. David Sharpe
and a monkey flip (Tomoe nage) are displayed be- in Bells of San Angelo (1947)
fore Cooper chokes Lawrence out. Makeup artist
Perc Westmore provided the fake blood coming The King of the Cowboys meets the Crown
from Lawrence’s mouth. The finger-bending is es- Prince of Stuntmen in William Witney’s Bells of
pecially brutal and likely a first of its kind on the San Angelo, a climactic battle Western Clippings in-
big screen. Up to this point, the Production Code cludes among its “great screen fights.” This action-
Administration prohibited any kicking or choking packed Republic outing ushered in a new tougher
on screen. era for a Roy Rogers film, replete with brutal and
Afforded a single line of description in the Al- graphic violence. It’s the first Rogers film to show
bert Maltz–Ring Lardner, Jr., script, the 90-second bloody noses, and the 5'10", 170-pound cowboy
fight took over four days to complete. Director star takes a beating throughout. He gives as good
Fritz Lang and camera operator Sol Polito cap- as he gets, and the memorable two-minute climax
tured the action in close-up and it’s superbly cut occurs against bad guys John McGuire and David
together by Christian Nyby. In all, there are 26 Sharpe on a rocky cliff in Nevada’s Valley of Fire.
shots with an average length of three seconds. Joe Yrigoyen doubled Rogers, while Sharpe han-
Cooper was bothered by a bad hip and back, but dled his own action, offering impressive leaps and
the demanding Lang coaxed him into doing the falls among the jagged rocks and hard terrain.
entire fight. Stuntmen Eddie Parker and Don Rogers’ dogs take care of McGuire so the star can
Turner were on hand to double the ailing star, but concentrate on handling the athletic Sharpe. The
it’s all Cooper in the finished product save perhaps two had an earlier fight at the Monarch Mine, but
for a single shot. The 5'10", 175-pound Lawrence, in that encounter Sharpe had his men hold Rogers
a serpentine menace for years on the big screen, down. Sharpe also fought Rogers in Susanna Pass
was an admirer of Cooper and apologized (1949), and the stuntman often faced off against
throughout the fight for having to stick his fingers him while doubling other actors. The A to Z of
into the star’s mouth. Westerns in Cinema declared, “Some of the best
World War II changed the way fights were de- fistfights in B-westerns occur in these late Rogers
picted on film. Fights became more lethal and real- films.”
60 19 4 7

Witney instructed Sharpe and Yrigoyen to per- Rogers had fights of interest came against
form their fight in an exaggerated slow-motion for William Haade in Song of Texas (1943) and My Pal
Jack Marta’s camera. Given the perilous nature of Trigger (1946), Dick Curtis in Song of Arizona
their footing on the rocky ledges, he didn’t want (1946), Brad Dexter in Heldorado (1946), Charles
the men to lose their balance and risk falling. When McGraw and Fred Graham in On the Old Spanish
screen cowboys fought on rocky surfaces, they Trail (1947), Roy Barcroft in Springtime in the Sier-
often used specially made boots with rubber ten- ras (1947), Bob Livingston in Grand Canyon Trail
nis shoe soles for better traction. Witney shot the (1948), House Peters, Jr., and Wade Crosby in
slowed-down movements at 14 frames a second. Under California Stars (1948), Clayton Moore in
In the finished film, the action played out at nearly The Far Frontier (1949), Greg McClure in The
normal speed. It’s a shame Witney, an action mas- Golden Stallion (1949), Jack Lambert in North of
ter on the fly, wasn’t able to move in for a few more the Great Divide (1950), Grant Withers in Spoilers
gritty close-ups. Much of the fight is filmed from of the Plains (1951) and Fred Graham in Heart of
a distance as Witney was protective of Rogers. the Rockies (1951). On The Roy Rogers Show
Rogers had many good fistfights committed to (1951–1957) he fought all the era’s western black
celluloid over the years. He was never afraid to mix hats. He even stepped into the boxing ring with
it up and handled a great deal of the fisticuffs. Iron- Charles Bronson in 1952’s “Knockout.” On the
ically, in his early films, fights were avoided be- 1983 and 1984 nostalgic episodes of The Fall Guy,
cause of his slight frame. As he filled out physically entitled “Happy Trails” and “King of the Cow-
Rogers proved to be a most adept action star and boys,” he was still punching out bad guys Marshall
publicity began trumpeting his famous right hook. Teague and Michael Pataki.
Frequent director Witney became determined to See: Nevins, Francis M. “Ballet of Violence:
toughen up Rogers’ image and make his fights The Films of William Witney.” Films in Review. No-
more realistic. That was fine with the obliging vember 1974; Rothel, David. The Roy Rogers Book.
Rogers, who was known to willingly turn his back Madison, NC: Empire, 1987.
to the camera during fight blocking to give face-
time to supporting players or stunt actors so they’d The Saloon Brawl in Angel and
have a chance to be seen. Rogers’ first screen fight the Badman (1947)
was versus Gene Autry in The Old Corral (1936).
When he lost, Autry made him sing. As producer-star of this entertaining Republic
western, John Wayne
wasn’t about to disappoint
the many fans who had
come to expect thrilling
fisticuffs in his films.
There’s a two-minute sa-
loon scrum here that had
the Beach Morning Journal
claiming, “Enough furni-
ture is smashed in the tra-
ditional barroom brawl to
furnish a season’s kindling
for a cabin colony.” Movie
Westerns declared it “a ter-
rific fight.” The throw-
down was in place to bal-
ance out the otherwise
talky romance seen be-
tween reformed gunman
Wayne and Quaker girl
Gail Russell. Much of the
Villain Dave Sharpe (left) and cowboy hero Roy Rogers struggle on rough ter- fight is in a light- hearted
rain in Republic’s Bells of San Angelo (1947). vein as Wayne and Lee
 19 4 7 61

Dixon run afoul of the beefy Baker brothers Bill Elliott vs. Albert Dekker
(Eddie Parker, Jack Stoney, Wade Crosby and Pat in Wyoming (1947)
Flaherty) whom Wayne pushes through to get to
the bar. They are all soon exchanging punches. Republic Pictures moved popular B- western
Fred Graham doubles Wayne in the long shots. star Bill Elliott into their higher-budgeted films
Other stuntmen in the Yakima Canutt–coordi- and made him the anti-hero of Wyoming. He plays
nated action include John “Bear” Hudkins, Joe a cattle baron battling homesteaders in a film Va-
Yrigoyen, Loren Riebe, Henry Wills, Sid Davis and riety praised for its “fine fisticuffs.” Albert Dekker
Ken Terrell, who steals the show with a fall from tries to muscle in and profit off the feud, drawing
the balcony onto a gambling table. Canutt and vet- the ire of Elliott when he murders his friend Gabby
eran cinematographer Archie Stout help first-time Hayes. Director Joseph Kane and second unit
director James Edward Grant immeasurably in the helmsman Yakima Canutt stage an energetic one-
staging of the brawl. Much of the movie was filmed minute saloon brawl between the two that’s
on location in Sedona, Arizona, but the saloon se- straight from the Spoilers handbook. In fact, the
quence was done at Republic. The movie was re- encyclopedic book The Western said the fight “is
made for TV in 2009 with a toned-down bar brawl comparable to the one that is the high point of all
and Lou Diamond Phillips in Wayne’s part. three versions of The Spoilers.” Western Clippings
Six-foot-two and 220 pounds, character actor agreed, calling it “a terrific battle darn near equal
Pat Flaherty, playing one of the Baker brothers, that of The Spoilers.” Elliott biographer Gene Blot-
was a Marine captain with a background in com- tner called the fight “well-choreographed and one
petitive boxing and wrestling. He played profes- of the finest to be brought to the screen,” while the
sional football for the Chicago Bears and made New York Times labeled it “a pip of a knockdown
more than 250 Hollywood films, specializing in drag-out donnybrook.”
bit part tough guys. He joked that in most parts While it has nowhere near the epic length of
the screenplay simply called for him to be knocked The Spoilers, it’s a memorable fight in its own right.
down. At one time or another, most of the indus- Dekker hurls a bottle at Elliott’s head to start the
try’s leading men had put him on his backside. He action, prompting Elliott to fight dirtier than what
shows up for fights in Dodge City (1939) and Gen- is accustomed for a wholesome cowboy star. He
tleman Jim (1942) (see entries). bites, thumbs, kicks and gouges Dekker to gain an
When it came to staging fights, Yakima Canutt, advantage. Elliott’s screen trademark became an-
Richard Talmadge, Allen Pomeroy, David Sharpe nouncing that he was “a peaceable man” before
and Harvey Parry were emerging as the top men erupting into violence to vanquish a foe. Elliott
in the business. During this period, they were typ- was occasionally doubled and often assisted by vet-
ically referred to as ramrods or stunt gaffers. In ad- eran stuntman Tom Steele, ensuring that his fights
dition to providing the doubles and background were top-notch. In Wyoming, Ben Johnson doubles
stuntmen, they were responsible for blocking out Elliott and Fred Graham doubles Dekker. Both
the action with the cameraman while devising the stuntmen are clearly visible save for cinematogra-
proper angles to capture the brawling in the most pher John Alton’s close-ups of the principals. Arthur
effective manner. This often entailed extensive re- Roberts’ editing achieves an appropriate balance.
hearsal and fine-tuning if production time and Bill Elliott, 6'1" and 180 pounds, embraced the
budget allowed. They typically worked out and cowboy genre and worked studiously on perfect-
negotiated the cost of a fight scene for the produc- ing his riding, fast draws and fights. He was an en-
tion manager or assistant director so as not to thusiastic screen puncher whose fisticuffs were
hurt a film’s bottom line. Fights were standard fare often the highlight of his films. Fights of interest
for most stuntmen and they received a flat rate, came against Jack Roper in North from the Lone
but a fall such as Ken Terrell took from the balcony Star (1941), Bud Geary in Mojave Firebrand
paid out at a much higher rate for the stunt per- (1944), Glenn Strange and LeRoy Mason in San
former. Antonio Kid (1944), Dick Curtis in Wagon Wheels
See: Ray, Bob. “Sports Soldier of Fortune Mak- Westward (1945), William Haade in Phantom of
ing Good as an Actor.” Los Angeles Times. Septem- the Plains (1945), Bruce Cabot in The Gallant Le-
ber 8, 1940; Reid, John Howard. Movie Westerns: gion (1948), Forrest Tucker in The Last Bandit
Hollywood Films the Wild, Wild West. Lulu, 2005. (1949), Roy Barcroft in The Savage Horde (1950)
and Lane Bradford in The Forty-Niners (1954).
62 19 4 7

See: Blottner, Gene. Wild Bill Elliott: A Complete much of the fight, with Jack Sterling subbing for
Filmography. Jefferson, NC: McFarland, 2007; Davis. Winters establishes a fine mix of close-ups
Copeland, Bobby J. Bill Elliott: The Peaceable Man. of the principals with longer shots of the stunt-
Madison, NC: Empire, 2000. men, while George Bassman merits praise for his
suspenseful backing music. A few days of filming
Van Johnson vs. Jim Davis in The were lost when Johnson ran into poison oak dur-
Romance of Rosy Ridge (1947) ing the chase. In all, the fight consumed seven days
of the production schedule and the crew erupted
A well-made, little- known backwoods story in applause when it was finished. The movie was
from director Roy Rowland, The Romance of Rosy filmed on location in Santa Cruz, California, and
Ridge is set in post–Civil War Missouri, with tem- Kennedy Meadows in the High Sierras.
pers between the North and South flaring up. Yan- Six-foot-two and 200 pounds, Jim Davis had a
kee stranger Van Johnson draws the ire of Jim long career as a movie and television tough guy.
Davis when he begins courting Janet Leigh. The He could play the two-fisted hero but was more
film is full of atmospheric musical set pieces, but often cast as a vicious villain. The Missouri-born
the best sequence is a rough two-minute fight in Davis was an oil field roughneck and a football
the blackened remains of a burnt-out cabin be- player at William Jewel College before serving
tween Johnson and Davis. The open air fight is with the Coast Guard. He was a convincing screen
preceded by an exciting foot chase through the fighter who had no problem dialing up the emo-
woods with Johnson in pursuit, until Davis realizes tional intensity needed for his characters when
that Johnson doesn’t have a gun. At that point it’s they sprang into action. Davis starred as the TV
a bruising bare-knuckle match-up where the per- western detective Matt Clark in Stories of the Cen-
ceived soft Johnson gets to show his mettle. John- tury (1954–1955), tangling with guest stars such
son was known for romantic roles, and MGM was as Leo Gordon and Slim Pickens. He was still
trying to toughen his image with this film. Davis’ throwing punches nearly 25 years later as patriarch
boot in his face was a step in the right direction. Jock Ewing on the popular series Dallas (1978–
Cinematographer Sidney Wagner had little ex- 1981). He squared off against Robert Wilke in the
perience shooting fights, but the sequence as ed- 1979 episode “The Dove Hunt.”
ited by Ralph Winters comes off superbly. Winters On the big screen, Davis fought Rod Cameron
felt it was easiest to cut scenes of movement to- in Brimstone (1949), The Sea Hornet (1951) and
gether as eye level didn’t have to match from shot Woman of the North Country (1952), Randolph
to shot. Terry Wilson doubled Johnson during Scott in The Cariboo Trail (1950), Kirk Douglas
in The Big Sky (1952), Charlton He-
ston in The President’s Lady (1953),
John Derek in The Outcast (1954),
George Barrows in The Outlaw’s
Daughter (1954), Ben Cooper in
Duel at Apache Wells (1957), Lee
Van Cleef in The Badge of Marshal
Brennan (1957), John Hart in Wolf
Dog (1958), Don Megowan in Lust
to Kill (1958), Leo Gordon in Noose
for a Gunman (1960), John Ireland
in Fort Utah (1967) and James
Caan in Comes a Horseman (1978).
On TV, he battled Lee Marvin on
M Squad, Rod Cameron on Coron-
ado 9, Robert Fuller on Laramie and
Chuck Connors on Branded. His
1968 fight with James Arness in the
Gunsmoke episode “The Railroad”
Van Johnson takes a big right cross from Jim Davis in MGM’s The is one of the small screen’s best. A
Romance of Rosy Ridge (1947). two-man brawl with Dan Blocker in
 19 4 7 63

the 1965 Bonanza episode “Lothario Larkin” is ham. Stuntman Graham doubled Preston crashing
also of note, as is his punch-up with Blocker and a table in the later fight. Buster Wiles and Jimmy
Jan-Michael Vincent in 1968’s “The Arrival of Dundee were the film’s fight arrangers. Some of
Eddie.” the $100-a-day stuntmen working the fight were
See: “At the Broadway.” Council Bluffs Nonpareil. Sailor Vincent, John Indrisano, Charlie Regan,
February 8, 1948; Winters, Ralph E., and Laurie Gordon Carveth, Pat Lane, Bud Wolfe, Chick
Holz. Some Cutting Remarks: Seventy Years a Film Collins, Chuck Hamilton, Chuck Sullivan, Stubby
Editor. Landham, MD: Scarecrow, 2001; Whitney, Kruger, James Cornell and Kermit Maynard.
Dwight. “The Cut-Rate John Wayne Changes His One of the brawl’s recurring laughs comes from
Luck.” TV Guide. February 17, 1979. Harry Wilson, a 210-pound former pro wrestler
who was known to have the ugliest face in the
Alan Ladd vs. Robert Preston movies. Handsome Harry, as he was called, spends
in Wild Harvest (1947) the entire fight trying to climb over a banister and
enter the fray. Looking “two sheets to the wind,”
A brawling buddy picture from director Tay he’s continuously knocked back over the rail by
Garnett about wheat harvesting crews is high- Ladd, Preston and Nolan. Ladd also punches out
lighted by plenty of comic-laced fisticuffs. There’s shaggy- haired, raspy- voiced Frank Moran. The
a three-minute brawl between rival crews which 6'1", 200-pound Moran was a professional boxer
the Hartford Courant called “a barroom brawl to who twice fought for the heavyweight crown,
end all barroom brawls.” The Los Angeles Times ad- going the distance against Jack Johnson in 1914
mitted that the fight “has its moments of amuse- and Jess Willard in 1916. One of the Great White
ment, if not of special excitement,” but com- Hopes, he nearly upset Johnson with the concus-
plained, “It is too much the sort of thing that has sive power in his right hand, which he called Mary
been viewed in barroom conflicts ere this.” Later Anne because she was such a knockout.
there’s a two-minute one-on-one battle between Ladd told reporters there was so much fighting
stars Alan Ladd and Robert Preston in the back of in Wild Harvest that he was throwing punches in
a bar over female lead Dorothy Lamour, who has his sleep and was especially sore from being
pitted the friends against one another. Both fights stretched out during the sequence in which he
take time out for Preston’s humorous search for a swung from an iron bar and kicked his opponents.
lost tooth, a gag borrowed from Alan Hale in Sky- Ladd does some of his own acrobatics, but uses a
scraper (1928). The technical credits are strong double for a bottom-first leap from a crossbeam
with John F. Seitz behind
the camera and Billy Shea
and George Tomasini
cutting the action.
According to Para-
mount publicity, the
dance hall brawl em-
ployed 42 stuntmen with
22 returning from Gar-
nett’s famous brawl- fest
Her Man (1930) (see
entry). Ladd, Preston,
Lloyd Nolan, Anthony
Caruso and their men
wrap belts around their
fists to take on a chair-
wielding crew comprised
of veteran villains Frank
Hagney, Bob Kortman,
Harry Wilson, Frank
Moran, Constantine Ro-
manoff and Fred Gra- Alan Ladd blocks a Robert Preston punch in Paramount’s Wild Harvest (1947).
64 19 4 8

into the fray and when he goes through a glass Humphrey Bogart and Tim Holt
door in the Preston fight. At a wrap party, Ladd vs. Barton MacLane in The
was confronted by a drunken Bakersfield local
who was itching for a fight with the movie tough
Treasure of the Sierra Madre
guy. Five-foot-five, 150-pound Ladd tried to (1948)
humor the man by asking the crew members to The one-minute Tampico cantina fight over lost
obtain his stature-adding planks so he could stand wages in director John Huston’s multiple Oscar-
up to the man. (Ladd was extremely conscious of winning classic The Treasure of the Sierra Madre
his small size. It was common on Ladd films for was praised for its brutal realism, with producer
him to stand on boards to put him up to eye level Henry Blanke claiming it was the most exciting
with co-stars.) Preston had enough of the local fight he ever saw. The Big Damn Book of Sheer Man-
blowhard and intervened on his friend’s behalf, liness considers it “one of the most realistically
roughly escorting the man to the door. painful” fights of all time. It wins points for show-
The handsome Ladd became Paramount’s top ing the desperate measures man must resort to in
male lead playing two-fisted tough guys through- a violent struggle. Down on their luck south of the
out the 1940s though he was undersized and border, drifters Humphrey Bogart and Tim Holt
prone to illness and physical maladies. He briefly are forced to double-team the much larger Barton
served in the Army during World War II but was MacLane, a welshing employer who establishes
discharged due to an ulcer and a double hernia. his bad guy credentials when he smashes a whiskey
Although he used a core group of professional bottle across Holt’s face. There’s leg- grabbing,
stuntmen, Ladd tended to suffer many injuries. kicking, kneeing and headlocks featured as the two
Several times he injured his hands or back. He men overpower MacLane, who admits, “I’m
fractured his nose on Captain Carey, USA (1950) licked, boys. I’m licked.”
and broke four ribs on Saskatchewan (1954). Nev- The fight took five days to film on Warners’
ertheless he was a cool and composed screen Stage One with a smattering of Mexican extras
fighter. Audiences believed him as a tough man of drinking in the background beneath slowly mov-
action. He studied judo for his role in the spy ing ceiling fans. Huston shot from both low and
drama O.S.S. (1946). high angles, giving his actors free rein in making
Notable fights include Shane (1953), Drum Beat suggestions for blocking out the fight and setting
(1954) and The Carpetbaggers (1964) (see en- up the shot with cinematographer Ted McCord.
tries). Fights of interest came against William Ben- Sound effects maestro Robert Lee does a superb
dix in The Glass Key (1942), Sheldon Leonard in job synching the punches to the action. Huston
Lucky Jordan (1942), Walter Sande in The Blue stressed there should be no post-production music
Dahlia (1946), Charles Bickford in Branded from orchestrator Max Steiner and the staging and
(1950), Dan Riss and Jack Webb in Appointment editing must offer a seamless transition between
with Danger (1951), Arthur Kennedy in Red Moun- the doubles and stars. For all the skill and care put
tain (1951), Anthony Caruso in The Iron Mistress into the fight, the doubles are still obvious. As
(1951) and The Big Land (1957), Stanley Baker in good as Huston was at creating compositions and
Hell Below Zero (1954), Hugh O’Brian in editing in his head, putting together an extended
Saskatchewan (1954), Rod Taylor in Hell on Frisco movie fight for the screen wasn’t something he
Bay (1955), Lloyd Nolan in Santiago (1956), often did. It’s likely he didn’t leave Owen Marks
Ernest Borgnine in The Badlanders (1958), Don enough to work with, although the fight was
Murray in One Foot in Hell (1960), Sidney Poitier trimmed down to meet the censor’s requirements.
in All the Young Men (1960) and Gilbert Roland Harvey Parry was in charge of stunts, but it’s not
in Guns of the Timberland (1960). Parry subbing for Bogart. Pro boxer turned stunt-
See: “Boxers Play Part in Movie.” San Diego man Fred Palmer worked on Sierra Madre and is
Union. August 3, 1947; Robinson, Johnny. “If One likely doubling Bogart. Dave Sharpe is apparent
Must Fight, It Is Best to Fight Your Friends—At doubling for Holt and landing a punch on the chin
Least in Films.” Lewiston Evening Journal. July 6, of MacLane’s unidentified double.
1957; Thomas, Bob. “Alan Ladd Just Naturally The stoutly built Holt looked to be a couple of
Gravitates Toward Violence.” Pasadena Independ- inches shorter than his publicized 5'11" height and
ent. August 31, 1958. 165 pounds. At any rate, the World War II bom-
bardier could legitimately ride and fight, having
 19 4 8 65

grown up on the western film sets of his actor dad Dennis O’Keefe vs. John Ireland
Jack Holt. As an RKO western star, Tim did many in Raw Deal (1948)
of his own stunts. His pictures saved the fights for
the last day of filming in case any injuries were in- Stylish Anthony Mann direction and John
curred to the star’s face. From the action in his Alton photography overcome a so-so story in this
films, Holt suffered several broken bones, al- well- regarded example of film noir. In Mann’s
though he wore gloves to protect his hands. He black-and-white world, the visual composition of
tangled with Steve Brodie in Thunder Mountain a scene has a far more lasting effect than either
(1947) and Arizona Ranger (1948). Fights of in- character or plot. Anti-hero Dennis O’Keefe es-
terest came against Eddie Dew in Riding the Wind capes jail and vows revenge against Raymond Burr,
(1942), Robert Bray in Stagecoach Kid (1949), a former associate who framed him. A pair of
John Doucette in Border Treasure (1950) and John women complicate matters, as does Burr’s torpedo
Pickard in Trail Guide (1952). John Ireland. O’Keefe and the vicious Ireland have
Six-foot-one, 215-pound Barton MacLane’s spe- a 90-second fight in Tom Fadden’s spookily lit taxi-
cialty was getting beaten up on screen. The Wes- dermy shop with animal heads looming in the
leyan University football player was 0–87 in screen shadows. The men push their fingers into each
fights by his own count. He wasn’t a poor fighter other’s face, and O’Keefe forces Ireland’s cheek
in real life. Once during location filming in the Pa- into a deer antler, requiring the makeup expertise
cific Northwest, MacLane was followed around by of Ern Westmore for the resultant wound. As Ire-
a lumberjack who kept trying to egg him into a land is momentarily dazed, O’Keefe struggles with
fight. MacLane put the man in his place. Such oc- Fadden and actress Marsha Hunt draws a gun. No-
currences were commonplace for actors who table is the presence of hard-hitting sound effects
played tough heavies. Another time MacLane was and the lack of orchestrator Paul Sawtell’s musical
accosted without provocation by a pair of profes- intrusion until the end. It’s highly effective.
sional wrestlers in a hotel bar. They wrapped him Stuntmen Carey Loftin and John Daheim dou-
up in finishing holds because they were simply in- bled O’Keefe and Ireland, though excellent editing
trigued to test his real toughness versus that of his by Alfred DeGaetano conceals their use. Six-foot-
screen image. three leading man O’Keefe received his start in the
MacLane fought Randolph Scott in Man of the business as a stuntman. Both O’Keefe and Ireland
Forest (1933), George Brent in Stranded (1936), were athletic enough to do much of this fight rou-
God’s Country and the Woman (1937) and Gold Is tine. Mann biographer Jeanine Basinger calls the
Where You Find It (1938), Errol Flynn in The Prince fight “a visually exciting episode.” The film con-
and the Pauper (1937) and Silver River (1948), cludes with a dramatic struggle between O’Keefe
Charles Bickford in The Storm (1938), Ward Bond and the imposing Burr in a burning house. Both
in Prison Break (1938), Gene Autry in Melody men are injured from gunshots. Yet it’s the
Ranch (1940), Wallace Beery in Barnacle Bill (1941), O’Keefe-Ireland match-up that audiences remem-
Henry Fonda in Wild Geese Calling (1941), Hum- ber because of Mann’s execution.
phrey Bogart in The Maltese Falcon (1941), Pat Six-one and 200 pounds, Ireland was a compet-
O’Brien in Secret Command (1944), Mike Mazurki itive swimmer once hired by a water carnival to
in The Spanish Main (1945), Lawrence Tierney in wrestle a dead octopus. His husky physique made
San Quentin (1946), John Carroll in Angel in Exile him a convincing two-fisted presence, but Ireland
(1948) and Leif Erickson in Captain Scarface never hesitated to use a stuntman in fights. Nev-
(1953). In The Kid Comes Back (aka Don’t Pull ertheless, he participated in his share both as cyn-
Your Punches) (1938), MacLane vied with Wayne ical hero and brutal antagonist. While few could
Morris for the heavyweight boxing championship. be considered standout battles, the majority of his
See: DeMarco, Mario. Republic’s Wild & Woolly fights were better than average against an array of
Western Heroes, Heroines, Heavies & Side-kicks. Self- interesting opponents. Possessing unconventional
published, 1982; Meyers, Jeffrey. John Huston: looks, Ireland lent tough support to several supe-
Courage and Art. New York: Crown Archetype, rior westerns, including My Darling Clementine
2011; “Outdoors in Texas.” Kerrville Daily Times. (1946), Red River (1948) and Gunfight at the O.K.
November 20, 1959; Rothel, David. Tim Holt. Corral (1957). Even in middle age, he was still suf-
Madison, NC: Empire, 1994; The Treasure of the ficiently rugged enough to portray a gladiator in
Sierra Madre DVD special features. Spartacus (1960).
66 19 4 8

Ireland fought Randolph Scott in The Walking Blake Edwards (who had a hand in co-writing the
Hills (1949), Glenn Ford in Mr. Soft Touch (1949), script) coming on tough to Rod Cameron at the
Broderick Crawford in Cargo to Capetown (1950), bidding of town boss Reed Hadley. The stalwart
Burt Lancaster in Vengeance Valley (1951), Lloyd hero knocks Edwards into the lower panel of the
Bridges in Little Big Horn (1951), Lawrence Tier- Last Frontier bar stand, then hurls a pistol into his
ney in The Bushwhackers (1952) and The Steel Cage belly. Burly henchman Jeff York steps in to sock
(1954), James Craig in Hurricane Smith (1952), Cameron in the jaw. The next two minutes of
Rod Cameron in Southwest Passage (1954), Chris brawl ing has been compared to The Spoilers
Alcaide in Gunslinger (1956), John Russell, Scott (1942). The fight has all the requisite broken
Brady and Jim Davis in Fort Utah (1967) and chairs and jagged bottles, moving the Lewiston
Howard Keel in Arizona Bushwhackers (1968). On Morning Tribune to call it “worth the price of ad-
TV he fought Burt Reynolds on Riverboat, Clint mission” and The Nebraska State Journal to declare
Eastwood on Rawhide, Chuck Connors on it “the most exciting since The Spoilers.” The Dallas
Branded, Michael Landon on Bonanza and Fess Morning News claimed this “peach of a fight will
Parker on Daniel Boone. keep the customers on the edges of their seats.”
See: Alvarez, Max. The Crime Films of Anthony Western Clippings calls it “one of the best screen
Mann. Jackson: University Press of Mississippi, brawls in westerns.”
2013; Basinger, Jeanine. Anthony Mann. Middle- The savage action culminates with both men
town: Wesleyan University Press, 2007; “John Ire- crashing through the saloon’s plate glass window
land; Played Tough Guys in Movies, TV Shows.” and falling off the back of a wagon. These street
Los Angeles Times. March 22, 1992. shots were done at the Monogram Ranch near
Newhall, California. Stuntman Dick Crockett
Rod Cameron vs. Jeff York oversaw the fight action and plays a character who
in Panhandle (1948) fires a shotgun into a chandelier, bringing it crash-
ing down into the center of the bar. There’s liberal
Panhandle is an interesting Lesley Selander– use of stunt doubles Bob Morgan and Terry Wil-
directed western presented in sepia-tone. Its high- son during the bulk of the action, but the stars
light, according to the Los Angeles Times, was a sa- become involved in taking noteworthy bumps for
loon brawl that starts with dandy young bad guy the close-ups. Otho Lovering cut the action to-
gether.
Cameron considered the
Panhandle fight to be his best
and most demanding, joking
that for a significant amount of
time he was still finding lumps
on his head while combing his
hair. He was amazed that he
and York didn’t break any
bones. Cameron and York had
another brutal fight in Short
Grass (1950). The 6'4", 230-
pound York was a Golden
Gloves and collegiate boxing
champion at San Jose State
under both his real name
Granville Owen Scofield and
the far tougher sounding ring
name Glen Owens. In 88 am-
ateur and professional fights,
he lost twice and was never
knocked out. He quit boxing
Rod Cameron prepares to smash Jeff York with a chair in Allied Artists’ after breaking his hand. On a
Panhandle (1948). 1955 episode of the TV show
 19 4 8 67

You Were There, York played boxer John L. Sullivan in Fight.” Omaha World Herald. July 3, 1949; Wil-
to Pat Conway’s Gentleman Jim Corbett. York be- son, Ivy Crane. Hollywood in the 1940s: The Stars
came best known for playing the colorful Mike Own Stories. New York: Frederick Ungar, 1980.
Fink, comically brawling alongside Fess Parker in
Disney’s “Davy Crockett and the River Pirates” in Randolph Scott vs. Forrest
1956. The two teamed up again to fight Johnny Tucker in Coroner Creek (1948)
Rebs in The Great Locomotive Chase (1956).
Rod Cameron, 6'5" and 215 pounds, was a con- Director Ray Enright’s violent western was a
struction worker and semi-pro football player be- significant departure from the inoffensive by-the-
fore breaking into films as a stuntman. He was numbers product Randolph Scott was turning out.
quickly elevated to the role of two-fisted leading It was deemed shocking and mean- spirited as
man in the Republic serials G-Men vs. the Black Scott single-mindedly pursues the killers of his
Dragon (1943) and Secret Service in Darkest Africa bride-to-be, willing to stoop to their level of dirty
(1943), where he put on great slugging matches tactics to exact his revenge. Filmed on picturesque
with the studio’s top stuntmen. The rugged Sedona, Arizona, locations by Fred Jackman, Jr.,
Cameron studied judo with Ken Kuniyuki to aid it’s now considered one of Scott’s best films from
his on-screen fighting techniques, and his size and that period. The highlight is the vicious, nearly
athleticism made him a believable tough guy. With five-minute battle with henchman Forrest Tucker
age and increasing fame, Cameron began to hand near a creek bed. There’s strong stunt doubling
over the bulk of his stunt work to fight doubles. from Jock Mahoney and Al Wyatt as the men tor-
This proved especially true after he suffered a bro- pedo into one another with tremendous fury and
ken nose fighting Andrew Faulds in Passport to bring down a building’s porch. Tucker knocks
Treason (1956). Scott out with a knee to the face, but Scott revives
He had fights of interest against Tom Tyler in in a biting, head- butting rage when he realizes
Boss of Boomtown (1944), Sheldon Leonard in Tucker has broken his hand while he was uncon-
Frontier Gal (1945), Broderick Crawford in The scious. Scott even punches Tucker with his broken
Runaround (1946), Dan Duryea and Jack Lambert hand twice! He returns the bone-crunching favor
in River Lady (1948), Marshall Reed in Stampede by stomping his boot down on Tucker’s hand. It
(1949), Jim Davis and Jack Lambert in Brimstone was quite the un-heroic action for the day, a dis-
(1949), Don Castle in Strike It Rich (1949), turbing piece of business leaving audiences with
Wayne Morris in Stage to Tucson (1950), Jim Davis an uneasy feeling in their stomachs.
in The Sea Hornet (1951) and
Woman of the North Country
(1952), Fred Graham in Fort
Osage (1952), Forrest Tucker in
Ride the Man Down (1952) and
San Antone (1953), John Ireland
in Southwest Passage (1954), John
Russell in Hell’s Outpost (1955)
and Mike Mazurki in The Man
Who Died Twice (1958) and Re-
quiem for a Gunfighter (1965).
Cameron headlined three TV se-
ries: City Detective (1953–1955),
State Trooper (1956–1959) and
Coronado 9 (1960–1961), where
he faced tough guy guests Leo
Gordon and Jim Davis. As a guest
star, Cameron had a memorable
fight with Lorne Greene in the
1966 Bonanza episode “Ride the
Wind.” Randolph Scott (left) and Forrest Tucker stage a bloody fight in
See: “Cameron Always Found Columbia’s Coroner Creek (1948).
68 19 4 8

Columbia publicity emphasized the fight scene on Daniel Boone, squaring off with Fess Parker and
and presence of blood displayed in glorious Cine- comically fighting bad guys as if he were swatting
color. The studio was experimenting with what flies in 1967’s “The Battle of Sidewinder and
they termed “subjective sound,” where the audi- Chero kee” and 1968’s “The Return of Side -
ence was able to hear the bone-breaking action winder.” Tucker had a bare-knuckle match with
through Scott’s own involvement. On location, Denny Miller in the 1974 Dusty’s Trail episode
Scott wore a microphone under his neckerchief “John T. Callahan.”
recording the fight as he experienced it. The ex- See: Clary, Patricia. “New Movie Has Savage
periment didn’t catch on. Scott and Tucker Fights.” State Times Advocate. August 1, 1949;
squared off again in The Nevadan (1950) in a col- Kendall, John. “Forrest Tucker: Stage, TV & Film
lapsing mine. In this superior western, Jock Ma- Star Dies.” Los Angeles Times. October 27, 1986;
honey and Bob Morgan doubled the leads. Scott Lewis, Jack. “Life & Times of Forrest Tucker.”
biographer Robert Nott called the Coroner Creek Guns of the Old West. #38, 2004.
fight “one of the best staged brawls in western film
history,” while Variety remarked that the fisticuffs Randolph Scott vs. Robert
“have rarely been matched on the screen.” Six Gun Ryan in Return of the Bad Men
Law claims it is “a savage five minutes summing
up Coroner Creek’s underlying air of viciousness.”
(1948)
A football player at George Washington Uni- Pushing 50, Randolph Scott was yielding in-
versity and an amateur boxer in the Army, 6'5", creasingly to the use of stunt doubles for his action
215-pound Forrest Tucker was a leading figure in scenes. Though he could still throw a great screen
movie fights, either as antagonist or protagonist. punch, it was common knowledge at this time of
For a time, he was considered a low-budget version his career Scott was allowing his double Jock Ma-
of John Wayne at Republic. Most of his pictures honey to do a great deal of his action. Scott didn’t
featured at least one instance of Tucker gritting his mind throwing fists at the camera for close-ups,
teeth and rearing back his fist for a knockout but was hesitant he’d catch one in the mouth dur-
punch. He had notable fights in The Westerner ing too much give-and-take. It became a running
(1940), The Big Cat (1949), Chisum (1970) and gag for Scott, with everpresent Wall Street Journal
The Wild McCullochs (1975) (see entries). Fights in hand, to ask the director how he looked on
of interest came against Bruce Bennett in Honolulu screen immediately after Mahoney put in the
Lou (1941), Gregory Peck in The Yearling (1946), rough work. As a result, most of his recent fights
William Bishop in Adventures in Silverado (1948), failed to measure up to the lofty standards of his
Bill Elliott in The Last Bandit (1949), John Wayne John Wayne brawls. Coroner Creek (1948) was the
in Sands of Iwo Jima (1949), Bruce Cabot in Rock exception. That film’s director Ray Enright, who
Island Trail (1950), John Payne in Crosswinds helmed The Spoilers in 1942, seemed able to coax
(1951), Victor Jory in Flaming Feather (1951), Ed- Scott into giving something extra for the cameras.
mond O’Brien in Warpath (1951), John Russell in Return of the Bad Men features an outlaw con-
Fighting Coast Guard (1951), Scott Brady in Mon- gregation with the Younger brothers, the Daltons,
tana Belle (1952), Rod Cameron in Ride the Man Billy the Kid and Robert Ryan’s Sundance Kid all
Down (1952) and San Antone (1953), Archie Dun- present for the action. Scott’s climactic deserted
can in Trouble in the Glen (1954), Frank Lovejoy saloon brawl with Ryan is one of the best of his
in Finger Man (1955) and Jason Robards and Nor- later efforts and remains an underrated gem. Cin-
man Wisdom in The Night They Raided Minsky’s ematographer Roy Hunt creates a great shadowy
(1968). black-and-white mood in the ghost town, and Paul
On TV’s Gunsmoke he had memorable battles Sawtell’s dramatic score is a perfect complement.
with Robert Wilke in 1967’s “The Cattle Barons” The action is well-cut by Samuel Beetley. Motion
and James Stacy in 1972’s “Yankton.” One of Picture Magazine declared, “Not since the famous
Tucker’s most colorful roles came in 1970 as the fight scene in The Spoilers has such a brawl been
boozing and brawling Sergeant Holly in the Gun- staged,” while Six Gun Law refers to it as “a bruis-
smoke episode named after his character, in which ing three-minute fistfight.”
he slugged down as much liquor as he did bad The actors are well-matched physically and per-
guys. Tucker played another entertaining charac- form the entire fight save for a few dangerous bits
ter in repeat performances as river pirate Joe Snag where Mahoney and Paul Stader step in. An espe-
 19 4 8 69

cially impressive balcony fall onto a table high- wounded body a few feet away. Wayne was origi-
lights the action. Scott and Ryan trained for weeks nally supposed to die from Ireland’s bullet. Nev-
in anticipation of the fight. In the end, Ryan ran ertheless, the film as a whole is considered one of
over into starting another picture and couldn’t risk Hollywood’s all- time classics. Cliff Lyons was
damaging his face in the fight, necessitating stunt coordinator. Sid Davis briefly doubled
Stader’s presence. The stars put great action onto Wayne taking a fall while Richard Farns worth
the screen as a chair, a beer keg and a broken bottle stunted for Clift. Davis was Wayne’s stand-in for
are mixed in with the haymakers. The brawl ends over a decade. On rare occasions he performed a
with a desperate Ryan going for his gun and a shot stunt for Wayne, such as happened on location in
being fired. Elgin, Arizona, for Red River. Wardrobe man Jack
See: “Scott, Ryan Training for Their Film Fight.” Miller had backup costumes available in case the
Pittsburgh Post-Gazette. June 20, 1947; “Stars Fight actors’ clothing became torn or unusable through
Own Battles.” Advocate. August 29, 1948. repeated takes.
Hawks’ greatest concern in staging this emo-
John Wayne vs. Montgomery tional and physically demanding scene was that
Clift in Red River (1948) New York actor Clift wouldn’t be able to pull off
the fight believably. He was deemed too fragile and
John Wayne had one of his best character roles uncoordinated. His stunt double Farnsworth had
as tyrannical cattle driver Tom Dunson in Howard already been earning his pay for the horse riding
Hawks’ sweeping western Red River. Credit must shots, but Hawks didn’t want to rely on doubles
go to Oscar-nominated screenwriter Borden any more than he had to during the fight. The di-
Chase for putting the drama in motion. Wayne rector claimed his own arms became tired trying
kills those who threaten to leave his epic cattle to show Clift how to throw punches correctly. Clift
push and clashes with adopted son Montgomery was a slightly built 5'9" and 150 pounds. Wayne
Clift over his crazed leadership. His anger reaches was a 6'4", 240-pound screen fight legend. Wayne
a boiling point when Clift assumes command of was similarly concerned that the fight wouldn’t
the drive. Wayne swears he will kill the young man. work and would appear to the audience as an in-
En route to their showdown in Abilene, a deter- credible mismatch. Hawks opted to keep the scene
mined Wayne trades bullets with Clift’s friend short and have Russell Harlan shoot from low an-
John Ireland, but not even a bullet wound can keep gles to play down the size difference between the
him from exacting his revenge as Dimitri two men. The greatest equalizer was the decision
Tiomkin’s score rises to the occasion. What fol- to have Wayne wounded by Ireland’s gun imme-
lows moved The A to Z of Westerns
in Cinema to hail it “one of the
greatest fight scenes in the history
of westerns.” Legendary Westerns in-
cludes it among the most memo-
rable cowboy fights. The Manly
Movie Guide lists it as one of the
best western showdowns. Life
termed it “an unusually ferocious
fight.”
Devastating punches are thrown
into Clift’s jaw before the young
man summons up the guts to fight
back. This pleases Wayne im-
mensely. They trade eye-opening
blows for nearly a minute until
Joanne Dru fires a gun and brings
them to their senses. The happy
resolution between the men and
Dru rang false with many viewers, Joanne Dru looks on as John Wayne (left) and Montgomery Clift bat-
especially in light of Ireland’s tle in United Artists’ classic western Red River (1948).
70 19 4 8

diately before the fistfight. It was felt that if Wayne Barbara Bel Geddes. Their dimly lit, claustropho-
was incapacitated, audiences would accept that bic two- minute knockdown, drag- out barroom
Clift could knock the giant down. Wayne still battle drew blood and avoided the usual fight
wasn’t convinced. Despite the compromises, Chi- clichés by having the principals largely slug it out
cago Tribune writer Mike Royko still found it a sans acrobatic doubles. Scenarist Lillie Hayward
“ridiculous notion that delicate Montgomery Clift and Harold Shumate work from a dark Luke Short
would get in a knock down fistfight with the Duke novel that benefits from giving the men a long his-
and hold his own.” According to The Making of the tory with one another, deepening the character
Great Westerns, the scene works: “Perhaps Clift’s motivation for the fight. Director Robert Wise
ignorance of the subject aided the true-to-life look wanted the combatants to enthusiastically go at it,
of the fisticuffs.” with the winner being as bloodied and exhausted
The theatrically trained Clift’s sensitive features as the loser. Mitchum and Preston perfectly un-
and vulnerable nature contrasted remarkably with derstood what he was looking for and brought a
Wayne. Clift was everything Wayne’s man’s man healthy dose of brutal realism to the scene. Inten-
wasn’t, including being a liberal Democrat and a tional misses as well as hits occur as both stagger
closet homosexual. Clift had been rejected by the for sure footing. Editor Samuel Beetley leaves the
Army for chronic diarrhea and was plagued by errant swings in per former editor Wise’s specifi-
dysentery, colitis and an assortment of allergies. cations. There’s excellent use of perfectly timed
To deal with his insecurities, he was a heavy alco- sound effects from Foley artists John Cass and
hol and pill user and spent hours on his therapist’s Terry Kellum, while Roy Webb’s pulsing music
couch. Yet the Method actor could convey inten- score rises and falls dramatically with each shift of
sity when called for on the big screen. Wayne power.
agreed to put all their differences aside before film- Critics weren’t used to seeing such gritty
ing for the good of the motion picture. The film themes in a cowboy picture and were confused. In
sat on the shelf for over a year while United Artists response to the violent nature of the Mitchum-
and Monterey Productions haggled over a distri- Preston clash, the New York Times wrote that the
bution deal. Shortly before the release, there was bruising fistfight “ought to settle most savage in-
another problem: a lawsuit from Howard Hughes, stincts,” and Variety added that the film was
who claimed the climax was too close to his 1943 “loaded with suspense wallop.” The New York Sun
film The Outlaw with the Clift character refusing critic wrote, “Mitchum and Preston stage one of
to draw his gun. Hawks had worked on developing the most vicious screen fights I’ve yet had the hor-
The Outlaw for Hughes and filmed at least part of ror to witness.” Overlooking the rest of the classic
it without credit. A compromise was reached and film’s merits, the Hollywood Citizen News said,
24 seconds of the Red River fight was excised be- “The fistfight is about the best thing Blood on the
fore the film’s release by Hughes and editor Chris- Moon has to offer.” Over the years, the film and the
tian Nyby. fight began to build in reputation. Wise biographer
Red River was remade as a 1988 TV movie with Robert C. Keenan felt that the fight “constitutes
James Arness and Bruce Boxleitner playing the the high point of Blood on the Moon,” while Mitchum
main roles. biographer Lee Server added that it was “the film’s
See: Bosworth, Patricia. Montgomery Clift: A Bi- most memorable sequence.” In his film location
ography. New York: Open Road, 2012; “Montgom- book on Sedona, Arizona’s Little Hollywood, Joe
ery Clift.” Life Magazine. August 16, 1948; Royko, McNeill wrote that the fight “is still one of the most
Mike. “Well, Pilgrim, There’s Reason for Many brutally realistic bare-knuckle brawls ever filmed.”
Movie Uprising.” Chicago Tribune. March 19, 1997. The fight took three days to record on a shad-
owy RKO soundstage. Wise was pleased, calling
Robert Mitchum vs. Robert it “the most distinctive scene in the whole film.”
Preston in Blood on the Moon Cinematographer Nicholas Musuraca was a master
of film noir lighting, and his stamp is clearly evi-
(1948) dent. The fight occurs halfway through the film as
A moody black-and-white noir-western, Blood tension builds between the two men. Mitchum
on the Moon features cattlemen against homestead- tips over a table and dives over chairs to engage
ers with hired gun Robert Mitchum turning on Preston. When gunman Tom Tyler appears at the
bad guy employer Robert Preston for the love of door, Mitchum fans his pistol in Tyler’s direction,
 19 4 8 71

then throws the gun to knock

out the overhead light. In semi-
darkness Mitchum and Preston
trade several punches and smash
into walls and every chair and
table in the bar. Mitchum even
slices his hand open on a piece
of broken glass. One of the best
bits has Preston smashing a bot-
tle with deadly intentions inches
above Mitchum’s head. With his
long hair flying, Mitchum gets
atop Preston and lands five
unanswered punches to end the
fight.
Sensationalistic publicity
claimed that Mitchum had been
having problems breathing
properly due to the lingering ef- Robert Preston (left) and Robert Mitchum stage one of the screen’s most
fects of a broken nose he suf- realistic fights in RKO’s Blood on the Moon (1948).
fered during his boxing days. He
was considering having an operation to alleviate half a dozen men in New York as he was leaving a
the condition. During his fight with Preston, he restaurant. One of the assailants was Joseph Scar-
was clobbered on his nose. When the swelling had lato, a professional boxer in the lightweight divi-
gone down, Mitchum could now breathe easier. sion. Preston lost three teeth, suffered bruises to
Mitchum did injure a knuckle during the melee, his face, and needed 20 stitches sewn into his
requiring a visit to the studio medical staff, and lower lip.
both men unintentionally stepped on one an- He had fights of interest against Lloyd Nolan in
other’s toes and caused minor abrasions. The un- King of Alcatraz (1937), Joel McCrea in Union Pa-
credited doubles are likely Ted Mapes and Clem cific (1939), Preston Foster in Moon Over Burma
Fuller, who both have bit parts. Preston’s double (1940), Fred MacMurray in New York Town
appears far more than Mitchum’s. The stuntmen (1941), William Bendix and Albert Dekker in
clashed with Wise over the staging of the action. Wake Island (1942), Alan Ladd in Wild Harvest
They wanted to do a more traditional stunt fight. (1947) (see entry) and Whispering Smith (1948),
Wise won out, and the stuntmen barely appear in Gregory Peck in The Macomber Affair (1947),
the finished film. The fight has taken its rightful Fred Graham in Tulsa (1949), Robert Sterling in
place in the annals of cinematic history. It’s one of The Sundowners (1950), Robert Stack in My Out-
Mitchum’s best. law Brother (1951) and Robert Ryan in Best of the
Five-foot-ten, 190-pound Robert Preston, as an Badmen (1951).
amateur boxer, had won many trophies for his See: “Actor Tells of Attack.” The Times-News.
pugilistic talents. A Paramount talent scout ini- January 29, 1952; “Big Bob Preston Feels Like Bird
tially balked at signing him because he thought Just Released from Gilded Cage.” Indianapolis Star.
Preston, with his husky frame, looked too much January 18, 1948; “Black Eyes in Film Fight to Be
like a professional wrestler. During World War II, Real.” Hartford Courant. May 2, 1948; Emery,
Preston was a physical instructor with the Army Robert J. The Directors: Take One. New York: All-
Air Corps and boxed in his squad’s heavyweight worth Press, 2002.
division. In Hollywood he specialized in playing
charming villains, occasionally toplining as a B- Cornel Wilde vs. Louis Baci-
movie hero. He was as comfortable performing galupi in Road House (1948)
song and dance routines as he was fisticuffs for the
screen. That didn’t always translate to real life. In This tense, effective Jean Negulesco film noir is
1952 the charismatic, multi-talented star of stage set in a smoke- filled Wisconsin bowling alley
and screen was sucker punched and attacked by called Jefty’s Road House where bouncer Cornel
72 19 4 8

Wilde and mentally unhinged owner Richard Wid- Dick Powell vs. Guinn “Big Boy”
mark vie for the affections of torch singer Ida Williams in Station West (1948)
Lupino. Wilde, a framed ex-con, shows the lengths
he’ll go to in order to protect her when he stands “You’re too little to make that big a mistake,”
up to a bullying drunkard who tosses Lupino “Big Boy” Williams tells undercover government
against the bar. The huge troublemaker is as wide agent Dick Powell after the smaller man throws a
as he is tall and was played by 6'4", 300-pound drink in his face and pops him in the jaw. Williams
Louis Bacigalupi, a professional wrestler who once leads Powell into the dimly lit western street for
carried the reputation in the ring as the meanest what he believes will be an easy whooping in front
man in Los Angeles County. In real life, Bacigalupi of the entire town of Rock Pass. It doesn’t work
was a gentle giant who repaired musical organs out that way. Powell more than holds his own in a
and was concerned when Lupino injured her back tense two-minute knee-buckling battle. It’s a nicely
and neck. The climactic fight was also not without choreographed, realistic fight highlighted by a
injury, as Wilde accidentally caught Widmark with Powell arm- bar allowing him to pummel a de-
an uppercut to the jaw. John Indrisano was fight fenseless Williams. “Big Boy” gets out of the arm-
coordinator and noir stylist Joseph LaShelle the bar with a bear-hug, but Powell’s punches wear the
black-and-white cinematographer. bigger man down. Williams collapses onto a hitch-
20th Century- Fox publicity compared the ing post to the astonishment of the citizens, who
minute-long fight to The Spoilers, claiming it ri- were laying odds against Powell. No clichéd sound
valed the classic in “savage intensity.” This fight effects occur, and Powell insisted on wearing real-
must set a record for broken glass as the bar top is istic makeup showing the results of his battle
cleared and bottles are thrown and smashed throughout the remainder of the film. As it wasn’t
throughout. At first Wilde seems overmatched by filmed chronologically, the result was that Powell
the giant and he even resorts to jumping on his and Williams wore bruises weeks before they did
back. He quickly changes tactics and uses quick- the fight scene.
ness to elude Bacigalupi’s attacks, wearing the big Dick Powell, 5'11" and 185 pounds, was a mu-
man down. Bacigalupi takes especially effective sical comedy star who abruptly decided to change
falls, tripping directly into the camera positioned his career path and become a cynical tough guy
on the floor. Wilde gets the upper hand with a when he played Raymond Chandler’s detective
chokehold and bangs Bacigalupi’s head against the Philip Marlowe in Murder, My Sweet (1944). It
floor until the police arrive. The Evening Courier seemed unlikely casting, but Powell knew what he
called it “a peachy fight.” was capable of as an actor. He was accepted as one
Cornel Wilde (6'1", 175 pounds) was a member of the noir genre’s stars, and Sidney Lanfield’s Sta-
of the 1936 U.S. Olympic fencing team after hav- tion West was an attempt to bring noir to a west-
ing starred in the sport at City College of New ern setting. It’s an atmospheric, superior film dis-
York. The athletic actor was in his element as a tinctively lensed in black-and-white shadows by
swashbuckling star. He undertook specialized box- Harry J. Wild and edited by Frederic Knudtson.
ing and judo training for fistfights weeks ahead of Screenwriters Frank Fenton and Winston Miller
a film schedule. Wilde had solid fights with Barton created punched-up dialogue working off a Luke
MacLane in The Walls of Jericho (1948), Steve Short story. The fight serves the purpose of im-
Cochran in Operation Secret (1952), Lon Chaney pressing saloon owner Jane Greer, whom Powell
in Passion (1954) and Mickey Shaughnessy in Edge suspects of being involved in the murder of two
of Eternity (1959). His fights to the death against soldiers.
native warriors hunting him across the South The brisk picture is best remembered for the
African savannah in The Naked Prey (1966) were two-man brawl. It wasn’t for lack of effort on the
especially desperate and primal. participants’ part. Powell lost 13 pounds and Wil-
See: Donati, William. Ida Lupino: A Biography. liams lost 17 pounds training for the fight. Powell
Lexington: University Press of Kentucky, 2013; also dislocated his wrist and broke a finger per-
“Wilde Took to Road to Train for Fast, Furious forming the action. The Joplin Globe wrote, “The
Film Fights.” Ellensburg Daily Record. October 10, dramatic highlight of Station West is a terrific
1949. knock- down and drag- out fight,” while Western
Stars called it “a real rough-and-tumble battle of
brains vs. brawn.” Variety labeled it “terrific,” while
 19 4 9 73

Western Clippings includes it among their “great ing that he was short, out of shape, balding,
screen fights.” couldn’t ride, couldn’t fight, couldn’t do gun tricks,
See: Clary, Patricia. “Bare-Knuckle Fighter Can- and wasn’t all that special as a singer or guitar
not Stay Pretty, Moviegoers Claim.” Long Beach player. “I don’t have to do any of that stuff,” Autry
Press Telegram. April 24, 1948; “Slugfest.” Western said. “I’m Gene Autry.” Autry learned screen fight-
Stars. #1, November 1948; “Train for Film Fight.” ing from Yakima Canutt and made it a point to
Pittsburgh Post-Gazette. October 16, 1947. fight men on screen who were bigger than he was,
so that his heroic characters wouldn’t be perceived
Gene Autry vs. Jock Mahoney as bullying. Enough props were thrown in to break
in Rim of the Canyon (1949) up the monotony of a toe-to-toe slugfest and keep
it visually interesting. Autry also chose western
Public cowboy #1 Gene Autry engages in one veterans who had a knack for staging fisticuffs.
of his best fistfights against stuntman Jock Ma- They’d sometimes talk their way through a fight,
honey (billed as Jock O’Mahoney) in a ghost knowing their voices would not be heard by the
town’s dilapidated hotel lobby in this solid B- time the movie reached theater screens. Autry
western from veteran action director John English wore gloves to protect his hands and usually
and Columbia Pictures. The setting is dusty and handed over his fights to stunt doubles, but he had
falling apart, allowing Mahoney the opportunity a few good tussles. He joked that he fought more
to rip a staircase dowel off its mooring and bash rounds than boxing champ Jack Dempsey, but in
Autry with it. Mahoney makes the two-minute reality his fights hardly stack up next to those of
fight worthy with his outstanding leaping ability Roy Rogers.
and willingness to fall off staircases and roll over Autry had fights of interest with Roy Rogers in
tables with Autry’s double Joe Yrigoyen. Mahoney, The Old Corral (1936), George Chesebro in Red
his long hair flying, smashes Autry with three River Valley (1938), Buster Crabbe in Colorado
chairs during the fight. Autry contributes solid Sunset (1939), Barton MacLane, Horace MacMa-
punches in the close- ups for cinematographer hon and Joe Sawyer in Melody Ranch (1940),
William Bradford, wearing Mahoney down. Autry William Haade in Heart of the Rio Grande (1942),
manages a chicken-wing hold on a downed Ma- John Cason in The Big Sombrero (1949), Hugh
honey before being cracked over the head by Wal- O’Brian in Beyond the Purple Hills (1950), Kenne
ter Sande. The Filming of the West calls it “a fabu- Duncan and Alan Hale, Jr., in The Blazing Sun
lous fight.” (1950), Harry Lauter in Whirlwind (1951), Kenne
In the climax, Autry’s double Sandy Sanders Duncan in Texans Never Cry (1951), Dickie Jones
leaps from a tree limb and bulldogs Mahoney off and Don Harvey in The Old West (1952) and Fred
his horse, and the two have another fight. The 6'4" Krone in The Last of the Pony Riders (1953). On
Mahoney towered over Autry but made sure to The Gene Autry Show (1950–1956), he kept action
keep his knees bent every time they were in the heavies the likes of Harry Lauter and Gregg Barton
camera frame together. Mahoney and Autry employed with regularity.
fought again in Cow Town (1950), and stock foot- See: Hurst, Jack. “Autry Rides Again.” Chicago
age of their Rim of the Canyon fight made it into Tribune. March 20, 1987; Magers, Boyd. Gene
Autry’s The Old West (1952). Mahoney so im- Autry Westerns. Madison, NC: Empire, 2007.
pressed Autry with the smoothness of his delivery
and his physical skills that Autry, who was also a Preston Foster vs. Forrest
TV producer, starred him in the popular TV series Tucker in The Big Cat (1949)
The Range Rider (1950–1953). That series em-
ployed the talents of D.P. William Bradford, who Grizzled Depression- era characters Preston
worked with Mahoney to put on many of the small Foster and Forrest Tucker have a long-standing
screen’s greatest and most influential fights. Direc- feud that erupts into a frenzied all- or-nothing
tor John English, a former editor, worked as a co- three-minute battle in this Phil Karlson film about
director on Republic serials with William Witney, a mountain lion on the loose in southern Utah.
developing and perfecting the fragmentary There’s decent location work and W. Howard
method of filming the modern fight scene. Greene color photography for a low-budgeter, but
Audiences embraced the 5'9", 180-pound Autry. the real draw here is the outrageous hatred be-
Many contemporaries pondered his success, not- tween these two men as enacted by the stars. Their
74 19 4 9

fight is an especially intense and brutal affair, full (1941), Noel Madison in Secret Agent of Japan
of face-gouging, hair-pulling, head-pounding ac- (1942), Horace McMahon in Roger Touhy, Gang-
tion. They use whatever advantage they can lay ster (1944), John Hodiak in The Harvey Girls
their hands on, including the chain Tucker uses to (1946), William Bishop in Thunderhoof (1948),
whip Foster. The fight goes down a hillside and Tom Tyler in I Shot Jesse James (1949) and Wayne
into a river where the combatants pound one an- Morris in The Tougher They Come (1950) and The
other’s heads into logs. When a dazed Foster tries Big Gusher (1951). On TV, Foster was the two-
to steady himself on a log, Tucker jumps on it, fisted Cap’n John on Waterfront (1954–1956),
forcing the end into Foster’s face. Editor Harvey squaring off against guests such as Jack Lambert.
Magner intercuts the fight with the men’s kids See: “Big Cat Shows Brutal Fight.” Medicine Hat
breaking into a battle of their own, showing that News. September 26, 1956; “The Big Cat.” Camden
this fight is going to carry on into the next gener- News. August 13, 1949; “Preston Foster Dies;
ation. Paul Sawtell’s score is typically accom- Starred as Brawler.” Milwaukee Sentinel. July 15,
plished. Legendary makeup artists Jack Pierce and 1970.
Ern Westmore applied the fake blood.
Variety called it “one of the best fistic brawls Scott Brady vs. John Russell in
seen in a long time,” while critic Leonard Maltin The Gal Who Took The West
labeled it “one of the best and longest fistfights in
film history.” Tough guys Foster and Tucker are
(1949)
game for much of the Wasatch Mountain action, “The roaring story of the West’s wildest feud,”
although unidentified doubles take a few of the cried the Universal ads for this Frederick De Cor-
bigger tumbles and a Tucker somersault down the dova film. Yvonne DeCarlo’s presence in this fam-
hill. The actors were in waist- deep water in ily squabble pits brothers Scott Brady and John
Hoosier Lake for several days and fighting at a sig- Russell against one another in a Spoilers-inspired
nificant altitude, which further sapped them of battle that Western Clippings includes among its
strength. The actors spent five minutes at a time “great screen fights.” Tensions come to a head at
in the water with the crew providing them steam- the climax when the two knock one another all
ing cups of tea upon their exit. Besides being cold, over the inside of the Clarence Brown Ranch in
no injuries were incurred by the two pros. How- Calabasas for an action-packed minute and a half.
ever, Foster jokingly told the press that screenwrit- Brady and Russell throw punches with bad inten-
ers were always finding ways for him to be bashed tions, but its stunt doubles Jock Mahoney and Guy
around on screen. Teague who make the fight truly special with their
Six-foot-two, 210-pound Foster was known as flips over banisters, railings and furniture. Sofa
a man that could handle himself in a scrap. The chairs and cushions serve as launching pads for
former railroad cop once beat three men in a dock- Mahoney’s trademark leaps as well as effectively
side brawl, and early in his career dabbled as a pro- soft landing areas for the well-choreographed falls.
fessional wrestler. Foster carried a tough guy rep DeCarlo watches the men with pride, knowing she
even into his Hollywood career where he gained caused the fisticuffs. In real life, DeCarlo became
brief leading man stardom as a blacksmith turned highly enamored with Mahoney, and the two
gladiator in The Last Days of Pompeii (1935). His were engaged to be married. Cinematographer
penchant for brawling caused trouble when he was William H. Daniels, composer Frank Skinner and
sued by a motorist who allegedly ran him off the editor Milton Carruth contribute admirably to the
road near Mint Canyon. Foster cornered the man action scene. Brady and Russell battled each other
and knocked out three of his teeth. During World later the same year in the crime drama Undertow
War II, Foster served in the Coast Guard. (1949).
Notable fights include Sea Devils (1937) and Scott Brady, born Gerard Tierney, was 6'3", 210
Law and Order (1953) (see entries). Fights of in- pounds and, in real life, the brother of legendary
terest came against Edward G. Robinson in Two screen tough Lawrence Tierney. Brady was a light-
Seconds (1932), John Carroll in Muss ’Em Up heavyweight boxing champion in the Navy as well
(1936), Randolph Scott in 20,000 Men a Year as a lumberjack and wasn’t one to be messed with.
(1939), Robert Preston in Moon Over Burma Like his brother, Brady could throw back the
(1940), Douglas Fowley in Café Hostess (1940), booze and earned a reputation as one of Holly-
Robert Montgomery in Unfinished Business wood’s best barroom brawlers. However, he didn’t
 19 4 9 75

resort to his brother’s near-lunatic escapades while “the roughest, yet most hilarious seen on the
under the influence and was liked by those he screen in months,” while the New York Times
worked with. Over the years, Brady tired of Tier- praised “the brash bravado of the barrack-room
ney’s constant troubles, leading to strained rela- brawl.” Tap Gallagher wrote, “Speed makes Victor
tions. Issues came to a head in the 1960s when the McLaglen’s hammy barroom brawl one of Ford’s
brothers had a fistfight with one another. Brady best friendly fights.” However, many critics found
was said to have come out better in that exchange it silly. Ford biographer Ronald L. Davis wrote,
and the two rarely spoke with one another from “Victor McLaglen’s brawl in the company store
that point on. goes on and on, more roughhouse than humorous,
The strapping Brady was a believable movie almost to the point of becoming ludicrous.” Ford
fighter with good reactions and a wallop of a chronicler Bill Levy called it “an over- the-top
knockout punch, first displayed when he played a brawl that has been a guilty pleasure for genera-
boxer in In This Corner (1948). He had a distinc- tions of audiences.”
tive fighting method: When facing the camera, Cavalry commander John Wayne allows Sgt.
he’d zing straight crosses past each of his oppo- Quincannon (McLaglen) some fun before his
nent’s ears. Fights of interest came against Forrest hitch is up. Admonishing McLaglen not to drink,
Tucker in Montana Belle (1952), Joseph Cotten in he sends him to the company bar to do just that,
Untamed Frontier (1952), Alan Hale, Jr., in The then orders soldier Michael Dugan to gather his
Law vs. Billy the Kid (1954), Neville Brand in Mo- men and throw McLaglen in the stockade. Behind
hawk (1956), Barry Sullivan in The Maverick bars, McLaglen won’t be in danger of encountering
Queen (1956), Leo Gordon in The Restless Breed Indians on a final patrol. Dugan and troopers Fred
(1957), Clint Eastwood in Ambush at Cimarron Graham, Mickey Simpson, Fred Kennedy and
Pass (1958), Rory Calhoun in Black Spurs (1965), Billy Jones have their work cut out for them in a
John Ireland in Fort Utah (1967) and Robert Stiles brawl lasting three minutes with a time-out for all
in $ (1971). On his western TV series Shotgun to down a toast to Wayne. Ford’s camera-cute fight
Slade (1959–1961), he fought professional wres- often delves into slapstick, with the punch-drunk
tlers Bern Hoffman and Count Billy Varga in the soldiers occasionally swinging at one another as
1960 episodes “The Fabulous Fiddle” and “The McLaglen sits on the bar and drinks his favorite
Smell of Money.” As a TV guest star, Brady had a Irish whiskey with bartender Francis Ford. It’s
solid fight with John Gavin in the 1963 Alfred only the tongue-lashing of Mildred Natwick that
Hitchcock Hour “Run for Doom.” sends McLaglen to the guard house. She even be-
See: Folkart, Burt A. “Ruggedly Handsome Star rates the soldiers: “Eight of you picking on one
of Westerns Was 60: Movie Tough Guy Scott poor man.”
Brady Dies.” Los Angeles Times. April 18, 1985; The “Only seven, ma’am,” McLaglen says as he
Gal Who Took the West pressbook. marches off. Cliff Lyons coordinated the action.
All the soldiers were stuntmen with the excep-
The Quincannon Brawl in She tion of former boxer Mickey Simpson as the
Wore a Yellow Ribbon (1949) sledge-carrying blacksmith. The original fight cho-
reography called for Simpson’s face to be buried
One of director John Ford’s corniest scenes is in a sack of flour. To prepare, he was wadding up
nonetheless a memorable set piece showcasing the tissue to stick in his nose so he wouldn’t inhale the
blustery brawling of an aging but still potent Victor flour into his lungs. John Ford told him he wouldn’t
McLaglen. The humorous fight is set to the famil- need the tissue as the choreography was going to
iar Irish tune of “Garyowen” from one of Ford’s fa- change. He now wanted Simpson to simply back
vored composers, Richard Hageman. Occurring up across the bar and sit down, his character want-
midway through the film, it manages to liven up ing no further part of McLaglen’s fists. It’s a nice
what until this point had been a slow-paced Frank touch. Among the stuntmen, Graham stands out
Nugent–scripted western colorfully shot in Ford’s with a variety of falls. Legend has it that McLaglen,
picturesque Monument Valley by Oscar-winning in his early 60s here, wasn’t always able to pull his
cinematographer Winton C. Hoch and second punches appropriately. It’s apparent he still could
unit cameraman Archie Stout. Editor Jack Murray pack a powerful punch if he were to land one.
does a solid job with the pacing, keeping the mood See: Davis, Ronald L. John Ford: Hollywood’s
light despite the violence. Variety called the fight Old Master. Norman: University of Oklahoma
76 19 5 0

Press, 1995; Gallagher, Tap. John Ford: The Man who ever sailed the seven seas.” Fred Graham
and His Films. Berkeley: University of California worked on the film as a fight double, as did Charles
Press, 1986; Levy, Bill. Lest We Forget: John Ford’s Regan. They take several great falls on the ship’s
Stock Players. Albany, GA: BearManor, 2013. deck. Variety praised the film as having “several
good rough and tumble sequences,” while the Ade-
John Payne vs. Lon Chaney laide News described it as “the most heartfelt
in Captain China (1950) screen fight for months.” Chaney biographer Don
G. Smith wrote, “The Chaney-Payne fight is one
Disgraced sea captain John Payne takes passage of the film’s high points, but it doesn’t rise above
on the ship of a former underling in an effort to Lon’s confrontation with Crawford in North to the
prove his worth in a routine Lewis R. Foster–di- Klondike.”
rected drama highlighted by a terrific four-minute The fight took five days to complete on the
fight. Payne discovers that the new captain Jeffrey Paramount lot and not without damage to both
Lynn gave false testimony in regard to his stars, who did much of the action for John Alton’s
(Payne’s) previous command, as did crew member camera. Chaney’s lips required two stitches when
Lon Chaney, who had locked him in his quarters. he inadvertently hit himself in the mouth with his
Tensions erupt in a gigantic and bloody fistfight own fist while taking a fall on the ship’s deck. In
between Payne and Chaney, which ends when addition to injured ribs, he ripped open the top of
Lynn points a gun at both men. Publicity played his ear. Payne injured three of his own ribs when
up the battle, and there was even a comic book tie- he was heaved against a ship’s mast and needed to
in to the film that focused on the fistfight. Chaney’s spend three days under a doctor’s care. He also
character was called “the most murderous menace chipped an elbow and broke a finger. Payne
proudly talked about doing their
own stunts on the publicity trail.
Editor Howard Smith did an ex-
ceptional job cutting the fight ac-
tion together.
Six-foot, 185-pound Payne
spent time as a professional
boxer and wrestler before enter-
ing films playing pugilists in Kid
Nightingale (1939), Tin Pan Alley
(1940) and Footlight Serenade
(1942). Once in Hollywood, he
worked with Mushy Callahan
and kept fit sparring with pro
heavyweight Jack Roper. When-
ever hitting a new town on the
publicity trail, his first order of
business was finding a local gym-
nasium where he could work out.
An Army Air Corps veteran, he
was a convincing screen fighter
and excelled in adventure films
and noir titles where he had to
punch his way out of trouble.
Payne’s characters often ended
up bloodied, broken and band-
aged by picture’s end.
Notable fights include Kansas
City Confidential (1952) and 99
John Payne (right) and Lon Chaney, Jr., clash in Paramount’s Captain River Street (1953) (see entries).
China (1950). Fights of interest came against
 195 0 77

Victor McLaglen in Strictly Dynamite (1942), Dan bear-hugs intending to hurt and maim. The tense
Duryea in Larceny (1948) and Rails into Laramie struggle lasts four entire minutes of sweaty posi-
(1954), Sterling Hayden in El Paso (1949), Sonny tioning as each man tries to crush the other’s spine.
Tufts in The Crooked Way (1949), Forrest Tucker The aged Zbyszko emerges victorious but falls
in Crosswinds (1951), Dennis O’Keefe in Passage over dead from the exertion. Variety called the
West (1951), Willard Parker in Caribbean (1952), fight “one of the most exciting bouts ever glimpsed
Ronald Reagan in Tennessee’s Partner (1955), Leo on the screen,” while Time labeled it “an agoniz-
Gordon in Santa Fe Passage (1955), William ingly filmed grudge fight.” New York Times critic
Bishop in The Boss (1956) and John Smith in Rebel Bosley Crowther was so turned off by the back-
in Town (1956). On his western series The Restless breaking action that he wrote, “If any more cruel
Gun (1957–1959), Payne fought Dan Blocker in repulsive picture of human brutishness than this
1957’s “Jody.” Makiong a 1957 TV guest appear- is ever screened, this writer has no desire to see
ance, Payne staged a fight with the host of The Ten- it.”
nessee Ernie Ford Show. The 5'8", 260-pound Zbyszko was a Polish-
See: “How to Be a TV Cowboy.” TV Guide. Jan- born professional wrestler active through the
uary 18, 1958; Ingram, Frances. “John Payne: Liv- 1920s. The bearish grappler was the European
ing Out the Dream.” Classic Images. June 2011; heavyweight king and twice crowned the world
Nichols, Harmon W. “Star Travels to Promote heavyweight champ. He acquitted himself surpris-
New Movie for Paramount.” Spokane Daily Chron- ingly well in the role, giving a realistic and heartfelt
icle. January 18, 1950. performance in the powerful dramatic scenes. In
addition to playing the heavy in the picture,
Stanislaus Zbyszko vs. Mike Mazurki served as the technical advisor and
Mazurki in Night and blocked out the wrestling action. His assistants
the City (1950)
This classic film noir from director
Jules Dassin stars Richard Widmark
as a low-level London fight promoter
who latches onto Greco- Roman
wrestler Stanislaus Zbyszko and his
young charge Ken Richmond with
empty promises of restoring their
pure technique to the ring. Mike
Mazurki, a drunken wrestling rival
under the control of promoter Her-
bert Lom, continually taunts Zy-
bysko and Richmond at the gym at
Widmark’s opportunistic urging.
Lom is in fact Zybysko’s real son and
the emotional manipulations of both
promoters have dire consequences.
During a training session, Mazurki
crosses the line and all hell breaks
loose between the two men as Wid-
mark and others futilely try to pull
them apart in the ring. This is what’s
known in theatric wrestling circles as
a “shoot,” or a real match in the ring
where the predetermined outcome is
ignored. No cheering public is pres-
ent, only panicked witnesses in the
gym. It’s a fight to the death, with ac- Mike Mazurki (left) and Stanislaus Zbyszko “shoot” a wrestling
tual wrestling arm-bars, chokes and match in 20th Century-Fox’s Night and the City (1950).
78 19 5 0

were Walter Magnee and Mickey Wood, a London- careers throwing punches to land as opposed to
based self-defense and physical training expert stuntmen who were trained to miss, and Evans was
who had been the lightweight wrestling champ of called on to run into the action and deliver his
Britain. The latter managed the firm “Tough Guys punch on the fly. Andrews ended up with two black
Limited” which provided stuntmen for European- eyes and what is known in boxing circles as a but-
based films. terfly nose: a cut to the bone. He missed a total of
Mazurki had squared off in the ring against leg- 12 days of filming, costing 20th Century-Fox over
ends like Lou Thesz and “Strangler” Lewis, but said $45,000 in total costs to pay off contracted players.
publicly that Zbyszko might have been the tough- A sorrowful Evans became physically ill, knowing
est man he ever faced. Mazurki pegged Zbyszko’s the errant punch likely cost him future work.
age in his 70s during filming and said the senior Andrews was lucky it wasn’t the 6'3", 210-pound
wanted to work out every day. They spent three Nova who made contact as he was a legitimate
months training and three weeks shooting the ac- heavyweight contender. For that matter, actor
tion with seven of Max Green’s cameras. Every Brand earned a reputation as a man who was often
move Mazurki made, Zbyszko countered strategi- unable to hold back in fights. He looked like he
cally. When Mazurki tried to take Zbyszko down enjoyed mixing it up as a malicious grin crossed
for real, he couldn’t pin him. Mazurki’s ribs needed his face whenever he was about to punch someone.
to be taped up every evening from the power of As a decorated soldier, Brand killed over 200 Ger-
Zbyszko’s bear-hug. Despite this dose of reality, mans in World War II and was haunted by his ac-
Mazurki picked up a few pro match-ups during his tions. Brand drank heavily with pal Lee Marvin,
time in England for extra money. and the two were in and out of brawls up and down
See: Danko, Walter W. “Mike Mazurki: Star the Pacific Coast Highway. None of this stopped
Athlete.” Ukrainian Weekly. December 26, 1950; the 5'11", 190-pound Brand from being hired to
Dowd, Kathy. “An Interview with Mike Mazurki.” perform in fights.
The Wrestling News. March 1975. His best bouts came against Broderick Craw-
ford in The Mob (1951), Leo Gordon in Gun Fury
Dana Andrews vs. Neville (1953) (see entry), George Montgomery in The
Brand in Where the Sidewalk Lone Gun (1954) and Badman’s Country (1958),
Rory Calhoun in Raw Edge (1956), Scott Brady in
Ends (1950) Mohawk (1956), James Mason in Hero’s Island
This is an effective Otto Preminger–directed, (1962), Robert Conrad in the TV movie The Ad-
Ben Hecht–scripted film noir with Dana Andrews ventures of Nick Carter (1972) and Don Stroud in
in top-notch form as a rough-edged cop taking Scalawag (1973). His TV western Laredo (1965–
down criminal Gary Merrill to cover his own mis- 1967) was full of scuffles, with the best saloon
steps. Andrews brazenly enters Merrill’s Turkish brawl coming when Brand fought alongside Peter
Baths with the intention of pinning the beating Brown and William Smith in 1965’s “Rendezvous
death of war hero Craig Stevens on him, but Mer- at Arillo.” As a TV guest, Brand fought Brian Keith
rill smells a set-up. When Andrews gets out of line in the 1959 Zane Grey Theatre episode “Trouble
and smacks Merrill in the steam room in front of at Tres Cruces” and Dan Blocker in the 1960 Bo-
his t-shirted hoods, top tough Neville Brand steps nanza episode “The Last Viking.”
in with a sadistic smile to trade punches with the See: “Butterfly Nose for Dana Andrews.” Tren-
anti-hero police detective. Joseph LaShelle gets his ton Evening Times. February 21, 1950; Heffernan,
camera in close for the action, with the sound of Harold. “Occupational Hazards Are Numerous in
the men’s shoes clicking on the floor overriding Hollywood.” Toledo Blade. March 8, 1950; “Neville
everything else on the soundtrack. It’s a tense 45- Brand; Tough-Guy Actor, Decorated War Hero.”
second struggle with Brand going for the throat Los Angeles Times. April 18, 1992.
until Andrews breaks the hold and knocks Brand
away. Merrill’s hoods Bob Evans and Lou Nova Joel McCrea vs. John Russell in
step in, Evans laying Andrews out with a right cross.
Former light heavyweight boxer Evans’ punch
Saddle Tramp (1950)
connected and put Andrews down for the count. This solid little western stars Joel McCrea as
This was a legitimate danger whenever real boxers one of his most amiable cowpokes, trying to raise
were hired for fights. They had spent their entire a pal’s orphans while caught in a cattle-thieving
 1951 79

ranch war. For all his laid-back

niceties, when push came to
shove McCrea could swing it
with the best of them. The
action-filled climax sees him
take on crooked foreman John
Russell in a bruising two-minute
slugfest that leaves both men
worse for wear. The furiously
paced fight, which begins in a
cabin but goes up and down a
hillside, took over three days to
rehearse and 13 hours to film the
principals. The two stars did a
good deal of fistic action, and at
day’s end both wished they had
turned over more to their stunt
doubles. McCrea suffered John Russell (left) has “chin music” played on him by Joel McCrea in
scratches and a bruised cheek. Universal’s Saddle Tramp (1950).
According to Universal public-
ity, it was the toughest screen fight of McCrea’s ca- respected by Hollywood stunt artists. They never
reer. minded doing medium shots with him. When Bob
The stunt work is excellent, with Bob Morgan Hoy accidentally clipped him on Border River
doubling McCrea and Sol Gorss doubling Russell. (1954), McCrea took the blame for being in the
The fight benefits from fine editing from Frank wrong place. As the film’s star, he could easily have
Gross and a punchy music score. There’s a series squashed a promising young stuntman’s career.
of quick close-ups of the men landing punches to McCrea fought Broderick Crawford in Woman
one another’s face. Argentinian-born director Hugo Chases Man (1937), Robert Preston, Robert Barrat
Fregonese was mystified by the western genre and and Harry Woods in Union Pacific (1939), Albert
traditional cowboy slugfests in which more than a Dekker in Reaching for the Sun (1941), Anthony
dozen knockout blows were delivered without so Quinn in Buffalo Bill (1944), Lloyd Bridges in
much as a hat being knocked off. Working from Ramrod (1947) and Wichita (1955), Victor Jory
Harold Shumate’s script, he tried to the best of his in South of St. Louis (1948), Fred Graham in The
abilities to make McCrea a less than traditional San Francisco Story (1952), Pedro Armendariz, Jr.,
movie cowboy by having him not wear a gun. The in Border River (1954), Murvyn Vye and Race
only one he handles, he uses as a club in the fight. Gentry in Black Horse Canyon (1954), Brad Dexter
Russell was a late replacement in the villain role for in The Oklahoman (1957), Barry Kelley in The Tall
Lawrence Tierney. Last of the Cowboy Heroes calls Stranger (1957), Don Haggerty in The Gunfight at
it “a realistic brawl … the film’s action highlight,” Dodge City (1959) and Ron Starr in Ride the High
while Six Gun Law refers to it as “a lively climax.” Country (1962).
An excellent equestrian, 6'3", 200-pound Joel See: Carroll, Harrison. “Joel McCrea Puts All
McCrea started in Hollywood as a riding double. in Screen Fight.” Boston Daily Record. June 17,
He became the embodiment of Hollywood’s 1958; MacPherson, Virginian. “Saddle Up, West-
Golden Age as a tanned outdoorsman at the Santa ern Fans!” Milwaukee Journal. April 8, 1950; “13
Monica Beach Club. Scenes of action came easily Hours of Fighting.” Sydney Morning Herald. No-
enough for the Pomona College frosh football vember 30, 1950.
player, who displayed an effective boxing jab
against pro wrestler Ivan Linow in a bare-knuckle Randolph Scott vs. Jock
match in The Silver Horde (1930). In The Sport Pa- Mahoney in Santa Fe (1951)
rade (1932), McCrea starred as an amateur wres-
tling champion thrown into the world of profes- An exciting minute-and-a-half fight atop a mov-
sional grappling, once again opposite the much ing train’s flatcar highlights this fine Randolph
larger Linow. He was a solid screen fighter much Scott Columbia western directed by Irving Pichel,
80 19 51

who is surrounded by Scott’s customarily efficient rocks. This necessitated the stuntmen to switch
production team. Kenneth Gamet wrote the script outfits, with Mahoney doubling Scott and Morgan
pitting outlaw interests out to stop the building of now doubling Mahoney, who takes the fall off the
the Santa Fe rail line with Scott emerging as the train. He manages to cling to the side of the flatcar
company’s protector. Cinematographer Charles before pulling himself up and resuming the fight
Lawton, Jr., contributes great exterior shots during as the stuntmen once again switched outfits. Ma-
the fight, while Paul Sawtell’s score is stirring if honey was back in his own clothes in time to be
overly familiar. Editor Gene Havlick’s cutting is clubbed by Scott’s pistol and fall off the train and
top-notch considering the dizzying changes going roll down a hill. The timing of the fall was slightly
on behind the scenes. It’s a show for the stuntmen off and Mahoney bounced down a path that had not
all the way. been cleared of rocks. Still, he emerged unscathed.
Scott goes fist to fist with henchman Jock Ma- Six-foot-four, 200-pound University of Iowa
honey, the great stuntman who doubled Scott in football player and Marine fighter pilot Jock Ma-
such films as Coroner Creek (1948) and The Ne- honey became an important figure in fight scene
vadan (1950). Here Mahoney gets the chance to history. As a stuntman he quickly distinguished
step up and play Scott’s main opponent. He still himself as one of the greatest in the business with
winds up doubling Scott within the same fight. He his all-around athleticism and leaping ability. Ma-
also doubles Scott in an earlier barroom fight with honey had effortless balance and moved with the
villain Roy Roberts (doubled by Eddie Parker). grace of a big cat in action scenes. He threw a great
To open the picture, Scott knocks Mahoney screen punch and could sell others’ blows for the
into a wheelbarrow and promptly deposits him camera by creating great space between himself
into a ditch, but it’s the train battle everyone re- and the ground as he launched into the air with
members with Last of the Cowboy Heroes opining, arms and hair flying. While making the TV series
“Scott (or his double) does have a neat fistfight The Range Rider in the early 1950s, Mahoney per-
with Jock Mahoney on a moving train, in which fected the art of combat against multiple oppo-
our hero loses his gun—a nice, realistic touch.” Six nents coming from all directions.
Gun Law calls this fight “a hardboiled highlight.” Mahoney emphasized timing in his fights and
Mahoney served as stunt coordinator and does was extremely camera- savvy. The smoothness
a fine job setting up the thrilling train action. Logs with which he and Range Rider fight partner Dick
slip off the train as Mahoney swings a pickaxe at Jones worked in their innovative fight choreogra-
Scott’s head and real scenery rushes past. Ma- phy is legendary. It spawned an entire generation
honey wound up doubling Scott when Scott’s orig- of play-fighting children to become professional
inal stuntman Bob Morgan expressed concerns at stuntmen. No prop was safe as the two could de-
slipping off the train onto a dangerous stretch of molish a set with unique and well-planned preci-
sion. They put on a superb fight with
one another in 1953’s “Jimmy the Kid,”
with Jones playing the lookalike title
outlaw. In 1952’s “Indian War Party,”
Jones stepped in to double Rodd Red-
wing for a thrilling fight with Mahoney
atop a fallen redwood tree. On the
publicity trail, the duo thrilled live au-
diences with their exciting fight rou-
tines at fairs and rodeos and even took
their fight to The Ed Sullivan Show in
1953.
Notable Mahoney fights include
Coroner Creek (1948), Rim of the
Canyon (1949), The Gal Who Took the
West (1949), Joe Dakota (1957) and
Tarzan the Magnificent (1960) (see en-
Randolph Scott delivers a crushing blow to Jock Mahoney aboard tries). Fights of interest came against
a flatbed train in Columbia’s Santa Fe (1951). Fred Graham in Overland Pacific
 1951 81

(1954), Lane Bradford in Showdown at Abilene fist be shown going deep into Mitchum’s belly.
(1956), Anthony Dexter in Three Blondes in His Mitchum continued to oblige. Hughes decided he
Life (1961), Leo Gordon in Tarzan Goes to India wanted Mitchum’s character to be given a drug
(1962), Woody Strode in Tarzan’s Three Challenges with a hypodermic needle, with a close-up of the
(1963) and Fernando Poe, Jr., in Walls of Hell skin being penetrated. Mitchum flatly refused.
(1964). On his New Orleans–based series Yancy Coming on the heels of his famous pot bust, he
Derringer (1958–1959), he fought Mickey Simpson didn’t want audiences to think he was into needles.
in “Wayward Warrior” and battled James Foxx atop Hughes instead devised new beatings for his star.
a pool table in “Thunder on the River.” As a TV Caruso punched Mitchum with a brass belt buckle
guest, Mahoney had standout fights with Buddy rolled over his fist. At one point, Burr knocked
Baer in the 1958 Wagon Train episode “The Dan Mitchum’s head against a pipe so hard he was ren-
Hogan Story,” Eric Fleming in the 1961 Rawhide dered unconscious. Fleischer was forced to re-film
episode “Incident of the Phantom Bugler” and the scene, because somehow the blow didn’t look
Ron Ely in the 1966 and 1967 Tarzan episodes realistic enough. Through it all, Mitchum kept on
“The Deadly Silence” and “Mask of Rona.” showing up for his daily whooping. The rough cut
See: Lewis, Jack C. “Ultimate Stuntman.” Guns of the new ending lasted an hour and 20 minutes
of the Old West. November 2006; “Pow! But Not by itself and posed a great challenge for editors
in the Kisser.” TV Guide. February 23, 1963. Frederic Knudtson and Eda Warren due to its
bizarre shifts in tone and the need to assemble the
Robert Mitchum’s Yacht Fight footage per Hughes’ specifications.
The best battle occurs early on in the yacht’s
in His Kind of Woman (1951) wheelhouse with stuntmen Dale Van Sickel and
Notorious behind-the-scenes maneuvering dis- Gil Perkins, where Mitchum manages to land sev-
tinguished the enjoyably tongue-in-cheek mystery eral significant licks. Mitchum busts them up in
His Kind of Woman as RKO head Howard Hughes sharply edited footage that Fleischer and Harry J.
became obsessed with Robert Mitchum’s climactic Wild captured with a hand-held camera. There’s a
fight. Mitchum was originally to tangle with fine backward stair fall done by Mitchum’s double
henchmen on the bridge of a yacht, emerge victo- Paul Stader, who served as stunt coordinator.
rious and take Jane Russell in his arms. That’s how Mitchum is nabbed and the extended torture
original director John Farrow shot the film, but in scene occurs before he once again breaks free and
watching the first cut Hughes became convinced starts swinging at Burr, Caruso and stuntmen Van
it needed to be bigger and better, including a total Sickel and Sol Gorss. Comic-relief Vincent Price
recasting of the main villain. Richard Fleischer was and the Mexican police arrive by boat to save the
brought in to direct the new climax, with Hughes day in a massive brawl topside involving 28 stunt-
personally overseeing the writing and blocking of men. These include Bud Wolfe, John Daheim,
the action. Mitchum wouldn’t have just one fight. Charles Horvath, Ken Terrell, Art Dupuis, Chuck
He’d have an ongoing battle with many henchmen Hamilton, Al Murphy and Mitchum’s stand- in
all over the yacht, taking a break only to be tor- Boyd Cabeen.
tured at gunpoint. The yacht needed to be built The movie had been filming for more than a
to exact specifications to handle all the action. The year. Late one afternoon, Fleischer thought he
process dragged on for months, and Mitchum be- could wrap the film with one final shot of Mitchum
came so peeved at his treatment he had a leg- struggling with his captors. An exhausted Mitchum
endary blow-up at the end of filming. gave Fleischer the okay for the late shooting, but
Fleischer began filming with Hughes’ eventual by the time the set was dressed Mitchum had im-
choice for the bad guy Robert Wilke replacing bibed too much vodka in his dressing room and
actor Howard Petrie. After having much of the part was in a lousy mood. Being led into the ship’s salon
in the can, Hughes decided he preferred Raymond by stuntmen Van Sickel and Gorss, Mitchum flung
Burr as the heavy. Fleischer had to restart every- them to the floor. Another shot was called for, and
thing. For three whole months, a shirtless Mitchum Mitchum again improvised in a rough manner. By
spent every day being slugged, knocked around, the third try the stuntmen were replying in kind
tied up, beaten down, belt- whipped, boiler- and Fleischer had a full-scale fight on his hands.
steamed and hit in the head by pipes. Hughes per- Mitchum turned his fury onto the set itself, smash-
versely insisted that henchman Anthony Caruso’s ing walls, putting his fists through doors, and curs-
82 19 51

ing Hughes and the neverending movie. By the horse to escape after Scott is momentarily knocked
next morning, Mitchum was remorseful. But the out. Scott comes to and uncharacteristically tries
set needed to be rebuilt, adding to the lengthy pro- to shoot the fleeing Russell.
duction schedule. The fight takes up approximately two and a half
Mitchum biographer Damien Love wrote, minutes of screen time, and an incredible effort is
“Mitchum’s final beatings are extraordinarily bru- put in by the anonymous stuntmen. Bob Morgan
tal,” while Lee Server acknowledged, “Only An- appears to be doing the bulk of the doubling for
thony Mann’s brutal noirs contained anything to Scott, although at different times during the ex-
match the sadistic fury of Fleischer’s and Hughes’s tended battle at least two other stuntmen double
belt buckle and hypodermic melee.” The New York for the star. It was a challenge for editor Charles
Times called it “the crudest, cheapest kind of sen- Nelson to keep Scott’s overall lack of participation
sationalized violence.” The film became symbolic hidden. There’s also an impressive 200-foot rolling
of what Mitchum with tongue in cheek termed his fall which publicity claimed was done by accident
typical 1950s “gorilla picture.” For 90 minutes he by female lead Drew. She luckily emerged with
is beaten on the head by “gorillas” until they be- mere scrapes and bruises. The 52-year-old Scott
come so exhausted they collapse on top of him. At spent a day at the falls doing the fight, finding the
this point the female lead searches through the un- high altitude left him short of breath. The Western
conscious thugs until she finds Mitchum, lifts him terms the extended brawl “memorable,” while The
to his feet, and declares him the hero. They kiss, Filming of the West refers to it “as the high point of
and the credits begin. Ironically enough, in White the picture.”
Witch Doctor (1953) Mitchum has to fight a man Six-foot-four and 185 pounds, John Russell was
in a gorilla outfit. an athlete at UCLA before distinguishing himself
See: Love, Damien. Robert Mitchum: Solid, Dad, as a Marine during World War II. Carved from
Crazy. London: B.T. Batsford, 2002; “28 Stunt- granite, Russell effectively played both heroes and
men Required for Mass Movie Brawl.” Chicago villains until he landed his defining role as Marshal
Tribune. June 10, 1951. Dan Troop on the TV western Lawman (1958–
1962). The taciturn Russell’s best Lawman fight
Randolph Scott vs. John Rus- was a bare-knuckler against Mickey Simpson in
1960’s “Samson the Great,” with both combatants
sell in Man in the Saddle (1951) realistically hurting their hands with punches.
An above-average Randolph Scott western from Russell kept in tip-top condition at Vince’s Gym
director Andre DeToth, Man in the Saddle benefits and excelled at action scenes, especially on the TV
from picturesque High Sierra locations and one of adventure series Soldier of Fortune (1955–1957)
the era’s best fights. First off, the Scott and John where he tangled with the likes of Leo Gordon,
Russell characters hate each other with a passion. Claude Akins, Woody Strode and Lee Van Cleef.
Screenwriter Kenneth Gamet, a veteran of several Notable Russell fights include The Gal Who
of Scott’s films, knew how to pit two men against Took the West (1949) and Saddle Tramp (1950)
one another until they clash violently. The two (see entries). Fights of interest came against Greg-
cowboys are at odds over Ellen Drew, with jealous ory Peck in Yellow Sky (1948), Jerome Courtland
paramour Russell tracking Scott and Drew to a in The Barefoot Mailman (1951), Forrest Tucker
mountain cabin alongside the Portals Waterfalls in Fighting Coast Guard (1951) and Hoodlum Em-
(a 300-foot stretch of falls 9400 feet above sea pire (1952), Rod Cameron in Hell’s Outpost
level in Lone Pine, California). There he and Scott (1955), Rory Calhoun in Apache Uprising (1966)
have a true knockdown drag-out brawl that liter- and John Ireland in Fort Utah (1967). His fight
ally brings the entire cabin crashing to the ground with Clint Eastwood in Honkytonk Man (1982)
as they take out vital support beams with all the was cut from the final print. Russell fought Jock
angry punching and kicking. The Charles Lawton, Mahoney in a nostalgic 1982 Simon and Simon
Jr.–photographed action spills outside into the episode entitled “Rough Rider Rides Again.”
high mountain scenery, where they slide through See: “He Has All the Expression of a Rock.” TV
snow and mud while continuing to slug it out Guide. July 28, 1959; “Star Affected by Altitude.”
along a waterfall. There are tumbles over bushes, Oregonian. January 21, 1952; “Thrilling Fight
jumps off ledges and wrestling on the ground as Scenes in Film.” Rocky Mount Evening Telegram.
Scott fights in a blind rage. Russell hops on his January 20, 1952.
 1952 83

Clark Gable vs. Broderick shelving it and remaking it as an A-picture with

Crawford in Lone Star (1952) Robert Mitchum and Jane Russell in the leads in-
stead of husky, gravel-voiced Charles McGraw and
MGM’s Clark Gable western concerns the fight Marie Windsor. (In 1990, the movie was remade
for independence in Texas. It remains best known with Gene Hackman and Anne Archer in the lead-
for the climactic battle between the heavy-drinking ing roles.) The original tale of a tough cop pro-
stars. Gable and Broderick Crawford have a stand- tecting a mob moll on a train includes a 45-second
out exchange of fists over both the state and Ava fight in a compartment: McGraw vs. henchman
Gardner, their boozy off-screen reputations spark- David Clarke. It predates the similar battle in From
ing a disappointing script from Borden Chase. The Russia with Love (1963) and stacks up impressively
fight is excitingly created by stunt gaffer Gil Per- next to its more famous counterpart. McGraw bi-
kins, D.P. Harold Rosson and editor Ferris Web- ographer Alan K. Rode calls it “a terrific fight scene.”
ster with the robust action standing out from the Stunt coordinator John Daheim choreographed
otherwise pedestrian Vincent Sherman direction. the close-quarters brawl, which was shot with a
The real stars of the fight are stuntmen George Ro- hand- held camera by cinematographer George
botham and Phil Schumacher. Robotham per- Diskant. No stunt doubles appear in the finished
forms a leap from a porch to take Schumacher off cut, a novel accomplishment for the day. Windsor
a horse, and later offers an impressive backward was slightly shook up when Clarke pushed her
flip in place of Gable. Western Clippings includes down and she missed the padding of the seat. The
this among their “great screen fights,” while The most memorable moment has McGraw delivering
Herald anointed it “as hair-raising an affair as has the sole of his shoe into the camera. The stone-
been seen in many a month.” The Spokesman Re- faced McGraw, usually seen as a character actor
view wrote that this Gable-Crawford fight “belongs but here cast as the trenchcoated lead, is reminis-
to the screen’s roster of bigger and better scraps.” cent of Mickey Spillane’s Mike Hammer. Mc-
Before filming the fight, Gable and Crawford Graw’s as tough as they come in this type of film.
were dining in a private room at Chasen’s Restau- The 5'10", 170-pound actor, a former boxer and
rant. They became inebriated to the point where Army veteran, was known for getting into barroom
they decided to stage a run-through for the pro- scrapes. He famously started the fight that saw pal
ducer. The two demolished the room, but after the Robert Mitchum kayo heavyweight contender
brouhaha good-naturedly paid for all the damages. Bernie Reynolds in Colorado.
The restaurant owner had special boxing glove Notable McGraw fights include Joe Dakota
cufflinks made for the actors commemorating the (1957) and Spartacus (1960) (see entries). Fights
occasion. William Farnum from the original Spoil- of interest came against Roy Rogers in On the Old
ers has a bit part. Between takes, Gable sought out Spanish Trail (1947), James Arness, Lex Barker
Farnum’s advice on screen fisticuffs. By the end of and Keith Andes in The Farmer’s Daughter (1947),
the battle, both actors were bruised and shaken, John Ericson in The Cruel Tower (1956) and Glenn
with Crawford suffering a cut on his arm. Publicity Ford in Cimarron (1960). On TV’s The Adventures
declared that Lone Star featured more fighting than of the Falcon (1954–1955), McGraw was globetrot-
any other Gable film. ting man of action Mike Waring. As a TV guest,
See: “Day’s Best Hollywood Story.” Toledo he fought Robert Horton on Wagon Train, George
Blade. July 2, 1951; “Double Lives Dangerously.” Maharis on Route 66, Doug McClure on The Vir-
The Mercury. November 21, 1951; Lone Star press- ginian and Jan-Michael Vincent on Bonanza.
book; “This Fight Really Hurt.” San Diego Union. See: Oliver, Wayne. “McGraw Has Background
September 16, 1951. for Falcon.” Reading Eagle. February 8, 1955;
Weaver, Tom. “Memories of Cat Women.” Starlog.
Charles McGraw vs. David #222, January 1996.
Clarke in The Narrow Margin
(1952) The Saloon Brawl in Cripple
When RKO head Howard Hughes screened this Creek (1952)
film, made in 1950 by director Richard Fleischer The extended three- minute saloon brawl in
from an Earl Felton screenplay, he was so taken by this Ray Nazarro Columbia western pits under-
the tense, efficient quickie that he considered cover heroes George Montgomery and Jerome
84 19 52

Courtland against gold-smuggling bad guys John at the Hollywood Palladium. Although he looked
Dehner, Don Porter, Chris Alcaide, Zon Murray like he was born to dole out punishment, what
and Sandy Sanders. While they fight on the second
landed him a ton of work in the 1950s was his abil-
floor, mayhem breaks out on the first over a poker
ity to throw his own body around in reaction to
game with a gaggle of stuntmen including Tom being hit. He memorably sold a Glenn Ford punch
in The Big Heat (1953) by heaving himself back-
Steele, Dale Van Sickel, Ken Terrell, Eddie Parker,
Boyd “Red” Morgan, Bob Morgan, Bob Reeves, ward after an uppercut and was soon working reg-
Leroy Johnson and Jack Stoney duking it out. Alularly as ill-fated torpedoes. Leading men liked an
Wyatt can be spied doubling for leading man actor who could make them look tough. A back
Montgomery on the balcony. Stuntman- actor injury limited Alcaide’s physical activity and cut
Sanders performs the highlight fall from the sec-
his career short.
ond floor to the first and Alcaide does a flip into George Montgomery, 6'2" and 195 pounds, was
the wall. It’s frenetically paced with heightened
a collegiate boxer at the University of Montana,
musical accompaniment from Mischa Bakaleini- holding the title of Northwest Champ. He origi-
koff. Several of the punches thrown are too obvi-
nally journeyed to California to train with former
ous misses. William V. Skall was the D.P. and heavyweight champ Jim Jeffries. Upon arriving in
Richard Fantl was responsible for the editing. Mo-
Hollywood in the late 1930s, his first work was as
tion Picture Herald praised the film for having a stuntman. The ruggedly handsome Montgomery
“some of the best fisticuffs seen in a western.”made a fine action hero and handled the bulk of
Six-three and 180 pounds, character actor John
his own screen fighting through the next two
Dehner surprisingly does his own stunt fighting decades. At home in westerns, he impressed audi-
against the second floor banister railing. His par-
ences playing modern detective Philip Marlowe
in The Brasher Doubloon (1947), in that he took a
ticipation greatly adds to the effectiveness of the
fight. Dehner often played distinguished and so-memorable sap beating from stunt thugs Jack
phisticated brain heavies and dress heavies, but he
Stoney and Ray Spiker. While serving with the
Army in World War II, Montgomery built a boxing
was capable as a dog- ass action heavy when called
upon. On the 1960 TV series The Westerner, he ring for the troops.
had outstanding comic fights with Brian Keith. Montgomery fought Kane Richmond in Riders
Henchman Chris Alcaide was hired partly for hisof the Purple Sage (1942), Victor McLaglen in
China Girl (1942), Kent Taylor in Bomber’s Moon
ability to do his own screen fighting as well as ap-
pear menacing. A 6'2", 200-pound Army veteran (1943), Greg McClure in Lulu Belle (1948), Jack
and Golden Gloves boxer, Alcaide was a bouncer Lambert in Belle Starr’s Daughter (1948), Sheldon
Leonard in The Iroquois Trail
(1950), Douglas Kennedy in The
Texas Rangers (1951), Neville
Brand and Robert Wilke in The
Lone Gun (1954), Alan Hale, Jr.,
and Robert Wilke in Canyon River
(1955), Leo Gordon in Robbers’
Roost (1955) and Black Patch
(1957), Charles Horvath in Pawnee
(1957), Neville Brand in Badman’s
Country (1958), Lane Bradford in
The Toughest Gun in Tombstone
(1958), Emile Meyer in King of the
White Stallions (1958) and House
Peters, Jr., in The Man from God’s
Country (1958). On his western TV
series Cimarron City (1958–1959),
he fought Don Megowan in 1958’s
“Beast of Cimarron.” As a guest star,
Zon Murray takes a mighty punch from George Montgomery in Montgomery portrayed Gentleman
Columbia’s Cripple Creek (1952). Jim Corbett in a 1957 G.E. Theatre
 1952 85

and fought Lee Van Cleef in 1958’s Wagon Train pleasure with Cooper for taking the role be known.
episode “The Jesse Cowan Story.” Somehow Cooper cajoled Wayne into agreeing to
See: Fagen, Herb. White Hats and Silver Spurs. accept the Best Actor Oscar for him at the Acad-
Jefferson, NC: McFarland, 1996; Kleiner, Dick. emy Awards should he win. Cooper did just that,
“Show Beat.” Park City Daily News. August 2, 1964; and Wayne followed through on the promise that
MacPherson, Virginia. “Realistic Cinematic Brawl he never thought he’d have to keep. Elmo Williams
Proves Ex-Stuntman Montgomery Can Take It.” and Harry Gerstad received an Oscar nomination
Toledo Blade. September 11, 1946. for their editing, while composer Dimitri Tiomkin
won the award for his score.
Gary Cooper vs. Lloyd Bridges Cooper told the press this was his toughest
screen fight. Both Cooper and Bridges are game
in High Noon (1952) for the fight action, sensing the project’s quality.
The politically controversial High Noon, a clas- Though he was bothered by an ulcer and a bad
sic Hollywood western shot in stark black-and- back, Cooper was prodded into performing much
white by director Fred Zinnemann and his D.P. of the fight, despite the presence of longtime stunt
Floyd Crosby, goes against cowboy convention by stand-in Slim Talbot. Likewise, Bridges eschewed
featuring a good guy fighting a good guy. Carl the use of Don Turner in the finished product,
Foreman’s Oscar-nominated screenplay presents lending added realism to the scene. Especially ef-
an abbreviated yet memorable one-minute con- fective are the shots where the fighters roll beneath
frontation between newlywed lawman Gary the horse’s legs, creating an extra element of dan-
Cooper and his deputy Lloyd Bridges, smarting at ger. Nevertheless, Mad Magazine did a parody of
being passed up for the job of Cooper’s replace- this fight in which they specifically found humor
ment. Bridges is an atypical villain; a friend suf- in the presence of stunt doubles for the stars.
fering from petty jealousy and not above deliver- Another humorous moment occurred while
ing a sucker punch. He tries to get Cooper out of filming the fight in a real Sonoran barn. Bridges’
town before the arrival of four outlaws who will young son Beau was above the action in the hayloft
be gunning for him, but Cooper balks at being under strict orders not to utter a peep. Lloyd ex-
pushed around. Best Actor winner Cooper is at plained that the fight was all choreographed and
his best playing Marshal Will Kane. He is the epit- that no one would be hurt. But Beau wasn’t pre-
ome of the underdog hero, a stubborn man of prin- pared to see his dad doused with a bucket of water
ciple who faces down dangerous opposition alone in the face and let out a loud laugh, necessitating
when no one else will help him or only get in his that part be filmed again. The elder Bridges was
way. It’s a less-than-subtle swipe at
Hollywood blacklisting and the
House Un-American Activities,
which was grabbing headlines in what
many within the industry considered
a Communist witch hunt.
Heading up Hollywood’s own Mo-
tion Picture Alliance for the Preser-
vation of American Ideals were John
Wayne and Ward Bond. Wayne fa-
mously labeled High Noon as Un–
American. He hated the idea of the
town all but abandoning Cooper.
Ironically, Wayne was offered the
chance to star in High Noon but was
disgusted by Foreman’s script and
turned it down. Wayne and Howard
Hawks later made Rio Bravo (1959)
as a response to High Noon. Wayne
and Cooper had been casual friends Gary Cooper (left) and Lloyd Bridges battle in United Artists’ west-
for many years, but Wayne let his dis- ern classic High Noon (1952).
86 19 52

highly upset, fearing he could be fired from the touted match-up in cinema history. Action Super-
production for having his boy on the set and ru- heroes ranks this clash of titans among the greatest
ining the take. Cooper alleviated Bridges’ fears by screen fights, as does Action Films, the Toronto Star
inviting the father and son out to lunch. and USA Today. The Big Damn Book of Sheer Man-
Six-one and 190 pounds, Bridges was a UCLA liness calls it a “spectacular fistfight.” The Boxing
athlete and Coast Guard veteran who started off Filmography declares it “arguably the greatest fist
fighting cowboy star Charles Starrett in B-westerns. fight outside of a ring in film history.” The Holly-
As the star of the Universal serial Secret Agent X-9 wood Reporter called it “a stirring brawl that man-
(1945), a young Bridges had his sleeves rolled up ages to be thrilling and uproariously funny at the
ready for action. On more than one occasion he same time.” Newsweek described it as “one of the
was cast as a boxing champion. His greatest claim grandest free- for-alls ever sprawled across the
to fame was playing the aquatic adventurer Mike screen.” Irish author Steve Farrell calls it “the great-
Nelson on TV’s Sea Hunt (1958–1961), enacting est good- natured fight in Hollywood history.”
more underwater fights than any other actor in Every subsequent two-man battle fell under its
Hollywood. Sometimes Bridges’ Nelson fought on shadow.
land or on boat decks, even performing judo Ford’s labor of love took him nearly a decade to
moves while still wearing his swim fins! Modern bring to the screen, but it became an instant clas-
audiences remember him best as the gruff comic sic, full of colorful Irish atmosphere and memo-
Navy man Tug Benson, punching out both Efrem rable performances from the entire cast. It inspired
Zimbalist, Jr., in Hot Shots! (1991) and Saddam the 1961 Broadway play Donnybrook, with Art
Hussein ( Jerry Haleva) in Hot Shots! Part Deux Lund and Philip Bosco playing the roles John
(1993). Further spoofing his established tough Wayne and Victor McLaglen made famous on the
guy image, Bridges played the geriatric fitness big screen. The Missouri Traveler (1958), The Wild
trainer Izzy Mandelbaum on TV’s Seinfeld (1997). McCulluchs (1975) and Any Which Way You Can
Fights of interest came against Joel McCrea in (1980) all borrowed heavily from The Quiet Man.
Ramrod (1947) and Wichita (1955), Lon Chaney Multiple nominations were doled out at Oscar
in 16 Fathoms Deep (1948), Steve Brodie in Home time, with Ford earning Best Director and cine-
of the Brave (1949), John Hoyt in Trapped (1949), matographers Winton C. Hoch and Archie Stout
Glenn Ford in The White Tower (1950), Frank winning for their sumptuous visuals and deft cam-
Lovejoy in The Sound of Fury (1951), John Ireland erawork. Composer Victor Young provides the
in Little Big Horn (1951), Spencer Tracy in Ply- perfect musical accompaniment with the lilting
mouth Adventure (1952), Robert Keys in Wetbacks “The Rakes of Mallow” playing in the background.
(1955), Lance Fuller in Apache Woman (1955), Frank Nugent’s script involves prizefighter Sean
Earl Holliman in The Rainmaker (1956), Rory Thornton (Wayne) returning home to Inisfree
Calhoun in Ride Out for Revenge (1957) and after killing Jack Roper in the ring. This has left
Tommy Lee Jones in Blown Away (1994). On his him reluctant to fight. He immediately runs afoul
western The Loner (1965–1966), he fought Mike of local bully Will Danaher (McLaglen) while at
Mazurki in 1966’s “Pick Me Another Time to Die” the same time falling for the hulking man’s sister
and even tangled with his own son Jeff Bridges in Maureen O’Hara. The locals wait in eager antici-
1965’s “The Ordeal of Bud Windom.” As a TV pation for the inevitable showdown, all the while
guest, Lloyd fought Edward Binns and Dale Van laying odds and wagers. When Wayne is denied
Sickel in the 1958 Zane Grey Theatre episode his legal dowry after the two are married, O’Hara
“Wire.” urges her man to take a stand. At first Wayne re-
See: Bubbeo, Daniel. “Fast Chat: New Business fuses, but O’Hara is prepared to board a train and
for Beau Bridges.” Newsday. January 12, 2012; leave unless he does. This leads to Wayne famously
Hopper, Hedda. “Looking at Hollywood.” Chicago pulling her off the train and dragging her across a
Tribune. July 11, 1951. field to deposit her in front of McLaglen. The two
men begin unloading one big punch after another,
John Wayne vs. Victor McLag- brawling across the town before an expanding
crowd, fighting in bales of hay and beside a river,
len in The Quiet Man (1952) and settling into Cohan’s Pub, where they pause
The sprawling, comedic donnybrook in John for a Guinness (and McLaglen spits out a tooth).
Ford’s The Quiet Man remains the most highly Then it’s back to the fight. Side bits include Ward
 1952 87

Victor McLaglen (left) and John Wayne exchange “Irish caresses” in one of cinema’s best-known fights in
Republic’s The Quiet Man (1952).

Bond’s Father Lonergan abandoning his treasured year-old McLaglen, while local Irish heavyweight
fishing pole to excitedly hop a fence to view the boxing champ Mairtin Thornton was used for long
fight and Francis Ford literally rising from his shots. Director Ford was so taken with the real
death bed to attend. At several humorous points, boxing champ that he changed Wayne’s character’s
locals throw buckets of water on the combatants, name from Sean O’Brien to Sean Thornton.
whether they need it or not. In another memorable Wayne’s stand-in Joe Mellotte donned McLaglen’s
moment, the two squabble over the use of Mar- clothing and did a take crashing through the door
quess of Queensberry Rules, abandoning them as of Cohan’s, a sequence reshot back in the States.
quickly as they agree to them. In the end, the quiet At Republic, stuntmen Bob Morgan and Terry
man Wayne emerges victorious, restoring his lost Wilson set up and executed the door-crashing fi-
pride and gaining acceptance within the commu- nale in the pub. Wayne ran through fight rehearsals
nity. with supporting player Ward Bond, taking McLag-
Plenty of laughs and tremendous roundhouse len’s place. Stuntmen Bert LeBaron, Brick Sullivan,
punches occur in front of picturesque green Billy Jones, Bobby Rose, Slim Hightower and Fred
scenery. The fight took four days to film on the Kennedy populate the crowd of onlookers, hired
grounds of Ashford Castle in Cong, County Mayo; both to break into their own fight and catch the
additional bits were lensed back at Republic. Co- actors if they were in danger of taking too rough a
han’s Pub was a local grocery store. Wayne and fall. For the most part, it’s Wayne and McLaglen
McLaglen did almost the entire fight, and the two trading blow after blow for nearly ten minutes of
never laid a hand on one another. Ford’s son Pat- entertaining screen time.
rick did the fall into the river for the nearly 65- Ford was legendary for being hard on his actors
88 19 52

and crew to capture what he wanted on screen. He under a wagon and continue fighting. Evans sur-
spared no one’s feelings, and The Quiet Man was veyed the scene and asked, “What wagon?” Fuller
no exception. By all accounts McLaglen was an replied, “The wagon that will be coming down the
easygoing, mild-mannered man, but one evening street.” Luckily, fellow combatant Horvath was an
Ford manipulated him by severely criticizing his experienced stuntman and saw to it Fuller’s vision
acting in front of McLaglen’s son Andrew. The was realized with safety for all concerned. In the
next day the fight was scheduled, giving McLaglen finale, cinematographer Jack Russell’s camera gets
an entire night to stew over Ford’s comments and in close as Evans repeatedly bashes a bloodied
arrive in the proper frame of mind Ford wanted. Horvath’s head against a statue of Benjamin Frank-
Ford would also not bow down to Republic head lin. Fuller garnered a reputation for shooting es-
Herbert Yates. When Yates demanded the film be pecially vigorous fights. The elaborate Park Row
under two hours, Ford presented an early screen- tracking shot was one of Fuller’s own personal fa-
ing that ended as the much anticipated fight was vorites, and Martin Scorsese called it an influence
set to begin. Ford got his way, although some of on his own style.
the fight was cut to bring down the film’s overall Six-three and 220 pounds, Horvath played foot-
length. In 1954, the fight was spoofed in comic ball at Brown University and was a judo champion
form by Panic magazine under the title “The in the Marines. He literally wrote their self-defense
Quite-a-Man.” manual and had a reputation as one of Holly-
It’s one of Wayne’s most famous roles. However, wood’s toughest men. Superb at conveying men-
Ford considered casting Robert Ryan in the part. ace, Horvath was often called on to fight film leads
See: Farrell, Steve. “Those Fighting Irish and including Burt Lancaster in His Majesty O’Keefe
Their Good-Natured Fights on Film.” Irish Amer- (1954), George Montgomery in Pawnee (1957),
ican Cultural Institute Essay; Gibbons, Luke. The Yul Brynner in The Brothers Karamazov (1958),
Quiet Man. Cork: Cork University Press, 2002; Jeff Chandler in Man in the Shadow (1958) and
McNee, Gerry. In the Footsteps of The Quiet Man. Jim Brown in Kenner (1969). On TV, he made the
New York: Random House, 2012. rounds of all the shows. His most memorable
fights came against Clint Walker in the 1956
Gene Evans vs. Charles Horvath Cheyenne episode “The Law Man,” Rod Taylor in
the 1960 Hong Kong episode “Freebooter,” Wil-
in Park Row (1952) liam Smith in the 1966 Laredo episode “Last of
In a single long take, cult writer-director Samuel the Caesars, Absolutely” and Robert Conrad in
Fuller’s camera moves in and out of a violent fight the 1965 Wild Wild West episode, “The Night of
as tough newspaper editor Gene Evans takes on a the Glowing Corpse.”
rival newspaper’s hired thug. The scene benefits See: “Charles Horvath, Top TV Stuntman Risks
from a realistic depiction of the historic 1886 Park Neck Often.” Van Nuys Valley News December 1,
Row district of New York City which Fuller cap- 1967; Oliver, Myrna. “Gene Evans; Actor Known
tured with a specially built four-story set. Inci- for Tough Guy Roles.” Los Angeles Times. April 3,
dentally, former journalist Fuller financed the in- 1998; Weaver, Tom. Science Fiction and Fantasy
dependent film himself. Evans’ strong- willed Film Flashbacks. Jefferson, NC: McFarland, 2004.
character Phineas Mitchell is fighting on principle,
defending his own ideas and integrity. Words are John Wayne vs. Hal Baylor in Big
his greatest weapon, but he proves here that his
fists can do in a pinch against heavy Charles Hor-
Jim McLain (1952)
vath. Burly World War II hero Evans, recipient of John Wayne and James Arness portray Commu-
a Purple Heart and the Bronze Star, stood 6'1" and nist hunters for the House Un-American Activities
although slimmed down for the rare lead role was Committee, on assignment in beautiful Hawaii in
no lily. He had been a bouncer and carried a rep- this seldom seen, campy slice of Warner Bros.
utation as a bar fighter. Fuller biographer Lee propaganda from director Edward Ludwig and
Server writes, “The script is so tightly written that screenwriter James Edward Grant. As they close
every barroom brawl seems to lead directly to an- in on the hidden infiltrators, Arness is sapped and
other great moment in journalism.” killed by burly Commie thug Hal Baylor and
Fuller raised star Evans’ curiosity when block- Wayne’s ire is raised. Wayne, as the title character
ing out the lengthy fight, telling him how he’d roll Big Jim, wipes the walls with all involved. The 30-
 1952 89

second climactic fight places

the odds at seven to one, with
the already formidable Baylor
joined by Robert Keys, Peter
Whitney, Jay Woolsey, Web
Overlander, Alan Napier and
professional wrestler Lucky
Simunovich. Wayne doesn’t
hesitate in taking them all on,
until the Hawaiian police ar-
rive. Publicity photos show
Baylor landing a punch on
Wayne that’s not in the film,
suggesting that the fight was
trimmed. For European re-
lease, the villains were turned
into drug dealers through cre-
ative dubbing. The 6’2, 195-
pound Keys was a former Ma- Hal Baylor sends John Wayne reeling in Warner Bros.’ Big Jim McLain
rine and star football player at (1952).
Tulane.
The fight was done in an outside pavilion on lo- have to pay a stuntman, and it saved time. They
cation in Honolulu, and there was none of the cus- could move in closer with the camera and it im-
tomary Hollywood props available such as break- proved continuity when it came time to cut the
away chairs, tables or glasses. There wasn’t even a film. The former Marine’s boxing match with
stuntman or a gaffer to coordinate the fight. This Robert Ryan in The Set- Up (1949) is a classic.
made director Ludwig ill at ease, but producer-star After he loses in the ring, he has his pals hold Ryan
Wayne assured him he had done so many fights down so he can later beat him in a back alley.
there’d be no danger to the participants. Wayne Baylor fought Robert Mitchum in River of No
coordinated the fight, and when all the dust had Return (1954), Tab Hunter in The Burning Hills
settled there were no injuries. The best moment (1956) (see entry), Montgomery Clift in The
comes when Wayne upends loudmouth Baylor Young Lions (1958), Henry Silva in Johnny Cool
with a big punch, as he did during a previous con- (1963) and Claude Akins in Timber Tramps
frontation when Baylor made the mistake of grab- (1975). Whenever Baylor showed up on TV, it
bing his shirt. On both occasions, Baylor sells the meant a fight was likely to ensue. He battled Clint
blow terrifically and goes tumbling backwards end Walker on Cheyenne, Richard Boone on Have
over end. Andrew McLaglen served as the second Gun—Will Travel, Chuck Connors on The Rifle-
unit director and Archie Stout was behind the man and Dan Blocker on Bonanza. The stand-out
camera. The Los Angeles Herald Examiner found it was a one- on-one with Walker in the 1956
to be “a walloping good movie.” Variety praised the Cheyenne episode “Lone Gun.” In the bare-knuckle
“slam-bang fistfight,” but Time complained, “The ring, he fought John Smith in 1959’s Laramie
action in the foreground is implausible and fum- episode “Bare Knuckles,” Van Williams in 1964’s
blingly filmed.” The New York Times came away Temple Houston episode “Ten Rounds for Baby,”
with the impression that according to Wayne, “the Larry Pennell in 1966’s Big Valley episode “The
best medicine for a cowardly Communist is a sock Price of Victory” and Victor French in 1970’s Bo-
in the nose.” nanza episode “An Earthquake Named Callahan.”
Six-four, 210-pound Baylor was a professional One of his best TV fights came against Wayne
boxer and California heavyweight champ under Rogers in the 1961 Stagecoach West episode “The
the name Hal Fieberling. An in-demand screen Big Gun.” On the 1959 Maverick episode “The
heavy, he put on many great fights without the Sheriff of Duck ’n’ Shoot,” Baylor did a comic fight
need for a stuntman. Baylor worked often in fight with diminutive stuntman Harvey Parry.
scenes because producers favored a man who See: Anderson, Bob. “And in This Corner.” Trail
could convincingly do his own action. They didn’t Dust Magazine. Winter 1995; Anderson, Bob.
90 19 52

“The Winner and Still the Champ.” Trail Dust well-muscled Van Cleef was a solid fight man who
Magazine. Spring 1996; “John Wayne Heads Big was able to do a great deal of his own action for
Jim McLain Free for All.” Bonham Daily Favorite. the screen. He famously drew on John Wayne in
October 19, 1952; “New Image for Hal Baylor: He The Man Who Shot Liberty Valance (1962) only to
Gets Girl.” Daily Herald. October 27, 1969. be clobbered over the head. His first screen fights
came against Jock Mahoney on TV’s The Range
John Payne vs. Lee Van Cleef Rider. On the TV western Buffalo Bill, Jr., Van
and Neville Brand in Kansas Cleef had a great mixer with Dick Jones in 1955’s
“Boomer Bill.” Another top fight occurred with Ty
City Confidential (1952) Hardin in the 1960 Bronco episode “Yankee Tor-
Action director Phil Karlson delivers hard- nado.”
hitting violent crime noir with John Payne as an Van Cleef had fights of interest against Phil
anti-hero muscling in on the perpetrators of a heist Carey in The Nebraskan (1953), Ward Bond in
for which he was the unintentional fall guy. Gypsy Colt (1954), Sean McClory in I Cover the
Crooked cop Preston Foster, mastermind of the Underworld (1955), Jim Davis in The Badge of Mar-
job, employs hoods Neville Brand, Lee Van Cleef, shal Brennan (1957), Sterling Hayden in Gun Battle
and Jack Elam to pull off the caper. All wear masks at Monterey (1957), Jock Mahoney in Joe Dakota
and are strangers to their cohorts. Payne finds (1957) (see entry), Gerald Mohr in Guns, Girls,
Elam and assumes his place to put the pressure on and Gangsters (1959), Jim Brown in El Condor
the others, with Foster monitoring the action and (1970) and Stuart Whitman in Captain Apache
developing an appreciation for Payne’s prowess (1971). Van Cleef improbably starred as an aging
with his brain and his fists. ninja in the short- lived TV series The Master
Dismissed at the time, the film is now regarded (1984), once again taking on Jock Mahoney in “A
as the toughest of the brutal noirs with George Place to Call Home.” Most of the show’s run was
Diskant responsible for the adroit and atmos- spent going against actual expert Sho Kosugi as
pheric black-and-white camerawork. The New Van Cleef ’s arch-nemesis. Ironically, it was Kosugi
York Times was particularly put off by the brutality, who doubled Van Cleef for his martial arts kicks.
calling it “an uncommon lot of face slapping, stom- See: Boisson, Steve. “Phil Karlson: No Holds
ach punching and kicking in the groin.” Barred.” Filmfax. #110, 2006; Kansas City Confi-
United Artists publicity played up Payne’s dential pressbook; Malloy, Mike. Lee Van Cleef: A
prowess as a man of action. Fights galore occur, Biographical, Film and Television Reference. Jeffer-
with the principal actors doing all their own stunt son, NC: McFarland, 2005.
work. Elam had ribs cracked when he was hit too
hard by the leading man. Payne has four confronta- Randolph Scott vs. Lee Marvin
tions with Van Cleef. However, the only time the
menacing Van Cleef gets the upper hand is when
in Hangman’s Knot (1952)
borderline psychotic Brand helps out. The two Hangman’s Knot is a solid if unspectacular Ran-
classic screen toughs surprise Payne in his swim dolph Scott western from writer- director Roy
robe and knock him around for 20 intense seconds Huggins. It is best known for giving an early look
before leading lady Coleen Gray arrives to save at bad guy Lee Marvin, with The Hollywood Re-
him from the dire predicament. The final fight oc- porter noting that Marvin “stages a whale of a
curs between Van Cleef and Payne on a yacht, with fight.” This top villain meets Scott’s gallant fists
the two struggling over a gun as Foster and Brand after unwisely coming on to Donna Reed in a
lie bleeding. Payne and Van Cleef also have con- cabin. Scott and Marvin knock one another all
frontations in Rails into Laramie (1954) and The over the furniture for nearly two minutes. Marvin
Road to Denver (1955). Van Cleef and Brand start sends Scott rolling into the fireplace, but it’s largely
a saloon fight with one another on the 1979 nos- Scott dominating the bad guy until the bully can
talgic special When the West Was Fun. barely stand on his two feet. Clumsy editing from
Lee Van Cleef, 6'2" and 190 pounds, was a Navy Gene Havlick mars the fight, as does the obvious
veteran and one of the top villains of 1950s cin- use of doubles Al Wyatt and Bob Morgan. Still, it’s
ema. He looked mean and had a reputation as a a solid fight put on by two of the era’s top stuntmen
bar fighter, although he was adamant that he never (Seattle Daily Times: “[It’s] violent enough to make
started fights. He no doubt ended a few. The lean, even strong men shudder”).
 1953 91

Columbia publicity
played up Scott’s popular-
ity as a screen brawler, sug-
gesting that local athletic
establishments hand out
“Randolph Scott Trophies”
to their top boxers and
wrestlers as a promotional
tie-in. The highlight of the
battle has Marvin giving up
at the one-minute mark,
only to take a cheap shot at
Scott which begins the
fight anew. In real life, vet-
eran screen puncher Scott
didn’t trust movie new-
comer Marvin or his pen-
chant for throwing down
booze. He found him to be
too wild and undisci- Lee Marvin takes a big right from Randolph Scott in Columbia’s Hangman’s
plined, fearing that Marvin Knot (1952).
wouldn’t properly pull his
punches for the scene. Scott agreed only to close- (1973) and Shout at the Devil (1976) (see entries).
ups of himself throwing punches at Charles Law- Fights of interest came against John Wayne in The
ton, Jr.’s camera. That’s the chief reason for the Comancheros (1961), Toshiro Mifune in Hell in the
heavy use of stuntmen Wyatt and Morgan. Marvin Pacific (1968), Michael Conrad in Monte Walsh
gradually earned Scott’s trust and was asked to (1970), Gregory Walcott in Prime Cut (1972) and
work on The Stranger Wore a Gun (1953) and Seven Robert Culp in The Great Scout and Cathouse
Men from Now (1956). Thursday (1976). On TV, Marvin fought Martin
Six-three, 190-pound Marvin earned a Purple Milner on the 1961 Route 66 episode “Mon Petit
Heart as a Marine fighting at Saipan and is syn- Chou,” robot boxer Chuck Hicks on the 1963 Twi-
onymous with on-screen mayhem. He had a light Zone episode “Steel” and Ricardo Montalbon
wealth of real experience in violent matters from in the 1963 Dick Powell Theatre episode “Epi-
which to draw from and picked up judo moves for logue.” Milner broke Marvin’s nose with an errant
the movies from his stunt pals. Later he received punch, but Marvin shrugged it off and said it im-
Shotokan karate instruction from Enoeda proved his looks. On his own series M Squad
Keinosuke and paid Bruce Lee $150 an hour for (1957–1960), Marvin’s fight with Mike Mazurki
training in Jeet Kune Do. Marvin was a notorious in 1959’s “Decoy in White” was particularly fierce,
drinker and bar fighter, with his success in the lat- with Marvin resorting to palming his handcuffs
ter depending on his frame of mind, level of intox- and delivering a series of devastating heart
ication and what he was drinking. Nevertheless, punches to fell Mazurki. Marvin’s stuntman pals
the rangy actor moved with the grace of a big cat made him an honorary member of the Stuntmen’s
and affected an air of dangerous menace. He often Association.
exploded into action like a coiled spring and was See: Hangman’s Knot pressbook; Klein, Doris.
able to close ground quickly on an opponent. Au- “Lee Marvin Tells Secrets of Filming Movie
diences tended to live vicariously through Mar- Fights.” Reading Eagle. September 26, 1962; “The
vin’s tough guy characters and their doling-out of Man for Vicaries.” Time. 1965.
pain. They feared Marvin as an unpredictable vil-
lain and later embraced him as a battle-hardened The Bamboo Bar Brawl in City
anti-hero.
Notable fights include The Wild One (1953),
Beneath The Sea (1953)
The Missouri Traveler (1958), Donovan’s Reef Carefree deep sea divers Robert Ryan and An-
(1963), Point Blank (1967), Emperor of the North thony Quinn become caught up in the hunt for
92 1953

sunken treasure in the lost Jamaican city of Port for a Heavyweight (1962). Quinn had a few off-set
Royal, submerged under the sea. Outside the col- altercations that made the news and enjoyed par-
orful scenery and diving footage, one of this en- taking in movie fights, logging notable efforts
tertaining Budd Boetticher–directed Universal against Fred MacMurray in Swing High, Swing Low
film’s highlights is a spirited two-minute brawl in- (1937), Bing Crosby in Waikiki Wedding (1937),
side a bamboo bar involving Quinn and a group Cornel Wilde in The Perfect Snob (1941), Joel Mc-
of never-do-wells who are coming on to a lady. Crea in Buffalo Bill (1944), Gregory Peck in The
Seen-it-all-before Ryan remains detached in the World in His Arms (1952), Jeff Chandler in East of
balcony with the men’s girlfriends Mala Powers Sumatra (1953), Peter Graves in The Naked Street
and Suzan Ball and nonchalantly watches his part- (1955), Peter Whitney in Man from Del Rio
ner in action. Finally, he removes his jacket and (1956), Ray Milland in The River’s Edge (1957),
leaps onto the floor, finishing Quinn’s fistic work Jack Palance in Barabbas (1961), H.B. Haggerty
in a tidy ten seconds. Ryan told reporters that char- in Dream of Kings (1969) and Victor French in
acter and on-screen action mattered far more than Flap (1970).
romantic leading man stardom when it came to See: Binder, David. “Budd Boetticher, Director
his choice of film roles. Whose No-Frills 50’s Westerns Became Classics,
Stunt coordinator Paul Stader doubles Ryan for Dies at 85.” New York Times. December 1, 2001;
the impressive leap into the fray, while George Ro- “City Beneath the Sea.” Courier-Gazette. April 2,
botham does an excellent job as Quinn’s double. 1953; Marill, Alvin H. The Films of Anthony Quinn.
Cinematographer Charles P. Boyle and editor Ed- Secaucus, NJ: Citadel, 1975; Thomas, Bob. “Stunt
ward Curtiss feature plenty of smashed chairs and Business Lags.” Trenton Evening Times. May 2,
nicely cut camera angles. The two-fisted opposi- 1952.
tion is represented by stuntmen Duke Taylor,
Chuck Hamilton, Fred Zendar and former heavy- Alan Ladd vs. Ben Johnson in
weight boxer Thomas Garland. The stuntmen
were glad for the work as business had been slow
Shane (1953)
with penny-pinching studios turning to the use of George Stevens’ classic range war western fea-
black-and-white stock action footage already in tures Alan Ladd in his signature role. He plays the
the studio vaults. Luckily for the stunt pros, films understated, buckskin-clad drifter who becomes
were increasingly being made in color. a heroic father-figure to Brandon de Wilde at the
Director Boetticher was a tough guy. He played expense of the boy’s real dad Van Heflin. There
football at Ohio State and had been both a boxer are plenty of character-building moments in A.B.
and a professional bullfighter. The former Marine Guthrie’s Oscar-nominated screenplay, an adapta-
had a knack for filming action, particularly in the tion of Jack Schaefer’s novel. Tensions mount be-
western genre, and was often able to coax his lead- tween the men over the boy and mother Jean
ing actors into doing more for the camera than Arthur until Ladd and Heflin end up furiously
they normally would. His late 1950s Randolph brawling with one another in a dark long shot on
Scott westerns are classics. One of Boetticher’s a Paramount studio set. Ladd, whom we learn is a
more interesting fights came in a locked sanitar- gunfighter with many notches on his belt, heads
ium between Richard Carlson and pro wrestler off to face down the cruel hired gun Jack Palance.
Tor Johnson in Behind Locked Doors (1948). A The Ladd-Heflin battle, however, doesn’t come
decade later, this scene was reworked on the 1959 close to matching an earlier two-man fistfight in a
Peter Gunn TV episode “See No Evil” with John- saloon between Ladd and a grizzled, chaps-
son beating up star Craig Stevens in a padded cell. wearing cowboy played by Ben Johnson. Writer
Boetticher went on record as saying the toughest Richard Jensen calls this “an iconic moment of
men in Hollywood during his era were Jack western film.” The Big Damn Book of Sheer Manli-
Palance, Robert Mitchum and Robert Ryan. ness cites it as one of the best barroom brawls in
Six-foot-two and 195 pounds, Anthony Quinn screen history, and Legendary Westerns includes it
once earned five to ten dollars a fight as a sparring among the best cowboy fights. Johnson is excellent
partner for towering heavyweight Primo Carnera. as the heavy who develops a conscience once Ladd
He quit boxing after being floored in his seven- earns his respect. The fight itself is a contrast in
teenth fight, although he famously returned to the styles, with Johnson throwing John Wayne hay-
ring to play the aging Mountain Rivera in Requiem makers while Ladd delivers shorter blows in more
 1953 93

Alan Ladd floors Ben Johnson during the famous saloon brawl in Paramount’s Shane (1953).

effective combinations. The fight is one of Shane’s on Ladd, but Heflin comes to his aid and the
many indelible scenes, with Newsweek noting of viewer is treated to a spirited free-for-all. The two
its nuance, “A barroom brawl, although in the re- men successfully fight back to back as Johnson qui-
quired tradition of outrageous mayhem, is given etly slips out of the saloon, a beaten man. The El-
that added touch of plausibility.” lensburg Daily Record proclaimed that Shane
The cocksure Johnson ridicules Ladd for order- boasted “the longest, bloodiest rough-and-tumble
ing soda pop. Ladd promptly orders two whiskeys. fistfight that has ever been presented on celluloid,”
The first is tossed onto the shirt of a surprised while the Toledo Blade reviewer noted that it con-
Johnson, with the second going into his face along tained “the most brutally realistic cinematic brawl
with Ladd’s fist. The blow knocks Johnson back these eyes have seen in many years of movie-
ten feet into the general store. Johnson rises with going.”
a smile, wiping makeup artist Wally Westmore’s The Ladd-Johnson fight took three weeks to
stage blood from his mouth; an image perma- prepare and a full two days to film with the director
nently etched into western fans’ minds. The two seeking a combination of myth and reality. As-
circle one another cautiously, feinting blows to sisted by stunt coordinator John Indrisano, Stev-
make the other commit. Stevens has opted not to ens walked each actor through the fight, detailing
use any background music, making the fight all the blow by blow how he wanted the action to pro-
more effective. Both combatants land several ceed, at what pace, and from what angle. Logisti-
blows, though Johnson captures too much air with cally, it was difficult to shoot not only because of
his. Ladd wears him down, dancing over the fallen the cumbersome Technicolor cameras and the
bully before landing a last punch as Johnson tries many different positions, but due to the size dif-
to rise up. Johnson’s half-dozen cohorts move in ference between the men. Ladd was 5'5" while
94 1953

Johnson was nearly 6'3" and had a good 70 pounds John Ford while working on Fort Apache (1948).
in his favor. Stevens and second unit director Fred The director groomed Johnson for stardom, but
Gill expertly manipulated the scene with Oscar- the latter wouldn’t let himself be bullied by Ford
winning D.P. Loyal Griggs’ camera placement, on the set and was soon back on the rodeo circuit.
needing to take into account Ladd’s well- worn His performance in Shane guaranteed him a life-
shoe lifts and hidden planks. Johnson had to be time of western work. Johnson was cowboy-tough,
careful not to knock Ladd off his platform when often serving as director Sam Peckinpah’s protec-
he was throwing his punches. Much of the film is tor on south-of-the-border filming adventures. He
shot from Brandon de Wilde’s point of view on the also commanded respect and was known to grab
floor, with the audience hearing blows and watch- men around the neck who had the temerity to
ing the boy’s reactions. He memorably cracks the swear around a lady, setting them on a future path
candy stick in his mouth in synch with the last big of good manners. Nobody messed with Ben John-
punch. son. He had fights of interest with Dane Clark in
Paramount and Stevens had the film in post- Fort Defiance (1951), Don Haggerty in Wild Stal-
production for nearly two years. The superb Wil- lion (1952), Larry Chance in Fort Bowie (1958),
liam Hornbeck editing keeps one from noticing James Drury in Ten Who Dared (1960), Charles
the huge disparity between the men, as does Gray in Junior Bonner (1972) (see entry) and Roy
Griggs’ shooting through chair legs and beneath Jenson in The Red Pony (1973). On television, he
tables to partially obscure the use of doubles for had major fights with Richard Boone in the 1960
Ladd and Heflin. USA Today noted, “Every angle Have Gun—Will Travel episode “The Race” and
in this brilliantly edited classic is the right one,” James Arness in the 1963 Gunsmoke episode
and they included it among the Top 10 all-time “Quint-cident.”
fights. Publicity compared it to The Spoilers, and See: Jensen, Richard D. Ben Johnson: The Nicest
Ladd told the press that former stuntman Johnson Fella. Bloomington, IN: IUniverse, 2010; “Historic
was the toughest man he ever fought. Film Fight in The Spoilers Has a Rival in Shane.”
Johnson’s background came in handy. He did The World’s News. August 15, 1953; Johnson, Er-
all his own stunts, although he did knock himself skine. “One-Punch Van Heflin Kayoes Stunt Man
dizzy when he flew through the swinging doors in Movieland Brawl.” Trenton Evening Times. Oc-
and hit his head. Ladd is doubled by Russ Saun- tober 1, 1953.
ders, Heflin by Wayne Burson. The combatants in
the brawl are Henry Wills, Steve Raines, Bill Car- Ronald Reagan vs. Preston
tledge, Jack Sterling, Chick Hannan and Lucky
Brown. There have been claims that Clayton
Foster in Law and Order (1953)
Moore of The Lone Ranger worked on this fight It’s odd seeing the future president of the
under the name Rex Moore during the period United States Ronald Reagan getting down and
when he left the TV show, but that hasn’t been dirty in a bust- up with Preston Foster in this
substantiated. Moore doesn't mention it in his au- Nathan Juran–directed western from Universal-
tobiography. International. Foster, a cruel villain with a metal
Heflin became carried away during the clash hand, blames former lawman Reagan for his de-
and knocked out a stuntman. He had rehearsed in formity. Reagan wants to settle down with Doro-
a gym with the men for more than a week but for- thy Malone in Cottonwood, Arizona, but must
got the choreography when the cameras began to face down Foster when he threatens to burn down
roll; this is one of the primary reasons that stunt- the town. It’s an energetic and surprisingly violent
men prefer working with their experienced breth- fight trimmed by censors because of its bloodiness.
ren. Heflin ducked into a punch that split his lip. The action goes under horses and wagons, onto a
Overcome with a flash of anger, he hit the stunt- sidewalk, and into a general store during its spir-
man and punched another. Some blood seen on ited two minutes. As if his iron fist were not
Heflin’s chin was his own from the lip injury. He enough, Foster uses a concealed derringer and a
needed eight stitches and was ordered home for jug to hit Reagan and tries to do additional damage
five days until he healed. with a hatchet and a pitchfork. Reagan keeps
The stunt crew had no such problem with the pounding on Foster with his own fists as they
highly regarded Johnson. The rodeo champion knock down shelves and crash through a window
was one of their own before being discovered by for Clifford Stine’s camera. Foster leaps onto an
 1953 95

open buckboard to escape, but Reagan knocks him out Peters with a fist to the jaw and revives her
off. Foster meets a grisly end as he falls into the with beer in the face. Bad guy Richard Kiley beats
path of a stagecoach. The excellent stunt work was up Peters before the men ultimately turn their fists
done by Jack Young and Carl Andre, with Ted on one another in a subway for a climax that the
Kent splicing the exhilarating action together. The Dallas Morning News called “terrifying.” The Hol-
Dallas Morning News labeled the brawl “magnifi- lywood Reporter praised the film for its “gritty,
cent.” hard- hitting, brutal realism,” while noir expert
The 6'1", 185-pound Reagan was a lifeguard and Eddie Muller wrote, “Love scenes or fight scenes,
a football player at Eureka College before signing Fuller gave them all the lurid gusto of someone
a Warner Bros. contract and playing two- fisted born to the crime beat.”
government agent Brass Bancroft in the B-films Fuller shot from a high angle, utilizing long, ex-
Secret Service of the Air (1939), Code of the Secret tended takes emphasizing swift camera movement
Service (1939) and Smashing the Money Ring (1939). around the physical action. There’s tremendous
The studio announced that Reagan had one fight energy and rhythm to the perfectly paced fight, all
for every thousand feet of film shot. While serving done on a Fox studio set with a crowd of shocked-
stateside with the First Motion Picture Unit dur- looking extras. The action begins in a men’s room,
ing World War II, Reagan worked alongside Oren spills into the subway’s ticket area and over turn-
Haglund, who trained combat cameramen in the stiles, before leaving the platform and ending on
art of judo and self-defense. Reagan also served the tracks where Widmark pounds Kiley into un-
with the First U.S. Cavalry. Westerns like Law and consciousness. At one outlandish point, Widmark
Order helped solidify his reputation as a tough drags Kiley down a flight of stairs with the latter’s
Hollywood cowboy when he took office as presi- head banging off each step. The Breen Office ob-
dent of the United States in 1981. jected to such violence as knees and kicks, al-
Fights of interest came against Zachary Scott in though a turnstile to the gut and the infamous stair
Stallion Road (1947), Grant Withers in Tropic sequence survived into the final cut. The only neg-
Zone (1953) and John Payne in Tennessee’s Partner ative is the often too obvious use of stuntmen, al-
(1954). On TV he fought Leo Gordon in the 1958 though both actors are involved in a lot of the ac-
Death Valley Days episode “No Gun Behind His tion. In fact, the 5'11", 175-pound Kiley injured his
Badge” and Scott Marlowe in the 1961 Zane Grey neck in this fight and was bothered by it the rest
Theatre episode “The Long Shadow.” Of course of his career. John “Bear” Hudkins served as Wid-
his greatest battle was the Cold War game of wits mark’s double. The film was remade with a South
against Communism and he prevailed over the So- African backdrop as The Cape Town Affair (1967),
viet Union’s leader Mikhail Gorbachev, ultimately with James Brolin and John Whitely slugging it
bringing down the Berlin Wall in 1989. out down a long staircase.
See: McGivern, Carolyn, and Fred Landesman. Richard Widmark, 5'9" and 165 pounds, played
Ronald Reagan in Hollywood. Cork: Reel, 2005; collegiate football at Lake Forest but was denied
Vaughn, Stephen. Ronald Reagan in Hollywood: military service due to a perforated eardrum. In
Movies and Politics. Cambridge: Cambridge Uni- real life he abhorred violence, but his early on-
versity Press, 1994. screen image seemed built on rugged action and
dastardly deeds, with films like Kiss of Death
Richard Widmark vs. Richard (1947) leaving audiences hating him. His on-
Kiley in Pickup on South Street screen tough guy rep even led to his Jim Bowie
character in The Alamo (1960) briefly tangling
(1953) with John Wayne. Widmark usually let doubles
Pickup on South Street is superbly filmed noir step in for extended fights, perhaps stemming from
from iconoclastic director Samuel Fuller, an ex– being clobbered unconscious when Jack Palance
World War II infantryman who began scenes by hit him over the head with a real gun making Panic
firing a pistol. That toughness is evident in what in the Streets (1950). Widmark was also injured in
many consider his best film. Richard Widmark a screen tussle on Garden of Evil (1954) with Gary
stars as a brash, anti-heroic pickpocket who be- Cooper and Cameron Mitchell.
comes embroiled in a Communist plot when he Fights of interest came against Cornel Wilde in
lifts Jean Peters’ purse containing important mi- Roadhouse (1948) (see entry), Richard Boone in
crofilm. The film is so tough that Widmark knocks Red Skies of Montana (1952), Bert Freed in Take
96 1953

the High Ground (1953), Robert Wagner in Broken The injuries didn’t dampen Palance’s odd sense
Lance (1954), William Campbell in Backlash of humor. He lifted the strapping Heston over his
(1956), Timothy Carey in The Last Wagon (1956), head and refused to put him down. Palance en-
Rip Torn in Time Limit (1957), Tom Drake in War- joyed Heston’s profane protests. The tense 90-sec-
lock (1959), Harry Carey, Jr., and Ken Curtis in ond struggle ends with Heston breaking Palance’s
Two Rode Together (1961), Kirk Douglas in The neck. Henry Wills ran the stunts in the Charles
Way West (1967) and John Saxon in Death of a Marquis Warren–directed film, going after a Non–
Gunfighter (1969). Hollywood style fight. Editor Frank Bracht mixes
See: Day, Crosby. “Everyone Wants That Mi- medium shots with close-ups, never straying from
crofilm.” Orlando-Sentinel. March 2, 2003; Hol- the central action, while Paul Sawtell’s score effec-
ston, Kim. Richard Widmark: A Bio-Bibliography. tively emphasizes the top dramatic moments.
Westport, CT: Greenwood, 1990; Muller, Eddie. However, the fight could have benefitted dramat-
Dark City: The Lost World of Film Noir. New York: ically from a few well-placed punches. Heston also
St. Martin’s, 1998. fights Robert Wilke.
Six-three and 205 pounds, Charlton Heston was
Charlton Heston vs. Jack an Army Air Corps veteran as a B-25 gunner dur-
ing World War II. He was noted for his physical
Palance in Arrowhead (1953) preparation before undertaking films, working so
One of the more realistic hand-to-hand combat closely with the professional stuntmen that he was
fights put to film features an interesting match-up accepted into their fraternal organization as an
between cavalry scout Charlton Heston and fear- honorary member. When engaging in a fight, the
some Apache leader Jack Palance. As children, the stalwart actor’s jaw was clenched nearly as tightly
two were blood brothers, but now Heston hates as his fists. The majority of his fights come across
all Indians, including the Eastern- educated as a realistic physical struggle for his characters.
Palance. The fight to the death is novel in that no Few actors could play fatigue as convincingly in
punches are thrown. It’s all grappling down a rocky an action scene. By the end of a fight, Heston was
hillside as tracked by Ray Rennahan’s camera, and usually spent and breathing heavily, but he packed
neither actor uses a stuntman. This is especially enough of a punch to frequently come out the win-
impressive considering Palance does the fight ner. He studied judo with Leo Leonard at Bot-
shirtless. Palance suffered multiple cuts and bruises tner’s Gym in New York City. Ironically, his first
from the rugged terrain. movie punch was off the mark, breaking Mike
Mazurki’s nose on Dark City
(1950).
Notable fights include The Big
Country (1958) and Beneath the
Planet of the Apes (1970) (see en-
tries). Fights of interest came
against Pat Hogan in Pony Express
(1953), Jim Davis in The Presi-
dent’s Lady (1953), Chris Alcaide
in Bad for Each Other (1953), Alan
Reed in The Far Horizons (1955),
Gary Cooper in The Wreck of the
Mary Deare (1959), Richard Har-
ris in Major Dundee (1965), Bruce
Dern and Roy Jenson in Will
Penny (1968), Joe Canutt in Planet
of the Apes (1968), James Brolin
in Skyjacked (1972), Chuck Con-
nors in Soylent Green (1973) and
James Coburn in The Last Hard
Charlton Heston (left) and Jack Palance fight to the death in Para- Men (1976). He traded comic
mount’s Arrowhead (1953). punches with Brian Keith in The
 1953 97

Mountain Men (1980) and memorably cleared out Mitchum and Palance had no further problems
a bar in Touch of Evil (1958). with one another during the fight routine, al-
See: “Actors Will Do Anything.” Screenland Plus. though they made their presence in Mexico
1952; Kitzmiller, Chelley. “Jack Palance: The Black known with their extracurricular activities includ-
Knight of the Purple Sage.” Wildest Westerns. Spe- ing a brawl with a Mexican general at La Reforma.
cial, 2005; “Stunts Earn New Nickname for Charl- Jack Palance, 6'3" and 210 pounds, was raised
ton Heston.” San Diego Union. January 30, 1957. in a Pennsylvania coal mining community, escap-
ing via an athletic scholarship to play football at
Robert Mitchum vs. Jack the University of North Carolina. He boxed pro-
fessionally under the ring name Jack Brazzo, scor-
Palance in Second Chance (1953) ing a 15–1 record with 12 knockouts. During
This RKO 3-D action programmer pits a dream World War II he served with the Army Air Force
pairing of tough ex-heavyweight palookas against and trained to be a B-24 bomber pilot. Publicity
one another in a novel setting that studio publicity maintained that he survived a fiery plane crash, and
called “breathtaking.” the resulting plastic surgery explained his taut fa-
Prizefighter Robert Mitchum has wandered off cial features. Palance was well-built, strong and
to South America after killing a man in the ring. moved like a jungle cat. He had a reputation as an
He still boxes but is reluctant to throw his killer aggressive man who liked brawling; many actors
right. He gets wrapped up in all kinds of intrigue feared doing fights with him. He studied Kenpo
as he protects Linda Darnell from hit man Jack karate with Ed Parker and Okinawa-Te with Bob
Palance. Rudolph Maté’s film is most notable for Wall.
the suspenseful one-minute climactic fight with Notable fights came against Charlton Heston in
Palance aboard an endangered cable car high in Arrowhead (1953) (see entry), Jeff Chandler in
the Andean mountains. Frayed cables are on the Sign of the Pagan (1954) and Ten Seconds to Hell
verge of snapping as Mitchum and Palance go blow (1959), Lee Marvin in I Died a Thousand Times
to blow with one another on the outside observa- (1955), Rex Reason in Kiss of Fire (1955) and An-
tion post while hanging precariously by a thread. thony Quinn in Barabbas (1961). Palance was a
Palance goes hurtling to his death from a Mitchum brawling adventurer in Kill a Dragon (1967) and
right hand. Mitchum biographer Alvin H. Marill fought alongside Bud Spencer in the Spaghetti
called it a “sensational climax.” Western It Can Be Done, Amigo (1972). On TV,
Mitchum, who trained with Ralph Volkie for Palance won an Emmy playing aging boxer Moun-
the fight sequences, also takes on California heavy- tain McLintock in a 1956 Playhouse 90 version of
weight boxing champ Abel Fernandez in the ring. Requiem for a Heavyweight. On his series Bronk
Mitchum had fought many tank town fights while (1975–1976), he had battles against William
Palance was a professional boxer. Paul Stader co- Smith, Denny Miller and Steve Sandor.
ordinated a combination of studio and location See: “Actors’ Brawl Wins Stuntman’s Accolade.”
work with George Robotham doubling Mitchum Chicago Tribune. August 30, 1953; “Palance Punches
and Bob Morgan doubling Palance. The stars did Too Realistic.” Oakland Tribune. November 8,
much of the fighting, but not without incident. 1955; Second Chance pressbook.
They knew going in that they needed to fight to
contact because of D.P. William Snyder’s 3-D cam- Robert Stack vs. Peter Graves
eras. Palance was a Method actor who worked into
a huffing, puffing rage before fights. According to
in War Paint (1953)
Mitchum, the stuntmen warned him there was a B-western action vet Lesley Selander’s War
high probability Palance’s punches wouldn’t be Paint benefits from cinematographer Gordon
pulled. With the first overzealous punch to ring Avil’s fantastic Death Valley location camerawork.
aside his head, Mitchum buried his fist deep into It was filmed in vivid Pathecolor and a rugged cast
Palance’s gut. Mitchum claimed that Palance threw featured Robert Stack, Peter Graves, Charles Mc-
up his lunch. Another version made the rounds Graw and Robert Wilke. A cavalry troop traveling
from director Maté, who claimed that Palance on foot begins bickering among themselves as they
knocked Mitchum out with a blow to the head. In trek further into the desert and are picked off by
at least one interview, Mitchum said Palance flat- renegade Indian brave Keith Larsen. The film is
tened him for a full count. Whatever the case, notable for the novelty of pairing future straight-
98 1953

faced Airplane! (1980) co-stars Robert Stack and promising “battering-ram violence” and “brutal
Peter Graves in the climactic one- and-a-half- savagery.” The ads screamed, “It hits you right in
minute fight along a formidable 90-degree moun- the teeth!” In addition to hard-hitting action, it’s
tain slope; United Artists publicity described the one of star John Payne’s best roles. He plays a
fight as “an amazing battle on the ledges.” The brooding and bitter prizefighter turned taxi driver.
Ames Daily Tribune commented, “When they get He lost a championship fight against Hal Baylor
around to giving out Academy Awards for realistic, because of a cut and now laments over footage of
spine-tingling man-to-man fights they’ll have to the bout to the displeasure of his former showgirl
give serious consideration to the Robert Stack- wife Peggie Castle. The plot twists and turns as
Peter Graves crusher in War Paint.” Stack also Payne must clear his name after jewel thief Brad
fights Robert Wilke. Dexter kills Payne’s estranged wife. Payne is the
The six-foot, 180-pound Stack and the 6'3", chief suspect in the eyes of the police. A highlight
200-pound Graves both look fit and agile. Stack remains the climactic 90-second fight on a ship’s
was a gunnery sergeant with the Navy during World deck and gangplank with Dexter. A wounded
War II and trained with boxer Mushy Callahan. Payne is haunted by editor Buddy Small’s intercut
He is best remembered as no-nonsense G-man flashbacks to his fight with Baylor but summons
Eliot Ness on TV’s The Untouchables (1959–1963). the strength to keep fighting until the police arrive.
Graves served with the Air Force and starred as The Daytona Beach Morning Journal called it “a ter-
undercover agent Jim Phelps on Mission: Impossi- rific fistfight,” while Film Noir Guide termed it “a
ble (1967–1973). Both act out the dusty life-or- knockout climax.”
death struggle with appropriate strain and grimace. Director Karlson stages the action well and gets
Their stuntmen are to be commended for the great excellent black-and-white camerawork from Franz
leaps, rolls and tumbles along the rocky cliffs and Planer. Payne and Dexter conduct their fight in
stark wasteland, making this fight picturesque and menacing shadows. The boxing footage is well co-
unique. Bill Catching doubled Stack; the star was ordinated by John Indrisano. The final fight is ar-
one of the rare actors to acknowledge and praise his guably not even the best one: Earlier, Payne had a
stuntman. Credit must be given to John F. Schreyer nifty 30-second exchange with Jack Lambert in an
who cut the exciting action together seamlessly. apartment during which the tables are neatly
Stack’s most memorable screen fight was com- turned. The scene begins with Lambert repeatedly
ically taking on Hari Krishnas and other annoying judo chopping Payne’s neck as he brutally ques-
people handing out pamphlets at the airport in the tions him, thinking he’s merely a nosy cab driver.
disaster spoof Airplane! (1980). Stack’s method- Payne sees an opening and unleashes his boxing
ology is simply to punch his way through the skills on the thug. Stuntman Bob Morgan can be
gauntlet. On a more serious note, he fought Rock spied in a medium shot exchanging punches with
Hudson in Written on the Wind (1956). Graves’ star Payne before falling backwards over a chair.
best fights came against Rory Calhoun in Rogue To Lambert’s credit, the camera changes and it’s
River (1951), Dane Clark in Fort Defiance (1951), the actor who takes a flip for the camera and rises.
Anthony Quinn in The Naked Street (1955), Ty- Six-foot-two, 200-pound Brad Dexter was a
rone Power in The Long Gray Line (1955), Timo- Golden Gloves champ and a member of the USC
thy Carey in Bayou (1957), Chuck Connors in boxing team. He served with the Army Air Force
Death in Small Doses (1957), and George Kennedy during World War II and nixed offers to go pro in
in The Ballad of Josie (1967). the ring. Nevertheless, he liked sparring with pro-
See: Pollak, Michael. “Peter Graves, Mission: Im- fessional boxers at the Main Street Gym in Los
possible Star, Dies at 83.” New York Times. March 14, Angeles until RKO ended that activity in the early
2010; Stack, Robert, and Mark Evans. Straight Shoot- 1950s. They wanted him to save himself for movie
ing. New York: MacMillan, 1980; War Paint press- dust-ups with Robert Mitchum in Macao (1952)
book. and Victor Mature in The Las Vegas Story (1952).
Dexter was later one of The Magnificent Seven
John Payne vs. Brad Dexter in 99 (1960). On TV, he battled Ty Hardin on Bronco,
John Vivyan on Mr. Lucky and Troy Donahue on
River Street (1953) 77 Sunset Strip. His best fight came against Richard
99 River Street is a fast-moving, underrated film Boone in the 1958 Have Gun—Will Travel episode
noir from director Phil Karlson with publicity “24 Hours at North Fork.”
 1953 99

See: Keaney, Michael F. Film Noir Guide. Jeffer- Wayne’s fist reached its destination. Wayne felt
son, NC: McFarland, 2003; Lousararian, Ed G. more comfortable doing the fight with his trusted
“Brad Dexter: Screen Tough Guy Remembers The pal Roberson, considering newcomer Gordon’s
Magnificent Seven.” Wildest Westerns. #1, 1998; 99 background. When Wayne later shoots Gordon,
River Street pressbook. he again took Gordon to task for falling forward
instead of backward. Gordon calmly lifted his shirt
John Wayne vs. Leo Gordon in to display an old bullet wound and informed
Wayne when he was shot in the belly in real life,
Hondo (1953) he fell forward. This silenced Wayne and earned
One of John Wayne’s most popular western ve- Gordon the star’s grudging respect. Because of his
hicles was helmed by director John Farrow on lo- size and toughness, Gordon squared off with
cation in Mexico with writer James Edward Grant Wayne again in The Conqueror (1956) and McLin-
adapting Louis L’Amour’s story for the screen. tock! (1963).
Wayne, as scout Hondo Lane, comes across Geral- Leo Gordon (6'2", 220 pounds) was a boxing
dine Page and her young son in dangerous Apache champion in the Army and a real tough guy who
territory. He later runs into loutish Leo Gordon had served time in prison. Legend has it that the
at an Army encampment. Wayne doesn’t realize former construction worker with the face like a
that Gordon is Page’s husband, but the latter has clenched fist was one of the most feared men be-
heel written all over him when he tries to kick hind the San Quentin walls. Don Siegel, director
Wayne’s dog. The two come to blows in a barroom, of Riot in Cell Block 11 (1954), described him as
with Wayne proving his skill as a fighter by dis- “the scariest man I ever met.” In that film, Gordon
patching Gordon with an economy of punches. Al- frightened audiences as he led the revolt and
though it’s considered a good screen match-up, pounded on the guards. Gordon dedicated himself
Gordon never lands a punch. The fight is so one- to reading and became a prolific screenwriter and
sided that Wayne has time to hit fellow scout Ward family man. When he began his career in Holly-
Bond, humorously claiming he knows him too wood, most co-stars were reluctant to do fights
well to trust him. Realizing he’s no match for with him due to the realism he brought to such
Wayne, Gordon goes for his gun and “Duke” scenes. He had a reputation for mixing it up, oc-
promptly knocks him clean out the saloon door casionally offering a stiff shot to the belly to test a
with a big right hand. As classic as the film is, Far-screen opponent’s mettle. William Shatner, star of
row and his film cutter Ralph Dawson could have The Intruder (1962), is a shining example of an
gone to more trouble to edit in close-ups of Gor- actor who ended up with Gordon’s palm around
don’s punches and reactions. Perhaps have him his throat. Facing Leo Gordon in a fight was a
land a punch. Cliff Lyons coordi-
nated the action with Archie Stout
serving as the cameraman.
Wayne’s regular stuntman Chuck
Roberson doubles Gordon and is
on-screen as much as the actor in the
fight, rolling over a table, taking a
chair hit and going out the door.
Wayne was reluctant to trade
punches with the inexperienced
movie fighter Gordon. As the action
began, Gordon grabbed Wayne’s
shirt collar and got a reprimand
from Wayne. He next let loose a
punch that was too straight and
aimed at Wayne’s chin. Again Wayne
chastised him and showed Gordon
how to wind up and throw a movie
punch. Gordon noted that he could Rayford Barnes watches Leo Gordon make the mistake of grabbing
have hit Wayne three times before John Wayne’s shirt in Warner Bros.’ Hondo (1953).
100 1953

rite of passage for Hollywood’s toughest leading the attention of Hal Mohr’s camera. Marvin based
men. his skuzzy biker on an actual outlaw named Wino
Gordon had notable fights in Gun Fury (1953), Willy of the Booze Fighters, and his scene-stealing
The Yellow Mountain (1954), Red Sundown (1956) performance impressed real bikers. Hell’s Angels
and The Night of the Grizzly (1965) (see entries). president Frank Sadilek sought out Marvin’s vest
Fights of interest came against Randolph Scott in and wore it to club meetings. It was passed down
Ten Wanted Men (1955) and 7th Cavalry (1956), to famed Angels leader Sonny Barger. The force
George Montgomery in Robbers’ Roost (1955) and of Marvin’s realistic portrayal made Brando’s con-
Black Patch (1957), John Payne in Santa Fe Passage flicted, mumbling leather-clad boy look ridiculous
(1955), Scott Brady in The Restless Breed (1957), by comparison.
Jeff Chandler in Man in the Shadow (1958), Rory After plenty of build-up, the two have a center-
Calhoun in Apache Territory (1958), Steve Coch- of-the-town three-minute fight over a racing tro-
ran in The Big Operator (1959), Jim Davis in Noose phy. Brando pushes Marvin to the ground, and the
for a Gunman (1960), Jock Mahoney in Tarzan latter merely smiles. “I love you, Johnny,” Marvin
Goes to India (1962), Lino Ventura in The Dicta- says before trying a sneak attack. Unfortunately,
tor’s Guns (1965), Tab Hunter in Hostile Guns the use of stunt doubles Dave Sharpe and Tom
(1967) and Barry Sullivan in Buckskin (1968). Steele by stunt coordinator Carey Loftin for an
On TV, he squared off with Clint Walker on overwhelming portion of the action (including
Cheyenne in especially rugged fights, the most Marvin’s character crashing through a store win-
noteworthy coming in 1962’s “Vengeance Is Mine.” dow) undermines the fight. Sharpe is a great stunt-
He literally made the rounds of TV, menacing the man, but he’s unconvincing as Brando. It’s one of
heroes on many of the major shows. Special men- the more obvious cases of stunt doubling ever seen
tion should be made of fights with Ronald Reagan in an otherwise famous film, yet The Spokesman
in 1958’s Death Valley Days episode “No Gun Be- Review declared, “Lee Marvin’s street fight with
hind His Badge,” Robert Fuller in 1960’s Laramie Brando is one of the high points of the film for
segment “Ride into Darkness” and Ron Ely in slug-it-out action that looks authentic.”
1966’s Tarzan episode “The Circus.” Tough as Brando and Marvin were at odds on The Wild
ever, Gordon played a boxer tired of being forced One in a competitive sense over their opposing
to take dives in the 1960 Untouchables episode acting styles. Brando was into his internalized
“Head of Fire: Feet of Clay.” On the 1965 Get Method acting and gave little for co-stars to work
Smart episode “School Days,” he engages in judo off. Marvin realized Brando’s focus was on a ciga-
with Bruce Tegner. In 1979, he played an aging rette butt lying on the ground. Marvin kicked it
wrestler who grapples with Merlin Olsen on the away, eliciting curses from the disrupted star.
Little House on the Prairie episode “The King Is Combat veteran Marvin enjoyed needling Brando
Dead.” about being 4-F for Korea. To add further contrast,
See: Hondo DVD special features; “Leo Gor- Brando rode a British Triumph on screen and in
don, 78, Villain of Westerns in Films and on TV.” real life. Marvin rode a Harley Davidson. The real
New York Times. January 6, 2001; Lousaraian, Ed. bikers and stuntmen aligned with Marvin and his
“Leo Gordon: An Actor Who’s Good at Being manly nature, snickering over Brando’s costume
Bad.” Wildest Westerns. #2, 1999. and his postured sensitivity. Marvin could drink
excessively off-screen and carry it over into his col-
Marlon Brando vs. Lee Marvin orful character. Brando became worried that Mar-
vin was stealing the picture. Marvin, on the other
in The Wild One (1953) hand, didn’t appreciate the pull Brando had with
Based on a real incident where outlaw motor- the director or the star’s many close-ups.
cyclists took over the town of Hollister, California, When Benedek told the two actors he wanted
Laslo Benedek’s The Wild One became famous as them to do their own fight, they clashed with great
one of star Marlon Brando’s early signature roles, gusto for a lone take. Brando tried to be as rough
influencing a generation of lost youth. He plays as possible to prove his own manhood, with the
leather-jacketed biker Johnny, a societal rebel who larger and tougher former Marine Marvin only los-
clashes with Chino, leader of a rival gang. Chino ing because the script dictated that was the thing
is played by Lee Marvin in glorious loose-limbed to do. Punches are thrown back and forth and even
fashion. He towers over Brando and commands a few judo movements are employed. When the
 1953 101

single take of them rolling around on the ground flying from the screen.” According to Hudson bi-
was in the can, Marvin improvised with an upraised ographer John Mercer, “The film is action-packed,
finger for Brando’s benefit. The two later had a laugh with many shootouts and fights, all of which the
over all of this, but at the time it added to the ten- actor executes convincingly.”
sion reaching the screen. Some thought the two Several minor fistic exchanges pepper the film,
might really come to blows. Benedek’s hesitance most notably between outlaws Leo Gordon,
to push the issue further with another take resulted Neville Brand and Lee Marvin. Behind the scenes,
in the abundant footage of the stuntmen’s fight rou- tough guy Gordon intrigued director Walsh. The
tine once the film reached Al Clark’s editing room. Irving Wallace-Roy Huggins script called for fel-
Five-foot-nine, 165-pound Brando played foot- low bad guys Marvin and Brand to wake Gordon
ball at Shattuck Military Academy but was rejected from a slumber and rough him up. Walsh told Mar-
from military service because of a knee injury. He vin and Brand he didn’t want them to pull their
emphasized his physical presence with weightlift- punches on Gordon for the scene. Gordon sensed
ing and boxing workouts. He liked to informally what was going on and proceeded to beat the tar
spar backstage while doing A Streetcar Named De- out of the two battle-tested war heroes. Brand and
sire on Broadway, playing the uncouth Stanley Gordon reminisced about this exchange years later
Kowalski. He famously went on one night with a when they were staging another fight together on
bloody broken nose. Legend says it was an errant the TV western Laredo.
punch from understudy Jack Palance, but it was Strapping 6'5", 215-pound Rock Hudson was a
more likely a stagehand. Brando scored big in the Navy veteran prior to being signed to a Universal
1951 movie version of Streetcar and became top contract. He learned to box from Frankie Van for
dog in the industry. Notable fights include On the Iron Man (1951), and many of his films featured
Waterfront (1954), Guys and Dolls (1955) and The fights. Hudson was an effective movie fighter, es-
Chase (1966) (see entries). Fights of interest came pecially imposing on the silver screen thanks to
against Ray Teal in The Men (1950), Slim Pickens his huge frame. He also had a high pain tolerance,
and Timothy Carey in One-Eyed Jacks (1961) and once accidentally tearing open his hand when
Hans Christian Blech in Morituri (1965). throwing a punch at the camera. He simply had it
See: Kanfer, Stefan. Somebody: The Reckless Life taped up and returned to work. Many stars would
and Remarkable Career of Marlon Brando. London: have missed several work days for such an injury.
Faber & Faber, 2011; Zec, Donald. Marvin: The Hudson’s hand turned out to be broken.
Story of Lee Marvin. New York: St. Martin’s, 1980. Notable fights include Giant (1956) and The
Undefeated (1969) (see entries). Fights of interest
Rock Hudson vs. Phil Carey came against Henry Brandon in Scarlet Angel (1952),
Steve Cochran and Hugh O’Brian in Back to God’s
in Gun Fury (1953) Country (1953), Hugh O’Brian in Seminole (1953),
Location is everything as pacifistic Civil War Rex Reason in Taza, Son of Cochise (1954), Robert
veteran Rock Hudson and psychotic bad guy Phil Stack and John Larch in Written on the Wind (1956),
Carey battle over Donna Reed among jagged red Sidney Poitier in Something of Value (1957), Kirk
rocks in picturesque Sedona, Arizona. The two- Douglas in The Last Sunset (1961) and George
minute fight was shot at the foot of the formidable Peppard in Tobruk (1967). In the 1972 McMillan
Bell Rock, one of the great western sites for color and Wife TV episode “Terror Times Two,” Hudson
moviemaking. Rattlesnake wranglers were on fought himself using creative camera angles and
hand to clear the area before filming, and the stal- longtime stunt double George Robotham.
wart actors are stunt- doubled extensively on See: Mercer, John. Rock Hudson. London: Pal-
horseback and foot by Al Wyatt and Bob Morgan grave MacMillan, 2015; “Star Breaks Hand During
as they fall and roll around the ground. Director Fight.” Sarasota Herald Tribune. February 13, 1981.
Raoul Walsh and D.P. Lester White shot the Co-
lumbia film in the 3-D process, with Carey (6'4", Audie Murphy vs. Russell
205 pounds), a former Marine, throwing a tree
stump and a small boulder directly into the camera
Johnson in Tumbleweed (1953)
for effect. The Los Angeles Daily News wrote, “The Tumbleweed is an entertaining B-western featur-
audience is constantly on the edge of its collective ing decorated war hero turned cowboy star Audie
seat waiting for the next knife, rock or fist to come Murphy trying to clear his name after he’s unfairly
102 1953

labeled a deserter. Interestingly, this was a match- When he joined the Army at age 16, an under-
up of war heroes, though many were unaware of nourished Audie Murphy stood 5'5" and weighed
co-star Russell Johnson’s impressive military barely 110 pounds. The young Texan was initially
record. Most audiences came to know him as the rejected by the military but became its most highly
mild-mannered Professor on TV’s Gilligan’s Island, decorated soldier for his unparalleled courage in
but here he makes an effective heavy and is game combat. He killed more than 240 Germans and
for the fist-flying, boot-kicking action. The 5’10, made the cover of Life magazine as a Congres-
165-pound Johnson and the 5'8", 145-pound Mur- sional Medal of Honor winner. Hollywood saw po-
phy perform much of the action, including a great tential and Universal signed him to a contract.
deal of tricky climbing along California’s Vasquez Murphy undoubtedly suffered from Post-
Rocks. Stuntmen Dave Sharpe and Bill Williams Traumatic Stress Disorder. He had a hair-trigger
doubled for the toughest parts. Johnson had addi- temper and a chip on his shoulder. Given his back-
tional run-ins with Murphy in Column South ground, many considered him to be the most dan-
(1953) and Ride Clear of Diablo (1954). gerous man in Hollywood. He slept with a gun un-
The nearly three-minute fight starts with an im- derneath his pillow and made the news numerous
pressive bulldog and ends with Johnson falling to times for getting into real fights. Late in his career,
his death from the top of a cliff. It’s exciting, but a
he was acquitted of attempted murder charges
couple of missteps keep it from being a truly great after beating up a 6'1", 195-pound dog trainer.
fight. A tell-tale Virgil Vogel editing mistake occurs
Murphy boxed regularly at Terry Hunt’s Athletic
when Johnson kicks out from Murphy near the Club with director Budd Boetticher and welter-
end. Johnson raises his left leg, but the film cuts weight pros Art Aragon and Joey Barnum. They
to a long shot of stunt double Williams kicking all complimented him on his tenaciousness and
Sharpe with his right leg. Another of Murphy’s fearlessness. He studied judo with Ken Kuniyuki
punches obviously misses Johnson, but he still re- and Kenpo karate with Ed Parker.
acts. Director Nathan Juran was noted for doing a Despite his lack of size, Murphy was a gutsy on-
minimum of takes. These are minor quibbles for screen fighter who liked to throw punches and get
an otherwise handsomely produced Universal dirty. When it made sense within the framework
film. Juran and cameraman Russell Metty move in of a fight, he occasionally incorporated real and
close among the rocks for great shots, and it’s pre-effective ground fighting techniques such as arm-
ceded by a thrilling horse chase and a stirring mu- bars and wristlocks. Stuntmen were not fond of
sical score. Murphy accidentally connected with doing fights with him because he could get carried
Johnson and split his lip open. away with action and not pull punches. However,
audiences took to this underdog
hero who feared no man. They be-
lieved this tough little guy could
take down the giants.
Fights of interest came against
Mike Ragan and Henry Wills in
Gunsmoke (1953), Bob Steele in
Drums Across the River (1954) (see
entry), William Pullen in Ride Clear
of Diablo (1954), Henry Silva in
Ride a Crooked Trail (1958), James
Best in Cast a Long Shadow (1959),
Peter Breck in The Wild and the In-
nocent (1959), Barry Sullivan in
Seven Ways from Sundown (1960),
Rex Holman and Walter Sande in
The Quick Gun (1964), Darren Mc-
Gavin in Bullet for a Badman (1964),
L.Q. Jones in Apache Rifles (1964),
Russell Johnson reacts to a big punch from Audie Murphy in Uni- Kelly Thordsen in Gunpoint (1966),
versal’s Tumbleweed (1953). Aldo Sambrell in The Texican (1966)
 195 4 103

and Kenneth Tobey in 40 Guns to Apache Pass to Six Gun Law, “Murphy’s renowned fistfights
(1967). On TV, Murphy fought Robert Redford were over-vigorous to the point of punishing.”
in the 1961 Whispering Smith episode “The See: Murphy, Audie. “Things I Don’t Tell My
Grudge.” Wife.” Screen Life. May 1954.
See: “Audie Dislikes Pulling Punches.” Deseret
News. January 9, 1949; Larkins, Bob, and Boyd The Barn-Raising Brawl in Seven
Magers. The Films of Audie Murphy. Jefferson, NC:
McFarland, 2009.
Brides for Seven Brothers (1954)
This popular, glossy MGM musical focuses on
Audie Murphy vs. Bob Steele seven backwoods brothers in 1850s Oregon who
resort to two-fisted courtship of the ladies in town.
in Drums Across the River (1954) The centerpiece barn-raising features four com-
Legend has it that after his career as a B-western petitive groups vying to complete the building. In-
star ended, Bob Steele resorted to becoming a tentional carpentry mistakes continuously plague
stunt double for Audie Murphy. Steele does in- the Pontipee brothers’ group until they decide to
deed show up in many small roles in Murphy films, fight back during a two-minute triumph of slap-
but that was because Murphy liked and idolized stick timing and intricate choreography involving
the former cowboy hero. Drums Across the River planks, ladders, 2 × 4s, crossbeams and window
contains one of Steele’s better heavy roles opposite frames. Magill’s found the fight “as precisely cho-
Murphy and an exciting 90-second fight grappling reographed as any of the dances,” while Variety
around a campfire. Murphy is doubled here by called it “a rousing sequence.” American Cine-
stuntman Dave Sharpe for a fall over a log and the matographer termed it “a spectacular free-for-all.”
fire while Steele appears to do the entire fight. He Dance choreographer Michael Kidd and assistant
later had to seek medical treatment because Mur- Alex Romero had vital input, but the stunt coor-
phy, carried away, connected in the heat of the mo- dinator for the brawling action was John Indrisano.
ment. It’s possible that since Sharpe and Steele had He squares off against top-billed Howard Keel in
worked together for several years, they blocked the melee. Veteran MGM editor Ralph Winters
out the fight routine together, with Steele stepping cut the fight and dance sequences together su-
in for Murphy at that early point while Sharpe perbly to Adolph Deutsch’s score, including the
worked out Steele’s character’s action with second horrified reaction shots of Keel’s new wife Jane
unit cameraman Harold Lipstein. During the fight, Powell. Winters received an Oscar nomination.
Murphy accidentally caught an elbow to the neck Director Stanley Donen and cinematographer
area. The studio doctor checked on him and told George Folsey shot the fight with two cameras
the star he might be unable to move his head by running simultaneously, one in CinemaScope and
morning. Murphy spent the night wrapping his one in normal aspect ratio. A 23,000-square-foot
neck in hot towels and by the morning was able to MGM soundstage was used, with dressing rooms,
resume filming. Such injuries were part of being a makeup and lighting equipment temporarily
Universal cowboy star and an occupational hazard moved outside to give the participants enough
Murphy accepted. room to freely dance and fight. A quarter of a mil-
The Nathan Juran–directed film sees Murphy lion watts were required to light the scene. The
trying to clear his name while fighting Indians and athletic actors and dancers cast as the redheaded
outlaws including Lyle Bettger, Hugh O’Brian, Pontipee brothers did their own stunt fighting,
Ken Terrell, James Anderson, Gregg Barton and keeping their stuntmen opponents on their toes
Lane Bradford. It’s regarded as one of Murphy’s for any mistimed punches. Six- foot-four, 195-
best westerns with tech credits fine across the pound Howard Keel could handle himself in a
board. Henry Mancini and Herman Stein provide fight and was joined by Jeff Richards, Russ Tam-
the stirring score with Virgil Vogel’s editing en- blyn, Tommy Rall, Marc Platt, Matt Mattox and
tirely competent. Prolific pulp fiction writer John Jacques d’Amboise. Tamblyn was 5'9", but his
K. Butler’s screenplay is efficiently plotted with gymnastic background allowed him great mo-
plenty of action scenes. All the talent went on to ments in both the dancing and fighting scenes. He
bigger assignments and wider acclaim. Murphy bi- also did his own screen fighting in High School
ographer Bob Larkins calls it “one of the best Confidential! (1958) and Satan’s Sadists (1969).
screen fights in all of Audie’s westerns.” According The toughest brother, 6'2", 200-pound Jeff
104 19 5 4

Richards, has a fight against town suitors Terry collapsing bed frame. She immediately called Ed-
Wilson, George Robotham and Russ Saunders and wards and told him she could never watch him be
stacks them up in an unconscious pile. Those stunt beaten like that again. Taylor had been her favorite
actors work the barn-raising brawl alongside Dale movie star, but he wasn’t any longer. Variety wrote,
Van Sickel, John Daheim, Charles Horvath, Bud “Rowland makes the most of a number of violent
Wolfe, Henry Wills, Tom Steele, Reg Parton, Sol fight sequences and the customers of this type
Gorss, Fred Kennedy, Clint Sharp, Frank Mc- drama will like them best.”
Grath, Leroy Johnson, Carl Pitti, Carl Saxe, Roger A dead ringer for his character actor father, 6'2"
Creed and Al Jackson. In the budget western Waco 225-pound Alan Hale, Jr., is best known for playing
(1966), Keel and Richards fight one another. the beleaguered Skipper on TV’s Gilligan’s Island
See: Keel, Howard, and Joyce Spizer. Only Make (1964–1966). The husky Coast Guard veteran
Believe: My Life in Show Business. Fort Lee, NJ: Bar- was often called upon to provide menace on
ricade, 2005; Knowles, Mark. The Man Who Made screen though he had a hearty laugh and great
the Jailhouse Rock: Alex Romero, Hollywood Chore- smile. Hale did a great deal of his own fight work
ographer. Jefferson, NC: McFarland, 2013; “Stage on TV shows such as Gene Autry, The Range Rider,
Holds Big Farm.” Oregonian. August 5, 1954. Cheyenne, Bronco, M Squad, and Shotgun Slade.
One quality Hale possessed was the ability to be-
Robert Taylor vs. George Raft lievably soften his heavies. They often ended up
and Alan Hale, Jr., in Rogue joining the protagonists after they were bested in
fisticuffs. With age he put on considerable weight
Cop (1954) and began playing more comedic characters.
Unusually dark by MGM standards, this bad Hale fought Gene Autry in The Blazing Sun
cop drama from director Roy Rowland features (1950), Dan Duryea in The Underworld Story
Robert Taylor in one of his best roles. He’s a cop (1950), James Cagney in The West Point Story
on the take who tries to protect his brother Steve (1950), Wayne Morris in Arctic Flight (1952),
Forrest from gangster George Raft. When Raft has Scott Brady in The Law vs. Billy the Kid (1954),
Forrest killed, Taylor is out for revenge. Along the George Montgomery in Canyon River (1955) and
way he beats up hit man Vince Edwards and, most Cameron Mitchell in All Mine to Give (1957) (see
impressively, Raft and his beefy bodyguard Alan entry). He had leading TV roles as the two-fisted
Hale, Jr., in a brutal one-minute fistfight in Raft’s title spy in Biff Baker, USA (1952–1954) and the
apartment. “No punches pulled!” exclaimed the tough train engineer in Casey Jones (1957–1958).
ads. The bulk of the action comes against Hale, As a guest he memorably went toe to toe with
playing Raft’s torpedo, a former boxer. Taylor calls James Arness in the 1966 Gunsmoke episode
him a stumblebum who fought fixed fights and “Champion of the World.”
proves it to him. Furniture is upended and lamps See: Carpozi, George. Vince Edwards: A Biogra-
are broken as they fight along the bar and over a phy of Television’s Dr. Ben Casey. New York: Bel-
couch. At one point, Taylor throws a drink in mont, 1962; Whitney, Dwight. “He’s Still Selling
Hale’s face. Taylor finishes the fight with a spinning Vacuum Cleaners.” TV Guide. June 11, 1966.
double axe-handle to the throat that knocks the
wind out of Hale. Dale Van Sickel choreographed Kirk Douglas vs. Umberto
the fight and doubled Taylor. Cinematographer
John F. Seitz received an Oscar nomination for his
Silvestri in Ulysses (1954)
excellent camerawork. Taylor and Hale had an- This Italian-made costume epic based on the
other fistfight the following year in Many Rivers to adventures of the Greek poet Homer’s Odyssey
Cross (1955). hero was a departure for a pre–Spartacus Kirk
Young actor Edwards was so proud of being in Douglas. The serious actor is running around clad
a well-produced MGM film that he called his in only a loincloth, but he manages to give an en-
mother in Brooklyn and excitedly told her to go ergetic and memorable performance as the amne-
to the local movie house to see him in Rogue Cop. siac Ulysses journeys from Troy to Ithaca over the
His mother did so only to be dismayed at the pum- course of ten years. Popular worldwide, the film
meling her son received from the star. Though she opened the door to a flood of mythical gladiator
knew it was all make-believe, she couldn’t bear to films.
see her boy thrashed around and knocked over a Most viewers remember the bearded Ulysses
 195 4 105

for his fighting ability. Here he takes on Umberto (1965), Richard Widmark in The Way West
Silvestri in a two-minute Greco-Roman wrestling (1967), Hank Garrett in A Lovely Way to Die
exhibition in Phaecia featuring takedowns, es- (1968), Don Stroud in Scalawag (1973) and David
capes, leg scissors and an inverted pile-driver that Janssen in Once Is Not Enough (1975). On the 1983
finishes off Silvestri. The latter, a Mediterranean TV special Celebrity Daredevils, Douglas put on a
champion, competed as a light-heavyweight in the fight for the audience.
Olympic Games. Both men assist one another in See: “An Eye for a Cyclops.” Life. September 21,
their fast-paced wrestling moves for Harold 1953; Burton, Ron. “Actor Kirk Douglas Is Film
Rosson’s camera, never dwelling on a single hold Colony’s Top Judo Expert.” Terra Haute Tribune.
to maintain the audience’s attention. For the final November 4, 1956.
pile-driver, Silvestri held himself in a handstand
until director Mario Camerini gave the cue for ac- Marlon Brando vs. Lee J. Cobb
tion. Silvestri also donned makeup to portray the
one-eyed cyclops Polyphemus that Douglas out-
in On the Waterfront (1954)
wits. In the action-packed climax, Douglas kills Elia Kazan’s Academy Award–winning classic
villain Anthony Quinn to rescue his patient wife about union struggles among East Coast long-
Silvana Mangano from amorous suitors. shoremen starred Marlon Brando as ex-prizefighter
Five-foot-nine and 175 pounds, Douglas com- Terry Malloy. His Oscar-winning performances is
peted in wrestling for St. Lawrence University be- considered to be one of cinema’s greatest. The en-
fore earning money professionally as a carnival grossing drama builds to a superbly shot con-
wrestler. The Navy veteran scored as a tenacious frontation on the Hoboken, New Jersey, shipyard
boxer in Champion (1949), training for the part docks between Brando and mob boss Johnny
with Mushy Callahan. Full of kinetic energy, Friendly (Lee J. Cobb). Credit must go to Budd
Douglas had an especially aggressive personality Schulberg’s script for the effective conflict created
and was often lambasted by peers and the press between the characters. Brando calls the six-foot,
for having a giant-sized ego. He was a talented ath- 190-pound Cobb a “cheap, lousy, dirty, stinking
lete who enjoyed mastering skills such as judo. He mug!” and charges toward him, but Cobb deftly
tried to perform as many stunts as possible, ap- sidesteps him and trips Brando to the sound of
proaching each role the way a professional athlete Leonard Bernstein’s pulsating score. Cobb uses
would an event. He was spry and agile well into every dirty tactic in the book to gain an advantage,
his later years, appearing alongside Burt Lancaster but Brando begins to overwhelm him with body
in Tough Guys (1986) and comically throwing shots. Cobb calls for four of his thugs to step in
punches at Sylvester Stallone from his deathbed and give Brando one of filmdom’s most savage
in Oscar (1991). As a screen fighter, however, beatings, topping the previous year’s mauling of
Douglas garnered a reputation for being overly en- Brando by the townspeople in The Wild One
thusiastic and inadvertently making contact with (1953). No one was better than Brando at suggest-
opponents. Walter Matthau claimed Douglas ing they had the living snot kicked out of them.
busted his jaw with a punch in The Indian Fighter His bloody, exhausted walk up the pier in front of
(1955). the longshoremen is one of filmdom’s most indeli-
Notable fights include Man Without a Star ble moments.
(1955), Spartacus (1960), Lonely Are the Brave Cobb, Kazan and Schulberg had named names
(1962) and The War Wagon (1967) (see entries). in front of HUAC. While Brando didn’t agree with
Fights of interest came against Burt Lancaster in I their actions, he made peace with them and moved
Walk Alone (1948), James Anderson in Along the forward in the role. Kazan wasn’t sure he’d enjoy
Great Divide (1951), John Archer in The Big Trees the same gentle treatment from the many long-
(1952), Fred Graham in The Big Sky (1952), shoremen populating the cast as extras. He hired
Robert Wilke in 20,000 Leagues Under the Sea several ex-professional boxers and pro wrestlers to
(1954), Tony Curtis in The Vikings (1958), Earl play bit parts and serve as protection. Among them
Holliman in Last Train from Gun Hill (1959), Wal- were Abe Simon, Tony “Two-Ton” Galento, Tami
ter Matthau in Strangers When We Meet (1960), Mauriello, Don Blackman, Mike O’Dowd and
Rock Hudson in The Last Sunset (1961), Hal Tiger Joe Marsh. Nobody touched Kazan.
Needham and Dean Smith in In Harm’s Way Roger Donoghue, a recently retired middle -
(1965), Richard Harris in The Heroes of Telemark weight boxer, was hired as a trainer and technical
106 19 5 4

advisor when an early screenplay draft included and All-Service middleweight champ in the Navy,
scenes in the ring. Brando had boxed in his youth Ramoth had recently given up the ring after para-
and sparred with Rocky Graziano while appearing lyzing another boxer. He was hired as Brando’s
on Broadway in A Streetcar Named Desire. stuntman for the fight and launched a second ca-
Donoghue put him to work at Stillman’s Gym and reer as a boxing technical advisor and double. An-
accompanied him on regular jogs through Central other local character, Joseph “Cowboy” Lucig-
Park. He was impressed with Brando’s level of con- nano, was recruited to double Cobb in the fight,
centration and quick learning, suggesting he could which Action Films includes among their all-time
have been successful in the ring with proper train- greatest.
ing. Donoghue was nearly a champion, but quit See: Martin, Douglas. “Roger Donoghue, 75,
the fight game after killing a ring opponent. Dono- Boxer and Brando’s Waterfront Trainer, Dies.” New
ghue is often credited with feeding Schulberg the York Times. August 25, 2006; Schwartz, Jordan.
famous line Brando gives to brother Rod Steiger “Kilroy Was Here: The Story of Boxer and Stunt-
in the back of the car, “I could have been some- man Billy ‘Kilroy’ Ramoth.” Bleacher Report. Feb-
body. I could have been a contender.” After Water- ruary 23, 2009.
front, Donoghue trained James Dean for a pro-
posed biopic on his (Donoghue’s) life. It was Alan Ladd vs. Charles Bronson
cancelled with Dean’s death.
In a local bar, Kazan spotted boxer William
in Drum Beat (1954)
Ramoth (he used the ring moniker Billy Kilroy) Set in the 1870s, Drum Beat is a solid Delmer
and noticed a striking resemblance to Brando. It Daves western based on historical fact. It places
so happened Ramoth had come to the set to visit peace negotiator Alan Ladd on the Oregon-
his friend Tony Galento. A Golden Gloves champ California border where he negotiates with the
local Modoc Indians but runs into
problems with renegade warrior
Charles Bronson. Due to Hollywood’s
Red Scare, it was the first film where
Charles Buchinski used the surname
Bronson, and it’s a breakthrough per-
formance. The New York Times called
the chiseled Bronson “the most mus-
cular Indian ever to have brandished
a rifle before a camera,” while the Los
Angeles Times said he was “only
slightly less than sensational.” Because
of producer- star Ladd’s fragile star
ego, Bronson’s forceful portrayal made
him uncomfortable. So did an early al-
tercation in which Bronson hits Ladd
with a rifle butt. Bronson did that ac-
tion too effectively, making contact
and injuring Ladd’s ribs.
The film was shot by J. Peverall
Marley in Arizona’s Slide Rock State
Park near Sedona. The picturesque lo-
cation benefits the climactic hand-to-
hand combat, where Bronson and
Ladd fight along a river’s edge and
into a sweeping current. Warner Bros.
publicity called it “one of the liveliest
brawls of Ladd’s career.” Stunt doubles
Lee J. Cobb trips Marlon Brando in Columbia’s classic On the Paul Baxley and Bob Hoy tumble and
Waterfront (1954). slide down the ledges of the red rocks
 195 4 107

and into the water chute, although Ladd and Bron- a bleak future there via his World War II military
son are visible throughout much of the action. service. The muscular, granite- faced Bronson
Temperatures were reported to have gone upwards boxed in the Army and kept tremendously fit, dis-
of 100 degrees, extremely hot for the thin air and playing one of Hollywood’s greatest whipcord
the nearly 5000-foot elevation. Prior to the fight, physiques into his fifties when he finally attained
the actors were given a physical exam by Dr. Nor- superstardom. He worked out one hour every day
man D. Whitney, who presided over Arizona’s and his bulging biceps were the envy of many a
Boxing Commission. Publicity stressed the ele- film fan. Although Bronson wasn’t tall, few who
ments and likened the on-screen battle to a prize- encountered him doubted his ability to handle
fight. The men trained and rehearsed for three himself in a fight. He was quick and tightly coiled,
weeks before cameras rolled. There was such a moving with athletic assurance. He was also a
build-up that cast members Anthony Caruso, quiet loner, giving off a tough guy vibe few dared
Marisa Pavan and Audrey Dalton stayed on at the to mess with. Because he was agile and had good
location at their own expense to witness it. timing, he could do a fight as well as many stunt-
The climactic fight began and ended on a men. He threw rapid-fire crosses that looked like
Warner Bros. soundstage, but what came between they were aimed with bad intentions; his oppo-
was filmed in five different locations 25 miles apart nents needed to be on their toes and quick with
that covered two Arizona counties. The set-up had their reactions. The stone-faced Bronson looked
Bronson firing a rifle at Ladd from a concealed lo- deadly serious when he was in a screen fight. He
cation beneath the ridge. The shot where Ladd also fought dirty, even when he was a leading man,
pushes a boulder to flush Bronson from his hiding mixing in kicks and effective streetfighting tech-
place was filmed in Coconino County. The action niques. In the 1970s he trained in Gosoku- ryu
switched to Yavapai County’s Oak Creek and Slide karate with Tak Kubota. They spar briefly with one
Rock location for the bulk of the battle. The bit another in The Mechanic (1972).
with Ladd sliding on his boots and firing his guns Notable fights include A Thunder of Drums
was filmed at yet another location. Both Ladd and (1961), Farewell, Friend (1969), Red Sun (1971),
Bronson wound up with minor scrapes and abra- Hard Times (1975), Breakheart Pass (1976) and
sions from the rocks. Editor Clarence Kolster was Caboblanco (1980) (see entries). Fights of interest
tasked with matching continuity and putting it all came against Paul Picerni in House of Wax (1953),
together cohesively. He succeeded. Dewey Martin in Tennessee Champ (1954), Archie
Five-eight and 170 pounds, Charles Bronson Savage in Vera Cruz (1954)., Richard Jaeckel in
grew up in the Pennsylvania coal mines, escaping When Hell Broke Loose (1958), Richard Burton in
The Sandpiper (1965), Robert Red-
ford in This Property Is Condemned
(1966), Gerry Crampton and Terry
Richards in The Dirty Dozen (1967),
Anthony Quinn in Guns for San Se-
bastian (1968), Tony Curtis in You
Can’t Win ’Em All (1970), Al Lettieri
in Mr. Majestyk (1974), Paul Mantee
in Breakout (1975), Robert Englund
and Jeff Goldblum in St. Ives (1976),
Thomas F. Duffy in Death Wish II
(1982) and Gavan O’Herlihy in
Death Wish III (1985).
On his action- packed TV series
Man with a Camera (1958–1960),
Bronson played crime photographer
Mike Kovac. The series featured
some of the best- choreographed
fights for the period with Bronson
Alan Ladd (with hat) and Charles Bronson tangle on Slide Rock in even utilizing judo. His best one-on-
Warner Bros.’ Drum Beat (1954). ones came against Johnny Seven in
108 19 5 4

1960’s “The Picture War” and Lawrence Tierney for much of the action so he could move George
in that same year’s “Hot Ice Cream.” On the west- Robinson’s camera in close. Barker told the press
ern The Travels of Jamie McPheeters (1963–1964), that being Tarzan on a back lot jungle was like
he played young Kurt Russell’s mentor, tangling going to Sunday school in comparison to this gru-
with Mike Mazurki in 1964’s “The Day of the eling fight. Unfortunately, the actors lack the visual
Lame Duck.” As a TV guest, Bronson portrayed fluidity an accomplished pair of well- practiced
boxers on The Joe Palooka Story, The Roy Rogers stuntmen bring to the master shot. As a result, the
Show, Crusader, M Squad and One Step Beyond. He scene is choppy with Edward Curtiss forced to cre-
had memorable fights with David Janssen in the ate the continuity in bits and pieces of usable
1957 Richard Diamond, Private Detective episode footage.
“The Pete Rocco Case,” Richard Boone in the The role of the Foley artist in a fight scene
1958 Have Gun—Will Travel episode “The Man should be discussed. A Foley artist is the techni-
Who Wouldn’t Talk,” Michael Landon in the 1964 cian responsible for adding the appropriate sound
Bonanza episode “The Underdog” and George effects to the on- screen action during post-
Kennedy in the 1965 Virginian episode “The No- production. The term is named after veteran Uni-
bility of Kings.” versal sound artist Jack Foley. The Yellow Mountain
See: “Doc Okays Actors for Fight Scene.” Times- had Jack Foley himself coming up with the fight’s
Picayune. December 19, 1954; “Fight Worth Price.” sound effects. After a rough cut was assembled, he
Oregonian. December 26, 1954; Latham, Bill. was given the fight footage to enhance the action.
“What’s Another Cracked Rib to Tough Alan He used an old standby for Barker’s fist hitting
Ladd?” Boston Daily Record. July 20, 1954. Duff ’s face: In his studio, he held up a large ham
and let an assistant punch it to perfectly simulate
Howard Duff vs. Lex Barker the sound of a fist hitting flesh. The moment when
Duff is dropped by a Barker punch proved to be
in The Yellow Mountain (1954) challenging for Foley. For this effect, he decided
Pre-release publicity played up this two-man to drop a large mail bag filled with a dozen pairs
gold fever western brawl, trumpeting it as the next of shoes to the floor from a ten- foot height. It
coming of The Spoilers. Director Jesse Hibbs, for- worked like a charm.
mer star halfback at USC, devoted three days to Barker was a football and track athlete at Fessen-
the filming of the fight. He invited the press onto den and the Phillips-Exeter Academy before serv-
his Universal set to watch leading men Howard ing with the Army in Sicily during World War II.
Duff and Lex Barker throw punches at one another Despite his athleticism, he had a reputation for
and prove their toughness as they fight it out over sometimes forgetting fight choreography in the
leading lady Mala Powers. It’s one of those Quirt middle of a scene. In the 1960s he achieved sig-
and Flagg brawling buddy pictures where the two nificant Euro-western acclaim playing Karl May’s
mend their differences to take on real villain Leo fictional character Old Shatterhand, so named for
Gordon. his great punching power. Barker fought Charles
The centerpiece brawl opening the film is novel McGraw and Sol Gorss in The Farmer’s Daughter
in the sense that when others try to break them (1947), Henry Kulky in Tarzan’s Magic Fountain
apart, the two men temporarily turn their fists (1949), Anthony Caruso in Tarzan and the Slave
against the interlopers before again taking aim at Girl (1950), Larry Chance in Battles of Chief Pon-
one another’s jawline. As for any comparison to tiac (1952), Randolph Scott in Thunder Over the
The Spoilers, the eventual product is underwhelm- Plains (1953) and Stephen McNally and Myron
ing despite the destruction of much bric-a-brac Healey in The Man from Bitter Ridge (1955).
furniture during the roughly 60 seconds of fist- See: Archerd, Armand. “Lex Barker Finds Civ-
slinging action. Stuntmen trying to stop the two ilized Roles Just as Tough as Old Jungle Ones.”
include Eddie Parker, Jack Stoney and Sol Gorss. Beaver Valley Times. August 21, 1954; “Big Fight
Lex Barker, 6'4" and 210 pounds, had spent the Scene Has New Slant.” Portland Oregonian. April 4,
past five years playing Tarzan at RKO. Howard 1954; Johnson, Erskine. “Hollywood Today.”
Duff, a 190-pound six-footer, was the voice of pri- Shamokin News-Dispatch. June 4, 1954; “Screen
vate detective Sam Spade on the radio. Both actors Actors Stage Real Brawl.” San Diego Union. April 12,
emerged with an assortment of bumps and bruises 1954.
as Hibbs convinced them to forgo stunt doubles
 1955 109

Spencer Tracy vs. Ernest about the scene. He wasn’t sure it was believable
Borgnine in Bad Day at Black for him to be beaten by one-armed Tracy. Sturges
agreed it might be problematic. Borgnine has
Rock (1955) taken credit for suggesting the use of judo, though
This classic suspense- mystery from director stunt coordinator John Indrisano had a back-
John Sturges was notable as one of the first Hol- ground in the self-defense tactic. Bruce Tegner,
lywood studio films to feature martial arts being the 1949 California State Judo Champ and a self-
used by a Caucasian. Spencer Tracy’s brief judo defense trainer of the Armed Forces’ Military Po-
demo on bullish Ernest Borgnine in a Black Rock licemen, was consulted for his expertise, verifying
café is as shocking to the audience as it is to the that Tracy’s chop to the larynx could kill Borgnine,
film’s dumbfounded characters, among them chief and certainly take the wind out of him. Despite
villain Robert Ryan and goon Lee Marvin. The the brevity of the action, it’s regarded as one of
scene shows the power of martial arts. Here a one- cinema’s greatest scenes. Sturges credits this to the
armed senior citizen regarded as a cripple by all tension-filled build-up in Millard Kaufman’s script
those he encounters annihilates a young and pow- that makes the audience identify with Tracy and
erful opponent without so much as breaking a root for Borgnine’s downfall. It’s also an important
sweat. The 5'9", 215-pound Borgnine was defining character-revealing moment, opening up all types
his career as a slimy, gap- toothed heavy with a of mystery into Tracy’s background and training.
sadistic mean streak, and audiences feared this Both actors are superb in their roles.
new screen monster with the 17" neck and 49" The script called for the fight to end after the
chest. No one thought Tracy had a chance going first blood- inducing blow, a violent heel of the
into the fight, even the star. hand to Borgnine’s nose; but Sturges wanted more
Borgnine approached Sturges with concerns moves including a knee to the face. Borgnine con-

Lee Marvin (seated) and Robert Ryan watch Spencer Tracy surprise Ernest Borgnine with a judo flip in
MGM’s classic Bad Day at Black Rock (1955).
110 19 55

cealed a sponge in his hand and squeezed it after Notable fights include Chuka (1967), The Split
the knee blow, producing the blood above his lip. (1968), Emperor of the North (1973) and Convoy
Sturges knew the Production Office and the Cath- (1978) (see entries). Fights of interest came
olic Legion of Decency would raise a stink at that against Randolph Scott in The Stranger Wore a Gun
degree of violence so he avoided close-ups and (1953), Sterling Hayden in Johnny Guitar (1954)
shot in full frame with minimal cuts. He needed and The Last Command (1955), Alan Ladd and
Borgnine to recover enough for the fight to climax Anthony Caruso in The Badlanders (1958), Vin-
with the heavy going backward out the café door. cent Barbi in Pay or Die (1960), Peter Finch in The
Despite Sturges’ attempts to involve his star in the Flight of the Phoenix (1965), Jim Brown and
action, Tracy was doubled by stuntman Carey Patrick McGoohan in Ice Station Zebra (1968) and
Loftin. Tracy didn’t like doing fights, allegedly be- Warren Vanders in the TV movie Twice in a Life-
cause of his own tendency to get carried away in time (1974). On his enjoyable comic military se-
such moments. He was afraid he might acciden- ries McHale’s Navy (1964–1966). he fought George
tally hurt someone. Certainly his advancing age Kennedy and Ron Soble. As a TV guest, Borgnine
played into the decision for a double, whose iden- fought Paul Sorensen in the 1960 Zane Grey The-
tity is kept hidden by superb staging by cinematog- atre episode “A Gun for Willie” and played an aging
rapher William C. Mellor. However, Sturges was pro wrestler in the 1982 Magnum P.I. episode “Mr.
concerned that Loftin wasn’t an appropriate dou- White Death.”
ble. Loftin was a highly regarded automotive spe- See: Guild, Leo. “Borgnine Always Itching for
cialist, but he proved a capable fight man after a Fight.” Pittsburgh Press. May 6, 1966.
being bulked up in costume. Borgnine was dou-
bled for the final judo flip by professional football Kirk Douglas vs. Richard
player turned boxer Teddy Pavelec. Boone in Man Without A Star
During filming, Sturges had fun at Borgnine’s
expense. Throughout rehearsals he left the screen
(1955)
door unlatched and had mattresses on the ground This lusty and boisterous King Vidor western
for Borgnine’s fall. When it came time to film the finds Kirk Douglas cast as a footloose cowpoke
scene, Sturges locked the door and removed the tangling with ranchers over the use of barbed wire.
pads. Borgnine wasn’t prepared for the resistance, Douglas rides, sings, plays the banjo, performs gun
adding to his sense of shock captured by the cam- tricks and ultimately uses his fists against sadistic
era as he plummets to the bare ground. He was ranch foreman Richard Boone in the violent cli-
angry until he realized that the director was re- max. Screenwriter Borden Chase built appropriate
sponsible and that it improved the scene. Colliers tension between the two men, primarily over
called Bad Day at Black Rock “one of the greatest who’s most appropriate for beautiful ranch owner
fights since Tom Santschi and William Farnum Jeanne Crain. After Boone has his men beat a
were matched in The Spoilers.” According to Chas- drunken Douglas in the street, the star has a per-
ing Dragons: An Introduction to the Martial Arts sonal score to settle. A crackling fight, shot in Cali-
Film, “It is a brilliant sequence, executed with style fornia’s Conejo Valley, it begins with Douglas bull-
and precision by the director and cast.” Action dogging Boone off his horse. The two Alpha males
Films ranks it among the best movie fights ever. wrestle amidst the barbed wire, trading several
A former truck driver and construction worker, crisp, well-choreographed punches. Boone tries to
Navy veteran Borgnine became a surprise Best use both a pickaxe and sledgehammer to his ad-
Actor Oscar winner for Marty (1955). Despite the vantage, but Douglas knocks the bigger man out
prestige, he remained best utilized as a bad guy onto the barbs. The Motion Picture Herald called
and enjoyed working on fights. When he was play- it “a forthright, hard-hitting and tightly written pic-
ing heavies, he often took on a sadistic gleam in ture.”
his eye as he was about to dole out punishment. Cameraman Russell Metty offers typically deft
Few will forget his performance as “Fatso” Judson movement in the fight while taking advantage of
in From Here to Eternity (1953) and his knife fight the natural beauty of the surrounding environ-
with Montgomery Clift. The explosive Borgnine ment. A minor continuity problem occurs as
had a mercurial reputation early in his career, but Douglas’ lost hat mysteriously reappears then dis-
he grew into a professional who was well-liked by appears from his head during the exchange of
film crews. punches. Stuntman Jack Young doubled Douglas
 1955 111

and Fred Carson took the bulldog fall for Boone. fights, he increasingly gave young stuntman Hal
Douglas called this one of his most physically de- Needham the chance to double him.
manding roles. Man Without a Star was recycled Boone fought Richard Widmark in Red Skies of
by Universal for an episode of The Virginian guest Montana (1952), Rory Calhoun in Way of a Gau-
starring Brian Keith. It was remade in 1969 as A cho (1952), Peter Lawford in Kangaroo (1952),
Man Called Gannon with Tony Franciosa taking Van Johnson in Siege at Red River (1954), George
on the Douglas role. Montgomery in Robbers’ Roost (1955), Kerwin
Richard Boone (6'2", 200 pounds) was an in- Mathews in The Garment Jungle (1957), Mickey
tercollegiate light-heavyweight boxing champ at Simpson in Rio Conchos (1964) and Robert
Stanford University who continued to compete Mitchum in The Big Sleep (1978). On Have Gun—
while serving with the Navy in World War II. He Will Travel, he fought martial artist Fuji Nozawa
briefly considered a career as a pro until seeing Joe in 1957’s “The Hatchet Man” and 1962’s “Coming
Louis work out in a New York gym. Boone deter- of the Tiger” and stepped into the bare-knuckle
mined he could never be the best and decided to ring to take on Hal Baylor in 1958’s “The Prize
become an actor. As a screen fighter, he was real- Fight Story.” His best fights came against Charles
istically rough, occasionally fought dirty, and no- Bronson in 1958’s “The Man Who Wouldn’t Talk,”
body in the business looked better smashing a bot- Ben Johnson in 1960’s “The Race,” Denny Miller
tle over another man’s head. Best known as the in 1960’s “Saturday Night,” Roy Barcroft in 1961’s
cultured gunfighter Paladin on Have Gun—Will “Long Weekend” and Richard Jaeckel in 1962’s
Travel (1957–1963), Boone felt fight scenes fell in “The Predators.” As a TV guest, a grizzled Boone
line with the demands of an actor playing a tough battled Stuart Whitman in 1967’s Cimarron Strip
part. Director Andrew McLaglen ranked him on episode “The Roarer.” On a 1961 episode of The
par with John Wayne when it came to screen Ed Sullivan Show, Boone staged a fight with stunt-
fisticuffs. Although Boone could do all his own men Hal Needham and Chuck Couch.

Richard Boone is knocked into barbed wire by Kirk Douglas in Universal’s Man Without a Star (1955).
112 19 55

See: Levy, Charles J, “Boone Says Oater Stars Gunsmoke episode “The Cattle Barons” ignited
Do Have to Be Actors.” Norwalk Hour. February one of the biggest mass street brawls ever seen on
11, 1961; Rothel, David. Richard Boone: A Knight the show. In 1979 he faced Jim Davis in the Dallas
Without Armor in a Savage Land. Madison, NC: episode “Dove Hunt.”
Empire, 2000. See: “Robert Wilke Was Villain in Scores of
Films.” Los Angeles Times. April 1, 1989.
Dana Andrews vs. Robert Wilke
in Strange Lady in Town (1955) Burt Lancaster vs. Walter
Matthau in The Kentuckian
Set in 1880s Santa Fe, New Mexico (but filmed
at Old Tucson Studios in Arizona), this Mervyn
(1955)
LeRoy western concerns the upheaval caused by Burt Lancaster made his directorial debut on
the arrival of Eastern doctor Greer Garson. She this 1820s frontier saga, scripted by A.B. Guthrie
fights bigotry and prejudice while the men fight and shot on location in Owensboro, Kentucky. It’s
one another over her. Dana Andrews and beastly notable for a three-and-a-half-minute fight with
heavy Robert Wilke nearly take one another’s whip-wielding villain Walter Matthau, a guy so
heads off in a spirited two-minute brawl. Begin- dastardly that he gets his guffaws while supervis-
ning inside a mission with Wilke brandishing a ing the whipping of Lancaster’s son by another
knife, the fight moves outdoors where they swing child. The bare fists vs. bullwhip scenario provides
a spade and hatchet at one another. An excellent a memorable opportunity for Lancaster to show-
Dimitri Tiomkin score emphasizes the fight’s high case his athleticism. He dives away time and again
points, with wardrobe and makeup contributing trying to elude the crack of Matthau’s whip, then
torn clothing and bloody faces by fight’s end. Cam- launches himself into the air off a tree stump.
eraman Harold Rosson captures the location When Matthau loses his advantage, the fight be-
scenery well, and the rough fight routine is ener- comes a standard bout of fisticuffs in which a
getically and professionally staged. The Great Bend bloodied, ripped-to-shreds Lancaster ultimately
Daily Tribune wrote of Andrews, “He is thoroughly triumphs despite Matthau throwing dirt in his
believable in the part and the fierce fight he has eyes. Charles Horvath was on hand to double Lan-
with one of the plug-uglies in the pic turns this caster in the long shots while former B-movie cow-
into the type of role he does best.” Variety said the boy star Whip Wilson stood in for Matthau during
fight was “all that the most avid fan could ask for.” scenes requiring skill with the bullwhip. The 6'3",
A champion high diver, 6'3", 210-pound Wilke 180-pound Matthau was a boxing coach for the
began his career as a stuntman in B- westerns. Police Athletic League and claimed one profes-
Thanks to his bullish build and unhandsome mug, sional fight to his credit. The former Army Air
Wilke played dozens of snarling henchmen Corps gunner even boasted that at age ten, he had
throughout the 1940s opposite Bill Elliott, Sunset beaten Rocky Graziano in a street fight. It was
Carson, Charles Starrett and Tim Holt. He was Matthau’s film debut. He considered his casting
often cast for his physicality and punching ability was due to his basset-hound face accentuating star
with many a battle ending with him landing on his Lancaster’s handsome features.
backside. His best fights came versus Edmond It would be Lancaster’s only crack at directing,
O’Brien in Cow Country (1953), George Mont- and some of the choreography during the fight
gomery in The Lone Gun (1954) and Canyon River seems rushed. It had to have been a challenge to
(1955), Kirk Douglas in 20,000 Leagues Under the oversee the action and be the main participant.
Sea (1954), Sterling Hayden in Shotgun (1955), Too many of Lancaster’s charges at Matthau look
Clayton Moore in The Lone Ranger (1956) (see off the mark, a likely result of misguided Ernest
entry) and James Stewart in Night Passage (1957). Laszlo camera placement and slight discrepancies
Most viewers will remember him on the wrong in timing between Lancaster and Matthau. During
end of James Coburn’s knife in The Magnificent the fight, Lancaster instructed Wilson to sting him
Seven (1960). Wilke had a bare-knuckle match enough to make it look convincing, resulting in
with Gene Barry in the 1958 Bat Masterson slight cuts across his shoulders. In some markets,
episode “The Fighter” and fought Dale Robertson the scene was trimmed of any bit where the whip
in the 1960 Tales of Wells Fargo episode “The Wade tore into Lancaster’s flesh. Biographer David Fury
Place.” His battle with Forrest Tucker in the 1967 felt that the scene came across as “unnecessarily
 1955 113

brutal.” Despite the violence, United Artists pub- See: Edelman, Rob, and Audrey Kupferberg.
licity played up the bullwhip fight. Bernard Her- Matthau: A Life. Lanham, MD: Taylor Trade,
rmann’s score is suitably dramatic and George 2002; Fishgall, Gary. Against Type: The Biography
Luckenbacher edited with an eye toward keeping of Burt Lancaster. New York: Scribner, 1995; Fury,
the audience on the edge of their seats. David. The Cinema History of Burt Lancaster. Min-
Although the set-up may now seem novel, both neapolis: Artists’ Press, 1989; The Kentuckian
Whip Wilson and Lash LaRue had been staging pressbook.
thrilling whip fights in B-westerns for several years.
Republic had been putting out serials ranging from Fess Parker vs. Mike Mazurki
Zorro’s Black Whip (1944) to Man with the Steel in Davy Crockett, King of the Wild
Whip (1954). Tyrone Power and Richard Egan
had a whip vs. whip fight the same year in Untamed
Frontier (1955)
(1955). On TV’s The Range Rider, Jock Mahoney Popular frontier folk hero Davy Crockett gets
and Robert Wilke put on what was arguably a bet- the Disney treatment in a Norman Foster film that
ter choreographed fists vs. whip fight in the 1951 originally aired on television as a multi- part
episode “Western Fugitive.” Nevertheless, some episode of The Wonderful World of Disney. Fess
reviewers were mightily impressed by Lancaster’s Parker, 6'5" and 210 pounds, effectively dons the
scene. The New York Times noted that Lancaster famous coonskin cap and engages in a rough ’n’
“is best when he is bucking and brawling in his tumble, no-holds-barred bout of fisticuffs with
sportiest athletic style,” while Times Daily called Mike Mazurki as his foe Bigfoot Mason. It’s an old-
it “one of the most exciting fights in cinema his- fashioned 90-second fight that unfortunately suf-
tory.” fers from poor editing and an overly melodramatic
Six-foot-one and 180 pounds, Lancaster was George Bruns music score. Nevertheless, a couple
renowned for his circus background and ability to of good moments occur, such as Mazurki throwing
do a great deal of his own stunt work. He attracted dirt in Parker’s eyes, kicking him in the back and
immediate attention playing the doomed boxer in knocking him through a fence. Ultimately Parker
his debut film The Killers (1946). At Warner Bros., lands a series of punches and a final short left that
he trained under the instruction of Mushy Calla- knocks Mazurki dizzy.
han at the studio gym, even stepping into the ring It was shot on location in Cherokee, North Car-
with wrestler Gorgeous George for a 1948 charity olina, and no stuntmen were brought in for either
match. In real life, he was known for rages and actor. Parker did the fall through a split-rail fence
tantrums, garnering a reputation for behind-the- twice without the aid of stunt pads. On his second
scenes fist-slinging with producers, directors and go-through, he borrowed the camera blanket and
co-stars. Despite his abundant athleticism, Lan- attached it to his hindquarters to soften the blow.
caster had few truly outstanding or protracted on- Publicity played up Mazurki’s veteran tough guy
screen fistfights. He was still punching away along- presence, noting that he could rip open a tomato
side fellow senior Kirk Douglas in Tough Guys can with his bare hands. In real life, Parker and
(1986). Mazurki got along fabulously and worked hard to
Fights of note came against Hume Cronyn in make their fight a memorable one. Parker relied
Brute Force (1947), John Hodiak in Desert Fury heavily on Mazurki’s experience to choreograph
(1947), Mike Mazurki in I Walk Alone (1948), their moves. Mostly he opted to let Mazurki throw
Paul Henreid in Rope of Sand (1949), John Ireland him around like a rag doll. Parker accidentally
and Ted De Corsia in Vengeance Valley (1951), clipped Mazurki a couple of times on the jaw and
John Dehner in Ten Tall Men (1951) and Apache ended up with a lump on his head from the fence
(1954), Mike Ragan in Jim Thorpe—All American rail.
(1951), Chuck Connors in South Sea Woman Disney publicity claimed the film contained
(1953), Charles Horvath in His Majesty O’Keefe “some of the most dangerous fight scenes ever
(1954), Tony Curtis in Trapeze (1956), Charles filmed.” Parker also has a fight along the Ocona-
Horvath, Saul Gorss and John Daheim in Elmer luftee River with Pat Hogan as Chief Red Stick of
Gantry (1960), Audie Murphy and John Saxon in the Creek Indians. Both actors did their own
The Unforgiven (1960), Ossie Davis in The Scal- stunts, working out their fight routine so Parker
phunters (1968) (see entry) and Ed Lauter in The would throw a fake tomahawk at Hogan who’d
Midnight Man (1974). move out of the way. In the heat of battle, Hogan
114 19 55

moved the wrong way and took a tomahawk blow Hero. Albany, GA: BearManor, 2011; Watts, Steven.
to the head, knocking him out. At one point, The Magic Kingdom: Walt Disney and the American
Hogan has Parker pinned against a tree, and Parker Way of Life. Columbia: University of Missouri
gives a grin. Parker thought it was a silly piece of Press, 2001.
business, but audiences loved that fun-loving as-
pect of the Crockett character. Ralph Meeker vs. Paul Richards
Navy veteran Parker’s most notable fight came
off-screen in 1946 and contributed to a facial scar
in Kiss Me Deadly (1955)
on the left side of his cheek. He was involved in Arguably the most popular books of the post–
an auto accident in Texas and had an argument World War II period were Mickey Spillane’s sex-
with the other driver. The man pulled a knife and and violence-heavy Mike Hammer stories. The
stabbed Parker in the face, with the blade breaking ex–GI private eye was first brought to the big
off against Parker’s jawbone. This prompted the screen in 1953 with Biff Elliot playing the hard-
normally mild-mannered Parker to lay a serious hitting character in I, the Jury. For Kiss Me Deadly,
beating on the man. He forced the man to drive Ralph Meeker took on the role. He’s near-perfect
him to the hospital for treatment. On film he took as the sadistic, cocksure Hammer. He’s so tough,
part in a bar brawl in Battle Cry (1955) and fought he takes on knife-wielding thug Paul Richards with
alongside Jeff York in both Davy Crockett and the a bag of popcorn in a crisp fight clocking in slightly
River Pirates (1956) and The Great Locomotive under a minute. When Richards attacks, Meeker
Chase (1956). He also fought Jeff Chandler in The throws the popcorn in his face and begins pound-
Jayhawkers! (1959) and Hoyt Axton in Smoky ing him with his fists long past the point an audi-
(1966). On TV’s Daniel Boone (1964–1970), he ence is used to seeing a hero punish a villain.
faced bare-knuckle boxer Maxwell Reed in 1965’s Meeker repeatedly smashes Richards’ head against
“Cry of Gold,” Aldo Ray in 1965’s “The Trek,” Leif a concrete wall, then knocks the assailant down a
Erickson in 1966’s “River Passage” and Forrest long flight of stone steps with a big right cross.
Tucker in 1967’s comic “The Ballad of Sidewinder Stuntman Fred Krone takes the fall for Richards,
and Cherokee.” As a TV guest, Parker fought Gene shot effectively at L.A.’s Bunker Hill with a wide
Barry in the 1964 Burke’s Law episode “Who angle lens by director Robert Aldrich and cine-
Killed WHO IV?” matographer Ernest Laszlo. Carl Saxe served as
See: Chemerka, William R. Fess Parker: Frontier Meeker’s double with Michael Luciano cutting the
action together superbly by
alternating between close-
ups and medium shots. At
the outset of the scene, com-
poser Frank De Vol builds
significant tension during a
tracking shot of Richards
following Meeker with knife
in hand; while all the while
a nonchalant Meeker is
aware of his presence.
The Production Code
balked at the scripted ver-
sion of this scene, as Meeker
was also to knee and kick
Richards and slug him after
his body had gone limp. The
kneeing and kicking were re-
moved, but Aldrich fought
to keep the head-banging. A
compromise was reached in
Mike Mazurki (left) and Fess Parker battle in Davy Crockett, King of the Wild which all but one of the five
Frontier, a 1955 “feature” made from episodes of Walt Disney’s TV series. slams are heard and not seen.
 1955 115

Aldrich focused on the delight Meeker took in the Cameron Mitchell on The High Chaparral. His
act, which was still unsettling. The American Mar- best fight came against Wayne Maunder in the
tial Arts Film notes, “One of the film’s highpoints 1967 Custer episode “Glory Rider.”
comes when Hammer is being followed, and sav- See: Folkart, Burt A. “Played Tough Guys and
agely beats a thug at his own game using a mix of Villains: Ralph Meeker.” Los Angeles Times. August
martial arts and boxing.” Among more fights and 6, 1988; Prince, Stephen. Classical Film Violence:
beatings, Jack Lambert is coldcocked with one Designing and Regulating Brutality in Hollywood
Meeker punch in a pool cabana. Later, he and Jack Cinema, 1930–1968. New Brunswick, NJ: Rutgers
Elam team up to give the Hammer character one University Press, 2003.
of his trademark beatings on a Malibu beach.
Hammer will use his deadly .45 for further en- Jeff Chandler vs. Rory Calhoun
counters.
Overlooked upon its release, Aldrich’s film
in The Spoilers (1955)
found great popularity with the French New Wave, The classic fight from Rex Beach’s novel got its
leading to its sustained cult status among fans of first color treatment with Jeff Chandler and Rory
stylish L.A. noir. Robert Bray played the Hammer Calhoun assuming the roles made famous in 1942
role in My Gun Is Quick (1957) and Darren Mc- by John Wayne and Randolph Scott in this slick
Gavin was cast in the 1958–1959 TV series Mike but routine Universal western. John Wayne pub-
Hammer. Spillane himself took on the role of licly ridiculed this version as inferior to his own,
Hammer in The Girl Hunters (1963), engaging in but it remains a decently realized slugfest afforded
a fight with stuntman Larry Taylor. Armand As- a grand and epic staging. It’s muddier than its pred-
sante played him in a 1982 version of I, the Jury. In ecessor and at four minutes nearly as lengthy.
the mid–1980s, Stacy Keach became strongly Much of the basic fight choreography remains
identified with the part on another TV series, but the same. Director Jesse Hibbs was determined
for many, Ralph Meeker is the quintessential cal- to present a straightforward and stand-up fight,
lous Spillane private eye. with no gimmicks such as the use of chains or
Six-one and 185 pounds, Ralph Meeker was a breakaway chairs. However, there is a thrown spit-
Navy veteran and judo instructor who excelled at toon.
playing cruel, swaggering tough guys brimming Real-life friends Chandler and Calhoun were
with self-confidence. One of his earliest roles saw game for the action. Chief doubles Bob Morgan
him step into the boxing ring in Glory Alley (1952) and Chuck Roberson earned their pay, with great
after he trained with John Indrisano. Meeker table smashes. In such instances, the legs of the
quickly learned to yield much of his
action over to stunt doubles after
breaking a tooth fighting collegiate
wrestling champ Jonathan Cott in
Code Two (1953). He did deck Joe
Turkel with a mighty punch in Paths
of Glory (1957). On the syndicated
TV series Not for Hire (1959–1960),
Meeker starred as a tough Army in-
vestigator, Sgt. Steve Dekker.
Fights of interest came against
James Whitmore in Shadow in the
Sky (1952), James Stewart in The
Naked Spur (1953), John Smith in
Desert Sands (1955), Christopher
George in The Devil’s Eight (1969)
and Gregory Peck in I Walk the Line
(1970). As a TV guest, he fought
Steve McQueen on Wanted—Dead
or Alive, Tom Tryon on Texas John Rory Calhoun (left) and Jeff Chandler take a crack at the famous
Slaughter, Ron Ely on Tarzan and fight scene in Universal’s The Spoilers (1955).
116 19 55

table are scored so they will collapse upon impact James Stewart vs. Arthur
and lessen the resistance for the appropriately Kennedy in The Man from
padded stuntmen. The effect on camera looks fan-
tastic. The fight took five days for the principals
Laramie (1955)
to film on Universal’s Stage 14. The injury list was In 1950, James Stewart made the Anthony
far shorter than the movie’s predecessors. One of Mann western Winchester ’73 and changed the
the stuntmen broke a finger, Chandler bruised his course of his career the moment he grabbed Dan
knees and Calhoun hurt one hand. Duryea and forced his head onto a bar top. No
Variety commented, “Such punishment you longer was the 6'3", 160-pound Stewart the gangly,
won’t believe but it is fun to watch and well- drawling wimp of Hollywood. Now he was a two-
staged,” while Film Bulletin wrote that the brawl fisted action star, and director Mann brought out
was “carried off with all the rousing flourish of its his edgy toughness in film after film.
predecessors.” The Hollywood Reporter described In The Man from Laramie, Stewart is out to find
it as “a bang-up fight … which director Jesse Hibbs the gunrunner responsible for his brother’s death.
does not allow to go overboard.” The Los Angeles In doing so, he and Arthur Kennedy have a re-
Herald Examiner agreed: “The much-touted brawl match of their 1952 Bend of the River fight, with
has been kept within bounds … but still packs Alex Nicol thrown in to make it even more difficult
plenty of wallop.” Harrison’s Reports said, “The for the star. It’s far superior to the previous film’s
fight more than matches any of the others both in fisticuffs and was Stewart’s personal favorite
violence and in length,” and Western Clippings among his westerns. Shot in CinemaScope, it
added, “The big fight isn’t Wayne and Scott, but was also director Mann and Columbia’s most
still well-staged.” brutal. People still offer commentary on the vio-
With his rugged build and premature head of lence as Mann’s hero shows himself every bit as
salt and pepper hair, 6'4", 215-pound Jeff Chandler capable of the villain’s extremes. “Rough viewing
was one of the more physically capable and believ- for the timid,” said Variety, “But straight actions
able leading men of the 1950s. He once joked that fans will like it.” Legendary Westerns includes it
many of the screenplays he was offered required among the top brawls in a cowboy film, and The
him to have a fistfight every ten pages. An excellent Making of the Great Westerns called it “a rough fight
athlete, he turned down college football scholar- that recalls the battles of the various Spoilers west-
ships and offers to play on the gridiron profession- erns.”
ally. Instead he entered the Army’s Cavalry divi- Stewart is lassoed and dragged through smol-
sion during World War II. At Universal, he was dering coals and later has his hand shot at close
given boxing instruction for Iron Man (1951) by range by Nicol. In between these violent events,
Frankie Van. he marches memorably enraged across a western
Chandler fought Jay Silverheels in The Battle at street in a fantastic tracking shot from cinematog-
Apache Pass (1952), Jim Bannon in War Arrow rapher Charles Lang before laying into mama’s boy
(1953), Anthony Quinn in East of Sumatra (1953), Nicol. When ranch foreman Kennedy intervenes,
Lyle Bettger in The Great Sioux Uprising (1953), Stewart slugs him as well. Kennedy is an even
Jack Palance in Sign of the Pagan (1954) and Ten match, and the two roll underneath horses and
Seconds to Hell (1959), Leo Gordon and Charles crash through a fence while wrestling among scat-
Horvath in Man in the Shadow (1958), Richard tering cows for a full minute of dust-covered action
Denning in The Lady Takes a Flyer (1958), Jacques until interrupted by land baron Donald Crisp. It’s
Bergerac in Thunder in the Sun (1959), Fess Parker a tough battle filmed on location in Santa Fe, New
in The Jayhawkers! (1959) and Roger Torrey in Mexico, with Mann shooting from low angles to
The Plunderers (1960). emphasize the clear blue skies above the men at
See: Carroll, Harrison. “New Version of Spoilers the fight’s outset. By the conclusion, his camera is
Puts on Fight Scene.” Boston Daily Record. March 2, on top of them as they roll on the ground. The
1955; Mosby, Aline. “Famed Spoilers Fisticuffs Re- opening is scored in suspenseful fashion by
turn but with Doubles.” Omaha World Herald. Feb- George Duning, but for the bulk of the fight there’s
ruary 27, 1955; Wells, Jeff. Jeff Chandler: Film, only the sound of the mooing cattle. Stewart in-
Record, Radio, Television and Theater Performances. sisted upon doing many of his own stunts, and
Jefferson, NC: McFarland, 2005. Kennedy accidentally connected with Stewart’s
mouth. Stuntman Bill Catching doubled Stewart
 1955 117

during the toughest bits with Jack Young subbing See: The Man from Laramie pressbook; Thomas,
for the 5'10", 165-pound Kennedy. Editor William Tony. A Wonderful Life: The Films and Career of
Lyon does a fantastic job concealing the use of the James Stewart. Secaucus, NJ: Carol, 1997.
stuntmen.
During World War II, Stewart became much- The Live TV Brawl in It’s Always
decorated as a pilot, earning an Air Medal, a Dis-
tinguished Flying Cross, the Croix de Guerre and
Fair Weather (1955)
seven Battle Stars. At 138 pounds, he was initially A lavish, entertaining MGM CinemaScope mu-
deemed too skinny for the service. In the late sical, It’s Always Fair Weather concludes with a
1930s, MGM’s physical trainer Don Loomis man- zany four-minute show-stopping slugfest between
aged to put 20 pounds of temporary muscle on a trio of cynical ex–G.I. hoofers (Gene Kelly, Dan
him with weight workouts. By the 1950s, his frame Dailey and Michael Kidd) and gangster Jay C. Flip-
had filled out and he became adept at doing his pen’s hoods (Sol Gorss, Terry Wilson and John In-
own fights, particularly in a string of classic west- drisano) during the filming of a live TV show en-
erns. His long, looping punches were often thrown titled Midnight with Madeline. The hoofers have
slightly off-balance, giving them a certain authen- been lured onto the show by Cyd Charisse as part
ticity absent in the traditional cowboy hero. Au- of a reunion in hopes of recapturing their lost
diences identified with his unease. The Stuntmen’s magic from years ago. The disengaged dancers use
Association made him an honorary member of their dormant athletic skill to make the thugs look
their fraternal organization. silly and force a public confession of their illicit
Fights of interest came against Stephen Mc- activities. In effect, the dancers place joy and spon-
Nally in Winchester ’73 (1950), Will Geer in Broken taneity back into their lives with this fight. Stanley
Arrow (1950), Jack Lambert in Bend of the River Donen directed the slapstick action, which MGM’s
(1952), Dan Duryea in Thunder Bay (1953), Greatest Musicals calls “a spectacular free-for-all
Robert Ryan and Ralph Meeker in The Naked Spur brawl.”
(1953), Raymond Burr in Rear Window (1954), A common criticism of movie fights is their un-
Robert Wilke in Night Passage (1957), John Wayne realistic nature; the slick and entertaining chore-
in The Man Who Shot Liberty Valance (1962), ography found in It’s Always Fair Weather is abun-
Kelly Thordsen and Lane Bradford in Shenandoah dantly guilty. Staged film combat is akin to a dance
(1965), Jack Elam and Brian Keith in The Rare routine or fistic ballet. Footwork and balance is
Breed (1966), Jack Elam in Firecreek (1968) and especially important. Seldom do the fighters ever
John Dehner in The Cheyenne Social Club (1970). emerge broken, bloodied, black and blue, or with
injuries of any lasting effect. In
Hollywood, they stand toe to toe
slugging it out with roundhouse
punches that would fell or ex-
haust any normal man. MGM
musicals are entertainment on a
grand scale. To a degree, so are
movie fights. It’s Always Fair
Weather presents them both to
advantage. Gene Kelly (5'9", 165
pounds) was front and center as
the acrobatic star of The Three
Musketeers (1948) and was show-
cased during the entertaining
fight in Singin’ in the Rain (1952).
The dancer’s work in action
scenes was an early influence on
martial arts superstar Jackie
Chan.
James Stewart (left) and Arthur Kennedy get tough with one another See: Fordin, Hugh. MGM’s
in Columbia’s The Man from Laramie (1955). Great est Musicals. New York:
118 19 55

Doubleday, 1975; Yudkoff, Alvin. Gene Kelly: A weighed over 250 pounds. Thanks to his size and
Life of Dance and Dreams. New York: Back Stage, fighting prowess, the former USC football player
1999. and Army boxing champion duked it out with
TV’s Clint Walker (Cheyenne) and James Arness
Randolph Scott vs. Don (Gunsmoke). Megowan was a perfect fight partner
Megowan in A Lawless Street for he-men of the day. He fought George Mont-
gomery in the 1958 Cimarron City episode “Beast
(1955) of Cimarron,” Richard Boone in the 1959 Have
Sheriff Randolph Scott faces giant-sized Don Gun—Will Travel “First, Catch a Tiger,” Dan
Megowan in this standard Joseph H. Lewis west- Blocker in the 1959 Bonanza “The Magnificent
ern. Scott had earlier killed Megowan’s brother Adah” and Chuck Connors in the 1960 Rifleman
Frank Hagney in self-defense. Although Megowan “Seven.” Each was a show-stopper. On film he had
is aware that Hagney was a hired gunman, his notable brawls in Gun the Man Down (1956) and
solemn bitterness turns to fury after Scott tries to The Devil’s Brigade (1968) (see entries). Fights of
give Hagney’s widow the “dirty” money the gun- interest came against Jim Davis in Lust to Kill
man was carrying. The two trade haymaker after (1958), John Cason in Snowfire (1958), Mike
haymaker in the vigorous three- minute saloon Henry in Tarzan and the Valley of Gold (1966) and
fight until their faces are bloody and their shirts Isaac Hayes in Truck Turner (1974).
are torn. Megowan attempts to slam Scott against See: Burton, Ron. “Good Fight Can Make
a post and bear-hug him into submission, but the Movie.” The News. September 9, 1953; “Champi-
star proves resilient. Scott wears the big man down onship Fight.” News and Eastern Townships Advo-
as the fight stumbles into the street. Scott is about cate. May 24, 1956; Weaver, Tom. “Don Megowan:
to throw another punch but sees Megowan is of- Coolest Father in the World.” Classic Images.
fering no defense so holds back. The two men ul- March 2013.
timately resume their previous friendship and
Megowan becomes an important ally against the The Havana Club Brawl in Guys
real bad guys. Kenneth Gamet was responsible for
creating the believable misunderstanding between
and Dolls (1955)
acquaintances and made the fight an important In this Damon Runyon gangster story–musical,
plot point. During the battle, Scott injures his gun Marlon Brando is improbably cast as gambler Sky
hand and is unable to use it when the next hired Masterson. He’s out of his element warbling tunes
gun Michael Pate shows up. and seems more at home when throwing punches
Columbia publicity called the Megowan fist- in a frenzied Cuban nightclub after female lead
fight the most spectacular of Scott’s career. That Jean Simmons starts a jealous fight with Larri
might reek of hyperbole, but it’s in his career top Thomas. John Indrisano coordinated the frantic
ten. The Los Angeles Times was sufficiently im- 60 seconds of fistic action, with Oscar-nominated
pressed to declare the fight “almost on par with Harry Stradling behind the camera shooting
the famous one from Shane,” while Six Gun Law Joseph White’s colorful set. Stuntman Paul Baxley
refers to it as “spectacular.” Scott believed a solidly was on hand to double Brando, but the star lob-
staged fight was one of the key ingredients to suc- bied to do much of his own fighting, including get-
cess when it came to scoring with moviegoers, and ting hit by a bass fiddle and dodging thrown chairs.
the visceral experience in a darkened theater was The first punches are overly stagey, but a rhythm
something they’d remember for years. However, develops that nicely compliments the Mambo
A Lawless Street has too many strikes against it to dance number choreographed by Michael Kidd
make it truly memorable including Paul Sawtell’s that precedes it. The Saturday Review called it “a
unobtrusive yet hardly noteworthy background marvelous brawl.”
score. The fight is fluidly lensed by cameraman Former heavyweight boxing champ Jack Demp-
Ray Rennahan, but Gene Havlick’s editing is sey visited the set and had a hand in teaching Sim-
choppy, no doubt to hide the extensive use of mons how to throw a punch. The fight called for
Scott’s stuntman Al Wyatt. 50 extras and 13 stunt professionals. Among the
Don Megowan does the bulk of the fight him- stunt performers are Larry Duran, Eddie Saenz,
self. There weren’t many stuntmen around who John Daheim, Gil Perkins, Dick Crockett, Harvey
could believably double him. He stood 6'6" and Parry, George Robotham, Polly Burson, Lila Finn,
 195 6 119

Helen Endicott, Suzanne Ridgeway and Mary Ann In his youth, 6'1", 185-pound Clayton Moore
Hawkins. Director Joseph L. Mankiewicz decided worked with the Flying Behrs trapeze act. His
to double the order for breakaway furniture and gymnastic ability aided his entrance into Holly-
props, making it the largest ever assembled for a wood, where he was schooled in fight techniques
single fight scene. There were 160 chairs, 40 tables, by Tom Steele and Dave Sharpe at Republic. He
300 bottles and 1000 glasses ordered. Frank Sina- served with the Army Air Force during World War
tra, who co-stars as Nathan Detroit, wanted II, before making a name as an athletic serial hero
Brando’s Masterson role. There was friction be- and B-western villain who did the bulk of his own
tween the leads, and they spent the subsequent screen battles. He fought the likes of Charles Star-
years bad-mouthing both one another and this rett, Allan Lane, Gene Autry and Jock Mahoney,
film. always putting on a spirited show. In the serial G-
See: Bacon, James. “Goldwyn Sets Precedent in Men Never Forget (1947), a heroic Moore fought
Guys, Dolls.” Reading Eagle. May 29, 1955; “Scene Roy Barcroft and John Crawford. In Kansas Pacific
in Guys and Dolls Actually Breaks Them Up.” The (1953), he battled Sterling Hayden.
Miami News. May 29, 1955; Thomas, Bob. “Jean On the Lone Ranger series (1949–1957), Moore
Simmons Very Happy Dancing in Guys and Dolls.” regularly engaged heavies such as Lane Bradford,
Pittsburgh Post-Gazette. June 30, 1955. Mickey Simpson, Mike Ragan and Hal Baylor in
fisticuffs. His biggest battle came against former
Clayton Moore vs. Robert heavyweight boxing champion Max Baer in 1957’s
“The Law and Miss Aggie.” In the feature film The
Wilke in The Lone Ranger (1956) Lone Ranger and the Lost City of Gold (1958), he
This colorful Warner Bros. feature version of fought Bill Henry.
the popular TV series showcases plenty of two- See: Moore, Clayton. I Was That Masked Man.
fisted action on Kanab, Utah, locations bookended Dallas, TX: Taylor, 1996.
by the iconic “William Tell Overture” theme. The
Stuart Heisler–directed film is full of tremendous Rory Calhoun vs. Robert Mid-
stunt falls and slides down rocky ledges, well-
lensed by Edwin DuPar and superbly edited to-
dleton in Red Sundown (1956)
gether by veteran film cutter Clarence Kolster. The Some of the actors who do their own fights are
memorable climax pits masked hero Clayton ex-athletes who retain an air of rough-hewn fitness.
Moore against bad guy Robert Wilke in an inter- They are often physically capable of performing
esting battle of two 1934 World’s Fair performers the required action and have a sense of pride about
turned stuntmen actors. Here they yield a decent their abilities. They want the audience to know it’s
part of the action to their doubles, allowing for them fighting on screen. Red Sundown leading man
one of the screen’s greatest bulldog stunts where Rory Calhoun fits that bill and establishes his
one man dives off his horse onto another and takes tough guy credentials early on with a one-punch
him to the ground. Some sources say it’s Al Wyatt, knockdown of bad guy Leo Gordon. With stunt-
while Moore’s autobiography says it was his series man Chuck Roberson’s blessing, Calhoun does all
stuntman Bill Ward. At any rate, Moore’s stunt his own fights for William Snyder’s camera in this
double bulldogs Wilke’s double Bob Morgan above- average Jack Arnold Universal western.
alongside a dangerously steep ledge, and the two What is surprising is that character actor Robert
go tumbling down the cliff together and the fist- Middleton doesn’t fit that criteria. He is heavyset
fight commences at the bottom. It’s a truly impres- and not known for partaking in action scenes. Yet
sive stunt. The doubles are sharply edited and he too does all his own one-minute fight with Cal-
cross-cut with the principals pounding away on houn, and the two put on a blistering saloon brawl
each other for a great screen fight. Moore also bat- that’s the film’s highlight. It’s notable for its lack of
tles aggressive Indian brave Michael Ansara, while a music score, relying on the sound of breaking
the Ranger’s sidekick Tonto ( Jay Silverheels) glass, cracking wood and fists on chins. Editor Ed-
fights an entire town of main heavy Lyle Bettger’s ward Curtiss cut the fight together superbly. The
henchies. Variety declared, “Some of the fight se- Toledo Blade exclaimed, “For those who like fistic
quences staged are thrillingly rugged.” Moore combat there is a rock and roll bare- knuckle
proudly stated that the film contained “one of the brawl,” while Western Clippings calls the fight “one
great fight scenes in western movies.” of the best ever from the period.”
120 19 5 6

Six-foot-three, 195-pound Calhoun toiled at in the process to the accompaniment of Kubrick’s

many rugged professions including lumberjack, emphasis on the sounds of shoes and bodies thud-
firefighter, miner, cowboy and boxer before being ding onto the floor. He flips two cops at the same
cast as Gentleman Jim Corbett in The Great John time and takes a bottle over the head that barely
L (1945). He spent part of his youth in a reforma- fazes him. The police are able to drag him away,
tory and did a stint in prison, giving him a definite but Hayden’s ruse has worked. Kwariani knew
bad boy image. Yet he proved to be a heroic leading Kubrick from playing chess in a Greenwich Village
man with many of his roles requiring physical ac- club, and some have compared Hayden’s moves in
tion, at which he was superb. He was a natural the film to an elaborate chess game. Kwariani died
choice to fight Jeff Chandler in the 1955 version in 1980 after engaging in a brawl with five delin-
of The Spoilers (see entry). Whenever he was in a quents who tried to mug the 77-year-old.
fistfight, his hair became mussed and believable Stuntmen Harvey Parry, John Hudkins, Gil
determination painted his face. Calhoun devel- Perkins, Wally Rose, Eddy Saenz, Don Turner,
oped a pronounced twisting follow-through that Fred Graham, Sol Gorss and Fred Gabourie worked
effectively sold the power of his punches. The the fight with Kwariani. Comedian Rodney Dan-
Stuntmen’s Association made him an honorary gerfield supposedly appears in the sequence as an
member. extra. After the Kwariani brawl, leading man Hay-
Calhoun fought Guy Madison in Massacre River den makes off with the loot, but not before he is
(1949), Dan Dailey in A Ticket to Tomahawk confronted by racetrack guard Gorss. Hayden
(1950), Peter Graves in Rogue River (1951), sends Gorss sprawling with a monumental punch,
Richard Boone in Way of a Gaucho (1952), Robert one so big that in real life Hayden threw his back
Mitchum in River of No Return (1954), Charles out delivering it. The verdict was a slipped disc,
Drake in Four Guns to the Border (1954), Stephen and production was immediately halted as the star
McNally in A Bullet Is Waiting (1954), Neville was now laid up in traction. An emergency call was
Brand in Raw Edge (1956), Max Baer in Utah placed to stuntman Bob Morgan, who was on his
Blaine (1957), Chuck Connors and Vince Edwards honeymoon with actress Yvonne DeCarlo in Las
in The Hired Gun (1957), Lloyd Bridges in Ride Vegas. The producers knew Morgan had worked
Out for Revenge (1957), Leo Gordon in Apache Ter- with Hayden before and looked enough like him
ritory (1958), John Larch and Russell Johnson in to fill in for long shots so the film could get back
The Saga of Hemp Brown (1958), Scott Brady in into production. Hayden ultimately made it back
Black Spurs (1965) and John Russell in Apache Up- on his feet and finished out the role.
rising (1966). On his western TV series The Texan Six-five and 210 pounds, Hayden was a ship’s
(1958–1960), he had a big fight with Mort Mills captain and sailed around the world several times
in 1960’s “Thirty Hours to Kill.” As a guest, he as a young man. During World War II, he joined
fought Andrew Duggan in the 1970 Lancer episode the Marines and was active with the O.S.S. in Yu-
“The Rivals.” goslavia, winning a Silver Star for his valor. Para-
See: Scott, Vernon. “Rory Calhoun Got Into mount promoted photos of Hayden boxing at the
Films on His Good Looks, Not Talent.” Spokane studio gym and advertised him as “the blond
Daily Chronicle. November 3, 1980; “Smile When Viking God.” As a movie fighter, he was impres-
You Say That, Pardner.” TV Guide. January 31, sive. With his imposing size, he could throw a be-
1959. lievable blow with leverage and panache. Many of
his fights were one-punch knockouts. He was ex-
The Racetrack Brawl in The cellent as the two-fisted hooligan who turns out
the lights on Ray Teal in the crime classic The As-
Killing (1956) phalt Jungle (1950).
Director Stanley Kubrick put himself on the Hayden fought Fred MacMurray in Virginia
map with this classic heist picture lensed by Lu- (1941), John Payne in El Paso (1949), Victor Jory
cien Ballard. Cerebral anti-hero Sterling Hayden in Flaming Feather (1952), James Arness in Hell-
recruits a crew to take the gambling proceeds from gate (1952), Edmond O’Brien in Denver and Rio
a racetrack, utilizing the bald-headed real-life pro- Grande (1952), Reed Hadley and Clayton Moore
fessional wrestler Kola Kwariani as a distraction. in Kansas Pacific (1953), Philip Reed in Take Me
The six-foot, 250-pound Kwariani fights over half to Town (1953), Ernest Borgnine in Johnny Guitar
a dozen cops and a few bartenders, losing his shirt (1954) and The Last Command (1955), Gene
 195 6 121

Barry in Naked Alibi (1954), William Bishop in they were in a clinch, Holliman broke up the crew
Top Gun (1955), Zachary Scott and Robert Wilke when he said to Hunter, “Kiss me quick!”
in Shotgun (1955), David Brian and Howard Petrie Navy veteran Earl Holliman (six feet, 175
in Timberjack (1955), Lee Van Cleef in Gun Battle pounds) portrayed a boxer in Tennessee Champ
at Monterey (1957) and Sheb Wooley in Terror in (1954) and was comfortable throwing movie
a Texas Town (1958). punches throughout the remainder of his career
See: Grasso, John. The Historical Dictionary of as a supporting player and occasional leading man.
Wrestling. Lanham, MD: Scarecrow Press, 2014; He is best known as Angie Dickinson’s tough but
Nashawaty, Chris. “One Tough Guy You Need to caring counterpart on the popular TV series Police
Know: Sterling Hayden.” Entertainment Weekly. Woman (1974–1978). As the star of the western
March 4, 2007; “Sterling Hayden Hurt; Substitute series Hotel de Paree (1959–1960), his fights rou-
Halts Honeymoon.” Seattle Daily Times. Novem- tinely injected humor to lighten the mood. His
ber 23, 1955. best fight came against Mark Richman in 1959’s
“Return of Monique.” In “The Lucky Punch,” a
Tab Hunter vs. Earl Holliman 1963 episode of the rodeo drama The Wide Coun-
and Skip Homeier in try (1962–1963), he knocked out boxing cham-
pion Bruce Yarnell in a barroom brawl
The Burning Hills (1956) Holliman had notable fights in Armored Com-
Director Stuart Heisler’s western about a young mand (1961) and The Sons of Katie Elder (1965)
cowpoke looking for the killer of his brother (see entries). Fights of interest came against Lloyd
boasts an outstanding climactic fight. It was shot Bridges in The Rainmaker (1956), Kirk Douglas
in CinemaScope by Ted McCord along rocky cliffs and Brad Dexter in Last Train from Gun Hill
above the Kern River near Bakersfield, California. (1959), Jerry Lewis in Visit to a Small Planet
The stunt doubles for combatants Tab Hunter and (1960), George Maharis in A Covenant with Death
Skip Homeier roll over bushes and down crevices, (1967) and Clifton James in The Biscuit Eater
before tumbling off a ledge into the river. In the (1972). As a TV guest, he fought Tim Matheson
close-ups, Hunter and Homeier wore wetsuits un- in the 1974 Police Story episode “Fingerprint.”
derneath their costumes and were tied with safety See: Hunter, Tab, and Eddie Muller. Tab Hunter
lines around their waists so they wouldn’t be swept Confidential: The Making of a Movie Star. Chapel
away by the currents. Allen Pinson is one of the Hill, NC: Algonquin, 2006; “Inside Hysteria.” TV
brave stuntmen. Cutter Clarence Kolster does a Guide. February 16, 1963; “Screen Battle in One
good job concealing the stuntmen’s identities and Big Take.” Pittsburgh Press. July 26, 1956.
keeping the pace hopping. The New York Times
claimed the fight was “a bout that rivals anything Rock Hudson vs. Mickey
done in that famed barroom brawl scene from The
Spoilers.”
Simpson in Giant (1956)
Tab Hunter, a 170-pound six-footer, didn’t es- The fight between Rock Hudson and diner
cape injury. He wound up with skinned arms and owner Mickey Simpson comes out of nowhere in
a greater appreciation for the energy needed to en- George Stevens’ Texas epic Giant, but it’s an im-
gage in a movie fight. He told the press he had portant moment for the previously prejudiced
never been so exhausted in his life. He also Hudson character. He’s taking a stand for some-
thrashes Hal Baylor and has a fight in a barn with thing, stepping up for an old Mexican man being
Earl Holliman, who goes after Hunter with a hay refused service by the bigoted Simpson. It’s a
hook and a leather strap. It’s a well-choreographed memorable fight thanks to the powerhouse punches,
and spirited two-minute exchange, and once again inventive camera angles and the song “Yellow Rose
Pinson can be spied as a double. Heisler shot the of Texas” playing in the background courtesy of
action with his principals in one take using three the film’s orchestrator Dimitri Tiomkin. Variety
cameras; one on the floor, one on a boom and one noted, “Fight footage catches some of the raw
in the rafters. Composer David Buttolph punctu- power of the brawl in Shane,” while Time praised
ates the action in short dramatic bursts. Western the fight, saying it was “worked over with a care
Clippings includes both main battles among their for the meanings beneath the meanings on the sur-
“great screen fights.” The Holliman fight contained face: something that Hollywood almost never
a humorous moment behind the scenes: While takes the time for.” Stage Combat calls it “one of
122 19 5 6

the truly great fist fights captured on film,” and shoot because it was covered from every angle, giv-
Burns, Falls, and Crashes refers to it as “a piece of
ing his editor William Hornbeck plenty of options.
pure stunt poetry.” USA Today ranks it among the The diner set was built by Ralph Hurst to accom-
Top 10 all-time movie fights. modate Stevens’ vision, with walls and ceilings
The most notable aspect of the two-and-a-half- continuously being moved by the technical crew.
minute fight was how it shocked movie audiences Six-foot-five and 240 pounds, Mickey Simpson
when lead actor Hudson didn’t emerge victorious. was the heavyweight boxing champion of New
In fact, he’s knocked around the diner by Simp- York City and spent time as a construction worker
son’s big uppercuts and measured right crosses for and lumberjack. He joined the Navy during World
most of the fight, to the horror of his wife Carroll War II and met director John Ford at the Holly-
Baker. Hudson, whose character is in his 50s, puts wood Canteen while with the Shore Patrol. He was
up a game fight, but he is overmatched. This is the later a bouncer at the Florentine Gardens while
moment when Hudson lands the loudest punch taking on small acting parts. His size and boxing
courtesy of sound recorder Earl Crain, giving the background landed him many jobs requiring fight
audience hope their underdog will prevail. It’s a action. There were few stuntmen big enough to
fleeting hope, as Simpson’s big right fist is sent convincingly double him, so Simpson requested
straight into William C. Mellor’s camera for a extra stunt pay for fights and routinely received it.
knockout blow. Director Stevens wished to show Some co-stars thought he was slow and clumsy
it can ultimately be unrewarding to take the side and didn’t like doing fights with him.
of the underdog. Simpson fought Johnny Weissmuller in Tarzan
Simpson was a late replacement for actor Greg- and the Huntress (1947), Victor McLaglen in She
ory Walcott in the role of Sarge. Walcott was on Wore a Yellow Ribbon (1949) (see entry), Jock Ma-
another movie and was forced to give up the part. honey in Roar of the Iron Horse (1951), Allan Lane
Stunt coordinator Paul Stader rehearsed the actors in Leadville Gunslinger (1952), Randolph Scott in
and stuntman Troy Melton for a full week before Carson City (1952) and Tall Man Riding (1955),
shooting began at Warner Bros. Stader would dou- Wayne Morris in Star of Texas (1953) and Richard
ble Hudson if need be. In the finished product, Boone in Rio Conchos (1964). On TV, he stepped
both actors end up doing almost the entire fight, into the bare-knuckle ring against Jock Mahoney
which was Stevens’ intention. The fight took an in the 1952 Range Rider episode “Fight Town” and
incredible three weeks for Stevens to prepare and 1959’s Yancy Derringer episode “Wayward War-
rior,” as well as John Russell
in the 1960 Lawman epi -
sode “Samson the Great.”
He fought Clayton Moore
on The Lone Ranger, Clint
Walker on Cheyenne, Rich-
ard Boone on Have Gun—
Will Travel, David Janssen
on Richard Diamond, Private
Detective, Craig Stevens on
Peter Gunn, Chuck Connors
on The Rifleman, Ty Hardin
on Bronco, James Garner on
Maverick and Edd Byrnes on
77 Sunset Strip.
See: “Giant Fight Finds
Hero as Loser.” Greensboro
Daily News. November 1,
1956; “Staging of Fight
Scene Adds Emotional Ten-
sion to Giant.” Amarillo-
Mickey Simpson is knocked backward by Rock Hudson in Warner Bros.’ clas- Globe Times. January 14,
sic Giant (1956). 1957.
 195 6 123

James Arness vs. Don Megowan mighty follow-through. The 235-pounder was es-
in Gun the Man Down (1956) pecially good at delivering a fast and powerful
backhand. Even as his weight climbed into the
This well-performed, tension- filled western 260-pound range in the late 1960s, he still pre-
from director Andrew McLaglen has anti- hero sented a formidable challenge to any opponent.
James Arness tracking former partners in crime He started his career with a brawl against Charles
Robert Wilke and Don Megowan and girlfriend McGraw in The Farmer’s Daughter (1947), boxed
Angie Dickinson. The minor revenge film was shot Jeff Chandler in Iron Man (1951) and fought
after the first season of the long-running TV series Robert Ryan in Horizons West (1952) and Sterling
Gunsmoke and plays like a black- and-white TV Hayden in Hellgate (1952). However, it’s his Gun-
episode, though it was written by Burt Kennedy smoke fights that fans remember. The confronta-
and shot by the esteemed William H. Clothier. tion with William Smith in 1972’s “Hostage” is her-
There’s not much budget or action until a one- alded as one of the best match-ups ever done for
minute battle between the tallest men in the television. The battle with Jim Davis in 1968’s
movies. Publicity played up the men’s height: Ar- “The Railroad” has a great buildup and payoff as
ness stood 6'7" while Don Megowan was 6'6". they slug throughout the town and take a time-out
Both perform all their own stunt work. The from exhaustion. The fight with John Anderson in
match-up is doubly intriguing since Arness had fa- 1958’s “Buffalo Man” was shown for years at USC
mously played the title alien in The Thing from An- Film School to teach prospective editors how to
other World (1951) while Megowan donned the assemble such a scene. In 1970, he had a big fight
Gill Man costume for The Creature Walks Among with frequent guest star Victor French in “Kiowa.”
Us (1956). Other great battles came in the 1972 episodes
There’s no musical accompaniment, only the “Sarah” and “The River” with Arness slugging it
sound of fists connecting. An impassioned Arness out with Michael Lane and Roger Torrey. The
pulls Megowan off a horse, lands huge punches, brawl with pro boxer Buddy Baer in 1957’s “Never
kicks a gun from his hand and pins him under an Pester Chester” was another standout against a
overturned wagon to learn the whereabouts of huge and worthy opponent. Sometimes the audi-
Wilke. Arness corners Wilke in a box canyon, and ence couldn’t wait for Arness to plant his fist on a
the latter puts up no fight. Arness merely drills him bad guy’s jaw. There was perhaps no more satisfy-
with six punches. It’s anti-climactic as the main ing fight than Arness duking it out with smug
match-up is the earlier battle with Megowan, rapist Ben Johnson in 1963’s “Quint-cident.” In the
which Clothier keeps in medium shots to show late 1950s, Arness went on a promotional tour
the full image of the men’s long arms winding up staging fights with stuntman Al Wyatt. On a 1958
and slinging punches coordinated
by Jack Young. The two giants
fought again in the 1960 Gunsmoke
episode “Big Tom” with Arness a
surrogate fighter for the ailing title
character. Big Tom was an over-
the-hill prizefighter portrayed by
none other than Wilke. The epi-
sode was directed by Victor
McLaglen’s son Andrew, a member
of the University of Virginia’s box-
ing team. The younger McLaglen,
who stood 6'7", was the assistant
director on The Quiet Man (1952).
He liked filming fights so much
that his crews good-naturedly nick-
named him “The Sadist.”
World War II infantry veteran
James Arness was a capable screen Don Megowan is felled by James Arness in United Artists’ Gun the Man
fighter and threw punches with a Down (1956).
124 1957

Ed Sullivan Show. he put on a fight with stuntman fights. On the big screen, he fought Ernest Borg-
Bob Morgan. nine in Ice Station Zebra (1968).
See: Arness, James, and James E. Wise, Jr. James See: Hell Drivers DVD extras; Hell Drivers press-
Arness: An Autobiography. Jefferson, NC: McFar- book; Langley, Roger. Patrick McGoohan: Danger
land, 2012; “Giant McLaglen Directs Softly.” Sun- Man or Prisoner? Sheffield, England: Tomahawk,
day Independent. July 31, 1961; Gun the Man Down 2007; Shail, Robert. Stanley Baker: A Life in Film.
pressbook. Cardiff: University of Wales Press, 2008.

Stanley Baker vs. Patrick The Army vs. Navy Brawl in The
McGoohan in Hell Drivers Wings of Eagles (1957)
(1957) Broadly played, entertaining nonsense. The
Hell Drivers is a nail-biting, fondly remembered Wings of Eagles features a massive brawl between
film about law-breaking ballast drivers and the ri- Army and Navy units at a cake-cutting ceremony
valry between brooding newcomer Stanley Baker to celebrate who will be the first to fly around the
and top dog Patrick McGoohan, who immediately globe. John Wayne is cast as real-life Navy leader
sniffs out a challenging personality in the ex- Spig Wead, with Kenneth Tobey representing the
convict. The two white-knuckle truckers have an Army. Both end up slathered in cake as their men
excellent 90-second fight, cheered on by fellow carry on the slapstick fight. The John Ford–
drivers (including Sean Connery) as they uncork directed melee sees Wayne and several combatants
punches on one another’s jaws. It’s considered one run headlong into a swimming pool. Two scenes
of British cinema’s best fights, with Rank Films’ later, the antagonistic groups are at it again. Variety
publicity playing up the exchange. American di- found the brawling to be “particularly entertain-
rector Cy Endfield told the actors to go at it as re- ing,” while Harrison’s Reports commented that the
alistically as possible without stuntmen, and much free-for-all brawl “provokes many laughs.” Ford
of the intense fight is unbalanced grappling. The claimed the fight was based on reality and he was
tide turns on a painful kidney punch which gives an eyewitness who was forced to duck cake hurled
Baker the upper hand. By the time they were fin- in the air. The choreographic challenge for the di-
ished, both men had multiple bruises and even a rector and cameraman Paul Vogel was fitting so
few loosened teeth, contributing to their “tough many fighters moving at different angles into a
guy” images. Throughout the fight, McGoohan confined area.
manages to keep a cigarette dangling from his lips. All the usual Ford stunt culprits are here includ-
Biographer Robert Shail writes, “Baker and Mc- ing Cliff Lyons, Chuck Roberson, Fred Graham,
Goohan reach a near demented level of aggres- Bob Morgan, Dale Van Sickel, Terry Wilson, Frank
sion,” while the Sunday Times praised “a pace and McGrath, Chuck Hayward, John Hudkins, Kermit
a muscular command of violent action uncommon Maynard, Paul Stader, Michael Dugan. Jack
in British cinema.” Williams, Paul Baxley, Wally Rose, George Robot-
Stanley Baker, 5'11" and 190 pounds, worked in ham, Charles Horvath and Ronnie Rondell. Mor-
coal mines, then spent time as an amateur boxer gan lands a punch that dazes Wayne into eye-
and soldier with the Royal Army Service Corps. rolling silliness. Viewers will note that Morgan ap-
The hard-living actor was noted for his intense pears as two different Army men during the fight;
portrayals and preferred to do his own rugged one who gets punched inside by Wayne and one
screen fights after being shown how by stuntman that gets punched outside by Dan Dailey. In the
Jock Easton. He battled Alan Ladd in Hell Below next fight, he’s a Navy man. Graham also shows up
Zero (1954), Joe Robinson in Sea Fury (1958), as two different soldiers. These curious Ford cast-
Robert Mitchum in The Angry Hills (1959), John ing decisions may have left editor Gene Ruggiero
Crawford in Hell Is a City (1960) and Darren Nes- scratching his head when it came time to assemble
bit in Innocent Bystanders (1972). The 6'1", 185- the footage. Ford gave the golfer Ruggiero a new
pound McGoohan boxed at Ratcliff College. He’s putter for his trouble
best known for playing two-fisted John Drake on During the making of Wings of Eagles, Chuck
TV’s Danger Man (1960–1961) and Secret Agent Roberson and Cliff Lyons became involved in a
(1964–1966), winning fans with his willingness real bar brawl with one another due to the exces-
to perform many of his own rough-and-tumble sive needling of Frank McGrath. It was not un-
 1957 125

common for both men to wind up engaging in three-and-a-half-minute fight between John Derek
semi-real fisticuffs on any given night. Usually Bob and John Smith. It begins in a saloon and extends
Morgan was Lyons’ fight partner. When the bar’s to the western street at Iverson Ranch, and doesn’t
bouncer tried to break up the fight, Lyons knocked end until the men are dragged away by a horse-
him out. drawn buggy. Derek is particularly enraged by the
All the drinking and brawling both in the story drink-confident Smith, calling the reformed gun-
and off-screen had repercussions. The Navy fighter “gutless.” There’s good stunt work by the
balked at approving the Wings of Eagles screenplay, anonymous doubles, but the stars do a great deal
specifically because of the fight and the emphasis of fighting while co-star Nick Adams and towns-
on overly abundant alcohol consumption. A com- people look on. The bar’s mirror is smashed, chairs
promise was reached where Wayne’s character are thrown, tables overturned, and both men go
makes reference to those rowdy days being a long crashing out the front window. Derek tries to
time ago. However, there’s little doubting it’s a choke an unconscious Smith until Adams hits him
John Ford film: carefree and rollicking one mo- over the head with a pistol. Publicity played up the
ment; sentimental and tragic in the next. fight’s fury and the black eyes the characters had
Working from the screenplay, a director con- to sport through the rest of the story. An impressed
trols the set and imprints his or her artistic vision New York Times called it “a humdinger of a fight.”
on the outcome. In regard to fight scenes, a direc- The entire film was shot in a single week, ben-
tor will discuss the scenario with his stunt coordi- efitting from strong central performances and as-
nator to determine the fight routine and how much sured direction. Six- foot-two and 185 pounds,
the actors can be expected to safely perform. The John Smith is cast against type as the bullying heel
actors will be reminded to stay in character who spits a whiskey bottle’s stopper into Derek’s
throughout the action and to place emphasis on face to ignite the action. He first attracted attention
certain beats or emotions. The director will for his ring scenes with pro wrestler Ivan Rasputin
choose his shots and angles with the director of in Friendly Persuasion (1956). A 180-pound six-
photography and his cameramen. The best direc- footer, John Derek was a paratrooper in World War
tors have the ability to edit in camera as they film, II and worked closely with stuntmen David Sharpe
presenting the post-production team with a cohe- and Jock Mahoney at Columbia to develop into a
sive, nearly finished scene. Ford was a master at handy swashbuckling star. He fought Humphrey
editing in the camera, a tactic giving him control Bogart in Knock on Any Door (1949), Broderick
over the studio and the assigned film cutter as Crawford in The Last Posse (1953), Jim Davis in
there would be little if any alternative footage. The Outcast (1954) and Perry Lopez in Omar
Ford also had a definitive directorial style when it Khayyam (1957). On the TV series Frontier Circus,
came to filming fights. He stripped away the vio- Derek battled Brian Keith in 1961’s “The Smallest
lence and made them largely comic affairs, sug- Target” and bested judo fighter Marc Marno in
gesting that the favorite pastimes of the men in his 1962’s “The Inheritance”
stories were competitive drinking and fighting. A See: Fury at Showdown film press kit; “John
John Ford fight was sure to feature a plethora of Derek Becomes Toughest Pretty Boy in Holly-
knockout haymakers and plenty of laughs. wood.” Deseret News. March 4, 1949.
See: “John Wayne Tells About Film Brawls.”
Reading Eagle. August 10, 1958; Roth, Lane. “Rit- Jock Mahoney vs. Claude Akins
ual Brawls in John Ford’s Films.” Film Criticism. and Lee Van Cleef in Joe Dakota
Spring, 1983; Suid, Laurence. Sailing on the Silver
Screen: Hollywood and the U.S. Navy. Annapolis,
(1957)
MD: Naval Institute Press, 1996; “Movie of the An intriguing fistic match-up is given a some-
Month.” Argosy. February, 1957. what disappointing execution considering the
tough guy players involved and publicity ads pro-
John Derek vs. John Smith claiming, “He had to fight the whole town!” In a
rehash of Bad Day at Black Rock (1955), mystery
in Fury at Showdown (1957) man Jock Mahoney arrives in a small town run by
A genuine B-western sleeper from director oil man Charles McGraw, who has a secret or two
Gerd Oswald and cinematographer Joseph La - to hide in regard to the death of an old Indian. Mc-
Shelle, Fury at Showdown features a standout Graw’s formidable stooges are a pair of brawny
126 1957

brothers played by Claude Akins and Lee Van many an episode ending with Akins punched out.
Cleef. They delight in playing a “game” where they He fought Lorne Greene in the 1960 Bonanza
sit opposite one another trading punches until one episode “The Mill,” Guy Madison in the 1961 Zane
of them falls off their stool. At McGraw’s urging, Grey Theatre episode “Jericho,” Peter Breck in the
they entice Mahoney to join in on their fun. To 1965 Big Valley episode “The Brawlers” and Rod
their astonishment, Mahoney withstands their Taylor in the 1977 Oregon Trail episode “Trappers’
best blows, then knocks them both all over the Rendezvous.” His slugfest with Ralph Taeger in
wine shop. When the fists start flying, the slow- the 1967 Hondo episode “Hondo and the Gladia-
paced though visually appealing Richard Bartlett tors” remains one of the small screen’s best. Akins
western receives a needed boost. However, the portrayed bare-knuckle boxing champion John L.
fighting lensed by cameraman George Robinson Sullivan in the 1961 Tales of Wells Fargo episode
is over nearly as soon as it starts. The entire story “The Hand That Shook the World.”
was lifted for the 1959 Wagon Train episode “Alias See: Buck, Jerry. “Claude Akins Gets Crack at
Bill Hawks” with Terry Wilson stepping into Ma- TV Series.” Toledo Blade. August 9, 1974; Collura,
honey’s role to fight Hal Baylor and Cliff Osmond. Joe. “Claude Akins: From Bad Guys to Good
Now that stunt ace Mahoney was a leading man, Roles.” Classic Images. April 2014.
Universal was loath to put much action into his
films as he insisted upon doing all his own stunts Elvis Presley vs. Kenneth
as a matter of pride. The Universal brass was afraid
their investment would be injured, so the logical
Becker in Loving You (1957)
conclusion was to put him into films with a mini- Paramount’s Loving You offers the first movie
mal amount of danger in the script. But danger was fight for the king of rock’n’roll Elvis Presley, and
Mahoney’s business and what made him most in- it firmly establishes his smoldering young punk
teresting as a performer. Although he proved a ca- persona. He is tough, sneering and sarcastic. The
pable actor, audiences wanted to see him light up six-foot, 170-pound Presley was the nightmare of
the screen in elaborate hair-mussing brawls the every 1950s parent with a teenage daughter. His
way he did on TV’s The Range Rider. He does have image softened throughout the 1960s, but in 1957
a climactic fight with McGraw beneath a gusher his hips were as dangerous as his fists and Presley
and both men are covered in oil (actually a sticky excelled at motion picture fighting. The Hal Kan-
substance known as Carbopole). Mahoney also ter–directed film was based on Presley’s own ex-
fought Van Cleef on The Range Rider and TV’s perience as a young rockabilly singer whose career
Yancy Derringer and had a fight with Akins on the exploded overnight. The film’s café fight was a
latter show. combination of a Memphis gas station fight and a
Six-foot-one, 210-pound Claude Akins was one Toledo hotel fight Presley had during his early
of the era’s most prolific bad guys, perhaps best whirlwind days of touring.
known for trading punches with Dean Martin and The screen tussle with Kenneth Becker was
getting rifle-whipped by John Wayne in Rio Bravo choreographed by Joe Gray, a former professional
(1959). The World War II vet was a capable screen middleweight boxer. The tall, angular Becker
fighter who could impressively lay a punch into an goads “Sideburns” into performing a song in a juke
opponent’s bread basket. He was also expert at joint full of teenagers. Presley accepts the chal-
throwing a straight-on punch into the camera, a lenge and launches into a scintillating “Mean
move he borrowed from John Wayne. Stuntmen Woman Blues,” shaking his legs spasmodically and
liked working with Akins and made him an hon- gyrating in front of the rapt females to drive them
orary Stuntmen’s Association member. One of wild with squeals of delight. Presley flaunts his sex-
Akins’ most memorable confrontations occurred uality as much at Becker as he does the girls. When
in gorilla makeup when he dueled with Roddy Mc- Becker can take it no more, the bully launches a
Dowall in a treetop in Battle for the Planet of the meaty fist into Presley’s curled lip. Presley is
Apes (1973). In Timber Tramps (1975), he played quickly on his feet and exchanging a series of
a lead and battled heavy Hal Baylor. blows, wowing the females even more. Becker is
Notable fights include Yellowstone Kelly (1959), knocked unconscious and collapses onto the juke-
Ride Beyond Vengeance (1966) and The Devil’s box. Presley swipes his legs out from under him
Brigade (1968) (see entries). On TV, Akins trav- and stands insolently before Charles Lang’s appre-
eled from show to show menacing heroes, with ciative camera, dripping with makeup artist Wally
 1957 127

Westmore’s sweat and blood. Presley

and Becker also fight in G.I. Blues
(1960) while “Blue Suede Shoes”
plays on a jukebox, and Becker takes
a drunken swing at Presley in Girls!
Girls! Girls! (1962). The Loving You
fight was broadly recreated in the
1988 comedy Heartbreak Hotel with
David Keith portraying Elvis and
Chris Mulkey taking on the Becker
role.
Notable Presley fights include
Flaming Star (1960), Blue Hawaii
(1961), It Happened at the World’s
Fair (1963) and Live a Little, Love a
Little (1968) (see entries). Fights of
interest came against John Daheim in
Jailhouse Rock (1957), Walter
Matthau and Vic Morrow in King Cre-
ole (1958), Gary Lockwood in Wild
in the Country (1961), Richard Devon
and Jeff Morris in Kid Galahad
(1962), Jeremy Slate in Girls! Girls!
Girls! (1962), Alejandro Rey in Fun
in Acapulco (1963), Steve Brodie,
Norm Grabowski and Glenn Wilder Kenneth Becker is stiffened by a straight right from Elvis Presley
in Roustabout (1964), Red West in in Paramount’s Loving You (1957).
Tickle Me (1965), Don Collier in Par-
adise Hawaiian Style (1966), Ross Hagen in Speed- brawl Variety called “a rousing smash” and the Vil-
way (1968) and Warren Vanders in Stay Away, Joe lage Voice praised as “brilliantly choreographed.”
(1968). On Kissin’ Cousins (1964), Presley fought The Montreal Gazette went so far as to call it “the
himself (as doubled when needed by Lance funniest fight scene ever” as Shaughnessy comi-
LeGault). Presley did every one of his own screen cally swings at everything that moves including
fights, only allowing bodyguard Red West to take dapper Tom Helmore and stagehands Chuck Hay-
his place in rehearsals. On Kid Galahad (1962), ward, Frank McGrath and Roy Jenson. Minnelli
he worked with Mushy Callahan, who came away treats it as a fantastical stab at traditional images
impressed with Presley’s boxing ability. of male toughness and virility, finding humor in
See: Scott, Vernon. “Ex-Boxer Mushy Callahan an alternative skill set. The protagonists are not
Calls Elvis Presley Natural Athlete.” Beaver County faring well until Bacall’s spirited hoofer pal Jack
Times. December 5, 1962. Cole arrives to turn the entire melee into a dance
routine. Cole’s dance kicks are as effective as karate
The Back Alley Brawl blows as Connors and stunt thugs Terry Wilson,
Bob Morgan, Charles Horvath, John Hudkins,
in Designing Woman (1957) Boyd “Red” Morgan, Michael Dugan and Sol
This enjoyable MGM romantic comedy from Gorss are left dazed and confused at the end of the
Vincente Minnelli features Gregory Peck and Lau- memorable sequence. Dave Sharpe coordinated
ren Bacall clashing with one another and with a the fight action.
crooked boxing promoter’s mob thugs. Peck is a The role was a departure for Peck, who was
mild-mannered sportswriter aware of a fix, while used to serious material. Minnelli cast the 6'5",
Bacall is a fashion designer whose colorful world 215-pound Chuck Connors because he needed
proves alien to Peck. Punchy boxer Mickey Shaugh- someone who could believably intimidate Peck.
nessy and Peck come to blows with Chuck Con- In the end, it’s Peck who knocks out Connors and
nors and his men in a three- minute back alley sends him sprawling over a cart. Cole immediately
128 1957

jumps on the cart and sends Connors flying for Dead; Comedian and Movie Actor.” New York
John Alton’s camera. Former professional athlete Times. July 26, 1985.
Connors did his own stunt, placing his hand
against the cart to protect his face, then throwing Michael Landon vs. Tony Mar-
himself backwards when he felt Cole hit the cart. shall in I Was A Teenage
Even star Peck was open to taking his own pratfalls
during the fight sequences. Cole was a noted dance
Werewolf (1957)
choreographer with MGM. The fight was the last A cult teen-horror film from American Interna-
scene filmed as Minnelli didn’t want any of his ac- tional Pictures and director Gene Fowler, Jr.,
tors injured early in the production. Teenage Werewolf headlines a young Michael Lan-
Mickey Shaughnessy, six feet tall and 210 don in the title role. He’s a troubled young man
pounds, briefly cornered the market on playing who opens the picture in a two-minute fistfight
tough Irish lugs. While serving as an Army drill with fellow Rockdale High School student Tony
instructor in World War II, the Golden Glover Marshall. The latter is more muscular, but Landon
coached the boxing team. The ex-longshoreman fights with a chip on his shoulder and resorts to
was often called upon to play former fighters. He dirty tactics such as swinging a shovel and throw-
is best known as the jealous cellmate turned man- ing dirt in Marshall’s eyes. They throw effective
ager of Elvis Presley, who endangers both their punches directly into Joseph LaShelle’s camera
livelihoods when he punches the singer in the and grapple in the dirt in front of a shouting horde
throat in Jailhouse Rock (1957). Shaughnessy ap- of fellow students before the police arrive to break
peared in North to Alaska (1960) (see entry) and them up. Veteran cinematographer LaShelle
squared off against Glenn Ford in The Sheepman worked the quickie as a favor to first-time director
(1958) and Cornel Wilde above the Grand Fowler, and his experience improves the fight im-
Canyon in Edge of Eternity (1959). On TV Shaugh- mensely. The low-budget ($85,000) film was fin-
nessy wrestled Aldo Ray on the 1962 episode of ished in six days. Tony Marshall was the stage
The Virginian titled “Big Day, Great Day.” name of stuntman Chuck Willcox, so he was able
Gregory Peck, once an oarsman on the rowing to do his own stunts and choreograph the fights.
team at U.C. Berkeley, was a solid leading man with The 5'8", 160-pound Landon, a javelin thrower
a stalwart presence. He received multiple Academy at USC, does all the roughhousing without the
Award nominations for his varied performances, benefit of a stuntman. He excelled in fights on the
and tight-lipped tough guys was one of his special- long-running TV series Bonanza (1959–1973).
ties. As a screen fighter, the six-three, 190-pound Fans of the show loved the way his character Little
actor had effective reach, though the majority of Joe threw himself into the action, hurdling over
his fights realistically ended up on the ground. tables, flying through windows and even head-
Peck didn’t shy away from letting more experi- butting opponents. His double Bob Miles taught
enced stuntmen do what they did best, but he con- him to screen fight like a stuntman and became so
tinued to take on action parts into his later years. confident in Landon’s abilities he let him do every-
Peck had notable fights in The Big Country thing. On a lark, Miles even allowed Landon to
(1958) and Cape Fear (1962) (see entries). Fights double actor DeForest Kelley in a short fight with
of interest came against Forrest Tucker in The Dana Andrews for Town Tamer (1965).
Yearling (1946), Robert Preston in The Macomber Two of his best known Bonanza fights came
Affair (1947), John Russell in Yellow Sky (1948), against his on-screen brothers Pernell Roberts and
Michael Ansara in Only the Valiant (1951), An- Dan Blocker in 1959’s “A Rose for Lotta” and in
thony Quinn in The World in His Arms (1952), 1961’s “Springtime.” All three brothers united to
George Kennedy in Mirage (1965), Omar Sharif take on bodybuilder Cal Bolder in 1960’s “The
and Robert Phillips in Mackenna’s Gold (1969), Ape,” though it was big Dan Blocker who handled
Nathaniel Narcisco in The Stalking Moon (1969), the bulk of the fight. For Little House on the Prairie
Ralph Meeker in I Walk the Line (1970) and Lau- (1974–1983), Landon stepped into the ring to box
rence Olivier in The Boys from Brazil (1978). Moses Gunn in 1977’s “The Fighter.” As a TV
See: Carroll, Harrison. “Hollywood.” Lethbridge guest, in 1958 he fought Steve McQueen in the
Herald. December 7, 1956; Fishgall, Gary. Gregory Wanted—Dead or Alive segment “The Martin
Peck: A Biography. New York: Simon & Schuster, Poster” and Rory Calhoun in The Texan episode
2002; Kaplan, Peter W. “Mickey Shaughnessy “The Hemp Tree.” On film he took part in a brawl
 1957 / 195 8 129

in High School Confidential! (1958) and fought Jack later won critical accolades as opiate-addicted ring
Hogan in The Legend of Tom Dooley (1958). In the champ Barney Ross in Monkey on My Back (1957).
early 1970s, Landon studied karate with Chuck He had a strong straight right but a weakness in
Norris. choosing his roles. European Viking films and low-
See: Greenwald, Charles. “Chuck Willcox: A budget domestic horror pics sullied his acting rep-
True Valley Character.” Santa Ynez Valley Journal. utation. He is best known as the charismatic, two-
March 1, 2012; Lewis, Richard Warren. “Michael fisted Buck Cannon in the western series The High
Landon: He Plays Cowboys and Indians for Chaparral (1967–1971), where he had notable fights
$13,000 a Week.” TV Guide. July 22, 1967. against a gang of stuntmen in 1968’s “Shadow of
the Wind” and French savate fighter Dave Sharpe
Cameron Mitchell vs. Alan in 1969’s “The Last Hundred Miles.”
Hale, Jr., in All Mine to Give Fights of interest came against James Millican
in Adventures of Gallant Bess (1948), Dale Robert-
(1957) son in The Outcasts of Poker Flat (1952), Gary
A tearjerker set in 1850s Wisconsin about hard- Cooper in Garden of Evil (1954), Chris Alcaide in
working Scottish immigrant Cameron Mitchell Monkey on My Back (1957), Jeffrey Hunter in No
butting heads with tough boss Alan Hale, Jr. The Down Payment (1957) and Richard Burton in The
latter thinks Mitchell is Scandinavian and deri- Klansman (1974). One of his best fights came as
sively calls him Norski, keeping him from seeing a TV guest against John Anderson in the 1960 Bo-
his wife and kids because hiking back and forth to nanza episode “A House Divided.”
their cabin is draining his energy for cutting tim- See: Del Valle, David. “Cameron Mitchell: Star
ber. Hale delights in testing Mitchell’s mettle until of Tomorrow.” Psychotronic Video. #19, 1994; Rad-
the man can take it no more. Mitchell quits the job datz, Leslie. “Straight Talking with Cameron
and stands up to Hale in a two- minute battle Mitchell.” TV Guide. April 27, 1968.
stretching around the snow-covered perimeter of
their logging camp (actually an RKO set decorated Gary Merrill vs. Lee Marvin in
by art director Albert D’Agostino). They grapple
in the snow and atop wood piles, and Mitchell
The Missouri Traveler (1958)
punches Hale through a stair railing. Both men are This wholesome coming-of-age story focuses
bloodied in the exhausting fistic exchange. Hale on teenage drifter Brandon DeWilde, who affects
concedes defeat, then surprises the audience by citizens of a small Missouri town in 1915. They
joking that Mitchell knocked out his bad tooth and grow more emotionally during the story than
saved him a dreaded trip to the dentist. Hale offers young DeWilde, who finds a competitive mentor
to rehire Mitchell with a promotion and begins af- in well-to-do farmer Lee Marvin and a less de-
fectionately calling him Scotty. manding one in ex-boxer turned newspaper man
The fight is well- mounted with uncredited Gary Merrill. The two adults are at odds and come
stuntmen assisting in the long shots for William to fisticuffs in the town square after a crowd-
Skall’s camera. Max Steiner provides the jaunty drawing Fourth of July horse race. The four-
ethnic score, memorably striking slashing strings minute fight in front of the entire town of Delphi
in synchronized time with Mitchell’s biggest is straight out of The Quiet Man (1952), with the
punches. Made in 1956 as The Day They Took the sweat-soaked participants and several surrounding
Babies Away, the film was picked up by Universal townsmen comically hitting the ground, crashing
after RKO ran into financial difficulties. Publicity carts and smashing through store windows. By the
called the fight “a wild slugging match.” Director end of the fight, photographed by Winton C.
Allen Reisner had directed a 1955 TV version Hoch, Marvin has attracted the attention of lead-
under the original title as an episode of the anthol- ing lady Mary Hosford and earns a kiss. The
ogy series Climax, with Leif Erickson in the lead Pittsburgh-Press thought Merrill’s tough guy cast-
role. ing was unbelievable but called the fight itself
Air Corps bombardier Cameron Mitchell had “tremendous.” Newsweek termed it “a corking good
an athletic background and a reputation for im- fist-fight,” and The Hollywood Reporter found it “a
mersing himself in his roles. Five-eleven and 180 classic free-for-all battle.”
pounds, he portrayed boxers in The Mighty Mc- “Crackling action,” proclaimed the ads, and in
Gurk (1947) and Leather Gloves (1948). Mitchell the last reel the film delivers. Many of the towns-
130 19 5 8

people were stuntmen hired to catch the actors of action on set with stunt coordinator Peter Dia-
and stunt doubles. Several citizens break into a mond’s approval. Lee often did his own fights, al-
battle royal of their own. Marvin was a more than though his depth perception was hindered on this
capable screen fighter and does most of his own film by the blood- red contact lenses he had to
fighting here. Among the stuntmen taking falls and wear. The Royal Air Force veteran entered films
throwing punches are Cliff Lyons, Paul Stader, as a stunt actor and belonged to three different
Terry Wilson, Harvey Parry, Chuck Hayward, stuntman unions. He and Cushing became lifelong
Sailor Vincent, Whitey Hughes and Roy Jenson. friends after making this film. Their other stand-
Filming of the fight on the Warner Bros. lot was out fight is the one atop a speeding coach that be-
part of a promotional bit entitled Hollywood by gins Dracula, A.D. (1972).
Helicopter hosted by Bob Crane. Over 20 years See: Glut, Donald F. The Dracula Book. Metu-
later, the street location became familiar as the chen, NJ: Scarecrow Press, 1975; Lee, Christo-
town square on the TV series The Dukes of Haz- pher. Lord of Misrule. London: Orion, 2004;
zard (1979–1985). The Missouri Traveler was pro- Miller, Mark A. Christopher Lee and Peter Cushing
duced by John Ford’s son Patrick and directed by and Horror Cinema: A Filmography of Their 22 Col-
Jerry Hopper. laborations. Jefferson, NC: McFarland, 2010.
See: Missouri Traveler pressbook.
John Wayne vs. Ryuzo Demura
Peter Cushing vs. Christopher and Rintaro Kaga in The
Lee in Horror of Dracula (1958) Barbarian and the Geisha (1958)
The pulse-pounding climactic fight in Count A major East- meets-West misfire from John
Dracula’s castle between the Lord of Darkness Wayne and director John Huston covering the
(Christopher Lee) and fearless vampire hunter story of early U.S. diplomat Townsend Harris in
Van Helsing (Peter Cushing) remains their most 1856 Japan. Wayne trades in his cowboy hat and
famous match-up. They battled through more than boots for a kimono robe and looks ill at ease. What
a decade and a half in Hammer horror films, with made him even more uncomfortable was a fight
Dracula, Prince of Darkness (1966) featuring recy- calling for him to be thrown several times by a
cled footage from the Horror of Dracula fight. It’s smaller man using jujitsu.
by no means a typical fistfight and is aided greatly Filmed on location in Kyoto, Japan, by 20th
by James Bernard’s spine-tingling string score that Century- Fox, it’s colorfully shot by Charles G.
sounds like a swarm of bees in flight. The battle Clarke and designed by art directors Walter M.
begins as a foot race against time as Lee’s Dracula Scott and Don B. Greenwood. None of the crew
tries to make it to the safety of his tomb before the was Wayne’s usual buddies, save for Chuck Rober-
sun rises. When Cushing catches up to him, the son who accompanied him to coordinate stunts.
6'5" Lee uses his superior strength to choke the The fight involves Wayne confronting both a big
breath from his foe. Cushing plays possum and man and a small man. Wayne cuts the big man
when Lee attempts to bite his neck, Cushing is Ryuzo Demura down to size easily enough with
able to break away, run the length of a table and his patented haymakers, but takes the little man
dive onto a curtain. He pulls it down, letting in the Rintaro Kaga for granted and ends up on the
morning sun. Lee attempts to hide but is caught ground. The scene ends with a comic tone as Kaga
in the rays. Cushing ingeniously forms a cross with leads his partner off and an incredulous Wayne
a pair of candle holders to drive Lee further into merely sits there as surprised as he is dazed. Rober-
the sunlight and turn the screaming vampire into son sought help in staging the martial art fight.
dust. U.S. Marine Donn Draeger was working in the
The nearly four-minute sequence is perfectly Japanese film industry and was recruited to double
realized by director Terence Fisher. It’s filmed in Wayne because of his ability to take jujitsu falls.
glorious color on Bernard Robinson’s impressive George Kerr, a Scottish judo student working as
castle set by Jack Asher. The Dracula Book calls it an extra, was recruited to double as Wayne’s op-
“one of the most breathtaking sequences in the position.
genre.” Character great Cushing is surprisingly The Barbarian and the Geisha was an odd film
young and agile here and appears to do his own for Wayne and one he was unhappy making. He
run and leap onto the curtain. He added that bit clashed with director Huston, whom Wayne began
 195 8 131

to believe was mocking his carefully established his own violent past as the gang plans another
screen image. Wayne later confessed to grabbing heist. When Lord degradingly forces London to
Huston by the shirt collar while rearing back his disrobe, Cooper does something about it in a vi-
fist. He didn’t let it fly. It wouldn’t have been the olent, gritty, exhaustingly drawn-out fight that lasts
first time he took a swing at a director. In the early too long (four minutes). D.P. Ernest Haller nicely
1950s, he threw a punch at director Budd Boet- captures the rugged Thousand Oaks, California,
ticher in the latter’s kitchen during a drinking ar- landscape they fight on, but the inability of
gument. Former boxer Boetticher slipped the Cooper to carry the action load works to the
punch, which put a huge dent in his refrigerator. scene’s detriment. Editor Richard Heermance
Boetticher had no fear stepping into a boxing ring would have been wise to trim it. A few punches
with John Wayne but confessed that in a “no rules” miss their mark, but enough are spot-on to make
fight, Wayne likely would have killed him. They it a memorable exchange. Doubles Jack Young and
all had a laugh about it later with Boetticher giving Jack Williams are obvious, but it’s apparent that
the marred appliance to character actor pal Walter the principals were having a long day as well. They
Reed as a memento. wrestle among rearing horses, pull hair, claw
After the shock delivered by Spencer Tracy to faces and try choking the life from one another.
Ernest Borgnine in Bad Day at Black Rock, seeing Lord swats Cooper with branches from a tree and
the great John Wayne toppled in Barbarian helped tries jumping on the older man with both boot
reinforce the mystical power of martial arts to heels.
western audiences. A short time later, Samuel The most notorious aspect of the deadly serious
Fuller’s The Crimson Kimono (1959) featured fight has Cooper knocking Lord into submission,
Kendo and also served to pique interest in the then announcing he’s going to undress him the
Asian fighting arts. The 1960 TV episode “Karate” way the outlaw did London. Cooper begins tearing
of the Robert Taylor series The Detectives boasted clothes off the howling, hysterical Lord. In its day,
Bruce Tegner, and the syndicated 1960–1961 Rick the dehumanizing action was shocking and un-
Jason series The Case of the Dangerous Robin used precedented, and even viewing it now, it’s hard to
the talents of Kenpo artist Ed Parker. Efrem Zim- forget. The New York Times called it “one of the
balist, Jr., was taught judo for 77 Sunset Strip meanest fist-scrounging duels we’ve seen in years,”
(1958–1964) by Warner Bros. production man- and Variety declared it “superbly staged, bringing
ager Oren Haglund, a World War II hand-to-hand fresh value to one of the most hackneyed se-
combat instructor. The judo chop and flip were quences in frontier films.” Newsweek felt the aging
soon being incorporated into the popular films of Cooper was still “able to hold his own in a rousing
Elvis Presley, the James Bond franchise and the fist fight,” and the Los Angeles Times wrote that the
English TV series The Avengers (1961–1969). fight, “for length and realism, rivals any seen on
Martial arts continued to gain traction with audi- screen for moons.”
ences. Cooper, too old for the role as written, was
See: Bogdanovich, Peter. Who the Hell’s in It? bothered by his usual physical maladies. These in-
Conversations with Hollywood’s Legendary Actors. cluded a chronic bad back and a shoulder injury.
New York: Random House, 2010; Nurse, Paul. He looks appropriately pained throughout the
“The Life and Times of American Martial Arts Pi- fight and died of cancer two years after the film’s
oneer Donn F. Draeger” Black Belt. February 2015; release. Lord and Cooper were on friendly terms
Smith, Aidan. “Interview: George Kerr, Scotland’s in real life. Lord considered Cooper his idol. He
Mr. Judo.” The Scotsman. October 19, 2013. had originally met the star while working in New
York as a Cadillac salesman, and Cooper later
Gary Cooper vs. Jack Lord helped him land his first important part, in 1955’s
The Court-Martial of Billy Mitchell.
in Man of the West (1958) The six-foot, 180-pound Lord played football
Man of the West is a bleak, textured and high- at New York University and served with the Mer-
quality Anthony Mann western featuring Gary chant Marine during World War II. He starred in
Cooper as a reformed outlaw whose train is the rodeo-circuit TV series Stoney Burke (1962–
robbed by a sadistic gang of old cohorts, among 1963) and then played criminal-hating policeman
them Lee J. Cobb and Jack Lord. Cooper tries to Steve McGarrett in the cop drama Hawaii Five-O
protect fellow passenger Julie London and revisits (1968–1980). Frequently clad in a pressed leisure
132 19 5 8

suit and tie as the island’s perfectly coifed top cop, names it among the best cowboy fights. Gregory
he fought Andrew Duggan and Bill Saito in 1968’s Peck biographer Gerard Molyneaux calls it “per-
“Cocoon,” Nephi Hannemann in 1970’s “Run, haps the most memorable scene in the film”—di-
Johnny, Run” and Ron Feinberg in 1971’s “No Bot- rector William Wyler’s The Big Country. The opus
tles, No Cans, No People.” In 1980’s finale “Woe clocks in at almost three hours, so that’s saying
to Wo Fat,” he fought arch-nemesis Khigh Dheigh, something. In Charlton Heston’s Hollywood, the
though the payoff was a disappointment. His best actor proudly said it was “one of the best bare-
Stoney Burke fight was a barroom brawl with John knuckle fights on film,” and he had fought his
Milford in 1963’s “Web of Fear.” share. The Toronto Star calls it “a classic manly jaw-
As a TV guest, Lord had a door- busting, breaker” and includes it among their list of the ten
furniture-toppling fight with Robert Bray on the greatest fights of all-time. In 1958, most critics
1961 Stagecoach West episode “House of Violence.” overlooked the brawl, but it did have one major
He also fought Richard Boone on Have Gun—Will fan: President Dwight D. Eisenhower declared it
Travel, George Maharis on Route 66 and David his personal favorite.
Janssen on The Fugitive. On the big screen, Lord The film’s driving force is a long-standing land
tangled with Robert Taylor in Tip on a Dead Jockey squabble between ranchers Charles Bickford and
(1957), Aldo Ray and Lance Fuller in God’s Little Burl Ives, with the latter’s wild son Chuck Connors
Acre (1958), Gene Evans in The Hangman (1959) creating all kinds of trouble for visiting easterner
and James Shigeta in Walk Like a Dragon (1960). Peck. A subplot sees Peck pitted against Bickford’s
See: Man of the West pressbook; Raddatz, foreman Heston in a much-anticipated fight over
Leslie. “How an Ex–Rodeo Rider Went West to Peck’s wife-to-be Carroll Baker. Throughout the
Enjoy the Good Life as a Hawaiian Cop.” TV film, Baker keeps telling Peck to take a stand
Guide. January 4, 1969. against the bullying Heston, who wants her for
himself. Misplaced seaman Peck opts to leave the
ranch, but first pays a late night visit to Heston’s
Gregory Peck vs. Charlton quarters. The two agree that Heston’s room isn’t
Heston in The Big Country big enough to settle their differences, so they head
to open range.
(1958) The monumental action takes place in a pre-
The decade’s most epic fight scene remains a dawn battle on a rolling field in Stockton, Califor-
western classic. Screen Savers declares it “the fist- nia’s 3000-acre Drais spread, subbing for Texas
fight to end all fistfights,” and Legendary Westerns range. No props, only two men. Wyler and cine-
matographer Franz Planer mix
close- up action with extreme
long shots, emphasizing the vast-
ness of the wide open land and
man’s place in it. Wyler’s staging
makes the men’s struggle seem
futile and insignificant in com-
parison. And yet they keep fight-
ing against one another to the
point of exhaustion. The four-
minute fight begins with mighty
punches, flips and charges. Time
elapses as the men struggle on in
the darkness. Jerome Moross’
iconic score doesn’t creep in
until well into the fight. Both
men are on their knees, still
launching punches with all the
energy they can muster. Their
Charlton Heston (left) and Gregory Peck stage one of the cinema’s best- faces are punched raw. In be-
known fights in United Artists’ The Big Country (1958). tween blows, they paw at one an-
 1959 133

other for an advantage. Each time it looks as if one son was working as a studio cop when he met
is out, he finds the will to continue. And for what? stuntman Fred Kennedy, who suggested he might
The effectively drawn- out marathon ends in a find movie work. Roberson was schooled in fight
stalemate, with Peck at least earning the grudging action by Kennedy and Allen Pomeroy, emerging
respect of Heston. Peck intones, “Now tell me, as enough of a screen presence to tangle on-
what did we prove?” Heston replies, “Nothing.” camera with James Stewart in Winchester ’73
The scene took three days to film, with one en- (1950), Robert Mitchum in The Wonderful Coun-
tire day devoted to the principals from morning try (1959) and Peter Breck in Shock Corridor
until night—a total of 14 hours. Wyler was infa- (1963) (see entry). From the early 1950s on,
mous for demanding many takes and covering ac- Roberson worked the majority of John Wayne’s
tion from several camera angles. This created on- films, setting up fights and taking falls for The
location conflict between Wyler and Peck, who Duke where needed.
not only was a tiring participant in the action but See: Herman, Jan. A Talent for Trouble: The Life
was a co-producer with a financial interest in stay- of Hollywood’s Most Acclaimed Director, William
ing on schedule and within budget. To make mat- Wyler. New York: De Capo, 1997; Heston, Charl-
ters worse, temperatures during the day were in ton, and Jean-Pierre Isbouts. Charlton Heston’s Hol-
the 90s. Heston and Peck sustained many real lywood: 50 Years in American Film. New York: G.T.,
bumps and bruises. Heston missed a mark and 1998; Molyneaux, Gerard. Gregory Peck: A Bio-
landed on a rock, injuring his back. When shoot- Bibliography. Westport, CT: Greenwood, 1995.
ing wrapped, Heston rewarded himself with a well-
earned beer in the limo on his way back to the Robert Ryan vs. Jack Lambert
hotel.
Stunt doubles Chuck Roberson (Peck) and Bob
in Day of the Outlaw (1959)
Morgan (Heston) put on a great fight in The Spoil- Weather-beaten Robert Ryan makes a fine anti-
ers (1955) and had their own battle going on be- hero in this stark Andre De Toth western effec-
hind the scenes. In the early 1950s, both men vied tively filmed on snow- covered Bend, Oregon,
for the attention of actress Yvonne DeCarlo. Mor- locations with Mount Bachelor rising in the back-
gan married her, but there remained a sense of ground. Screenwriter Philip Yordan’s tense sce-
competition between them. They were both 6'4", nario plays out in a suspenseful fashion. At the out-
meaning they often came up for the same assign- set, Ryan is about to have it out with Alan Marshal
ments. Both men doubled John Wayne. When one over the man’s wife Tina Louise, but former Army
landed a stunt job over another, it meant they were captain Burl Ives and his gang of cutthroats arrive
competing financially as well. When it came time in the tiny town. As the injured Ives loses his con-
for the fight, the natural antagonism between the trol over the men, it becomes apparent to Ryan
two channeled itself into their routine. The that he will need to take action to save the town.
punches were thrown harder; the heads snapped He proves his worth to the gang by taking on their
back with greater ferocity. They threw each other toughest bully, Jack Lambert, then claims he can
and hit the ground with greater force than their lead them safely from the territory. He really in-
norm. The stubborn nature of each man added tends to lead them into the wilderness and certain
greatly to the overall realism of The Big Country death for them all. United Artists publicity em-
and its famous fight. In his autobiography, Rober- phasized the physical action.
son proclaimed, “Some of the best fight scenes The one-minute fight with Lambert is a good
ever put on film were made while Bob and I were one, with both men slipping on the icy street and
hating each other’s guts.” struggling for superiority against the white back-
The 225-pound Roberson collected his fair drop. Ryan is able to pin Lambert’s arm against his
share of battle scars playing henchmen in the B- body and land a series of damaging blows. After
westerns of Charles Starrett and Allan Lane. In the several back-and-forth exchanges, Ryan lands a
earliest days of TV, he could be seen throwing knockout punch that puts Lambert down for
punches regularly against Clayton Moore (on The good. The camera was able to move in on the ac-
Lone Ranger), Gene Autry and Roy Rogers. One tion as both men do their own fight, save for a cou-
of his best doubling assignments came working a ple of extreme distance shots that echo William
fight with fellow stuntman John Cason in the west- Wyler’s The Big Country (1958). For these long
ern Rimfire (1949). World War II vet Rober- shots, stuntmen Al Wyatt and Boyd “Red” Morgan
134 19 59

filled in. They also coordinated the fight for the See: Day of the Outlaw pressbook; Grant, Ila S.
actors. Aware of every image he and D.P. Russell “Ila Finds That Movie Making Is Hard Work.”
Harlan were capturing, De Toth fought the pro- Bend Bulletin. November 22, 1958.
ducers to shoot the film in cold black-and-white
instead of color. The film is a visual triumph and Don Murray vs. Richard Egan
today highly regarded.
The role of the D.P. in a fight scene is vital. He
in These Thousand Hills (1959)
is responsible for numerous decisions affecting A well-made 20th Century-Fox Richard Fleis-
how the action is captured on film. Working cher western from an A.B. Guthrie novel, These
closely with the director and stunt coordinator, Thousand Hills features an excellent, long-forgotten
the D.P. chooses what distance and angle to shoot screen fight in the tradition of The Spoilers. Pro-
from as well as the lighting and background com- ducer David Weisbart publicly declared it the
position. He may use a stationary camera, a mov- roughest fight ever put on film, while Variety
ing dolly shot, an overhead crane or even a hand- termed it “superbly staged.”
held model allowing him to get in close with the Ambitious Montana cowboy Don Murray and
actors. Depending on how involved or dangerous town bully Richard Egan build up great tension
an action scene is, he may opt to employ multiple between the lead characters, who hate one another
cameras to catch the same action from different with a passion. The violence erupts inside a poker
angles in one take. Technically he and the directorpalace after Egan has manhandled female lead Lee
choose what type of lens to use and what speed to Remick and caused the hanging death of Murray’s
film. He may even opt for close-up point-of-view friend Stuart Whitman. Murray throws whiskey in
(POV) shots showing punches being thrown or Egan’s face, and the latter swiftly clears the table
received. Great care is taken to showcase impact and launches a powerful right cross. It’s a wall-
punches in a fight and eliminate open space be- crashing, face-clawing, bottle-smashing battle, fea-
tween a fist and its intended target. Obtaining a turing excellent grunt and punch sound effects and
master shot of the entire routine to provide cov- exemplary work from Ted White and Roy Jenson
erage for the editor is most important. This is usu-
doubling the actors. The fight ends up on a muddy
ally done with professional stunt doubles. Estab- street where the men throw exhausted punches
lishing shots give a feel for the overall fighting area
and wrestle with one another on the ground for
and the relationship of fighters to one another Charles G. Clarke’s camera. A desperate Egan pulls
within the scene, framing the characters within thea gun and is shot in the belly by Remick for his ac-
camera’s borders. tion. The four-minute fight took over two days to
film and cost the production $60,000.
Hugh Fowler cut it together in excel-
lent fashion.
In real life Egan was a war hero
while Murray was a conscientious ob-
jector. During filming, the 6'2", 180-
pound Murray missed a cue and took
an Egan fist to the chest. The mighty
blow knocked the wind out of him and
he collapsed to the floor. An apolo-
getic Egan helped the actor to his feet.
Director Fleischer had the unfortu-
nate job of telling Murray the take was
no good and needed to be shot again,
as the actor paused too long before
falling. Murray also fought Robert
Bray in Bus Stop (1956) and Alan Ladd
in One Foot in Hell (1960). On TV, he
had a couple of racially charged quar-
Don Murray takes a big right cross from Richard Egan in 20th rels with co- star Otis Young on the
Century-Fox’s These Thousand Hills (1959). western The Outcasts (1968–1969).
 1959 135

Richard Egan (six feet, 200 pounds) carried a during filming and had lost the heavily muscled
sterling tough guy reputation. He was an Army frame that made him a feared heavyweight in the
judo instructor and did solo missions on a early 1930s. Max Baer beat him in 1934 and Carn-
Japanese-held island during World War II. Built era never regained the title. He went into the world
like a bull, he sported nearly 18" biceps, a 17" neck of professional wrestling and made a few films
and a 48" chest. He had a black belt and boxed reg- along the way. The basic story of his life in boxing
ularly with ring pro Jimmy Casino. Egan was an served as the inspiration for the sobering film The
honorary member of the Stuntmen’s Association. Harder They Fall (1956) with pro wrestler Mike
When Egan threw punches, his fists looked like Lane in the role. As for Reeves, when the peplum
they could do serious damage if they connected. genre died out in the mid–1960s, he made one
He fought Tyrone Power in Untamed (1955), Spaghetti Western and then retired from acting,
Michael Pate in The Revolt of Mamie Stover (1955), much to the disappointment of his legion of fans.
John Pickard and John Dehner in Tension at Table He had notable fights with Gordon Scott in Duel
Rock (1956), Walter Matthau in Slaughter on Tenth of the Titans (1961) and Wayde Preston in A Long
Avenue (1957), Khigh Dheigh in Fanfare for a Ride from Hell (1968).
Death Scene (1964) and Robert Mitchum in The See: Helmer, George. Steve Reeves: His Legacy
Amsterdam Kill (1977). On his TV series Empire in Films. Malibu, CA: Classic Image, 2003; Page,
he fought John Dehner in “Echo of a Man” and on Joseph S. Primo Carnera: The Life and Career of the
Redigo he battled James Best in “Little Angel Blue Heavyweight Boxing Champion. Jefferson, NC: Mc-
Eyes.” Farland, 2011.
See: Johnson, Erskine. “Hollywood Today.”
Park City Daily News. July 17, 1958; Oppenheimer, Clint Walker vs. Claude Akins
Peter J. “Movie Mayhem.” Lakeland Ledger. Octo-
ber 10, 1958; “Richard Egan of Empire.” TV Guide.
in Yellowstone Kelly (1959)
April 13, 1963. In this Gordon Douglas western, rough-hewn
Clint Walker fights burly screen tough Claude
Steve Reeves vs. Primo Carnera Akins and a half-dozen bullying cavalry soldiers
over a two-minute period. The towering Walker
in Hercules Unchained (1959) bests them all in believable fashion. One he throws
Following the international success of the through a window; another he smashes into a
Italian-made Hercules (1957) came Hercules Un- water tank. A third receives a knee to the face.
chained (1959), again starring rugged American Walker was opposed to filming static fights and
bodybuilder Steve Reeves. The 6'1", 215-pound welcomed fresh and original choreography. For
Reeves was a Mr. America and Mr. Universe noted him, the more opponents, the better. They come
for his fantastic physical symmetry. He makes a at him from all directions but Walker, a one-man
perfect square-jawed bearded hero and even wrecking crew, weathers the storm in stalwart fash-
brings humor to his portrayal. The Army veteran ion. Variety called the fight sequences “excitingly
is athletic and did the majority of his own stunt staged.”
work in this and many sword-and-sandal films that Coming to the defense of young Edd Byrnes at
followed. Here his greatest task is to take on the the cavalry’s fort, legendary trapper Walker plows
laughing giant Antaeus, played by former World through Akins, Warren Oates and stuntmen Roy-
Heavyweight Boxing champion Primo Carnera. don Clark, Dick Hudkins and Clyde Howdy with
The two-minute battle plays like a pro wrestling his superior punching power. Tom Hennesy was
heave-and-ho match; the New York Times found it hired as Walker’s double, but Walker does the
to be “an amusing episode.” Every time Reeves fight. Loudmouth Akins is opposed to Walker’s
thinks he has vanquished this giant guardian of perceived Indian blood, but he’s definitely barked
Thebes, the son of the earth goddess rises with a up the wrong tree. As they later battle a Sioux tribe
grin. Reeves solves this problem by hoisting him on the warpath led by John Russell, Akins is
over his head and depositing him in a body of moved to make amends, a nice touch from screen-
water. Publicity played up the audience anticipa- writer Burt Kennedy. The Warner Bros. film was
tion to see these two strongmen fighting on the effectively shot by Carl Guthrie on location in the
screen. Coconino National Forest of Arizona, subbing for
The 6'6", 270-pound Carnera was in his 50s the Wyoming and Montana locale. Co-star Ray
136 19 59

Danton, playing an aggressive Indian brave, TV western Cheyenne (1955–1963). Audiences re-
begged off doing a fight with Walker when he saw sponded instantly to this new action hero.
the actor’s real strength. Walker could tear the Los Walker had a great talent for enacting fights on
Angeles phone book in half and repeatedly fold a the show, putting on fantastic battles against heav-
Los Angeles Times newspaper until it fit into his ies Mickey Simpson, Hal Baylor, Charles Horvath,
giant fist. Lane Bradford, Buddy Baer, Mike Lane and Leo
Standing 6'6" and weighing in at 245 pounds of Gordon. His screen fights with Gordon are leg-
rugged muscle, the square-jawed Walker had per- endary. When Walker threw a punch, it looked like
haps the most impressively muscled physique to it would take an opponent’s head off. His selling
ever flash across the screen. Seemingly chiseled of the intensity and power of his punches was un-
from granite, Walker was ideally cast as a strong paralleled. He threw convincing punches from
and silent western hero. He had worked a myriad both sides, and occasionally featured a back hand
of physical jobs before acting, among them con- rivaling that of James Arness. When it came to
struction worker, oil field roughneck, Merchant fights, he was his own stuntman. He could do fight
Marine, cowboy, private detective and Las Vegas action as well as any pro, and it was tough to find
sheriff ’s deputy. He was plucked from obscurity large stuntmen who moved in his manner. He was
by the sheer impressiveness of his physical pres- no lumbering giant but an agile big man who
ence. In his earliest Hollywood days, he was a bar moved fluidly across the screen. Fans loved how
bouncer at the Ragdoll before winning the role of his hair became mussed during a fight and fell over
the wandering title character in the Warner Bros. his forehead. One drawback to doing his own
fights, Walker discovered,
was he often ended up
with splinters on his hands
and arms from taking bro-
ken balsa wood chair shots.
Walker had notable
fights in The Night of the
Grizzly (1966) and More
Dead Than Alive (1969)
(see entries). Fights of
note, often brief, came
against Brian Keith in Fort
Dobbs (1958), Brad Dexter
in None but the Brave
(1965), Lee Marvin, Gerry
Crampton and Terry Rich-
ards in The Dirty Dozen
(1967), Pedro Armenda -
riz, Jr., in the TV movie
Hardcase (1972), Glenn
Wilder in the TV movie
The Bounty Man (1972)
and Bruce M. Fischer in
Baker’s Hawk (1976). In
Sam Whiskey (1969), four
stuntmen tried toppling
him in a comic fight, and
Walker engaged in a saloon
brawl with Robert Conrad
and stuntmen Ted White
and Tony Epper on the TV
Clint Walker delivers a high knee to a stuntman in Warner Bros.’ Yellowstone mini- series Centennial
Kelly (1959). (1978). On a 1963 appear-
 1959 / 19 6 0 137

ance on The Jack Benny Show, Walker was an ob- Travel and Rod Taylor on Hong Kong. On film he
server for the classic sketch “The Tall Cowboy,” battled Dean Martin in The Wrecking Crew (1969)
watching Sol Gorss audition for a part by getting and Jim Brown in Slaughter’s Big Rip-Off (1973)
beaten by stuntmen Clyde Howdy, Paul Baxley (see entry).
and Ronnie Rondell. See: Fu, Poshek, and David Desser, The Cinema
See: “It Was a Tough Fight Mom, but We Won.” of Hong Kong: History, Arts, Identity. Cambridge:
TV Guide. August 31, 1957; Thomas, Bob. “Clint Cambridge University Press, 2002; Fuller, Samuel.
Walker Refuses to Conform to Hollywood.” Lud- A Third Face: My Tale of Writing , Fighting , and
ington Daily News. January 5, 1960; Williams, Filmmaking. New York: Hal Leonard, 2004.
Tony. “Tall in the Saddle: An Interview with Clint
Walker.” Shock Cinema. #40. June 2011. Gordon Scott vs. Jock Mahoney
in Tarzan the Magnificent (1960)
The Pool Hall Fight in The
Gordon Scott took over the Tarzan role from
Crimson Kimono (1959) Lex Barker in the mid–1950s and continued with
The Asian martial arts culture is given an in- substandard Sol Lesser back lot efforts. However,
depth look in Samuel Fuller’s Los Angeles detec- his last two films, Tarzan’s Greatest Adventure
tive story The Crimson Kimono. The black-and- (1959) and Tarzan the Magnificent for new pro-
white picture is highlighted by two fight scenes in ducer Sy Weintraub, were shot on location in Africa
Little Tokyo. Cops James Shigeta and Glenn Cor- with high-quality stories and intelligent dialogue.
bett engage drunken judo expert Fuji Nozawa in There was no Jane, no Boy and no Tarzan yell.
a pool hall, teaming up to take him down in under They are considered the best Tarzan films with
30 seconds with karate chops flying left and right. Scott nearly perfect in the role. In this story, Tarzan
The Korean War veterans also engage in a Kendo transports prisoner Coy Banton ( Jock Mahoney)
sparring session with one another, made especially across the jungle until their inevitable confronta-
intense by their growing feelings for female wit- tion. Director Robert Day handles the action well,
ness Victoria Shaw. The sparring session opens a and the climactic fistfight ranks as one of the best
racial divide which the Japanese-American Shigeta put on film. No stunt doubles were used, and the
and his best friend Corbett didn’t know existed. action is brutal. Mahoney’s shirt is ripped off in
Fuller’s story explores many interesting themes, the battle. It’s a truly outstanding fight and a high-
and the action is as hard- hitting as one would light of the entire Tarzan canon. The Hollywood
come to expect from the director. Each punch and Reporter called it “a fine slugging match.” According
kick from opposing angles is presented with rapid- to Tarzan chronicler David Fury, “the violent cli-
fire Jerome Thoms editing and emphasized with max is definitely the highlight of the film.”
a percussive smash by composer Harry Sukman. This was Scott’s last Tarzan film. The producers
According to The Cinema of Hong Kong, the film decided to move away from the muscleman look.
“boasts the most detailed imaging of both karate Scott’s successor in the Tarzan role was none other
and Kendo yet done in American cinema.” than Jock Mahoney, whose action movie experi-
Fuller brought professional wrestler George ence proved invaluable in coordinating this film’s
Okamura in to work as his martial arts technical fight. Mahoney may not have had Scott’s pumped-
advisor and handle the stunts for Sam Leavitt’s up muscles, but his agility and coordination made
camera. Okamura wrestled as the Great Togo and him every bit as tough. The action was superbly
insisted that when it came to the punches, he shot on location in Kenya by Edward Scaife. Un-
wanted Shigeta and Corbett to make contact with derwater footage was performed in a Brighton
the body. Fuller was reluctant but ultimately Beach swimming pool while the rolling in the sand
agreed. Stuntmen Allen Pinson and Stacy Morgan was done on a soundstage at England’s Sutherland
were on the film for the fight sequences as doubles Studios. While filming at the studio, Mahoney had
for the stars, who were both making their film de- Scott’s arm in a tight vise-grip when Scott let out
buts. Fuller found that the fight looked genuine, a scream. Mahoney immediately released him, and
and by sharply cutting the film together he created realized that in the course of their struggles an em-
a memorable scene. Fellow pro wrestler Fuji barrassed Scott’s Tarzan loincloth had come off in
Nozawa was soon making the TV rounds to fight front of the crew.
the likes of Richard Boone on Have Gun—Will A physical education major at the University of
138 19 6 0

Oregon, the 6'3", 230-pound Scott was a hand-to- Kirk Douglas vs. Woody Strode
hand combat instructor while serving as a military in Spartacus (1960)
policeman in the Army. The athletic bodybuilder
was working as a lifeguard at the Sahara Hotel in Primarily a weapons battle, the famous gladia-
Las Vegas when film agents noted his husky build torial duel between producer-star Kirk Douglas
and nearly 19" biceps. After his Tarzan tenure, and Woody Strode in Stanley Kubrick’s epic Spar-
Scott journeyed to Italy to star in sword- and- tacus remains one of the cinema’s best- known
sandal flicks. The fight choreography in these pep- fights. Action Films includes it among filmdom’s
lum films was often lacking, but Scott proved in best, and Fight Choreography states, “The fight still
his final two Tarzan films that he could be a be- holds its own after repeated viewings and remains
lievable man of action. Notable fights came against a classic fight scene to this day.” For a 1991 special
Woody Strode in Tarzan’s Fight for Life (1958), Sol restoration re-release. The Los Angeles Times called
Gorss in Tarzan and the Trappers (1958), Anthony it “one of the most famous movie fights ever
Quayle in Tarzan’s Greatest Adventure (1959), filmed.” Strode proudly called it “my most famous
Steve Reeves in Duel of the Titans (1961), Gordon moment on the screen.” He is especially memo-
Mitchell in Kerim, Son of the Shiek (1962) and rable as the towering Ethiopian Draba, bringing
Mario Brega in Buffalo Bill (1965). great depth and dignity to his small part. Dalton
See: Ferrante, Tim. “Twice Upon a Tarzan.” Trumbo’s script has the two slaves respect one an-
Starlog. November 1988; Rothel, David. Opened other, reluctantly forced to fight for the entertain-
Time Capsules: My Vintage Conversations with Show ment of the Roman elite.
Business Personalities. Albany, GA: BearManor, There’s relatively little hand-to-hand combat or
2010; Warren, Bill. “Tarzan the Magnificent.” Star- body contact to warrant inclusion here, save for a
log. February 1993. few shoulder blocks, uppercuts and a knee to the
face. Plenty of athleticism is displayed by both par-
ticipants as Douglas ducks and jumps
Strode’s net and trident and Strode eludes
Douglas’s short sword and small buckler
shield while slogging around in heavy sand.
Douglas puts up a brave fight but Strode is
simply too strong, pinning the Thracian
against the arena wall with his trident.
Countess Nina Foch gives a thumb down,
meaning for Strode to kill Douglas. How-
ever, the proud warrior Strode is aware that
Douglas’ charismatic Spartacus is the man
most capable of leading the slaves in revolt
against their Roman captors. He spares
Douglas’ life, then in defiance hurls his tri-
dent at the emperor’s seat in the viewing
box. He makes a tremendous leap towards
Laurence Olivier’s General Crassus only to
be speared in the back and cut in the neck.
Douglas insisted on realism and insisted
on doing his own stunts and using real steel
weaponry without rubber tips. He and the
original director Anthony Mann picked
principal stuntmen to train for three
months under stunt coordinator John Da-
heim and second unit director Yakima
Canutt for the gladiator scenes. Among
them were Richard Farnsworth, Loren
Gordon Scott has the advantage over Jock Mahoney in Para- Janes, Russ Saunders, Joe Wishard and Al
mount’s Tarzan the Magnificent (1960). Carmichael as doubles for Douglas.
 19 6 0 139

Six-foot-four, 210-pound Strode

was cast in part because he was
strong enough to hurl the trident
as well as perform the leap up the
12-foot wall. The UCLA track and
football player was a gridiron star
in Canada and wrestled profession-
ally. Over 180 Hollywood stunt-
men worked on the film, but none
could believably double for the
uniquely muscled Strode. To min-
imize the great difference in height
between Douglas and Strode, the
latter fought from a crouch posi-
tion and Academy Award winning
cinematographer Russell Metty
shot from low angles. Legend has
it that Douglas also had lifts built
into his sandals.
Filming of Spartacus lasted 16 Woody Strode overcomes Kirk Douglas in Universal’s Spartacus
months. The actors and stuntmen (1960).
rehearsed for three weeks, and the
main fight itself took 12 days to film on the Uni- the powerful star as Strode. Douglas also has fights
versal back lot. Kubrick covered the fight with with fellow slave Tony Curtis and bullying gladi-
many camera angles until it became a running bet ator chief Charles McGraw during the revolt. The
among the stuntmen to see how many new set-ups latter fight resulted in a real injury for McGraw.
Kubrick could use to cover the action. Kubrick Douglas was to drown McGraw in a vat of soup,
shot a high ratio of takes from each angle and but he pushed McGraw’s head down too forcefully
printed them all. The fight lasted an incredible 15 and banged the actor’s jaw on the bowl. Douglas
minutes in Kubrick’s original six-hour cut. In the blamed McGraw for putting up too much resist-
final version edited by Oscar-nominated Robert ance. This didn’t sit well with the stuntmen on the
Lawrence, the fight sequence still clocked in at set, many of whom were close friends of McGraw.
around three minutes of screen time. A few minor Stuntman Louie Elias completed the scene for Mc-
continuity quibbles exist, but overall it’s fast-paced Graw. Douglas wasn’t any gentler. Elias needed
and entertaining. The fight is aided immeasurably four stitches to sew up his chin. He diplomatically
by Alex North’s varied and exciting Oscar- claimed his own foot slipped, causing the accident.
nominated score, a classic of its type. The gladiator Douglas also cracked one of stuntman Bob Hoy’s
arena design helped set decorators Alexander ribs during a battle scene when he jabbed him
Golitzen, Eric Orbom, Russell A. Gausman and forcefully with a fake sword. Strode had no com-
Julie Heron win an Oscar. plaints and was grateful to Douglas for his chance.
The fight staging has much in common with Strode was always up for a fight scene and even
Kubrick’s Killer’s Kiss (1955), where Jamie Smith studied Kenpo karate in the late 1970s. He had
and Frank Silvera fight with an axe and a steel pole fights of interest with Johnny Weissmuller in Jungle
in a mannequin factory. Strode’s trident was 25 Man-Eaters (1954), Gordon Scott in Tarzan’s Fight
pounds of wood and iron, but the one that drew for Life (1958), Jock Mahoney in Tarzan’s Three
blood was made of hard rubber and filled with fake Challenges (1963), Mike Mazurki in Seven Women
karo syrup. As Strode slashed it across Douglas’ (1966) (see entry), Eddie Little Sky in The Pro-
chest, he pushed a button on the trident, ejecting fessionals (1966), Sean Connery in Shalako
a spurt of artificial blood, making for a great effect. (1968), Joe Namath in The Last Rebel (1971),
When it was all over, an exhausted Douglas and Aldo Giuffre in Loaded Guns (1975), Paul L. Smith
Strode shared a bottle of whiskey in the star’s in We Are No Angels (1975), Pepper Martin in the
dressing room. TV pilot The Outside Man (1977), Jay T. Will in
Not everyone on the film was as enamored with Jaguar Lives! (1979), Harold Sakata in Invaders of
140 19 6 0

the Lost Gold (1981) and Sandy Alexander in Vig- Parry, Tom Hennesy, John Epper, Cliff Lyons, Jack
ilante (1983). On TV, he fought Clint Eastwood Tornek, Tap Canutt, Pat Hogan, George DeNor-
in the 1961 Rawhide episode “Incident of the Buf- mand, Ray Spiker, Jimmy Noel, Mike Lally, Chet
falo Hunter,” Cal Bolder in the 1966 Daniel Boone Brandenburg, James Dime, Al Bain, Cap Som-
episode “Goliath” and Ron Ely and Jock Mahoney mers, Jack Gordon and Jack Perkins.
in the 1966 Tarzan episode “The Deadly Silence.” In a scene such as the two-minute Palace Saloon
See: Douglas, Kirk. I Am Spartacus. New York: brawl, Talmadge designed the fight and had the
Open Road, 2012; Epstein, Dwayne. “Woody stuntmen run through it with Bob Morgan and
Strode: With the Best.” Filmfax. February-March George Robotham substituting for Wayne and
1999; LoBrutto, Vincent. Stanley Kubrick: A Biog- Granger. They’d add or subtract bits as they saw
raphy. New York: De Capo, 1999. fit until they had a presentable routine. At this
point, Wayne showed up to see what the stuntmen
The Saloon and Street Brawl had created. He’d be briefed on his proposed ac-
tions and make suggestions of his own. The stunt-
in North to Alaska (1960) men would incorporate Wayne’s suggestions into
John Wayne’s penchant for broad comedy took the routine if viable and rehearse for a couple of
an even sillier turn in this entertaining Henry hours. With Leon Shamroy’s cameras rolling,
Hathaway gold rush comedy about prospecting Wayne would do as much of the fight as he could,
partners Wayne and Stewart Granger and their en- with Morgan stepping in for long shots or stunts
counters with French beauty Capucine and a bevy deemed too dangerous for the star.
of claim jumpers. Point Magu, California, and At this time of his career, Wayne was beginning
20th Century-Fox’s back lot stand in for Nome, to play into the larger- than-life qualities of his
Alaska. The picture boasts two big fights, one in a screen image. Though at 6'4" he towered over most
beer-drenched saloon and one in a muddy street, of his co-stars, he began to wear lifts so he’d appear
both featuring cartoon-like sound effects. The lat- even taller on screen and in person. He was also
ter even involves a herd of goats ramming heads wearing a hairpiece, which leads into one of this
as the men exchange fists and a seal applauds the film’s most notorious on-screen bloopers left in by
action. The genuine nonsense seems especially editor Dorothy Spencer. At the end, in the three-
disconcerting in a Wayne movie. The brawls are minute street brawl, Wayne takes a punch from
sprawling and riotous, with no one getting hurt Ernie Kovacs and his wig literally flips off his head
and all the participants having a rollicking good with his hat. Further evidence of poor editing and
time amidst the kegs of flying beer and the mud. continuity occurs as Kovacs is muddy then clean
Variety called the fights “classics of the cinematic during the fight. But the stunt work itself is top-
art of make-believe,” while the Los Angeles Times drawer. North to Alaska typified Wayne’s subse-
praised the “hilarious free-for-alls.” Time referred quent fights with heavy doses of humor and many
to it as “a belly-busting burlesque of the standard participants so the aging Duke doesn’t have to
barroom brawl,” with the New York Herald Tribune carry the load. Gone were the days of epic Spoilers
finding the brawls “satirically fine.” The Big Damn and Quiet Man fights. Now he was merely content
Book of Sheer Manliness includes it among cinema’s to throw an occasional big right and perform his
best barroom brawls. fan-friendly rolling-eye punch-take.
Richard Fleischer was originally assigned to di- See: North to Alaska pressbook; Scott, John L.
rect but balked as it literally had no screenplay “There’s Lots of Punch in North to Alaska.” Los An-
with an imminent start date. Hathaway was geles Times. November 24, 1960.
quickly brought on board. A former second unit
director, he had a reputation for toughness and a Elvis Presley vs. Tom Reese
straightforward shooting style. Richard Talmadge
was his inventive stunt coordinator. Co- stars
in Flaming Star (1960)
Fabian and Mickey Shaughnessy are heavily in- One of Elvis Presley’s best films features little
volved in the comic fisticuffs with Wayne also singing but plenty of western drama and action. Don
punching out Roy Jenson at a logging competi- Siegel directed a story originally written for Mar-
tion. Stuntmen and action actors working the lon Brando with Presley cast as a Kiowa half-breed
fights include Boyd “Red” Morgan, Loren Janes, torn between allegiance to his father’s white family
Fred Graham, Kermit Maynard, Sol Gorss, Harvey and his mother Katy Jurado’s tribe. Midway through
 19 61 141

the film (photographed by Charles

G. Clarke), shifty cowpoke Tom
Reese shows up to accost Presley’s
mother, and Presley fends him off
with a vengeance. The star displays
great energy in an outdoor fight that
sees Presley throw a stool, knock
Reese off a barn roof and mercilessly
beat his head against a wall until
Reese is begging him to stop. Editor
Hugh Fowler and composer Cyril
Mockridge rise to the occasion in
complementing Presley’s vigor. Vari-
ety called the fight “realistically
staged,” while Presley biographer
James L. Neibaur claims the se-
quence is one of the film’s “most stir-
ring, emotional scenes.” The ex-
change afterward with Jurado is Elvis Presley prepares to unload a punch on Tom Reese in 20th
priceless. She notes that her son is Century-Fox’s Flaming Star (1960).
bleeding, and he replies he tripped
in the dark. “You landed awful hard on your knuck- for the injury which ended up paying far more
les,” she says knowingly. than the bit part itself.
Stuntman Tom Sweet was on hand to double Reese had notable screen fights with Roy Jen-
Presley, but the star ended up doing the entire fight son in Marines, Let’s Go! (1961), Tony Curtis in
at his own insistence. This impressed Reese’s dou- 40 Pounds of Trouble (1962), Glenn Ford in The
ble Charles Horvath, a Marine Corps hand- to- Money Trap (1966) and Dean Martin in Murderers’
hand combat instructor, who offered to give Pres- Row (1966). On TV, he sized up James Arness on
ley judo pointers. While filming the fight, Presley Gunsmoke, Doug McClure on The Virginian,
accidentally made contact with Reese, whom he Chuck Connors on Branded and Mike Connors
respectfully referred to as Mr. Reese throughout on Mannix. His best fights came against John Cas-
the filming. Presley was apologetic, as he left a savettes in 1959’s Johnny Staccato episode “The Re-
temporary imprint of his fist on Reese’s face and turn” and George Maharis in 1960’s Route 66
nearly knocked the much bigger man out. Reese episode “The Strengthening Angels.”
was overwhelmed by Presley’s sincerity and the See: “Tom Reese.” Bonanza Gold. April 2007;
respect he showed the actor. On the set, Presley Worth, Fred L., and Steve D. Tamerus. Elvis: His Life
worked out every morning doing karate with from A to Z. Chicago: Contemporary Books, 1988.
bodyguards Red West and Sonny West before the
cameras rolled, much to the horror of the filmmak- Earl Holliman vs. Burt
ers who had so much money invested in the star Reynolds in Armored Command
and feared an injury. One morning Presley played
a practical joke on director Siegel and producer
(1961)
David Weisbart when he showed up with a fake A World War II drama about Army recon squad
cast on his arm. holed up in a French village near the Siegfried Line
Six-foot-three, 230-pound Tom Reese was a with beautiful espionage agent Tina Louise caus-
Marine and military policeman whose slit-eyes, ing friction between G.I.s Earl Holliman and Burt
thick nose and menacing manner helped him be- Reynolds. This leads to a nicely staged fistfight be-
come a prolific and surly heavy. When he arrived tween sergeant Holliman and hot-headed private
in Hollywood, Reese felt obliged to do his own Reynolds that ends in a snow bank. It was one of
fights until he realized he was keeping stuntmen Reynolds’ first films and shows off his generous
from their checks. Reese injured his back doing a talent for screen fighting. Publicity tagged the fight
comic fight with Woody Allen in Sleeper (1973). the film’s “high spot of drama.” The Springfield
He received 12 weeks of worker’s compensation Union called it “one of the better screen brawls,”
142 19 61

while Variety tagged it “a beaut of a no- holds- suffered a hairline fracture that caused TMJ and
barred brawl.” constant pain. It affected his ability to eat and re-
The movie was filmed on location in Munich, sulted in a severe weight loss, with industry spec-
Germany, where, a week earlier, a deadly fight had ulation about his health severely affecting his ca-
broken out in a beer hall and left locals in a testy reer. Stuntmen presented him with a Taurus World
state. When the American film crew moved in to Stunt Lifetime Achievement Award for his contri-
facilitate romance with the local ladies, the men butions to action scenes.
of the city were not amused. Co-star Marty Ingels Notable fights include 100 Rifles (1969), The
claimed Reynolds came to his rescue, putting Man Who Loved Cat Dancing (1973), Nickelodeon
three local bruisers out of commission in a tavern (1976), Hooper (1978), The Cannonball Run
by swinging into them from a hanging light before (1981) and Sharky’s Machine (1982) (see entries).
uncorking punches and spiriting Ingels to safety. Fights of interest came against George Hamilton
Ingels’ description sounds like something from a in Angel Baby (1961), Bill Catching in Operation
movie itself, but it’s a story Reynolds often retold. CIA (1965), Aldo Sambrell in Navajo Joe (1966),
A running back at Florida State, Reynolds was Eddie Nicart in Impasse (1969), Ossie Davis in
forced to quit football because of injuries received Sam Whiskey (1969), Glenn Wilder and Charlie
in a car wreck. He headed for New York City, Picerni in Shamus (1973), Bo Hopkins and R.G.
where he found jobs as a bar bouncer and stunt- Armstrong in White Lightning (1973), Gene Hack-
man on live television broadcasts. Reynolds (5'9", man in Lucky Lady (1975), Jerry Reed in Gator
170 pounds) put his all into filming fights. Few ac- (1976), Dar Robinson in Stick (1985), Joe Klecko
tors, or stuntmen for that matter, brought as much and Pete Koch in Heat (1986), Dennis Burkley in
gusto and seeming disregard for their bodies as Malone (1986), Nils Allen Stewart in Cop and a
Reynolds did. His energy in these type of scenes Half (1993) and Roddy Piper and Gene LeBell in
gained him notice, and once he was established, it Hard Time (1998).
became a matter of pride for him to put on a good On TV, he brawled with John Ireland in the
fight. He did running drop kicks into opponents, 1959 Riverboat episode “The Fight Back” and en-
threw his body into boxes and over tables, took gaged in a humorous fight against Don Megowan
chair shots, and fell down stairs if needed. On City in the 1964 Gunsmoke episode “Comanches Is
Heat (1984), he took a real chair to the jaw and Soft.” Reynolds spent three seasons on the show
as half-breed blacksmith
Quint Asper. His short-
lived 1966 New York
City cop drama Hawk
saw him fight Ramon
Bieri in “H Is a Dirty
Letter” and Scott Glenn
in “Wall of Silence.” On
Dan August, he squared
off against William
Smith in 1971’s “The
Meal Ticket.” As a guest,
Reynolds fought a
karate-chopping Charles
Aidman in 1960’s Johnny
Ringo episode “The
Stranger” and George
Maharis in 1962’s Route
66 episode “Love Is a
Skinny Kid.” He put on
a barroom brawl for the
1983 TV special Celeb-
Earl Holliman (center) and Burt Reynolds clash (as James Dobson, left, watches) rity Daredevils.
in Allied Artists’ Armored Command (1961). See: Armored Com-
 19 61 143

mand pressbook; Jones, Shirley, Marty Ingels and arts move to stage was the knife-hand strike or, as
Mickey Herskowitz. Shirley & Marty: An Unlikely it became more commonly known, the judo chop.
Love Story. New York: Morrow, 1990; Scott, Ver- Most Presley fights featured the judo blow, a cin-
non. “Burt Reynolds Likes a Bloody Barroom ematic move of dubious effectiveness that became
Brawl.” The Dispatch. July 31, 1964. a staple for William Shatner on TV’s Star Trek,
Robert Culp on I Spy and Anne Francis on Honey
Elvis Presley vs. Steve Brodie West. One mere judo chop as delivered on film to
the neck or shoulder area could instantly render
in Blue Hawaii (1961) an opponent helpless or unconscious.
Norman Taurog’s colorful Blue Hawaii is sig- There was one difference when it came to Pres-
nificant as the first of star Elvis Presley’s popular ley. He was a legitimate black belt highly devoted
travelogue formula musicals. It was also the earli- to the discipline. He began studying martial arts
est film to display his penchant for using martial with Jurgen Seydal while stationed with the U.S.
arts in fight scenes. Due to his Southern upbring- Army in Germany in 1959. By early 1960, he had
ing, Presley and his characters were quick to step earned his brown belt training at Murakami Te-
in and protect a lady’s honor and virtue. Cast here suji’s club Yoseikan in Paris. He soon earned a
as an island tour guide, he comes to the defense of Shotokan black belt from 1956 World Karate
young client Jenny Maxwell at a restaurant luau Champ Hank Slomanski. In 1960, Presley met
when drunken Steve Brodie gets fresh. Brodie tries Hawaiian Kenpo artist Ed Parker, with whom he
to punch Presley and a one-minute brawl breaks trained throughout the 1970s. During that
out among the party guests for Charles Lang’s decade’s martial arts craze, Presley and Parker de-
camera. Presley takes care of Brodie with his fists veloped an idea for Presley to be cast as a karate
but resorts to karate chops and a kick to flatten villain in an Enter the Dragon–inspired epic titled
Red West. One stunt fighter is Hawaiian martial The New Gladiators. Presley’s manager Colonel
artist Daniel Kane Pai. Blue Hawaii was shot on Tom Parker nixed the idea although footage sur-
location in Kauai at the Coco Palms Resort’s Is- faced in a documentary showing training and com-
land Inn restaurant. Hollywood Surf and Beach petition footage they filmed. In Memphis, Presley
Movies remarked, “Elvis’ obligatory fight scene is studied Tae Kwon Do with Korean master Kang
well-staged.” Rhee, who awarded him a 7th degree black belt.
The six-foot, 180-pound Brodie had an amateur That was seen as largely a ceremonial move, but
boxing background and a notable screen fight with there was no denying that Presley had earned his
Robert Mitchum in Out of the Past (1947) on his original belts through Slomanski and Parker with
résumé. Going into Blue Hawaii, he had lost 16 intense and dedicated training.
straight movie fights, but he considered this one See: “Character Actor Finally a Victor.” Toledo
a moral victory. He excels as the obnoxious lecher Blade. October 22, 1961; Lisanti, Thomas. Holly-
and returned to be punched out by Presley at a wood Surf and Beach Movies. Jefferson, NC: Mc-
carnival in Roustabout (1964). Blue Hawaii’s suc- Farland, 2012; Parker, Ed. “The King and I.” Black
cess led to Presley making Paradise Hawaiian Style Belt. March 1990.
(1966), where the Blue Hawaii fight scenario was
recreated with Don Collier taking on the Brodie George Hamilton vs. Charles
part in Paradise as the drunken blowhard. To pass Bronson in A Thunder of Drums
time between takes, Presley practiced his karate
by breaking boards and bricks with his hands and
(1961)
feet. This solid western from director Joseph New-
Presley’s incorporation of martial arts into his man depicts the rivalry between cavalry sergeant
fights undoubtedly helped spread their popularity Richard Boone and young West Point lieutenant
to the western world. He worked most often on George Hamilton. The film’s fisticuffs occur be-
screen fights with his bodyguard Red West, as they tween the six-foot, perpetually tan Hamilton and
were familiar with one another and knew how to rough-around-the-edges trooper Charles Bronson.
effectively present their moves. Most stuntmen Hamilton doesn’t like that Bronson has been
were leery of working with karate and were learn- snooping around secret girlfriend Luana Patten’s
ing on the fly how best to stage moves and reac- window and confronts him in the horse stables.
tions for the movie cameras. The easiest martial Credibility is lost when Hamilton begins knocking
144 19 62

the muscular Bronson around, although the stone- man.” Boca Raton News. June 19, 1977; A Thunder
faced actor does land his share of blows. Bronson of Drums pressbook.
is great at selling the effect of Hamilton’s punches
for William Spencer’s camera. A highlight has Gregory Peck vs. Robert
Bronson knocking Hamilton into a horse trough,
then spitting on him. He even throws a horseshoe.
Mitchum in Cape Fear (1962)
Hamilton knocks Bronson unconscious with a se- This classic J. Lee Thompson suspense film was
ries of head-turning punches. MGM publicity adapted from a John D. MacDonald novel about a
called it a “slam-bang, knockdown drag-out fight.” vengeful ex-con, and ends with an outstanding
The Hollywood Reporter chose to comment on the fight sequence. Cape Fear showcases Robert
rhythmic background music: “Harry Sukman’s Mitchum as Max Cady, a terrifying human mon-
score avoids the clichés of the genre and is often ster who finishes a prison stretch and preys on the
quite brilliant, his use of a guitar against a brawl family of North Carolina lawyer Gregory Peck.
for instance, being witty counterpointing.” Mitchum blames Peck’s poor defense for his in-
It was through star Richard Boone’s insistence carceration and is determined to see him squirm.
that athletic stuntman Hal Needham received this Mitchum uses the law to his advantage, menac-
early film break doubling Hamilton. Needham ingly stalking the family while provoking Peck to
does almost the entire fight with actor Bronson, operate outside legal means. When a desperate
who is always watchable when engaging in fights. Peck hires strong-arm men to convince Mitchum
Editor Ferris Webster does the best he can to dis- to leave town, Mitchum beats up the toughs and
guise this fact, but it’s a rough go given Hamilton’s then goes after Peck and his family with intent to
ineptness at any type of action. Burt Reynolds harm. The New York Times called the climax a “per-
fought him the same year in Angel Baby (1961) ilous, agonizing showdown” and Variety termed “a
and often razzed Hamilton for his awkwardness. forthright exercise in cumulative terror.”
At any rate, a fight between Bronson and stunt leg- Peck is waiting along the Cape Fear River with
end Needham is definitely worth checking out. his wife Polly Bergen and daughter Lori Martin
The six-foot, 180-pound Needham was emerg- aboard a houseboat. Peck and Mitchum battle in
ing as one of the top young stuntmen in the busi- the water and on the shore in a sequence that ed-
ness. A former Army paratrooper, he excelled at itor George Tomasini intentionally drew out in
fights, throwing great punches and tumbling over contrast to the brisk pace of the rest of the film.
every prop available. He began to make his name Cinematographer Sam Leavitt shot the swamp se-
setting up the stunts and doubling for Boone on quence in shadows, taking advantage of the deci-
TV’s Have Gun—Will Travel. Needham would sion to film in black- and-white to accentuate
later become associated with the films of Burt Mitchum’s slimy qualities and ability to blend into
Reynolds, both as stuntman, coordinator and full- the night. Composer Bernard Herrmann con-
fledged director. Writing about his friend Need- tributes a memorable dramatic score. Mitchum
ham in his memoir But Enough About Me, Reyn- nearly drowns Peck when he applies a rear naked
olds recalled: “He did everything with style. In a chokehold and puts him underneath the water, but
fight you could always recognize him because he the mild-mannered Peck finds a reserve of strength
had a unique way of throwing a punch then com- and adrenaline to protect his family. Chuck Rober-
ing back across his chest with the same hand. son doubled Peck while George Robotham dou-
Stuntmen called it a Needham.” bled the shirtless Mitchum when he charges
During the early 1960s, Needham and equally through the water and barrels into Peck. Time
athletic stunt partner Ronnie Rondell, Jr., fought commented, “Mitchum, as usual, makes a nice
countless battles on TV for heroes and heavies, es- shiny reptile, and it’s gory good fun to watch Peck
pecially at Universal. Needham was also the pre- cut him up into handbags.”
ferred fight partner of rough’n’tumble actor Robert Peck and Mitchum were complete contrasts on
Fuller, often filling in for the heavies on the classic the set. Peck studied his role and always arrived
TV series Laramie and Wagon Train. Needham was prepared for a day’s filming. Mitchum spent long
action director Andrew McLaglen’s preferred stunt nights drinking and winged everything, using his
coordinator, and even John Wayne took a liking to uncanny intuition and photographic memory for
the way Needham put on a fight. quickly picking up lines. Producer Peck knew the
See: Long, Mary. “The World’s Greatest Stunt- Cady role was the showier of the two, but couldn’t
 19 62 145

help but feel Mitchum was steal-

ing the picture. Mitchum knew it
and took delight in rubbing salt
in Peck’s self-imposed psycho-
logical wounds. In the fight, Peck
accidentally punched Mitchum
for real, a blow Mitchum ac-
knowledged he felt days after-
ward. When holding Peck un-
derwater, the two devised a
signal where Peck tapped
Mitchum’s leg when he couldn’t
stay under any longer. On one
take, Mitchum, caught up in the
explosive Cady menace, held
Peck under longer than planned
and had to be pulled off him by
crew members. Censors thought
the drowning scene was violently
unsettling and demanded it be Robert Mitchum applies a “rear naked choke” on Gregory Peck during
reduced. Although location the climax of Universal’s Cape Fear (1962).
shooting was done in Savannah,
Georgia, the fight was shot on the Universal back Much of the film was shot on location in Kanab,
lot. The film was remade in 1991 with Nick Nolte Utah, by veteran cinematographer Winton C.
and Robert DeNiro recreating the fight. Hoch, but the brawl was filmed in Hollywood on
See: Cape Fear pressbook; Chibnall, Steve. J. a Goldwyn Studios stage.
Lee Thompson. Manchester: Manchester Univer- The New York Times said the fight “has the
sity Press, 2001; The Making of Cape Fear. speed, comedy, and improbability of a Mack Sen-
nett set-to,” while Variety praised “the amusing
The Buffalo Hunter Brawl fistic choreography.” However, the content seen
on screen hardly seems worthy of an effort from
in Sergeants 3 (1962) the normally serious-minded director John Stur-
A three-minute fight between cavalry soldiers ges. The Dallas Morning News complained that
and buffalo hunters in the Antler Saloon is per- Sturges “tries so much new stuff in the film fights
vaded by comic mugging from Rat Pack stars that much of it looks ludicrous.” During filming,
Frank Sinatra, Dean Martin, Peter Lawford and Sturges had to deal with the power and ego of Sina-
Sammy Davis, Jr., in this Gunga Din update. It’s tra, a disruptive force that could negate prepara-
played broadly for laughs as the three sergeants tion and budget because of his unavailability and
rescue bugler Davis from bullying Mickey Finn. penchant for ad-libbing. The director was so af-
The stars appear to be having fun engaging in the fected by the making of this film that he demanded
slapstick action. Two hundred forty–pound Finn, complete control on his next outing. That film
a professional wrestler turned actor, pairs up with turned out to be the classic The Great Escape
Sinatra. Finn takes several wild swings-and-misses (1963).
that Sinatra counters with jabs. The three ser- The fight is expertly edited by Ferris Webster.
geants execute a timing routine during which Sina- The editor’s role in putting together a fight is cru-
tra hits Finn over the head with a spittoon. Dean cial. In addition to concealing the use of doubles,
Martin was handy in a fight while Peter Lawford the fight’s rhythm and pacing must not drag or lose
amusingly breaks a chair down to kindling knock- the audience’s attention. Editors typically use a
ing it over heads. Stuntmen Charles Horvath, master shot of a fight for a source of structure. Cut-
Henry Wills, Al Wyatt and Boyd “Red” Morgan ting to different camera angles or perspectives
comprise the primary bearded buffalo hunters. keeps the audience engaged, but it must not be ex-
Minimal contributions are needed from the stars’ cessive. It’s important for the editor to match ac-
doubles Buzz Henry, Joe Gray and Bill Catching. tion in the scene. There must be clarity and a sense
146 19 62

of scope for the surroundings and the combatants. Assault on a Queen (1966) and Babe Hart in Tony
The audience should be able to tell what is going Rome (1967). On TV, Sinatra had a barroom brawl
on and who’s involved. Some editors make instinc- with Branscombe Richmond in the 1987 Magnum
tive cuts, reacting as if they are the audience watch- P.I. episode “Laura.”
ing the film and flinching at the thrown punch. See: Carroll, Harrison. “Sergeants 3 Whoop It
There must be a sense of excitement in the mix of Up in Barroom.” The Dispatch. July 29, 1961.
cuts to keep the viewer slightly disoriented and on
edge. A three-minute fight with multiple cuts is a Kirk Douglas vs. Bill Raisch
lengthy undertaking, suggesting the brawl is a cen-
terpiece. Editors bring fights in at 30 seconds or
in Lonely Are the Brave (1962)
one minute—time-honored traditions for effec- A nasty fight highlights this somber modern
tiveness. Sergeants 3 is an exception. cowboy film from director David Miller about the
Five-foot-seven, 140-pound Frank Sinatra had changing of the West. Dalton Trumbo scripted,
a great tough guy reputation for a slightly built based on Edward Abbey’s novel Brave Cowboy,
man. He was an amateur boxer in his youth and with Philip Lathrop effectively filming in black-
fought public scraps throughout his career. He and-white. Kirk Douglas encounters bullying one-
trained regularly with ring ace Al Silvani to keep armed drunk Bill Raisch in a small New Mexico
his skills sharp and was known for his tenacious- bar and tries his best to avoid a confrontation with
ness as well as his influential connections. Pal the war veteran, though Douglas is looking for a
Robert Mitchum once claimed he wouldn’t want reason to be thrown in the local jail (he has a
to fight Sinatra. With age and added weight, Sina- friend there he’s foolishly determined to break
tra was convincing as tough Miami Beach detec- out). It all seems so simple and noble a cause until
tive Tony Rome in a pair of films. Raisch throws a bottle next to his head and kicks
Notable fights include The Manchurian Candi- his chair out from underneath him. Douglas re-
date (1962) and 4 for Texas (1963) (see entries). lents when Raisch spits out that he’s a coward.
Fights of interest came against Ernest Borgnine in Douglas wants to make the fight fair so he keeps
From Here to Eternity (1953), Robert Mitchum in an arm behind his back. However, Raisch is such
Not as a Stranger (1955), Tony Curtis in Kings Go a dirty fighter that Douglas is constantly tempted
Forth (1958), Ric Roman in Some Came Running to bring his dominant arm into play, especially
(1958), Dan Blocker in Come Blow Your Horn when Raisch pins him against the wall with a chair,
(1963) and Lady in Cement (1968), Alf Kjellin in tries choking him to death with a shirt sleeve, and
cracks him over the skull with a
pool stick. The scene is so plot-
integrated that it served as a
teaching tool for both future writ-
ers and directors. A retrospective
review by the Los Angeles Times
declared, “Their knockabout
brawl is a remarkable feat of brute
choreography, both genuinely
dangerous and infinitely en-
thralling, and a showcase for di-
rector David Miller’s unobtrusive,
observational style.”
There’s great intensity through-
out, enhanced by Jerry Gold-
smith’s up- tempo percussion
score, a woman calling the police
in Spanish, and the tavern regu-
lars who appear ready to jump in
against Douglas and finally do.
Bill Raisch (left) and Kirk Douglas clash in Universal’s Lonely Are the Makeup artists Bud Westmore
Brave (1962). and Dave Grayson supply the
 19 62 147

blood on Douglas’ face. Lathrop’s camera zooms see skinny crooner Sinatra performing intense
in for close-ups to heighten the sense of danger as chops and open-palm strikes. For those who re-
the audience fears for the brave and honorable member when it originally came out, it remains
cowboy’s safety. Editor Leon Barsha cuts the scene an all-time great fight. For those who didn’t dis-
superbly, maintaining tension from beginning to cover the long out- of-circulation film until
end. The local police arrive and throw Douglas in decades later, the fight has the potential to be un-
jail, where he is beaten by sadistic guard George intentionally hilarious. In many ways, it now re-
Kennedy. sembles the comic fights between Peter Sellers and
It’s the total mean-spiritedness of the Raisch Burt Kwouk in the Pink Panther films.
character and his “handicap” that make the bar The polished post-production work of Ferris
encounter unique and memorable. Although Webster contributes greatly to the film’s success as
producer-star Douglas clashed creatively with di- it drives the action forward. He was nominated for
rector Miller, he considered it the personal favorite an Oscar for Best Editing. The fight took two days
of his own films. Seeking realism, Douglas does all to film and credit for the on-screen action is spread
his own fight with Raisch, a former bodybuilder in many directions. Stunt coordinator John In-
who lost his arm in World War II. Douglas knew drisano was in the mix. Buzz Henry doubled Sina-
Raisch as Burt Lancaster’s longtime stand- in. tra while a heavily made-up Al Wyatt stood in for
Raisch attained even greater notoriety as the one- Silva. Hawaiian-born martial artist Gordon Dover-
armed man eluding David Janssen on the TV se- sola, a master of Okinawa-Te, was brought in to
ries The Fugitive (1963–1967). The fight was per- coordinate the fight with Beau Van Den Ecker as-
formed on a closed set at Universal with Douglas sisting. Hollywood judoka Bruce Tegner was said
emerging with real bruises, a minor wrist injury— to be involved in setting up the fight’s judo aspects.
and ultimately a piece of cinematic history. It’s one David Chow, a Chinese stuntman and judo champ
of the best one-on-one bar fights ever done. with a Hollywood dojo, also worked on the film
See: Adams, Sam. “Trampling Boundaries in and likely had input. Kenpo master Ed Parker’s
Lonely Are the Brave.” Los Angeles Times. July 5, name pops up often. Both Sinatra and Silva trained
2009; “He Is the Man Hunted by Dr. Richard Kim- with Parker before the film, although it’s undocu-
ble.” Tuscaloosa News. March 1, 1964; Lonely Are mented if Parker had any input on the set. He au-
the Brave pressbook. ditioned for Silva’s part but frightened Franken-
heimer with his size and the ferocity of his Kenpo
Frank Sinatra vs. Henry Silva movements.
in The Manchurian Candidate Sinatra, who usually loathed preparing for film
(1962)
This classic from director John
Frankenheimer concerns a Cold
War sleeper (Laurence Harvey)
brainwashed by the Communists
while in Korea and now pro-
grammed to be a political assas-
sin. The film has frightening dra-
matic intrigue laced with touches
of satire and absurdity. The fight
between star Frank Sinatra and
Korean servant Henry Silva liter-
ally comes out of nowhere and
jolts the audience to attention. It
was one of the first extended
karate scenes in an American film
and took viewers by surprise with
its violent furniture- smashing
martial arts display. It was never- Henry Silva (left) and Frank Sinatra engage in the famous martial arts
theless disconcerting for many to fight in United Artists’ The Manchurian Candidate (1962).
148 19 63

work, looked forward to filming the fight. He and ground taking on as many as three men at a time
Silva ended up doing significant action, although while Lockwood exchanges punches behind him.
Silva later incorrectly recalled they had done it all. Cinematographer Joseph Ruttenberg and editor
One problem plaguing the choreography: Silva Fredric Steinkamp capture a perfect combination
was left-handed while Sinatra was right-handed. of varied shots, with just enough close- ups of
Sinatra’s cross-block of Silva’s kick was a real un- Lockwood to remind the audience he’s present.
planned reaction. Silva accidentally kicked with Presley mixes in karate kicks, a back heel trip and
the opposite foot he had used in rehearsal. When a reverse chop. One of the best moments has Da-
Sinatra chopped a pre-scored table, he broke a fin- heim run into a Presley punch that stops him cold.
ger but kept filming. The digit bothered him the West is knocked out the garage window and is fol-
rest of his life. Their toil was worthwhile as Action lowed by Lockwood’s stunt double Bennie Dob-
Films ranks it among filmdom’s greatest fights. In bins after a double- punch from Daheim and
his book on the movie, Greil Marcus calls it a Melton. Outside, Lockwood and West continue
“great karate fight.” battling. A dazed Lockwood even swings wildly at
Six-foot, 180-pound Henry Silva was a long- Presley. Before they leave, Presley decks mechanic
shoreman before embarking on an acting career. John Indrisano (the fight’s coordinator) for good
A weightlifting proponent, he boasted nearly 17" measure. The Pittsburgh Press called the one-
arms before slimming down. A trained judoka, minute battle “a lively all-out fight scene,” while
Silva studied kung fu with Jimmy Woo. He had the Variety referred to it as “elaborately spirited.” Par-
title role in The Return of Mr. Moto (1965) and en- ticipant Red West recalled the brawl as “a great
gaged in a martial arts fight as the lead in Assassi- fight scene.”
nation (1967). However, he usually played men- The MGM film, impressively set at Seattle’s
acing bad guys of various ethnic persuasion. In 1962 World’s Fair, concludes with a bristling 45-
European cinema he impressively knocked heads second fight between Presley and fur smuggling
alongside Woody Strode in The Italian Connection heavy H.M. Wynant. Presley is in fine form ex-
(1972). Fights of interest came against Audie Mur- changing lefts and rights with Wynant against
phy in Ride a Crooked Trail (1958), Robert Taylor boxes and shipping crates. Presley’s furious
in The Law and Jake Wade (1958), Anthony punches overwhelm Wynant, who puts his hands
Perkins in Green Mansions (1959), Hal Baylor and up and begs for the barrage to end. When Presley
Kelly Thordsen in Johnny Cool (1963) and Steven does let up, Wynant takes a breath and sucker
Seagal in Above the Law (1988) (see entry). On punches him. Presley finishes Wynant off quickly,
TV, Silva battled Robert Bray in the 1961 Stage- memorably holding him up by his tie for the
coach West episode “The Raider” and Stuart Whit- knockout blow. Presley rouses Lockwood, who
man in the 1967 Cimarron Strip episode “Journey once again comes up comically swinging at the
to a Hanging.” star. Wynant does the majority of the fight with
See: Coppola, Louis A. C.B.S. the Chucklehead the electric Presley, and it ranks as another supe-
Broadcasting System: Celebrating 44 Years of In- rior showcase for the singer to show off his fluid
significance. Bloomington, IN: Author House, moves. Publicity touted the presence of “two spec-
2008; Marcus, Greil. The Manchurian Candidate. tacular free-for-all brawls.”
London: BFI, 2002; “Okinawa-Te: Forerunner of Six-foot-one, 185-pound Lockwood entered
Modern Karate.” Black Belt. March 1965; Warren, films as a stuntman and customarily did his own
Bill. “Exerting Influence.” Starlog. September fights. He had a real reputation as a brawler, having
1990. hospitalized a man in a frat house fistfight when
he was playing football at UCLA. Boxing and
The Poker Fight in It Happened at karate training were two of his interests. He played
one of his first acting roles opposite Presley in Wild
the World’s Fair (1963) in the Country (1961), with Presley’s punches
Pilot Elvis Presley bails partner Gary Lockwood proving fatal to Lockwood’s character. There was
out of a gambling debt at Charlie’s Garage by pay- some brief tension between Presley and Lock-
ing off the poker players ( John Daheim, Red West, wood because they were both dating Tuesday
Saul Gorss and Troy Melton) in knuckle sand- Weld, but the men settled their differences amica-
wiches. Director Norman Taurog and the stunt- bly.
men set a frenetic pace with Presley in the fore- Screen fights of interest came against James Best
 19 63 149

in Firecreek (1968), Leslie Nielsen in Project: Kill seemed content to fall back on one of his favorite
(1976) and Tony Epper in Bad Georgia Road plot devices in staging the abundant punch-related
(1977). Lockwood starred in his own TV series pratfalls. The Los Angeles Times referred to it as
The Lieutenant (1963–1964) as a tough Marine; merely “slam-bang hokum,” although the book In
fighting James Shigeta in 1964’s “To Kill a Man.” the Footsteps of The Quiet Man calls it “a tremen-
As a guest on The Lloyd Bridges Show, Lockwood dous fight scene.” According to The Hollywood Re-
stepped into the boxing ring against the star in porter, the film benefited chiefly from its casting:
1963’s “My Daddy Can Lick Your Daddy.” He was “Wayne and Marvin are well matched as the brawl-
in the squared circle again vs. Chuck Connors on ing buddies.” It’s remembered by most Wayne fans
the 1972 Night Galley episode “The Ring with the as another rollicking good time.
Red Velvet Ropes.” The fights involve lots of clowning around as
His most memorable TV clash came against the participants heartily mix booze with their
William Shatner in the 1966 Star Trek pilot brawling. The first encounter is the best thanks to
episode “Where No Man Has Gone Before.” the built-up tension and Wayne and Marvin’s cat-
See: Clayton, Rose. Elvis Up Close: In the Words and-mouse tiptoeing around one another to see
of Those Who Knew Him Best. Atlanta: Turner, who will make the first move. Wayne turns his
1995; It Happened at the World’s Fair pressbook; back for a second as Marvin contemplates smash-
Lockwood, Gary, and R.A. Jones. 2001 Memories: ing a bottle over his head. A bemused Mazurki
An Actor’s Odyssey. Cowboy Press, 2001; Taylor, watches it all unfold. Marvin hauls off and punches
Tim. “It Started with a Fist Fight.” Evening Inde- Wayne in the jaw, sending him over a table. Marvin
pendent. December 3, 1961. grabs a bottle to throw only to have Wayne com-
mand, “Not the brandy, you dope!” Marvin gently
John Wayne vs. Lee Marvin puts the bottle of brandy down and hurls a beer in
its place. Wayne promptly smashes a chair over
in Donovan’s Reef (1963) Marvin’s head for the first knockout. However, the
Donovan’s Reef is a colorful, occasionally surreal film loses any sense of potentially interesting men-
John Ford film featuring John Wayne and Lee Mar- ace once Marvin becomes less of a threat and part-
vin as Guns Donovan and Boats Gilhooley, annual ners up with the star.
participants in a Pacific island bout of fisticuffs at As the picture unfolds, they trade punches
Donovan’s Reef Tavern on their shared birthday. when the other least expects it, including during
Mike Mazurki is the seen-it-all local police officer a battle with members of Dick Foran’s Australian
and de facto referee. They’ve carried on the fight Navy in the biggest barroom brawl. This was shot
for over 20 years, so long that neither can remem- on a Paramount stage by William H. Clothier and
ber why they’re fighting other than
it’s become a tradition. The fictional
island Halekealoha anticipates the
brawl much the way the Irish hamlet
looked forward to Wayne and Victor
McLaglen squaring off in The Quiet
Man. Wayne and Marvin start their
fight out of the gate and continue off
and on throughout the Frank Nu-
gent–James Edward Grant–scripted
film. The intriguing star match- up
might be better regarded had they
fought one lengthier, epic bout.
The events appear to be a Hawai-
ian vacation for the cast and crew,
with the filming of a motion picture
an afterthought. The film suffers due
to this, as well to Marvin’s funny
though broad mugging as the Lee Marvin (left) and John Wayne add comic touches to the tradi-
friendly antagonist. An aging Ford tional fistfight in Paramount’s Donovan’s Reef (1963).
150 19 63

assembled by Otho Lovering. Among the stunt- both veterans of previous John Ford and John
men and action actors taking part are Cliff Lyons, Wayne excursions and knew how to tailor their
Chuck Roberson, Hal Needham, Tom Steele, Tom script for their employers. Donovan’s Reef is the
Hennesy, Jerry Gatlin, Wally Rose, William Burn- quintessential brawling Wayne- Ford film, pep-
side, Boyd “Red” Morgan, Eddy Donno, Frank pered throughout with good- natured fistic ex-
Hagney, Jack McClure, Ralph Rowe, Riley Hill, changes.
Dave Armstrong, Guy Way, Hubie Kerns, Ron See: Carroll, Harrison. “Slam-Bang Brawl Re-
Nyman, Duke Green and Frank Baker. Both calls the Past.” Dispatch. September 24, 1962;
Wayne and Marvin used doubles for part of the Klein, Doris. “Lee Marvin Tells Secrets of Movie
fighting. Wayne missed an uppercut and tumbled Filming Fights.” Reading Eagle. September 26,
over a breakaway table, injuring his back. Lyons 1962.
coordinated the action. USA Today includes this
battle among the Top 10 all-time fights, and The Peter Breck vs. Chuck Rober-
Big Damn Book of Sheer Manliness calls it one of
filmdom’s best barroom scuffles.
son in Shock Corridor (1963)
A local Arizona legend involves Wayne and A wild, sensationalistic cult film from director
Marvin getting into a fight at the Copper Queen Samuel Fuller, Shock Corridor stars Peter Breck as
Hotel in Bisbee and breaking a window. It’s hard a reporter who has himself admitted to an insane
to say if it was with each other, third parties, mere asylum to try to unravel a murder. As the over-the-
drunken roughhousing, or rehearsal for a screen top story unfolds, all the craziness begins to rub
fight. Wayne and Marvin fought briefly once be- off on Breck, who must solve the case before he
fore in the western The Comancheros (1961) and goes off the deep end. The climax is a two-minute
stared one another down in The Man Who Shot fight between Breck and Chuck Roberson, here
Liberty Valance (1962). The two became deep-sea playing an orderly. They battle in a hydrotherapy
fishing buddies and drinking pals during the film- chamber, into a kitchen and out onto the long cor-
ing of Donovan’s Reef. One night they became so ridor of the title. Highlights are Roberson knock-
inebriated that Marvin found his way to the air- ing Breck into a water tank occupied by an obliv-
port and caught a flight back to Los Angeles. Upon ious patient, Breck dragging Roberson over a long
arrival on the mainland, he went to the house of table full of servings in the kitchen, and Breck
pal Keenan Wynn and climbed into bed with pounding Roberson’s head on the floor until he
Wynn and his wife. They called Marvin’s agent, confesses. Variety claimed that Breck “really gets
who immediately came to whisk him back to his lumps and earns his pay.” The film was shot on
Hawaii before his absence affected the picture. Ad- the cheap, and a blooper occurs in the kitchen.
mittedly, there wasn’t much for Marvin to do be- When they crash against the table, a leg is knocked
sides punch and be punched by Wayne. askew, yet when Roberson is dragged, the table leg
Motivation for screen fights should stem logi- is in its original position. Nevertheless, the fight
cally from the script. A screenwriter is the creator was a favorite of director Martin Scorsese, who
of the characters and the architect of the storyline. showed it to film students at New York University
It’s their responsibility to provide a valid reason as he was enamored with the tracking shots of
for the fight as well as to punch up the pace of a Fuller and cameraman Stanley Cortez.
film by avoiding too much reliance on dialogue. Roberson did his own stunts, and the fight ben-
The easiest way to insert action into a plot without efits from his experience and reactions for the
maxing out the budget is to put in a fistfight. camera. An energetic if unconvincing Buzz Henry
Screenwriters typically eschew too much text in stands in for Breck during the fight in the spa. He
describing the details of a fight outside the verbal looks little like Breck, for whom Hal Needham or
lines and emotional cues. It’s enough to simply say Chuck Bail usually doubled. The entire film was
the men fight and let the professional stuntmen done in ten days, so it’s understandable those
take over the physical choreography. However, the stuntmen might have been tied up on other proj-
characters’ intellect, physical condition and back- ects during that small window of opportunity. It’s
ground should be kept consistent with the plot. surprising Breck didn’t do more of his own fight-
They shouldn’t break out martial arts moves or ing, as the six-foot, 180-pound Navy vet became
stamina alien to the characters’ background and known for his fisticuffs as a TV cowboy on The
training. Screenwriters Nugent and Grant were Big Valley (1965–1969). Breck learned screen
 19 63 151

fighting from Needham and became comfortable the best staged fights ever shown on the screen.”
throwing punches. He was easy to spot doing his Kiss Kiss, Bang Bang calls it “surely among the
own fights because his dark hair had a habit of vig- hardest-hitting of fistfights ever committed to film”
orously flying around his forehead. and The Films of Sean Connery tags it “one of the
Breck’s most notable cinematic fight came screen’s great fight sequences.” Film critic Leonard
against Audie Murphy in The Wild and the Innocent Maltin declares it “one of the longest, most excit-
(1959). He starred in two TV westerns: Black Sad- ing fight scenes ever staged,” and the Toronto Star
dle (1959–1960) as a gunfighter turned lawyer and writes that it is “a true benchmark in close-quarter
The Big Valley as hot-tempered, two-fisted Nick bruising.”
Barkley. On the former, he had three fights against The outstanding choreography and innovative
co-star Russell Johnson, the best coming in 1960’s Peter Hunt editing make the two-minute fight a
“The Apprentice.” On The Big Valley, he had a breathtaking and unforgettable hand- to-hand
bunkhouse brawl with co-star Lee Majors (playing combat experience. It’s violent, exciting and a jolt
Breck’s half-brother) in the opening episode, one of espresso for a heretofore slow-paced spy film.
of the best fights put on television. The two also Nothing that came before this fight had the sus-
battled in 1966’s “By Fires Unseen.” He had other tained brutality or deadliness exhibited here.
notable Big Valley slugfests against Claude Akins These two men aren’t trying to knock one another
in 1965’s “The Brawlers,” Robert Fuller in 1967’s out. They’re trying to kill or be killed. For many
“A Flock of Trouble” and Larry Pennell in 1967’s years, the version shown on TV was edited be-
“The Price of Victory.” As a TV guest, Breck cause of violence and tone. Peter Perkins served
fought Doug McClure in the 1970 Men from Shiloh as stunt coordinator with Bob Simmons doubling
episode “Hannah.”
See: Breck, Peter. “Cut ’Em Off at
the Pass.” Wildest Westerns. #3, 1999;
Lousararian, Ed. “Peter Breck: TV’s
Toughest Cowboy.” Wildest Westerns.
#2, 1999; Raymond, Marc. Holly-
wood’s New Yorker: The Making of
Martin Scorsese. Albany, NY: SUNY,
2013.

Sean Connery vs.

Robert Shaw in From
Russia with Love (1963)
The intense, vicious confrontation
between Sean Connery and Robert
Shaw in a cramped Orient Express
train compartment remains the best
fight in the entire James Bond series
and one of the top brawls ever. Vari-
ety called it “a glorious slap-up fight
to the death.” The Complete James
Bond Film Encyclopedia went further,
labeling it “probably the best fight
ever choreographed on film.” Accord-
ing to Action Films, it is “one of the
best, if not the best close- quarters
fights ever filmed.” The Spy Who
Thrilled Us declares it “hands down
the best fight in the entire Bond Sean Connery delivers a right cross to Robert Shaw during the
canon,” while James Bond in the Cin- famous train compartment fight in United Artists’ From Russia with
ema opines, “[It] comprises one of Love (1963).
152 19 63

Connery and Jack Cooper doubling Shaw. The ac- with Kieron Moore in Darby O’Gill and the Little
tors, however, did most of the fight and give terrific People (1959) that attracted the attention of Bond
action performances. Only one shot in the finished producer Albert Broccoli. As a screen fighter, Con-
product involved doubles. Director Terence nery was quick, agile and deadly efficient. His aura
Young, an ex-boxer and rugby player, forced Con- suggested an element of danger and threat. Stunt-
nery and Shaw to watch from the sidelines while men noted that Connery took on a slight grin
the doubles repeatedly ran through the scene, al- when he was performing fights. Although he toned
lowing his actors to build a hefty head of steam down his weight workouts, a lithe Connery still
when called upon. They filmed on a small set at carried enough size to be believable taking on even
Pinewood Studios and took two days to complete the biggest foes. His Bond characterization wasn’t
the fight. Two stationary and one free camera were the cartoon character the role became during the
used by Ted Moore. Intermittent dark blue light Roger Moore years. When Connery’s Bond was
and tear gas effects (courtesy of special effects man faced with a dire situation, the audience expected
Albert J. Luxford shooting oil smoke through a him to fight his way out. He also acquired a real
hidden pipe attached to the briefcase) added to tough guy rep after punching out mobster Johnny
the claustrophobic sense of time and space. The Stompanato.
soundtrack featured no music, only the intensified Notable fights include Goldfinger (1964), Thun-
train wheels on the track. derball (1965), You Only Live Twice (1967), Dia-
Young asked the 5'11", 180-pound Shaw, also a monds Are Forever (1971) and Never Say Never
rugby vet, to bleach his hair a then- shocking Again (1983) (see entries). Fights of interest came
blond, wear lifts and build up his physique to por- against Joseph Wiseman in Dr. No (1962), Woody
tray the ice-cold assassin Red Grant. Shaw took it Strode in Shalako (1968), Ian Bannen in The Of-
upon himself to begin wrestling a trio of Turks to fence (1973), Ian McShane in The Terrorists
toughen up for the job. Shaw didn’t pump up to a (1974), Tony Brubaker in The Next Man (1976),
bodybuilder’s physique, but he did succeed in Marc Boyle in Outland (1981), Richard Bradford
making Grant a menacing presence and more than in The Untouchables (1987), Rick Zumwalt in The
worthy adversary for Connery with his excep- Presidio (1988) and Tony Ganios in Rising Sun
tional acting skill. Red Grant is acknowledged as (1993). Connery and Shaw had an extended
one of the best Bond villains. The Richard sword fight with one another in Robin and Marian
Maibaum-scripted dialogue exchange before the (1976).
fight is near-brilliant in its sustained tension. The See: Carmean, Karen, and Georg Gaston.
audience thinks Bond might be done for, and Shaw Robert Shaw: More Than a Life. Lanham, MD:
literally promises a slow and painful death. What Mad ison Books, 1994; From Russia with Love
follows are sharp punches, kicks, stomps and DVD special features; Yule, Andrew. Sean Con-
bone-crunching slams into the compartment nery: From 007 to Hollywood Icon. New York: Fine,
walls. There’s a rib-cracking bear-hug and a full- 1992.
nelson wrestling maneuver before Shaw produces
a garrot to choke the life from Connery. A knife to The Filling Station Brawl
Shaw’s arm allows Connery to reverse that situa- in It’s a Mad Mad Mad Mad World
tion. In the end, an exhausted Connery realizes he
has come within seconds of losing his life. He
(1963)
slowly adjusts his tie, buttons his jacket and Stanley Kramer’s classic star-studded comedy
smooths his hair; a solid bit of actor’s business on about human greed is full of memorable set pieces
Connery’s part as he composes himself. and inspired visual gags, many fantastically de-
Six-two, 200-pound Connery was a merchant signed by stunt coordinator Carey Loftin. It was
seaman and a Royal Navy veteran who fought on filmed by Ernest Laszlo and assembled by Oscar-
the outfit’s junior boxing team. Upon his dis- nominated editors Gene Fowler, Jr., Robert C.
charge, he worked as a bouncer and played football Jones and Frederic Knudtson. Perhaps no se-
for the Bonnyrigg Rose. In 1953, he entered the quence is funnier than hot-headed truck driver
Mr. Universe contest representing his native Scot- Jonathan Winters’ destruction of a brand new fill-
land. His first break came on British TV in 1956 ing station with meek attendants Marvin Kaplan
as boxer Mountain McClintock in Requiem for a and Arnold Stang attempting to fight and then
Heavyweight. However, it was a short pub fight merely escape the madman. With the aid of John
 19 63 153

Hudkins’ expert doubling, Winters busts through McLintock! re- teams John Wayne and Maureen
walls and garage doors, knocking over every prop O’Hara as a long-separated though still warring
imaginable as the terrified attendants literally be- couple intending to divorce but ultimately coming
come human torpedoes. They had earlier tried together by film’s end. Producer- star Wayne is
wrapping Winters in duct tape and beating him larger than life cattle baron G.W. McLintock, a role
with wrenches to no avail. It only made him an- that fits him like a glove. At this point of his career,
grier. He’s like a bull in a China shop, breaking Wayne knew what his fans wanted, and he delivers
everything in its path. Every action has a reaction, his patented formula to a tee. The cast and crew
and here it’s another segment of the weak building are full of Wayne’s family and friends, and the
collapsing. When the attendants try hiding in the highlight is a giant slapstick battle between cow-
outside lavatory, two big punches bring that flimsy boys and homesteaders around a pit of mud. Cin-
structure down. Variety called it “a devastating ematographer William Clothier was expert at film-
sight gag sequence.” ing colorful outdoor action scenes, and Otho
An improvisational comedic genius, the thickly Lovering synchronizes the footage superbly. Cos-
built Winters was a former Marine who ironically tumer Luster Bayless aids their effort by dressing
was recovering from a series of nervous break- his principals in bright, distinctive clothes so they
downs when cast in the part of an everyday guy will be easier to pick out of the large crowd of fight-
who loses all sense of fair play when a fortune is ers. It’s justifiably become one of the movies’ most
at stake and he feels others are trying to swindle famous fights. Time wrote, “The highlight of the
him. Winters was originally intent on performing season is apt to be a free-for-all that ends with half
his own stunts until he strained his back. The the territory slugging it out hip- deep in a mud
slightly built Stang was suffering from a broken hole.” Cinema Retro says the “highlight of the film
left arm which he keeps immobile and gloved is the famous mud pit fight scene which is amusing
throughout the scene. Stang was a late replace- despite being predictable,” while film historian
ment for comedian Jackie Mason, who was forced Leonard Maltin adds, “There was never a brawl
to bow out due to a prior commitment. For the quite like the one in McLintock!”
action sequences, Stang is doubled liberally by Wayne gets the fight started by having a con-
Janos Prohaska. Kaplan is doubled by Bill Max- frontation with an irate Leo Gordon, who keeps
well. sticking a rifle into Wayne’s belly while issuing
Weeks of pre-production went into the plan- threats. When Wayne can stand no more, he takes
ning and rigging of this scene, which was com- the gun from Gordon and intones, “Somebody
pleted in two days on location near Palm Springs ought to belt you in the mouth, but I won’t. I
at a specially constructed building. When Winters won’t.” Wayne turns to leave, then declares, “The
leaves, he backs his truck into a water tower that hell I won’t.” He rears back and launches a giant
falls and takes out the station’s last standing piece. left cross that upends Gordon and sends him tum-
The entire sequence was a triumph of creativity, bling down the muddy hill into the water pooled
but in filming this last bit the timing was slightly at the bottom. It’s one of filmdom’s most iconic
off and the last wall began falling before the tower punches. In fact, The Big Damn Book of Sheer Man-
hit. Special effects technician Linwood Dunn was liness declares it “the greatest roundhouse in his-
able to correct this error without needing a retake. tory.” Chill Wills, Jack Kruschen, Patrick Wayne,
He merely split the screen, slightly slowing one Edward Faulkner, Strother Martin and many more
side of the frame until when joined together with get into the fight, and most end up riding down
an optical printer the event appeared to take place the hill into the mud.
in regular time and in logical order. The fight was filmed south of Tucson, Arizona,
See: DVD extra Something a Little Less Serious: near the Mexican border town of Nogales. A clay
A Tribute to It’s a Mad Mad Mad Mad World pit with a 50-foot decline was first prepared by lay-
(1991). ing down gunite, a mixture of cement, sand and
water that’s customarily used to line swimming
The Mudpit Brawl in McLintock! pools. Two tons of bentonite was brought in and
put atop the gunite. The bentonite was absorbent
(1963) aluminum silicate clay formed from volcanic ash,
An entertaining Andrew McLaglen–directed slippery in texture and resembling chocolate
comedy-western, scripted by James Edward Grant, syrup. It was regularly used in oil well drilling to
154 19 63

reduce friction. It provided the filmmakers an ap- Young and Bill Hart. Tom Hennesy throws
propriate sliding surface (actual mud was too Strother Martin into an ore car and takes a hat pin
sticky for a smooth descent). O’Hara thought the in the backside from O’Hara. Aspiring Arizona lo-
concoction resembled bird poop while Wayne cals Terry Leonard, Stacy Newton and 17-year-old
likened it to snot. The scene’s total cost was Neil Summers got their start on the film. Sum-
$50,000. mers, weighing 135 pounds, was paired up with
United Artists publicity claimed the fight fea- Red Morgan, who was able to fling him like a rag
tured the largest collection of stuntmen ever gath- doll down the hill.
ered for one motion picture, with over 100 includ- Not everyone was eager to take the plunge. The
ing stunt extras. Cliff Lyons coordinated the action scene was shot over a one-week period in Novem-
with assistance from up-and-coming Hal Need- ber, and an unusual cold spell moved in on the
ham. Even Wayne had a hand in setting up and Sonoran desert location. The first morning was
choreographing the punches. Among those taking windy and a layer of ice formed on the pool of
part were Chuck Roberson, Chuck Hayward, water. Heaters were brought in to thaw out the ice
Boyd “Red” Morgan, Roy Jenson, Loren Janes, while cast and crew huddled by gas fires to keep
Dean Smith, Jerry Gatlin, Jim Burk, Tom Steele, warm. Taking the first trip down the hill and into
Harvey Parry, Paul Stader, Buddy Van Horn, the icy water was stuntman Roy Jenson, who was
Charles Horvath, Joe Canutt, Tap Canutt, Billy doubling for Leo Gordon. Jenson split his head
Shannon, Roy Sickner, Buzz Henry, Chuck Court- open with his backward flip when he landed hard
ney, Rudy Robbins, Bob Harris, Jerry Summers, on the gunite. He required 15 stitches and a trip
David Cass, Eddy Donno, Quentin Dickey, Jack to the hospital. Jenson’s spilled blood sent an im-
mediate shock wave around the set.
The stuntmen began clamoring for
additional hazard pay and stunt ad-
justments to make the fall. Since so
many were scheduled to enter the
mud, Wayne, as producer, saw his
budget skyrocket if appropriate ac-
tion wasn’t taken. He boldly an-
nounced there was no danger in
doing the stunt and to prove his
point, both he and Maureen O’Hara
would take the plunge. O’Hara, a
legendary trooper, immediately ap-
proached her trusted friend Chuck
Roberson for advice. He assured
O’Hara the slide was safe if one slid
down on their backside and kept
their head raised. A sufficiently sat-
isfied O’Hara promptly took the
plunge to the amazement of every-
one around. The Indian extras
bowed in her presence. Against the
wishes of the insurance men, Wayne
quickly followed suit. Gordon took
the next spill. At that point the
stuntmen were shamed into going
into the mud without any additional
money paid out. Jenson’s fall was the
only injury incurred, although
Strother Martin’s double Dean
The mass brawl continues atop the hill as John Wayne slides into the Smith suffered an ear infection from
mud to join Maureen O’Hara in United Artists’ McLintock! (1963). the cold water.
 19 63 155

Although she did the fall into the mud herself, and editor Ralph Winters keep the participants’
O’Hara had a stuntwoman on the set named Lu- identities well concealed. Vince Deadrick and
cille House. Wayne had stuntman Loren Janes Loren Janes were McQueen’s stuntmen, although
dress in O’Hara’s clothing and do an additional McQueen takes several surprisingly rough bumps.
take of the fall due to the many heavy bodies Guy Way was the heavyset Gleason’s regular dou-
thrashing about in the thick of the fight. A protec- ble. A wire was rigged up to aid them in hoisting
tive Wayne warned all the stuntmen he’d person- Curtis into the air. Nelson ended up with plenty
ally throw anyone into the mud who so much as of bumps and bruises and a strained back, while
touched O’Hara during the action. A common McQueen received a slightly blackened eye.
joke on the set was the phrase, “Here’s mud in your An honorary member of the Stuntmen’s Asso-
eye!” At one point, a glob of mud landed on the ciation, 5'10", 165-pound Marine Steve McQueen
lens of Clothier’s camera. had few extended fights on film, ironic considering
See: Johnson, Erskine. “Wayne, Maureen O’Hara his screen image as a tough guy. Even on his TV
Prove Top Filming Mudders.” Times Daily. Decem- western Wanted—Dead or Alive (1958–1962), he
ber 5, 1962; McLintock! DVD extra A Good Ol’ often turned his bounty hunter Josh Randall’s fight
Fashion Fight; McLintock! pressbook. action over to his doubles. One of his most note-
worthy fights was the brief one he had with Nick
The Beer Lounge Brawl in Sol- Adams and Michael Landon in 1958’s “The Martin
Poster.” In 1960’s “Black Belt,” he fought karate ex-
dier in the Rain (1963) pert Robert Kino. McQueen studied martial arts
Ralph Nelson’s Soldier in the Rain is an odd mix with Ed Parker, Bruce Lee, Chuck Norris, Bob
of comedy and drama about friendship between Wall and Pat Johnson, becoming proficient but
upstart dreamer Steve McQueen and career mili- never testing for a black belt. His thinking was, if
tary man Jackie Gleason. Effective in parts, bewil- he had a real fight, black belt status could be used
dering in others, it’s best-known today for the all- against him in a lawsuit.
out beer lounge brawl between McQueen and sol- The short-tempered McQueen had many street
diers Ed Nelson and Lew Gallo, who tease him fights, and the real- life experience flavored the
about his dog dying. Variety called it “as brutal a choreography of his movie fights. He often fought
fight scene as may ever have been staged on cellu- dirty or tried to find a quick equalizer such as
loid.” Cinema Retro declares it “one of the screen’s the razors he pulled on Ron Soble in The Cincin-
best brawl sequences, rivaling even that great pool- nati Kid (1965) and Fred Lerner in Papillon
room scene in Clint Eastwood’s Coogan’s Bluff.” (1973). It brought a sense of danger and realism
When the unfair double-team of Nelson and often lacking in the traditional heroic screen brawl.
Gallo begin to overpower McQueen,
huge Gleason comes to the rescue,
using his strength to literally hoist
Nelson over his head and slam him to
a table, tumbling to the floor himself.
All the actors’ bodies contort at odd
angles throughout the furniture-
smashing fight, including an impres-
sive end-over-end flip of Nelson’s
stuntman Howard Curtis. The fight
concludes with McQueen delivering
a now-famous running side jump-kick
and putting Nelson into a headlock.
All the action is too much for the over-
weight Gleason as he suffers a heart
attack from the strain.
Dick Crockett was stunt coordina-
tor of this unconventional two-minute
fight, which took three days to film. Steve McQueen (center) battles Ed Nelson (left) and Lew Gallo in
Director Nelson, D.P. Philip Lathrop Allied Artists’ Soldier in the Rain (1963).
156 19 63

McQueen’s fights often had life-or-death conse- a tiny bit of suspenseful vibraphone from an earlier
quences such as his knife fight with Martin Landau scene.
in Nevada Smith (1966). His best fights came The fighting style the 6'1", 180-pound Grant
against John Daheim and Roy Jenson in Baby, the employs is known as Savate. It’s a French martial
Rain Must Fall (1965) and Karl Schueneman in art utilizing the feet and hands in the form of
The Hunter (1980). graceful kicks and open- handed slaps. It was a
See: Nelson, Ed, and Alvin M. Cotlar. Beyond common streetfighting technique in Paris since
Peyton Place. Tarentum, PA: Word Association, the 19th century, popular because it avoided using
2008; Sydenham, Richard. Steve McQueen: The a closed fist. Basque Zipota, a variation of Savate,
Cooler King: His Life Through His Films. Birming- could previously be seen in Thunder in the Sun
ham: Big Star, 2013; Terrill, Marshall. Steve Mc- (1959). Unfortunately, Donen felt the French
Queen: Portrait of an American Rebel. New York: stuntmen on Charade were using it too much and
Dutton, 1994. American audiences wouldn’t accept the unfamil-
iar idea of two U.S. men slapping and kicking. Iron-
Cary Grant vs. George Kennedy ically, savate was effectively showcased as the fight-
ing style displayed by Robert Loggia on the TV
in Charade (1963) series T.H.E. Cat (1966–1967). Paul Stader was
An enjoyable light suspense thriller from direc- brought from the States to Americanize the fight
tor Stanley Donen, Charade concerns mystery and double Grant over French stuntman Yvan
man Cary Grant acting as protector for widow Au- Chiffre. Stader recruited a French professional
drey Hepburn while her husband’s ex-accomplices wrestler familiar with both fighting styles to dou-
close in on the whereabouts of a $250,000 World ble Kennedy. The rooftop itself was a studio set
War II heist. Hulking, trenchcoat- clad menace built 30 feet above the stage floor. It was the most
George Kennedy, complete with metal claw for a fisticuffs Grant had engaged in since Gunga Din
right hand, is the most threatening bad guy. He (1939), where he took a mighty Victor McLaglen
corners Grant atop the American Express building uppercut to the jaw that knocked him out cold. He
in Paris and orders him to step off. Grant has other had earlier engaged in one of the screen’s first ju-
ideas. What follows is a riveting one-minute fight jitsu throws with Dell Henderson in The Awful
atop a slippery and slanted rooftop that sees Truth (1937).
Kennedy throwing menacing blows with his hook George Kennedy’s imposing size landed him
that look like they will rip Grant’s head off. The tons of work in the early 1960s as a fight partner
entire sequence is superbly edited by James Clark. with TV heroes such as Clint Walker on Cheyenne,
Variety termed it “a real gasper.” According to Mag- Richard Boone on Have Gun—Will Travel, James
ill’s, the fight “stands as a perfect example of the Arness on Gunsmoke and Fess Parker on Daniel
combination of suspense and wit which makes Boone. World War II combat veteran Kennedy was
Charade such a delight to watch.” eager to please and often did his own fights for the
The 61-year-old Grant, a former acrobat, sur- camera. He was proud he never made contact with
prises with his agility and use of kicks as the two any actors he worked with. When James Stewart
push each other around the building’s neon sign, needed a sarcastic mouth to punch in The Flight
and Grant almost goes over the edge. Grant suf- of the Phoenix (1965) or John Wayne needed a
fered a few minor injuries during the fight, which mean face to clobber with an axe handle in The
according to him was par for the course through- Sons of Katie Elder (1965), Kennedy was their
out his career. The 6'4", 240-pound Kennedy rips man. He was still working to better himself on his
a bloody and painful swath across Grant’s back as fight technique even into the 1970s when he began
the film deftly mixes violence with its comedy. studying Gosoku-ryu karate with Tak Kubota.
Kennedy ultimately loses his balance with one of Notable fights came in Lonely Are the Brave
his Henry Mancini–punctuated swings and goes (1962), Cool Hand Luke (1967) and The Good
sliding down the roof with sparks flying from his Guys and the Bad Guys (1969) (see entries). Fights
metal hand. His hook catches the eave, allowing of interest came against Gregory Peck in Mirage
him to exchange witty barbs with Grant from Peter (1965), Peter Graves in The Ballad of Josie (1967),
Stone’s screenplay. Oscar-nominated composer James Garner in The Pink Jungle (1968), Clint
Mancini intentionally left the entire fight sequence Eastwood in Thunderbolt and Lightfoot (1974),
unscored, but in his final cut Donen opted to use Dave Cass in Earthquake (1974) and Thomas
 19 63 157

Hunter in The Human Factor (1975). His best TV zlo with the second unit photography. Editor
battles came against Darren McGavin in 1960’s Michael Luciano was tasked with cutting together
Riverboat episode “River Champion,” Dan Blocker the reels of footage while Nelson Riddle provided
in 1961’s Bonanza episode “The Infernal Machine” the score.
and Charles Bronson in 1965’s Virginian episode The fight becomes a huge rumble on the wharf
“Nobility of Kings.” between dozens of men who unite to take on bad
See: Caps, John. Henry Mancini: Reinventing guy Charles Bronson and his gang. John Indrisano
Film Music. Urbana: University of Illinois Press, coordinated the large-scale action. At Sinatra’s in-
2012; Kennedy, George. Trust Me: A Memoir. New vitation, a great crowd of onlookers showed up at
York: Applause, 2011; Nelson, Nancy. Evenings Warner Bros. to watch the battle. Stuntmen and
with Cary Grant. New York: Citadel, 2003. former boxers included Hal Needham, Ronnie
Rondell, Jr., Paul Stader, Chuck Roberson, Chuck
Frank Sinatra vs. Dean Martin Hayward, Roy Jenson, Chuck Hicks, Gene LeBell,
Clyde Howdy, John Hudkins, Bennie Dobbins,
in 4 for Texas (1963) Charles Horvath, Fred Carson, Jack Perkins, Char-
The satiric western 4 for Texas is the best op- lie Picerni, Marvin Willens, Bill Catching, Leroy
portunity to see Rat Pack leaders Frank Sinatra Johnson, George Orrison, Stephen Burnette,
and Dean Martin beat up one another on the big Larry Duran, Victor Paul, Richard Geary, Joe
screen. They seem to be having fun doing so, al- Brooks, Sol Gorss, Tom Steele, Joe Yrigoyen, Ray
though much of the tongue-in-cheek action in the Spiker, Charles Sullivan, Gil Perkins, Victor
finale is handled in long shot by stunt doubles in Romito, Joe Ploski, Mike Lally, John Roy, Matty
what the Jersey Journal termed “a great fight.” Jordan, Harry Wilson, Noble “Kid” Chissell,
The cool crooners play wisecracking rivals Mushy Callahan, Al Bain, Ralph Volkie, Sammy
vying for control of a gambling boat in 1870s Snatch, Jack Gordon and George DeNormand.
Galveston, Texas. The movie manages to be en- Character greats Mike Mazurki and Richard
tertaining enough, but is far from director Robert Jaeckel take part in the riverboat melee, as do
Aldrich’s best work. Aldrich wasn’t happy making diminutive Nick Dennis and towering Edric Con-
the picture as he continually clashed with Sinatra’s nor. In an earlier comic fight, Dennis and Connor
ego. Sinatra would only film one take and was come to the aid of Martin against Mazurki and
sometimes gone for days. The two weren’t even goons Harvey Parry, Gil Perkins and Fred Schei-
on speaking terms as the shoot progressed. Aldrich willer. Martin also has a fight with Jaeckel, knock-
figured Sinatra spent 80 working hours as the star ing the tough guy off a second floor balcony.
of a film that shot for 37 days.
Given those figures, it is likely
Sinatra winged much of the fight
without extensive rehearsal time. At
least a few minor injuries were in-
curred. Martin forgot to duck and
took a Sinatra punch to the jaw that
put him on his back. Sinatra reached
down to help him up but Martin
good-naturedly bit Sinatra’s ankle.
It wasn’t only the principals and
stuntmen who were in danger.
When director Aldrich attempted to
show how he wanted Sinatra to be
knocked through a warehouse door,
he backed into an exposed nail on
the door. It pierced his shoulder, re-
quiring a nurse and a precautionary
tetanus shot. Veteran cameramen
Joseph Biroc, Carl Guthrie and Bur- Frank Sinatra reacts to a Dean Martin punch in Warner Bros.’ 4 for
nett Guffey assisted D.P. Ernest Las- Texas (1963).
158 19 6 4

Mazurki had the opportunity to body slam one Alan Ladd vs. George Peppard
of Martin’s men and chose a professional wrestler in The Carpetbaggers (1964)
named Gene LeBell. The problem was that LeBell
was already playing one of Sinatra’s men, so he Harold Robbins’ popular novel is turned into
switched costumes and can be seen fighting on an entertainingly trashy soap opera from director
both sides throughout the action. Mazurki slammed Edward Dmytryk. The film climaxes with a 90-
LeBell to the ground, and when the assistant di- second fight in an exquisite suite between cold,
rector asked the respected veteran how he liked ruthless George Peppard and mentor Alan Ladd.
the take, Mazurki said that he didn’t. They did an- Variety warned that it “will make the audience
other take and again Mazurki didn’t like it. On the wince.” According to The Films of Alan Ladd, it is
third take, Mazurki was satisfied with the slam. In “one of the most viciously realistic fights in Ladd’s
private, LeBell asked Mazurki what was wrong long tally of screen brawls,” while Films and Filming
with the first slam. “Nothing,” replied Mazurki as agreed that it was “one of the goriest Ladd had ever
he lit up a cigar. LeBell realized that Mazurki had endured.” USA Today ranks it among the ten great-
made him an extra $300 for each slam. LeBell sent est fights ever filmed.
Mazurki a box of cigars every year for his birthday. However, the fight isn’t without its negatives.
Dean Martin (5'11", 175 pounds) boxed as wel- The furniture-smashing, glass-breaking and lip-
terweight Kid Crochet in his teens to a 1–11 rec- bloodying gets so brutal that stuntmen Glenn
ord. Although his fight career was undistin- Wilder and Paul Baxley are clearly visible through-
guished, the experience served him well for his out. Their obvious presence threatens to take the
future in Hollywood. Legend has it that no one in- viewer out of the film. For that, Frank Bracht’s ed-
formed Martin he was supposed to fake punches iting must be faulted. Lapses in continuity occur.
in his first screen fight and he knocked out Don Wilder reaches for a fire poker with his right hand,
DeFore’s tooth in My Friend Irma (1949). Martin but the film cuts to Peppard picking it up with his
later picked up some martial arts moves, from left. Dmytryk and Duke Callaghan’s camera stag-
Bruce Lee no less, for his series of Matt Helm films ing even catches a few missed punches with accom-
in the 1960s. Martin played up the public image panying sound effects signaling bullseyes. There’s
of being a boozer, but in reality he was a strict pro- an oddly missed punch where Peppard hurts his hand
fessional well-liked by stuntmen and crews for his that makes the viewer wonder what exactly he was
humor and generosity. When a nervous Chuck aiming at as Ladd is dazed and makes no effort to
Norris, in his film debut, accidentally kicked him move away. Other than that, the fight routine put
in the shoulder on The Wrecking Crew (1969), on by the stuntmen is enthusiastically staged.
Martin simply shrugged it off and was quicker to The actors portray thinly disguised versions of
duck on the next take. multi- millionaire Howard Hughes and cowboy
Notable fights include Sergeants 3 (1962), The film star Tom Mix. An ailing Ladd appears a shell
Sons of Katie Elder (1965), Rough Night in Jericho of his former handsome self. He died of an alcohol
(1967) and The Cannonball Run (1981) (see en- and barbiturate combo shortly after finishing this
tries). Fights of interest came against Jeff Morrow movie. Nevertheless, he gives a good performance
in Pardners (1956), Ric Roman in Some Came Run- as the aging movie star and is still up for throwing
ning (1958), Claude Akins in Rio Bravo (1959), punches. One of the best touches has Ladd locking
Tom Reese in Murderers’ Row (1966), Alain Delon the door to the suite before the fight in anticipa-
in Texas Across the River (1966), Roy Jenson in tion of the action to follow. Highlights include
The Ambushers (1967), Roddy McDowall in 5 Ladd (Baxley) flipping over tables and couches,
Card Stud (1968), Pepper Martin in The Wrecking Peppard swinging the fire poker, and Ladd laying
Crew (1969), Brian Keith in Something Big (1971) Peppard out on a dining table. He pulls the table-
and Thalmus Rasulala and John Quade in Mr. cloth over Peppard and pummels him for the win.
Ricco (1975). Ladd, with a bleeding cheek and shirt drenched in
See: Alpert, Don. “One-Punch Martin: Color sweat applied by makeup artist Wally Westmore,
Him Unconcerned.” Los Angeles Times. July 21, pours a stiff drink at the fight’s conclusion as Elmer
1963; “On the Star View Screen.” Southeast Mis- Bernstein’s score is cued up.
sourian. May 22, 1964; Tosches, Nick. Dino: Living The role of the makeup artist isn’t always ap-
High in the Dirty Business of Dreams. New York: parent in a fight. Outside a bit of fake blood ap-
Delta, 1992. plied to the lip and a mist of sweat from a spritzer
 19 6 4 159

bottle, some films get by with

minimal contribution from
this department. Their ex-
pertise is more apt to be
called upon for the fight’s af-
tereffects such as bruises,
swelling and the presence of
fresh or healing cuts. For this
reason, basic medical knowl-
edge aids in authenticating
the injuries. Stage blood can
be manufactured in a variety
of ways but is most com-
monly Karo corn syrup and
red food coloring. Thick
Ketchup is an old standby
but can stain wardrobe. In
black-and-white days, it was
simply red, blue and black
greasepaint. Perspiration is George Peppard takes a swing at Alan Ladd in Paramount’s The Carpetbag-
typically a mixture of water gers (1964).
and glycerine.
Six-foot, 175-pound George Peppard was a for- Times. February 26, 1970; Henry, Marilyn, and
mer Marine making a run at movie stardom. The Ron DeSourdis. The Films of Alan Ladd. Secaucus,
former construction worker was considered one NJ: Citadel, 1981; “Movie Makeup Men Have to
of the bright stars of tomorrow before settling into Know How to De-Glamorize.” Nebraska State Jour-
second-tier features as a quick-with-his-fists lead- nal. May 14, 1944.
ing man. His reputation for surliness and fighting
with producers undermined his career. He was the The Saloon Brawl in Mail Order
man originally cast as Blake Carrington on the
early 1980s TV series Dynasty. He had filmed
Bride (1964)
fights with co-star Bo Hopkins before the network Writer-director Burt Kennedy’s slight but pic-
opted to replace the testy star with John Forsythe. turesque MGM western comedy Mail Order Bride
The fight scenes were redone with Hopkins and a features the kind of good-natured cowboy brawl
stuntman filling in for the older Forsythe. in which everyone present in the bar Kate’s Place
Peppard fought George Hamilton in Home from gets in on two minutes of spirited fisticuffs no mat-
the Hill (1960), Arte Johnson in The Third Day ter whether they are friend, foe or complete
(1965), Rock Hudson in Tobruk (1967), Slim stranger. Kennedy felt it was nearly obligatory for
Pickens in Rough Night in Jericho (1967) (see a western to include a saloon brawl and his film
entry), H.B. Haggerty in P.J. (1968), Robert F. doesn’t disappoint. It’s professionally done by the
Lyons in Pendulum (1969), George Baker in The best stuntmen in the business. The Anniston Star
Executioner (1970), Don Gordon in Cannon for wrote that Kennedy “kept the action at a fast pace
Cordoba (1970) and Steve Sandor in One More with plenty of excitement in such scenes as a free-
Train to Rob (1971). His best role came in the en- for-all chair-flying saloon brawl.” There are few
joyable TV mystery Banacek (1972–1974) where comic sight gags, including a man with a broken
in 1973 Peppard outwitted giant Ted Cassidy in a chair fitted over his head and a cowboy who forms
junkyard in “Ten Thousand Dollars a Page” and a tower on another’s shoulders only to be punched
proved agile enough to elude a Don Stroud kick onto a table.
aimed at his head in “No Stone Unturned.” Pep- Retired gunfighter Buddy Ebsen sets events in
pard later starred in the silly action TV series The motion while observing a card game involving
A-Team (1983–1987), dirtying his leather gloves Keir Dullea and his drinking buddy Warren Oates.
with the occasional punch-up. Fulfilling a promise to Dullea’s dead father, Ebsen
See: “George’s Violent World.” Beaver County wants the irresponsible young man out of the bar
160 19 6 4

so he can provide him with both a land deed and the Dragon (1973) (see entry) and TV’s Kung Fu,
a new wife. Through the power of suggestion, filming a test pilot fight with stuntman Paul Nuck-
Oates is soon walloping on Dullea. Stunt actor les. Wearing prosthetic eye makeup, he was so con-
Chuck Roberson announces “Fight!” and smashes vincingly menacing that the producers feared he
a chair into the mirror behind the bar. would frighten audiences away. He had a starring
Cattle thief Oates’ rowdy friends William role as a karate-fighting U.S. Marine in Tiger Cage
Smith, Tony Epper, Billy Shannon and Jack Coffer (1974) which went unreleased. In Blood and Guts
begin punching everyone in the bar as well as each (1978), Smith played an aging pro wrestler and
other. Smith does his own fighting while the three did all his own ring action. He was an honorary
supporting players were all stunt actors. The 5'11", member of the Stuntmen’s Association.
175-pound Oates was a Marine and reveled in Notable fights include Darker Than Amber
doing as much fake fighting as Kennedy would (1970), C.C. and Company (1970), Grave of the
allow. Among the stuntmen taking part in the Vampire (1972), Black Samson (1974) and Any
comic action are Hal Needham, Henry Wills, Roy Which Way You Can (1980) (see entries). Fights
Jenson, Bill Hart, Al Wyatt, Cliff Lyons, Pete Kel- of interest came against Tony Randall in The Mat-
lett and stunt coordinator Buzz Henry. The film is ing Game (1959), Michael Haynes in Chrome and
similar in look and feel to Sam Peckinpah’s lyrical Hot Leather (1971), Peter Brown in Piranha
Ride the High Country (1962), which was made by (1972), Fred Williamson in Hammer (1972) and
this film’s producer Richard E. Lyons in the High Boss Nigger (1975), Mickey Caruso in Invasion of
Sierras. Composer George Bassman (who pro- the Bee Girls (1973), Richard Harris in The Deadly
vided a whimsical score for the fight) and editor Trackers (1973), Yul Brynner in The Ultimate War-
Frank Santillo were also employed on both films. rior (1975), Cesare Danova in Scorchy (1976),
As a screen fighter, former Air Force boxing and Jude Farese in Hollywood Man (1976), Gary Busey
weightlifting champion William Smith had few in Eye of the Tiger (1986) and Dan Haggerty in
peers. He could throw punches and sell emotional Spirit of the Eagle (1991). He was memorable por-
reaction shots with the best of them. A superb traying Arnold Schwarzenegger’s sword-wielding
physical actor, Smith registered great anger on his father in Conan the Barbarian (1982). On TV, he
face during a fight and never failed to verbally en- portrayed the hated villain Falconetti on the
hance a scene with his guttural fighting roar and groundbreaking mini-series Rich Man, Poor Man
throaty punch-induced gasps. His expert timing (1976) and had an unforgettable fight with Nick
and quickness for a big man took him to another Nolte in the cargo hold of a ship. Other TV fights
level. Instead of throwing the traditional round- of note came against James Arness in the 1972
house haymaker, the 6'2", 210-pound Smith deliv- Gunsmoke episode “Hostage,” David Carradine in
ered short, straight blows that appeared to hit the 1973 Kung Fu “The Chalice,” James Naughton
dead-on but in actuality pulled up a fraction short in the 1974 Planet of the Apes “The Gladiators,”
of their target. Tutored by Jock Mahoney, Smith Jack Palance in the 1975 Bronk “Wheel of Death,”
mastered the technique on the fight-heavy Univer- Mr. T in the 1983 A-Team “Pros and Cons” and
sal TV Western Laredo (1965–1967), which em- Sam Elliott in the final episode of 1984’s The Yellow
ployed many top stuntmen. Smith worked with Rose. On the 1985 Simon and Simon episode
them closely and was able to do all his own fighting “Quint Is Out,” he beat star Gerald McRaney to
without the need for a double. Despite his rippling within an inch of his life.
muscles, the former semi- pro football player See: Compo, Susan. Warren Oates: A Wild Life.
moved with an assured and explosive athleticism Lexington: University Press of Kentucky, 2009;
recalling Errol Flynn. Although he possessed lead- Liederman, Earl. “Hollywood He- Man: Bill
ing man looks, Smith was a tremendous screen Smith.” Strength & Health. June 1961; Stout, Jerry.
heavy. He was also a world-class arm-wrestling “What Do You Say to a Naked Lady?” Fighting
champ; his 18" arms looked like they could tear off Stars. June 1974.
limbs and instantly struck fear in many an opponent.
Smith studied martial arts extensively during Sean Connery vs. Harold Sakata
the 1960s, working on San Soo Kung Fu with
Jimmy Woo and Kenpo with Ed Parker. Smith
in Goldfinger (1964)
often used devastatingly powerful knees and el- This justifiably famous James Bond fight has
bows in his fights. He nearly starred in both Enter Sean Connery taking on the prototypical subor-
 19 6 4 161

dinate villain Harold Sakata as

Goldfinger’s mute Korean
henchman Oddjob. The four-
minute battle sees the two
squaring off in the gold envi-
rons of Fort Knox, with the
grinning, massively built
Sakata utilizing his deadly
steel-rimmed bowler derby as
a Frisbee aimed at Connery’s
head (a skill that took Sakata
several weeks to master). This
time, unlike From Russia with
Love, Connery is without a
doubt the underdog. Sakata’s
immense strength has been es-
tablished earlier by screenwrit-
ers Richard Maibaum and Paul
Dehn when he lifted a couch
and hurled it at Connery.
Nothing Connery does fazes Sean Connery uses everything at his disposal to fend off Harold Sakata in
Sakata, and he is tossed around United Artists’ Goldfinger (1964).
like a rag doll by the composed
killer. Connery’s punches are repeatedly coun- reference. Stuntman Bob Simmons doubled Con-
tered by Sakata chops, nerve holds and throws. nery and coordinated the fight, with an assist from
Even a gold brick to the chest doesn’t bother Gerry Crampton. Simmons was shorter than Con-
Sakata. He is one of cinema’s first seemingly un- nery and matched up better with Sakata when it
stoppable killers. came to height in the long shots. Sakata performed
Despite the absence of a background score, the all his own stunts, including the impressive unbro-
exciting fight is one of the Bond series’ most pop- ken final fall onto his chest. The electrocution
ular segments, and Guy Hamilton’s Goldfinger is scene required two takes, a close-up and a medium
often regarded as the most classically entertaining shot. The pyrotechnics were achieved with the use
Bond film. Peter Hunt’s fast-paced cutting brought of fireworks, and Sakata received painful burns on
a definitive visual sense to the Bond films by elim- his hand in the close-up. He wouldn’t release his
inating all wasteful movement and was a key com- grip because director Hamilton had not yet called
ponent to their success with audiences. The Films cut. Sakata was offered an asbestos glove for the
of Sean Connery declares that Hunt’s deft editing medium shot, which he refused to wear. In that
“continues to amaze, with the fight scenes in par- shot, a spark went into the seat of his pants, making
ticular cut with astounding technique.” The New the agony he showed on camera real. Connery re-
York Times called the Goldfinger fight “spinningly ceived a back injury which briefly delayed filming.
staged and enacted, dripping in cliffhanging sus- He used the injury to his financial advantage in ne-
pense.” The Complete James Bond Movie Encyclope- gotiating for the next film in the series, Thunder-
dia termed the fight “legendary,” while Kiss Kiss, ball (1965).
Bang Bang referred to it as “extremely hard- Of Japanese descent, the 5'10", 225-pound
hitting.” James Bond in the Cinema declared that Sakata was a Hawaiian weightlifting champion
the fight “must rate as some kind of cinematic turned professional wrestler billed as Tosh Togo.
landmark,” and The Manly Movie Guide described After Goldfinger, he incorporated the moniker
it as “a thrilling bout of hand-to-hand combat.” Oddjob into his professional name for all future
The Fort Knox vault room fight took place on film roles and wrestling appearances. Connery also
an elaborate Pinewood Studios set built by pro- engages in a memorable pre-credits fight sequence
duction designer Ken Adam and art director Peter with British stuntman Alf Joint who portrays the
Murton. The filmmakers were never allowed to assassin Capungo. Connery throws Joint into a
see inside the real Kentucky gold depository for bathtub, where he is electrocuted and Connery
162 19 6 5

quips, “Shocking.” The Spy Who Thrilled Us calls and was prodded along by director Hathaway.
this fight one of the best in the Bond series. Con- Oxygen was always close by, particularly since
nery and co-star Honor Blackman received judo much of the film was shot in the high elevations
training from Joe Robinson. The judo flip Black- of Durango, Mexico. Wayne came through the
man exhibits on screen proved so popular with au- humor-filled fight with flying colors, as the bick-
diences that it became a regular move for stunt- ering brothers turn on one another over breakfast
men in their fight routines. In honor of her after Wayne refuses to be suckered into a poor-
character, they commonly referred to it as the odds gunfight with George Kennedy. Martin was
Pussy Galore. Blackman even appeared on The doubled by Henry Wills in the fight more than
Tonight Show in 1966 with Johnny Carson specif- Wayne by Roberson. Loren Janes was there for An-
ically to flip the host. derson and Jerry Gatlin on hand for Holliman in
See: Chick, Bob. “Derby Opened Door.” Eve- rehearsals, but those two actors do all their own
ning Independent. June 8, 1973; Goldfinger DVD fight for Lucien Ballard’s camera. The slightly built
special features; “Interview: Sean Connery.” Play- Anderson spends a great portion of the fight on
boy. November 1965; Kyriazi, Paul. How to Live Wayne’s back. A double punch from the floor
the James Bond Lifestyle. Amazon, 2012. memorably sends Wayne (actually Roberson)
crashing out the front door. Martin also fights Je-
The Brothers Brawl in The Sons remy Slate in the film while Wayne drops Kennedy
with an axe-handle to the face. Roberson took the
of Katie Elder (1965) hit for Kennedy. The Michigan Daily termed the
In the fall of 1964, John Wayne fought the great- fight “exciting,” while Stage Combat calls it “a great
est fight of his life … against cancer. A golf ball– brawl.”
sized tumor was discovered in his left lung, requir- See: Didion, Joan. Slouching Toward Bethlehem.
ing the total removal of the organ during a six-hour Zola, 2013; Leydon, Joe. “Gritty Effort.” Cowboys
surgery in October. Wayne’s handlers thought his & Indians. April 2015; Wayne, John. “True Cour-
career was over, but Wayne was determined to age: Now I Know What It Means.” Lewiston Daily
prove them wrong. An unknowing public believed Sun. February 22, 1975.
Wayne was simply having fluid removed from a
lung due to an old football injury. When he left The Boracho Saloon Brawl in
the hospital, Wayne found the strength to rise
from his wheelchair despite his weakened condi-
The Great Race (1965)
tion and the painful scar along his left side. Walk- Blake Edwards’ large-scale Warner Bros. extrav-
ing under his own power to the waiting limo, he aganza went wildly over- budget in bringing its
stopped to shake hands with fans and smile for the madcap zaniness to the screen. Everything about
reporters. Inside the limo, an oxygen tank was the two-and-a-half-hour film is done to the max,
waiting for the exhausted star. Wayne’s latest especially the comic saloon brawl in the western
scheduled western, Henry Hathaway’s The Sons of town of Boracho that Film Daily described as “a
Katie Elder (1965), was pushed back indefinitely. bruising brawl staged with force and exaggeration,”
The doctors told Wayne to engage in no strenuous and the Los Angeles Herald Examiner remarked was
activity for six months. However, he was itching “a saloon fight the like of which has never been
to shoot the film after four. He was also ready to seen on the screen.” Action Films writes it’s “one of
come clean with the public and let them know he the great all-out western bar fights,” while West-
had licked the Big C in hopes that others would ways declares it “the barroom brawl to end all bar-
realize that the diagnosis wasn’t an automatic room brawls.” The scene took two weeks to film
death sentence. The announcement that Wayne and is meant not only to parody Dodge City but
had conquered cancer increased his larger-than- rival it as dozens of stuntmen and stuntwomen
life status with fans and made him more myth than punch their way across the camera. Tony Curtis
man. and Jack Lemmon are the opposing stars with co-
The screen fight with Dean Martin, Earl Holli- median Larry Storch figuring prominently as the
man and Michael Anderson, Jr., would prove to droopy-mustached heavy Texas Jack. Everyone in
the public and the industry that Wayne could still the scene winds up with a black eye except Curtis.
handle action. He was determined to do as much He plays The Great Leslie, immaculate in a white
as possible without stunt double Chuck Roberson suit and gleaming teeth. None of set decorator
 19 6 5 163

Larry Storch takes one on the chin from Tony Curtis in Warner Bros.’ The Great Race (1965).

George James Hopkins’ furniture remains intact. who bumps into him near the bar. Assistant direc-
Later there’s the largest pie fight ever filmed with tor Mickey McCardle, a former stuntman, also
over 2500 pies heaved about the screen. Miracu- shows up during the fight as a cowboy.
lously, Curtis manages to keep his white suit spot- Highlights include Robert Hoy, Richard Farns-
less until the end. worth, Troy Melton and Dean Smith having a bal-
Stunt coordinator Dick Crockett put the saloon cony cut out from underneath them and Summers
brawl together. It’s an inspired creation, full of taking a high fall after stepping out a door where
whimsy, expert timing and mass destruction. Two a balcony used to be. Hal Needham takes a leap
men behind the bar throw slow-motion punches into a pile of stuntmen, but Dave Sharpe steals the
at one another that miss by more than a foot, an show with a fantastic dive over a railing onto Gil
obvious in-joke created by Edwards and camera- Perkins, Joe Yrigoyen and Reg Parton. It’s the
man Russell Harlan and left intact by editor Ralph equal to the great leaps he was performing 25 years
Winters. The entire fight is a tribute to Republic’s earlier. Other stuntmen in the scene include
crack stunt team of the 1940s, and many fondly Chuck Hicks, Paul Stader, Al Wyatt, Boyd “Red”
remembered Cousins are employed including Morgan, Sol Gorss, Bill Catching, Bill Hickman,
Dave Sharpe, Dale Van Sickel and Tom Steele. Bobby Rose, Dick Geary, Wally Rose, Jerry
Stunt doubles for the action include Sharpe for Catron, Ronnie Rondell, Jr., Howard Curtis, John
Curtis, Van Sickel for Keenan Wynn and Jerry Hudkins, Dick Dial, John Moio, Joe Canutt, Walter
Summers for Larry Storch. Stunt actors Charles Wyatt, Danny Sands, Bill Couch, Larry Duran,
Horvath, Jack Perkins and Alex Sharp figure Paul Nuckles, Rod McGaughy, Joe Ferrante, Carl
prominently as mustached henchmen. Roy Jenson Sklover and Carey Loftin. Stuntwomen on hand
delivers one of the fight’s first punches and can be as saloon maidens and dancehall girls who join the
spied playing another character later on. Even fighting are Helen Thurston, Sharon Lucas, Donna
Blake Edwards can be spotted slugging someone Hall, Stephanie Epper, Mary Statler and Patti
164 19 6 5

Saunders. They’re all at the top of their game in who was familiar with the stuntmen as he had been
this classic. Dick Crockett made his name as the one. Being able to place so many actors front and
stunt supervisor on Edwards’ weekly detective se- center greatly enhances the highly destructive ac-
ries Peter Gunn (1958–1961). Every episode fea- tion as bottle after bottle is smashed over heads.
tured top fisticuff action with star Craig Stevens The two- minute head- shaking, leg- wobbling
taking on what would become the entire roster of Tryon-Presnell fight won critical praise, with Films
the Stuntmen’s Association. and Filming declaring it “a splendid fist fight,” and
Tony Curtis, 5'9" and 160 pounds, was groomed Film Daily calling it “a bruising brawl, staged with
for stardom by Universal in the early 1950s. It was force and exaggeration.”
there the spry Navy veteran was taught boxing by After extensive rehearsal, stunt coordinator Paul
trainer Frankie Van for Flesh and Fury (1952). He Stader oversaw the week-long filming of the saloon
was also trained in fencing for swashbuckling roles brawl featuring stuntmen Jack Perkins, Gil Perkins,
and had judo training under Ramon Ancho. His Bill Catching, Whitey Hughes, Billy Hughes, Ron-
best fights were performed with a light-hearted nie Rondell, Jr., Bill Coontz, Archie Butler, Sailor
gleam in his eye and tongue in cheek. He show- Vincent and George Robotham. Working closely
cased his comic brawling ability in Not with My with cinematographer James Wong Howe, Stader
Wife, You Don’t (1966) (see entry). compared the action to the execution of a well-
Curtis fought Lyle Bettger in Forbidden (1953), designed football play. The participants and cam-
Patrick O’Neal in The Black Shield of Falworth era operators had to have their timing down to the
(1954), Arthur Kennedy in The Rawhide Years split second. Howe used three hand-held cameras
(1955), Burt Lancaster in Trapeze (1956), Kirk to move in close, and found interesting camera
Douglas in The Vikings (1958) and Spartacus placements during the two-man fight. This en-
(1960), Frank Sinatra in Kings Go Forth (1958), abled the 6'4", 190-pound Presnell and the 6'2",
Sidney Poitier in The Defiant Ones (1958), James 190-pound Tryon to do the bulk of the impressive
Franciscus in The Outsider (1961), Yul Brynner in fisticuffs. Walter Scott and Chuck Bail were avail-
Taras Bulba (1962), Tom Reese in 40 Pounds of able for doubling duties, but the stars were game
Trouble (1962), Eddie Albert in Captain Newman, for the action save for a tumble down the stairs.
M.D. (1963) and Charles Bronson in You Can’t On several occasions there’s emphasis on garner-
Win ’Em All (1970). On TV, he had entertaining ing an audience laugh as both men deliver titanic
battles with co-star Roger Moore on the Persuaders punches, sending the other backing up nearly 20
(1970–1971) episodes “Overture” and “Someone feet into fireplaces and closets. The leading roles
Like Me.” were originally earmarked for Lee Marvin and
See: Malone, Aubrey. The Defiant One: A Biog- James Coburn, a more intriguing screen match-up
raphy of Tony Curtis. Jefferson, NC: McFarland, in a film scripted by the legendary Sam Peckinpah.
2013; Scott, Vernon. “Crockett Is First Stunt Man Hardly anyone remembers the Tryon- Presnell
to Get Credit on Screen.” The Milwaukee Journal. fight, but they put on a fine show.
February 25, 1961. See: “Dance of Violence.” Deseret News. July 17,
1965; Wong Howe, James. “Wong Howe Photo-
Tom Tryon vs. Harve Presnell graphs The Glory Guys.” American Cinematogra-
pher. August, 1965.
in The Glory Guys (1965)
A tough two-man fight between cavalry officers The Dream Brawl in Love and
Tom Tryon and Harve Presnell over female lead
Senta Berger takes a backseat to an extended three-
Kisses (1965)
minute saloon brawl between troopers and a shady Weekends in early 1960s Hollywood often saw
saloon proprietor’s burly bouncers in this Arnold games of touch football played between a team
Laven western. commandeered by Elvis Presley and a squad led
Cast as a rapscallion soldier, a young James by teenage music idol Rick Nelson. They played a
Caan does all his own fight action. Six-foot-three competitive game utilizing many athletic actors,
and 215 pounds, Michael Forest, a boxer at the stuntmen and college players. Taking the friendly
University of Washington and San Jose State, is rivalry between the team captains one step further,
cast as a heavy and also performs his own fighting. TV star Nelson tried starring in his own film and
Another actor allowed to brawl is Slim Pickens, outdoing Presley at what he did best: staging a
 19 6 5 165

martial arts fight. Nelson’s starring

debut Love and Kisses was written
and directed by his father Ozzie Nel-
son and co-starred Rick’s wife
Kristin. All were accustomed to por-
traying themselves weekly on the
wholesome family show The Adven-
tures of Ozzie and Harriet (1956–
1966). Here Rick and Kristin play a
young married couple who are
forced financially to move in with
his parents. Light situational com-
edy ensues in a film that has a sweet
innocence about it until late in the
picture when Nelson has a night-
mare that his wife has become a
stripper. This bizarre scene is some-
thing else entirely.
Within the dream, Nelson enters
a Tiki bar strip club. He finds his
scantily clad wife about to go on
stage and protests. This brings
about a warning from floor manager
Angelo Brovelli and a summons for
beefy bouncers Gene LeBell, Bruce
Tegner, Guy Way and Fritz Ford.
Over the next frenetic two minutes,
Nelson executes judo flips, kicks
and punches on the bouncers and Judo expert Gene LeBell (left) is about to be tossed by Rick Nelson
anyone else who gets in his way. in Universal’s Love and Kisses (1965).
LeBell takes the best bumps as the
men keep coming back for more. The entire bar despite the presence of qualified stunt personnel.
gets into the swing of things with stuntmen John They keep elements moving but are unable to ac-
Hudkins, Victor Paul, Richard Elmore, Howard count for the other side of the camera. Ozzie Nel-
Curtis, football player Jim Boeke and stuntwoman son was using a crew from his TV show including
Sharon Lucas all contributing. At one point, Nel- D.P. Robert Moreno and editor Newell Kimlin.
son swings from a light fixture. Rick’s brother They were simply not up to the task of staging a
David Nelson and Skip Young (Wally on the fam- superior action scene. Most of the stunt perform-
ily’s TV show) make quick comic cameos as by- ers had appeared on the TV show and previously
standers watching the brawl. Bartender Jack Ellena engaged in fights with Rick. The most noteworthy
joins the fight against Nelson and brings out a bro- fighting episode was 1961’s “The Manly Arts.”
ken bottle and a knife. Nelson uses his martial arts Nelson was a student of Bruce Tegner and had
to disarm Ellena and heave him through the bar’s recently been awarded a controversial black belt
mirror. Ellena was Nelson’s real-life bodyguard and in Tegner’s jukado style. In his books, Tegner de-
a former professional wrestler and Los Angeles scribed Nelson’s ability to learn and perform a
Ram. With no one else to fight, a dazed and bleed- fight as outstanding. However, detractors felt Nel-
ing Nelson wakes up from his crazy dream by son’s black belt was honorary and not earned
falling out of bed. through the years of discipline commonly re-
Presley didn’t have to worry much when it came quired. Many voiced their displeasure at Tegner’s
to putting on a better fight. He was a far more celebrity training. It was around the time of the
skilled martial artist. Five-foot-eleven, 180-pound release of Love and Kisses that Tegner began to
Nelson is energetic and gamely does all his own catch heat within the growing Asian- American
fight, but the action staging is technically subpar martial arts community for his cross- training
166 19 6 5

practices. The 6'1", 205-pound judoka was writing begin launching vicious punches. It’s a bizarre
and marketing numerous books introducing tongue-in-cheek moment that gets swept away by
karate to the masses, often on styles on which he the fury of the furniture-smashing action that fol-
was less than expert. In 1967, he sold his Holly- lows. The two men knew how to work with one
wood self-defense studio and largely disappeared another on blocking out a fight for the cameras.
from the public eye. He died in 1985. Kiss Kiss, Bang Bang calls it “a good old-fashioned
See: Bashe, Philip. Teenage Idol, Travelin’ Man: brawl.”
The Complete Biography of Rick Nelson. New York: The fight took two days to film with three prior
Hyperion, 1992; Tegner, Bruce. Judo: Beginner to days devoted to rehearsing the punches and
Black Belt. Ventura, CA: Thor, 1982; Tegner, swings of a fire poker. Special effects maestro Al-
Bruce. Self-Defense: A Basic Course. Ventura, CA: bert J. Luxford was called in for the bit where Sim-
Thor, 1979. mons throws a knife and pins Connery’s sleeve to
the wall. The film was shot in reverse with Luxford
Sean Connery vs. Bob Simmons pulling the knife from the wall with a strand of
piano wire. The trickiest part of the shot was Con-
in Thunderball (1965) nery needing to act in reverse, as if he were being
The fourth film in the James Bond series fea- pinned rather than released. Connery ultimately
tures a pre-credits teaser involving a memorable breaks Simmons’ neck with the poker before toss-
fight between Sean Connery and a man in drag ing flowers on the body in a gesture showcasing
among grandfather clocks in the Chateau d’Anet. Bond’s sardonic sense of dark humor courtesy of
The female impersonator is masquerading as the screenwriters Richard Maibaum and John Hop-
grieving widow of SPECTRE agent Jacques kins. Connery makes his escape via jetpack and
Boitier, but in fact is Boitier. The 90-second fight the credits roll with the expected Bond theme
is made even more novel by the casting of Con- from composer John Barry.
nery’s regular stunt double Bob Simmons as Dynamic editor Peter Hunt once again assem-
Boitier, meaning Connery gets to do all his own bled director Terence Young’s action sequence su-
power-punching stunts for the slightly under- perbly, but it is stuntman Simmons who’s allowed
cranked sequence. Stuntman Harold Sanderson to shine the brightest. His rough and violent Bond
doubled Connery when the star is upended and fight choreography mixed judo moves with
lands on his back. The audience is thrown by the fisticuffs and took fight scenes to a new level. The
fact that attractive actress Rose Alba plays the Bouvier fight was his personal favorite. Connery
Black Widow in the opening shots until the mo- and Young had some humor at Simmons’ expense,
ment Connery knocks her wig off and both men taking great delight in assisting with the applica-
tion of his female makeup, much to
the macho stuntman’s chagrin.
See: Thunderball DVD special
features.

Woody Strode vs. Mike

Mazurki in Seven
Women (1966)
Former professional wrestling ti-
tans Woody Strode and Mike
Mazurki meet for a pitched torch-
lit grappling scene in John Ford’s
final picture. Ford’s favorite stock
company players are improbably
cast as Mongolian warriors who
fight a duel to the death in front of
a horde of Chinese extras for the
Bob Simmons takes a mighty punch from Sean Connery in United right to deflower Anne Bancroft
Artists’ Thunderball (1965). and the rest of the missionary
 19 6 6 167

women of the title. Unfortunately, the dream He’s well cast as superspy Derek Flint, master of
match-up comes a decade too late to sustain any everything under the sun including martial arts.
real interest, and it’s all over in less than half a He’s introduced in his karate gi performing katas.
minute. The two giants stalk one another, clinch Throughout the colorful Daniel Mann–directed
and immediately go into a double choke for Joseph film, the 6'2", 175-pound Coburn moves with
LaShelle’s camera. After brief jockeying for posi- grace and athletic assurance. Later he visits his su-
tion, warlord Mazurki breaks Strode’s neck. Nei- perior Lee J. Cobb at headquarters and surpris-
ther actor required a stunt double for the limited ingly unleashes his karate skills on Cobb’s beefy
theatrics. It was something they could have per- guards Roy Jenson and Chuck Hicks in the corri-
formed in a ring any day of the week. Ford’s long- dor. He uses his feet, open hands and elbows to
time editor Otho Lovering constructed it with a dismantle the stunt actors in 20 impressive sec-
minimum of camera cuts. Despite the apparent onds. Cobb thinks he’s gone nuts until Coburn re-
lack of interest behind the scenes, MGM called it veals that the guards are imposters. Our Man Flint
“exciting” and “savage” in their publicity campaign was the first example of an American leading man
and released several photos of them fighting to the fully adopting the Eastern kung fu philosophies.
death. Previously audiences saw a smattering of judo
Mazurki did manage to convince the filmmak- chops or flips in Elvis Presley films, but here Co-
ers that professional wrestler Gene LeBell was an burn is kicking away with abandon. Variety noted
expert on Mongolian wrestling and the lone man that Coburn was an actor who “seems to thrive on
who could coordinate a fight between himself and physical exertion of the karate kind,” while the
Strode. Sensing a con when he was called for the New York Times called Flint’s action prowess “fan-
job, LeBell agreed that he knew all about Mongo- tastic and thoroughly flamboyant.”
lian wrestling, which in his mind soon resembled It’s an entertaining mid–1960s romp from 20th
standard Greco-Roman wrestling. A ring was Century-Fox that pokes fun at the James Bond
erected on the set and a week afforded for re- films, especially when Coburn stages a karate-
hearsal time. LeBell quickly realized that Mazurki chopping nightclub fight in France with 0008,
didn’t intend to rehearse at all, but sit around in played by 6'4", 200-pound Sean Connery looka-
his bathrobe, smoking cigars and taking home an like Robert Gunner. Buzz Henry coordinated the
easy paycheck for his time. Strode kept himself oc- action with former Marlboro Man Gunner appear-
cupied by performing push-ups in the corner to ing to do his own fighting for Daniel L. Fapp’s cam-
maintain his physique. He would do 1000 in a typ- era. Fight Choreography: The Art of Non- Verbal
ical day. On the day of film-
ing, Mazurki agreed to put
the fight together, with
LeBell working out a quick
and fierce routine. When
all was said and done,
Mazurki reminded LeBell
to send him a box of his fa-
vorite cigars for his birth-
day.
See: Seven Women press-
book.

James Coburn vs.

Robert Gunner
in Our Man Flint
(1966)
This popular secret
agent spoof was tall, lithe
character actor James Co- Roy Jenson takes a high-flying kick from James Coburn in 20th Century-Fox’s
burn’s first starring role. Our Man Flint (1966).
168 19 6 6

Dialogue calls this clever fight

“very well-choreographed for
the day.” Coburn also fights
bald-headed Michael St. Clair in
a men’s room and chief villain
Edward Mulhare in the type of
industrial factory these films al-
ways seemed to feature. Bruce
Tegner is one of the men engag-
ing Coburn in martial arts exer-
cise at the beginning.
Coburn returned in an enter-
taining gymnasium fight for In
Like Flint (1967), and several
years later comically broke out
his old moves against Bruce
Willis in Hudson Hawk (1991).
Coburn was a serious student of
the arts, although he admitted Chuck Connors (left) and Claude Akins stage a furious fight in Colum-
publicly that what he displayed bia’s Ride Beyond Vengeance (1966).
in the Flint films was little more
than choreographed showmanship and he had tween buffalo hunter Chuck Connors and deranged
never been in a real fight. Coburn went from Teg- bad guy Claude Akins, whom Connors blames for
ner and Ed Parker to befriending and training with the loss of his bride Kathryn Hays. There’s also
Bruce Lee. Coburn formed a lasting friendship the past matter of Akins having had Connors held
with Lee. Together they created the story “The down for a hot branding iron. The Fort Worth Press
Silent Flute,” which became the martial arts action claimed the action “makes previous screen brawls
film Circle of Iron (1979) (see entry). look like taffy-pulls,” while the Houston Post called
Army veteran Coburn also had fight action in it “one heckuva scrap” and “worth the price of ad-
What Did You Do in the War, Daddy? (1966) (see mission.” Connors biographer David Fury termed
entry). Fights of interest came against Mario Adorf it “a tremendous fight sequence,” while famed di-
in Major Dundee (1965), Michael Blodgett in The rector William Wyler told the press it was one of
Carey Treatment (1972), Charlton Heston in The the greatest fights he ever saw.
Last Hard Men (1976) and Jack O’Halloran in The All kinds of nastiness occurs as Akins goes after
Baltimore Bullet (1980). On TV, he and co-star Connors with a broken beer mug and a sharp deer
Ralph Taeger fought on the short-lived Klondike antler. Connors lifts Akins over his head and
(1960). As a guest, Coburn battled Michael Lan- throws him over the bar into a mirror, smashing
don in 1959’s Bonanza episode “The Truckee broken glass everywhere. The cable assisting him
Strip,” Chuck Connors in 1961’s Rifleman “The in doing so is clearly visible, but that’s a minor
High Country” and Glenn Corbett in 1964’s Route quibble when the action is coming so fast and fu-
66 “Kiss the Monster—Make Him Sleep.” rious. Akins quickly takes a ride across the bar,
See: Our Man Flint DVD special features; Our smashes through a stair railing, and both men go
Man Flint pressbook; Worth, Robert F. “James out the saloon window. Bartender William Bryant
Coburn, 74, Is Dead.” New York Times. Novem- keeps trying to step in with a gun but is under-
ber 19, 2002. standably reticent to move between these men.
Stunt coordinator Bill Catching was responsible
Chuck Connors vs. Claude for putting the scene together and doubled Con-
Akins in Ride Beyond Vengeance nors, though both stars did the majority of their
stunt work. Roydon Clark doubled Akins in a cou-
(1966) ple of the rougher sections, with his presence well-
This revenge western from director Bernard Mc- concealed by D.P. Lester Shorr and editor Otho
Eveety and writer-producer Andrew J. Fenady is Lovering. Richard Markowitz provided the per-
notable for a violent three-minute saloon fight be- functory score.
 19 6 6 169

Connors and Akins had worked together on See: “Action Up.” Grand Prairie Daily News. Au-
TV’s The Rifleman and were friendly before film- gust 18, 1967; Anderson, Bob. “Ride Beyond
ing. They had even done a previous fight on The Vengeance Interview with Andrew J. Fenady.” Trail
Rifleman and practiced for several days at Connors’ Dust Magazine. Spring 1996; Fury, David. Chuck
house before filming this fight. However, once on Connors: The Man Behind the Rifle. Minneapolis:
the Ride Beyond Vengeance set, Connors opted to Artists Press, 1997.
take a Method approach and work himself into a
state of hatred toward Akins. Much of the struggle Marlon Brando vs. Richard
was notched up on account of Connors with Akins
responding in kind. It took two days to film the
Bradford in The Chase (1966)
tooth-and-nail action. The two actors were not on Small town Texas sheriff Marlon Brando gets
speaking terms during this period. After filming the martyr treatment as he is beaten to within an
was done, they resumed their friendship. The on- inch of his life by angry local citizens on the hunt
screen results speak for themselves. for escaped prisoner Robert Redford. At the same
Six-foot-five, 215-pound Chuck Connors was a time, black prisoner Joel Fluellen is beaten in his
fine athlete playing both basketball and baseball jail cell with an overmatched Brando unable to
at Seton Hall. After World War II Army service, prevent it. Screenwriter Lillian Hellman and di-
he had professional careers in both sports with the rector Arthur Penn effectively present author Hor-
Boston Celtics, the Brooklyn Dodgers and the ton Foote’s original hotbed story of racial hatred,
Chicago Cubs. While with the AAA farm team the adultery and impulsive violence, drawing out the
Los Angeles Angels, Connors began pursuing punishment over three minutes of excruciating
work in Hollywood. His imposing size and hatchet screen time. Do-right Brando is accosted in the
face led to work as a heavy before finding everlast- sheriff ’s office by the trio of Richard Bradford,
ing fame as the single father Lucas McCain on Steve Ihnat and Clifton James while his helpless
TV’s The Rifleman (1958–1963). His series Branded wife Angie Dickinson beats on the door and
(1965–1966) saw him cast as disgraced cavalry of- screams for help. Sound supervisor Charles J.
ficer Jason McCord, unjustly accused of cow- Rice’s work is particularly noteworthy recording
ardice. Nearly every episode was built around a the shuffling of feet on the floor and fists hitting
fight. flesh. Composer John Barry’s cue is held off until
Connors’ long arms generated plenty of explo- the fight’s end, rising as Brando’s spent body col-
sive punching power. He enjoyed fight scenes and lapses. Fueled by liquor, Bradford is in control
often wanted to perform the action. However, a throughout and effectively blocks Brando’s every
fight injury once shut down Branded production effort to mount a defense. It’s a memorable mo-
for a week so doing his own stunts was a point of ment which USA Today ranks among the cinema’s
friction with the producers. He did let Fritz Ford greatest fights.
step in for top fights on The Rifleman such as the In his quest for Method realism, Brando asked
ones against Dan Blocker in 1958’s “The Sister” that stunt coordinator Paul Baxley let him take the
and Sean McClory in 1961’s “I Take This Woman.” entire beating. Brando had Ben Lane’s makeup de-
On Branded, he entered the bare-knuckle ring to partment apply a liberal amount of fake blood,
take on Chuck Hicks in 1965’s “The Greatest then kept adding to it as chief assailant Bradford
Coward on Earth.” On film, Connors fought Burt battered him around. Cameraman Joseph LaShelle
Lancaster in South Sea Woman (1953), Peter filmed in slow motion so Bradford could make
Graves in Death in Small Doses (1957), Rory Cal- contact, burying his fist deep into Brando’s belly.
houn in The Hired Gun (1957), Gregory Peck in Brando told Bradford not to hold back, and Brad-
Designing Woman (1957) (see entry), Alex Cord ford complied as Brando was his acting idol. Brad-
in Synanon (1965), Charlton Heston in Soylent ford jumped atop a desk, swinging at Brando so
Green (1973) and Richard Harris in 99 and furiously that the other actors in the scene had to
44/100% Dead (1974). He wore three-inch lifts pull him off. Brando let his body go limp and fell
for the 1956 Gunsmoke episode “The Preacher” to off the table. The censors immediately took their
make him bigger than James Arness, but he still scissors to the bloodiness, although a great deal of
lost their bare-knuckle fight. Although he towered violence still comes through. Hollywood Hellraisers
over Robert Horton, he lost again in the 1957 calls the beating “one of the most savage in cinema
Wagon Train episode “The Charles Avery Story.” history.”
170 19 6 6

Stocky, prematurely grey Bradford was a native characters a contentious history as Walker once
Texan who played football on scholarship at Texas had Gordon sent to jail for his transgressions. Vet-
A&M University. After filming The Chase, the eran heavy Gordon was one of the few men who
5'10" Bradford accepted an offer to go to England could believably go against the broad-shouldered
to star in the cult series Man in a Suitcase (1967– Walker one on one. He did that on TV’s Cheyenne
1968). He was perfect as the two-fisted ex–CIA in 1955’s “The Outlander,” 1956’s “Death Deals
agent McGill, registering with audiences with his the Hand” and 1962’s “Vengeance Is Mine.” The
ability to dish out and receive punishment. He al- latter fight, clocking in at four minutes, earned a
ways emerged from a bout of fisticuffs realistically reputation as the best set of fisticuffs to ever ap-
battered and exhausted. Unfortunately, Bradford pear on the small screen. Walker and Gordon did
couldn’t capitalize on his early successes. He be- the entire exhausting fight without doubles.
came a respected character actor, best known for On Cheyenne, Walker and Gordon talked move-
fighting Sean Connery to the death in The Un- ments out beforehand and told doubles Russ Mc-
touchables (1987). Cubbin and Boyd “Red” Morgan to sit down and
See: Lyons, Leonard. “Asking for More Blood.” watch. The same thing happened on Night of the
Times-Picayune. July 3, 1965; “Marlon Brando Grizzly for Loyal Griggs and Harold Lipstein’s
Prompted Bradford Acting Career.” The Ottawa camera, although McCubbin did double Walker
Journal. June 8, 1968; Sellers, Robert. Hollywood in a couple of brief shots. Gordon appears to do
Hellraisers. New York: Skyhorse, 2013. the entire one minute–plus fight. Gordon’s char-
acter is nursing an injury as he caught his ankle in
Clint Walker vs. Leo Gordon a bear trap. A knowing Walker heaves Gordon’s
scarred boots into Cedar Lake, which sends Gor-
in The Night of the Grizzly (1966) don into a knife-drawing, bear-trap swinging rage.
This fondly remembered family outing from di- During the fight, Gordon threatens, “I’m going to
rector Joseph Pevney is one of TV star Clint cut you up into bear meat.” Walker fends him off
Walker’s best known films and his own personal with a series of powerful and well-placed punches
favorite. The towering Walker matches up with the that deposits Gordon face first into the water to
glowering Leo Gordon as a nasty bounty hunter the backing of Leith Stevens’ dramatic score.
out for a $1000 reward for the death of a famed Close-ups were filmed on the Paramount lot.
grizzly. Scripter Warren Douglas has given the Variety found other fistfights in Night of the
Grizzly to be “weakly
motivated” in compari-
son to the great Walker-
Gordon fight. Walker
twice makes quick work
of future TV Tarzan Ron
Ely, the first with a sim-
ple backhanded swat.
Later Ely teams up with
Med Flory to take on
Walker in a supply store.
Both Ely and Flory
stood 6'4" and along
with Walker managed to
inadvertently break up
store parts not meant to
be broken. The scene
had to be shot a second
time. Walker acciden-
tally popped Ely on the
nose, bloodying it and
Leo Gordon attacks Clint Walker with a knife in Paramount’s The Night of the necessitating ten min-
Grizzly (1966). utes of applied ice before
 19 6 6 171

Ely declared himself fit and ready for another emerged in Hollywood portraying boxer Rocky
round of fisticuffs. Graziano in Somebody Up There Likes Me (1956),
See: Anderson, Bob. “Vengeance Is Mine.” Trail training for his ring action with Mushy Callahan
Dust. Summer 1997. “Ely Followed by Disasters.” and Al Silvani for his on-screen fight with Court-
Trenton Evening Times. December 16, 1965; “Griz- land Shepard. He later studied judo with sensei
zly Provides Match for Walker.” Big Spring Daily Joe Robinson. Newman quickly realized that his
Herald. December 18, 1966; Night of the Grizzly looks were integral to his success and kept fit
pressbook. throughout his illustrious career as an Oscar-
winning leading man. Newman never pretended
Paul Newman vs. Wolfgang to be a big screen tough guy and took severe beat-
ings in The Hustler (1961) and Harper (1966). He
Kieling in Torn Curtain (1966) even allowed himself to be knocked out by stunt-
One of the lesser efforts from the Master of Sus- woman Jeannie Epper in The Life and Times of
pense Alfred Hitchcock, this Cold War spy film is Judge Roy Bean (1972).
nevertheless remembered for a torturous battle to However, he could also dish it out, striking an
the death between Paul Newman and menacing astonished David Canary in the jaw with a rifle in
East German agent Wolfgang Kieling. In a German Hombre (1967) and engaging in memorable beefs
farmhouse, the two struggle at one another’s in Cool Hand Luke (1967) and Sometimes a Great
throats while the house’s occupant Carolyn Con- Notion (1970) (see entries). Fights of interest
well tries to help Newman by breaking a kitchen came against Rip Torn in Sweet Bird of Youth
knife off in Kieling’s chest and pounding his legs (1962), Don Kennedy in Hud (1963), Laurence
with a shovel. The outcome of the drawn-out fight Harvey in The Outrage (1964), Robert Wagner in
is unconventional to say the least as Newman and Winning (1969), Tony Franciosa and Richard
Conwell drag a still fighting Kieling across the Jaeckel in The Drowning Pool (1975), Paul D’Am-
floor and place his head in a gas oven. The refer- ato in Slapshot (1977), James Franciscus in When
ence to Auschwitz and Nazi death camps is obvi- Time Ran Out (1980) and Danny Aiello in Fort
ous. Still, the New York Times called the scene the Apache the Bronx (1981). Most viewers fondly re-
film’s “strongest episode.” call a comical kick between the legs of giant Ted
Intending to show how hard it is to kill a man, Cassidy in Butch Cassidy and the Sundance Kid
Hitchcock and cinematographer John F. Warren (1969).
elected to film everything in close-up with no mu- See: Gottlieb, Sammy. Hitchcock Interviews.
sical accompaniment and no stunt doubles. Hitch- Jackson: University Press of Mississippi, 2003;
cock and stunt coordinator Dave Sharpe created a Kleiner, Dick. “Alfred Hitchcock Puts Fight on
montage effect for the scene, shooting in bits and Film.” Park City Daily. December 6, 1965; Levy,
pieces over four days. They allowed Bud Hoff- Shawn. Paul Newman: A Life. New York: Harmony,
man’s editing to establish the suspense of a pulled 2009.
gun flying from a hand, the knife plunging and
breaking, a shovel thudding on Kieling’s shin, and The Pub Brawl in Alfie (1966)
the men grunting and groaning with hands
squeezing necks. Hitchcock had taken a similar This Lewis Gilbert–directed British comedy
approach to the climactic fight between James made a star of Oscar-nominated Michael Caine,
Stewart and Raymond Burr in Rear Window cast here as the title womanizing cad with nary a
(1954), which he also covered in long shot. Com- hint of morals in his being. In real life. the 6'2",
paring the two approaches, he realized the mon- 180-pound Michael Caine was a working class
tage version was much more effective on screen. Cockney who served with the Royal Fusiliers dur-
That fight was accompanied by Bernard Her- ing the Korean War, but in this film he is cast as a
rmann’s famous score. Herrmann began scoring lover, not a fighter. The Alfie narrative has him
Torn Curtain but was fired and replaced. Hitch- moving from woman to woman while offering nar-
cock opted this time to go with William Russell ration directly to the camera. His bedroom adven-
and Waldon Watson’s sound effects. tures rub even his male colleagues the wrong way,
Navy veteran Paul Newman played football for including Sydney Tafler, who takes a swing at him
Kenyon College but was kicked off the team for in Brixton’s Black Horse Pub, starting a chain re-
getting into a bar fight. The 5'9", 160-pound actor action brawl. Some viewers complained that the
172 19 6 6

fight felt tacked-on and was the movie’s weakest Harry Gerstad’s pacing is most effective, and Nel-
moment. The New Yorker called the barroom brawl son Riddle’s iconic score is perfect. Batman and
“gratuitous” and “cinematic.” Likewise, The Mil- Robin stars Adam West and Burt Ward do a great
waukee Journal said the scene “smacks of self- deal of their own screen fighting, but are doubled
indulgence—a tavern brawl that becomes a parody in some instances by stuntmen Hubie Kerns and
of tavern brawls.” Victor Paul. Kerns choreographed the action.
The two minutes of action as filmed by cine- Villains Joker, Riddler, Penguin and Catwoman
matographer Otto Heller are pure John Ford slap- (Cesar Romero, Frank Gorshin, Burgess Meredith
stick brawl with an English bent. Mirrors are bro- and Lee Meriwether) employ veteran stuntmen
ken and furniture is smashed as a black-eyed Caine Gil Perkins, Dick Crockett and George Sawaya as
slinks away from a fight dominated by 6'8", 270- their main henchmen. Others participating in fight
pound Ronald Rich, a giant impervious to being action include stuntmen Louie Elias, Eddie Hice,
hit in the back with chairs. Stuntmen Johnny Mor- Charlie Picerni, Wally Rose, Guy Way, Al Bain,
ris (Caine’s double), Eddie Stacey, Peter Brayham Cap Sommers and Fred Stromsoe. Four main
Del Baker, John Clifford, Billy Cornelius, Steve brawls are featured: an early seafront fight at Ye
Emerson, Terence Maidment, Mark McBride, Old Benbow Taverne, Batman’s alter ego Bruce
Manny Michael, Terry Walsh and Peter Diamond Wayne’s attempted escape from the villain’s lair, a
are among the many participants, with Diamond group of henchmen invading the Bat Cave and the
working as the stunt arranger. Among the stunt climactic all-out fight on the deck of the Penguin’s
extras are Phil Joste, Bill Hibbert, Jim Payne, John submarine. The finale was shot in a studio lake at
Triplett and Steve Donahue. The set was an actual 20th Century-Fox with three cameras, two posi-
bar scheduled for demolition so everyone involved tioned in rafts and one on a crane. Stuntman Ace
was given free rein to break whatever they came Hudkins was injured after hitting his head on a
in to contact with during a wild single take. At least submerged post diving off the submarine.
one badly choreographed swing-and-miss occurs As for the episodic TV show, the most excit-
that’s left intact by editor Thelma Connell. Singer ingly staged fisticuffs came in 1967 fighting the
Queenie Watts and her band continue playing Mad Hatter (David Wayne) and his goons (includ-
throughout the fighting. ing Lennie Bremen, Charlie Picerni and Roger
See: Hall, William. Arise, Sir Michael Caine. Creed) on a water tower in “The Mad Hatter Runs
London: John Blake, 2000; Joste, Philip S. What Afoul” and battling the Joker and the Penguin
Sort of a Job Is That? Lulu, 2008; Palmer, Scott V. (with henchmen Hal Baylor, Guy Way, Charlie
British Stunt & Action Performers on Film and Tel- Picerni, Eddie Saenz and Gil Perkins) in the Bat
evision. Brooklyn: Cypress Hills, 2017. Cave in “The Zodiac Crimes.” A fan favorite: “Bat-
man’s Satisfaction” where Batman and Robin
The Bat Brawls in Batman (1966) briefly battle their crimefighting counterparts the
Green Hornet and Kato (Van Williams and Bruce
The campy TV series Batman (1966–1968) was Lee) to a draw.
a tremendous hit and spawned this big- screen See: Batman DVD commentary; Garcia, Bob.
Caped Crusader extension filmed between the “Batman: Making the Original Movie.” Cinefantas-
first and second seasons by director Leslie H. Mar- tique. 24/25. No. 6/1. 1994; Konow, David. “Holy
tinson. One of the joys of the series and this Screenwriter, Batman! An Interview with Lorenzo
Lorenzo Semple, Jr.–scripted film are the energetic Semple, Jr.” Shock Cinema. #19, 2001; West, Adam,
fights, which contain cartoon letter superimposi- and Jeff Rovin. Back to the Bat Cave. London:
tions such as POW, BAM and WHAM exploding Titan, 1994.
onto the screen after a punch lands. The words are
two-fold, as their screen placement also helps to James Garner vs. Al Wyatt, John
obscure missed punches in the multiple-opponent Daheim and Boyd “Red”
fight choreography. D.P. Howard Schwartz and
second unit camera operator Jack Marta film Morgan in Duel at Diablo (1966)
everything at slanted angles against art director High-energy fisticuffs highlight this offbeat
Serge Krizman and Jack Martin Smith’s colorful oater shot on a western town set in Kanab, Utah.
backgrounds, giving the fights the fresh and orig- James Garner stars in an atypical tough guy per-
inal look of a comic book come to life. Editor formance and shows his weather-beaten mettle
 19 6 6 173

when he rescues Bibi Andersson from a group of Occidental Building in Marlowe (1969). He re-
unsavory miners in the local horse stables. The peated that scenario against William Smith in the
bearded bad guys are played by stuntmen Al pilot to The Rockford Files (1974), suckering the
Wyatt, Boyd “Red” Morgan and John Daheim, muscleman into trying a karate kick on a pre-
guaranteeing that the action will include plenty of soaped floor. When Smith lands on his back, Gar-
hard rights to the chin and brutal face-gouging. ner sucker-punches him in the jaw with a palmed
Duel at Diablo was noted for its violence, including roll of quarters.
that coming from its leading man. The New York Garner was solid throwing a screen punch, but
Times called it “a vicious film—grim, tough and where he excelled was taking one. He could sell
taut.” With the odds stacked against him, Garner absorbing punishment as well as anyone in the
is forced to fight dirty, biting a finger and head- business and was made an honorary member of
butting Daheim in the nose. It’s a refreshing the Stuntmen’s Association. Garner engaged in
change from the image of the prototypical vanilla fights with stunt actors on nearly every episode of
cowboy hero. Fights are not clean and emotions his popular detective show The Rockford Files
can rise dramatically. With his nose busted, Da- (1974–1980) and customarily came out on the
heim grabs a pitchfork to stick Garner, but Sidney losing end. He fought Tab Hunter in The Girl He
Poitier hits him over the head and allows Garner Left Behind (1956), Tony Franciosa in A Man
to finish off Wyatt and Morgan with his fists. Could Get Killed (1966), George Kennedy in The
Garner’s longtime double Roydon Clark subs Pink Jungle (1968), Lou Gossett in Skin Game
for the star when the going gets too rough and (1971) and a bar-full of toughs in Victor/Victoria
earns his reputation as one of the stunt business’ (1982). On his series Nichols (1971–1972), he had
top fight men. This includes crashing through a a big fight with Steve Forrest in 1971’s “Away the
fence, collapsing a lean-to filled with hay and, most Rolling River.”
impressively, knocking over a horse as all four men See: Garner, James, and Jon Winokur. The Gar-
take a collective tumble. Fred Steinkamp cuts away ner Files. New York: Simon & Schuster, 2011;
quickly during the action so the audience is unable Kleiner, Dick. “Heartland of Big Westerns.” Racine
to focus on Clark, although Garner does the ma- Journal Times Bulletin. November 7, 1965; Penton,
jority of the fight. It’s clearly Garner struggling on Edgar. “Duel at Diablo: Surprise Western.” El Paso
the ground with Wyatt when the remaining horses Herald-Post. May 21, 1966.
stampede from the stable. Wyatt and Morgan co-
ordinated the solid action for director Ralph Nel- Hugh O’Brian vs. Mario Adorf
son, who envisioned a fight to rival The Spoilers.
Garner also gets knocked around by 6'6" Bill Tra-
in Ten Little Indians (1966)
vers and fights John Crawford in the sheriff ’s of- George Pollack directed this mystery from the
fice. Garner had earlier done that fight with Tim- popular Agatha Christie novel, set in a snowy
othy Carey, who was replaced in the role by Alpine village. Rugged Hugh O’Brian is effectively
Crawford for unspecified reasons. The eccentric cast in the lead, trying to get to the bottom of the
Carey had a reputation for getting booted from killings. Chief suspect Mario Adorf engages in a
projects. fistfight with O’Brian beginning in the inn’s
Six-foot-two, 205-pound Garner served with kitchen. When it looks like the fight has come to
the Army in Korea, earning a Purple Heart. As the a standstill, the beefy butler gets in a cheap shot.
star of TV’s Maverick (1957–1962), he engaged in “Now you’ve asked for it, Buster,” says O’Brian,
a top-shelf fight with guest star Clint Eastwood in who breaks out karate moves as he thrashes Adorf
1959’s “Duel at Sundown.” Garner fought Leo across the marble floor and up and down the stair-
Gordon in the show’s pilot, earning that tough cases. The two men choke one another’s necks and
guy’s respect when Gordon buried his fist into gouge at their eyes, tumbling down the stairs and
Garner’s belly and Garner responded in kind. Gor- knocking over a suit of armor. Repulsed by the
don liked that from a leading man. Garner had a brutality, spectator Wilfred Hyde-White declares,
bare-knuckle battle against pro boxer Pat Comis- “Disgraceful!” English stuntman Terry Yorke dou-
key in 1957’s “Stampede,” but normally used his bled O’Brian for the impressive stair fall with
smarts to elude dangerous situations. This was Larry Taylor doubling Adorf. It was filmed on lo-
best exemplified by his suckering of martial arts cation at Kenure House in Rush County, Dublin,
legend Bruce Lee into taking a flying kick off the Ireland. Time remarked, “Mod sex appeal is
174 19 6 6

dragged in by Shirley Eaton, fisticuffs by Hugh breaking out around a fountain square over gam-
O’Brian.” bling wagers. Bodies fly right and left and stars
Six-foot, 175-pound O’Brian was the youngest James Coburn and Aldo Ray become heavily in-
drill instructor in the Marine Corps. An excellent volved. Character actor William Bryant is also in
all-around athlete, he played football and boxed the thick of the action. Ray gets events started by
in the service before becoming a household name belting Olympic boxer Vincent Barbi, while
as the TV star of The Life and Legend of Wyatt Earp Coburn engages with stuntman Reg Parton. When
(1955–1962). The square- jawed O’Brian pre- fighting becomes too tough, Coburn pauses for a
sented a macho image to the public and was proud cigarette.
of his masculine virility. Whenever possible, he United Artists publicity declared it one of the
showcased the hand- to-hand combat skills he largest free-for-alls ever filmed, with the donny-
picked up from the Marines both on the show and brook employing 25 stuntmen and nearly 400 ex-
on the publicity trail. He staged a knock-down tras. The Ralph Winters–edited fight is played for
drag-out stunt fight for The Ed Sullivan Show and laughs and is well-orchestrated by stunt coordina-
battled English stuntmen at the Odeon Theatre in tor Richard Geary and cinematographer Philip
London in 1958. Lathrop. Henry Mancini contributes a typically
O’Brian fought Gene Autry in Beyond the Purple light and breezy score with “I’ve Been Working on
Hills (1950), Sidney Poitier in Red Ball Express the Railroad” backing the fight. Mickey McCardle
(1952), Rock Hudson in Back to God’s Country served as the assistant director while stuntman
(1953) and Seminole (1953), Glenn Ford in The Dick Crockett was an associate producer. Among
Man from the Alamo (1953), Alan Ladd in Sas- the stunt artists are Dean Smith, Ronnie Rondell,
katchewan (1954), Robert Evans in The Fiend Who Jr., Chuck Hicks, Gene LeBell, Charlie Picerni,
Walked the West (1958), Nigel Green in Africa— Dave Sharpe, Ted White, Larry Duran, John Moio,
Texas Style (1967), Peter Fonda in Killer Force Robert Hoy, George Sawaya, Bob Herron, Sol
(1975) and Bruce Lee in Game of Death (1979) Gorss, Jerry Catron, Carey Loftin, Dale Van Sickel,
(see entry). He had one of his best TV fights with Carl Saxe, Chuck O’Brien, Jesse Wayne, Budd Al-
James Drury on 1962’s premiere episode of The bright, Ken Del Conte, Glenn Wilder, Carol
Virginian, “The Executioners.” On Wyatt Earp, Daniels and Sharon Lucas.
O’Brian had a bare-knuckle brawl with Morgan Six-foot, 200-pound Aldo Ray was a Navy frog-
Woodward in 1958’s “The Manly Art.” man during World War II before starring in foot-
See: O’Brian, Hugh, and Virginia O’Brian. Hugh ball at Vallejo Junior College. He played semi-pro
O’Brian: Or What’s Left of Him. Book Publishers for the Petaluma Longhorns before arriving in
Network, 2014; Wilson, Earl. “O’Brian’s Proud of Hollywood as a crewcut-sporting, thick-necked
Wyatt Earp.” Milwaukee Sentinel. November 8, 1957. leading man specializing in tough war films. An
early highlight was his hard-hitting boxer in Pat
The Valerno Fountain Brawl in and Mike (1952). A drinking problem and cement-
What Did You Do in the War, mixer voice dropped Ray into the tier of gruff char-
acter actors. His powerful physicality can best be
Daddy? (1966) seen as he destroys everything in his path playing
Director Blake Edwards followed up The Great the frightening heavy in Welcome to Hard Times
Race (1965) with another comic farce featuring a (1967). Fellow actors were wary of Ray missing
wild one-and-a-half-minute set piece brawl with his mark with one of his mighty punches.
dozens of stuntmen in action. This time the setting Ray led a bar brawl in Battle Cry (1955) and
is World War II, as an outfit of U.S. soldiers makes fought Rudy Bond and Brian Keith in Nightfall
an on-again, off-again truce with Italian soldiers (1957), Jack Lord and Vic Morrow in God’s Little
in the town of Valerno (actually a Lake Sherwood, Acre (1958) and James Caan in Gone with the West
California, set courtesy of production designer (1969). In Riot on Sunset Strip (1967), he serio-
Fernando Carrere). As scripted by William Peter comically beat up a room-full of hippies. As a TV
Blatty, it’s a situation rife with comedic possibili- guest, Ray fought Dan Blocker in the 1964 Bo-
ties. In between drinking and gambling, they try nanza episode “The Wild One,” Fess Parker in the
to convince their superiors they are in a dire fight 1965 Daniel Boone “The Trek” and Harry “Turk”
for life with one another. Aiding in this endeavor Varteresian in the 1966 Virginian “Jacob Was a
is aerial reconnaissance footage of a huge brawl Plain Man.”
 19 6 6 / 19 67 175

See: Folkart, Burt A. “Aldo Ray; Raspy Voiced 185 pounds) was treading new water here in out-
Actor Played Toughs, Soldiers in Wide Range of right comedy. One notable gaffe occurs when
Films.” Los Angeles Times. March 28, 1991; What Scott knees Curtis in the face and the latter tum-
Did You Do in the War, Daddy? pressbook. bles over a chair. Cameraman Charles Lang’s angle
is straight on and clearly shows the powerful blow
The Noisy Bar Brawl in Not with is an obvious miss. Scott would go on to fight Gary
Graham in Hardcore (1979).
My Wife You Don’t (1966) See: “Comedy Set for Sunday at Aircaflia.” Col-
This enjoyably silly 1960s comedy features a orado Springs Gazette-Telegraph. August 17, 1968;
two-minute brawl in a military officer’s club cho- Scott, John L. “Quiet Please—Combatants at
reographed to the song “The Stars and Stripes For- Work.” Los Angeles Times. April 24, 1966; Sheward,
ever” blaring from a jukebox. Warner Bros. pub- David. Rage and Glory: The Volatile Life and Career
licity tagged it the noisiest fight of the season. The of George C. Scott. New York: Applause Theatre &
score was provided by John Williams, with Stanley Cinema Books, 2008.
Jones heading the sound department. Editor
Aaron Stell synchronized the audio and visual el- John Wayne vs. Robert Mitchum
ements and kept the action flowing. The film was
written, produced and directed by Norman Pan-
in El Dorado (1967)
ama. The plot has friendly rival Air Force officers What could have been a top action match-up
George C. Scott and Tony Curtis lead a dozen came a decade too late to be significant. It’s not
stuntmen through the fight routine as each tries helped by the fact that Robert Mitchum’s character
to spirit away pretty Betty Bresler while the other is an out-on-his-feet drunk, and his fight with John
is occupied. Scott gets the action started by rally- Wayne is over with a smattering of punches
ing the soldiers around the flag, claiming it has thrown. Still, it’s enjoyable for fans of the two stars
been spit on by Australia. Fred Krone and Chuck to see them swinging at one another in this pleas-
Hicks are highlighted as a pair of Aussie soldiers ant Howard Hawks reworking of Rio Bravo (1959).
while Dave Sharpe, Roydon Clark, Bob Herron, The stars are old buddies caught in a range war,
Bennie Dobbins, Wally Rose, Bill Couch, John and Wayne needs to get Sheriff Mitchum off the
Macchia and Alex Plasschaert fill out the ranks. booze to make a difference. Mitchum wants to stay
Sharpe stands out with a leap onto a pile of bodies on the sauce, and the two have it out with their
and a flip onto a table. fists in Mitchum’s office. Most of the film was done
The brawl hospitalizes Curtis’ character, and he on location at Old Tucson, but this interior was
falls for his nurse Virna Lisi. After they are mar- shot on Stage 16 of the Paramount lot by veteran
ried, he is shipped off to Antarctica per
orders. He later realizes that those or-
ders were manipulated by serial wom-
anizer Scott. Curtis makes a mad dash
for Italy in an attempt to stop Scott
from putting the moves on his wife. In
the Quirt and Flagg tradition, Scott
and Curtis engage in fisticuffs with one
another in a Rome hotel room in front
of Lisi. The concerned object of their
competitive affection runs around the
room with pillows to place beneath the
men each time they fall. Publicity de-
clared this “the softest fight in film his-
tory.” A general (Carroll O’Connor) is
in the room next door so the two com-
batants try to be quiet during their
brawling. It’s all played for uproarious
laughs, a style Curtis was accustomed Robert Mitchum delivers a big punch on John Wayne in Para-
to, but former Marine Scott (six feet, mount’s El Dorado (1967).
176 19 67

cinematographer Harold Rosson. There’s fine This minor brawl had significance to Wayne’s ca-
physical comedy, particularly as Wayne belts reer. Wayne had kept a tally of his many fights and
Mitchum on the head with a copper spittoon, and determined this was his 500th screen skirmish.
the latter gives a classically dazed facial expression. Collier was on the receiving end of Wayne’s punch
Another highlight has Mitchum trying to smash a and recalled at film festivals that the faked blow
chair over Wayne’s head, but he hits the top bars was the mightiest he ever saw cross his face. Al-
over the jail door instead and takes himself out in though Wayne had limited energy and was taking
the process. Chuck Roberson doubled for the falls. nips from an oxygen tank, he was involved in all
Mitchum later finds the intestinal fortitude to be- facets of the saloon brawl. He was in the forefront
come tough with bad guy Ed Asner and his hench- of the action slugging away and helped set the fight
man Jim Davis, memorably clobbering them both up with Kennedy, coordinator Needham, second
with his rifle. Wayne and Mitchum hit it off with unit director Cliff Lyons and cameraman William
one another making El Dorado, and in the late H. Clothier. Wayne even threw chairs into the
1960s occasionally got together to empty a bot- melee off-camera and provided the fist that sent
tle. Terry Wilson out the door. Gary McLarty takes a
See: El Dorado pressbook; Heffernan, Harold. chair over the head from Wayne. The young stunt-
“Two Huskies Stage Big Fake Fight.” Toledo Blade. man filled his hat with elbow pads in case Wayne
December 29, 1965. hit him with the base instead of the more easily
breakable legs. Wayne assured McLarty he had
The Saloon Brawl in The War been doing this for years. When the call came for
action, Wayne came down with the base atop
Wagon (1967) McLarty’s head and gave the stuntman a goose-
This entertaining, star-powered western from egg despite the added protection. McLarty, a
director Burt Kennedy plays up the on-screen con- novice, told his boss the chair shot was perfect.
trast between rivals John Wayne and Kirk Douglas, McLarty is also the stuntman who takes the flying
who join forces to steal villain Bruce Cabot’s gold- leap and crashes into the mirror behind the bar.
laden war wagon. There’s a saloon brawl started See: Garvin, Allen. “What in the World.” Times
by Howard Keel in which both leads participate, Daily. October 15, 1967; Rose, Bob. “For Movie
although neither throws a punch at the other. It’s Brawls Call John Wayne.” Salt Lake City Tribune.
one of those fights where cowboys come out of March 20, 1967; Schickel, Richard. “Duke Packs
the woodwork to whale away with their fists, and a Mean Punch.” Life. August 4, 1967.
the highlight is a piano being pushed through the
front window. Stuntman Jim Burk calls out Rod Taylor vs. Ernest Borgnine
“Fight!” Others taking part include Hal Needham,
Boyd “Red” Morgan, Jerry Gatlin, Gary McLarty,
in Chuka (1967)
Everett Creach, Jack Williams and Eddy Donno. Chuka, a different western from director Gor-
Tom Hennesy appears as the bartender, and Terry don Douglas, involves title gunfighter Rod Taylor’s
Wilson shows up as the sheriff who walks in the attempts to convince a fort full of Army misfits to
door, takes a fist to the face and stumbles back out. leave before they are attacked by rampaging Ara-
Wayne’s longtime double Chuck Roberson worked paho Indians. It’s well-acted but suffers from er-
on the film, while Needham doubled Douglas ratic execution and budget constraints. There’s not
swinging on a chandelier. The sequence benefits enough contrast between the artificial studio fort
from the cutting of Harry Gerstad, who keeps his and real expansive vistas for it to be considered a
two stars front and center in the action. The film great western. Today it is best known for the show-
was shot in Durango, Mexico, and the fight was stopping fight between Taylor and Ernest Borg-
done over several days at Churubusco Studios in nine that ranks with the big screen’s best. Para-
Mexico City. Film Bulletin commented that Ken- mount publicity described it as “one of the most
nedy “excels at staging brawls,” while The Milwau- brutally vicious man-to-man battles ever seen.” Va-
kee Journal found the brawl “worth half the admis- riety termed it “one of the most effective brawls in
sion price itself.” recent years,” while Motion Picture Herald labeled
Wayne has an earlier fight with Don Collier, it “a dandy of a fistfight.” Western Clippings includes
Sheb Wooley and Boyd “Red” Morgan, dispatch- it among their “great screen fights.”
ing Cabot’s three toughs in a matter of seconds. Contributing to its effectiveness is the great ten-
 19 67 177

sion built up between Taylor and

Borgnine, as a soldier loyal to com-
mander John Mills to a fault. Issues
come to a head in front of the entire
Army outfit as Taylor and Borgnine
square off in the horse stables and out
on the windblown street until they
are both sporting makeup artist
Wally Westmore’s blood on their
faces. The two exhausted men end up
throwing punches on their knees,
until they come to admire one an-
other’s guts. They become allies
throughout the rest of the picture.
The Leith Stevens score is near-
perfect, remaining in the background
except to rise and punctuate each
mighty punch from sound effect
technicians Garry Harris and John
Wilkinson. Harold Stine’s camera-
work and Robert Wyman’s editing
contribute greatly, as does set deco-
rator Robert Benton’s straw- laden
horse stable. The two-minute battle
is nicely justified by the Richard Jes-
sup plot, and the two stars give it
their all. Stunt doubles originally had
an entire routine mapped out, but Ernest Borgnine lands a solid blow to Rod Taylor in Paramount’s
Taylor and Borgnine were both eager Chuka (1967).
to make it look as rough and realistic
as possible. Bob Herron doubled Borgnine in a tence. His best battles came against Roy Jenson in
couple of spots while Billy Shannon and Louie 1960’s “Pearl Flower,” Charles Horvath in “Free-
Elias were on hand for Taylor. The star performs booter” and Teru Shimada in “Colonel Cat.”
all his own stunts, including rolling underneath a In real life, the gutsy Taylor knocked back the
horse and having his head smashed through a brew and was regarded as one of the toughest men
board. Taylor’s bodyguard Fred Hakim was cred- in Hollywood. He carried with him a reputation
ited as stunt coordinator. from early Australian pub fights and translated that
Standing 5'10" and weighing in at 185 pounds, into playing two-fisted Irish poet Sean O’Casey in
Rod Taylor was a successful middleweight boxer Young Cassidy (1965). At the height of his fame,
in his native Australia. When he arrived in the he made headlines for getting into a brawl in a
States, Hollywood wasn’t sure what to make of the London nightclub. His hard-hitting fists became
brawny, broken-nosed actor. They screen-tested legendary after a real encounter with feared foot-
him for the leading role of boxer Rocky Graziano ball pro Jim Brown. While making The Deadly
in Somebody Up There Likes Me (1956); the part Trackers (1973) in Durango, Mexico, he beat up
went to Paul Newman but Taylor’s test drew raves. co-star Richard Harris so severely that the latter
His first Hollywood work was a fight with Alan had to miss several days of filming. The drinking
Ladd in Hell on Frisco Bay (1955), where he reput- and notoriety played havoc with the trajectory of
edly became the 100th man to be beaten by Ladd Taylor’s career.
on screen. He won many admirers fighting the As a screen fighter, Taylor went all-out, throw-
Morlock creatures in The Time Machine (1960). ing teeth- baring hooks and crosses with great
By the time he was starring on the short-lived ad- gusto. It’s been said that his screen punches didn’t
venture series Hong Kong (1960–1961), the macho always miss, but the results on screen were unde-
Taylor was doing all his own fights at his insis- niably exciting. Notable fights include Dark of the
178 19 67

Sun (1968) and Darker Than Amber (1970) (see ence), with Connery taking on a hundred myste-
entries). Fights of interest came against Lloyd rious black-outfitted ninjas. He also has to deal
Berrell in King of the Coral Sea (1953), Henri with Blofeld’s huge blond bodyguard Hans, por-
Cogan in The Liquidator (1966), Gerry Crampton trayed by Ronald Rich. After a tense one-minute
in The High Commissioner (1968), Harry Guar- struggle with Rich in which he’s largely manhan-
dino in The Hell with Heroes (1968) and Dick dled, Connery flips the giant into a moat filled
Butkus and Gene LeBell in the pilot film A Matter with piranha. Rich is an impressive henchman, but
of Wife … and Death (1976). He took a big punch the film would have benefited tremendously by in-
from John Wayne in The Train Robbers (1973). On troducing and establishing him earlier as a poten-
TV’s Bearcats (1971), he fought William Smith in tial threat. Romo Gorraro and Joe Robinson were
“The Return of Esteban.” On the short-lived The doubles in this fight’s long shots. Bond veteran
Oregon Trail (1977), he had an on- the-knees Bob Simmons was stunt coordinator. His energies
punchfest with co-star Charles Napier in “The Wa- were largely spent on the film’s large-scale action
terhole” and a bare-knuckle battle with Claude climax, filmed on a special set at Pinewood Stu-
Akins in “Trappers’ Rendezvous.” As a guest star, dios. Martial arts technical advisor Donn Draeger
Taylor punched out Robert Forster in the 1997 lent a hand in the fight-blocking and doubled for
Walker, Texas Ranger episode “Texas vs. Cahill.” Connery’s Asian scenes.
See: Chuka pressbook; Davidson, Bill. “Why The Bond series was beginning to show the
Can’t Rod Taylor Be a Pussycat?” TV Guide. Feb- strain of trying to be grand spectacle and suffers
ruary 23, 1971; Rane, Jordan. “Borgnine: On Sad- from indifferent direction by Lewis Gilbert and
dling Up on Westerns.” Cowboys & Indians. Octo- an inconsistent screenplay by Roald Dahl that sim-
ber 2012. ply employs too much sci-fi gadgetry. Despite the
presence of esteemed cinematographer Freddie
Sean Connery vs. Peter Maivia Young and the exotic location, the film doesn’t al-
ways show the unparalleled money spent by pro-
in You Only Live Twice (1967) duction designer Ken Adam. An early rooftop fight
The most underrated fight of the entire Bond in Japan’s Kagoshima Seaport and Kobe Docks
series sees Sean Connery engage in a fantastic one- with multiple attackers is unwisely filmed in an
minute office struggle with a Samoan chauffeur aerial long shot, which robs it of its dramatic
(played by Peter Maivia, a professional wrestler power and fails to showcase Bond’s strengths as a
and grandfather to future pro wrestling superstar fighter. The scene begs for more close-up action
The Rock aka Dwayne Johnson). Kiss Kiss, Bang to be incorporated by editor Thelma Connell.
Bang calls it “a terrific set-to,” while James Bond in Peter Hunt had resigned from the production team
the Cinema opined, “This is definitely the best when he was bypassed as director, but producer
staged fight of the film and reminds one of the Albert Broccoli persuaded Hunt to return as su-
good old Oddjob days.” pervising editor and second unit director with the
Bond is in Japan to save the world once again, promise he’d direct the next adventure. Hunt’s
but first he has to protect his own hide from the skills are most evident in the Maivia and Rush
assassin, who gleefully withdraws a sword and tries fights, with The Spy Who Trilled Us stating that
to slice Connery in half. Several flips and incredi- they represent “a great example of the Bond team’s
ble bumps are taken on the hard floor as Connery genius at staging entertaining and suspenseful
fends off the 6'1", 295-pound wrestler with an as- fight sequences.”
sortment of office furniture. He even makes use of You Only Live Twice is considered one of the
a small leather couch, holding it up and jabbing lesser Connery Bonds, and the star declared it was
Maivia with its end to keep distance between his last. The character had become so big that he
them. Connery sidesteps and clubs a charging felt the need for distance from the role. Filming in
Maivia with a statue, sending the agile villain end Japan didn’t help as the press hounded him relent-
over end into unconsciousness. Maivia, who lessly, even following him into the rest room to
helped choreograph the fight, was popular on the snap photos. Connery has been accused of being
English wrestling circuit and had a reputation as a soft and out of shape for the role, though the
true tough guy. Maivia fight hardly shows evidence of this. In ad-
The final battle occurs in the volcano missile dition to training with Draeger, Connery studied
silo headquarters of villain Blofeld (Donald Pleas- briefly with Shohitsu Nakajima and martial arts
 19 67 179

legend Mas Oyama, who

trained him for a week in
the privacy of a room in
Tokyo’s Hotel New Otani.
Oyama awarded his pupil
an honorary black belt for
spreading the popularity
of martial arts around the
globe. However, the hon-
orary award met with con-
troversy from Japanese
martial artists.
See: Adams, Andy.
“007’s Newest Gimmick.”
Black Belt. August 1967;
Solomon, Brian. WWE
Legends. New York: Simon
& Schuster, 2010.

Lee Marvin vs.

Ted White and
Jerry Catron Ted White grabs a fistful of Lee Marvin’s hair in MGM’s Point Blank (1967).
in Point Blank psychedelic nightclub, is a triumph of editing,
(1967) sound and composition. These come courtesy of
This stylish and influential John Boorman– Boorman’s crew of editor Henry Berman, record-
directed revenge movie provides audiences with ing supervisor Franklin Milton and D.P. Philip
the ultimate Lee Marvin violent killer perform- Lathrop. Strobe lights flash, go-go girls gyrate, Bot-
ance. It also gives cinema the first groin punch, techelli and Ruben nude images come and go, and
and as administered by Marvin to Ted White, it’s singer Stu Gardner yelps from the stage as Marvin
a brutal, leg-doubling doozy. The MPAA relaxed smashes a bottle over Catron’s head, spills a shelf
restrictions on screen violence in 1967, and films full of reels on White, then delivers a flying karate
immediately began striving for reality in their kick to White’s midsection. The infamous crotch
fights. Reacting to the sudden increase in screen wallop is Marvin’s final blow. The fight was shot
violence, Life pointed to this moment specifically, on a soundstage with off-screen mattresses avail-
stating it “summarizes in microcosm what’s wrong able for the men so they could make soft landings.
with American movies at the moment.” Orange Stunt coordinator Carey Loftin and stand-in Boyd
Coast Magazine includes the Point Blank fight Cabeen were available as doubles, but Marvin
among the most brutal in screen history. Punching does as much of his own fighting as possible. The
someone between the legs may seem unsporting, stuntmen rewarded him with a stunt check at the
but any real fighter knows it’s an opponent’s most end of filming.
vulnerable area and the quickest way to end a fight. Despite his experience in fight scenes, Marvin
Notable genital-crunching fights include Paul could become loose in his choreographed move-
Newman’s kick to Ted Cassidy in Butch Cassidy ments. He mistimed a blow and knocked one of
and the Sundance Kid (1969), William Devane Catron’s teeth loose. Both the 6'4", 215-pound
using his hook hand on Luke Askew in Rolling White and the six-foot, 175-pound Catron were
Thunder (1977), Charles Bronson grabbing and stuntmen. Former Marine White had a tough guy
twisting giant Miguel Angel Fuentes in The Evil rep having played football at the University of
That Men Do (1984) and Clint Eastwood utilizing Oklahoma and once winning the Southwest
an axe handle on Richard Kiel in Pale Rider Heavyweight boxing title. It wasn’t just the stunt-
(1985). men Marvin was dominating on screen. One fa-
The one-minute fight itself, with Marvin taking mous scene has female lead Angie Dickinson flail-
on thugs White and Jerry Catron backstage in a ing away at an unemotional Marvin. She hits him
180 19 67

until she can swing her arms no more and col- boxing match. The four-and-a-half-minute South-
lapses to her knees in exhausted defeat. Marvin ca- ern prison grudge match between non-conformist
sually sits down and begins watching television. Paul Newman and bullying top dog George Ken-
Existentialist viewers see Marvin’s character as a nedy proves to be a pivotal point. It’s a gross mis-
dead man walking, a dream ghost of vengeance match that sees the much larger Kennedy knock
with this moment their proof. In rehearsal for an- Newman down approximately 15 times. Underdog
other scene, Marvin slapped character actor John Newman’s punches barely faze Kennedy. He has
Vernon so hard that the latter began crying real nothing behind them. Newman won’t quit, and we
tears. The film was based on Richard Stark’s novel see Kennedy gradually change during the bout as
The Hunter and is a classic of its kind. he begins to lose his anger and enthusiasm for dol-
See: Bayouth, Michael. In the Shadows of Giants. ing out punishment. Even the audience of chain
Palm Avenue, 2014; Carroll, Harrison. “Lee Mar- gang convicts loses interest as Newman refuses to
vin in a Vicious Film Brawl.” New Castle News. stay down. It’s a superb transition from co-
March 18, 1967; “Lee Marvin Gets Paid for Stunt- screenwriters Frank Pierson and Donn Pearce and
man Chores.” Ottawa Citizen. November 3, 1967. a fitting metaphor for life. Kennedy’s Dragline
becomes a devoted admirer of Newman’s stub-
Paul Newman vs. George born character Luke. The warden Strother Martin
Kennedy in Cool Hand Luke and guards, however, realize they have a problem
on their hands in the fiercely independent New-
(1967) man.
One of the screen’s most famous confrontations Director Stuart Rosenberg’s Cool Hand Luke
involves the use of gloves but hardly resembles a features what is arguably Newman’s most famous

Paul Newman is knocked down by a George Kennedy right cross in Warner Bros./Seven Arts’ Cool Hand
Luke (1967).
 19 67 181

performance: He was Oscar-nominated as Best more modern Tarzan, Henry breaks out judo
Actor while Kennedy won a Best Supporting chops and throws. In director Robert Day’s Tarzan
Oscar for his fine work. (Kennedy beat out Aldo and the Great River, Henry has a four-minute strug-
Ray for the part.) The fight in the yard took four gle on a narrow wooden bridge with 6'3", 200-
shooting days to complete on the Stockton, pound Olympic decathlete Rafer Johnson, who
California, location which ably substituted for plays a fanatical cult leader responsible for the
the Deep South after the set was dressed with death of Tarzan’s friend. The two fight in and out
moss and ivy by art director Cary Odell. Action of a jungle river and through a native village in
coordinator Chuck Hicks can be glimpsed as a what Tarzan chronicler David Fury describes as “a
convict watching the fight. James Arnett was vicious picture-ending battle to the death.” Film
on hand to double Newman, but the star did the Daily found the hand-to-hand combat “fairly ex-
shirtless, sweat-soaked fight. The point-of-view citing,” and the fantastic fight proved worthy of a
shots, punches into the camera, and ground follow-up. The identical Brazilian set was used for
level action were considered cutting edge for the next film Tarzan and the Jungle Boy (1968)
the day. The scene was expertly photographed where Henry and Johnson put on nearly 90 sec-
by Conrad Hall, edited by Sam O’Steen and onds of rough fisticuffs. No stuntmen were used,
scored with a lone acoustic guitar by Lalo Schifrin. and Henry has claimed that they choreographed
All deserve as much credit for the scene’s lasting the fight action. It’s an accomplishment consider-
reputation as the director and on-screen partici- ing the physical struggles Henry had to overcome
pants. in making the picture.
Mention should be made of the physical de- During filming of Tarzan and the Great River,
mands required to film a fight. A 190-pound man Henry was bitten on the chin by a chimpanzee.
will burn between 10 and 15 calories a minute The wound required nearly 20 stitches and Henry
fighting, depending upon the intensity of the sit- became sick with fever and delirium. For three
uation. The filming of a master shot can take sig- days, he was in a near-coma. He suffered on the
nificant rehearsal time and several takes until the location from food poisoning, dysentery, an inner
scene is in the can, and one can see the potential ear infection and a liver ailment from all the toxins
for burning several hundred calories an hour. in his body. Muscular animal trainers Dan Hag-
Sometimes filming of an extended fight can take gerty and Rockne Tarkington stood in for Henry
up to a full week of production time. The elements in as many shots as possible, but the production
and the environment can come into play. The par- had to be shut down for three weeks so Henry
ticipants may be outdoors under the blazing sun could regain his strength. Rafer Johnson suggested
or inside beneath hot studio lights in heavy cos- that Olympian Don Bragg could replace Henry,
tumes. In either scenario, the effort can be physi- but Bragg was in litigation with Sy Weintraub over
cally and mentally draining. Bumps and bruises making a Tarzan knockoff film. Henry returned
are commonplace. In Cool Hand Luke, Newman but announced he was done with the role after his
and Kennedy are shirtless with no padding to pro- three- film commitment. Weintraub filmed the
vide protection in case of a slip or a fall. Although third picture immediately instead of after a planned
they are both acting, a significant amount of their layoff, partly because of impending bad weather
strain and toil in this scene is genuine. and for fear that if Henry returned to the States he
See: Murphy, Myatt, and Mike Mejia. The Men’s might never come back. The third film was shut
Health Gym Bible. New York: Rodale, 2006; down by a typhoon and severe flooding, but
“Screen Fights Are Fantasy, Says Professional Vil- Henry stuck it out. Henry originally planned to
lain.” The Dispatch. July 20, 1967. star in the Tarzan TV series but bowed out due to
the demands of the location and Ron Ely took over
Mike Henry vs. Rafer Johnson the role. Henry recovered and had notable fights
in Tarzan and the Great River on The Green Berets (1968) and More Dead Than
Alive (1969) (see entry).
(1967) See: Johnson, Rafer, and Philip Goldberg. The
The Tarzan films often featured great fights and Best That I Can Be. Thorndike, ME: G.K. Hall,
the newest Ape Man, 6'3", 210-pound pro football 1999; Petkovich, Anthony. “James Bond of the
player Mike Henry, showed he could punch on par Jungle.” Filmfax. May and August 2011.
with his predecessors. To prove he’s a hip and
182 19 67 / 19 6 8

George Peppard vs. Slim Pickens in Hawmps (1976). On TV, Pickens had a major
in Rough Night in Jericho (1967) fight with Brian Keith in an episode of The West-
erner, “Line Camp” (1960), and a pair of comic
A well-mounted Arnold Laven oater filmed in black-and-blue battles with Dan Blocker in the Bo-
Kanab, Utah, Rough Night in Jericho pits drifting nanza episodes “Half a Rogue” (1963) and “King
gunfighter George Peppard against cruel town of the Mountain” (1965).
boss Dean Martin. Arriving to help aging Marshal See: “Slim Pickens Still Known for Drawl, Avail-
John McIntire, Peppard doesn't like the odds ability for Very Tough Roles.” Colorado Springs
stacked against him but is intrigued by the notion Gazette. December 17, 1975; “Sober Mr. Martin
of taking on the powerful Martin. The presence of Plays Film Heavy.” Lima News. October 30, 1966.
Jean Simmons determines his fate. The highlight
is a nasty two-and-a-half-minute fight between Burt Lancaster vs. Ossie Davis
Peppard and henchman Slim Pickens. The latter
is known for his humorous and drawling good ol’
in The Scalphunters (1968)
boy portrayals, but here he’s in full brutal, villain- The Scalphunters is an entertaining Sydney Pol-
ous mode. Peppard comes to the rescue of Sim- lack western that has an amusing interplay be-
mons and the two men battle around a livery sta- tween erudite runaway slave Ossie Davis and fur
ble. There’s bullwhip-cracking and hair-pulling, trapper Burt Lancaster that manages to say much
nifty camerawork by Russell Metty, crisp editing about topical 1960s race relations. Tensions be-
from Ted Kent, and excellent use of sound effects. tween the pair mount as they outwit a group of
It’s considered perhaps the most violent of the late Kiowa Indians and a marauding band of scalpers
1960s throat-grabbing western fights and ends led by Telly Savalas who lay claim to Lancaster’s
with Pickens’ death by clubbing. Henry Wills was pelts. Throughout the violent yet tongue-in-cheek
stunt coordinator with Bobby Clark and Jay Jones William Norton–scripted film, Duke Callaghan
filling in for Peppard and Pickens. films the leads at odd angles to accentuate the
Variety termed the movie “as bloody and violent characters’ sense of opposition. Composer Elmer
a western as has played the screen,” while Films Bernstein emphasizes the men as diametric oppo-
and Filming declared, “What Rough Night in Jericho sites with their individual themes. Davis and Lan-
lacks in the way of suggesting time and place, it caster come to blows at the climax, and it’s a
makes up for the realism of its scraps which man- lengthy serio-comic exchange of punches winding
age to pack a considerable punch despite the irri- up in a mud hole. Variety called the fight “dy-
tating red paint we are supposed to accept as namic.” Both participants become caked in mud
blood.” Martin, cast against type as the villain, also and, theoretically, colorless to one another. The
has a saloon fight with trapper Med Flory that cul- sight is so amusing that the Indians erupt in laugh-
minates with Flory’s head repeatedly being bashed ter. It might seem overly silly, but in 1968 comedy
against the bar. was one of the safest ways to address the subject
Army Air Corps veteran Slim Pickens (6'3", 230 of racial tension while still offering a primal cathar-
pounds) was a well-known rodeo clown who tus- tic effect by viewing the men inflicting pain upon
sled with his share of mean bulls. He also fought one another. At one point they both swing and
the occasional cowboy, with a fistfight against steer miss wildly and lose their balance. It’s subtly sym-
wrestler Phil Stadtler at San Francisco’s Cow bolic of both sides’ standing on the issue that they
Palace becoming legendary. Pickens entered films are both off-base.
as a stuntman and sidekick to cowboy star Rex In regard to the mud bath, United Artists pub-
Allen. He often played humorous characters, but licity took a play on words and called the fight the
those who knew him considered him to be one of dirtiest in screen history. The fight was filmed on
the toughest men alive. He had broken nearly a high mountain mesa in Mexico where tempera-
every bone in his body. tures were reported to reach over 100 degrees. For
Notable fights include The Glory Guys (1965), the mud hole, they needed to pump the water from
Blazing Saddles (1974) and Mr. Billion (1977) (see a lower elevation, and it was ice cold. Between
entries). Fights of interest came against Percy Hel- takes, Lancaster and Davis were huddled in blan-
ton in Down Laredo Way (1953), Marlon Brando kets while the crew was sweating from the heat.
in One-Eyed Jacks (1961), Bill Bixby in The Apple Stunt coordinator Tony Epper doubled Lancaster,
Dumpling Gang (1975) and Christopher Connelly who claimed credit for choreographing the fight.
 19 6 8 183

Editor John Woodcock does a fine job concealing with Scalphunters Role.” Pittsburgh Courier. April
Epper’s involvement. The 6'2", 195-pound Davis 6, 1968; The Scalphunters pressbook.
also appears to do the fight though Chuck Rober-
son was on location and ready for an always con- The Saloon Brawl in The Devil’s
troversial “paint down.” At this time it was still
common practice for a white stuntman to put on
Brigade (1968)
dark makeup to double a black actor as there were Director Andrew McLaglen cast several rough-
not yet firmly established black stuntmen. That and-tumble actors and athletes in the uneven but
would change. nonetheless entertaining story of this real World
Tony Epper had a reputation as one of the War II unit, a combination of elite Canadians and
toughest men in Hollywood. A feared bar fighter, U.S. soldiers that became the First Special Service
he inadvertently killed a man with a punch during Force. Much of the film concerns their rigorous
an altercation in Nogales, Arizona, while making Montana training and the conflict and prejudices
Ulzana’s Raid (1972). Epper was outnumbered that develop between the Yanks and the Canucks.
and it was determined that he acted in self-defense, Claude Akins on the U.S. side and Jack Watson on
and the unfortunate incident added to his already the Canadian side appear ready to come to blows,
formidable reputation. At 6'4" and 220 pounds, he with Akins vowing to do his nastiest work. Their
was a top fight man often recruited to portray differences, however, become a common bond
heavies and throw his weight around. Fights of in- when they encounter a loudmouthed group of bul-
terest came against Gary Lockwood in Bad Georgia lying lumberjacks led by Don Megowan and en-
Road (1977), Marc Singer in The Beastmaster gage them in a wild five-minute saloon free-for-
(1982), Tommy Lee Jones in the TV mini-series all. The joint is torn apart with upended tables and
Lonesome Dove (1989) and Warren Beatty in Dick broken windows. The actors cast as soldiers per-
Tracy (1990). On TV, he fought everyone from form their own limited stunt work for the fight,
Adam West on Batman to David Carradine on Kung among them Akins, Watson, Richard Jaeckel, Luke
Fu. His fight with Jan-Michael Vincent on the 1985 Askew, Tom Stern, Andrew Prine and Jeremy
Airwolf episode “Annie Oakley” won a stuntman’s Slate. The latter portrays the Canadian hand-to-
award for best fight sequence of the year. hand combat expert training the men in the art of
See: “Actor-Stuntman Tony Epper Dies at 73.” Defendu, a close quarters fighting system based
Variety. July 30, 2012; “Ossie Davis Is Delighted on elements of Kodokan judo and W.E. Fairbairn’s
teachings. Slate’s character
was based on Dermot
“Paddy” O’Neill. The arrival
of M.P. Norman Alden adds
to the mess. Akins and Wat-
son end up arm-in-arm bud-
dies.
McLaglen begins the scene
with a fair amount of credible
tension but intentionally al-
lows it to devolve into out-
right comedy. Films and Film-
ing praised the fight as
“energetic,” while Variety
called it “well-staged.” Studio
publicity didn’t shy away
from declaring it “a screen
brawl to rival the great film
fights of all time.” The Big
Damn Book of Sheer Manliness
includes it among their best
Burt Lancaster (left) squares off against Ossie Davis in United Artists’ The barroom brawls.
Scalphunters (1968). The impressive fight was
184 19 6 8

completed over a continuous 24-hour period as Rod Taylor vs. Peter Carsten
the film company was losing the location, a Salt in Dark of the Sun (1968)
Lake City, Utah, gin mill. By the end of the
marathon filming session, the participants were so Dark of the Sun (aka The Mercenaries), a gritty,
tired and sore they could barely turn their heads. highly suspenseful Jack Cardiff jungle-action film,
It was an expensive day for producer David is widely considered to be Rod Taylor’s best and
Wolper. The stuntmen were on overtime and the has garnered a host of admirers over the years
brawl cost nearly $3000 in prop supplies alone. (among them Martin Scorsese and Quentin
McLaglen ordered 25 tables, 24 chairs, 50 beer Tarantino). Taylor and Jim Brown play mercenar-
mugs, 75 whiskey bottles, 25 shot glasses, 80 beer ies in the Congo squaring off against rebels, dia-
bottles, five large beer kegs, 25 cases of bottled mond smugglers and other soldiers of fortune with
beer and 45 cartons of cigarettes. Hal Needham varying agendas as they try to rescue a kidnapped
coordinated the action with D.P. William H. Yvette Mimiuex. Taylor has disgust for former
Clothier and used nearly 30 stuntmen for the fight. Nazi mercenary Peter Carsten. Working from a
It’s an achievement given the time constraints. Wilbur Smith novel, screenwriter Quentin Werty
Stuntmen Ronnie Rondell, Jr., Fred Krone, Glenn (a pseudonym for Ranald MacDougall) gave the
Wilder, Roydon Clark, Jerry Gatlin, John Hudkins, characters a past conflict that propels the plot for-
Jim Burk, Chuck Hayward, Bill Couch and Budd ward. When the German knifes Brown, Taylor
Albright worked in the melee. Krone is all over the goes after him with a vengeance in a thrilling,
place. Some participants were former football white-knuckle Jeep chase that turns into one of
players and professional boxers, adding a few new the era’s most violent fistfights. Taylor literally
faces to the usual suspects. Among these were bulldogs Carsten from his Jeep and begins unload-
Green Bay Packer standout Paul Hornung and ing vicious punches on his adversary as Jacques
professional boxers Rex Layne, Don Fullmer and Loussier’s score pounds away. Carsten climbs
his brother Gene Fullmer as the bartender. Pro- down a sheer rock face and a series of vines with
fessional wrestler and boxer Wilhelm Von Hom- Taylor in hot pursuit until the fight concludes in
burg has a short fight on the battlefield with Akins. a small river.
Jeremy Slate, a 165-pound six- footer, served There’s great footage of stunt doubles Louie
with the Navy in World War II and played football Elias and Gerry Crampton fighting while hanging
for St. Lawrence University. Taking advantage of from the vines. The fighters end up back on level
his beach boy good looks and physical handiness, ground among the rocky edges of a river, as an an-
he landed the co-lead in the underwater TV ad- imalistic Taylor savagely breaks Carsten’s arm and
venture The Aquanauts aka Malibu Run (1960– stabs the villain to death. It’s a shocking moment
1961). He had a solid run in 1960s Hollywood that audiences had never experienced from a film’s
playing both good guys and bad guys, memorably nominal hero. Then again, it was Rod Taylor, and
providing menace for Tom Laughlin’s Billy Jack in he was ticked off over his friend’s death. Taylor
The Born Losers (1967). Slate fought Elvis Presley and Carsten had an earlier fight near a train with
in Girls, Girls, Girls (1962), Dean Martin in The Carsten brandishing a chainsaw; the battle ended
Sons of Katie Elder (1965) (see entry), Ross Hagen with Taylor pressing Carsten’s head onto a train
in The Mini-Skirt Mob (1968), Adam Roarke in rail. Ironically, Brown saves Carsten by plowing
Hell’s Belles (1969) and Tom Stern in Hells Angels into Taylor and wrestling him to the ground. The
’69 (1969). Frankie Avalon hit him with a guitar Milwaukee Journal wrote there were “a couple of
in I’ll Take Sweden (1965). On TV, Slate faced brawls between Taylor and Carsten that for inven-
George Maharis in 1962’s Route 66 episode “Ever tiveness and excitement could not be improved
Ride the Waves in Oklahoma?,” Ryan O’Neal in upon.” The Toledo Blade called the action “so ex-
1963’s Empire episode “The Loner,” Robert Stack ceptionally brutal and violent that it makes grid
in 1963’s Untouchables episode “A Taste for Pine- contests look like Sunday school picnics.”
apple” and Michael Landon in 1968’s Bonanza Despite the presence of stunt arrangers Elias
episode “The Passing of a King.” and Crampton, Taylor once again did the over-
See: Basden, Nelson. “Jeremy Slate.” Psycho - whelming majority of his stunts while nursing an
tronic Video. #36, 2002; The Devil’s Brigade press- injury throughout filming. He tore tendons in the
book; “Producer Tags Top Pros for Barroom Film knee when he landed awkwardly after jumping
Brawl.” Times-Picayune. January 14, 1968. from a balcony into the back of a Jeep. There were
 19 6 8 185

fears that production would be shut down until on screen as a formidable presence with a gun on
the leading man healed, but Taylor opted to tough his hip, but Don Siegel’s fish-out-of-water story
out the pain and returned to action after two days. Coogan’s Bluff showed what the rising star could
There was little the star shied away from, and the do with his fists. As a modern Arizona cop trailing
film is literally wall-to-wall fighting with fists and killer Don Stroud in New York City, Eastwood
guns. It’s all thrilling and superbly edited by Ernest faces ten men armed with pool cues in this terrifi-
Walter. Elias, doubling Taylor for the rope fight, cally created action scene. The Motion Picture
called the picture the most difficult he’d ever Guide labels it “one of the best fight scenes ever,”
worked on. Elias and Crampton were 150 feet and Orange Coast Magazine includes it among the
above the ground, swinging back and forth trading most brutally realistic hand-to-hand encounters.
punches. Whenever they met in the middle, it ul- Eastwood’s superstardom was cemented with his
timately knocked them back against the cliff face. first devastating punch against the cocky, bespec-
The Nazi character portrayed by the stone-faced tacled Jerry Summers. He’s descended upon by the
Carsten was based on an actual German in the entire bar, made up of Dick Crockett, Loren Janes,
Congo who wore an Iron Cross. D.P. Edward Larry Duran, Allen Pinson, Troy Melton, Fred
Scaife, veteran of the superior Tarzan films, gets Stromsoe, Andy Epper and stunt coordinator Paul
the jungles of Jamaica to effectively stand in for Baxley. Eastwood smashes pool cues and throws
the African Congo. eight balls at his assailants as he jumps atop the
Dark of the Sun is notorious for the real animos- tables and kicks Pinson in the face. Kudos must
ity existing between the stars. To the press, Taylor go to Siegel and D.P. Bud Thackery who shoot
heaped praise upon his co-star Brown, but behind from Eastwood’s point of view as he leaps onto a
the scenes he and the pro football player were at pool table. In fact, at one point Eastwood filmed
odds. In his memoir, co-star Kenneth More noted with a hand-held Arriflex camera while braced by
that they appeared to hate each other, and Taylor a camera assistant. Composer Lalo Schifrin builds
fancied his chances of knocking out the much big- great suspense, and editor Sam E. Waxman cuts it
ger Brown. Taylor was around 5'10" and a solid together for maximum effect. The only false note
185 pounds. Brown was 6'2" and over 230 pounds is the fake-looking blood smeared on Eastwood’s
of sculpted muscle; few pro football linebackers face.
could bring him down in an open field tackle. Most Eastwood does the majority of the fight on a
thought Taylor had more guts than brains. Their Universal soundstage (double Clyde Howdy takes
brief fight in the film took five punishing takes of over briefly for a fall off the table into a chair). He
a shoulder block and increased the tension be- acquits himself well but is overcome by the mul-
tween the two. The bad blood carried over when titude of fists and boots. The men flee at the sound
filming was done. The two report-
edly came to real blows during a
major altercation at Hugh Hefner’s
Playboy Mansion.
See: Bowyer, Justin. Conversations
with Jack Cardiff: Art, Light, and Di-
rection in Cinema. London: Batsford,
2003; Dark of the Sun pressbook;
McDaniel, Marlene. Mr. Louie Elias:
A Tribute. Self-published, 2010;
Munn, Michael. Hollywood Rogues.
Oxford, England: Isis, 1992.

The Pool Hall Brawl

in Coogan’s Bluff (1968)
Six-foot-four, 200-pound Clint
Eastwood, a former lumberjack, life-
guard and Army swimming instruc- Clint Eastwood punches David Doyle in Universal’s Coogan’s Bluff
tor, had already established himself (1968).
186 19 6 8

of police sirens, save for observer David Doyle, al- iron at Vince’s Gym and possessed a natural incli-
ready established as a Stroud accomplice. Doyle nation toward streetfighting moves such as dis-
comes over to give the prone Eastwood a final abling kicks to the lower legs that set up his strong
kick, only to have the bloodied star rise to his feet fists. He trained with martial artist Donnie Wil-
and knock Doyle flat onto a pool table. Eastwood liams for his fights in The Gauntlet (1977). Rangy
delivers several short sledgehammer punches into and lithely muscled, he built a reputation as a quiet
Doyle’s face as he demands to know the where- tough guy with a feared temper that he usually
abouts of Stroud. This particular style of punch kept under control. He was one laconic star no-
became an Eastwood trademark, as did his habit body wanted to rile. His rage could boil to the sur-
of rising up from near death to vanquish his foes. face in an instant, and that was part of his screen
Stroud receives the punch after a climactic motor- appeal and physical presence.
cycle chase. Notable fights include The Eiger Sanction
Eastwood enjoyed doing fights. Instead of (1975), Every Which Way but Loose (1978) and
throwing from a wide angle for the camera to see, Any Which Way You Can (1980) (see entries).
he favored pulling his fist straight back with his Fights of interest came against Jose Marco in For
eyes glued on his opponent in close-up. This al- a Few Dollars More (1967), Bruce Dern in Hang
lowed him a certain intimacy with the viewer, who ’Em High (1968), Don Stroud in Joe Kidd (1972),
felt they were the target of Eastwood’s teeth- Bill McKinney in Thunderbolt and Lightfoot
clenching wrath. He seldom delivered the tradi- (1974), Chuck Hicks and Robert Hoy in The En-
tional John Wayne follow-through, instead often forcer (1976), Roy Jenson and Dan Vadis in The
pulling up just short of his target which made his Gauntlet (1977), Bruce M. Fischer in Escape from
punches unique. Doing his own fights made his Alcatraz (1979) and City Heat (1984), Eugene
action scenes more believable, and he became the Lipinski in Firefox (1982), Russ McCubbin and
big screen’s most identified bare-knuckle brawler Robert Sutton in Sudden Impact (1983), Pete
with his comedy hits Every Which Way but Loose Koch, Everett McGill and Nicholas Worth in
(1978) and Any Which Way You Can (1980). Heartbreak Ridge (1985), Clive Mantle in White
Screen fighting was an art Eastwood developed Hunter, Black Heart (1990), Tommy Lee Jones in
over time. He lost his first encounter, suffering a Space Cowboys (2000) and Sonny Vue in Gran
one-punch knockdown from Scott Brady in the Torino (2008).
low-budget western Ambush at Cimarron Pass See: Pope, Norris. Chronicle of a Camera: The
(1958), an experience Eastwood regarded as an Arriflex 35 in North America, 1945–1972. Jackson:
overall embarrassment. He could be proud of a University Press of Mississippi, 2013; Siegel, Don.
1959 guest shot on TV’s Maverick in which he had A Siegel Film: An Autobiography. London: Faber &
a great fight with James Garner in “Duel at Sun- Faber, 1993.
down.” On his own series Rawhide (1959–1966),
Eastwood’s Rowdy Yates had a standout fight with Elvis Presley vs. Red West and
Woody Strode in 1961’s “Incident of the Buffalo Sonny West in Live a Little, Love
Soldier.” Fights of interest came against Fred Gra-
ham and Hal Baylor in 1961’s “Incident of the
a Little (1968)
Black Sheep,” Mickey Finn in 1961’s “Incident of Norman Taurog’s formula Elvis Presley comedy
the Wager on Payday,” Bill Travers in 1963’s “Inci- has Presley playing a fashion photographer who
dent at Two Graves” and Timothy Carey in 1965’s can fight and muss his hair. After being fired, he is
“Encounter at Boot Hill.” As he learned from var- accosted at a printing press by two workers, played
ious experienced directors and cameramen on by Presley’s real-life bodyguards Red and Sonny
Rawhide, Eastwood began to foster his own fight- West. The West cousins coordinated the energetic
ing technique. After success making Sergio Leone 90-second fight with Presley at the Hollywood
Spaghetti Westerns in Italy, he formed his own Citizen-News, and it’s arguably the best fight the
company Malpaso and his screen fights and tough singer ever did on screen. Despite stuntman Bob
guy image grew into legend. Harris being on the film, Presley performed all his
Eastwood’s toughness wasn’t all movie show. own stunts for Fred Koenekamp’s camera, mixing
Producer Fritz Manes claimed that in the 1950s, in karate kicks, chops and flips. There was excel-
Eastwood cleared out a bar with six sailors when lent use of the obstacles found at the printing
one took a cheap shot at his friend. He hoisted press. Sonny West displays great athleticism diving
 19 6 8 187

through a moving cart to hit

Presley in the chest. Taurog
was able to get his master
shot in one take and was
pleased with the realism of
the action. He gave both
Red and Sonny $600 apiece
bonus for their day of work.
No discussion of the
toughest men in Holly-
wood could be complete
without mention of Red
West. The six-foot, 200-
pound Tennessean played
football at Jones Junior Col-
lege, boxed in Golden
Gloves and served in the
Marine Corps. He entered
Hollywood as a stuntman
and toiled as a bouncer at a
San Fernando Valley bar,
the Crossbow. West worked Elvis Presley (center) fights Sonny West (left) and Red West in MGM’s Live
on nearly all Presley’s films a Little, Love a Little (1968).
as his preferred fight part-
ner, with noteworthy battles coming in Wild in the tion in the book and saw Red and Sonny as money-
Country (1961) and Tickle Me (1965). The Mem- hungry Judases. In reality, Presley tried to pay
phis native had known Presley since high school them not to write the book, but they refused the
and became his chief bodyguard on tour. West money.
earned a black belt in Kenpo karate and later See: Hoey, Michael A. Elvis’ Favorite Director:
owned his own dojo. He was a regular stuntman The Amazing 52-Year Career of Norman Taurog. Al-
on TV’s The Wild Wild West and put on many out- bany, GA: BearManor, 2015; Live a Little, Love a
standing fights with series star Robert Conrad. Little pressbook; West, Sonny. Elvis: Still Taking
The best came in 1967’s “The Night of the Run- Care of Business. Chicago: Triumph, 2008.
ning Death” (with West doubling Ken Swofford)
and 1968’s “The Night of the Vipers.” Jim Brown vs. Ernest Borgnine
There was real friction between Presley and
Red West, courtesy of both Red and Sonny being
in The Split (1968)
left off the guest list to Presley’s marriage to Pris- It’s the super-cool late 1960s sex symbol versus
cilla Beaulieu. It was a significant slight as both the veteran movie brute as formidable NFL great
cousins were loyal and closer to Presley than any- Jim Brown tests heist recruit Ernest Borgnine early
one else in the Memphis Mafia. Red had not spo- in Gordon Flemyng’s caper film The Split. They
ken to Presley for several months before being have a punishing no-holds-barred fight behind a
hired by Taurog for this film’s fight. As Presley’s locked door in a gym’s office. It’s a ridiculous rea-
use of prescription medication escalated to dan- son for a fight, but there’s no denying it’s the best
gerous levels in the 1970s, he had Red and Sonny moment in a stylish film equipped with heavy-
fired for intervening in his medicine’s delivery. The hitting character actors, a hip Quincy Jones score
bodyguards responded by writing the controver- and a plot lifted from a Donald Westlake novel
sial Elvis—What Happened? The book was in- centering on ripping off the take from a Los An-
tended as a wake-up call in hopes they could shock geles Rams football game. Editor Rita Roland put
Presley into stopping his substance abuse. It was together a solid one-minute sequence of the stars
too late to do any good. Presley died of poly- exchanging powerful blows. The grinning Borg-
pharmacy in 1977, weeks after the book’s release. nine passes his test, but the loot comes up miss-
Fans refused to believe the sensational informa- ing and everyone points a finger at Brown. MGM
188 19 6 8

publicity played up the fight’s martial arts and sug-

(Borgnine) and Calvin Brown, although cine-
gested karate school tie-ins to exhibitors for pro-matographer Burnett Guffey was able to move his
motional purposes. camera in close on the action without being too
The presentation of a strong black male beating revealing. Brown shattered his leg working on the
up a white man was notorious and took Sidney film, an injury that derailed a promising career as
Poitier’s famous slap from In the Heat of the Nightthe industry’s first professional black stuntman.
(1967) several degrees further. To the film’s credit, Six-two, 230-pound Jim Brown was a phenom-
race is a non-issue among the characters. Clad in enal athlete and genetically gifted specimen of
designer leather, a tight-lipped Brown is effectivemachismo with a deeply focused intensity suggest-
as the gang leader, while Borgnine is an old pro at
ing a great capacity for inflicting violence. Coming
bone-crunching physicality. The two had a brief out of Syracuse University as an All-American, he
buildup to an exchange earlier in the year in Ice was offered a contract to become a professional
Station Zebra (1968), and here they have the boxer. Brown opted for pro football, where he be-
audience-pleasing match-up they should have had came a nine- time Pro Bowler and a four- time
in that Cold War thriller. Novice movie fighter MVP during his nine seasons as a fullback running
Brown connected for real with Borgnine. The lat- over opponents for the Cleveland Browns. When
ter wasn’t happy but didn’t complain. Paul Baxley he retired before his 30th birthday, he was the all-
served as fight coordinator, incorporating a Brown time rushing and touchdown leader and held 15
dropkick and a Borgnine throw that sent Brown individual NFL records. Brown was legendary for
end over end into a wall. Both highlight moves his ability to break tackles, particularly with his
were performed by stuntmen Jimmy Casino use of stiff-arms and a devastating forearm blow
that often knocked defenders
dizzy. The powerfully built
Brown had a 50" chest, a 32"
waist, nearly 18" biceps and 28"
thighs without the benefit of
ever seriously touching a weight.
Anatomists were literally study-
ing his bone structure and mus-
cle attachments.
Notable fights include Dark of
the Sun (1968), 100 Rifles
(1969) and Slaughter’s Big Rip-
Off (1973) (see entries). Fights
of interest came against Gerry
Crampton and Terry Richards in
The Dirty Dozen (1967), Charles
Horvath in Kenner (1969),
Bernie Casey in … tick … Tick
… Tick… (1970), Lee Van Cleef
in El Condor (1970), Robert
Phillips in Slaughter (1972),
Bruce Glover in Black Gunn
(1972), Ted Cassidy in The
Slams (1973), Fred Williamson
in Three the Hard Way (1974)
and Take a Hard Ride (1975),
and Arnold Schwarzenegger in
The Running Man (1987). In
Mars Attacks (1996), he played
a legendary boxing champion,
comically punching out the
Ernest Borgnine judo chops Jim Brown in MGM’s The Split (1968). space invaders. On TV, he traded
 19 6 8 189

punches with Bill Cosby on the 1967 I Spy episode parts. Baytown weathercaster Chris Chandler was
“Cops and Robbers” and William Shatner on the given the small role of an obnoxious newscaster
1983 T.J. Hooker episode “Raw Deal.” who gets on Wayne’s bad side during an interview
See: Carroll, Harrison. “Behind the Scenes in about a blown- out oil well. Wayne promptly
Hollywood.” New Castle News. February 16, 1968; knocks the man out. The casting of Chandler’s on-
The Split pressbook. screen character was close to home. When the
movie had its local premiere, the audience erupted
The Malaysia Bar Brawl in cheers when Wayne decked their hometown
celebrity.
in Hellfighters (1968) See: Hines, Marilyn. “Wayne and Cast Battle
By 1968, it seemed unlikely any John Wayne- Raging Oil Well Fires.” Salina Journal. December
Andrew McLaglen film could pass muster without 29, 1968; Holcomb, Henry. “He Conquers Bay-
a barroom brawl. Never mind that this wasn’t a town … Big John Wayne.” Baytown Sun. March 19,
western, or that the brawl clocked in at barely over 1968.
a minute. Screenwriter Clair Huffaker was known
to insert a fight whenever his people- plotting Charles Bronson vs. Alain
bogged down. Hellfighters is about modern oil well
fire crews with Wayne’s screen character based on
Delon in Farewell, Friend (1968)
the real-life fire ace Red Adair. Wayne and his hot- A finely choreographed fight in a high security
shot group are dispatched to Malaya where they office vault highlights this mystery thriller that ce-
are quick to have a fistfight with a rival bunch of mented Charles Bronson’s European stardom. He’s
Australians at Madame Lu’s Bar (actually a Uni- especially good here as a charismatic soldier of for-
versal set). Seconds after being introduced to an- tune. As colleagues in the French-Algerian war,
tagonistic John Alderson, Wayne is punching him Bronson and co- star Alain Delon are evenly
out in a fight the Salina Journal called “a lulu.” Co- matched anti-heroes with different agendas who
stars Jim Hutton, Ed Faulkner and Bruce Cabot become trapped in a safe they’ve reluctantly joined
join Wayne to battle Alderson’s men. The 6'2", to crack. They are soon at one another’s throats.
200-plus-pound Alderson was a member of the No doubles were used in the two-minute fight,
British Army whose nickname was “Basher.” unique in the sense that both men are dressed alike
Chuck Roberson was there to double Wayne, in white shirts and dark slacks. A marked effort to
but did little more than help set up the action for engage in blocks and body punches is displayed,
Wayne to perform. Stunt coordinator Hal Need- a skill in which Bronson had few cinematic peers.
ham does a fantastic job with the choreography. Director Jean Herman and co- writer Sebastian
After years of working with Cliff Lyons and his Japrisot fashioned a slick and interesting film, al-
crew of stuntmen, Wayne was familiarizing himself lowing its leads to carry the Antoine Baud–coor-
with Needham’s new group of athletic danger men. dinated action. The French-Italian production was
Roydon Clark, Jim Burk, Mickey Gilbert, Stan retitled Honor Among Thieves for American con-
Barrett, Dick Bullock, Everett Creach, Rock sumption.
Walker, Alan Gibbs, Gary McLarty, Chuck Court- There’s a moment when Bronson acts as a pimp
ney and Ronnie Rondell, Jr., were relative new- of sorts to a wealthy clientele. However, when they
comers in the eyes of Wayne, but they threw their become too nasty with the girl, Bronson emerges
bodies around the set with great energy. Wayne as her protector. He has little trouble with the rich
likely found solace in the fact that gray- haired man’s bodyguards, dispatching them with an econ-
crony Cabot was still right beside him throwing omy of kicks and well-placed chops. It’s similar in
punches. However, both were beginning to show staging to a fight in Rider on the Rain (1970)
their age. Although the fight is exceedingly well- against multiple opponents that also perfectly il-
filmed by D.P. William Clothier, scored by lustrates how Bronson entered the pantheon of
Leonard Rosenman, and tightly edited by Folmar mythical tough guys. In this, he saves Marlene
Blangsted, it remains one of the Duke’s lesser rec- Jobert with a fluid explosion of fists, feet and
ognized barroom brawls. The Buffalo Courier Ex- lightning-quick reflexes. He had been a formidable
press referred to it as “less than spectacular.” screen fighter in the past, but now he was a Euro-
Much of the film was lensed in the Houston, pean star and able to mow through five body-
Texas, area with local performers awarded bit guards in a few seconds without one landing a
190 19 6 8 / 19 6 9

blow. Bronson repeated the action by taking on a features was that sometimes an entire day would
bar full of cowboy toughs in Chino (1974). be set aside for total preparation of an action
Five-foot-nine and 165 pounds, Alain Delon scene. More Dead Than Alive falls somewhere in
served as a paratrooper with the French military between. Editor John F. Schreyer cut it together
and was a French-Indochina War veteran. He was the best he could considering the sometimes
as slick and graceful as he was handsome and con- barely visible footage provided.
sistently impressed audiences with his action abil- Walker always said he needed big guys to fight,
ities. He became a huge star in Europe portraying and in rugged former NFL player and movie
dangerous gangster characters in films like Le Tarzan Mike Henry he got his wish. Ironically,
Samourai (1967). Delon fought Renalto Salvatori Henry started as a background player on Walker’s
in Rocco and His Brothers (1960), John Davis series Cheyenne, with Warner Bros. signing him to
Chandler and Tony Musante in Once a Thief a contract as a potential “Clint Walker Type.” The
(1965), Dean Martin in Texas Across the River stars did their job in exemplary fashion, putting
(1966) and Jean- Paul Belmondo in Borsalino on a savage and believable fight. However, a
(1970) (see entry). At 50 and still fit, Delon im- blooper is left intact for the sharp-eyed viewer. At
pressed with several extended fights in 1985’s Cop’s the fight’s beginning, when Walker burst through
Honor (aka Parole de Flic). the window to tackle Henry, the latter momentar-
See: Chiesi, Roberto. Alain Delon. Rome: Gre- ily forgot his gun was supposed to go flying for the
mesi, 2002. men to scramble after. To save the shot, Henry
flings away his own gun.
Clint Walker vs. Mike Henry See: More Dead Than Alive Blu-ray special fea-
tures; More Dead Than Alive pressbook; “Option
in More Dead Than Alive (1968) Grid Pro.” Toledo Blade. October 1, 1961; “TV
More Dead Than Alive is an offbeat western with Highlights.” San Antonio Express. July 4, 1965.
Clint Walker cast as a recently released convict try-
ing to re-establish himself in society. He catches Jim Brown vs. Burt Reynolds
on with Vincent Price’s traveling road show, but
his past comes back to haunt him in the form of
in 100 Rifles (1969)
outlaw Mike Henry. The latter seeks vengeance on The selling point of this Tom Gries western was
Walker for foiling his brother’s attempted prison the hot and notorious pairing of Jim Brown and
break. Henry bushwhacks Walker early in screen- Raquel Welch, although co- star Burt Reynolds
writer George Schenck’s plot. A laughing Henry walked away with the acting honors as a charis-
improbably decides to let Walker live, setting up matic half–Yaqui bandit. Reynolds becomes
the climactic one-and-a-half-minute fight between Brown’s prisoner, but the bickering duo are forced
the men. Both stars eschew the use of stunt dou- to unite for a big climax against Mexican soldiers
bles as they go all-out slugging and grappling in led by Fernando Lamas. Halfway through the film,
and around a barn. Hay on the ground provides a there’s a solid 90-second fight between the shack-
soft landing spot for their falls. Feedbags and sup- led pair that has Reynolds landing a surprise kick.
plies are hurled, wooden beams are swung at After some rolling around, the much larger Brown
heads, and the two crash recklessly through a barn begins tossing Reynolds about and heaves him
door. Walker also goes through a window in what right over a 400-foot ledge. Reynolds hangs on the
is obviously him doing his own stunt. In the end, side as the bad guys approach, and Brown is forced
a vicious right cross from Walker knocks Henry to pull him back up via their chain. When Reyn-
out. “Laugh now,” says Walker. olds reaches the top, he lands another sucker
Fred Carson coordinated the action. Unfortu- punch on Brown. There were several inches in
nately, much of the fight’s latter half is lost in the height and about a 60-pound weight difference
darkness of a poorly lit barn. Fault for this must between the combatants, but they make it work
be leveled at director Robert Sparr and cinematog- for the screen with camera angles and other time-
rapher Jack Marquette. Sparr was coming from the worn tricks.
TV ranks and had a reputation for shooting fast. The film was shot in Almeria, Spain, with
Walker had worked with Sparr on Cheyenne, and Chuck Roberson serving as the second unit direc-
they were accustomed to setting up screen fights tor. Gries was originally going to have Roberson
in less than 15 minutes. The difference on bigger or Terry Leonard put on blackface to double
 19 6 9 191

Brown, but the actors balked. Leonard said he did begins hitting other Johnny Rebs. Everyone gets
do portions of the film’s horseback stunts in black- in on the comic action, including cast members
face. Reynolds injured his neck during the fight Bruce Cabot, Jan- Michael Vincent, Edward
and had to wear a neck brace throughout the rest Faulkner, Harry Carey, Jr., and Don Collier. The
of filming. He also suffered a gashed head and a 6'5", 275-pound Olsen upends a wagon with sev-
sprained wrist and knee. He said that being hand- eral stuntmen on it and lifts Jerry Gatlin over his
cuffed to Jim Brown in a fight was like being head.
chained to a Ferrari going 80 miles per hour down Familiar character actor Dub Taylor generates
the highway. Character player Aldo Sambrell took the most laughs during the good-natured fight as
Brown to task for being too rough in fights, he eats chicken and mashed potatoes amidst the
terming it unprofessional. Roberson recalls Hal action. Comic relief bits often found their way into
Needham being there to double Reynolds in the John Wayne’s brawling scenes as he knew his au-
long shots hanging off the cliff, although in his au- dience appreciated the levity. Ben Johnson and
tobiography Reynolds takes credit for doing his Robert Donner are seen fishing by the river as a
own stunts and choreographing the entire fight as parallel pairing to Wayne and Hudson. Both
well. He claims Brown had a fear of heights, and tandems realize they need to contribute to the
that’s why he took advantage of setting the fight fighting as part of their duty. Donner and Johnson
on the ledge overlooking the wide-open Spanish reluctantly take swings at one another, with the
vista. Taking a potshot at his own career, Reynolds latter taking a nicely executed fall into the river. A
joked that if they fell off, the headline would be grinning Wayne and Hudson set down their cups
“Jim Brown and Unknown Actor Die.” and each administer a knockdown blow, with
See: Conley, Kevin. The Full Burn. New York: Wayne enacting a comic spinning double take as
Bloomsbury, 2008; “Making a Movie with Jim the fight closes as a draw.
Brown Can Be a Risky Operation.” Detroit Free Wayne and McLaglen used a crew familiar to
Press. October 10, 1968. them. Cameraman William H. Clothier did exem-
plary work shooting the outdoor action footage,
The Fourth of July Picnic filming Olsen from low angles to accentuate his
size. Scriptwriter James Lee Barrett was responsi-
Brawl in The Undefeated (1969) ble for the humor while Hugo Montenegro con-
Andrew McLaglen’s post–Civil War saga The tributed a whimsical score. Editor Robert Simpson
Undefeated features the intriguing pairing of John assembled action coordinator Hal Needham’s ex-
Wayne and Rock Hudson, although they are more tensive footage into an entertaining segment that
or less bystanders during the rip-
roaring five-minute melee be-
tween members of Wayne’s Yan-
kees and Hudson’s Rebels at a
Fourth of July picnic. Wayne and
Hudson sip whiskey from their
coffee tins and comment on the
spirited fighting, which begins as
a representative challenge be-
tween Union member Jim Burk
and Confederate Merlin Olsen,
the giant-sized defensive tackle
for the Los Angeles Rams. Stunt-
man Burk has a showcase for his
talents, bringing a healthy dose
of charisma to his part and even
doing double-duty as a stuntman
for football player Roman Ga -
briel during the brawl. Events es-
calate after a minute of humorous Rock Hudson lands a left cross on John Wayne in 20th Century-Fox’s
fighting as the overmatched Burk The Undefeated (1969).
192 19 6 9

sees both bruised and battered groups parting am- Los Angeles Times. February 7, 1969; Royce,
icably. The Milwaukee Journal called it “a humorous Brenda Scott. Rock Hudson: A Bio-Bibliography.
interlude,” and the Pittsburgh Press said the se- Westport, CT: Greenwood, 1995.
quence “has all the fun of pure slapstick comedy.”
However, Wayne biographer Allen Eyles com- George Lazenby vs. Irvin Allen
pared it unfavorably to the work of John Ford, say- in On Her Majesty’s Secret Service
ing it is “all surface knockabout with no sense of
the shape and delight Ford brought to his mass
(1969)
fights.” Faced with the unenviable task of following
Wayne does less fighting here than usual: He Sean Connery as James Bond, newcomer George
had suffered injured ribs and torn shoulder liga- Lazenby starred as 007 in this film only. Fan and
ments after falling from a horse early in the shoot- media reaction was less than kind to the new
ing. He was now in his early sixties and still taking Bond, and for two decades Lazenby became the
hits of oxygen due to the high elevation of the Du- answer to a trivia question. Then something in-
rango, Mexico, location, so his reluctance to join teresting began to happen. Audiences and critics
the heavy action is understandable given he was rediscovered and re-evaluated Lazenby’s On Her
operating with one lung. Some have suggested that Majesty’s Secret Service and decided he wasn’t so
Wayne was homophobic and made it difficult on bad after all. Based on his looks, manner, humanity
Hudson, but interviews of both actors and crew and especially his skill at fighting, many now con-
present a more pleasant picture. Wayne appreci- sider Lazenby to be a decent Bond, who might
ated Hudson’s professionalism on the set after he have eclipsed Connery had he remained in the
stepped in as a late replacement for James Arness. role. He was expected to take a few lumps as he
Hudson and Wayne played chess and bridge to- found his feet in front of a movie camera. He is
gether, suggesting an amicable and comfortable aided by a superior screenplay by Richard Mai-
set. The actors and crew were so familiar with one baum and the by-now iconic Bond theme music
another that practical jokes were played. McLaglen from John Barry.
took delight in waiting until the river’s spring cur- One thing that came naturally to Lazenby was
rent was sufficiently cold before putting Johnson fighting, and the fisticuff action he put onto the
and Donner into the water. Stuntman John Hud- screen sans stuntman was excellent. Kiss Kiss, Bang
kins also found humor at the expense of Burk, a Bang wrote that this film contains “easily the
Los Angeles Rams fan. Burk was looking forward hardest-hitting of all Bond’s film fights…. Every
to meeting both Olsen and quarterback Gabriel. punch is overdubbed hard—a hefty, bone-
However, he was dismayed to find both players splintering crack being called upon most often.”
giving him the cold shoulder on the set. Hudkins The Village Voice, however, felt the fights were
had told them Burk hated the Rams. Eventually “sheer hyperbole” and complained they “sound
they were all let in on the joke. like they were recorded from inside a punching
Needham drew silence from the crew when he bag.” Lazenby is introduced with a solid fight on a
dared to show Wayne how to execute a punch for Portugal beach, but it’s a later one- minute
the camera. The next take was good, and Wayne furniture- knocker with burly thug Irvin Allen
gave Needham his stamp of approval. Chuck that’s the show-stopper, superbly edited in director
Roberson and George Robotham were on hand to Peter Hunt’s fast-paced frame-removing style by
double Wayne and Hudson respectively but were John Glen. Lazenby and Allen go at each other
not needed for the stars’ brief contribution. In ad- with fists, feet, forearms, elbows and knees as they
dition to Fred Krone, Roydon Clark, Tap Canutt, smash a Monte Carlo motel room. Lazenby even
Bill Couch, Chuck Couch and Kent Hays, old- employs an arm-bar. Bond veteran George Leech
timers in the mix include Gil Perkins, Wally Rose was stunt coordinator.
and Danny Sands. Needham liked using his young Six-foot-two, 190-pound Lazenby, a hand-to-
stuntmen including Glenn Wilder, Mickey Gil- hand combat instructor in the Australian Army’s
bert, Alan Gibbs, Stan Barrett, Gary McLarty, Billy Special Forces, won the Bond role based on a fight
Burton, Paul Nuckles, Bob Orrison, Dick Ziker, scene screen test. Producer “Cubby” Broccoli and
Walter Wyatt, Denny Arnold, Fred Waugh, Dick director Hunt were impressed with his potential
Bullock, Chuck Parkison, Jr., and J.N. Roberts. but wanted to see how he fought on camera. Leech
See: Mat, Florence. “Rams Olsen and Gabriel.” hired Russian wrestler Yuri Borienko to serve as
 19 6 9 193

Lazenby’s opponent and put

the men through the paces of
the motel fight for three weeks
of rehearsal. Lazenby needed
to learn how to fake a fight,
and to remember not to flinch
beforehand when he knew a
blow was coming. When it
came time to roll film, they
had a great routine worked
out, but Lazenby accidentally
connected with the wrestler
and broke his nose. Broccoli
and Leech liked the toughness
they saw from Lazenby, and
Hunt was so impressed he
wanted to use the exciting
footage of the test itself.
Lazenby ended up recreating
the fight with Allen while a re-
covering Borienko was re- George Lazenby rears back for a double axe-handle blow on Irvin Harris
warded with another part. in United Artists’ On Her Majesty’s Secret Service (1969).
For the two-minute pre-
credit Guincho Beach sequence, Leech chose oars, take on young David Carradine’s gang, they have
nets and grappling hooks as props to add interest a fistfight in the Chama River to settle a decades-
to the fight between Lazenby and stunt players old score. The picturesque New Mexico locations
Terry Mountain and Bill Morgan. The sea was cold enhance the comic huffing and puffing of the two
and director Hunt gave Lazenby and Mountain a stars. Parts of the fight were fought on a sandy river
bottle of brandy to fortify them for the shoot. The bank created on the Warner Bros. back lot. David
water moves were first worked out on a mini- Cass doubled Mitchum with Bob Terhune dou-
trampoline hidden in the sand for a couple of high bling Kennedy for an impressive fall into the river.
jumps. The fight moved into the sea at sunset and Cinematographer Harry Stradling, Jr., takes ad-
it proved to be a particularly effective shot as the vantage of the fall season and creates a beautiful
figures are silhouetted against the seascape. The composition of the out-of-breath men struggling
beach scenes took approximately five days to film. in a literally changing land. Otho Lovering cut the
Vic Armstrong was on hand to double Lazenby if long shots together with the close-ups of the prin-
needed. Lazenby had notable fights in Stoner cipals superbly. The Milwaukee Journal called it “a
(1974) and The Man from Hong Kong (1975) (see brilliantly staged fight.”
entry). There’s a comic street brawl early in the picture
See: Graham, Sheilah. “Newcomer George as the local ladies of the evening are led out of the
Lazenby Starts from Scratch.” Toledo Blade. No- town of Progress for political reasons. They throw
vember 10, 1968; Helfenstein, Charles. The Mak- their garter belts to the local townsmen, who begin
ing of On Her Majesty’s Secret Service. Spies, 2009. a mass scrum for the mementos. Stunt actor Jack
Perkins is featured most prominently here as an
Robert Mitchum vs. George inebriated local. Director Kennedy humorously
Kennedy in The Good Guys and cuts to a pair of dogs having a tug of war over a
garter belt, animalistic behavior not far removed
the Bad Guys (1969) from that of the town’s citizens. Stunt actor Rich-
In this enjoyable comedy western from director ard Farnsworth hollers “Fight!” when the fracas
Burt Kennedy, aging lawman Robert Mitchum and begins—a Burt Kennedy trademark. Kennedy and
aging criminal George Kennedy are passed over his stuntmen were still staging western brawls in
by progress in the early 1900s. Both stars are de- Support Your Local Sheriff (1969) and Support Your
lightful in their roles. Before they join forces to Local Gunfighter (1971).
194 19 6 9

The phasing-out of the cowboy by moderniza- tive Richard Harris receives a rocky reception
tion became a familiar theme in the 1960s cinema when he arrives in the town where the workers
and ushered in the eventual death of the western have a secret society known as “The Molly Ma-
itself. With a clamp-down on TV violence, many guires” that fights back against their oppression.
small-screen action oaters were cancelled. The At the behest of top miner Sean Connery, burly
concurrent collapse of the traditional studio sys- Art Lund greets Harris with a pub fistfight, and it’s
tem meant there was no longer functional western a fine one as coordinated by Roger Creed and
sets or livestock with wranglers readily available. lensed by James Wong Howe. Over in roughly a
The western became expensive to produce while minute of screen time, the brawl features no stunt
the time-honored fistfight or gun showdown to re- doubles and is most impressively done featur-
solve differences became pat and clichéd. Urban ing kicks, broken furniture, eye- gouging, belly
action introduced car chases and machine- gun punches and beer thrown in the face. Originally it
fights to enthrall audiences, as did special effects– was to last five minutes of screen time, but Frank
laden disaster films. More actors were coming to Bracht tightened it down to its current form.
Hollywood from the East Coast, unable to ride a The 6'4", 235-pound Lund, a Broadway actor
horse. The Good Guys and the Bad Guys is a perfect in the early 1960s Donnybrook, was making his film
example of the end of a Hollywood era and a debut. The World War II Navy veteran was a
change in the way fisticuffs were presented on heavyweight Golden Gloves boxing champion in
screen. his youth and an All-American college football
See: The Good Guys and the Bad Guys press- player for Westminster and Eastern Kentucky. He
book; Heffernan, Howard. “There’s Honor in Vil- played football professionally for the Brooklyn
lainy.” The Palm Beach Post. December 22, 1968. Dodgers and his real toughness comes through on
screen. The Pittsburgh Post-
Gazette called him “impres-
sive as a burly miner whose
saloon brawl with Harris in-
dicates that Lund might be a
good, tough character actor
in the Victor McLaglen–
Ward Bond–Lee Marvin tra-
dition.”
The Molly Maguires’ cen-
terpiece is a game of rugby
that ends in a slugging match
between both mining teams
and the police force oversee-
ing the sport. Real teams
were imported to the Eckley,
Pennsylvania, location to
take part in the action along-
side actors and stuntmen Gil
Perkins, Nick Dimitri,
Chuck Hicks, Carl Saxe and
John MacDonald. The
Robert Mitchum (left) and George Kennedy stage an “old school” fight in ballsy actors did all their
Warner Bros.’ The Good Guys and the Bad Guys (1969). own stunt work, but didn’t
escape injury. On the first
Richard Harris vs. Art Lund in day alone, Harris sustained sore ribs and a bruised
cheek, Connery a twisted knee, and Lund a cut
The Molly Maguires (1970) ear. Not all the injuries occurred on the film set.
This is an overlooked Martin Ritt drama about Harris was punched out in a Hazelton bar by a
violence among Irish miners and the owners they local who didn’t cotton to the actor putting the
toil for in 1850s Pennsylvania. Undercover detec- moves on his lady.
 19 7 0 195

Six-foot-one, 205-pound Irishman Richard ciscus. Stuntmen Tony Epper and Loren Janes
Harris was a noted drinker and volatile hellion. He handle the long shots, but Heston and Franciscus
competed successfully in rugby as a young man are right in there punching, biting, clawing and
and laid claim to having broken his nose nine dif- kicking away barefoot for much of the grueling
ferent times, often away from the sports field. He fight’s three minutes. Franciscus turns psychotic
was a notorious brawler and pub fighter, and was thanks to the mind control. When it looks like
known to fight in the stands at Munster matches. they may need some deadly assistance, Colley in-
The charismatic Harris most famously fought troduces a spiked club which Franciscus swings at
alongside Robert Mitchum in a much publicized Heston’s head. Colley’s concentration is broken
melee while filming Night Fighters (1960) in Ire- momentarily by slave girl Linda Harrison, and He-
land. Harris had a running feud for decades with ston and Franciscus seize the chance to take out
English actor Oliver Reed, whom he referred to as the mutant and do battle with the attacking apes.
his “slugging partner.” Harris did resort to fisticuffs Movie Maker referred to it as “an extremely well
with Rod Taylor during the making of The Deadly filmed fight sequence.”
Trackers (1973) and paid the price. Harris also Ted Post directed with Chuck Roberson han-
clashed with Marlon Brando while making Mutiny dling the second unit and Paul Stader coordinating
on the Bounty (1962) after Brando offered what the stunts. Like its predecessor, it’s a triumph of
Harris considered a weak slap. production design from art directors Jack Martin
Harris had a reputation for getting carried away Smith and William Creber and set decorator Wal-
in fights, and most actors stayed on their toes when ter M. Scott. However, Paul Dehn’s script is weak
working with him. Notable screen fights came and there’s evidence of cost-cutting. The cell is
against Derek Turner in This Sporting Life (1963), particularly noteworthy given the medieval spikes
Charlton Heston in Major Dundee (1965), Kirk jutting from the bars and the cold slabs of flowing
Douglas in The Heroes of Telemark (1965), Max stone that exist at odd angles. D.P. Milton Krasner
von Sydow in Hawaii (1966), Terry Leonard in A has the scene lit to show the shadows of the men-
Man Called Horse (1970), William Smith in The acing spikes on the walls behind the actors, creat-
Deadly Trackers (1973), Chuck Connors in 99 and ing added tension. Composer Leonard Rosenman
44/100% Dead (1974), Bill Lucking in Return of provided a worthy follow-up to Jerry Goldsmith’s
a Man Called Horse (1976), Anthony James in Rav- groundbreaking score from the original. Back-
agers (1979), Christopher Plummer in Highpoint ground music doesn’t accompany the fight: The
(1984) and Tom Berenger in The Field (1990). lone noise (besides the combatants’ grunts) is the
Gene Hackman gave him an especially memorable buzzing drone of Colley inside their heads.
thrashing in Unforgiven (1992). The film ends famously with Heston taking out
See: Callan, Michael Feeney. Richard Harris: the entire planet with an atomic bomb. It was the
Sex, Death & the Movies. London: Robson, 2003; only way Heston agreed to return in the role for
Heffernan, Harold. “Guns Are Out, Fists Are In.” an extended cameo: if he could destroy everything
Milwaukee Journal. July 11, 1968; Lincoln, Ivan M. and wipe out any chance for further money-
“Ex-Utahn Art Lund to Star in Pops Concert.” De- grubbing sequels. Of course, 20th Century-Fox
seret News. July 9, 1985. maneuvered around that. Heston originally wanted
to appear in one scene at the beginning and be
Charlton Heston vs. James killed off, but agreed to disappear and return for
Franciscus in Beneath the Planet the finale. Franciscus was nursing a badly sprained
ankle acquired playing tennis before shooting
of the Apes (1970) began.
This rushed sequel to the hugely popular sci-fi Five-ten and 165 pounds, Franciscus was a foot-
film Planet of the Apes (1968) features a novel ball captain at Taft prep school but a knee injury
premise for a fight on the eve of a major battle be- prevented him from continuing the sport at Yale.
tween the apes and human mutants living under- With his finely chiseled features, he made a solid
ground. Telepathic mutant Don Pedro Colley uses and cerebral hero-type on screen, yet he was also
mind control to force astronauts Charlton Heston capable of playing slick, egotistical and conniving
and James Franciscus to fight to the death in a cage villains. He was dedicated to his craft, including
with spiked bars. Both actors are game for the ac- performing fight routines. He is best known as
tion, with Heston dwarfing the superbly fit Fran- blind insurance investigator Mike Longstreet on
196 19 7 0

the series Longstreet (1971–1972). In 1971’s “Way Roberson and Jim Burk are in there for the dan-
of the Intercepting Fist,” he is taught Jeet Kune Dogerous stunts. Roberson broke his wrist taking a
by Bruce Lee. By episode’s end, he puts his martial stair fall for Wayne. The two-minute slugfest was
arts and extrasensory training into use during a coordinated by Cliff Lyons and Hal Needham
fight against heavy John Milford. Fights of interest amidst burning buildings and a street full of stam-
came against Tony Curtis in The Outsider (1961), peding cattle. Their Sands of Iwo Jima fight took
Aldo Reggiani in Cat o’ Nine Tails (1971) and Paul two hours to film. The Chisum fight took over two
Newman in When Time Ran Out (1980). days to complete, ending on a chilly Durango
See: “James Franciscus Mixes Brains and Brawn morning. At its conclusion, Wayne and Tucker
in Role.” Fairbanks Daily Miner. October 24, 1964; joked they should be getting too old for this.
Russo, Joe, Larry Landsman, and Edward Gross. The fight begins with Roberson riding his stunt
Planet of the Apes Revisited. New York: St. Martin’s,
horse Cocaine through a glass window and leaping
2001. onto Tucker. Wayne and Tucker crash into a stove
and begin uncorking huge punches, many punc-
John Wayne vs. Forrest Tucker tuated by Tucker’s inspired grunts. The fight goes
up the stairs and onto a balcony as a longhorn dis-
in Chisum (1970) play is tossed to the ground below. With flames
In Sands of Iwo Jima (1949), macho he- men licking at their bodies, they go off the edge of the
John Wayne and Forrest Tucker had a strong second story and Tucker is impaled on the horn.
buildup to a confrontation, which culminated with McLaglen had some fun with Burk before the
a far too brief exchange of punches between the fall. He replaced the special rubber longhorns with
stalwarts. The punches were great haymakers, but a real pair that Burk naturally discovered during
one wishes the two evenly matched actors would his preparation. As the stuntmen take the fall, an
have traded a few more blows. Over 20 years and aerial shot exposes the outline of their stunt mat
about 30 added pounds later, the bare-knuckle vet- beneath the dirt. This is a minor quibble in an oth-
erans did it right. They have a grand fight to the erwise well- done fight. However, Wayne was
finish in the Andrew McLaglen western Chisum. mildly upset with editor Robert Simpson upon
McLaglen was assistant director on the earlier seeing the film because Roberson was too visible
film and made sure this one was a rousing audience to the audience. When Roberson falls off the stair-
pleaser with a Dominic Frontiere score rising to well, a dazed Wayne pops up into the camera
the occasion. He wanted his two aging stars to film frame, suggesting he was the one who had taken
as much of the fight as possible, although Chuck the fall. This old-time movie subterfuge is known
as a Texas Switch. Even at the age
of 62, Wayne still wanted fans to
think he was doing all his own
fights. When Wayne and Tucker
exchange blows upstairs in two-
shots, the fight is pure cinematic
gold.
Wayne biographer Allen Eyles
called the fight “a splendidly pro-
tracted free-for-all,” while Western
Clippings includes it among the
“great screen fights.” Most reviews
respectfully took into account the
passing years. The Los Angeles
Herald Examiner called the fight
“a classic” although it likened the
stars to “two near extinct buf-
faloes.” The Hollywood Reporter
remarked, “The fist fight between
Old pros Forrest Tucker (left) and John Wayne put on a memorable Tucker and Wayne which caps off
fight in Warner Bros.’ Chisum (1970). the action is well done as the two
 19 7 0 197

seeming behemoths slowly battle.” The Pittsburgh Clouse’s hand-held camera gets in on the action,
Press noted of Wayne, “There are a couple of big and John Parker’s jazzy score keeps pace with the
fight scenes that he pulls off quite well for a guy of flying fists. Editor Fred Chulack put the exciting
his years.” footage together creatively.
See: Chisum DVD extras; Chisum pressbook. Because of the limitations of the set and the
close proximity of the camera, the use of doubles
Rod Taylor vs. William Smith would have been difficult, so the actors gamely
agreed to do all they could. Before the fight began,
in Darker Than Amber (1970) Taylor offered Smith a challenge, and Smith be-
A landmark two-man fight punctuates this vio- came determined to prove his toughness. Roger
lent big screen version of John D. MacDonald’s fic- Creed was on hand as stunt coordinator, but the
tional tough guy of print, Travis McGee. It has fight became an ad-libbed free-for-all with both
widely been touted as one of the greatest screen Taylor and Smith beating the hell out of one an-
fights, made all the more spectacular because no other for the camera’s benefit. Much of the blood
stunt doubles were used. Rod Taylor is well-cast on screen was real and all Taylor’s courtesy of a
as the Florida salvage expert who can’t resist help- broken nose. At some point, the two lost track of
ing a damsel in distress. The girl is pretty Suzy their planned choreography, and Smith belted Tay-
Kendall, who’s in deep with criminal bodybuilders lor on the proboscis. Taylor kicked Smith hard
William Smith and Robert Phillips. Taylor first across the set and demanded that Clouse keep
takes out the six-foot, 185-pound Phillips in a Frank Phillips’ cameras rolling as he proceeded to
tense fight on the beach that sees Taylor swinging pound away. He smashed Smith with a breakaway
a shovel. Phillips was a real tough guy, having lamp, and Smith smashed him with a real lamp.
played pro football and serving as a self-defense Clouse wisely kept the camera on as the two men
instructor with the Marines. He became a body- improvised some of the best action ever commit-
guard for Governor Adlai Stevenson and an un- ted to film. During the fight, Smith literally knocked
dercover cop. Once in Hollywood, he was often Taylor out of his shoe with one punch. Taylor
hired for Lee Marvin films to keep the star out of tasted his revenge on the film’s last shot on the
after-hours fights. The macho Taylor could some- dock, when he is to hit Smith in the knee with a
times throw choreography to the wind and con- busted-up board. Taylor missed Smith’s kneepad
nected with Phillips, breaking a bone in the sup- and cracked him in the shin.
porting actor’s hand. Taylor’s inability to hold back Doubles Louis Elias and Nick Dimitri were on
in fights was a harbinger of the action to come. hand throughout the entire week of filming for the
Smith, with peroxide blond hair,
and Taylor play cat- and-mouse
games with Smith’s girlfriend Ahna
Capri as the bait aboard a cruise ship
bound for Nassau in the Bahamas.
Part of Taylor’s plan is to send the
dangerously psychotic Smith over
the edge. When he goes, all hell
breaks loose with a thrilling jolt and
a blood-curdling battle cry. The
three-and-a-half-minute fight starts
in Taylor’s cabin and ends up on the
Prince George Dock with Smith
belting and tossing aside anyone
who gets in his way.
The first 90 seconds in the cabin
between Taylor and Smith is mind-
blowing. It looks like the two actors
are trying to kill one another. There
has never been a more blisteringly fe- William Smith (left) and Rod Taylor get carried away with the action
rocious movie fight. Director Robert in National General’s legendary Darker Than Amber (1970).
198 19 7 0

extended fight but never participated in the action. both actors were made honorary members of the
Taylor and Smith were determined to do every sin- Stuntmen’s Association. Even decades later, indus-
gle punch and fall. The actors paid the price for try stuntmen acknowledge it as perhaps the best
smashing one another so convincingly against the fight ever put onto film. They weren’t the only
walls. Both had glazed eyes and were dizzy, barely ones taking notice. Darker Than Amber became
able to walk away at the end of shooting. A doctor known as the film that convinced Bruce Lee to hire
needed to tend to both. Luckily, the fight was the Clouse as the director of Enter the Dragon (1973)
last scene scheduled. In addition to his broken because the martial artist was so impressed with
nose, Taylor suffered a hand injury. Smith injured the filming of the fight. The Amber fight also
three ribs and strained muscles in his back and gained a level of notoriety and mystique due to
shoulder. Stuntman Jesse Wayne broke his heel the violence and the cutting of a portion of the
playing a bystander heaved through the air by fight by TV censors. For years that TV print, with
Smith. Utility stuntman Tom Edwards injured his jumpy edits and music score, was the only one in
back when he was slammed into a fence. Trans- circulation. It even surfaced as a VHS release. This
portation captain Frank Lassiter had to be taken made viewers who remembered the original ver-
to the hospital after Smith threw a stuntman so far sion begin to trumpet its virtues and lament its
he landed on Lassiter off-screen and broke six of apparent loss. Gone were many of the hardest
his teeth. punches, the smashing through a closet door, and
Critics then and now realized it packed a vis- Smith’s sadistic breaking of a wine bottle over Tay-
ceral punch. The New York Times termed it “a lor’s head. In interviews, Taylor and Smith be-
bone-cracking wind-up,” while the Chicago Sun moaned the missing footage. Finally, a bootleg
Times called the fights “beautifully choreo- copy with Dutch subtitles surfaced with the fight
graphed.” The Montreal Gazette wrote of Taylor: and Ahna Capri’s briefly nude corpse on the bed
“His forte has always been the prolonged, ultra- intact. Clips began to circulate on the internet, al-
bloody fist fight, and here he outdoes all his pre- lowing a new generation to discover this action
vious efforts.” Time declared that the final fight gem.
“has not been matched for pure furniture- Smith has said Darker Than Amber is his single
smashing gusto since Frank Sinatra took out after favorite of the dozens of screen fights he has done.
that Korean guy in The Manchurian Candidate,” He took great pride in getting knocked around by
and Motion Picture Herald acknowledged, “[T]he Taylor, a close friend Smith labeled as one of the
fist-fights turn out to be some of the most savage toughest men he’s ever encountered. Smith
to be seen in a movie for a long time.” claimed Taylor’s punches were the hardest he’s
Many reviewers were overwhelmed by the vio- taken from an actor. For his part, Smith upped the
lence. The Los Angeles Times wrote, “Sadly, Darker intensity of his weight workouts and came into the
Than Amber had so much going for it that it didn’t film with nearly 220 pounds of rippling steroid-
need the hype of such huge quantities of blood free muscle on his 6'2" frame. His body fat was
and guts spilled all over it. The ultimate effect is measured at four percent. To show the vanity of
the spoiling of what might have been a very good the character, who’s supposed to be wearing a
show.” The film’s reputation continues to grow blond toupee that gets ripped off in the bloody cli-
with the passage of time. Action Films places it max on the dock, Smith bleached his hair. This
among the top of their rankings of all-time greats, was a shocking action for the day. Only profes-
writing it is “right up there with the train fight in sional wrestlers or campy fruitcakes bleached their
From Russia with Love.” The Psychotronic Video hair. Smith took ribbing and catcalls from locals
Guide calls it “an incredible arm-breaking fight on about his appearance. Taylor instructed his per-
a ship, done without stuntmen,” and The Manly sonal bodyguard Fred Hakim to look out for Smith
Movie Guide praises it as “one of the all-time great and persuade anyone giving him a hard time to re-
climactic brawls.” Tales from the Cult Film Trenches consider their teasing. Smith made guest appear-
calls it “one of the most grueling and realistic- ances on Taylor’s TV shows Bearcats, The Oregon
looking fight scenes ever captured on film,” and Trail and Masquerade. On the 1971 Bearcats epi-
Orange Coast Magazine includes it among the sode “The Return of Esteban,” the two have a fight
screen’s most violent exchanges. rolling down a hillside and into the brush. On this
It was one of the first extended fights done en- they let Louie Elias and Nick Dimitri do a portion
tirely without stunt doubles. For their devotion, of the fight in the sharp sticks. On the 1984 series
 19 7 0 199

Masquerade, they have a brief fight on a cruise ship, including hurling his body through the air, with
an obvious ode to Darker Than Amber. reckless abandon. Paul Nuckles was stunt coordi-
Unending praise must be heaped on Taylor and nator with Charles Wheeler behind the camera
Smith for the lengths of their physical acting. Tay- and Fred Chulack responsible for editing the
lor especially gave his body up for the sake of art. footage. The actors were ready to hate the football
Rarely has a man’s body been seen flying through player but wound up befriending him. Namath’s
the air with such violent force. It is amazing that Jets teammate Mike Battle, renowned for his crazy
Taylor didn’t break his back when Smith slams him fearlessness, also has a part. He’s the one Smith
against the wall the first time. Both men went pushes immediately before the Namath fight.
above and beyond the normal call of duty and into When Smith pushed harder than he had in re-
an area of uncharted machismo. Each came off this hearsals, the football player punched Smith in the
film with a legitimate tough guy reputation that mouth. Battle had already been running at cast
endured for decades. Smith became the preemi- members and throwing footballs at their heads, so
nent movie and TV villain of the 1970s. In com- Smith immediately knocked Battle back down.
menting on the fight in newspaper accounts, Tay- The power of the punch convinced Battle, who
lor noted, “Movie fights have been a part of the loved to fight, to quickly give up any notion of pur-
business since silent days, but I must say that the suing the conflict further. The two wound up
one Bill and I have is the toughest I’ve ever seen.” friends for the remainder of the shoot.
See: Darker Than Amber pressbook; Scott, Ver- Playing a bike gang leader was nothing new for
non. “Gory Movie Fight for Real.” Seattle Daily Smith. He was quickly gaining a reputation as the
Times. April 26, 1970. King of the Motorcycle Movies. Hollywood actors
were rarely accepted by the real gangs, but after a
Joe Namath vs. William Smith few bumps in the road Smith proved an exception.
He even received a letter of commendation from
in C.C. and Company (1970) Hells Angels president Sonny Barger. After making
“Loving, brawling, and bustin’ it up!” pro- a never-completed film with the Bandidos of Texas
claimed the trade ads for Seymour Robbie’s C.C. in 1968, Smith was made an honorary member of
and Company (1970). Super Bowl–winning foot- that outlaw club. During the making of Run, Angel,
ball quarterback Joe Namath stars as C.C. Ryder Run! (1969), Smith was in costume at a Santa
opposite love interest Ann-Margret in this goofy Monica hamburger stand when he was accosted
motorcycle film. It is different than anything else by five members of Satan’s Slaves. Smith put three
in the biker genre, playing like an Elvis Presley members of the motorcycle gang in the hospital
movie as clean-cut motorcyclist Namath tangles with his real-life fight skills. While attending the
with scruffy gang leader William Smith, who gives New Jersey premiere of The Losers (1970), he
a remarkably charismatic, scenery-chewing per- landed in a skirmish with a gang who attacked him
formance. Smith was a late replacement for Bruce at the theater. Another real- life biker club, the
Glover, who after arriving on set was thought to Knight Riders, interfered with the making of An-
be too short to be a convincing rival for Namath gels Die Hard! (1970) in Kern County, California.
in a fight. Ironically, Namath is an unconvincing Smith fashioned that experience into the autobi-
rival for the muscular Smith, but it at least made ographical biker film Hollywood Man (1976).
the football star a tremendous underdog instead See: “Falconetti Character Disguises Many Tal-
of a bully. The two have a high-energy one-minute ents of William Smith.” The Hollywood Reporter.
fight alongside the wooded Santa Cruz River near January 7, 1977; Garmon, Ron. “King of the Bik-
Tucson, Arizona, while Mitch Ryder’s “See See ers: William Smith.” Worldly Remains. #4, 2001.
Rider/Jenny Take a Ride” effectively blares on the
soundtrack. A barefoot Smith fights dirty, utilizing Don Stroud vs. Bill McKinney
a spinning kick and a chain, but the 6'2", 195-
pound Namath doesn’t back down and fights
in Angel Unchained (1970)
gamely. Smith triumphs, but ends up the bloodier Two of the 1970s’ great psycho bad guys square
of the two combatants. off in this hippie vs. biker flick from director Lee
Namath is doubled in the fight by Nick Dimitri. Madden and AIP. Playing a rare good guy, lead
The New York Jets wouldn’t let him ride a motor- Don Stroud runs afoul of fellow gang members
cycle for fear of injury. Smith does the entire fight, when he shacks up with hippie girl Tyne Daly at
200 19 7 0

an Arizona commune near the Superstition Moun- impressed early in his career by launching stunt-
tains. Bill McKinney, one of the filthiest of the bik- men over a bar counter during a saloon brawl in
ers, presses himself upon Daly, whom Stroud de- Journey to Shiloh (1968). Notable fights include
fends in a realistic one-minute assault of punches Coogan’s Bluff (1968), Slaughter’s Big Rip- Off
and spirited grappling in the mud of a garden. (1973) and Sudden Death (1975) (see entries).
While filming the fight, Stroud thought McKinney Fights of interest came against Clint Eastwood in
was trying to kill him, but the two had lunch to- Joe Kidd (1972), Kirk Douglas and Neville Brand
gether when they were done. Stroud later claimed in Scalawag (1973), Park Jong Soo in Search and
he thought it was one of the best fights put on film, Destroy (1981) and Dennis Quaid in The Night the
and it’s unique that bad guy McKinney ends up Lights Went Out in Georgia (1981). On TV, Stroud’s
with the upper hand with an axe-heel raised above best fights came against David Janssen in the 1972
his head. He drops it with a smile, adding an in- O’Hara, U.S. Treasury episode “Operation: Smoke-
teresting wrinkle to his bad guy characterization. screen,” Don Galloway in the 1972 Ironside “Night-
The low-budget film has an intriguing opening mare Trip,” George Peppard in 1973’s Banacek “No
scene, a comic biker brawl set in the abandoned Stone Unturned” and Joe Lando in the 1993 Dr.
amusement park Legend City. The actors and Quinn, Medicine Woman “Running Ghost.” Stroud
stuntmen mixed in with real members of the Dirty engaged David Carradine in a brief martial arts
Dozen Motorcycle Club from Mesa, Arizona, to fight in the 1974 Kung Fu episode “Cry of the
ride the park’s rides as they fight. Stroud rescues Night Beast.”
pal Larry Bishop at the top of the rollercoaster. As See: “Don Stroud.” Psychotronic Video. #38,
often happened on these low-budget biker flicks, 2003; Poggiali, Chris. “Shock Cinema Talks with
there was a fair amount of actual partying going the Incomparable Don Stroud.” Shock Cinema.
on behind the scenes. McKinney and a real outlaw #13, 1998.
biker got loaded while waiting for the set-up and
proceeded to punch one another for real. Neither The Mormon Camp Fight in They
could feel any damage being done. The film ends
with Stroud and the bikers protecting the hippies
Call Me Trinity (1970)
from dune buggy–riding cowboys who hate them Handsome blue-eyed Terence Hill and burly
both. Hal Needham and Bud Ekins coordinated Bud Spencer teamed up as unlikely brothers Trin-
the action while Billy Burton, Allan Gibbs, J.N. ity and Bambino for this innovative Spaghetti
Roberts, Jerry Randall and Michael Haynes served Western spoof made outside Rome by Italian
as stuntmen. writer-director Enzo Barboni (aka E.B. Clucher).
Don Stroud (6'2", 200 pounds) was a surfing The slapstick comedy launched an entertaining
champion hired off the beach in Waikiki to double new genre known in America as Fagioli Westerns
Troy Donahue on the TV series Hawaiian Eye. He due to Hill’s penchant for eating beans on screen.
had studied Kajukenbo karate and earned a black The two kind-hearted outlaws become reluctant
belt at age 16. When he moved to Los Angeles, he heroes by taking on a greedy land developer (Far-
became the bouncer at the popular Whisky a Go ley Granger) who’s pressuring a Mormon camp
Go on the Sunset Strip. Stroud had no acting train- with his hired muscle. Hill and the bearded
ing but excelled at playing violent villains and Spencer are a great combination of finesse and
quickly gained notice. Given his size and martial power, nonchalant in their methodical fighting
arts background, he earned a reputation as a real pace and never doubting they will be victorious
tough guy. In 1990, the former lifeguard came to over a small army of bad guys including Remo
the aid of a mugging victim and fought six as- Capitani’s Mexican bandits in a climactic six-
sailants for nearly ten minutes, receiving multiple minute brawl. The whole thing plays like farce as
knife wounds resulting in the loss of an eye. In Hill and Spencer toss their guns aside before the
2004, he was inducted into the Black Belt Hall of action begins. The carefree Hill swings windmill
Fame. punches with a smile on his face while the irritable
Stroud was an aggressive screen fighter throw- Spencer’s signature move is a hammer-like fist atop
ing punches fast and furious. He administered ter- his opponent’s heads. Their punches occasionally
rifying screen beatings and could sometimes be- have superhuman results: Bodies fly right and left
come carried away fighting in films like Bloody across the screen and through the framework of
Mama (1970) and The Killer Inside Me (1976). He an uncompleted Mormon structure as a result of
 19 7 0 201

kicks, punches and incredibly

loud slaps. Hill does gymnastic
routines on the wooden beams,
and there’s even some anachro-
nistic pro wrestling–type moves
and karate. Sometimes Spencer
takes two heads in his huge
hands and bangs them together.
“Genuine brawling entertain-
ment!” promised the trade ads.
It’s cartoon-like in its violence
with little if any bloodshed, but
nevertheless a triumph of fight
choreography the Chicago Sun
Times called “highly stylized.”
The A to Z of Westerns in Cinema
declared there are “amazing
stunt falls in every which direc-
tion.” Action Films called it “one Bud Spencer (left) fights Remo Capitani in Avco Embassy’s They Call Me
of the funniest fights ever Trinity (1970).
filmed” and included it on their
list of the all-time great screen fights. Barboni said Evens (1978), I’m for the Hippopotamus (1979),
he was inspired by the barn-raising sequence in Who Finds a Friend Finds Treasure (1981), Go for
Seven Brides for Seven Brothers (1954). It (1983), Double Trouble (1984), Miami Supercops
Hill and Spencer do all their own fights, work- (1985) and Troublemakers (aka The Fight Before
ing with a team of 30 veteran Italian stuntmen who Christmas) (1994). The films were so popular that
were well-practiced in acrobatics. Among the lookalikes Michael Coby (aka Antonio Cantafora)
stuntmen on this film were Miguel Pedragosa, and 6'4", 320-pound Paul L. Smith were paired for
Paola Magalotti, Riccardo Pizzuti, Fortunato a similar series of Italian action comedies begin-
Arena, Omera Capanna, Pietro Turrisi, Alberto ning with Carambola (1974).
Dell‘Acqua, Roberto Dell‘Acqua, Augusto Funari, Terence Hill (formerly Mario Girotti) was a
Gilberto Galimlerti, Getano Imbro, Emilio rowing champion with a gymnastics background
Messina, Osaride Pevarello, Lorenzo Fineschi, Gi- that served him well in action scenes. When duck-
ancarlo Bastianoni, Sergio Smacchi, Marcello ing a punch, the spry Hill would go into a quick
Verziara, Artemio Antonini, Oscar Giustini, Mario full squat, rising up explosively with a stinging jab.
Dionisi, Paolo Figlia, Roberto Alessandri, Bruno Five-eleven and 170 pounds, he was apt to hit an
Ukmar and Franco Ukmar. Assistant director- opponent with any part of his limber body, which
action coordinator Giorgio Ubaldi was largely re- kept his inventive action scenes consistently inter-
sponsible for putting the elaborate fight together esting. Sometimes sped- up camera tricks were
for the camera. Nearly ten days were devoted to used to make Hill appear impossibly fast, most no-
its filming. Fistfights in a general store and a saloon tably when he repeatedly slaps Antonio Monsele-
also make an impact. In the latter fight, the eter- san and Jean Martin in Trinity Is Still My Name and
nally relaxed Hill sits back and watches Spencer My Name Is Nobody (1973) before they can draw
wipe out the entire roster of bad guys. their guns. Hill said that fights were the favorite
The duo first incorporated slapstick stuntmen part of his films. He even took on Bud Spencer in
fights in Ace High (1968) and Boot Hill (1969) but God Forgives, I Don’t (1967), dominating the fight
not to the extent of their Trinity hit. The popular with his acrobatics until Spencer unloads his sig-
physical comedy team returned as Trinity and nature “Hammer Blow” over his head. Hill chose
Bambino in Trinity Is Still My Name (1972) and in to fall to the side like a dead pigeon, a great comic
many films with varying settings including All the reaction. They fought again to a humorous stale-
Way Boys (1972), Watch Out, We’re Mad (1974) mate into the closing credits of All the Way Boys.
(see entry), Turn the Other Cheek (aka Two Mis- Hill also starred sans Spencer in Man of the East
sionaries) (1975), Crime Busters (1977), Odds and (1972) and Mr. Billion (1977) (see entries). Fights
202 19 7 0

of interest came against Salvatore Borghese in heavy dramatic moment that led to an Oscar nom-
Super Fuzz (1980) and Joe Krieg in They Call Me ination for Jaeckel. Everyone on the crew was in
Renegade (1988). the mood for levity which the beach fight beer fest
See: Hughes, Howard. Once Upon a Time in the provided over the next three days despite temper-
Italian West: A Filmgoer’s Guide to Spaghetti West- atures reaching nearly 100 degrees. Since Newman
erns. London: I.B. Taurus, 2004; Prickette, James. was involved as a principal, second unit director
Actors of the Spaghetti Western. Xlibris, 2012. Michael Moore and assistant Mickey McCardle
took on more responsibility with cinematographer
The Beach Brawl in Sometimes a Richard Moore.
The son of a champion amateur wrestler, 5'7",
Great Notion (1970) 170-pound Richard Jaeckel had a boxing back-
The beer flowed freely on the Oregon location ground and served with the Merchant Marine dur-
of the logging picture Sometimes a Great Notion ing World War II. He was well-known among the
(based on Ken Kesey’s mammoth novel), creating California beach crowd for his skill on a surfboard
a memorably fun film that became a local legend. and in the water. An exercise fanatic, he became
One highlight is a beach picnic between rival log- one of the first Hollywood actors to sport a body-
ging interests in which a touch football game in- builder’s physique. The stout character player
stantly becomes a rough game of tackle. Soon was well-liked by film crews, especially the stunt-
there’s an all-out brawl in the sand and surf cour- men whom he counted among his closest friends.
tesy of a Jim Burk taunt that star Paul Newman Jaeckel was often effectively cast as tough sol-
takes offense to. In Kesey’s novel, the characters diers and cowboys and didn’t shy away from
fight in a bar, but screenwriter John Gay changed doing his own fight stunts, beginning with juvenile
the setting to take advantage of the outdoor loca- delinquent brawls in City Across the River (1949).
tion. The men are at odds with one another be- He was a devotee of the Japanese martial art
cause the independent Stamper family led by Kendo.
Henry Fonda never gives an inch and continues a Notable fights include 4 for Texas (1963) and
logging contract, causing aggravation among the The Devil’s Brigade (1968) (see entries). Fights of
unionized locals who have been frozen out by the interest came against Billy Murphy in Sands of Iwo
big companies during a strike. Jima (1949), Dick York in Cowboy (1958), Charles
The three-minute football game and resulting Bronson in When Hell Broke Loose (1958), Mickey
fight sequence were coordinated by stuntman Rooney in Platinum High School (1960), Robert
James Arnett and filmed at Fogarty Beach between Horton in The Green Slime (1968), Henry Duval
Newport and Lincoln City. Stars Paul Newman, in The Kill (1973), Paul Newman in The Drowning
Richard Jaeckel, Michael Sarrazin and Cliff Potts Pool (1975), Harold Sakata in Mako—The Jaws of
were up against stunt actors Jim Burk, Roy Jenson, Death (1976) and Frankie Avalon in Blood Song
Charles Horvath, Bennie Dobbins, Dick Hudkins, (1981). On TV, Jaeckel fought Nick Adams in the
Stan Barrett, Fred Lerner, Dean Smith, Mickey 1960 Rebel episodes “The Rattler” and “Run,
Gilbert and Terry Leonard. Local loggers Ron Killer, Run,” Richard Boone in the 1962 Have
Bernard and Gene Altemus also became involved, Gun—Will Travel “The Predators,” and Michael
and all who partook ended up with a large amount Higgins in the 1963 Gunsmoke “Two of a Kind.”
of wet sand in their clothes. When the scene See: Freese, Gene. Richard Jaeckel: Hollywood’s
wrapped, two bottles of celebratory whiskey were Man of Character. Jefferson, NC: McFarland, 2016;
broken out and passed among the actors and Love, Matt. Sometimes a Great Movie. South Beach,
stuntmen. OR: Nestucca. 2012.
By the time of the Fogarty Beach scenes,
producer-star Newman had taken over from orig- Alain Delon vs. Jean-Paul
inal director Richard Colla, who it was felt was
spending too much time on overly artistic camera
Belmondo in Borsalino (1970)
set-ups. The atmosphere on the film had been French film stars Alain Delon and Jean-Paul Bel-
tense before the switch but now was far looser and mondo, as 1930s gangsters in Marseilles, team up
resembled a Hollywood party on location. The to form their own crime ring. They are at odds
previous day, Newman finished the crucial scene when they meet in the opening scene of Jacques
where Jaeckel is pinned under a log, a memorably Deray’s film. Delon has been released from prison
 19 71 203

and arrives at Belmondo’s bistro to look up former The Town Square Showdown in
girlfriend Catherine Rouvel. She is now attached Billy Jack (1971)
to the swaggering Belmondo, who takes umbrage
at suave Delon’s attempt to spirit her away. The Five-foot-ten, 180-pound filmmaker-star Tom
two cocksure men trade punches back and forth Laughlin, former halfback for Marquette Univer-
for over three drawn-out minutes. Both actors do sity’s football squad, scored with audiences when
the entirety of the fight with stuntman Yvan he introduced his anti-establishment foot-fighter
Chiffre coordinating the action. The fight strives Billy Jack in the crude but watchable biker film
to be realistic with the effect of its punches, in- Born Losers (1967). It was an intriguing role due
cluding many body blows. The men sweat, bleed, to its many contradictions. Billy Jack was a half-
bruise and lose their footing. By fight’s end, they breed Indian and former Green Beret who set
have gained one another’s respect and shake aside his own pacifistic preaching when forced to
hands, prior to collapsing to the floor. stick up for the little person. After killing in Viet-
There was finagling going on behind the scenes nam, he wanted peace, but when push came to
because of star egos. They are so evenly matched shove he could kick tail. For the low-budget se-
because it was part of their contract. Neither quel, titled simply Billy Jack, Laughlin amped up
wanted to be seen as the fight’s loser. They also the social activism and the karate while replacing
had to have the same number of close-ups. How- the seedy bikers with bigoted cowboys and turn-
ever, since Delon was a producer, he made it a the-other-way lawmen. The most famous scene,
point to have his name appear first on screen under and the one that contributed to the martial arts
that guise, though their contracts stipulated bill- boom that helped make Billy Jack an early 1970s
ing on equal grounds. Belmondo later sued over cultural phenomenon, is the town square fight
this issue. The fight is well- mounted by Deray against ten local rednecks, which publicity trum-
and lensed by Jean-Jacques Tarbes, paying partic- peted as “the most exciting karate fight ever filmed.”
ular attention to the period detail. Film Editing Mostly shot on location in Prescott, Arizona,
calls it “spectacular.” But the New York Times wasn’t the scene leading up to the fight occurs in Dent’s
impressed, remarking that the fights “manage to Ice Cream Parlor when four locals led by David
be both dull and unusually brutal at the same Roya and John McClure harass a group of young
time.” Indians and pour white flour over their heads.
Five-foot-ten, 160-pound Belmondo was a pro- Laughlin arrives and announces intensely that
fessional soccer goalie and a successful amateur such senseless violence makes him go berserk. He
boxer, accounting for his trademark broken nose. beats up the bullies in a matter of seconds with
The ugly/handsome look helped propel him to Hapkido karate moves, and knocks McClure out
stardom as a New Wave Humphrey Bogart in Jean- the front window. He knows the rest of the town
Luc Godard’s Breathless (1960). In a pair of enter- will want to take him down, so he removes his
taining action films, That Man from Rio (1964) cowboy boots and walks out to the town’s court-
and Up to His Ears (1965), Belmondo earned a house square barefoot. He is quickly surrounded
reputation for doing his own fights and risky stunt by a group of toughs and faced down by town boss
work. He was still pulling off the smiling tough Bert Freed. Realizing he will be forced to fight,
guy daredevil act nearly 20 years later in The Pro- Laughlin famously tells Freed, “I’m going to take
fessional (1981) and The Outsider (1983). Comedy this right foot, and I’m going to wop you on that
action star Jackie Chan called him an influence. In side of your face,” as he indicates Freed’s right
real life, Belmondo was known to accommodate cheek. “Really,” smiles Freed. “Really,” says Laugh-
those who wished to test his toughness. He fought lin, and he kicks Freed as he said he would. The
Lino Ventura in Greed in the Sun (1964) and made rednecks descend on Laughlin, who dazzles them
a fight cameo in Casino Royale (1967). with his jumps, kicks, leg sweeps and spinning
See: Chelminski, Rudolph. “Kids Want to Be back kicks over the next 30 seconds. He is clubbed
Like Him—or Belt Him.” Life. November 11, over the head and beaten up before Sheriff Ken-
1966; Orpen, Valerie. Film Editing: The Art of the neth Tobey arrives to put a halt to the violence.
Expressive. London: Wallflower, 2003; “The Perils But in those 30 seconds, a superstar was born. Cult
of Jean-Paul: Belmondo Declines Doubles Nearly Movies calls this fight “spectacular.”
Hits the Fin.” People. August 22, 1977. The tremendous popularity of the fight is un-
doubtedly due to the presentation of the martial
204 19 71

arts on display and the anticipation Laughlin cre- and generous padding beneath the men’s clothes.
ates through his dialogue and situations. American Nevertheless at least two of the would-be stunt-
audiences had never seen anything like this style men suffered mild injuries, one who took a Han
of footwork performed by a Caucasian, or here a foot to the mouth and another who took a round-
white actor pretending to be half–Indian. In actu- house kick to his bicep. Han’s wish was to display
ality, many of Laughlin’s moves were done by his the movements in the most favorable light and for
stunt double, Korean martial arts technical advisorthat he needed to make contact. He had hoped to
Master Bong Soo Han. Laughlin came across Han segue from one movement into another and
in the summer of 1969 presenting an exhibition thought multiple cameras would capture the move-
of his Hapkido in Pacific Palisades, California. He ments the best. The producers nixed any notion of
approached him about doing Billy Jack and the two going to the expense of extra cameras. On the point
trained together for the next six months. The Ko- of filming continuous movements, the neophyte
rean martial art of Hapkido is known as a “combi- Han clashed with the director Laughlin (using the
nation art” as it incorporates Korean kicks, judo pseudonym T.C. Frank) and cameramen Fred J.
throws, the Aikido use of “ki” as well as pressure Koenekamp and John M. Stephens. They had their
points, grabs and even weapons. It was Han’s hope own styles and comfort level and insisted they
to showcase different techniques throughout the could present Han’s fighting style effectively. What
film while never making the same movement the filmmakers did was take a cue from Sam Peck-
twice. The famous kick to Freed’s face is known as inpah’s use of slow- motion in The Wild Bunch
an outside crescent kick. Hundreds of karate stu- (1969) and incorporate slow-mo in the beginning
dents repeated the move in dojo studios around of a Han movement that became regular speed as
the country over the next several years as martial the kick or punch was completed and the oppo-
arts became all the rage. nent fell. When edited by Larry Heath and Marion
The popular shedding of Laughlin’s cowboy Rothman, the effect worked beautifully and be-
boots wasn’t a realistic Hapkido necessity but a came a regular feature of martial arts action for the
caveat of the filmmakers to insure greater safety Kung Fu series that followed in the early 1970s.
for the stuntmen. Martial arts movements were The quick-cut editing is so good that the naked eye
frowned upon by the majority of stuntmen, who is unable to detect the presence of Han executing
didn’t like the risk involved with flying feet and the kicks and advanced Hapkido techniques.
unfamiliarity. Because of budgetary constraints, Laughlin began filming Billy Jack in the fall of
Arizona locals were used rather than professional 1969, but American International Pictures pulled
stuntmen. Han insisted upon the use of bare feet the plug before it was picked up and completed by
Warner Bros. After six weeks of
location work, it took Laughlin
over a year to finish the picture,
with parts being completed in
Santa Fe, New Mexico. When it
was released in the spring of 1971
in the traditional regional
method, it found little more than
a cult audience. Laughlin stuck
by his picture and gained control
of a re- release from the studio
after threatening a lawsuit. He
rented over 1000 theaters and
used a releasing technique
termed four-walling: opening the
movie simultaneously with a
huge ad campaign. The film be-
came a massive hit and made
Laughlin tens of millions. He
Tom Laughlin (left) became famous for the town square martial arts quickly followed with another se-
fight seen in Warner Bros.’ Billy Jack (1971). quel, The Trial of Billy Jack
 19 71 205

(1974) (see entry). Thirty-five years later, Laugh- actor used a stuntman as they toppled over a picnic
lin included nearly a minute of extra fight footage table. Fuller wears riding gloves, which served to
as a bonus on the DVD release. protect his hands. At one point he throws an elbow
Critics were not as enamored with the overlong, to Russel’s face. Fuller had no idea the filmmakers
preachy, anti-establishment film as audiences, who were going to use slow-motion in the scene, which
embraced the Billy Jack character and the state- might have changed the way he put the fight to-
ment Laughlin was making about fighting injustice gether. Russel was a star in Italian gladiator, spy
and corruption. In regard to martial arts, the and sci-fi films of the 1960s, often cast in leading
Chicago Sun Times called the action scenes “first- parts because he was willing to do his own stunts.
rate,” while The Cleveland Press cited it as “one of The film concludes with a battle between biker
the most exciting brawls ever put on film.” It was gangs filmed in California’s Fifteen Mile Valley. In
well-received by the martial arts community and this impressively mounted Pier Six brawl, Fuller
the appreciative public. Black Belt praised the use and Russel fight side by side against Bonner’s gang.
of Hapkido as “realistic” and “well-executed.” The One of the highlights of any Laramie (1959–
American Martial Arts Film termed the karate 1963) episode was the fights, which the 5'11", 175-
“crude, if not effective,” calling the fight itself “a pound former stuntman Fuller enthusiastically did
doozey.” The Ultimate Guide to Martial Arts Movies without a double in his portrayal of Jess Harper.
of the 1970s commented, “Anyone watching this The Korean War vet patterned his fighting style
film was taken aback by the simplicity and effec- after Range Rider hero Jock Mahoney and could
tiveness of the fight.” According to Chasing Drag- throw a great screen punch and a mean backhand.
ons, “The scene is well- executed and Laughlin He set an energetic pace in his fights and his timing
keeps the camera angles low and wide to capture was superb. Hal Needham was Fuller’s favored
the action, a technique that most American direc- fight partner and often doubled the show’s guests
tors still seem unable to grasp.” since the two worked so well together. One of their
See: Billy Jack DVD special features; Chawkins, best fights had Needham doubling Russell John-
Steve. “Filmmaker Behind the Hit Billy Jack Se- son during a table-smashing saloon brawl in 1963’s
ries.” Los Angeles Times. December 16, 2013; “Badge of Glory.” In 1961’s “Dragon at the Door,”
MacLaughlin, Bob. “Those Fabulous Fight Scenes Fuller engaged in a battle with judo expert Robert
in Billy Jack.” Black Belt. March 1972. Kino. Another top fight came against Arch John-
son in 1963’s “No Place to Run.” On Wagon Train
Robert Fuller vs. Tony Russel (1963–1965), Fuller’s Coop Smith fought co-star
Denny Miller in 1963’s “The Sandra Cummings
in The Hard Ride (1971) Story.” As a TV guest, Fuller had memorable fights
Burt Topper’s The Hard Ride is an interesting with Peter Breck in the 1967 Big Valley episode “A
biker film starring two-fisted TV Western main- Flock of Trouble” and Doug McClure in the 1967
stay Robert Fuller as a Vietnam vet returning Virginian episode “A Welcoming Town.” On the
home with the body of his buddy. He intends to big screen, Fuller fought Chuck Courtney in
give his pal a proper burial but runs afoul of the Teenage Thunder (1957), Denver Pyle in Incident
man’s biker friends who want possession of his at Phantom Hill (1966) and Seighardt Rupp in the
beautiful chopper named Baby. The main conflict German Mittsommernacht (1967). During the
comes in the form of gang leaders William Bonner 1960s, Fuller and stuntman pal Chuck Courtney
and Tony Russel as an Indian motorcyclist. Russel staged fight exhibitions for live audiences on a
also wants to take possession of Fuller’s girlfriend multi-city rodeo tour.
Sherry Bain. Fuller has a two- minute fight in a See: Barnum, Michael. “Tony Russel–Our Man
sandpit with Russel in which Topper gets in close on Gamma 1: The Wild, Wild Interview.” Video
with a hand-held camera. Towards the end of the Watchdog. #128. February 2007; Raddatz, Leslie.
brawl, Topper utilizes slow-motion photography “The Gentle Brawler.” TV Guide. December 1963.
and sounds of the Vietnam War on the soundtrack.
Despite the pretentiousness of these post- Charles Bronson vs. Toshiro
production bits, it’s still considered to be one of
the better fights in the biker genre. Variety praised
Mifune in Red Sun (1971)
the film for having “good brawl sequences.” East meets Old West as cowboy Charles Bron-
Fuller choreographed the fight and neither son reluctantly joins forces with samurai warrior
206 19 71

Toshiro Mifune in a quest to recover a stolen Revolution, so an Asian presence during this pe-
sword. In anti-hero Bronson’s case, he’s also out to riod wasn’t out of place. The most famous example
settle an old debt with former partner Alain Delon. of a martial artist in the Old West came when
After much whimsical verbal sparring in a foot trek David Carradine took on the part of wandering
across the Almeria, Spain, location, there’s a short Shaolin priest Kwai Chang Caine in the 1971 TV
comic fight in which Bronson bushwhacks Mifune movie Kung Fu and the highly popular series that
with a branch that’s repeatedly halved in his hands. ensued. Following the lead of Red Sun, Chen Lee
Bronson quickly deduces he’s no match for Mifune took on Klaus Kinski and Gordon Mitchell in The
and his sword, at which point Mifune sheds his Fighting Fists of Shanghai Joe (1973) and Lo Lieh
weapon for a one-on-one fight. Bronson assumes and Lee Van Cleef teamed up for The Stranger and
a fighting stance and urges Mifune to take a swing. the Gunfighter (aka Blood Money) (1974). Tom
Bronson feels forced to take on the role of aggres- Laughlin starred as a western swordsman in The
sor. A bewildered Bronson endures half a dozen Master Gunfighter (1975) while karate champ Jim
judo tosses before diplomatically deciding Mifune Kelly made a supporting appearance in Take a
must be getting tired. Bronson has been unable to Hard Ride (1975).
land a single punch. In all the throws, he never Toshiro Mifune was a member of the Imperial
loses his cowboy hat (the better to hide the iden- Japanese Army Air Force during World War II and
tity of the Spanish stuntman). Later, Bronson does then became a legend as the forceful ronin star of
get the upper hand on Mifune after a sneak attack Akira Kurosawa’s Rashomon (1950), The Seven
and holds him underwater, proving that some- Samurai (1954) and Yojimbo (1961). Despite
times old-fashioned brawn can win out over supe- being of average size (5'9", 160 pounds), he could
rior training. By the climax the two are a tandem project a powerful presence and had the grace of
fighting against Delon and his outlaws. movement to make his action scenes believable.
Director Terence Young and cinematographer Mifune learned Kendo and Lai for his films from
Henri Alekan capture the sun-drenched battle- 8th degree black belt Dr. Juzo Sasamori, as well as
ground well, and editor Johnny Dwyre cuts opti- judo from Kenjutsu master Yoshio Sugino who
mally in what National General’s advertising choreographed sword moves for the Kurosawa
promised was “the greatest fighting machine the films. Mifune was never a master but became pro-
west has ever known.” The stars are an intriguing ficient at enacting martial arts and swordsmanship
pair and gradually gain a measure of trust and re- for the camera. He memorably fought Lee Marvin
spect for one another. Although critics attacked it, in Hell in the Pacific (1968) and battled alongside
Red Sun helped to solidify the charismatic Bron- Scott Glenn in The Challenge (1982).
son’s success as an international star. Bronson bi- See: Hunter, Stephen. “Mifune Embodied Growl-
ographer Brian D’Ambrosio praised the film’s “ex- ing, Unkempt Machismo.” Deseret News. Janu-
cellent fight scenes” and calls the Bronson-Mifune ary 2, 1998; “Inquiries About Actor Mifune.” Black
clash “terrific.” The Independent Film Journal wrote, Belt. May 1964; Red Sun pressbook.
“Audiences will probably respond best to the
scenes in which Bronson is constantly getting Sean Connery vs. Joe Robinson
thrown on his ass.”
The idea of mixing cowboys and martial artists
in Diamonds Are Forever (1971)
wasn’t new. It had been explored on numerous An older and heavier Sean Connery returned
episodic TV westerns with cowboy heroes such as to play James Bond in the successful if too-
Have Gun—Will Travel’s Richard Boone improb- cartoonish Diamonds Are Forever. Plagued by a
ably bettering trained martial artists with tradi- bumpy Richard Maibaum-Tom Mankiewicz script
tional punches. The most notable presence of mar- trying to transition Bond into the 1970s, it’s one
tial arts in a western setting came from Robert of the weaker Bonds but still delivered top thrills
Conrad displaying his karate skills against multiple when it came to the fights. The Evening Independ-
Asian attackers in the first season of The Wild Wild ent declared that the film occasionally dragged a
West in 1965. Conrad returned to more traditional bit, “although the fight scenes do seem to more
fisticuff action during the ensuing seasons. Chi- than make up for the slow spots.” In the Bond tra-
nese labor helped build the transcontinental rail- dition, early in the running time we’re treated to a
road throughout the American west and Japanese two- minute fight between 007 and diamond
began migrating to California after the 1868 Meiji smuggler Peter Franks ( Joe Robinson) in a Am-
 19 71 207

sterdam elevator leaving little room

for either big man to maneuver.
There’s plenty of grunting and bro-
ken glass. Exiting the elevator, Con-
nery turns a fire extinguisher on
Robinson and flips him over a bal-
cony to his death. Bob Simmons was
stunt coordinator and Connery dou-
ble, with George Leech serving as as-
sistant coordinator. John Barry’s
score effectively kicks in midway
through the fight with Ted Moore
shooting the cramped quarters su-
perbly.
Director Guy Hamilton came up
with the claustrophobic idea of plac-
ing the fighters in a tiny lift after see-
ing a friend’s antiquated elevator. He
liked that the two large men didn’t
have the room to throw traditional
punches and would be crashing into
the up and down buttons and break-
ing glass with their elbows. The ele-
vator was built as a four foot square
box model at Pinewood Studios.
Connery’s judo instructor Robinson
was signed to play his opposition
thanks to his stunt background, grap-
pling skills and familiarity with the Joe Robinson (left) and Sean Connery fight in an elevator in United
star. Ironically, since it was a featured Artists’ Diamonds Are Forever (1971).
role, Robinson was savvy enough to
insure that his contract stipulate that a stuntman pair of limber females known as Bambi and
would be used for the sequences where the eleva- Thumper. Bambi is played by Lola Lawson, al-
tor was traveling fast. though stuntwoman Donna Garrett erroneously
The principals and stunt team spent three receives on- screen credit. Professional singer-
weeks rehearsing this scene. On one take, Robin- dancer Trina Parks was recruited to portray
son accidentally pulled off Connery’s toupee. On Thumper. The girls use their gymnastic skills to
another take, the supposedly dead Robinson kick Connery all over a cutting-edge Las Vegas
opened his eyes with female lead Jill St. John bend- mansion (the scene was actually filmed in Palm
ing over him dressed in a skimpy outfit. Connery Springs). The tables are turned when they end up
took the logistics all in stride, joking that the next in a swimming pool and Connery is able to use his
Bond fight would likely be in a phone booth. In- muscle to hold the girls underwater. There’s a no-
terestingly, Connery’s Bond errs in breaking the table moment during the battle when Parks kicks
glass with his elbow as he draws back to strike Connery between the legs. Parks kept holding
Robinson, alerting his foe to the impending dan- back during rehearsals for fear of injuring Con-
ger. It’s a rare case of Bond being an aggressor in- nery, despite his claims of being adequately pro-
stead of a reactor. For this reason, some fans had tected. With the cameras rolling, Parks nailed
a problem with the death of the Peter Franks char- Connery perfectly. Paul Baxley coordinated this
acter. There’s also a continuity error from editors sequence. However, the Joe Robinson fight re-
Bert Bates and John W. Holmes involving a crow- mains the confrontation worthy of inclusion with
bar that’s dropped but reappears in Robinson’s the top Bond fights. The Spy Who Thrilled Us com-
hand when Connery blasts him with foam. pared it favorably to the battle Connery had with
Another popular encounter occurs later with a Robert Shaw in From Russia with Love (1963),
208 19 71

saying it “has some of the same viciousness and led by Richard Connaught, whom McDowell
fight-to-the-death qualities.” Kiss Kiss, Bang Bang doesn’t think has “the yarbles” to take him in a
called the Robinson set-to “wonderfully barbaric.” fight. Alex and his droogs (Warren Clarke, James
Joe Robinson, 6'2" and 220 pounds, won the Marcus, Michael Tarn) encounter the rival gang
European heavyweight championship wrestling as on a stage at the demolished Karsino hotel on
Tiger Joe Robinson. A judoka, he attempted to try Taggs Island, and the chaotic action that follows
out for the Tokyo Olympics but was denied due includes a dazzling array of flying bodies, tables
to his professional standing as a wrestler. Robin- and chairs that explode into pieces upon impact.
son was involved in a controversial late 1950s judo Window panes are upraised and come smashing
match-up against the legendary Kenshiro Abbe, down over heads with malicious intent. Yet
with both claiming victory. Tape surfaced showing Kubrick and McDowell make it entertaining in its
the much smaller and older Abbe dominating the own way, riding a fine line between thrilling and
early going but Robinson staying with him until repulsing their audience with the repetitive as-
his opponent tired. After injuring his back, Robin- sault. Billy’s Boys are encountered in the midst of
son left wrestling to pursue an acting career, win- a rape, which makes McDowell’s unruly thugs the
ning the lead in A Kid for Two Farthings (1955) fight’s anti-heroes in the audience’s eyes. As the
where he fought Primo Carnera. He failed to be- story progresses, an attempt is made by society to
come a movie star despite putting on judo exhibi- rehabilitate McDowell, opening the film to debate
tions on the beaches of Cannes. Robinson used the origins of criminal behavior and the ability to
his bodybuilder physique and 50" chest to star in incur lasting change. Ironically, McDowell’s
a series of Italian muscleman films in the early science- based rehab involves physical torture
1960s. known as the Ludovico Treatment, suggesting that
With brother Doug he became a popular stunt his violent acts are not so much his own free will
arranger on TV’s The Avengers (1961–1969) and being acted upon as they are a conditioned re-
ran a martial arts studio in Brighton. The brothers sponse to the environment in which he has been
co-authored a book with series star Honor Black- brought up.
man, Honor Blackman’s Book of Self-Defence. Rob- The Billy’s Boys fight is a perfectly edited 90-
inson trained Connery in judo for several of the second crescendo of violence matched effectively
Bond pictures and was in the running for the Red to Gioacchino Rossini’s “The Thieving Magpie”
Grant role in From Russia with Love. He also by cutter Bill Butler. The classic music contrasts
trained Kirk Douglas, Frank Sinatra, Paul New- remarkably with a level of violence that hadn’t pre-
man, Albert Finney, Terence Stamp and Oliver viously been seen on screen. When it came to the
Reed. In 1998, Robinson fought off eight muggers fight action, Kubrick waived control of the scene
in Cape Town, South Africa, with martial arts. to stunt coordinator Roy Scammel, but the cine-
After he broke one man’s arm, the others fled. He matic camera style and overall weird tone is all
was 70 years old. Kubrick. The fight was shot over six days during
See: “Joe Has the Eye of the Tiger.” The Visitor. the last of six months of filming. The most mem-
August 10, 2004; “Trina Parks: The Girl Who orable moment is perhaps the serio-comic cane
Zaps James Bond.” Ebony. March 1972. beatings that cinematographer John Alcott shot
from a distance, creating a voyeuristic affect for
The Gang Fight in A Clockwork the audience. Kubrick biographer Stuart Y. Mc-
Dougal found the rhythmic images and swelling
Orange (1971) score “sexual and phallic.”
A stylized, disturbingly violent black comedy Fights in film are often unrealistic, going far past
based on the futuristic Anthony Burgess novel, the point of normal human resilience. Hand bones
writer-director Stanley Kubrick’s A Clockwork Or- are unbroken and faces are too often free of blem-
ange was unlike anything that came before it in its ishes in the next scene. It’s part of the cinematic
artistic glorification of wanton free will. It origi- license given to Hollywood to entertain its audi-
nally received an X rating. ence with action scenes. Kubrick presents the
Malcolm McDowell is the charismatic young most violent aspects of fights but he also presents
criminal Alex who leads his followers into acts of it in an over-the-top manner that takes the vio-
gleeful sexual deviance and brutal mayhem for lence into a different direction: brutality that in-
amusement. Their archenemies are Billy’s Boys, spires guilt-laden laughs. Fight Choreography re-
 19 7 2 209

ferred to the brawls as “extremely lively and styl- was a champion steer wrestler who manhandled
ized,” while Action Films included it among their Dern as well. Wayne humorously chided Dern
greatest fights of all time, calling it “an ultraviolent from off-camera to make a fight of it, but Dern was
little fight that has power.” helpless in the vice-grip hands of the rodeo cow-
See: A Clockwork Orange DVD special features; boy.
McDougal, Stuart Y. Stanley Kubrick’s A Clock- The fight was shot both on location at Pagosa
work Orange. Cambridge: Cambridge University Springs, Colorado, and in Burbank at the Warner
Press, 2003; Moorhead, Rory. “Roy Scammell: Bros. studio where close-ups were done. Robert
Stuntman Extraordinaire.” Harrow Times. Febru- Surtees’ nighttime camerawork is excellent. Buzz
ary 27. 2013. Henry served as stunt coordinator, and makeup
man Dave Grayson provided the fake blood and
John Wayne vs. Bruce Dern in bruises. Wayne was long opposed to graphic de-
pictions of violence on screen, and everyone knew
The Cowboys (1972) he’d be reluctant to have the bloody makeup ap-
“I’ve broke my back once, and my hip twice,” plied. Grayson jokingly told Rydell he might need
John Wayne tells Bruce Dern in Mark Rydell’s The three assistants to hold Wayne down. Henry tried
Cowboys, “and on my worst day I could still beat to bring up the subject but couldn’t, too fearful of
the hell out of you.” Wayne does exactly that over a volcanic reaction upon the request. When
the next three minutes as he gets the better of their Grayson brought it up, he was surprised Wayne
exchanges and slams the long-haired cattle rustler was agreeable to it, realizing that times were chang-
against a tree. As the Duke walks away, a bloodied ing and audiences demanded realism. Show called
and beaten Dern, his nose broken, draws his gun the fight “savage, brutal, and very real.” When it
and shoots Wayne in the back and legs. The scene aired on ABC- TV in prime time the following
shocked audiences. After all, the New York Times year, censors left in the violence but deleted
described Wayne as “marvelously indestructible” Wayne calling Dern “a son of a bitch.”
and the Chicago Sun Times kidded that Wayne “can The coming-of-age drama from William Dale
absorb lead like nobody since The Thing from An- Jennings’ novel, about the ramrod of a cattle drive
other World.” The on-screen killing of an icon was being forced to recruit a bunch of school age chil-
a moment Wayne told Dern audiences would hate dren, was a departure for Wayne. It had few of his
him for, and he couldn’t have been more correct. regular crew working on it. Nevertheless he is per-
The actor received death threats after the film’s re- fectly cast as the boys’ teacher of life lessons. One
lease. Fully aware of Wayne’s stance on the war in of those lessons occurs when two bulls square off.
Vietnam, Dern joked to Wayne
that the war protesters in Berkeley
would love him.
Bill Catching was on hand to
double Dern in the fight but not
enough for the actor’s taste. Wayne
knew that the 6'1", 180-pound
Dern was a Method actor so told
him to come at him with every-
thing he had. However, Wayne was
simply too strong for Dern. The
younger actor recollected Wayne
walloped him in the fight, and
Dern was bothered by a bad back
from then on. His pain became a
point of pride as he received the in-
jury from getting beaten on screen
by John Wayne. Dern didn’t get
any relief when Wayne’s double
Walter Wyatt stepped in for a few John Wayne clobbers Bruce Dern in Warner Bros.’ The Cowboys
shots. The 6'2", 230-pound Wyatt (1972).
210 19 7 2

Wayne shows the boys how the old bull has more accompanying sound effect. In Coppola’s defense,
experience and fends off the young bull. The mo- it’s a continuous medium shot from D.P. Gordon
ment foreshadows the later fight between Wayne Willis with Caan throwing a quick sequence of
and Dern. punches. There’s no alternative camera angle to
See: Dern, Bruce, and Christopher Fryer and cut to in editing (William Reynolds and Peter Zin-
Robert Crane. Things I’ve Said, but Probably ner were nominated for an Oscar in that depart-
Shouldn’t Have: An Unrepentant Memoir. Hobo- ment). The flaw lies in the post-synching, not in
ken, NJ: John Wiley & Sons, 2007; Shepard, Don- Coppola or stunt coordinator Paul Baxley’s stag-
ald, Dave Grayson, and Robert F. Slatzer. Duke: ing, which required extensive rehearsal and for the
The Life and Times of John Wayne. New York: actors to hit 37 marks.
Citadel, 2002. The fight is vitally important to the story as it
shows the temper of Caan’s Sonny Corleone char-
James Caan vs. Gianni Russo acter, half-brother of Al Pacino’s Michael and son
of Vito Corleone (Marlon Brando). His short fuse
in The Godfather (1972) will be his undoing, and his enemies use Russo for
Widely regarded as one of the cinema’s greatest that purpose. Caan is incensed that Russo has
achievements, Francis Ford Coppola’s gangster physically abused his sister Talia Shire. Russo is
saga The Godfather is nevertheless ridiculed by nit- seen hanging out on a crowded street with chil-
picking fans for a single missed punch thrown by dren (two of them Coppola’s) playing in an open
James Caan during the one- minute street fight fire hydrant when Caan pulls up. Russo tries to run
where Caan’s Sonny Corleone beats the tar out of but Caan tackles him and throws him against a
abusive brother-in-law Gianni Russo. Caan misses wall. What follows are approximately two dozen
the punch by what looks like a foot, yet there’s an unanswered punches and kicks, leaving Russo
lying beaten to a pulp in the hy-
drant’s spray. Caan smashes
Russo with a garbage can and
hits him with the lid. He even
takes off Russo’s shoe, beats
him with it, and bites his hands
when Russo holds onto a railing
and refuses to let go. Giving a
final kick, Caan warns, “You
touch my sister again, I’ll kill
you.”
Las Vegas club owner Russo
had never acted on film before
but had influential connections.
He auditioned but wasn’t ini-
tially cast. Brando took a liking
to Russo’s moxie after Russo
confronted him. Caan, how-
ever, did not. Legend has it that
Caan didn’t hold back during
the fight. Coppola resisted using
stunt doubles. He couldn’t film
the missed punch from a differ-
ent angle because Russo was in-
jured when Caan connected
with a few spirited body punches
and kicks, cracking two of
Russo’s ribs. Russo also suffered
James Caan goes crazy on Gianni Russo in Paramount’s classic The God- a nicked elbow and wasn’t
father (1972). pleased with Caan’s physicality.
 19 7 2 211

The fight was shot on location on Pleasant Avenue pulling, eye- gouging and nose- ripping action.
in East Harlem. Fight Choreography calls it “a lively brawl to the
James Caan grew up an athletic, streetwise kid death.” According to Monster Rally, Smith plays his
who boxed and briefly played football at Michigan part “with brooding intensity and his characteris-
State. Five-foot-ten and 165 pounds, the brashly tic impressive physicality, the latter displayed in
energetic Caan carried himself with an exagger- his climactic down-and-dirty fight to the finish.”
ated bravado, but he was one of the more physi- Director John Hayes and D.P. Paul Hipp join the
cally capable actors in Hollywood. His tough talk battle with their camera as Smith and Pataki
and swagger wasn’t all show. He took an interest pound away at one another. Smith’s back is lit on
in competitive rodeo, becoming a member of the fire after he is knocked into a fireplace, and he
Professional Rodeo Cowboys Association. The launches his body end over end into a wall. He
martial arts also became a lifelong passion, and performs a double axe-handle blow and a clean
Caan was one of the few actors who did more than and jerk with overhead press of Pataki’s body. Un-
dabble. He studied kung fu in the 1960s and con- fortunately, the glass doorway Smith throws
tinued training with Emil Farkas and Tak Kubota. Pataki’s body through is too obviously made of a
Caan focused on Gosoku- ryu karate, earning a thin paper-like material, detracting from the effec-
black belt. Notable fights include The Glory Guys tiveness of the scene. In the highlight of the fight,
(1965), The Killer Elite (1975) and 1941 (1979) Smith wraps a chain around Pataki’s neck and lit-
(see entries). Fights of interest came against Bing erally jerks him off the ground from his back onto
Russell in Journey to Shiloh (1968), Robert Duvall his stomach. With Pataki dangling over a balcony
in The Rain People (1969), Christopher Morley in by the chain, Smith karate chops a table leg and
Freebie and the Bean (1974), Jim Davis in Comes a uses it as a makeshift stake to plunge into Pataki’s
Horseman (1978) and Arnold Schwarzenegger in heart.
Eraser (1996). Stunt coordinator Joe Pronto did much of the
See: The Godfather DVD special features; Lebo, fight for Pataki, understandable considering the
Harlan. The Godfather Legacy. New York: Simon abuse Smith inflicts. The overhead lift was
& Schuster, 2005; Seal, Mark. “The Godfather achieved by filming in reverse with Smith lowering
Wars.” Vanity Fair. March 2009. Pronto. Smith allowed the use of stunt double
Nick Dimitri’s services for the fire gag and a con-
William Smith vs. Michael vincing fall over a balcony into an open stairwell.
Pataki in Grave of the Vampire The film was shot in downtown Los Angeles, with
the climax taking place in a large manor. During
(1972) the fight, Pataki’s cheap fangs kept falling from his
This extremely low-budget horror film was shot mouth, which threatened to give the actors the
in 11 days for $50,000. Nevertheless it gained a giggles. Pataki is best known as the Klingon ag-
cult reputation for its striking atmosphere, eerie gressor in the humorous brawl highlighting the
Jose Mendoza-Nava score, intelligent script by fu- 1967 Star Trek episode “The Trouble with Trib-
ture Sopranos creator David Chase, and the solid bles.”
lead performances by genre vets Michael Pataki See: Grave of the Vampire pressbook; “Inter-
and William Smith as father-and-son vampires. view: William Smith.” Fangoria. #324, June, 2013;
Smith is half-bloodsucker, conceived illegitimately Wilson, S. Michael. Monster Rally. West Orange,
as the result of a Pataki rape. He vows revenge for NJ: Idea Men, 2008.
the death of his mother, who was forced to feed
the baby her own blood. Thirty-odd years later, Terence Hill vs. Riccardo
Smith finds Pataki teaching occult history at a uni-
versity. The two have a cat- and-mouse game
Pizzuti in Man of the East (1972)
around female lead Lyn Peters, but when Pataki Man of the East is an entertainingly silly Spa-
bares his fangs at a group séance, he’s shocked at ghetti Western from writer-director Enzo Barboni
the strength and power Smith displays. Smith and the makers of the popular Trinity films. It is
heatedly announces he’s Pataki’s son: “And I’m highlighted by an epic slapstick saloon brawl-street
going to destroy you!” brawl between odd aristocrat Terence Hill and
Their resulting battle is one for the ages, a Italian stuntman Riccardo Pizzuti. The tenderfoot
nearly five-minute wall- smasher featuring hair- star’s punches are often unorthodox, and he
212 19 7 2

throws them with a glowing smile on his face. Piz- Lieh Lo vs. Hsiung Chao in Five
zuti grins and laughs as he takes the punches. This Fingers of Death (aka King Boxer)
is one of the happiest brawls ever committed to
film. The only thing missing is Hill’s usual co-star
(1972)
Bud Spencer. The uncanny Yugoslavian-shot ac- An influential Hong Kong martial arts film from
tion was coordinated by stuntman Giorgio Ubaldi, producer Run Run Shaw and director Chang-Hwa
who considered his lengthy fights like dance rou- Jeong, Five Fingers of Death was the first to be
tines. He counted out tempo and beat as the com- picked up, redubbed and distributed theatrically
batants landed punches on one another. Each of in both the United Kingdom and the United States
Ubaldi’s fights took up to ten days to film. Cine- by Warner Bros. Its success with western audi-
matographer Aldo Giordani was behind the cam- ences paved the way for Bruce Lee and the flood
era. The composing duo Guido and Maurizio De of chop-socky flicks that followed. Five Fingers of
Angelis (aka Oliver Onions) provided a whimsical Death (aka King Boxer in its native land) has all
if seemingly neverending score. the ingredients necessary: rival martial arts schools
There’s another big saloon brawl where Pizzuti and tournaments, snarling villains, violent re-
primarily squares off against American character venge, screaming battle cries, the one- against-
actor Gregory Walcott. A recurring comic motif many theme and a very capable action lead in Chi-
has characters’ heads smashed through tables. Sev- nese star Lieh Lo. The martial arts action as
eral Italian stuntmen handle the brawls with Hill coordinated on theatrical backdrops by Chuan
and Walcott, among them Salvatore Borghese, Chen and Chia Yung Liu is captivating, even fea-
Giovanni Cianfriglia, Bruno Arie, Giancarlo Bas- turing fantastical flying leaps as the combatants
tianoni, Roberto Alessandri, Omero Capanna, engage one another. Sometimes trampolines are
Franco Daddi, Paolo Figlia, Osiride Pevarello, used. At other points, the film is reversed to
Renzo Pevarello, Franco Ukmar, Emilio Messina, achieve the innovative stunts. It all leads to a five-
Pietro Torrisi and Marcello Verziera. These stunt- minute showdown with sword-wielding Japanese
men worked often with Hill and had their slapstick warrior Hsiung Chao that concludes with Lo lit-
fight routines down to a science. Hill’s fights par- erally punching his foe through a wall.
alleled those found in the martial arts genre as they The fighting is extremely violent, which was
often involved Hill taking on several fighters at part of the appeal to U.S. audiences. When contact
once. He approached these fights with a sense of is made, dust flies from the costumes or the floor-
humor, a tack that worked in the face of the ridicu- boards to show off the power of the blow. Decap-
lousness of the situations. itation and eyeball-plucking are everyday occur-
Often cast as a henchman, the shaggy, gray- rences in this fantasy western from the East, which
bearded Pizzuti excelled at taking punches and American audiences were quick to ooh and aah
throwing his rangy acrobat’s body through the air over. There are even kitschy nuggets such as an
with arms flailing and hair flying for comic effect. overactive zoom lens and Lo’s glowing red palms
In Man of the East, his biggest role, he repeatedly announcing his Iron Fist technique while accom-
dives into the dirt, rolls across tables or flips over panied by Quincy Jones’ iconic squealing siren
Hill’s back after a full-steam charge. He was a per- score from the American TV cop show Ironside.
fect cartoon complement to Hill and his fighting Quentin Tarantino used this same memorable bit
partner Bud Spencer, dating back to repeatedly to great effect in Kill Bill (2003). Five Fingers of
taking a frying pan to the face in They Call Me Trin- Death is one of his favorite films and an inspiration
ity (1970) (see entry) and getting his teeth knocked for his own production The Man with the Iron Fists
out in both All the Way Boys (1972) and Odds and (2012). Lo Lieh followed with The Stranger and
Evens (aka Gambling for High Stakes) (1978). The the Gunfighter (aka Blood Money) (1974) where he
fighting duo continued to beat on him for the next fought heavyweight boxer Gregorio “Goyo” Per-
decade, most notably in Trinity Is Still My Name alta.
(1971), Turn the Other Cheek (1974), Crime Busters Publicity declared it “a masterpiece of martial
(1977) and Go for It (1983). arts” which was pure hyperbole but made people
See: Profession—Acrobat: An Afternoon with Ri- want to check it out. Variety was quick to note the
cardo Pizzuti; Terence Hill 2002 Perugia interview film’s merits, writing that the picture represented
transcript. “a whole new era of bruising, battering savagery
that should appeal to action audiences.” According
 19 7 2 213

to the Village Voice, “The action sequences, as not having Lee fight until midway through, and
usual, are well handled, but are limited to the su- then he was only allowed to personally choreo-
perhuman rather than the supernatural.” The New graph a single fight in an ice factory against oppo-
York Times called the fighting “flashily spectacular” nents who were not established as worthy adver-
but noted that it all seemed more for show than saries. The latter film has wall-to-wall fighting with
actual skill. The Pittsburgh Post- Gazette wrote, Lee and his own Jeet Kune Do front and center.
“None of the film’s absurdities matter apparently The Chinese Connection highlights the 5'7", 140-
because audiences care only for the fight scenes pound Lee’s incredible speed and precision. In a
which come every three or four minutes.” The fantastic four- minute fight in a Japanese dojo
Pittsburgh Press: “Cinematographer Wang Yung- against multiple opponents, he uses his hands, feet
Lung’s principal accomplishment is the mastery and a pair of nunchaku (aka nunchucks). Action
of slow motion, which is incorporated into all ac- Films and Black Belt include this among the great-
tion sequences and blended with plenty of vrapps est fights of all-time. The Ultimate Guide to Martial
and fwoops.” The Ultimate Guide to Martial Arts Arts Movies of the 1970s calls it “one of Hong Kong
Movies of the 1970s has nothing but praise for “the cinema’s most important fight scenes.” It’s one of
incredible action and martial arts expertise of Lo the best examples of the often implausible one-
Lieh.” Martial arts had truly arrived, essentially re- against-many screen fights that dominate the
placing the time-honored western and forever al- genre. In one sequence, Lee expertly takes on nine
tering the traditional notion of a fight scene. attackers with not a single miss. As the star and
See: Lucas, Charles. “Profile of a Great Ameri- choreographer, he gets to accentuate his own
can Fad.” Black Belt. October 1974. strengths, showing himself to be physically fit with
tremendous screen presence and camera aware-
Bruce Lee vs. Robert Baker in ness. Audiences had never seen a star so powerful,
The Chinese Connection (aka Fists fast to strike, and adaptable to more than a dozen
opponents coming at him from all directions. Lee
of Fury) (1972) was so fast, he’d often pause and hold a pose for a
Despite his determination, innovative martial moment after a series of movements so the audi-
artist Bruce Lee’s career in America stalled after ence had time to digest what occurred. Then it was
the cancellation of the TV series The Green Hornet on to the next attack. By the end of the fight, his
(1966–1967), where he had opened many eyes as opponents are so whipped they cringe like mis-
Van Williams’ supremely skilled cohort Kato. Lee treated dogs at Lee’s slightest movement.
couldn’t manage much other than an impressive The film is reputed to be the first Hong Kong
supporting role in Marlowe (1969) opposite James martial arts film featuring a Caucasian villain, the
Garner where he famously destroys Garner’s office mustached Russian character Petrov (Robert
only to be suckered into trying an ill-advised kick Baker). Baker had been Lee’s student and the re-
atop a building. Lee had a few undistinguished as- cipient of his famous “one-inch strike” during an
signments as fight coordinator on The Wrecking exhibition at the Long Beach Invitational in 1967.
Crew (1969) and A Walk in the Spring Rain (1970), He was big enough to be a believable threat to Lee
as well as a couple of TV appearances on Longstreet on screen. When they were out on the town In
(1971–1972), where he played blind investigator Hong Kong, Lee jokingly told people that Baker
James Franciscus’ karate instructor. He had hoped was his bodyguard. In the movie, Lee and Baker
to star in what became the TV series Kung Fu but spar with one another for three minutes, although
lost the role to Caucasian actor David Carradine. Lee is toying with the bigger man. Baker’s kicks
There was also a personal screenplay titled The and punches are no match for Lee’s defense and
Silent Flute which he hoped to co- star in with counters. His size and strength are factors in his
James Coburn. They scouted locations together favor. Baker traps Lee in an arm-bar and locks his
in India, but that project kept getting pushed back. legs around Lee’s neck. Lee breaks the hold by bit-
Although he had reservations, Lee accepted an ing his opponent’s leg. When Lee rises, he shows
offer to go to Hong Kong and star in martial arts his humor by wiping his mouth as if he has feasted
films for Golden Harvest and director Wei Lo. The on a tasty morsel. After Lee has worn a bloodied
first was The Big Boss (aka Fists of Fury) (1971) fol- Baker down, the fight ends with a slow-motion
lowed by The Chinese Connection (aka Fists of Fury) side-kick to the head and a deadly strike to the
(1972). The former builds deliberate suspense by throat.
214 19 7 2

Profiled in the 1992 documentary Deadliest Art: Boston: C.E. Tuttle, 1997. Lee, Bruce, and John R.
The Best of the Martial Arts Films, The Chinese Con- Little. Words of the Dragon: Interviews, 1958–1973.
nection also boasts future martial arts star Jackie Boston: C.E. Tuttle, 1997.
Chan as a stuntman. Chan distinguished himself
on the film by doubling the villain Suzuki (Riki The Barroom Brawl in Junior
Hashimoto) in the climactic scene where Lee kicks
him 15 feet through the wall of a building. The
Bonner (1972)
stunt, which only Chan volunteered for, was a Director Sam Peckinpah, the former Marine
record-setting movement that gained Chan noto- noted for the bloody violence in The Wild Bunch
riety within the Hong Kong stunt community. He (1969) and Straw Dogs (1971), offered a change-
worked with Lee again on Enter the Dragon (1973) of-pace character study with this interesting Steve
(see entry). These credits enabled Chan to be- McQueen rodeo drama. Set in a changing Pres-
come a renowned stunt coordinator and star. cott, Arizona, it features an ambling, often humor-
On the crimefighting series The Green Hornet, ous four-minute brawl inside the famed Palace Bar
Lee amazed the show’s professional stuntmen with on Whiskey Row. Peckinpah and cinematographer
his quickness. Stunt coordinator Bennie Dobbins Lucien Ballard took a week and a half to film the
had to convince Lee his movements needed to be complicated scene, which involved a bar full of
slowed down so the camera could follow them. local extras amidst a bar full of local extras, several
When Lee balked, Dobbins countered by having stuntmen, and a band playing on stage. Frank San-
Van Williams take on multiple opponents while tillo and Robert Wolfe’s razor-sharp editing per-
Lee spent his time with one. Lee quickly got the fectly establishes the character and mood as Mc-
message and learned more about fighting for the Queen and beautiful Barbara Leigh lock eyes with
camera. The stuntmen in turn began to train in one another. Her escort Charles Gray is none too
martial arts, realizing that Lee and his rapid-flying pleased when McQueen asks her to dance. Sensing
kicks were the wave of the future. Lee’s best fight that Gray is about to explode, McQueen takes ad-
came against Mako Iwamatsu (doubled by Danny vantage of his friendly rival Bill McKinney’s inter-
Inosanto) in 1966’s “The Preying Mantis.” est in Leigh and lets him cut in. Gray confronts
Lee was considered a one-in-a-million athlete McKinney, and the venerable Ben Johnson steps
when it came to his unique combination of skill, in to knock Gray down with the first punch of the
coordination, inner drive and physical attributes fight. Joe Don Baker, as McQueen’s brother, also
complimentary to his chosen sport. His Jeet Kune throws a punch while McQueen and Leigh slink
Do system utilized his dazzling speed and timing off to an isolated spot to get to know one another
while designed to throw off an opponent’s offense better.
by beating them to the punch. Lee theorized that The action as written by screenwriter Jeb Rose-
when an opponent was striking, he wasn’t defend- brook is raucous and full of local color; capturing
ing and could be vulnerable. He studied boxer the life of a beer- swilling rodeo cowboy. The
Cassius Clay (Muhammad Ali) and fencing master Palace brawl wasn’t part of the original script but
Julio Martinez Costello to see how they closed the a suggestion by Peckinpah, who retained Rose-
distance on an opponent or hit on half-beats to brook on location. Tough guy McQueen doesn’t
disrupt the other’s style. Lee began utilizing snap throw a single punch in the brawl. A surprisingly
punches to give extra power to his blows. His strik- engaging McKinney proves to be the most spirited
ing speed from three feet away was timed at five fighter in the saloon and dominates the action. A
one-hundredths of a second. Many marveled at his highlight is a slow-motion McKinney leap into the
ripped physique with a three percent body fat per- ruckus. A small Indian local named Curly provides
centage and a miniscule 26" waist measurement. humor as he drunkenly ogles the girls and follows
He pushed himself in training to grow as a man them into the rest room. The crew had to bail him
and as a fighter, continuously testing the levels of out of jail most mornings. Peckinpah wanders
his body’s strength and endurance. Notable fights through the scene at one point. Huge local James
include Way of the Dragon (1972), Enter the Shreeve begins cleaning up the mess and puts an
Dragon (1973) and Game of Death (1979) (see en- end to the fisticuffs when he tells the band to play
tries). “The Star Spangled Banner.” The fight ends with
See: Lee, Bruce, and John R. Little. Jeet Kune everyone having had a good time, with the excep-
Do: Bruce Lee’s Commentaries on the Martial Way. tion of Gray. Variety wrote, “Audiences that con-
 19 7 2 215

sider such rough-and-tumble as innocuous, vicar- ing Dragons writes, “Norris’ duel with Lee is a clas-
ious ventilation will get their fill.” sic.” Films of Fury calls it “the most realistic empty-
Mickey Gilbert was stunt coordinator while the handed martial art fight ever filmed to that date.”
“Ward Brothers” stunt team (Autry, Steve and Action Superheroes and Action Films rank it as one
Troy), Denny Arnold and Wayne McLaren are fea- of the top fights of all time. This match- up of
tured in the action. Due to needing footage of the karate legends literally changed the face of fight
Prescott Rodeo Days in July of 1971, the film was scenes as martial arts began to overtake traditional
rushed into pre-production and was over-budget slugfests. Lee not only starred in the film but
as a result. The producers wouldn’t let Gilbert wrote, produced, directed and choreographed all
have the 20 Hollywood stuntmen he requested, so the amazing fights. Way of the Dragon was origi-
he recruited Prescott locals at $5 a day and trained nally intended for Chinese audiences, but after
them at the local YMCA. When they stepped be- Lee’s 1973 death and the overwhelming success of
fore the cameras with Gilbert’s handful of profes- that year’s Enter the Dragon, there was a U.S. re-
sional stuntmen, the locals nervously rushed lease. According to Variety, “The highlight is the
through the scene. Gilbert discussed the problem exciting climax,” while the Village Voice said it “was
with Peckinpah and opted to roll camera on the worth seeing for the fabulous fight scene at the
next rehearsal. Not realizing the camera was on, end.”
Gilbert’s trained locals performed perfectly. The fight takes up nearly nine minutes of screen
Bill McKinney served with the Navy during the time, including two minutes of the men simply
Korean War before cornering the early 1970s mar- warming up with vertebrae-crunching stretches
ket for crazy villains and redneck ruffians with his and karate kata. Throwing a curve in the face of
deranged mountain man in Deliverance (1972). A tradition, bad guy Norris wears white while hero
professional tree-topper with guts to spare, he had Lee wears black. They face off like gunfighters,
an amateur boxing background and kept fit. Five- while Lee gives ample screen time to an innocent
eleven and 170 pounds, he was able to handle his kitten observing the action. The fighters are evenly
own screen brawling. Notable fights came in Angel matched with Norris the stronger of the two but
Unchained (1970), Every Which Way but Loose Lee the quicker. Norris uses his high round-kick
(1978), Bronco Billy (1980) and Any Which Way to advantage while Lee features a low heel-sweep.
You Can (1980) (see entries). He also skirmished The choreography is intricate and all the tech-
with Tamara Dobson in Cleopatra Jones (1973), nique advanced. Midway through, Lee changes
Clint Eastwood in Thunderbolt and Lightfoot tactics and begins dancing, his sudden fluidity
(1974) and David Carradine in Cannonball (1976). throwing off Norris’ timing. In a humorous mo-
See: Gilbert, Mickey, and Roberta Rockwell. ment, Lee pulls off a clump of Norris’ chest hair.
Me and My Saddle Pal: My Life as a Hollywood At one point, the two fighters smile knowingly at
Stuntman. Outskirts Press, 2014; Junior Bonner one another. The wordless fight is treated as po-
DVD commentary; Loretti, Nicanor. “Bill McKin- etry, with the action occasionally turning to slow-
ney: You Done Taken a Wrong Turn.” Shock Cin- motion to emphasize the form of the fighters in
ema. #23, 2003. long, unbroken takes. Norris suffers blurred vi-
sion, and the camera briefly becomes his eyes. Lee
Bruce Lee vs. Chuck Norris breaks Norris’ arm and leg, but Norris gamely
in Way of the Dragon (aka Return fights on. Lee is forced to snap Norris’ neck to end
the fight. In a somber moment uncharacteristic of
of the Dragon) (1972) Chinese kung fu films, Lee places Norris’ gi and
Considered by many to be the greatest movie belt over his body in a show of respect for his fel-
fight ever, Bruce Lee against Chuck Norris in the low warrior.
Roman Colosseum delivers high thrills. Cinema Lee originally intended to have heavyweight
Retro refers to it as “one of the greatest fight scenes karate champion Joe Lewis play his opponent, but
ever filmed,” and it’s showcased in Deadliest Art: Lewis declined. Lee then offered the role to mid-
The Best of the Martial Arts Films (1992). Lee bi- dleweight champ Norris. This fight would poten-
ographer Bruce Thomas calls it “one of the best tially legitimize his standing among martial artists,
fight scenes that Bruce Lee ever put on film.” The seeing as he had chosen not to be a tournament
Ultimate Guide to Martial Arts Movies of the 1970s fighter and was frowned upon in certain circles.
claims it is “Norris’ best fight scene to date.” Chas- Lee felt that tournament karate was too restricted
216 19 7 2

by rules and regulations, hindrances to his instinc- together. Both realized the advantage of not being
tive style of Jeet Kune Do. Lee devised 20 pages bound to one strict style. In Hong Kong, the film
of choreography for the final fight in the Colos- was censored for excessive violence (Lee landing
seum, the oldest gladiatorial arena in the world. five consecutive kicks to Norris’ head). U.S. audi-
He began blocking the action in his home den with ences were able to see the footage of Norris’ nog-
his wife Linda playing the Norris role. Special per- gin knocked about in its entirety.
mits were arranged for the Colosseum itself while Fellow karate champion Bob Wall accompanied
a replica set was built in Hong Kong. When the Norris on location and trained with both Norris
5'9" Norris arrived in Italy, he weighed 162 pounds and Lee (and played a small role). More impor-
in comparison to Lee’s 145. Lee asked Norris to tantly, he ran interference for challenges toward
put on close to 20 pounds in a week as he wanted Norris from the Chinese. Norris was besieged with
him to appear much bigger than Lee on screen. threats and felt he should meet them. Instead, Wall
Norris obliged and made it to a weight of 180 for stepped in by appearing on Chinese television and
the fight. An entire day was devoted to choreog- announcing that anyone who wanted to challenge
raphy with Lee trying to see if what he had on Norris would have to go through Wall first. Wall
paper could be put on screen with Norris. The ac- had a legitimate tough guy reputation and claimed
tors agreed to make light contact. The next three he’d fight anyone to the death. Wall demonstrated
sixteen-hour days were devoted to the fight itself. his tremendous ability to take punches and kicks
Lee studiously checked the dailies for any sign of from both Norris and Lee on TV. Nobody came
a missed punch or kick. If he saw anything ques- forward to follow up on the challenges. Norris was
tionable, they filmed it again. then able to concentrate on the film fight with Lee.
Norris wished that he could have devised some Norris began studying judo while serving with
of the choreography to make it even better, but it the Air Force in Korea but switched to Tang Soo
was Lee’s show. When later questioned whether Do after injuring his shoulder. He quickly found
he could have beaten Lee for real, Norris took the he favored the high-flying kicks of the Tae Kwon
high road and remained noncommittal. Some Do offshoot. He earned his black belt in the art
claim the two fighters were antagonistic toward before heading back to the States and opening a
one another because Lee had once shown Norris karate studio. To drum up publicity for his school,
up after viewing Norris compete in a late 1960s he entered karate tournaments and made a name
karate tournament. In actuality, Norris was inter- for himself; he became the World Professional
ested in studying with Lee and they began training Middleweight Karate Champion in 1968. Norris
remained undefeated as a cham-
pion, retiring from competition
in 1974. As Norris made a name
in competition, his karate studios
began to expand; he took on
celebrity students Priscilla Pres-
ley and Steve McQueen. Bruce
Lee offered Norris a small role in
The Wrecking Crew (1969) fight-
ing Dean Martin. McQueen was
the first to suggest that Norris
could have a career in movies,
and Norris sold off his schools.
Although limited in his emo-
tional expressiveness as an actor,
Norris’ martial arts skills were
solid and provided enough high-
kicking flash to dazzle audiences.
His Nordic looks helped Ameri-
canize the arts and suggest that
Chuck Norris (left) and Bruce Lee square off for the legendary fight in with proper training and commit-
Warner Bros.’ Way of the Dragon (1972). ment, elite black belt status didn’t
 19 73 217

have to be exclusive to Asians. Norris became a dence men cheating his friend out of money dur-
tremendous influence to burgeoning martial ing a dice game and turns his fists on them. He
artists and one of the top action stars of the 1980s. puts up a great fight against bouncers Gene LeBell,
Nearly every one of his starring roles featured his Gil Perkins and Victor Paul, as well as Arch John-
trademark spinning back kick, and his status as a son, Dominick Mazzie, Del Monroe and Werner
tough guy took on legendary proportions. Rarely Venetz, a judoka brought in by LeBell. Baker de-
did Norris face one man in a fight. Often he was livers a double crotch punch. However, their num-
taking on entire gangs with his speedy roundhouse bers prove too much for him. They hold him down
kicks and well-aimed back fists. The fight in the while Monroe cuts him with a knife and leaves him
biker bar in Silent Rage (1982) and the pub battle for dead. After Baker recuperates, he wields the
in Code of Silence (1985) are his best. hickory stick equalizer and later runs for sheriff to
Notable fights include A Force of One (1979), continue his ongoing battle. Variety wrote, “Phil
The Octagon (1980) and Lone Wolf McQuade Karlson’s slaughter staging is far superior to his
(1982) (see entries). Fights of interest came dramatic direction.” The New Yorker called it “a
against Don Wong in Slaughter in San Francisco heartbreaker as well as a gut-cruncher.” The Day-
(1974), Ron Cedillos in Breaker! Breaker! (1977), tona Beach News Journal claimed simply, “Walking
Soon Taik Oh in Good Guys Wear Black (1978), Tall packs a punch.”
Professor Toru Tanaka in An Eye for an Eye (1981), Gil Perkins and Carey Loftin were stunt coor-
Seiji Sakaguchi in Forced Vengeance (1982), Rich- dinators while Roydon Clark was on hand to dou-
ard Lynch in Invasion USA (1985), Robert Forster ble Baker. The star learned judo from Gene LeBell
in The Delta Force (1986), Sonny Landham in Fire- over a five- week period. The wooden club was
walker (1986) and Jack O’Halloran and Brans - made of rubber. It wasn’t a weapon Pusser carried
combe Richmond in Hero and the Terror (1988). around, and he didn’t single-handedly take on the
Norris kicked butt weekly as the star of the hugely bad guys. In the real roadhouse fight, two pals
popular TV series Walker, Texas Ranger (1993– helped him. Pusser was often on set as a technical
2001), tangling with everyone from boxer Randall advisor watching Baker and later declared that the
“Tex” Cobb to UFC champ Frank Shamrock. He movie was “80 percent real.” When it became a
even fought such venerable character actors as huge hit, plans for a sequel were immediately put
Gary Busey, Michael Parks and Don Stroud. His in motion. This time Buford Pusser intended to
best fights came against frequent guest Marshall star, but he was killed in an automobile accident.
Teague. Baker had a feud with the producers and didn’t
See: Ortiz, Sergio. “Duel to the Death in the want to continue in the role, so Bo Svenson was
Colosseum: Bruce Lee vs. Chuck Norris.” Fighting brought in to star in the sequels Part Two, Walking
Stars. October 1975; Thomas, Bruce. Immortal Tall (1975) and Final Chapter, Walking Tall (1977).
Combat: Portrait of a True Warrior. Berkeley, CA: Brian Dennehy played Pusser in a TV movie titled
Blue Snake, 2007. A Real American Hero (1978), and Svenson re-
turned for the short-lived 1981 TV series Walking
Joe Don Baker vs. Corruption Tall. Dwayne “The Rock” Johnson took over the
role for a 2004 reboot followed by two Kevin
in Walking Tall (1973) Sorbo direct-to-video releases.
Walking Tall was a popular rural action hit from Baker was a believable screen fighter, throwing
director Phil Karlson and producer-screenwriter punches with heavy grunts and bad intentions. He
Mort Briskin. It concerns the real-life heroics of was the star of Robert Clouse’s 1974 martial arts
pro wrestler and Marine turned Tennessee sheriff film Golden Needles, providing a brawling counter-
Buford Pusser, who took on corruption in the point to the high-flying kickers. But the beefy for-
South. Big, raw-boned Joe Don Baker is perfectly mer Texas football player and Army veteran had a
cast as Pusser, and the highlight has him violently tendency to pack on the pounds and his days as a
clubbing a bar full of thugs with a big stick of leading man were few. He settled into a career as
wood. The bad guys in question ganged up on him a character actor. It looked like movie fights were
earlier during a bloody 90-second battle at the the extent of his working out, so they took on a
Lucky Spot Bar that Karlson and cinematographer believably sweaty desperation with Baker’s hair al-
Jack Marta filmed in red neon light. In that fight, ways mussed. To his credit, he did the bulk of his
Baker catches the pimps, bootleggers and confi- own on-screen fighting, seldom reliant on a stunt-
218 19 73

man to cover the action. Impressed by the 6'2" oped as a Sam Peckinpah vehicle. Veteran tough
Baker’s brutish size and natural strength, TV critic guys Lee Marvin and Ernest Borgnine square off
Gary Deeb wrote that he could “probably fight a as a Depression era hobo and a sadistic railroad
Sequoia tree to a stand-off.” cop who wants to keep bums off his train at all
Notable fights include Junior Bonner (1972) and cost. Marvin is no ordinary bum; he’s A No. 1 and
Framed (1975) (see entries). Fights of interest equally determined to ride Borgnine’s rail. Cocky
came against Bernie Casey in Guns of the Magnifi- youth Keith Carradine is along for the ride, but
cent Seven (1969), Del Monroe in Adam at 6 A.M. this drama is focused on the cagey Marvin and the
(1970), Andy Robinson in Charley Varrick (1973), bloodthirsty Borgnine. Both men are ready to put
Merlin Olsen in Mitchell (1975), Timothy Carey their reputations and lives on the line. The climax
in Speedtrap (1977) and Bud Davis in Shadow of is a masterful triumph of staging on an open flatcar
Chikara (1977). One of his best roles came as a as the Oregon scenery races past cinematographer
brutal hit man in the TV movie Mongo’s Back in Joseph Biroc’s camera. It’s apparent both aging ac-
Town (1971), and he starred for a single season as tors are doing all the fighting. Borgnine declared
the title character, a tough New York City cop, in Emperor of the North (aka Emperor of the North
Eischied (1979–1980). As a guest, Baker fought Pole) his personal favorite role.
Dan Kemp and Harry Lauter in the 1969 Big Valley The grueling five-minute battle involves fists, a
episode “Lightfoot” and Harry Swoger in the 1970 hammer, a chain, a two-by-four and an axe. At one
Lancer episode “Shadow of a Dead Man.” point Marvin knocks Borgnine off the car. As
See: Buck, Jerry. “Joe Don Baker Getting Tired Borgnine hangs from the edge, he realizes his fate
of Typecasting.” Daytona Beach Morning Journal. is in Marvin’s hands. Marvin has him measured for
May 27, 1978; Crist, Judith. “Hick, Hack, Hokum, a shot with the board, and a sudden sense of hurt
Ho-Hum.” New York. February 18, 1974; Deeb, appears in the helpless Borgnine’s eyes. It’s not that
Gary. “TV’s Biggest Superstars.” Star-News. June he fears being hit in the nose, it’s that he’s unready
11, 1979. for the fight to end. Marvin feels the same way and
lifts Borgnine up so they can resume the brawl
Lee Marvin vs. Ernest Borgnine with the declaration, “I promised you a fight, now
get your ass up, you dirty miserable son of a bitch!”
in Emperor of the North (1973) Borgnine literally cackles at the delight of contin-
A great action drama by director Robert Al - uing. The two delve deeper into their hatred for
drich, Emperor of the North was originally devel- one another as Marvin introduces the axe into the
savage battle. Marvin sinks the
blade into Borgnine’s shoulder,
and Borgnine begins to bleed
copiously. He realizes he is the
loser. Marvin has him meas-
ured for a kill, but relents and
pushes him off the train. He
hears, “You haven’t seen the
last of me!” Carradine steps up
to share in Marvin’s glory, and
the elder bum throws the an-
noying youth off the train.
“You got no class,” he explains.
Marvin claimed that the
fight took 14 days to film. Both
actors ran through the fight
routine numerous times for
the cameras, even doing the
fight with Aldrich’s camera on
Carradine to capture his reac-
Fight scene vets Ernest Borgnine (left) and Lee Marvin put on a great bat- tion shots. Marvin and Borg-
tle atop a train in 20th Century-Fox’s Emperor of the North (1973). nine are only doubled at the
 19 73 219

outset when Marvin jumps off a boxcar onto Borg- a kill and lets rip with his famous war cry. Editor
nine, and the two fall over Carradine onto the flat- Kurt Hirschler uncharacteristically went on loca-
car. For that, Walter Scott doubled Marvin, Jerry tion with the film so he’d have a better feeling for
Gatlin doubled Borgnine, and Jim Kingsley dou- the fights when he and George Watters hit the ed-
bled Carradine. Gatlin doubled Borgnine for the iting room. Several sequences were left uncut be-
outstanding back-fall off the train that ends the cause they came across so perfectly. Michael Allin
fight. The editing of Michael Luciano is superb worked up a functional script while art director
throughout. James Wong Sun concocted a colorful and inter-
The Chicago Sun Times called it “a masterpiece esting lair for the villain and the climactic fight.
of action direction by Robert Aldrich,” while the Lalo Schifrin provides a bouncy, memorable score
New York Times wrote that Aldrich “staged the ac- flavored with sounds of the Orient.
tion sequences with a dizzying vividness and ac- As for the fights, Lee against Bob Wall and Lee
curacy.” Variety chimed in with, “The film has sev- against Kien Shih (aka Shek Kin) in the Hall of
eral outstanding sequences of the top action class Mirrors are highlights. However, they are no
as Aldrich makes the most of Christopher Knopf ’s match for Lee’s incredible battle in the under-
screenplay in building them to a fever pitch.” The ground cave against dozens of charging oppo-
New Yorker, turned off by the graphic violence, nents. Lee also fights Sammo Hung in the pro-
called the fight “positively disgusting.” The Los An- logue. Charismatic Jim Kelly shows off his fancy
geles Times was also put off by the gore but came moves against cocky Peter Archer and Shih, al-
away impressed by the film: “While the savagery though he comes out the loser thanks to the latter’s
that marks A No. 1 and Shack’s final clash undeni- tiger claw attachment. Archer was a real-life Lee
ably grows logically out of their characters, Aldrich friend who ran a Hong Kong dojo. Angelo Mao,
depicts it so graphically that all that has been so as Lee’s ill-fated sister, fights off several of Wall’s
admirably expressed is in danger of being blotted attackers via flashback in a running battle. Then
out by a reaction of sheer revulsion.” Time has there’s venerable character lead John Saxon going
been kind to Aldrich’s classic tough guy match-up against the heavily muscled Bolo Yeung (aka Tang
with both Action Superheroes and Action Films in- Sze) in the tournament climax. Many would have
cluding it among the greatest fights of all time. preferred to see Lee squaring off against the for-
See: Emperor of the North DVD commentary; midable Yeung. The much-anticipated showdown
Emperor of the North pressbook. that didn’t happen is one reason some consider
Enter the Dragon imperfect. Most are enamored
Bruce Lee vs. Bob Wall in Enter with the overwhelming action and the legend of
Lee, who died mere weeks before the film’s release.
the Dragon (1973) All the major fight sequences were staged by the
Many have called Enter the Dragon the greatest star. The New York Times was impressed: “The pic-
martial arts action film ever. While that may be ture is expertly made and well-meshed; it moves
debated, there’s no denying that many of the like lightning and brims with color.” According to
genre’s most famous fights appear in the film. It’s Variety, “Lee socks over a performance seldom
so iconic, it was lampooned in The Kentucky Fried equaled in action.” The Los Angeles Times called it
Movie (1977). The karate-spy hybrid starring the “quite a few cuts above the usual kung fu epic,”
legendary Bruce Lee is the most influential film of while Fighting Stars lauded “some of the most ex-
its kind. It was the first martial arts film to be given citing and exacting fighting action ever filmed.”
major U.S. studio backing, in this case Warner Lee’s first memorable fight is a 90-second tour-
Bros., although most of it was lensed in Hong nament match with Kin’s scarred bodyguard Wall.
Kong over 13 weeks by visionary producers Fred Avenging the death of his sister, a spirited Lee
Weintraub and Paul Heller. Technically the film beats the bigger Wall to every punch and kick. Wall
rises well above the genre. Robert Clouse was the is quickly frustrated and opts to fight dirty by grab-
director and Gilbert Hubbs the innovative cine- bing Lee’s foot during a front kick. Lee flips back-
matographer, using slow motion particularly well ward to release the hold and snaps his other foot
in key spots to highlight martial art moves that into Wall’s face as he goes end over end and lands
would otherwise be imperceptible to the naked on his feet. In reality, the incredible flip wasn’t per-
eye. Zooms are also employed to zero in on the formed by Lee but by his acrobatic double Yuen
intensity painted across Lee’s face when he makes Biao (aka Yuen Wah). Biao also performed Lee’s
220 19 73

series of flips over the monks at the beginning of comes in and much of it’s attributed to director
the film. Wall next tries a spinning back kick, but Clouse. When Lee returned to finish the fight, the
Lee kicks him in the crotch before he can complete Chinese stunt extras surrounding the action whis-
his move. Losing control, Wall grabs two bottles pered that Wall had deliberately held onto the bot-
and smashes them together with intent to kill. Lee tle in an effort to hurt Lee. To save face, Lee would
knocks the broken bottles away and delivers a dev- have to kill the Caucasian. Lee had been having
astating sidekick that sends Wall flying into the problems with the Chinese stunt extras through-
tournament onlookers. With his signature primal out filming. More than one had challenged him,
scream, Lee leaps in the air in slow motion and to see how good a martial artist he was. Lee an-
comes down on Wall with a death blow. swered most of their challenges with a few quick
Wall and Lee were friends, but a controversial moves that put them in their place. Lee was now
incident occurred during filming of this fight. Be- put into the position where he was expected to kill
cause of budgetary limitations and the Hong Kong Wall or lose all respect with the Chinese. It’s
location, sugar glass prop bottles were unavailable. Clouse’s recollections fueling the hyperbole.
Wall was forced to break real bottles together in- Clouse claimed Lee was ready to kill Wall, but
stead of fake ones. They filmed the fight seven Clouse convinced him that Wall was still needed
times before the fighters made a timing mistake. for footage to be shot in the United States. Lee ap-
Lee cut his hand on the broken glass and began to proached the extras with this information and was
bleed. Filming had to be halted as assistant stunt able to save face. Nevertheless, he went at Wall
coordinator Lam Ching Ying drove Lee through full-speed and made contact without holding back
the mountain roads to the nearest hospital. The his power. Wall claimed this was how he and Lee
cut required 12 stitches, and filming with Lee had had prearranged it anyway. Wall was famous for
to be halted for a week. This is where the legend being able to take a hit. The side-kick administered

Bruce Lee scores a kick against Bob Wall in Warner Bros.’ iconic Enter the Dragon (1973).
 19 73 221

to a defenseless Wall was performed eight times larger room and lined with narrow vertical mirrors
and broke the arm of the man who was unfortu- creating a concave depression. This set of mirrors
nate enough to catch Wall as he fell into him. Wall broke up any image into a dozen more images and
was sore but uninjured. He had been close friends greatly aided the suspense of the scene. Shih could
with Lee since 1963 and they remained friends attack at any time, and Lee could never be sure
until Lee’s untimely death. from where. The idea was so popular that it was
The three-and-a-half-minute underground cav- appropriated by the James Bond franchise for the
ern battle known as the “Tunnel Fight” involved following year’s The Man with the Golden Gun
50 men charging at a shirtless Lee, who uses his (1974). For the staging of one kick, Lee needed to
hands and feet, a Bo Staff, Escrima sticks and a stand six inches away from Shih and deliver a kick
pair of nunchaku with blinding speed. The use of reaching three feet behind him. When captured in
the nunchaku—Two short pieces of hard wood at- the mirrors, it looked like a perfectly placed hit.
tached by a rope or chain—Sparked a craze for the Stuntman Lam Ching Ying doubled Shih during
weapons. Would-be martial artists around the portions of the fight with Lee.
world were soon bopping themselves in the head The mature Chinese character actor Shih per-
and groin as they tried to emulate Lee’s rapid-fire formed much of his own karate action, particularly
moves. Some of the assailants came at Lee a dozen in the earlier one-minute battle with Jim Kelly.
at a time and certain sequences took 14 takes to After Kelly easily dispatches a few of the bad guy’s
perfect. Lee was understandably tired out by the thugs, Shih attaches his tiger claw and Kelly fa-
taxing fight, which required perfect timing and mously likens him to a comic book villain. Kelly
choreography. He was bothered by a slight groin got a brief shot at stardom in Black Belt Jones
pull during the scene, the result of having to alter (1974) and Three the Hard Way (1974), but critics
his kicks to avoid full contact. He also had to be complained that he was mimicking Lee. Steve
careful not to knock any of the stuntmen into the James skewered those performances with his Kung
tunnel walls, as they were nothing but mud caked Fu Joe character in the spoof I’m Gonna Git You
onto chicken wire and wooden frames. If a fake Sucka (1988).
wall was hit by a body, it likely would have col- Enter the Dragon was filmed under the title
lapsed. One of the stuntmen was future martial Blood and Steel, but Lee preferred Enter the Dragon.
arts film star Jackie Chan, who gets his neck Warner Bros. thought U.S. audiences would be
snapped by Lee toward the beginning of the fight. confused and offered the title Han’s Island. Inter-
He later charges again during the nunchaku se- national Middleweight Karate champ Kelly was a
quence. Chan expected Lee to make light contact last-minute replacement for Rockne Tarkington,
as rehearsed, but with the cameras rolling Lee ac- who had an argument with the producers and
cidentally hit Chan hard in the cheek. Lee finished backed out. The character of Williams was origi-
his fighting pose for the camera, then rushed to nally intended to live and fight alongside Lee dur-
check on the injured Chan. The apologetic Lee ing the climax in the tournament yard. John
continued to look in on Chan during the remain- Saxon’s agent negotiated to have Saxon’s character
der of the day. The future star wound up with a Roper survive since Saxon was an established
swollen cheek and a moment of cinematic history. actor and Lee’s perceived co- star. The original
The nearly six-minute climactic battle against choice for the part of Roper was Clouse’s Darker
Shih as the evil Han ends in the secret Hall of Mir- Than Amber villain William Smith, and it’s even
rors, a great sequence that shows off Clouse’s tech- been suggested that Rod Taylor was under con-
nical expertise. Shih draws blood across Lee’s chest sideration as well. Lee was a fan of the Amber fight
with his clawed hand attachments. Lee famously and despite Smith’s 6'2" height, he was enthusiastic
tastes his own blood and defiantly unleashes a about having Smith co-star with him. But Smith’s
flurry of kicks and high-pitched wails on his foe. part ran over on another film, and he was forced
This two-room set was made up of $8000 worth to give up the Enter the Dragon role. Fans denied
of mirrors, reflecting reflections of reflections. To a Lee–Bolo Yeung match-up must savor the notion
ensure that the camera crew was not seen, a six of a Smith- Yeung finale, or even a Kelly- Yeung
foot by eight square foot tall box was constructed match. Instead they watched Saxon take on the
in the middle of the room and covered with mir- Chinese Hercules, a 5'6" Mr. Hong Kong body-
rors. The camera was placed in the box. Three building champ. Yeung played many martial arts
shallow bays were built against one wall in the bad guys, most notably against Jean Claude Van
222 19 73

Damme in Bloodsport (1988) and Double Impact ing gave him a leg up when it came time to co-star
(1991). He even played a good guy battling evil in Enter the Dragon. Although he was no expert,
Karate Kid sensei Martin Kove in Shootfighter Saxon often incorporated martial arts into his
(1993). Saxon nearly didn’t make the part as he fights and served as a narrator for the 1992 karate
tore a leg muscle performing a leaping kick on the documentary Deadliest Art: The Best of the Martial
first day of rehearsals. He’s decent as Roper, the Arts Films. He released the 2005 photo book Twelve
gambler who sandbags in fights to increase the bet- Weeks in Hong Kong about his time with Lee.
ting odds against him, and handles the martial arts Saxon fought Sal Mineo in Rock, Pretty, Baby
capably. The golf course fight between Saxon and (1956), Jody McCrea in The Restless Years (1958),
Pat Johnson, Mike Bissell and Darnell Garcia was Burt Lancaster in The Unforgiven (1960), Richard
coordinated by Bob Wall and shot in the States. Widmark in Death of a Gunfighter (1969), David
The scene was attempted with stuntmen but com- Janssen in The Swiss Conspiracy (1975), Reb
pleted with martial artists. Brown in the TV movie Strange New World
Black Belt ranks Enter the Dragon as the best (1975), Rosey Grier and Larry Duran in The Glove
choreographed martial arts film in history. Inside (1978) and Julio Cesar in The Bees (1978). He
Kung Fu calls the tunnel fight the greatest fight took a great punch from William Smith in Fast
ever. The Toronto Star includes it in their top ten Company (1978). As a TV guest, Saxon battled
all-time fights. Action Films also lists it as having David Carradine in the 1972 Kung Fu episode
the greatest fights, and The Psychotronic Video “King of the Mountain” and James Garner in the
Guide claims it “has some of the best fight scenes 1976 Rockford Files episode “A Portrait of Eliza-
of all time.” The Ultimate Guide to Martial Arts beth.” He had a memorable slow-motion fight with
Movies of the 1970s feels Lee “single-handedly gave Lee Majors in the 1974 Six Million Dollar Man
Chinese martial arts cinema legitimacy and the episode “Day of the Robot.”
Chinese people an identity.” See: Bayne, Rick. “John Saxon.” Psychotronic
However, Enter the Dragon is far from perfect: Video. #40, 2004; Clouse, Robert. The Making of
Many criticize the poor fight staging of the back- Enter the Dragon. Unique, 1987; Enter the Dragon
ground players during the climax. Others take DVD special features; Jacques, Stephen. “John
issue with Clouse’s positioning of the camera for Saxon’s Greatest Challenge.” Black Belt. August
Lee’s fights. According to Chasing Dragons, 1973. Jacques, Stephen. “The Making of Enter the
Dragon.” Fighting Stars. October 1973.
There are several scenes where the martial
arts direction is excellent. Yet Clouse failed to
understand the most basic rule in the filming of
Burt Reynolds vs. Jack Warden
fight sequences—if you shoot a fight in a in The Man Who Loved Cat
medium shot or medium close-up, then the au- Dancing (1973)
dience can’t see the movements of the perform-
Richard C. Sarafian’s romantic western The Man
ers. In many sequences Clouse opted to shoot
Who Loved Cat Dancing contains a realistic two-
Lee in a medium close-up, negating the impact
and-a-half-minute life-or-death struggle between
of the fight choreography by keeping many of
Burt Reynolds and villainous Jack Warden as they
Lee’s actions effectively off-screen. When the
jostle for position in an abandoned café while
film works it’s because of Lee’s presence. His
animal magnetism and explosive choreography
Sarah Miles looks on. Few punches are thrown as
are the only interesting ingredients in the the men predominantly go for one another’s
movie. throats like feral animals. Throughout much of the
savage fight, Warden maintains a chokehold on
Five-ten and 170 pounds, fitness fanatic John Reynolds as they wrestle for control of a gun.
Saxon avoided many of the vices plaguing his con- Reynolds dumps hot water on Warden and presses
temporaries. He has had a long and interesting ca- his face to a hot stove. The stars insisted upon
reer as a dependable character actor in all types of doing the majority of their own stunts, banging
genres. Saxon first took judo lessons with Gene against the walls of the building and even crashing
LeBell in 1957 at the Hollywood Judo Dojo when through a window and a door. When Reynolds
he was a brooding juvenile lead and later studied gets the upper hand, he seizes a pistol and shoots
Shotokan karate and tai chi chuan with Hidetaka rapist Warden between the legs.
Nishiyama and James Wing Woo. The varied train- While doing the fight at the St. George, Utah,
 19 73 223

location, Reynolds suffered a hernia that laid him See: “Good Guy Becomes Heavy.” Times-
up in a Los Angeles hospital for a week. Warden Picayune. July 15, 1973; Miles, Sarah. Serves Me
suffered a blackened eye and numerous bumps Right. London: MacMillan, 1994; Taylor, Tadhg.
and contusions. He proudly told the press it was Masters of the Shoot ’Em Up. Jefferson, NC: Mc-
“the fight scene to end all fight scenes,” while as- Farland, 2015; Theskin, Joseph. “TV Actor War-
sistant director Les Sheldon proclaimed it “one of den Jack of All Trades.” Beaver County Times.
the greatest fight scenes of all time.” The Manly March 10, 1976.
Movie Guide agreed: “[It’s] one of the most thrill-
ingly brutal fights in Hollywood history.” MGM Jim Brown vs. Gene LeBell and
built their entire publicity trailer around the fight. Fuji Nozawa in Slaughter’s Big
The actors are doubled briefly by Alan Gibbs and
Louie Elias. Hal Needham was stunt coordinator
Rip-Off (1973)
and Harry Stradling, Jr., controlled the camera, Action star Jim Brown kicks butt from start to
emphasizing the contrast between dark and light finish in this mean-spirited exploitation film from
between the interior and exterior locations. One director Gordon Douglas, a violent sequel to Jack
interesting shot has Reynolds straddle the camera Starrett’s Slaughter (1972). The AIP pic is full of
as he pushes against the wall with both legs for fights as the former Green Beret takes on a white
leverage against Warden. syndicate led by Ed McMahon. Don Stroud is in
The film became notorious for what happened great villainous form as McMahon’s hit man, and
behind the scenes when it was filming in Gila it becomes highly personal between Brown and
Bend, Arizona. Reynolds briefly became a high- Stroud after the latter lays a serious beating on
profile murder suspect when co-star Sarah Miles’ Brown’s cohort Richard Williams and kills Brown’s
obsessive boyfriend–business manager David girlfriend Gloria Hendry. Although Stroud’s char-
Whiting wound up dead in her motel room with acter is a martial arts expert, Brown makes quick
a suspicious head injury. Miles later testified that work of him in the finale, smashing his head
a jealous Whiting had roughed her up after she re- through a car window and pounding his bloodied
turned late from a Reynolds birthday party. Ru- face repeatedly. Stroud does his own stunts here,
mors ran rampant that Reynolds and Miles were enhancing the effectiveness of the action. Brown
having an affair during the film. Miles admitted does all his own fighting as well, allowing his stunt-
she was with Reynolds when Whiting died of what man Tony Brubaker to coordinate the fights. The
was deemed a suicidal overdose. Reynolds was action is well lensed by veteran cameraman
adamant that he had no involvement, and he was Charles F. Wheeler. Variety praised the fierce fights
cleared of any wrongdoing. Miles was still married and promised “an avalanche of physical action.”
at the time to writer Robert Bolt. Despite the buildup to the finish between
Five-foot-nine, 190-pound Jack Warden boxed Brown and Stroud, the best fight is a highly ener-
professionally under the name Johnny Costello. getic battle between Brown and judo experts Gene
He was a nightclub bouncer, a pro player in the LeBell and Fuji Nozawa in the confines of a small
American Football League and a veteran of the bungalow. Both LeBell and Nozawa were profes-
Merchant Marine and the Navy, serving on a gun- sional wrestlers and their intense vocal effects are
boat on China’s Yangtze River. During World War serio-comic. LeBell puts on a great show against
II, he was a paratrooper with the Army’s 101st Air- Brown, who was known in Hollywood circles as
borne and saw action in the Battle of the Bulge. rough when working fights. There was no one bet-
He became a tremendously versatile character ter to pair him against than LeBell, who by his own
actor. Warden had notable screen fights with John admission loved inflicting pain on others. The
Cassavettes and Sidney Poitier in Edge of the City stuntman’s knowledge of chokeholds and submis-
(1957), Keir Dullea in The Thin Red Line (1964) sion moves and his willingness to apply them was
and Gerrit Graham in Used Cars (1980), the latter unparalleled. But LeBell was a professional, and
a memorably comic battle. On TV, he starred as the fight between the two came off without a hitch.
tough no-nonsense cops on The Asphalt Jungle At the end, LeBell acted as if Brown had broken
(1961) and N.Y.P.D. (1967–1969). As a guest, his neck, putting a swerve on the star and the film
Warden portrayed a professional wrestler in 1962’s crew as they frantically called for a doctor. LeBell
Route 66 episode “A Feat of Strength.” His ring ac- leapt to his feet with a smile.
tion was doubled by Gene LeBell. Five-foot-eleven, 215-pound LeBell’s mother
224 19 73

Aileen Eaton owned the Olympic Auditorium in did have a memorable stairwell fight with Tony
Los Angeles, so LeBell grew up around all the clas- Siricco in Fingers (1978). Keitel was a former Ma-
sic boxers and wrestlers such as Lou Thesz and Ed rine who served in Lebanon and kept fit lifting
“Strangler” Lewis. He took an interest in judo and weights. De Niro earned an Oscar playing boxer
began training with Jack Sergel, earning a black Jake LaMotta in Raging Bull (1980), a perform-
belt before serving with the Coast Guard. LeBell ance that garnered him a reputation for taking
won the AAU California Judo Championship and drastic measures with his body for the sake of his
was twice crowned the AAU National Judo art. He famously gained 60 pounds to play an up-
Champ before venturing into professional wres- in-years LaMotta, before taking it off to play a
tling and movie stunt work. He became an in- young and muscular middleweight boxer. He
stantly recognizable stunt actor whom many felt trained with pros Al Silvani, Jimmy Gambina and
had earned the title of “the toughest man alive.” In Jim Nickerson, even daring to step into the ring
1963, LeBell fought a heavily promoted mixed for sparring sessions with LaMotta.
martial arts match against professional boxer Milo The Mean Streets fight was based on a real inci-
Savage and won with a rear single lapel tourniquet dent at the New York bar Foxy’s Corner on Sixth
choke. In a 50-plus–year stunt career, LeBell’s Street and Second Avenue. Due to budgetary lim-
claim to fame was he never won a screen fight. itations, much of Scorsese’s ode to his New York
Every well-known martial artist from Bruce Lee upbringing was filmed in Los Angeles. The pool
to Chuck Norris went to LeBell for specialized hall used was located in a rough Chicano section
judo training. In the 1967 Ironside episode “Tagged near downtown. Scorsese filmed the fight in one
for Murder,” LeBell squared off on the judo mat day with a mostly non-union crew, managing 36
with Lee. set-ups. The most famous was a hand-held camera
See: Slaughter’s Big Rip-Off pressbook. shot by cinematographer Kent Wakeford, follow-
ing Burton and Orrison beating on Proval across
The Pool Hall Fight in Mean the room. Scorsese used a hand-held camera be-
cause the production couldn’t afford to lay down
Streets (1973) tracks. Wakeford built a special carrier rig for the
Martin Scorsese’s energetic Mean Streets res- Aeroflex BL camera that maintained an increased
onated with audiences thanks to its innovative freedom of movement but kept it from getting
camerawork, pop music cues, realistic Little Italy bouncy. Despite having been storyboarded, much
street talk and the performances of a new breed of of the fight has a chaotic and intentionally impro-
urban tough guy in the personas of Harvey Keitel vised feel to it. Scorsese didn’t want it to appear
and a skinny Robert De Niro. The crazy two- like a polished Hollywood stuntman brawl. He
minute pool hall fight was filmed particularly well wanted to capture the fear, aggression and the
with the Marvelettes’ “Please Mr. Postman” play- crazy sense of motion in such an encounter.
ing on the soundtrack as perfect accompaniment See: Angard, Susan. “Kent Wakeford: Redefin-
while Keitel, De Niro and friends Richard Ro- ing American Cinematography in Mean Streets.”
manus and David Proval take on fat loan shark Huffington Post. March 5, 2009; Schickel, Richard.
George Memmoli and his buddies. Everyone in Conversations with Scorsese. New York: Knopf,
the fight lands realistically ineffective blows and 2011; Thompson, David, and Ian Christie. Scorsese
some such as Keitel look like they don’t want to on Scorsese. New York: Macmillan, 2003.
fight at all. De Niro is the main instigator, jumping
on a pool table to swing a broken pool stick at any- The Saloon Brawl in Westworld
one who comes too close. The fight starts after
Memmoli calls Proval a mook, a Neapolitan slang
(1973)
term for a big mouth. No one in the scene even Westworld was an influential MGM sci-fi west-
knows the definition. Bill Catching was stunt co- ern from writer-director Michael Crichton about
ordinator and the most visible stuntman going a futuristic vacation resort called Delos that in-
after De Niro. Billy Burton and Bob Orrison are dulges customer fantasies—but then the robotic
also in there. staff led by gunslinger Yul Brynner begins to rebel
Keitel and De Niro played tough guys on screen and pits man vs. machine. Before events go hay-
for the next 30-plus years, although most of the wire, vacationing buddies Richard Benjamin and
time they had a gun instead of a closed fist. Keitel James Brolin join a large brawl in Miss Carrie’s
 19 73 225

Saloon, as does comedy-relief sheriff Dick Van Pat- and psycho kidnapper Cliff Gorman in Night of
ten. It’s a hoot for the resort’s guests to be in the the Juggler (1980).
middle of a western fistfight with no consequences. See: Fischer, Dennis. Science Fiction Film Direc-
Broken bottles, flips over tables and falls off bal- tors, 1895–1998. Jefferson, NC: McFarland, 2011;
conies keep viewers’ eyes glued to the screen over James Brolin Screen Test Fight; Szebin, Fred. “West-
the course of two well-edited minutes. Sci-fi pur- world: Behind the Mask, Beneath the Skin … the
ists wonder how the robots were able to drink beer Making of a Sci-Fi Classic.” Filmfax. #110, 2006.
and not injure the guests in this fight, but the scene
should be taken as nothing more than Crichton Fred Williamson vs. Ken
exploring a common western trope and pure es-
capism for the sake of entertaining the audience.
Kazama in That Man Bolt (1973)
One interesting, barely perceptible moment of Rising black action star Fred Williamson was a
foreshadowing is staged in the background as confident, charismatic and handsome man whose
Brolin hits one of the robots and it fails to react to low-budget films cleaned up at the box office. A
the punch. professional athlete, he came across well in move-
Action coordinator Dick Ziker and cinematog- ment and appealed to both black and white audi-
rapher Gene Polito put the scene together ex- ences by consistently pitting himself as an under-
pertly, resorting to slow motion to emphasize the dog in fights. With That Man Bolt, Universal tried
best stunts. Buddy Joe Hooker must have had a to share in the wealth generated by both the
particularly good payday, as the stuntman takes emerging black action and kung fu genres. Public-
falls all over the place. Stuntmen participating in- ity played up the fact that this rambling James
clude Louie Elias, Walter Wyatt, Fred Krone, Bill Bond knockoff ’s crew boasted legitimate martial
Catching, Chuck Hayward, Bobby Bass and Alan artists: Japanese kickboxing champion Kenji
Oliney. Mindi Miller (aka Ty Randolph) is a sa- Kazama, light heavyweight world karate champ
loon girl and breaks a chair over a back. Charlie Mike Stone, European black belt champ Emil
Picerni was on hand to double Benjamin, but the Farkas and California State judo champ David
star did his own fight work in a change-of-pace Chow. Despite the presence of double Bob Minor,
role. Benjamin enthusiastically hit a post so hard Williamson performed his own fights for stunt co-
that he accidentally brought down a large portion ordinator Eric Cord.
of the set and technical rigging. Composer Fred That Man Bolt turned out to be one of the better
Karlin contributed a lively western theme to com- showcases for Williamson’s physical talents thanks
pliment the action. One of the silliest moments is to having a decent budget and production sched-
the sound of a cuckoo clock when Hayward takes ule. Martial arts coordinator Farkas was able to
a bottle over the head. Outside of this one scene, work with Williamson and the stuntmen to design
the film is on the serious and thought-provoking the fights and place them before multiple cameras
side. First-time director Crichton was on a short to the best advantage. Co-directors Henry Levin
shooting schedule and edited- in-camera as he and David Lowell Rich were experienced and the
shot. Films in Review paid Crichton the compli- scenes were sufficiently lit by cinematographer
ment of calling the fight a “John Fordian barroom Gerald Finnerman. Cord developed an innovative
brawl.” helmet-cam that could be worn by the combatants
James Brolin, 6'3" and 200 pounds, was suffi- to move in close to the karate action and offer a
ciently impressive in the action scenes that he was unique perspective. Even with all these elements
under consideration to take over the role of James in its favor, The Ultimate Guide to Martial Arts
Bond from Roger Moore for Octopussy (1983). Movies of the 1970s noted, “The fights in this film
The Bond producers had Brolin film a choreo- are awful.” Eyes unversed in martial arts were more
graphed fight screen test with British stuntman easily impressed. The Van Nuys News wrote, “Bolt
Clive Curtis. Moore ultimately decided to con- is short on plot, but long on fairly well-staged fight
tinue with the part. Brolin spoofed the Bond image scenes.” Variety praised the “fine technical action
by portraying a Hollywood heroic version of man- staging,” and the New York Times declared there
child comic Pee-wee Herman fighting ninjas in was “a display of martial arts sufficient, perhaps,
Pee-wee’s Big Adventure (1985). Brolin’s best fights to slake the tears of devotees of the late Bruce Lee.”
came against John Whitely in The Cape Town Af- Williamson signed to star in a trio of Jefferson
fair (1967), Charlton Heston in Skyjacked (1972) Bolt films, but Universal was uncertain how to fol-
226 19 74

low up. They ended up paying Williamson off for although both battles proved disappointingly
the two unmade films. After Bolt, Williamson brief. There were also two unfortunately abbrevi-
began producing his own low-budget films, with ated fights with fellow gridiron great Jim Brown in
the time and money crunch showing. His fights in Three the Hard Way (1974) and Take a Hard Ride
many of these self-described “beat ’em up” films (1975). Extended bare-knuckle brawls with either
(including Mean Johnny Barrows [1976], Death of those co-stars had the makings of greatness.
Journey [1976] and Blind Rage [1978]) border on Fights of interest came against John Quade in
embarrassing due to poor staging and choppy ed- Hammer (1972), Art Lund in Black Caesar (1972),
iting. It was apparent that trying to cash in on the Fred Lerner in The Legend of Nigger Charley
martial arts craze was detrimental to Williamson. (1972), Tony King in Hell Up in Harlem (1973),
He was best suited as a smooth boxer or a desper- Frank Stell in Black Eye (1974), Nick Dimitri in
ate brawler, not a high-flying kicker. Adios Amigo (1975), Thalmus Rasulala in Buck-
As a professional football player, the 6'3", 210- town (1975), Tom Morga in Joshua (1976) and
pound Williamson was known as “the Hammer” George Eastman in 1990: The Bronx Warriors
for his hard-hitting blows. He had boxed in Golden (1982). Quentin Tarantino provided a memorable
Gloves before being a multi-sport star at North- showcase for Williamson’s tough guy credentials
western and an All-Pro for the Oakland Raiders fighting a bar full of vampires in From Dusk Till
and the Kansas City Chiefs. Before filming Bolt, Dawn (1996). In 1976, Williamson displayed his
this casual martial arts student trained hard for singing talents on The Dinah Shore Show until
three weeks with instructor Farkas and later laid stuntmen Nick Dimitri and Gene LeBell inter-
claim to black belts in Kenpo, Shotokan karate and rupted him to stage a fight. In 1994, Williamson
Tae Kwon Do. In 1974, Williamson gave a demon- fought Lorenzo Lamas on the TV series Renegade.
stration during a karate tournament at Madison See: Jacques, Stephen. “Fred Williamson’s Still
Square Garden and expressed interest in entering About the Action.” Fighting Stars. December 1973;
tournament competition, but he never became McCormick, Barry. “Fred Williamson: The Ham-
known as a martial artist. Hollywood turned a cold mer Strikes.” Psychotronic. #10, 1991; Seagal, San-
shoulder and Williamson took his filmmaking tal- dra. “How to Ruin a Fight Scene.” Martial Arts
ents to Italy in the late 1970s. Movies. October 1981.
Williamson’s best fights were with William
Smith in Hammer (1972) and Boss Nigger (1975), The Gymnasium Fight in Watch
Out, We’re Mad (1974)
Terence Hill and Bud Spencer
teamed up outside the Spaghetti
Western genre for more spectacu-
lar fight choreography, this time
appearing as modern race car driv-
ers who square off against mob in-
terests for the sake of a prized
dune buggy. They take part in an
extended three-and-a-half-minute
fight in a gymnasium in which Hill
showcases his acrobatic ability,
mixing in work on the pommel
horse, the parallel bars and the
high bar as a club full of boxers
and gymnasts prove comically in-
effective in swarming the stars.
Spencer uses his great strength as
he rips heavy punching bags and
rings from the ceiling and repeat-
Ken Kazama (left) and Fred Williamson exchange kicks in Universal’s edly tears boxing gloves from the
That Man Bolt (1973). men’s fists, then smacks them with
 19 74 227

the leather. The catchy Oliver Onions song “Dune See: Hughes, Howard. Cinema Italiano: The
Buggy” proves an interesting background choice Complete Guide from Classics to Cult. London: I.B.
for the on-screen shenanigans. There are also bat- Tauris, 2011; Spencer, Bud, and Lorenzo De Luca.
tles with leather-clad motorcyclists and a climactic Altrimenti Mi Arrabbio. Schwarzkopf &
fight in a restaurant filled with balloons, creating Schwarzkopf: 2011.
further comic possibilities.
Although made in Madrid by director Marcello The Mel Brooks Brawl in Blazing
Fondato, the fight features Italian stuntmen Gian-
carlo Bastianoni, Giovanni Cianfriglia, Rocco
Saddles (1974)
Lero, Osiride Pevarello, Pietro Torrisi, Franco Mel Brooks’ zany Blazing Saddles is full of scat-
Ukmar, Vincenzo Maggio, Omera Capanna and ological humor and Hollywood in- jokes as it
Marcello Verziera. The fight coordinator was Jose spoofs the clichés of the western genre, including
Luis Chinchilla. This is inspired slapstick and the famous all-out Dodge City (1939) brawl during
some of the best choreographed fight work the the four- minute fight climax between land-
screen has ever seen. It preceded the comic fight grabbing Harvey Korman’s hired outlaws and the
choreography Jackie Chan became known for. Cin- townspeople of Rock Ridge. Stunt extras galore
ema Italiano wrote, “The fistfights and bizarre sight fight stars Cleavon Little, Gene Wilder, Slim Pick-
gags are equal to their Western equivalents, includ- ens and Alex Karras. The celebrated “Fourth Wall”
ing a scene where the duo takes on a gym full of is broken as Joseph Biroc’s camera pulls back to
boxers.” reveal that the action is being staged on the Warner
Bud Spencer (formerly Carlo Pedersoli) was a Bros. lot. All the players go from being characters
6'3", nearly 300-pound mountain of a man with in a movie to actors playing characters in a movie.
surprising agility for his size. He was a boxer and The fight spills onto an adjoining set where Dom
record-setting swimmer who competed for Italy DeLuise is directing an all-male Busby Berkeley
in the Olympics. He did all his own fights on musical number. Chief outlaw Pickens promptly
screen, although admittedly few people ever man- socks the mincing DeLuise in the belly. The fight
aged to knock him off his feet. Mostly he was re- enters the Warner commissary, and the film is sped
quired to stand his ground throwing powerful up and under-cranked in homage to the old Re-
hooks and backhands against multiple opponents public westerns while backed by John Morris’ en-
to set up his trademark crunching “hammer blow.” ergetic score. A pie fight erupts. Karras punches
His screen image was consistently the angry bear Pickens and sends him sliding across the tray area
who looked as if someone had woke him up, but to the cash register. The cashier nonchalantly
on occasion he flashed a bemused smile at the fu- charges him for the food lying across his chest.
tility of his attackers. The extreme silliness of his Brooks’ biographer Robert Alan Crick terms it
fights undermined his impressiveness as a movie a “great fever-pitch fight,” but some thought the
tough guy. He would have made a formidable op- scene went too far. The Los Angeles Times called
ponent for any of the era’s biggest stars. the brawl both “rousing and ridiculous,” while The
Spencer’s best fight showcases remain They Call Hollywood Reporter wrote that Brooks “has
Me Trinity (1970) (see entry) and the many se- overindulged himself in the broad comedy of the
quels and knockoffs he made with Hill. Spencer final scenes and lessens the effect of the film some-
had a one-on-one bare-knuckle fight with Leroy what…. It’s a funny slapstick bit but it also dis-
Haynes in Ace High (1968), fought alongside Jack tracts from the main portion of the film.”
Palance in It Can Be Done, Amigo (1972), and later Karras’ big punch on Pickens isn’t the most fa-
played the brawling detective character Flatfoot in mous one he delivers. That blow came earlier
several films beginning with The Knockout Cop when 6'2", 245-pound Karras, as the dreaded
(1973). In later films including Bulldozer (aka Up- Mongo, hauled off and knocked out a horse with
percut) (1978) and Buddy Goes West (1981), he a single punch. Former pro football player and
matched up with European heavyweight boxing wrestler Karras didn't connect with the horse. The
champion Joe Bugner. While making I’m for the punch’s success is as much the result of stunt rider
Hippopotamus (1979), Spencer misjudged a punch Jerry Gatlin’s timing in pulling the horse’s head
and knocked Bugner out for real. In Bomber and laying him down for the camera as the force
(1982), he fought South African heavyweight con- of the fist. This famous blow, once voted the great-
tender Kallie Knoetze. est movie punch in history, has a basis in reality.
228 19 74

Slim Pickens prepares to punch Dom DeLuise in Warner Bros.’ Blazing Saddles (1974).

Brooks knew that comedian Sid Caesar had Karras were Mickey Gilbert, S.J. McGee and Wal-
slugged a horse after it threw his wife. The pro- ter Wyatt. Other spoofs with inspired fights in-
ducers of Blazing Saddles wanted Brooks to re- clude The Big Bus (1976) and Top Secret (1984).
move the scene for fear of cries of animal cruelty, See: Blazing Saddles DVD commentary and
but Brooks left it in. special features; Crick, Robert Alan. The Big Screen
One thing Brooks was unable to get into his Comedies of Mel Brooks. Jefferson, NC: McFarland,
film: He wanted John Wayne in the fight. He ap- 2002; Karras, Alex, and Herb Gluck. Even Big Guys
proached the icon in the Warner commissary and Cry. New York: Rinehart & Winston, 1977.
offered him a cameo. Wayne read the script and
passed, but claimed he’d be the first in line to see Rockne Tarkington vs. William
it. The brawl itself was coordinated by veteran
stuntman Al Wyatt and featured dozens of stunt-
Smith in Black Samson (1974)
men and women. Among those figuring into the Warner Bros. tried to cash in with a hybrid black
fight action were Hal Needham, Tony Epper, Jack action-martial arts film, this time toplining 6'5",
Lilley, Terry Leonard, Paul Stader, Bill Catching, 230-pound Rockne Tarkington, the man who
Loren Janes, Regis Parton, Fred Scheiwiller, Troy would have been Williams in Enter the Dragon had
Melton, George Sawaya, Bennie Dobbins, George he not backed out at the last moment. The former
Fisher, Boyd “Red” Morgan, Bob Herron, Bill University of Kansas athlete is Kendo staff–carry-
Shannon, Tom Steele, Dave Sharpe, George Orri- ing Samson, a downtown Los Angeles bar owner
son, Denny Arnold, Fred Stromsoe, Ken Ferguson, so proud of his African heritage he wears Dashiki
Stephen Burnette, Steve Moriarty, Dick Crockett, shirts and travels with a lion at his side. In the
Chuck Hayward, Harvey Parry, Hank Robinson, poems of Paul Laurence Dunbar, the character
Frankie Van, Joe Yrigoyen, Jack Perkins, Dick War- Black Samson of Brandywine was a giant Negro
lock, George P. Wilbur, Ronnie Rondell, Jr., Sea- who carried a scythe. Tarkington learned Kendo
mon Glass, Andy Epper, Rai Bartonious and serving with the Air Force in Japan and was an an-
Mickey Gilbert. Doubling for Wilder, Little and imal trainer. Black Samson is one of the better en-
 19 74 229

tries from the black action genre despite being af- complained he was sick of showing off his muscles
forded a mere two-week shooting schedule. Tark- on screen. Bail responded by asking why Smith
ington was up against William Smith, in superb went to the gym every day. Smith stormed to his
bad guy form as a white mobster muscling in on dressing room, with the moviemakers wondering
the neighborhood. Smith is so hotheaded that he if the tough guy star and 6'4", 230-pound director
beats up his own men and even has his blonde girl- were about to come to blows. A composed Smith
friend Connie Strickland take a job as a stripper soon returned and apologized to the cast and crew
at Tarkington’s club to keep tabs on him. When for holding up production. Tarkington battled
Smith senses that Strickland is becoming too cozy Ron Ely numerous times on TV’s Tarzan and
with Tarkington, he casually throws her from a fought Steve Sandor in The No Mercy Man (aka
moving car. Trained to Kill, USA) (1975).
Joe Tornatore, Nick Dimitri and Gene LeBell See: Albright, Brian. “Chuck Amuck!” Shock
are the most prominent hoods Tarkington bests Cinema. June 2008; Black Samson pressbook.
throughout the story. It all leads up to an amazing
showdown on a city block between Smith’s gang Tom Laughlin and Master Bong
of stunt hoods and the entire neighborhood, who Soo Han vs. The Redneck Cow-
rain debris and junk on them from the rooftops boys in The Trial of Billy Jack
before Tarkington and Smith square off in a tense
90-second battle amidst the descending garbage.
(1974)
It’s not a traditional “I punch you, you punch me” The makers of the first Billy Jack film couldn’t
fight: It’s a down-and-dirty tackling and wrestling find any professional stuntmen willing to work
match over Tarkington’s staff with Smith swinging martial arts scenes with Tom Laughlin, but this se-
a chain and biting an ear. Tarkington flips Smith quel from Warner Bros. was overflowing with
and allows his own body to come crashing down stuntmen eager to take Laughlin and co-star Mas-
with the momentum. Tarkington beats Smith with ter Bong Soo Han’s kicks. The stuntmen realized
the chain before ending the fight by impaling that kung fu fighting was the new craze and the
Smith with the staff. Stunt doubles Marvin Walters sooner they showed off their ability to work within
and Nick Dimitri did the long shot coverage but the genre, the more offers they’d get. In the climax,
stepped aside while the actors did the majority. Billy Jack’s action is ramped up with Laughlin and
All had to be cognizant of their fighting area con- Han both taking off their footwear and joining
sidering the trash and heavy appliances strewn forces to take down Riley Hill’s redneck cowboys
about. The film was directed by stuntman Chuck in a town hall setting. Arizona stuntmen Jason
Bail with action coordinated by Eddie Donno. The Clark and Ron Nix are the chief henchmen with
Village Voice called it “a deliciously apt one-on-one Jim Burk, Louie Elias, Glenn Wilder, Gary Combs,
finale,” while Variety termed it “as bloody a fray as Jim Connors, Archie Harrison and Walter Wyatt
the screen has seen.” Film Bulletin wrote, “Samson participating in the major three-minute fight. Phil
wins all the fights, which erupt regularly every 15 Adams and Bernie Bersten served as Laughlin’s
minutes or so and are keyed to the thrill-seeking doubles. Fight choreographer Han had to account
excesses of the genre’s devotees.” for every one of the stuntmen’s actions on paper
Tensions ran high on the Pasadena city street before undertaking the scene.
set. Smith and Tarkington were friends. However, Incredible bumps were taken by the stuntmen
the rooftops were filled with local extras instructed with Elias going off a second floor balcony end
to hurl garbage at Smith and his stuntmen, and over end onto a car’s roof and Burk doing a cable
there was definite black-white tension. Everything jerk into a fully stocked bar. Laughlin continues
imaginable was thrown at Smith and the stuntmen, to advocate peaceful measures but once again is
including pans, bottles, bricks and mattresses. comfortable in doling out pain. After he has dis-
Even a refrigerator and a TV set are seen crashing located Nix’s shoulder with a martial arts move,
to the ground! Smith’s anger on screen and the Laughlin kindly puts it back into place for the in-
pointing of his finger at the rooftops isn’t acting, jured man. The fight ends with Hill shooting Han,
but a natural reaction to being hit by the garbage. with Laughlin retaliating with a deadly flying kick
There was a brief flare-up between Smith and the to the throat. The film was nearly three hours
director: When Bail told Smith he wanted the long by this point and was attacked by critics for
actor’s shirt to be ripped off in the fight, Smith self- indulgence and heavy- handed preachiness.
230 19 75

Laughlin’s 19-year-old son Frank is the credited because of Warren or because Hackman has found
director, but it was once again the multi-talented a dead body on his property and there’s something
star in charge. Jack A. Marta was the D.P. to hide.
The Los Angeles Times tore the film apart but The one-minute battle on Sanibel Island in the
managed to find praise for the fights: “You await Florida Keys starts on a boat, splashes into the
them eagerly this time because for the moment water, and ends up on land where Crawford inad-
everybody stops talking in flat platitudes or crying vertently rams his own head into the pier. Hack-
or singing.” Time offered this backhanded compli- man performs a back- fist and hurls Crawford
ment: “Shoddily as they are staged, Billy Jack’s through a screened-in porch, but at no point does
fights are the only portions of the film with the he have the upper hand. It’s not so much Hackman
slightest life at all.” The Village Voice made a com- wins the fight as he manages to last long enough
parison between Laughlin and Bruce Lee: “Tom not to lose it. Crawford repeatedly hits Hackman
Laughlin’s fight sequences are not as beautiful to in the face with a conch seashell. It’s a fitting
watch as Bruce Lee’s—Laughlin doesn’t have Lee’s metaphor for the ineffective detective, who still
astonishing speed and precise, clean line of move- doesn’t know how everything fits even after he’s
ment—but they’re more exciting because they’re been hit over the head with clues. Cinema Retro
showcased in a melodramatic situation.” Variety called it “one of the unsung fight scenes of the
wrote, “Adherents of the current cycle of martial ’70s.”
arts films will find satisfaction in several sequences The fight’s editing by Dede Allen and Stephen
in which Billy Jack engages in Hapkido, the Korean A. Rotter is fragmented, but the lack of fluidity
form of karate, for exciting action.” Action Films conceals the use of stunt doubles. The 6'2", 185-
considers this sequence one of the all-time great pound Hackman’s brother Richard Hackman
fights: “[T]he brawl makes excellent use of slow worked as his stand-in, and Glenn Wilder doubled
motion and the stunt work is top notch.” The Ul- for the star. Chuck Hicks doubled beefy character
timate Guide to Martial Arts Movies of the 1970s actor Crawford, no stranger to on-screen fights.
was also impressed by the Hapkido displayed: “It’s He was taught in the late 1940s by his distant rel-
a pity Laughlin didn’t do more fights in these Billy ative Yakima Canutt. Cinematographer Bruce Sur-
Jack films, but it seems appropriate that a film tees contributed to the scene’s effectiveness with
about non-violence with too much violence could his varied camera set-ups.
detract from the messages he was sharing with au- Former Marine Gene Hackman had a real-life
diences.” tough guy reputation. At the age of 71, the ex–con-
See: Martinez, Mike. “The Trial of Billy Jack.” struction worker fought off two men after a fender
Fighting Stars. December 1974; The Trial of Billy bender turned into an ugly situation. In his early
Jack DVD commentary. acting days, he had a penchant for getting into bar
fights. However, Hackman found it difficult to play
Gene Hackman vs. John Craw- the most violent aspects of his flawed characters.
He paid strict attention to the stunt pros to make
ford in Night Moves (1975) sure the scenes were carefully choreographed and
An ambiguous Arthur Penn–directed neo-noir he never took a scene over the artistic line. Hack-
mystery, Night Moves cast a rock solid Gene Hack- man’s signature role came in The French Connection
man as pro football player turned private eye (1971) and French Connection II (1975) as Popeye
Harry Moseby. He’s not good at the latter and is Doyle, a tough New York City cop not averse to
suffering from marital problems and a mid-life cri- roughing up criminals and drug pushers. Hackman
sis. Professionally he gets deeply involved in a administered some memorable beatdowns, dom-
missing person turned murder case involving inating rapist Richard Lynch in Scarecrow (1973),
teenage nymphet Melanie Griffith. Toward the racist deputy Brad Dourif in Mississippi Burning
end he finds himself in a bloody nighttime fight (1988) and overhyped gunfighter Richard Harris
with the girl’s stepfather John Crawford, the booz- in Unforgiven (1992). In Mississippi Burning , he
ing live-in of Jennifer Warren. During his investi- manhandled cocky tough guy Michael Rooker.
gation, Hackman and Warren have begun an affair. Hollywood’s favorite angry Everyman had fights
All the relationships throughout the movie are of interest with Gregory Walcott in Prime Cut
strained, and nothing is what it seems. The audi- (1972), Jan- Michael Vincent in Bite the Bullet
ence isn’t sure if Crawford is fighting desperately (1975), Burt Reynolds in Lucky Lady (1975),
 19 75 231

George Fisher in The Domino Prin-

ciple (1977) and James B. Sikking
and Nigel Bennett in Narrow Mar-
gin (1990). On TV, he clashed with
Glenn Corbett in the 1963 Route 66
episode “Who Will Cheer My Bon-
nie Bride?” and Burt Reynolds in
the 1966 Hawk episode “Do Not
Mutilate or Spindle.”
See: Munn, Michael. Gene Hack-
man. London: Robert Hale, 1997;
Walker, Beverly. “Interview: Gene
Hackman.” Film Comment. Novem-
ber-December 1988; Welkos, Rob-
ert W. “Still the Tough Guy.” Los An-
geles Times. December 16, 2001.

The British Pub Brawl

John Wayne uncorks one of his final screen punches on Peter Bray-
in Brannigan (1975) ham in United Artists’ Brannigan (1975).
Coming close on the heels of his
modern cop drama McQ (1974), John Wayne fol- The brawl was placed into the film because of
lowed with another Dirty Harry–styled policeman its star. This was the final bare-knuckle brawl in
in the Douglas Hickox–directed Brannigan (a sur- the career of John Wayne. At 67, the Duke was be-
name derived from a term for an Irish brawl). This ginning to feel the years of wear and tear. During
time Wayne’s a tough Chicago cop chasing a fugi- the fight, he strained a muscle in his left arm when
tive in London, and Wayne has gone for a real pulling a punch short. He also remained bothered
change of pace by eschewing his usual stunt team by the nagging cough that had plagued him for a
for a troupe of Brits, many of whom were veterans decade. The moist London weather exasperated
of the James Bond 007 films. The fight itself, a rau- the problem, but Wayne liked the British stunt-
cous brawl in Leadenhall Market’s The Lamb Pub, men and enjoyed doing the fight. He also gets to
owes much to previous Wayne brawls, but it’s of toss motorcyclist Tony Robinson into the Thames
interest due to all the new faces and such comic and makes short work of Brian Glover (aka pro
touches as having the song “Let the Sunshine In” wrestler Leon Arras). Wayne had been punching
playing on the jukebox. Veteran camera operator away on screen for over 40 years, and Brannigan
Gerry Fisher was the director of photography. provided a fitting fight for the legend to bow out
Richard Attenborough as a Scotland Yard in- on.
spector is involved in the action as Wayne’s co-star, See: McEwan, Ian. “Same Old John Wayne.”
and the two fight back to back like Alan Ladd and Brandon Sun. August 23, 1974; Powell, Nosher,
Van Heflin in Shane chinning anyone who closes and William Hall. Nosher. London: Blake, 1999.
in. Stunt coordinator Peter Brayham staged a re-
markably similar battle for the British TV show Max Baer, Jr. vs. Forrest
The Sweeney in the 1974 episode “Night Out.” Tucker in The Wild McCullochs
Brannigan stuntmen of note were Alf Joint, George
Leech, Nosher Powell, Les Crawford, Steve Emer- (aka The McCullochs) (1975)
son, Frank Henson, Del Baker, Alan Chuntz, Rick Max Baer Jr., dim-witted Jethro Bodine on TV’s
Lester and Doug Robinson. The Chicago Sun The Beverly Hillbillies (1964–1971), proved his
Times called it a “nice saloon free-for-all,” while true wile by writing, producing and starring in the
Leonard Maltin said the film’s “highlight is amus- mammoth drive-in money maker Macon County
ing brawl in pub.” Time, however, called the fight Line (1974). The 6'4", 210-pound actor followed
“poorly motivated and feebly staged,” and Variety that tour de force with the earnest, though less well-
opined, “A pub brawl seems almost like an inside- received period piece The Wild McCullochs which
joke insert.” he directed and starred in. The selling point of this
232 19 75

anachronistic family melodrama (set in 1949) is a approximately a half dozen bars in downtown Rio
ten-minute brawl that an entire Texas town has Vista, and in between shooting the fight Tucker
been itching for and cheers on. Baer as a stand-up ducked into each and every one for a quick drink
young man and Forrest Tucker as his whiskey- and to hold court for the locals. The screen legend
drinking, blustery employer punch each other acquits himself well, but it was his last chance at
across an entire town over Baer’s love for Tucker’s headlining a theatrical release. His many years of
daughter. After starting in the bar Tony’s Wharf, boozing had taken its toll. It’s interesting how
they end up in a river by the film’s conclusion, the- Baer’s camera holds the elder actor in awe and es-
oretically washing away all their differences. The teem. Tucker was an acquaintance of Baer’s father
characters like to settle disagreements with their Max Baer, the heavyweight champion of the world.
fists as a measure of earning respect. The movie This was his 35th year of partaking in notable
opens with Tucker pounding on drinking buddy screen fights dating back to The Westerner (1940),
Mike Mazurki, who grins through every minute of a span bested only by John Wayne. The younger
his punishment. During the climactic fight, Baer Baer lettered in boxing at Santa Clara College and
politely addresses Tucker as “sir” or “Mr. McCul- shows off a decent jab throughout the screen ac-
loch.” At the end, both combatants end up smiling. tion.
The New York Times called it “a long and boring See: Bacon, James. “Hollywood Hotline.” State
and lovable fight,” while the Daytona Beach Morn- Times Advocate. January 22, 1975; The Wild Mc-
ing Journal felt Baer “messed up a half decent fight Cullochs pressbook.
sequence by trying to insert humor.” The Los An-
geles Times wrote, “The epic brawl that climaxes Clint Eastwood vs. Gregory
the film is good, clean fisticuffs in the Spoilers tra- Walcott in The Eiger Sanction
dition, not just another foray into morbid vio-
lence.”
(1975)
Although the fight is directly inspired by The Director-star Clint Eastwood liked character
Quiet Man (1952), it’s well-choreographed and actor Gregory Walcott because he was big, profes-
oddly enough directly influenced the far better sional and could do his own fights. They had
known brawl between Clint Eastwood and Wil- known each other since Eastwood’s Rawhide days,
liam Smith in Any Which Way You Can (1980). All with the two fighting for the first time in 1963’s
three fights take a break for a beer (Schlitz in The “Incident of the Gallows Tree.” Eastwood laid his
McCullochs) before starting anew with a big punch. first film punch on the beefy supporting player in
Other similarities in staging and execution occur. the western Joe Kidd (1972), a moment audiences
They both cut away to comedy relief characters, appreciated because Walcott’s sheriff came across
in this case bartender Vito Scotti, his employee as smug. Eastwood’s characters typically had a
Timothy Scott, priest William Demarest and short fuse for obnoxiousness and viewers came to
Baer’s gambling buddy Sandy Kevin. Chuck Hicks expect the star to lay one on Walcott’s kisser. The
was stunt coordinator and saw plenty of screen mountain-climbing espionage adventure The Eiger
time in a salt-and-pepper wig as the double for the Sanction contains what is arguably their most
55-year-old Tucker. Hicks also shows up in a hu- memorable exchange. Its main competition comes
morous cameo as an angry motorist who Tucker in Every Which Way but Loose (1978) where East-
unloads a punch on. Jim Connors doubled Baer. wood humorously wallops Walcott with a bass fish
Fred Koenekamp’s camera is sometimes a split- in the face. It’s a credit to both actors they were
second late in following the action, and David consistently able to make their characters’ fistic
Berlatsky’s editing tends to be on the choppy side, exchanges mildly amusing for the audience. In The
but overall it’s decently realized in scope consid- Eiger Sanction, Walcott plays an irritating nemesis
ering its limited budget. of Eastwood who haphazardly blows the star’s
The film was shot in Rio Vista, California, a cover. When Eastwood voices his displeasure Wal-
small Bay Area community located along the cott warns the star he is a black belt in karate while
Sacramento River’s delta region in Solano County. assuming a fighting stance. Eastwood’s five-
It’s an unconvincing double for the state of Texas, knuckle response knocks Walcott all the way down
but then the long hair and clothing sported by a Swiss Alps hillside. Eastwood rushes down the
nearly everyone isn’t characteristic of the time pe- hill to complete the clock-cleaning. It’s all over in
riod either. It looks like a 1970s film. There were a matter of seconds.
 19 75 233

Although he was entering his

mid-forties, Walcott was loyal
to Eastwood and agreed to do
one fall for the cameras. He had
been carried on salary for five
weeks for a small supporting
part and didn’t want to disap-
point. Walcott promptly bor-
rowed elbow and knee pads
from the stuntmen and sur-
veyed the hillside he’d be
rolling down for sticks, stones
and broken glass. When all was
set, Frank Stanley’s camera fo-
cused on Walcott’s face, and
Eastwood threw his fist in front
of the lens. Walcott reacted to
the blow and took a great spill
down the steep hill. Unfortu-
nately, an assistant’s knee ended Gregory Walcott suffers one of many screen beatings at the fists of Clint
up in the shot as the camera Eastwood in Universal’s The Eiger Sanction (1975).
panned on Walcott’s tumble.
Although he had agreed to do the stunt once, Wal- Walcott: He Went West and Won.” Wildest West-
cott did the fall a total of three times. Walcott’s erns. #5, 2002.
willingness to take the extended fall made it pos-
sible for Ferris Webster to leave the bit untouched Ron Ely vs. Paul Wexler in Doc
as a sustained and effective single shot. Years later,
Eastwood rewarded Walcott by shooting around
Savage, the Man of Bronze (1975)
him on Every Which Way but Loose so he could This controversially campy interpretation of
take a choice role in Norma Rae (1979). pulp fiction hero Doc Savage was producer George
Six-three, 215-pound Walcott served as an ath- Pal’s final film. Nearly everything about the
letic instructor in the Army before playing football Michael Anderson–directed release was ridiculed
at Furman University. He had a commanding pres- by diehard Savage fans who were eagerly antici-
ence, was agile enough to do the bulk of his own pating the film. Even the announced casting of
screen fighting and rarely met a screen punch that lanky 6'4", 210-pound TV Tarzan Ron Ely met
didn’t knock him off his feet. Walcott was the orig- with dissension. Chuck Connors was attached to
inal choice to fight Rock Hudson on Giant (1956) the film in the 1960s, and later Mr. Universe Steve
but another film ran over and he lost the part to Reeves was connected with Pal and the Savage
Mickey Simpson. Fights of note came on Prime role. Those projects fell through. Bodybuilding
Cut (1972) with Lee Marvin and Gene Hackman actor Brad Harris returned from Europe to test for
and Man of the East (1972) (see entry). On TV, the role. Other muscular actors lobbying for or
Walcott fought Chuck Connors in the Rifleman considered for the role of Doc Savage were karate
episode “The Angry Gun,” John Smith in the champ Joe Lewis, William Smith, Denny Miller,
Laramie episodes “Drifter’s Gold” and “Sunday Steve Sandor and Mike Henry. Even Los Angeles
Shoot,” Michael Landon in the Little House on the Dodgers baseball pitcher Don Drysdale was
Prairie episode “In the Big Inning,” and Jameson tested. All would likely have met with far greater
Parker and Gerald McRaney in the Simon and approval than Ely, who to his credit went on a rig-
Simon episode “The Cop Who Came to Dinner.” orous weightlifting program to add 25 pounds of
See: Roberts, Frank. “The Worst Piece of Cel- muscle to his frame. He also began serious training
luloid.” Suffolk News Herald. July 14, 2015; Walcott, in martial arts with Tak Kubota and Hank Hamil-
Gregory. Hollywood Adventures: The Gregory Wal- ton for the two extended fights.
cott Story. Wilson, NC: Wilson Daily Times, 2003; Supposedly two versions were prepared: a
Wallison, Joe, and Ed G. Lousaraian. “Gregory straight cut and the ultimately released campy one
234 19 75

complete with John Philip Sousa marching music, A Texas oil field roughneck, Ely served with the
silly stabs at humor, absurd subtitles and heroic Air Force before landing his signature role of
eyes that literally twinkled on screen. Nearly a year Tarzan on the 1966–1968 TV series. He did the
and a half elapsed between the time the film was majority of his own stunt work for the physically
shot and released. Warner Bros. was unsure how a demanding show, including many tough fights. Ely
dated pulp hero would play with hip 1970s audi- had trained as an amateur boxer and improvised a
ences and chose to go the camp route. They jungle version of martial arts, which tended to gain
couldn’t have been more wrong. Variety derided him a reputation for making unwanted contact
the film for its “dopey action,” and immediately a with his screen opponents. His best fights came
Save Savage Society was formed by fans who began against former Tarzan Jock Mahoney in the 1966
petitioning the studio to re-cut, rescore and re- episode “The Deadly Silence” and 1967’s “Mask
release the film. of Rona.” On the big screen, Ely fought Clint
More than 30 years later, a fan edit excising over Walker in The Night of the Grizzly (1966) (see
seven minutes of silliness began to circulate on the entry). On the 1981 TV pilot The Seal and the
Internet. This notably affected the climactic fight 1988 Sea Hunt reboot, he fought another former
between Ely and villainous Paul Wexler as Captain Tarzan, Denny Miller.
Seas. In this nearly five-minute fight as originally See: Jacques, Stephen. “Tarzan Exchanges Loin-
released, intrusive and ridiculous subtitles an- cloth for Karate Gi.” Fighting Stars. February 1974;
nounced each fighting style as sumo, gung fu, tai Murray, Will. “Remember the Doc Savage Movie
chi chuan, karate, bo jujitsu and fisticuffs. In addi- Disaster.” Bronze Gazette. Vol. 1, #6, March 1992.
tion to taking out the subtitles and sumo bits, the
revamped version benefitted from concentrating Ken Norton vs. Duane Allen
on the latter portions of the fight. The suspense of
fighting next to a pool of boiling oil was dimin-
in Mandingo (1975)
ished in the original by editor Thomas McCarthy’s This controversial film deals with slavery in the
constant cutting away to Doc’s Fabulous Five, dis- Deep South and the barbaric fights staged between
appointingly portrayed as a largely bumbling Brain slaves for their masters’ entertainment. Producer
Trust. Again, improved editing of the original Dino De Laurentiis hired top talent in the form of
could have made the fight much better, as the ac- director Richard Fleischer and leading man James
tion on screen is decent enough to warrant praise. Mason, but the sordid story is blood-filled and un-
A platinum-haired Ely fits the part with his ripped settling. Critics attacked the nudity, graphic vio-
shirt accenting his bulked-up physique, and his lence and overall subject matter dealing with in-
martial arts are impressive enough for a big man. terracial sex. Of course, it proved popular at the
A slow-motion dropkick is filmed effectively by box office, but its disappearance from circulation
cinematographer Fred Koenekamp as Wexler’s thereafter led to a certain cult fascination with the
double Tony Epper is knocked several feet back- film. Playing the top Mandingo slave is heavy-
ward with the aid of a jerk cable. weight boxing contender Ken Norton, the 6'3",
There’s also a spirited and well-done two-and- 230-pound muscleman who famously broke Mu-
a-half-minute fight aboard a yacht with Ely and the hammad Ali’s jaw in the ring. A champion boxer
Fabulous Five taking on a band of Wexler’s thugs, for the Marine Corps, Norton captured the WBC
including stuntmen Dick Durock, Roydon Clark, heavyweight title in 1978. His opponent in Man-
Ted White, George P. Wilbur, John Hudkins, Kim dingo is 6'4", 225-pound Duane Allen, a tight end
Kahana, Bob Herron, Denny Arnold, Gary Epper, for the Los Angeles Rams football team. Norton
Andy Epper, Mickey Gilbert, Bill Lane, Larry also fights Mr. Universe Earl Maynard.
Holt, Joe Canutt et al. Ely helped stunt coordina- Choreographed by stunt coordinators Joe
tors Tony Epper and Dar Robinson stage and di- Canutt and Alan Oliney, the six-minute Allen fight
rect this fight, and despite the Sousa music it defi- starts as a boxing match but quickly devolves into
nitely has more snap and style to it. The highlight a life-or-death struggle featuring eye-gouging and
is a Durock cable jerk. Films and Filming recog- flesh-biting. Orange Coast Magazine declared it
nized this brawl as “surprisingly nasty.” The Eve- one of the screen’s most realistically violent affairs.
ning Independent wrote that the fights were “the Norton is repeatedly knocked into the cheering
film’s best scenes in which mock martial arts and crowd as Richard Kline’s camera follows the brutal
slick fakery outdo brutal strength time and again.” action. Editor Frank Bracht often cuts to shots of
 19 75 235

the bloodthirsty crowd. Norton’s master Perry the best, most convincing, most horrifying in its
King becomes so unsettled at seeing his prize slave realism, greatest fight I have ever seen on the
beaten and bloodied that he tries to cede the fight screen.” Orange Coast Magazine considered it one
and save Norton’s life. But Norton rallies. The end- of the most brutal and realistic hand-to-hand fights
ing offers a moment of suspense as to who the win- in cinema history.
ner is, but it’s soon revealed Allen has had his This isn’t one of those common exchanges of
throat bit open. It’s as ugly as it sounds. First time harmless movie punches. These men do serious
actor Norton, who beat out O.J. Simpson for the damage to one another with fists, elbows, palm
part, looks realistically uncomfortable at the ac- strikes and kicks. There’s choking and eye-
tion he must perform. Norton returned in the se- gouging, and Jenson hurls Baker’s body through
quel Drum (1976) where he fought Yaphet Kotto. the air and into his open car. Jenson even throws
Quentin Tarantino paid homage to Mandingo in in a football block, sending Baker crashing into a
Django Unchained (2012). shelf. Baker throws the shelf onto Jenson. They
See: Mandingo pressbook; Norton, Ken, Mar- both wind up bloody, broken and exhausted. Jen-
shall Terrill and Mike Fitzgerald. Going the Dis- son kicks Baker in the face, and as he tries it again
tance. Champaign, IL: Sports Pub, 2000. Baker kicks him in the shin. This is accompanied
by a sickeningly unprecedented bone- breaking
Joe Don Baker vs. Roy Jenson in sound effect. They go for the throat and eyes until
Baker slams Jenson’s head repeatedly into the
Framed (1975) pavement. Jenson dies from his skull fracture as
Director Phil Karlson and screenwriter- Baker collapses in exhaustion next to him. Baker
producer Mort Briskin’s follow-up to star Joe Don spends the next ten minutes of the movie recov-
Baker’s huge hit Walking Tall (1973) contains a ering in a hospital bed before being hauled off to
tremendously violent fight; the film was banned prison. Baker also beats up Paul Mantee.
in Sweden due to this blood-soaked sequence. It’s Roy Jenson was one of the toughest men in Hol-
another rural revenge story as professional card lywood and threw perhaps the most powerful
player Baker is set up by authority fig-
ures as a fall guy. After a mystery per-
son takes a shot at him, Deputy Roy
Jenson shows up in Baker’s garage and
tells him they’re “going to the morgue.”
Jenson keeps cuffing and jabbing
Baker, and there’s only so much Baker
can stand before he turns on the anger
button. Two of the biggest sides of beef
in Hollywood go at it for the next 90
seconds in a tremendously effective
life-or-death struggle. Gil Perkins co-
ordinated the action, which was im-
proved by both actors doing the bulk
of the fight. The nearly 50-year-old
stunt actor Jenson could still dole out
brutal body blows. The use of Baker’s
double, George P. Wilbur, is kept well
hidden by Jack Marta’s camera place-
ment and Harry Gerstad’s editing. The
Chicago Sun Times commented, “The
soundtrack sounds like a Charles
Bronson fight scene with the treble
turned up.” Well-regarded writer James
Crumley penned, “Even in a low-rent
rip-off of the Walking Tall sequence, Joe Don Baker has the advantage on Roy Jenson in the violent fight
Roy Jenson and Joe Don Baker staged in Paramount’s Framed (1975).
236 19 75

screen punch in the business. His pounding of ney. One of the highlights is a wild five-minute
Paul Newman in Harper (1966) made audiences fight in the kitchen of a Chinese restaurant be-
wince and required that scene be trimmed from tween stoic cop Yu and wiry stuntman Grant Page,
its original length. The Navy veteran played foot- who throws his body around with a reckless aban-
ball at UCLA and professionally in the Canadian don seldom seen on screen. The Ultimate Guide to
Football League while getting started as a stunt- Martial Arts Movies of the 1970s describes the
man. Six-two and 215 pounds, Jenson could clear fights as “the smash, crash and bash variety.” Page
out bars single-handedly, and often cleaned up is kicked off a speeding motorcycle, breaks several
fights that pals Lee Marvin and Neville Brand tables in the restaurant, rips the seat of his blue
began in bars along the Pacific Coast Highway. Jen- jeans, and is thrown into a fish tank to end the
son was a character, and his hard-living ways made fight. There’s also an interesting climactic fight
him one of the great weather-beaten presences in between Yu and bad guy George Lazenby involv-
1970s cinema. ing a fire stunt gone wrong. The entertaining film
Notable fights came in Designing Woman (1957), was written and directed by the talented Brian
The Missouri Traveler (1958), These Thousand Hills Trenchard-Smith and has wall-to-wall action co-
(1959), McLintock! (1963), 4 for Texas (1963), ordinated by Australian stuntmen Page and Peter
Mail Order Bride (1964), The Great Race (1965), Armstrong.
Our Man Flint (1966), Sometimes a Great Notion The fight between Yu and Page took a full week
(1970), Every Which Way but Loose (1978) and to film. The outside portion including the kick off
Any Which Way You Can (1980) (see entries). the motorcycle was filmed in Australia while all
Fights of interest came against Tom Reese in the interiors were filmed in Kowloon at an actual
Marines, Let’s Go! (1961), Steve McQueen in Baby, Chinese restaurant. The location was available be-
the Rain Must Fall (1965), Dean Martin in The cause the owners were planning to renovate and
Ambushers (1967), Robert Conrad in The Bandits gave the filmmakers permission to tear the place
(1967), Charlton Heston in Will Penny (1968), apart. Editor Ron Williams combines the locations
Henry Fonda and Ben Johnson in The Red Pony seamlessly. The props in the kitchen, such as the
(1973), Richard Harris in 99 and 44/100% Dead meat cleavers, hooks and broken bottles, were real.
(1974) and Clint Eastwood in The Gauntlet Yu made events even more interesting when he
(1977). On TV, Jenson tested all the leading men told Page to swing the props at him and he’d duck
on Bonanza, Batman, I Spy and Gunsmoke. He had in time. Page did so with reservations as he needed
memorable fights with Rod Taylor in the 1960 to aim for the head to make it look effective for
Hong Kong episode “Pearl Flower,” Craig Stevens the cameras, but Yu proved to have quick reflexes
in the 1960 Peter Gunn “The Long Green Kill,” and dodged each swing. The ripping of Page’s
Mike Connors in the 1967 Mannix “Catalogue of pants was a mistake left in for the sake of continu-
Sins,” William Shatner in the 1968 Star Trek “The ity. The fish tank and its contents were real and
Omega Glory,” Ossie Davis in the 1969 Bonanza could have been deadly considering the glass
“The Wish,” David Carradine in the 1971 Kung Fu broke when Yu threw Page in. There was enough
pilot film, Michael Landon in the 1972 Bonanza water in the tank to flush the broken glass out
“Forever” and Robert Blake in the 1975 Baretta “If ahead of Page.
You Can’t Pay the Price.” Chinese stuntman Sammo Hung appears on
See: Crumley, James. The Muddy Fork & Other screen to fight Yu in a jail cell after Australian cop
Things. Livingstone, MT: Clark City, 1991; Framed Roger Ward captures the drug smuggler in a fight
pressbook; McCoy, Heath. “Jenson Dove into atop the formidable Ayres Rock in Central Aus-
Hollywood.” Calgary-Herald. May 16, 2007. tralia. Russell Boyd’s outdoor cinematography and
Noel Quinlan’s triumphant score are highlights in
Jimmy Wang Yu vs. Grant Page this opening scene. Hung coordinated at least one
and George Lazenby in The other scene with Yu fighting Hung’s stunt team of
Man from Hong Kong (aka Dragon Yuen Baio, Corey Yuen and Ching- Ying Lam.
Trenchard-Smith even appears for a fight with Yu
Flies) (1975) in an elevator. The Asian star had a strong ego and
Pioneering martial arts movie fighter Jimmy was constantly at odds with the first-time film-
Wang Yu toplines this intriguing Chinese- maker and his crew. He barely held back his
Australian production, filmed on location in Syd- punches on the director during the fight. Yu was
 19 75 237

credited as co-director for the Asian film market CIA reader Robert Redford and assassin Hank
for Raymond Chow’s Golden Harvest. Garrett in Faye Dunaway’s New York City apart-
The Lazenby fight was supposed to involve ment. Garrett’s mailman has already been estab-
the former James Bond’s jacket catching fire. lished by Lorenzo Semple, Jr.’s script as one of the
Trenchard-Smith wanted Lazenby to do the stunt, killers of Redford’s co-workers, so when he shows
but the actor was reluctant. The director shamed up under the guise of delivering a package, audi-
the star into doing the stunt by demonstrating it ences cringe when an unsuspecting Redford turns
on himself first. Lazenby gave in with reservations. his back. Garrett wastes no time in drawing a gun,
Fire retardant gel was rubbed on his hands and but Redford has gotten wise at the right moment,
arms as a protective barrier, giving him enough hurling a pot of coffee at the hit man. Garrett’s re-
time to pull off the jacket after it was set aflame. action could be described as “going postal” as the
However, during the fight with Yu, some gel was two men have a nearly one-minute battle with the
rubbed off Lazenby’s hand. When the jacket was former revealing martial art skills. Don Guidice’s
set ablaze, he felt the exposed skin on his hand Oscar-nominated editing is superb. His cuts come
burn and he panicked. He was unable to get the in a quick flurry but never at the cost of continuity
jacket off and began to run off camera with Page or comprehension as Redford must use every
close behind carrying a heavy blanket. Yu was able available resource, including a camera’s flash and
to tackle Lazenby and bring him down so Page a fireplace poker to ward off Garrett’s deadly kicks.
could smother the flames. There were reports that He even pulls the rug out from underneath Gar-
an enraged Lazenby threw a punch at the director, rett. The best moment is a white-knuckle stare-
a claim backed up by many principals interviewed down with Redford holding the poker and Garrett
in the documentary Not Quite Hollywood (2008). in his karate stance, both weighing the repercus-
Even Lazenby concedes it might have happened. sions of their next movement as Pollock and cin-
Jimmy Wong Yu (film publicity and credits er- ematographer Owen Roizman capture them in al-
roneously credited him as Wang Yu) rose to the ternating close-ups. The fight becomes a race for
forefront of late 1960s Hong Kong action films as a firearm, and ironically Redford the desk jockey
the star of One Armed Swordsman (1967), The Chi- is the one who gets off the coolest shot as Garrett
nese Boxer (1969), One Armed Boxer (1971) and allows himself to be distracted by Dunaway.
Master of the Flying Guillotine (1975). He was a Redford ( 5'9", 170 pounds) did much of his
solid actor but a methodical martial artist who own fighting for the scene, although stuntman
fought in a straightforward, linear manner. Films Dean Smith doubled him in parts. Professional
of Fury calls his martial arts “laughably bad.” The wrestler Garrett, a real black belt, used a stunt dou-
lack of flashiness kept him from achieving wider ble for a flip over a table. To simulate hot coffee,
popularity in the States as he was eclipsed by the the prop department began mixing up a chemical
legend of Bruce Lee and all of Lee’s high-flying im- batch that would smoke without any heat. They
itators. In real life, the former swimming champion erroneously were under the assumption the coffee
had a reputation as a street fighter and was known would be thrown on Garrett’s clothing instead of
to take on all comers when provoked. his face. Redford immediately nixed any chemical
See: Birchard, Bob. “007 to Zero and Return: being thrown into Garrett’s eyes, saving him from
James Bond, No. 2 Hits the Comeback Trail.” a potential blinding. Unfortunately, Garrett wasn’t
Fighting Stars. October 1975; The Man from Hong able to return the favor. During the fight, Redford
Kong DVD special features; Page, Grant. Man on slipped and Garrett connected with his nose. An
Fire: A Stunt of a Life. Crows Nest, NSW: Allen & important point is the non-regulation brown Adi-
Unwin, 2009; Reid, Craig. “Jimmy Wong Yu: The das tennis shoes worn by Garrett that tip off Red-
Crippled Hero.” Kung Fu. March 2005. ford to his true identity. Ironically, the shoes were
Redford’s. He gave them to Garrett for the scene
Robert Redford vs. Hank and they fit. Garrett held onto them as a memento.
Garrett in Three Days of the The fight received an award from the New York
Film Critics as the best of the year.
Condor (1975) See: Anderson, Nancy. “Redford’s Nose Knows.”
Sydney Pollock’s tense espionage thriller has Daily News. January 11, 1980; Dare, Angela. “I’m
held up well over the years, with audiences espe- Sure I Know You from Somewhere but…” Fighting
cially remembering the excellent fight between Stars. October 1974; Tuska, Jon, Vicki Piekarski
238 19 75

and David Wilson. Close-Up: The Contemporary icy ringer Nick Dimitri are the most memorable.
Director. Metuchen, NJ: Scarecrow, 1981. Hard Times has achieved cult status and been
named the favorite film of any number of macho
Charles Bronson vs. Robert tough guys for decades. It’s on many “Best Of ”
Tessier and Nick Dimitri lists, including a top spot on both Action Films and
Action Superheroes magazines’ ratings of the great-
in Hard Times (1975) est fights of all time. The Toronto Star puts it in
When asked how he earns his money, Depres- their top ten, calling it “a diamond in the rough.”
sion era drifter Charles Bronson declares simply, Cinema Retro described the fights as “brutal affairs
“I knock people down.” Writer- director Walter that will convince you that these men are actually
Hill’s debut film is a flavorful account of the illegal beating each other up.” Orange Coast Magazine in-
bare knuckle matches that provided diversionary cluded the fistic action among the most realistic
entertainment and some men a livelihood in the in screen history. The Los Angeles Times wrote,
1930s. It’s one of Bronson’s most interesting roles “The fight scenes are crunchingly spectacular,”
and an ode to his uncanny physicality and striking while The Hollywood Reporter praised the film’s
ability. There has never been another 53-year-old “sensational action.” Variety came away impressed
body that looked as hard, as sharp, or moved as with “the well-staged slugfests.” Bronson biogra-
quickly across the screen. Bronson as Chaney pher Brian D’Ambrosio wrote, “No one has ever
commands the camera with his lined face and seen movie fights more thrillingly depicted.” Ac-
enigmatic presence, uttering spare yet effective di- cording to Films in Review, “The fights are beauti-
alogue as a quiet loner who arrives in New Orleans fully choreographed and brilliantly edited.” The
by rail. In his first fight, he floors Fred Lerner with Boxing Filmography added that the fights are “a fine
one devastating knockout punch ranking among blend of boxing artistry and physical brutality, re-
the best ever thrown for the screen. The movie is maining one of Hollywood’s most memorable
full of fights from stunt coordinator Max Kleven, contributions to fisticuffs.”
and they are some of the best ever put on the big Midway through the film, the Chartres Street
screen. The amazing Bronson performs all his own warehouse battle with the formidable Tessier is
stunt work, snapping off cobra- quick punches fought in a cage in front of an enthusiastic mob of
while providing effective defense. The fights Bron- bettors. The fighters have contrasting styles. The
son has with bald behemoth Robert Tessier and hulking Tessier is methodical as he bends forward
and moves in with his fore-
head, daring Bronson to
break his hand on Tessier’s
skull as others before him
have done. Bronson moves
with lightning- fast speed,
jabbing and moving out of
the way of Tessier’s biggest
punches and kicks. The au-
dience gets the sense that
Bronson at one time might
have been a professional
boxer, but his past remains
as mysterious as his present.
As Tessier repeatedly leaves
himself open, Bronson be-
gins throwing a barrage of
quick combinations that
wipes the smile off the big
man’s face. The flurry wears
Tessier down, until he is
Nick Dimitri (left) and Charles Bronson square off in one of cinema’s best- slumped against the cage
choreographed fight scenes in Columbia’s Hard Times (1975). and on his backside. Im-
 19 75 239

pressed, mobster Michael McGuire wants Bron- fought Street before co-writer Walter Hill began
son as his own fighter, a proposition made possible paring events down. The film was originally going
due to Bronson’s shifty manager James Coburn’s to be called The Street Fighter, but a Sonny Chiba
gambling debts. Bronson is ready to move on but film appeared under that title during production
is enticed by failed medical student Strother Mar- and the original title of Hard Times was reattached.
tin to face a Chicago fighter named Street (Nick The camerawork is superb, as is Roger Spottis-
Dimitri) to save the undeserving Coburn’s life. woode’s editing. Philip Lathrop employed five
Dimitri has a far more streamlined and func- cameras to catch the action, including one perched
tional physique than Tessier and, like Bronson, re- on a 14-foot platform. Outside his rippling mus-
veals a true boxer’s style. This time Bronson is the cles, Bronson isn’t a big man in a film filled with
one far more economic in his movement as he them, yet he is never dwarfed on screen. At 6'1",
weighs Dimitri’s skill. The men jab and feint, each the 230-pound Tessier stands taller and outweighs
looking for an opening as the fight moves fluidly him by 60 pounds, but his crouching stance and
through an oyster-filled warehouse at night. Both Lathrop’s camera angles nullifies the size differ-
men try for kicks. Bronson goes for the body, but ence. Tessier was also wise to let his bodybuilder
Dimitri brings his fists down on Bronson’s back. muscles go soft to add believability to the era. In
Bronson goes to the ground for the first time in the latter fight, it is apparent Bronson is wearing
the film and a cut opens above his eye. Dimitri heels to add a few inches of height while the 6'2",
waits for him to rise to his feet. They clinch as 200-pound Dimitri is in flats, yet the 30 pounds
Bronson pounds his fists into Dimitri’s kidneys. Dimitri has on Bronson is not apparent. Physically
When they separate, Bronson goes to work with they appear evenly matched. Heavyweight cham-
the combinations. Dimitri goes to his hands and pion Jack Dempsey never weighed more than 190
knees and Bronson waits. McGuire senses Bron- pounds in the ring yet he felled men who weighed
son could take his hitter and introduces hand 40 to 50 pounds more than he did due to his box-
weights to elicit a heavy knockout blow. Dimitri ing skill and the power of his blows. It’s been said
brushes “the palmers” aside and gets to his feet, that Hard Times was based on Dempsey’s early
only to have Bronson nail him repeatedly with his pugilistic years. In this sense, Bronson’s success is
clenched fists until the dazed man slumps against entirely believable. His punches look hard and
the grill of an auto, out on his feet. come so fast that the viewer believes he could in-
One of the best themes is the unspoken code deed take out both Tessier and Dimitri. The
of respect shown by the top fighters. They are Spokesman Review wrote that Bronson’s punches
noble warriors, aware they are professionals fight- “sound like someone hitting an empty oil drum
ing for money over any need to sadistically hurt with a baseball bat.” The New Yorker humorously
the other man. These men let up when the other wrote that “the walloping fists sound like rhinos
is down, and the fact that Dimitri refuses to fight crashing into trees.”
dirty reveals tons about his character. Likewise, it The fights were filmed on location in New Or-
is interesting that Tessier is the one to help Dimitri leans in the fall of 1974. Director Hill later com-
to his feet and offer a reassuring pat on the back. mented that he worked Bronson hard on the film,
Reduced to carrying Dimitri’s bag before the cli- but the star was game for all the action. One prob-
mactic fight, he knows what it feels like to be hit lem was that Bronson was a smoker and was
by Bronson’s sledgehammer fists. In the Hard winded after 30 to 40 seconds of fist-throwing.
Times novelization based on the original screen- Bronson trained to improve his stamina by run-
play, more background is given for Bronson’s ning the New Orleans streets and the motel’s halls,
Chaney, although the way he is presented com- logging two miles every morning and two miles
bined with Bronson’s own tight-lipped mystery is every evening. Hill had originally written the
near perfect. In the novel, Chaney is a farmer screenplay with Jan-Michael Vincent in mind for
whose children have died of typhoid fever. He the lead and Warren Oates in the Coburn role, but
takes on the controlling business interests and he had no problem with casting Bronson. Bron-
winds up in jail. His wife dies of a drug overdose son’s age and weather-beaten visage added nuance
while he is incarcerated and he kills a guard while to the part.
escaping. The original version of the Bryan The grueling Dimitri fight took a full week to
Gindolph–Bruce Henstell story had the added film at a riverfront warehouse on Tchoupitoulas
suspense of the police closing in on Chaney as he Street due to the complicated choreography and
240 19 75

camera movement. The location placed many Ryan O’Neal vs. Pat Roach in
time-consuming demands upon the production as Barry Lyndon (1975)
the actors repeatedly toiled under the hot lights
and amidst the overpowering odor of oysters. Be- Writer-director Stanley Kubrick’s exquisitely
tween takes, Dimitri and Tessier watched football detailed period piece of Irish rogue Ryan O’Neal
games on a portable television set to pass the time. infiltrating upper-class Britain from the low ranks
Bronson kept to himself in the corner, doing of the Army took over two years to finish. It is full
pushups and flexing his biceps to keep his arms of interesting and memorable set pieces among
pumped up for the cameras. Bronson warmed up Ken Adam’s impressive production design. Chief
for the action by literally running five feet up the among those scenes with artistic merit are a cli-
wall and kicking off. Both actors had water and mactic duel with Leon Vitali and a bare-knuckle
baby oil continuously sprayed on them between brawl with bullying bruiser Pat Roach, a real-life
shots to simulate sweat and maintain continuity. professional wrestler. The first fight elevates Lyn-
As an aside, Dimitri’s glassy-eyed stare after being don’s status, but the second fight proves his social
knocked out is one of the most believable facial undoing. The 90-second fight with Roach within
expressions ever put on screen. It’s a shame that a square of fellow soldiers looks like a complete
stuntman Dimitri didn’t get better acting roles mismatch until the six-foot, 170-pound O’Neal
after this film as he is quite good, although the part shows off his boxing finesse and makes mincemeat
itself gave him a lasting cult status. of the 6'4", 275-pound giant. In fact, Roach doesn’t
In the fight with Tessier, Bronson accidentally land a single punch in the fight, showing how con-
connected with the big man, as he had an actor’s fident and precise O’Neal’s character is as he re-
habit of coming in too close with his punches. peatedly knocks Roach back into the crowd. The
Stunt coordinator Kleven had to remind Bronson boxing prowess comes as a surprise to the audi-
that the camera couldn’t pick up all his blows as ence as O’Neal uses his speed and agility to elude
they were traveling beyond the camera’s range. A Roach’s headhunting blows. An intuitive boxer, he
trained stuntman and therefore more aware of the attacks the body before going to the head to finish
illusion of camera angles, Tessier never touched Roach off.
Bronson with a punch. Bronson broke Tessier’s The fact that Roach wasn’t going to land a
nose when he forgot the choreography and kicked punch was news to both Roach and stunt arranger
with the wrong leg. Tessier was bent over and ex- Roy Scammell, who had created a more traditional
pecting the kick to come from the left leg instead routine only to be thrown a curve by Kubrick be-
of the right. The shot remained in the film. The fore the cameras rolled. Much of the original fight
star was apologetic and concerned. Tessier shrugged choreography remained, the difference being that
it off and otherwise praised Bronson for his con- Roach’s punches were now all misses. It ends up
ditioning and coordination. Kleven told the press working well, and is far more believable than
that Bronson was accepted among the stuntmen O’Neal withstanding repeated punches from a
as one of their own and could put on screen fights fighter who outweighs him by more than 100
better than any other actor in Hollywood. An ad- pounds. As Roach and Scammell rehearsed the
ditional fight with stuntman Bob Minor was filmed fight in a public area, the police were called be-
but cut from the final print. The Tessier fight is cause someone thought it was a real fight. Roach
treated as spectacle with a throng of noise gener- then took a dive for the much smaller Scammell,
ated from the masses. The Dimitri fight is intimate which seemed to satisfy the police and no arrests
in comparison. There’s no musical accompani- were made.
ment, only the noise of shuffling feet and bone Roach trained with O’Neal during the extended
smacking bone. shoot, and O’Neal impressed the wrestler with his
See: “Bronson Does Stunts.” Aberdeen Daily level of fitness. They sparred, ran up to seven
News. September 9, 1976; Cox, Billy. “Sarasota miles, and had push- up contests on the set.
Stuntman Says His Profession Overdue for Recog- Kubrick’s beautiful but painstakingly long film was
nition.” Herald Tribune. June 12, 2011; Daniel, photographed by John Alcott with the fight staged
Gregg. “Bob Tessier: The Villain Who Turns over several days at Castle Grace in the Comeragh
Hero.” Easyrider. December 1986; Hard Times Mountains. Kubrick avoided static point-of-view
pressbook. shots in this fight, shooting from low angles and
intentionally creating a great deal of camera move-
 19 75 241

ment and lack of focus. Roach positioned a hand- flying Stroud, who even seems to punish the air
held camera on his right shoulder while throwing with his intense katas. After being kicked into a
jabs at O’Neal with his left hand, then alternated block of ice, Conrad seizes a meat hook and ends
arms so it appeared that the punches were coming the fight less than heroically. Conrad and co-star
from the camera itself. O’Neal once connected Felton Perry also show off their moves against
with Roach, who acted as if he hadn’t been hit at local thugs in a bar brawl and a street fight. Both
all while a momentarily distracted O’Neal stood fights are energetic and well devised by stunt co-
looking at him. ordinator Chuck Courtney.
The fights O’Neal had in films like Wild Rovers Conrad and Stroud made the heist film Murph
(1971) and Nickelodeon (1976) (see entry) were the Surf (1975) in Fort Lauderdale, Florida, and
far less noteworthy than those he had off-screen. got along so well that they were searching for an-
With a Golden Gloves boxing background, O’Neal other project to do together. However, after com-
had a reputation as one of the few actors in Hol- pletion of Sudden Death, Conrad complained to
lywood who could actually fight. However, he also the press Stroud broke three of his ribs with a kick,
had a fiery temper and a penchant for solving and though they were friends he suspected it was
problems with his fists, resulting in assault and bat- intentional. Sudden Death was filmed in 1975 and
tery arrests. In 1983, there was a much-publicized received a limited U.S. release in 1977, by which
fistfight with his own teenage son Griffin over the time Conrad had reestablished himself as a high-
latter’s drug use that saw two of the boy’s teeth profile TV star with the World War II show Baa
knocked out. Over 20 years later, they had another Baa Black Sheep. He was also doing a famous tough
fight resulting in the father’s arrest. guy commercial spot in which he set an Eveready
See: Barry Lyndon pressbook; Fleeman, Mike. battery on his shoulder and dared anyone to knock
“Ryan O’Neal Arrested After Fight with Son.” Peo- it off.
ple. February 4, 2007; Levin, Eric. “The Fighting, The 5'5", 160-pound Conrad was a boxing afi-
Loving O’Neal Clan.” People. August 15, 1983. cionado who trained with Mushy Callahan and
had a tough guy reputation in Hollywood despite
Robert Conrad vs. Don Stroud his small stature. He even fought professional box-
ing matches after attaining stardom. Conrad’s
in Sudden Death (1975) healthy ego and cocky swagger sometimes rubbed
Kung fu became the “in” thing in the early others the wrong way, and he was known to engage
1970s, and much of Hollywood began training. in real fistfights at the Back Stage bar near CBS.
The magazine Fighting Stars contained articles on The far- out western series The Wild Wild West
the celebrities who were into martial arts. On one showcased amazingly intricate fight choreography.
cover was actor Robert Conrad, a man who had Conrad was front and center doing all his own
been legitimately training with John Leoning since fight stunts as James West, even incorporating
1957 in Kajukenbo and Shotokan karate and had martial arts into the fast-paced action. He worked
displayed his moves with regularity on the TV se- primarily with a stunt crew consisting of Whitey
ries Hawaiian Eye (1959–1963) and The Wild Wild Hughes, Bob Herron, Red West, Dick Cangey,
West (1965–1969). It seemed natural that Conrad Fred Stromsoe and Tommy Huff. Their timing and
was on the lookout for a karate film, and the teamwork was impeccable. He also worked fights
Filipino-made Sudden Death from director Eddie with physical actors the likes of Robert Phillips
Romero and screenwriter Oscar Williams was and Mike Masters. On the publicity trail, he staged
right up his alley. It gave Conrad a chance to show live fights with Cangey and Hughes. Conrad is one
off his martial art skills in a 90-second kick-fest of the few actors to be awarded membership into
against hit man Don Stroud, another real black the Stuntman’s Hall of Fame based upon his su-
belt, in what the ads touted as “two masters with perb work on the show.
a thousand ways to kill.” On the series Hawaiian Eye (1959–1963), Con-
The two have a great showdown in a slaughter- rad’s most notable fight came against Robert Col-
house with nifty use of slow motion to show that bert in 1960’s “Typhoon.” Usually he worked
the men are fighting to contact, punctuated by fights with stuntman Bob Herron. On Baa Baa
bursts of acceleration as they react to the power of Black Sheep (aka Black Sheep Squadron), Conrad
the kicks and punches. Despite being the star, fought Charles Napier in 1976’s “Best Three Out
Conrad gets his hindquarters kicked by the high- of Five” and Red West in 1977’s “Devil in the Slot.”
242 19 75

Conrad had his best role playing the French trap- The most prominent showcase for martial arts
per Pasquiel in the excellent mini-series Centennial occurs during an assassination attempt at San
(1978), taking part in a bar brawl with Clint Francisco International Airport in which several
Walker and Tony Epper. In the TV reboot Wild hired killers try to take out the bodyguards of Japa-
Wild West Revisited (1979), he fought Red West nese politician Mako. However, Peckinpah and
and Chuck Courtney. On film, he fought Ty Har- cameraman Philip Lathrop opt to keep the action
din in Palm Springs Weekend (1963), Roy Jenson exchanges exceptionally short. With his footage
in The Bandits (1967) and Neville Brand in the completed, four editors tried to find the best way
TV movie The Adventures of Nick Carter (1972). to put the scene together. Peckinpah brought in
See: Schultz, Bob. “Bob Conrad Lays It on the Monte Hellman (a noted director) to intercut the
Line.” Fighting Stars. February 1974; Wilson, Earl. fights with a dialogue exchange between govern-
“Robert Conrad Had Three Ribs Broken Filming ment shadow agency heads Arthur Hill and Gig
Last Movie.” Sarasota Herald Tribune. June 16, Young. Cinematically it’s an effective editorial
1975. choice but not something that endeared Peckin-
pah to those who wanted to see karate battles given
James Caan vs. Ninjas in The Killer their full attention by the camera. Hellman noted
that a great deal of martial arts action from this se-
Elite (1975) quence ended up on the cutting room floor.
Heavily anticipated by the martial arts commu- Caan’s character is “retired” by turncoat agent
nity before its release, Sam Peckinpah’s CIA espi- Robert Duvall early in the film as he is shot in the
onage misfire The Killer Elite ultimately proved to elbow and the knee. The rest of the convoluted
be a great disappointment when it came to the story sees Caan rehabilitating via martial arts
fight action. Partly due to his runaway chemical through training with Kuo Lien Ying and Johnnie
consumption, the great action master Peckinpah Burrell, as he learns to wield a cane as a weapon
had no real interest in trying to outdo Bruce Lee while seeking revenge on his old pal. Caan realizes
when it came to directing punches and kicks. In that Duvall is only a pawn. Caan and cohorts Bo
fact, he wanted to make an action satire that did Hopkins and Burt Young have a climactic show-
big business at the box office while simultaneously down with ninja assassins on the Navy’s mothball
thumbing its nose at the movie studios and pro- fleet located on Suison Bay. Peckinpah effectively
ducers he was constantly at war with. Prior to ever sets up this ghostly scenario with an eerie mood
rolling a camera, the film was relocated from En- and foreboding Jerry Fielding score, inserting the
gland to San Francisco at star James Caan’s sug- briefest glimpses of ninjas moving into position
gestion and went through numerous costly script for an attack. However, when the battle com-
changes, with former Lee student Stirling Sil- mences, Peckinpah begins to lose his grasp. He has
liphant the one responsible for adding all the Hellman resort to frequent jump cutting intercut
trendy martial arts elements. Silliphant’s wife with the slow-motion action and balletic stunts of
Tiana Alexandra, also a student of Lee, was cast as Hughes and his stuntmen falling from the ships.
a principal. Peckinpah veteran Whitey Hughes was It’s a jarring effect that maintains visual interest
hired as stunt coordinator with martial artists Tak but does nothing for the display of martial arts. In
Kubota, Hank Hamilton, James Wing Woo, fact, this is where Peckinpah’s ideas of satire
George Kee Cheung, Johnnie Burrell, Emil Farkas, emerge. The skilled ninjas are rendered useless as
Larry Wikel, Eric Lee, Gerald Okamura, Brandon they impressively fly through the air with their
Pender, Kim Kahana, Kuo Lien Ying, Cherry Lau, kicks only to be shot down by Hopkins’ machine-
April Castro, June Castro, May Castro, Teresita M. gun. Caan briefly engages the ninjas with his cane,
Luz, Howard Lee, Lance Fisher, Dennis Gee, Sam but it’s the short, overweight, balding Burt Young
Hiona, Brian Fung, Raymond Solis, Simon Tam, punching out ninjas and tossing them overboard
Wilfred Tang, Leo Whang, Werner Venetz and that thoroughly stretches believability. In real life,
Danny Inosanto all employed for their fighting Young was at odds with his mumbling, slovenly
skills. Hughes was at a loss, trying to handle all the screen image. He was a former Marine and a boxer
karate black belts, and brought in stuntman and who could take any number of people by surprise
judo expert Gene LeBell to aid him in dealing with with his toughness. But not a trained ninja. A
the different styles and techniques who all wanted sword battle between Mako and Tak Kubota offers
to show off their abilities. a chance for Caan and Young to trade wisecracks.
 19 76 243

According to the Delta Democrat, “Peckinpah, ap- bell. Bridges jumps catlike down a stairwell (a nifty
parently aware that the film was dragging, stages stunt) to escape the deranged gym owner. The two
several of his customarily brilliant fight scenes, but crash out the gym’s front window. Many of the
they are not enough to pull the film through,” weights thrown were obviously real iron, with
while the New York Times called it all “ridiculously lightweight wooden discs mixed in. Bridges was
operatic.” The Ultimate Guide to Martial Arts allowed to punch to contact with Armstrong, who
Movies of the 1970s tagged the finale a “major dis- wore towels underneath his bathrobe to absorb
appointment.” Peckinpah’s career never recovered. the force of the blows.
See: The Killer Elite pressbook; Mather, Jim. In another interesting fight, Bridges and char-
“The Karate Training of James Caan.” Black Belt. acter actor Robert Englund (playing Armstrong’s
March 1991; Stevens, Brad. Monte Hellman: His gym assistant) take on young toughs led by Dennis
Life and Films. Jefferson, NC: McFarland, 2003. Burkley. Englund, who beat out Sylvester Stallone
for the part, had a gymnastics background and was
Jeff Bridges vs. R.G. Armstrong able to throw his body around with confidence.
The pool cue he takes between the legs is espe-
in Stay Hungry (1976) cially wince-inducing. The odd humor and shifts
Director Bob Rafelson’s cult favorite about in tone left many critics scratching their heads.
bodybuilding in Birmingham, Alabama, gave The Los Angeles Times wrote that there is “a clang-
Arnold Schwarzenegger his first big role as a Mr. ing, exciting but preposterous fight scene.” Film
Universe favorite who befriends the film’s star Jeff Bulletin found the fights “excitingly staged,” while
Bridges. The latter is putting together a real estate Newsweek called the Armstrong encounter “a rous-
deal involving Schwarzenegger’s gym, owned and ing fight scene in which Bridges is wonderfully ath-
operated by a seriously weird R.G. Armstrong in letic.”
a ridiculous toupee. Rich kid Bridges becomes dis- Burly character actor Armstrong greatly en-
tracted by the characters he encounters, begins joyed doing fights and threw some of the screen’s
training, and ultimately dates Schwarzenegger’s ex most vicious and powerful blows. Many fellow ac-
Sally Field. The film is as quirky and charming as tors were leery of doing fights with him because
its characters, although the climax does feature a he came across so frighteningly intense. Few could
violent 90-second fight at the gym between play righteous anger so effectively. Armstrong
Bridges and the terrifyingly comic Armstrong knocked a handcuffed Kris Kristofferson from his
(high on amyl nitrate) after the latter has forced chair and halfway across the room in Pat Garrett
himself on Field. Rafelson sent the stunt coordi- and Billy the Kid (1973) and pressed a knife to Burt
nator and stuntmen home, opt-
ing to choreograph the action
with the actors to surprise the au-
dience and keep the action au-
thentic. Despite the fear of injury,
Rafelson found his actors recep-
tive to doing their own fight. The
action is especially impressive
considering the fact that the 6'3",
225-pound Armstrong, a former
steelworker who went to Chapel
Hill on a football scholarship,
was nearly 60.
Weight plates, dumbbells, bar-
bells and even a bench press are
thrown at the camera and clang
resoundingly off the exercise ma-
chines. The much bigger Arm-
strong realistically slams the 6'1",
170-pound Bridges into a wall R.G. Armstrong (left) and Jeff Bridges fight using gym equipment in
and smashes a mirror with a bar- United Artists’ Stay Hungry (1976).
244 19 76

Reynolds’ throat in White Lightning (1973). His champ Archie Moore, isn’t to be trusted, and this
best fights came against Tom Tryon in the 1960 leads to the most memorable moment. Moore and
Texas John Slaughter episode “A Holster Full of Bronson face off atop the snow-covered train in
Law” and Pernell Roberts in the 1967 Gunsmoke an exciting, superbly filmed one-minute fight that
episode “A Stranger in Town.” Armstrong lifted sees both men hanging off the train’s edge as the
weights for many years at Vince’s Gym, and his son Bitterroot Mountain, Idaho, scenery whizzes past.
worked there as a trainer. Some have suggested No process shots in this sequence: It’s all real and
that Armstrong’s inspired gym owner portrayal shot on location. Stunt legend Yakima Canutt set
was a knowing swipe at bodybuilding entrepre- up the rousing scene and directed the second unit
neur Joe Weider, Schwarzenegger’s early benefac- for his final screen credit with D.P. Lucien Ballard
tor and promoter. also meriting special mention. Stuntmen Howard
See: Boyer, Jay. Bob Rafelson: Hollywood Mav- Curtis and Tony Brubaker doubled the stars dur-
erick. New York: Twayne, 1996; Humphreys, Jus- ing the hairier segments, including a tackle, a drop-
tin. Names You Never Remember with Faces You kick and the final flip off the train that sees Moore
Never Forget. Albany, GA: BearManor, 2006; Stay fall to his death and Bronson nearly go over as well.
Hungry DVD commentary; Stay Hungry press- The sequence is edited by Byron “Buzz” Brandt
book. for maximum thrills, emphasizing the danger for
both the stuntmen and the actors. Jerry Gold-
Charles Bronson vs. Archie smith’s robust score is nothing less than phenom-
enal. Films in Review praised the film’s “remarkably
Moore in Breakheart Pass (1976) stunning action shots,” while Films and Filming
There’s plenty of mystery and Alistair MacLean– gushed over “the superb train-top fight.” Leonard
scripted suspense aboard a snowbound train in the Maltin called the fight “incredible,” while Film
1870s Old West with Charles Bronson heading a Score Monthly labeled it “one of the most spectac-
large cast of familiar faces in Breakheart Pass. ular fight scenes ever filmed.”
In this well-regarded Tom Gries adventure film, Bronson and Moore were game for close- up
Bronson is a government agent masquerading as shots of both men hanging off the edge one-
a prisoner and the entire cast are suspects, includ- handed while they kick away at one another over
ing tough guy favorites Ben Johnson, Roy Jenson, a trestle. The 61-year-old Moore decided to do the
Ed Lauter, Richard Crenna, Charles Durning and fight because the 54-year-old Bronson was doing
Bill McKinney. Even the train’s cook, pro boxing it. At one point, Moore pulled himself up from the
safety bar with both arms and
was shocked to see Bronson lift
himself back up with one arm.
Canutt told writer Harry Crews
that Bronson was the greatest
natural stuntman he’d ever seen,
and Crews came away convinced
Bronson might be the best natu-
ral athlete. Canutt shot the ac-
tion with a camera crane that was
put atop a flatcar and could be
extended out to a variety of an-
gles to emphasize the great drop-
off below the men. Both men
wore safety belts under their
shirts with flexible airplane
cable, allowing enough slack for
freedom of movement. As an
added precaution, hidden steps
were nailed into the train’s side
Charles Bronson (left) and Archie Moore put on a thrilling fight atop a so the men could support their
train in United Artists’ Breakheart Pass (1976). weight if they tired. Out of sight
 19 76 245

was a safety net that was built from the train’s edge his own comic pratfalls, though South African
with four-by-fours and extended close to 15 feet stuntman Reo Ruiters doubled him for the fall off
to catch stuntman Brubaker when he performed the balcony. Larry Taylor also worked as a Marvin
his fall. The entire sequence took two days to film, stuntman. However, both stars did the majority of
with the actors accounting for four hours atop the their stunt work over the roughly five days devoted
moving train. to the scene. John Glen served as the second unit
See: Crews, Harry. “Charles Bronson Ain’t No director and Moore’s double Leslie Crawford was
Pussycat.” Playboy. October 1975; Stunts in Action the fight arranger.
Films TCM featurette; “Untitled.” Time. May 5, Despite playing a drunkard, this was a rare oc-
1975. currence where Marvin kept away from booze
throughout filming with a few exceptions. The two
Lee Marvin vs. Roger Moore stars enjoyed one another and shared sips of Jack
Daniel’s in the evening. Their close friendship
in Shout at the Devil (1976) wasn’t always the case. Legend has it when Moore
This rollicking adventure film, set in pre–World first arrived in the U.S. in the 1950s on a studio
War I Mozambique, concerns boozing Irish con contract, he ran afoul of a boozing Marvin, who
man Lee Marvin roping proper Brit Roger Moore baited what he thought was a foppish Brit into a
into his latest moneymaking scheme. The two be- fight. Moore responded with a hard punch that
come friendly adversaries united against common flattened Marvin. When the drunken aggressor
German foe Reinhard Kolldehoff until Moore falls stood up, he had a new respect for Moore and sang
in love with Marvin’s daughter Barbara Parkins; his praises for all to hear. Marvin went on rec-
then it’s no-holds-barred for a wild four-minute ord saying that Moore threw a great punch and
serio-comic fight. The two have opposing styles would never be underestimated again. In his auto-
with Marvin showing fancy footwork and Moore biography, Moore wrote that Marvin liked doing
fighting straight ahead as a former Eton boxing his own stunts and occasionally became carried
champ. “Footwork, my boy,” Marvin intones away with the action when he’d had too much al-
throughout the boisterous fight whenever he gains cohol. If Moore noticed Marvin’s eyes go “red”
the upper hand. Marvin mugs it up to great comedic during the choreography, he’d do his best to steer
effect as the two battle through a large house, onto clear of him. Nevertheless, he had vivid memories
the porch, in and out a hut, through a load of laun- of Marvin’s fists zinging dangerously close to his
dry, and ultimately into pig slop where they both face.
pass out. Moore marries Parkins in the ensuing American International publicity promoted the
scene with both men sporting black eyes. film as a great African adventure but a length of
Director Peter Hunt, veteran ed-
itor from the James Bond films, puts
it all together in an entertaining
fashion with D.P. Michael Reed em-
ploying the occasional use of slow-
motion to highlight the broadest ac-
tions. There’s no musical accompa-
niment, only the laughs of the na-
tive villagers as the two buffoons
wreck their village. Marvin keeps a
running commentary going through-
out the fight as he pulls dirty trick
after dirty trick, and Moore tries to
fight by the Marquess of Queens-
berry rules. The emphasis here is on
humor with one of the best mo-
ments coming when Marvin tries to
swing a kick from a small sapling
but brings the tree branch down on Lee Marvin reacts to a Roger Moore punch in AIP’s Shout at the Devil
himself. Marvin did a great deal of (1976).
246 19 76

over two hours and abrupt shifts in tone kept Ryan O’Neal vs. Burt Reynolds
audiences and critics from fully embracing the pic- in Nickelodeon (1976)
ture. Variety called the fisticuffs “a highlight rem-
iniscent of the memorable battle in John Ford’s This Peter Bogdanovich misfire takes an affec-
The Quiet Man,” while the New York Times merely tionate look at silent movies with plenty of slap-
described it as a “protracted and mock-comic fist- stick and rat- a-tat dialogue from the writer-
fight.” The Sarasota Herald Tribune tagged it “one director. Ryan O’Neal, 1970s Golden Boy, head-
of the movie’s high points,” and The Brandon Sun lines with co-star Burt Reynolds, who mugs it up
labeled it “glorious.” Moore’s biographers Gareth comically while vying with O’Neal for the affec-
Owen and Oliver Bayan described the scene as a tions of Jane Hitchcock. Reynolds’ cocky bravado
“wonderfully funny but cleverly choreographed is tiring, but he does make a worthy fisticuffs op-
bare knuckle fight.” Moore himself proudly called ponent for O’Neal in a four-minute fight that’s
it “one dilly of a fight scene.” played entirely for laughs. Shot on Modesto, Cali-
Moore had recently tackled the iconic role of fornia, flatlands, the fight occurs as O’Neal takes
James Bond in Live and Let Die (1973) and The the helm for his first film as director and Reynolds
Man with the Golden Gun (1974). A Royal Army shows up as a patent company stooge hired to sab-
veteran active in Military Intelligence, he brought otage the camera. After much bare knuckle hilarity
a much lighter touch to Bond. He had been ex- involving a bucking bronco, a chicken coop, a
posed to boxing, judo, jujitsu and Kendo while feisty Jack Russell Terrier, a wagon full of hay, tan-
playing Simon Templar on The Saint (1962– gled legs and O’Neal’s faulty suspenders, the fight
1969). For his second Bond film, he studied Mon- concludes with the men gaining a mutual admira-
golian kung fu with Hungarian sifu Lajo Jakab. De- tion for one another. Reynolds is offered the lead-
spite the fight training, 6'1", 180-pound Moore ing role in O’Neal’s film.
never seemed at ease as a tough guy on screen and Behind the scenes there was tension and com-
lacked the hard edge Sean Connery brought to his petitiveness between the stars. Reynolds suffered
Bond portrayal. Moore’s fights had a tongue-in- numerous minor injuries performing slapstick
cheek aspect to them with Moore (and his double) pratfalls for Laszlo Kovacs’ camera. They filmed
often batted around by a larger opponent. the fight over two days in 100 degree heat, and
Notable fights include The Spy Who Loved Me Reynolds, suffering from chest pains, repeatedly
(1976) and The Cannonball Run (1981) (see en- passed out in his trailer. When his color took on a
tries). Fights of interest came against Julius Harris ghostly white, it was decided that stunt coordina-
in Live and Let Die (1973), Yao Lin Chen in The tor Hal Needham would complete the remainder
Man with the Golden Gun (1974), Richard Kiel and with O’Neal’s double Joe Amsler. Needham filled
Toshiro Suga in Moonraker (1979), John Wyman in for Reynolds for the next two weeks in long
in For Your Eyes Only (1981), David Meyer in Oc- shots while Reynolds underwent a battery of tests
topussy (1983) and Christopher Walken in A View and the film fell behind schedule. Reynolds was
to a Kill (1985). He had one of his best fights op- ultimately diagnosed with hypoglycemia and anx-
posing a trio of saw blade–wielding assassins in iety attacks. In the fight that appears on screen,
Octopussy (1983). Moore’s most notable TV Needham and Amsler show up crashing through
match-up on The Saint came against Oliver Reed a fence.
in 1963’s “The King of the Beggars.” In 1965’s “The Critics were divided on the film’s merits, with
Crooked Ring,” he put on boxing gloves to go up most of influence lambasting it. The New York
against Nosher Powell. On the TV series The Per- Times wrote, “There is an endless fight between
suaders (1970–1971), Moore memorably fought Mr. O’Neal and Mr. Reynolds. It is choreographed
co-star Tony Curtis in “Overture” and “Someone as a comic ballet. It is infinitely familiar, infinitely
Like Me.” slick and not at all funny.” The Free Lance- Star
See: Moore, Roger. My Word Is My Bond: A added, “There is one heck of a lot of fighting in
Memoir. London: It Books, 2009; Owen, Gareth, this picture that seems to be drenched in digres-
and Oliver Bayan. Roger Moore: His Films and Ca- sions.” The Register-Guard did say positively, “The
reer. London: Robert Hale, 2002; Thien, Alex. movie breaks loose with a tremendously funny
“Superspy Actor Uncovers New Role.” Milwaukee fight scene,” and Texas Monthly chipped in with,
Sentinel. October 29, 1975. “There’s a terrific fight between Reynolds and
O’Neal, which nicely parodies the overlong knock-
 19 76 247

out brawls of the silent era.” Few working on the street is helpless to do anything but watch the men
picture cared for the demanding director, who un- struggle behind an increasingly blood-stained cur-
successfully pushed Columbia to have the picture tain. Woo swings the garrote like a bola, but a
shot in black-and-white. Roughly a year after the bloody Scheider manages to move behind Woo,
release, O’Neal punched out Bogdanovich at the place his hands around his jaw, and press his knee
Hollywood nightclub Pips. Needham sent up the into the small of Woo’s back until his neck snaps.
director’s pompous image in his own film Hooper Scheider collapses in believable exhaustion. In-
(1978), with Reynolds punching out a Bogdanovich- creasing the scene’s effectiveness is the lack of mu-
inspired director played by Robert Klein. sical accompaniment. The viewer hears only the
See: Nickelodeon DVD commentary; “Star.” San parade chants from below. The Los Angeles Times
Antonio Express. April 17, 1977. called the fight “spectacular,” while Movie Maker
termed it “hair-raising.”
Roy Scheider vs. James Wing True to screenwriter William Goldman’s source
novel, the film originally introduced Scheider’s
Woo in Marathon Man (1976) character and a fellow spy at an airport. Scheider’s
A taut, well-made international spy thriller from colleague goes to the rest room and doesn’t return.
director John Schleslinger. Dustin Hoffman stars When Scheider investigates, he finds a pair of as-
as a grad student who becomes mixed up with sassins whom he engages in hand-to-hand combat.
deadly Nazi war criminal Laurence Olivier. The This entire sequence lasted over eight minutes and
movie is most famous for the excruciating dental was excised after an early San Francisco preview
torture scene, but fans are also fond of a brutal indicated that audiences were turned off by too
one-minute fight on a Paris balcony and motel much graphic violence. These introductory scenes
room between and Roy Scheider, playing Hoff- were why leading man Scheider took a supporting
man’s mysterious brother, and assassin James Wing role as they created a sense of vulnerability to his
Woo. Stunt coordinator Everett Creach allowed tough guy character. The undignified death on the
the actors to do their own impressive stunt work. toilet of his fellow spy was a key reason a mortally
The scene is superbly staged for Conrad Hall’s wounded Scheider later crawls to Hoffman’s apart-
camera, but it’s curious that Woo was hired given ment. Olivier’s dental torture of Hoffman is an at-
his extensive kung fu background. The highly re- tempt to extract perceived information Scheider
alistic fight doesn’t feature any martial arts outside was trying to relay; when in reality it was simply
of a Scheider karate chop that he delivers with an that Scheider was trying to die with dignity.
injured hand. Woo (not to be confused with San See: Goldman, William. William Goldman: Four
Soo Kung Fu master Jimmy H. Woo) was well- Screenplays with Essays. New York: Applause, 1995;
known as the owner of the Academy of Karate Kachmar, Diane C. Roy Scheider: A Film Biography.
Kung Fu and the Chinese Martial Arts Associa- Jefferson, NC: McFarland, 2002; Marathon Man
tion, both located on Hollywood Boulevard. The DVD special features.
5'9", 160-pound Scheider was a Golden Gloves
boxer and a wrestler at Rutgers College. Peter Sellers vs. Burt Kwouk
There’s a great deal of suspense built courtesy in The Pink Panther Strikes Again
of editor James Clark as Scheider watches a parade
while Woo sneaks into the room and his face ap-
(1976)
pears behind the white sheer curtain. The fight Beginning with Blake Edwards’ A Shot in the
still comes with a jolt as Scheider is standing on Dark (1964), a running gag in the classic side-
his high balcony wearing only his skivvies after splitting Pink Panther films became the spirited,
performing a set of push-ups. Rarely has a heroic highly destructive martial art battles between the
figure been exposed to such a degree as Woo raises klutzy, dimwitted Inspector Clousseau (Peter Sell-
a garrote to wrap it around Scheider’s throat. ers, in his greatest role) and his loyal servant Cato
Scheider’s quick reaction is life-saving. He gets his (Burt Kwouk). To keep fit and always on his toes,
palm in front of his neck, and blood goes flying as Clousseau has instructed Cato to attack him unan-
the wire digs into his flesh. This special makeup nounced. Each successive film finds Cato lying in
effect was created by the legendary Dick Smith. wait for Clousseau, and the damage they do to his
There’s a nod to Alfred Hitchcock’s Rear Window home with their fights is comic genius. The three-
(1954) as a witness in a wheelchair across the minute fight in The Pink Panther Strikes Again is
248 19 7 7

their masterpiece, managing to add new wrinkles with Dunne, who became stunt coordinator for
to their previous battles and spoof the burgeoning Edwards’ films. The results in Strikes Again are
kung fu genre at the same time. Dick Crockett golden, and Action Films includes it among cin-
doubles Kwouk while Sellers is doubled by British ema’s great fights.
stuntman Joe Dunne. See: Parker, Ed. “Blake Edwards and the Martial
The Strikes Again fight begins with Cato hiding Arts.” Black Belt. June 1990; Rigelsford, Adrian.
atop the canopy of Clousseau’s bed as the inspec- Peter Sellers: A Life in Character. Virgin, 2004; Sa-
tor lies down. Cato rips the canopy and both lome, Lou. “Sellers Stunt Double Speaks: I Took
scream as Cato falls atop Clousseau and the bed Falls for Inspector Clousseau.” Action Films. Feb-
collapses. They rush to their respective hidden ruary 1983.
weapons and put on a sped-up version of staff and
nunchaku expertise. The fight switches to slow Terence Hill vs. Bob Herron
motion and hilariously slurred sound as Cato
charges and Clousseau breaks his nunchaku over
in Mr. Billion (1977)
the back of Cato’s neck. The two manage to hit Trinity star Terence Hill took a shot at stardom
everything but one another in the confines of in the United States with the adventure comedy
Clousseau’s apartment. Clousseau charges Cato Mr. Billion (originally titled Windfall), about a sim-
and trips over his crazed commander Herbert ple Italian mechanic trying to collect an inheri-
Lom’s periscope sticking up from the floor. Lom, tance in America despite nefarious interests rep-
on a ladder in the apartment below, falls to the resented by banker Jackie Gleason. Writer-director
floor. Clousseau and Cato next stalk one another Jonathan Kaplan’s film is lighthearted and engag-
through the apartment, somehow ending up back ing enough, but lacks the essentials that made Hill
to back but oblivious to the other’s presence. As a star in Italy. Specifically the fights feature none
they become aware of one another and scream of the crazy comedy Hill was known for, as they
warrior cries, they are interrupted by
the telephone (a running motif ).
Doing his duty as Clousseau’s servant,
Cato moves to answer the phone.
Clousseau whacks him over the head
and wins the fight.
Director Edwards was a martial arts
student, having trained with Kenpo
master Ed Parker whom he often con-
sulted. Sellers had taken judo classes
in his younger days but by the 1970s
was besieged by heart problems and
had a pacemaker. He did as little action
as possible, with stunt double Dunne
ably filling in. Nimble co-star Kwouk
called the series of fights “one of the
great running gags in motion picture
history,” but admitted that neither he
nor Sellers had any clue when it came
to being true martial artists. Often they
were making it up as they went along,
encouraged by Edwards to improvise
where they saw fit. Veteran stunt coor-
dinator John Sullivan originally plotted
the Strikes Again fight as a more tradi-
tional punchfest. Dunne argued that
the comic essence of the Clousseau-
Cato fights was that they hardly ever Terence Hill (left) and Bob Herron battle on the edge of the Grand
made actual contact. Edwards agreed Canyon in 20th Century-Fox’s Mr. Billion (1977).
 19 7 7 249

are filmed in the more traditional dramatic Holly- Stuart Whitman vs. Kung Fu
wood style. The disjointed picture was a commer- Kicking Drag Queens
cial misfire. Nevertheless, there’s an outstanding
fight at the climax due to an inspired setting and
in Strange Shadows in an Empty
fantastic aerial helicopter shots from high above: Room (aka Blazing Magnums)
Hill and veteran stunt actor Bob Herron engage in (1977)
a truly dangerous fight at the Grand Canyon’s edge.
There was no safety net and only a small ledge be- This violent Italian-Canadian co-production
neath Herron and Hill’s double Walter Scott. A was filmed in Montreal by director Alberto De-
slip or a fall could have meant death. “More action, Martino. Craggy Stuart Whitman stars as a Dirty
excitement, romance and riotous adventure than Harry–like cop out to catch the murderer of his
money can buy,” promised the ads. sister. His investigation leads him to a penthouse
Fred Stromsoe served as stunt coordinator and apartment inhabited by three razor- wielding,
Nate Long directed the second unit, although hel- karate-kicking men dressed as women. Most pub-
icopter pilot James Gavin was the aerial coordina- licity and reviews refer to them as transvestites.
tor in charge of the dizzying shots that cinematog- Whitman’s Tough Tony is kicked out a sliding glass
rapher Matthew Leonetti captured. The Canyon door and winds up hanging from a ledge several
had served as the backdrop for another memorable stories above the street but pulls himself back up
climax with Cornel Wilde and Mickey Shaugh- to finish off the trio. This two-and-a-half-minute
nessy dangling in an ore bucket over the gorge in brawl is well edited by Vincenzo Tomassi. Whit-
Edge of Eternity (1959). Reviews of Mr. Billion man makes particularly nasty use of a hot curling
tended to focus on the campy set-up to the action, iron, contributing to this audacious film’s cult rep-
which involved leading lady Valerie Perrine tied utation. Italian Crime Filmography declared that
to a rock like something from a silent movie cliff- the fight went “wildly over-the-top in a way no
hanger. Time wrote, “The filmmakers have to be mainstream U.S. film would.”
kidding—only they don’t seem to know it.” Film As bizarre as the scenario comes off, it wasn’t
Bulletin did find the action sequence to be “well- unprecedented. James Caan beat up a transvestite
staged.” in Freebie and the Bean (1974) and Jim Mitchum
Earlier there’s a standard cowboy brawl in the had a back alley brawl with three tranny hookers
Hog Leg Saloon in which Slim Pickens and stunt (among them pro boxer Tony Burton) in Track-
actor Neil Summers take part. Summers is bounced down (1976). Whitman’s fight, however, is far and
around like a pinball in the fight while Pickens away the best. Guilda, Gene Chandler and Vicki
takes his own stunt fall onto a table. Although Lane are the kung fu combatants, while Whitman
Pickens is Hill’s opposition in the fight, he be- is doubled by American stuntman Tom Sutton.
comes an ally who helps even the odds at the Publicity played up Whitman’s gutsiness and the
Grand Canyon when a gunman gets Hill in his fact he did much of his own stunt work for cine-
sights. Other stunt fighters in the Hog Leg include matographer Aristide Massaccesi’s hand-held cam-
Fred Lerner, Chuck Hayward, Larry Holt and era. The scene was shot atop a 26-story office
Norm Blankenship. Unfortunately the editing for building in downtown Montreal. Whitman hung
the sequence by O. Nicholas Brown cuts away 260 feet above the ground from the side of the
from the action too often to fully appreciate it. building. Appropriate safety precautions were un-
Stunt actor Dave Cass also engages Hill in a per- dertaken to guarantee the star’s safety, but Whit-
ilous fight in an open helicopter. On the TV series man should be commended for the lengths (the
Here Come the Brides, Cass and Herron worked a heights?) he’d go to for a low-budget feature.
notable fight together doubling Robert Brown and Risk-taking was nothing new to the 190-pound
Mark Lenard in 1969’s “His Sister’s Keeper.” At six-footer, a light heavyweight boxing champion
over five minutes in length, it was one of the in the Army who played football at Los Angeles
longest fights ever done for TV. City College and worked construction jobs on the
See: Ivie, Mark, and John D. Ross. “Robert Her- side. When it came down to a casting decision be-
ron: 80, Unbreakable … and Still Going Strong!” tween Whitman and Larry Pennell for a never-
Inside Stunts. Summer 2004; Mr. Billion press- made biography of boxer Jack Dempsey, Whitman
book. trained with pro John Indrisano and suggested that
the producers put both actors in the ring and let
250 19 7 7

them fight for the part. On Sands of the Kalahari cent of the cramped fight in Diamonds Are Forever
(1965), he wrestled a real baboon, though it was (1971). The Max Kleven–coordinated action has
sedated. Whitman trained with Bruce Lee and had Minor travel down the elevator carriage while
a reputation as a man quick with his fists if chal- Nolte rides the counterbalance up with the two
lenged in a bar, factors in his later casting as the tangling in the middle. Yates filmed the exciting
title detective in the Hong Kong–made Hammer action in a basket suspended from a crane by steel
film Shatter (aka Call Him Mr. Shatter) (1974) wire at Marley Beach. Production designer Tony
where he mixed it up with martial artists Chia Masters conceived the elevator. Additional footage
Yung Liu and Pei Chi Huang. of this fight found its way into the extended TV
Fights of interest came against Michael Pataki broadcast.
and John Indrisano in Ten North Frederick (1958), Though stunt double Jim Nickerson did the
Claude Akins in Hound Dog Man (1959), Ken second unit long shots, Nolte insisted on doing
Scott in The Fiercest Heart (1961), John Wayne much of the fight. He and Minor were nearly in-
and Tom Hennesy in The Comancheros (1961), jured when they accidentally hit a button during
Reggie Nalder in The Day and the Hour (1963), their struggle that caused the elevator to move un-
Roddy McDowall in Shock Treatment (1964), expectedly. They stopped it an instant before the
Stanley Baker in Sands of the Kalahari (1965), Lee moving parts could have taken off Minor’s arm.
Van Cleef in Captain Apache (1971) and Robert The climax of the fight has Minor plummeting to
Wagner in the TV movie City Beneath the Sea his death as the counterweights break loose, and
(1971). He led an old-fashioned saloon brawl in Nolte reaches a perch. However, the broken cables
the TV movie Once Upon a Texas Train (1988). snap past him and knock Nolte down the elevator
On the ambitious TV western Cimarron Strip shaft before he catches a handhold and climbs the
(1967–1968), Whitman fought Telly Savalas, rope. The thrilling scene was shot day-for-night
Richard Boone, Steve Forrest, Henry Silva and with filters by Christopher Challis due to the prob-
Victor French. As a guest star, he knocked out lems of lighting an entire cliff. The lighting and
George Peppard in the 1983 A-Team episode the offbeat logistics left many viewers in the dark.
“West Coast Turnaround.” In 1994, Whitman The New York Times called it “a life-and-death fight
played two-fisted Laredo Jake Boyd on the “Deadly on an outside elevator that I still can’t figure out.”
Reunion” episode of Walker, Texas Ranger. In a subplot, muscular Robert Tessier plays a
See: Curti, Roberto. Italian Crime Filmography, rare good guy as dive-master star Robert Shaw’s
1968–1980. Jefferson, NC: McFarland, 2013; loyal friend. He is afforded the opportunity to have
Petkovich, Anthony. “They Made Me a Cult Film a great one-minute fight with 5'10", 225-pound
Star: An Interview with Actor Stuart Whitman.” professional wrestler Earl Maynard in a dive shop.
Shock Cinema. #44, June 2013; Scott, Vernon. Stunt coordinator Fred Stromsoe was suggested a
“Actor Would Fight for Film Part.” Deseret News. prop outboard motor be used. Tough guys Tessier
September 19, 1957. and Maynard insisted on a real motor and running
blade, adding an extra sense of danger to the tense
Robert Tessier vs. Earl scene. The Cavalier Daily remarked that the fight
was “so exciting you can scarcely watch them com-
Maynard in The Deep (1977) fortably,” while The Michigan Daily found it “mem-
Writer Peter Benchley’s popular Bermudan orable in its grisliness but so out of kilter with any-
scuba diving adventure features a pair of standout thing in the main storyline that the sequence looks
fights while serving to introduce a tough, hunky like it could have been lifted from a completely
blond actor, Nick Nolte, to big-screen audiences different film.” This isn’t necessarily true. Keen
as the hero. viewers will note the foreshadowing in an earlier
It has been notoriously difficult to make under- meeting where both actors mentally size one an-
water fights exciting for audiences so director Peter other up without saying a word. After that glare
Yates wisely stages his two main battles on land. between them, it would have been disappointing
Midway through the film, the six-one, 185-pound had they not fought.
Nolte squares off with six-two, 210-pound stunt At one point in the fight choreography, Mr. Uni-
actor Bob Minor 80 feet above the ground on a verse Maynard accidentally put his knee into
specially built cliffside elevator. It’s a tense ex- Tessier’s nose. Tessier shrugged off the injury and
change of body positioning and punches reminis- continued to film. As the fight climaxes, both men
 19 7 7 251

go to the neck and jockey for

position, kicking at one an-
other’s legs as they each force
the other’s neck to the side.
There’s no music, only the
eerily effective sound of the
men’s labored grunting. The
scene fades with the sound of
crackling bone. Shaw later
finds Tessier’s broken body
hung against the wall, every
bone and joint sadistically
and grotesquely turned.
Tessier and Maynard fought
again in The Sword and the
Sorcerer (1982) with Maynard
emerging victorious after an-
other gruesome battle.
Algonquin Indian Tessier,
6'1" and 230 pounds, served
as a paratrooper during the
Korean War before entering
films as a stuntman in the
1960s. Tessier’s break came
opposing Tom Laughlin’s
Billy Jack as a menacing cy-
clist in Born Losers (1967).
He is best known for shaving
his head for The Longest Yard
(1974) where, playing the
toughest convict on the cell-
block, he breaks Richard
Kiel’s nose with a karate blow
and a sadistic grin on his face.
Tessier famously fought
Charles Bronson in Hard Earl Maynard (top) and Robert Tessier use a real running outboard motor
Times (1975) and took part in as a weapon in Columbia’s The Deep (1977).
brawls in Hooper (1978) and
The Cannonball Run (1981) (see entries). With 19" Roger Moore vs. Richard Kiel
biceps and a 50" chest, Tessier had a reputation as in The Spy Who Loved Me (1977)
one of the strongest and toughest men in Holly-
wood. He fought Ned Romero in Last of the Mo- Roger Moore hit his tongue- in-cheek stride
hicans (1977), Dale Robinette in The Billion Dollar with the third James Bond installment from direc-
Threat (1979), and Marjoe Gortner in Starcrash tor Lewis Gilbert and screenwriter Richard
(1979). As a guest he fought Robert Urich in the Maibaum. The film has spectacular action se-
1980 Vegas episode “Sudden Death” and chal- quences courtesy of stunt coordinator Bob Sim-
lenged Mr. T in the A-Team episode “The Out of mons and perhaps the most memorable Bond vil-
Towners.” lain yet in the form of giant, steel-toothed Jaws
See: Brownstein, Bill. “Top Gun Tessier Shoots (Richard Kiel). Bond and Jaws have four fights,
Straight from the Hip.” Montreal Gazette. April 20, and the size discrepancy between the two borders
1985; Guber, Peter. Inside the Deep. New York: on the comic as Kiel’s huge hand literally covers
Bantam, 1977. all Moore’s face as he manhandles him, first among
Egyptian ruins and later in a train compartment,
252 19 7 7

a Sardinian roadway and the Atlantis station. On he valued safety. Simmons perfected a method of
the train, Kiel presses Moore repeatedly against punching through the glass as he dove, reasoning
the ceiling before he is shocked with an open lamp that stuntmen were only cut if they drew their
socket to his cobalt steel braces and kicked out the hands in after making contact. The greatest diffi-
window. After each narrow Bond escape, the silent culty posed to Simmons was that he had little
Kiel merely dusts off and goes about his business. room with which to get a running start for cine-
Simmons and George Leech coordinated the matographer Claude Renoir’s camera. His first
fights with Martin Grace doubling Moore. Sim- dive proved perfect. However, when standing up,
mons and Grace both doubled Kiel, although they he inadvertently pushed off from broken glass and
were a foot shorter. Action editor John Glen does cut his hand, requiring two minor stitches. Kiel
well hiding the size discrepancy. worked closely with the stuntmen on a mock set
The 7'2", 330-pound Jaws character proved so before filming. For the part where Kiel pushes
popular that he was brought back for the next film Moore against a wall, Simmons had to reposition
Moonraker (1979), where he ultimately became a a luggage cart to give them more room in which
good guy and fought alongside Bond in the climax. to work. They also determined that a shelf with a
The character enjoyed great cultural popularity. lamp needed to be moved closer so it was within
Kiel was director Gilbert’s choice for the role, al- Moore’s reach when it came time to shock Kiel.
though boxer Jack O’Halloran, American Indian Moore utilized mini-trampolines to get into the
Will Sampson and British weightlifter Dave air so it looked like Kiel was effortlessly heaving
Prowse were under consideration. Even after Kiel him around. At one point, an articulated dummy
had been signed for the role, the 6'7" Prowse was was used in place of the star.
offered the opportunity to serve as Kiel’s double. Moore also fights the burly, bald-headed Sandor
He declined, not wanting to be known as a stunt- (Milton Reid) on a Cairo rooftop. The Spy Who
man instead of an actor. His greatest fame came Thrilled Us cites this as one of the Bond films’ bet-
embodying Darth Vader on Star Wars (1977), with ter fights, but most fans consider it poorly realized
James Earl Jones providing the distinctive voice- and lacking intensity. Stuntman Jack Cooper dou-
over for Prowse’s physical actions. bled Reid for the 60-foot fall off the roof. Reid was
For the stunt in the train compartment, Sim- a thickly built pro wrestler who had played a guard
mons opted to dive through real glass over the in the original Bond film Dr. No (1962), a credit
standard movie sugar glass. He thought the sugar that hindered his chances to be cast as Oddjob in
glass looked fake and strived for realism, though Goldfinger (1964). He campaigned heavily, even
going so far as to challenge fellow
wrestler Harold Sakata to a winner-
gets-the-role elimination match that
was never realized.
A bar bouncer, Kiel didn’t like to
fight but enjoyed intimidating cus-
tomers at both the Ragdoll and the
Crossbow into behaving appropri-
ately. In Hollywood he was often
called upon to dwarf opponents in
fights, none more so than Robert
Conrad on TV’s The Wild Wild West.
He fought Ralph Taeger on Klon -
dike, Chuck Connors on The Rifle-
man and Fess Parker on Daniel
Boone. Kiel was limited in mobility,
but to his credit did a great deal of
his own fight work as he was difficult
to double due to his immense size.
Fights of interest came against Paul
Roger Moore (left) battles giant villain Richard Kiel in United Mantee in A Man Called Dagger
Artists’ The Spy Who Loved Me (1977). (1967), Carl Weathers in Force 10
 19 78 253

from Navarone (1978) and Clint Eastwood in Pale to run into the flying feet of Hwang Jang Lee, an
Rider (1985). Eagle Claw master who wants to rid the world of
See: Kiel, Richard. Making It Big in the Movies. all styles challenging his own. After taking much
Richmond: Reynolds & Hearn, 2002; Weaver, abuse throughout the film, Chan invents the su-
Tom. “Voltaire Talks.” Starlog. #353. March 2007. perior Cat Claw technique to overcome his foe in
an extended climactic showdown. In Drunken
Jackie Chan vs. Hwang Jang Lee Master, Chan is once again taught by Simon Yuen,
in Snake in the Eagle’s Shadow this time the legendary styles of the Eight
(1978) and Drunken Master Drunken Masters, who were great fighters because
of unsteadiness and unpredictability in their fight-
(1978) ing. The more alcohol Chan drinks, the better
In the wake of the violent chop-socky drivel fill- fighter he becomes. Chan plays the ridiculousness
ing the screens after the death of Bruce Lee came of the situation to the hilt, especially in the final
this groundbreaking back- to-back tandem of showdown where he reveals to his master that he
Snake in the Eagle’s Shadow and Drunken Master never bothered to properly learn the eighth
starring Jackie Chan, previously thought to be no drunken master’s technique. He is forced to im-
more than one of many Lee imitators. Rigorously provise on the spot to overcome the supremely
trained in gymnastics and martial arts during his evil Lee. The film is full of memorable fights. The
childhood at the Peking Opera’s China Drama Ultimate Guide to Martial Arts Movies of the 1970s
School, the 5'6", 150-pound Chan entered Hong called it “a landmark movie in the kung fu film
Kong films as a stuntman opposite Bruce Lee in genre and arguably one of Jackie Chan’s best films.”
The Chinese Connection (1972) and Enter the According to Films of Fury, the films are “brilliantly
Dragon (1973) (see entries) and had extreme ac- conceived and executed” and “perfectly designed
robatic talent and fighting ability. However, the for Chan’s skills.” The Essential Jackie Chan Source-
foremost trait setting him apart from the pack was book noted that Drunken Master’s 18-minute fight
his sense of humor. These are funny and highly finale “literally sent kung fu aficionados hearts a-
entertaining action films with great extended flutter.”
fights against villain Hwang Jang Lee. The fight Reasoning that no one could truly replace
choreography is mind-boggling considering the Bruce Lee, Chan opted to become the antithesis
intricate series of punches, kicks, blocks and flips of the screen legend. Instead of kicking high and
filling the screen. Credit must also be given to first- serious, Chan kicked low and with humor, often
time director and martial arts coordinator Yuen shaking his fist in pain after striking someone.
Woo Ping, who later contributed to fights in the Comedic facial expression played a great role in
Matrix and Kill Bill films. He was assisted by Corey his ability to connect with audiences. The new
Yuen (aka Yuen Kwai) and his broth-
ers Yuen Chun-Wei and Yuen Shun-
Yi. However, there’s no denying the
one person most responsible for
making these films box office hits in
his native country was Chan. The
films proved so popular that Chan
was brought to the U.S. and given a
shot at stardom in The Big Brawl
(1980). Eventually, he attained that
lofty goal in America after becoming
known for his oftentimes dangerous
stunt work.
The plots of both films are remark-
ably similar. In Snake in the Eagle’s
Shadow, Chan plays a young man
who apprentices from older master
Simon Yuen (the director’s father). Jackie Chan (top) brings humor to his fight with Hwang Jang Lee in
He learns Snake Fist technique only Seasonal Films’ Drunken Master (1978).
254 19 78

genre of comic kung fu made inventive use of Strike (1996), the runaway carriage fight in Mr.
props and emphasized rhythm in the fights. Chan’s Nice Guy (1997), the saloon fight in Shanghai
tongue-in-cheek fighting style truly set him far Noon (2000), a horseshoe fight in Shanghai Knights
apart from his contemporaries. However, pivotal (2003), the art studio brawl in Around the World
to the success of these films is that Chan was facing in 80 Days (2004) and the Lego Land fight in New
a great fighter in the form of Hwang Jang Lee, a Police Story (2004).
Tae Kwon Do instructor for the Korean Army and Chan had notable fights in The Big Brawl (1980),
noted for the great power in his kicks. In martial The Cannonball Run (1981), Wheels on Meals
arts magazines he was marketed as “the lord of leg (1984) and Twinkle, Twinkle Lucky Stars (1985)
combat.” During his time in the service, he was (see entries). Fights of interest came against Dick
challenged by a Vietnamese knife-fighting expert. Wei in Project A (1984), My Lucky Stars (1985)
Lee turned down the challenge, but when the ag- and Heart of Dragon (aka First Mission) (1985),
gressive opponent lunged at Lee with his knife, Bill “Superfoot” Wallace in The Protector (1985),
Lee delivered a roundhouse kick to the knife- Andy Lau in Island of Fire (1991), Sam Wong in
fighter’s head. The single kick killed the man; it Police Story 3: Supercop (1992), Richard Norton
was judged to be an act of self-defense. Lee began and Gary Daniels in City Hunter (1993), Mark Ak-
working in Korean action films in the early 1970s erstream in Rumble in the Bronx (1996), Nathan
and achieved notoriety. This brought him to the Jones in First Strike (1996), Richard Norton in Mr.
attention of Hong Kong, who matched him up Nice Guy (1997), Brad Allen in Gorgeous (1999),
with Chan for these two films. Ron Smoorenburg and Ken Lo in Who Am I?
Friction between the two fighters first surfaced (1999), Donnie Yen in Shanghai Knights (2003),
during the making of Snake in the Eagle’s Shadow. Andy On in New Police Story (2004) and Jet Li in
This stemmed from a Lee kick that made contact The Forbidden Kingdom (2008).
with Chan and knocked out a tooth as evidenced See: Jackie Chan, Drunken Master-Snake in the
on film at the end. Although Chan was angry Eagle’s Shadow, Blu-Ray boxset; Kehr, Dave. “Chan
about the injury, Lee was brought back for the sec- Can Do.” Film Comment. May-June 1988.
ond film. Lee once again made hard contact with
Chan, and they never worked together again. Chan Reb Brown vs. The Party
was also slashed on the arm by a sword, one of Crashers in Big Wednesday
dozens of nicks, scrapes and major calamities that
helped to define Chan as an action performer will-
(1978)
ing to take great risks to achieve big screen magic. Writer-director John Milius’ cult surfing movie
In 1994, Chan made the official sequel Legend of tracks the lives of three Malibu surfers ( Jan-
Drunken Master (aka Drunken Master II) where he Michael Vincent, William Katt and Gary Busey)
fought Kenneth Lo for 20 minutes in a fight that from their irresponsible early 1960s youth through
took four months to film. the 1970s. Despite the looming presence of Viet-
By 1983, Chan had developed the Jackie Chan’s nam and personal problems along the way, the
Stuntman Association (employing up to two three reunite for one last mythical wave. In the
dozen members including his own bodyguards early part of the film, Milius stages an entertaining
Ken Lo, Brad Allen and William Tuan), a group three-minute fight between the surfer crowd and
that worked on all Chan’s films. Chan’s fights and a group of party crashers led by Michael Talbot.
stunts became the films’ focus, with months some- The fun scene features a shirtless Busey, lathered
times being devoted to completing a fight and in barbecue sauce, as the crazy Leroy the Maso-
hundreds of takes being filmed to perfect a stunt. chist. A drunken Vincent wanders into the fight
Some of Chan’s more famous set piece fights eating a watermelon and takes a fist through that
against his team of stuntmen were a bar fight and melon from Al Wyatt, Jr. Robert Englund sprays a
bicycle chase in Project A (1983), the mall melee garden hose inside the house and Geoff Parks
in Police Story (1985), the playground fight in Po- takes a tumble down the stairs (a stunt executed
lice Story 2 (1985), the prop-heavy fight against by Terry Leonard). When it looks like the crashers
monks and amazons in Armour of God (1986), the might be getting the better of Busey, the muscular
factory fights in Dragons Forever (1987) and Reb Brown comes down the stairs to the tune of
Drunken Master II (1994), the parlor fight in Thun- Ray Charles warbling “What’d I Say?” The next
derbolt (1995), the chairs and ladders fight in First minute is one of cinema’s most convincing displays
 19 78 255

of screen fighting. The shirtless Brown cleans Brown had his best fight with martial artist Steve
house on the crashers, destroying their tough guy James in Street Hunter (1990). TV audiences fondly
Wyatt and taking out their karate man with great remember him taking on Don Johnson in the 1987
blocks and body blows. The crashers run into the Miami Vice episode “Viking Bikers from Hell.”
night. See: Big Wednesday DVD commentary; Her-
In throwing the first punch, Busey miscalcu- nandez, Marjorie. “Captain America Is a Superstar
lated a back-hand and broke Talbot’s nose. Talbot in Camarillo.” Ventura County Star. July 21, 2011;
understandably disappears for the remainder of Ligon, Patty. “Stunt Filming Choreographed.” El
the action. Stunt actor Wyatt miscalculated a Paso Herald Post. July 22, 1977; Wharton, David.
punch and struck Brown in the jaw. The smile “To Protect and Surf.” Los Angeles Times. June 7,
Brown gives on camera is genuine, and the subse- 2005.
quent body blows administered to Wyatt were not
pulled according to Milius. Second generation The Truckstop Fight in Convoy
stuntmen Diamond Farnsworth and John Robot-
ham were uncredited crashers, while stunt actor
(1978)
Mike Raden represented the surfers. Busey and Legendary director Sam Peckinpah created a hit
Brown did all their own fighting for Bruce Surtees’ with the trucker film Convoy, but the runaway pro-
camera. There’s another violent fight in a Tijuana duction was the nail in the coffin of his profes-
bar started by Vincent. Stunt coordinator Leonard sional career. Indicative of the times, the trucks
shows up as the bartender, and stuntmen Denny may have been fueled by diesel, but cocaine was
Arnold, Richard Epper, Ken Ferguson and a knife- what kept many cast and crew running with their
wielding Thomas Rosales, Jr., take part. chemically deranged leader on location in New
Milius was a surfer in Malibu during the late Mexico. All but six crew members were fired from
1950s and early 1960s and with co-writer Denny the film, which went so far over budget and time
Aaberg based his characters on actual people from they had to take a break in shooting to allow mu-
that era. Vincent’s alcoholic surfer was fashioned sician star Kris Kristofferson to complete a pre-
after the talented nose-rider Lance Carson while arranged concert tour. James Coburn came in as a
Brown was based on Ray “The Malibu Enforcer” second unit director and tried to keep his friend
Kunze. The latter policed the beaches with his Peckinpah in check, but he was too far gone. The
tough guy reputation. Fights between the Malibu excessive care he had put into such personal and
crowd and the Valley kids were not uncommon, poetic westerns as Ride the High Country (1962),
and on one occasion Kunze was said to have taken Major Dundee (1965), The Wild Bunch (1969),
out a karate specialist. During the 1960s, Kunze The Ballad of Cable Hogue (1970) and Pat Garrett
moonlighted as a stuntman for the Beach Party and Billy the Kid (1973) paled in comparison to
flicks under the pseudonym Peter Proportion. He the time spent on what he knew in his heart was a
was on the Big Wednesday set to meet Brown and piece of schlock created to cash in on the CB
offer pointers. The fight shot for nearly one week trucker craze. The producers were ready to fire
on an MGM soundstage in August 1977. The Peckinpah, but Kristofferson stood up for his di-
young actors partied hard that week, although a rector and threatened to quit. Peckinpah later
somber mood came when it was announced Elvis railed at Kristofferson for keeping him on the film.
Presley had died. An ill-prepared and indecisive Peckinpah had
Reb Brown, 6'3" and 230 pounds, played foot- Harry Stradling, Jr., shoot reels of coverage with
ball at USC and was discovered working as a multiple cameras, hoping he and his small army
bouncer at the Handlebar Saloon in Pasadena. He of editors could salvage something in post-
was intent on becoming a Los Angeles Sheriff ’s production, but when it came down to it most of
Deputy while embarking on a professional boxing the B.W.L. Norton–scripted film consisted of
career. With his handsome Nordic features and Kristofferson and female lead Ali MacGraw sitting
streamlined bodybuilder’s physique, he epito- in the cab of a truck. Peckinpah doubled the $6
mized the 1970s California beach lifestyle. Signed million dollar budget with his delays and lost all
to a contract at Universal, he filmed two pilots as the clout he was once able to muster in butting
Captain America for a proposed 1979 TV series heads with the studios. Peckinpah would die in a
that fell through. He also starred as a bare-knuckle few years after being given one last chance with
fighter in Cage (1989) opposite Lou Ferrigno. the interesting but failed thriller The Osterman
256 19 78

Weekend (1983). Despite his apathy toward Con- Films of Sam Peckinpah. New York: DI Fine, 1991;
voy, the anti-establishment film became a cult Gallagher, Hugh. “Convoy Movie Filming Goes
movie with its target audience. Critics lambasted On.” Albuquerque Journal. May 29, 1977; Miller,
it, save for the action and stunts. The Los Angeles Stephen. Kristofferson: The Wild American. Lon-
Times called its fisticuffs “spectacular,” while the don: Omnibus, 2008.
Montreal Gazette wrote, “There are a few flashes
of Peckinpah’s talents, in a slow- motion fight The Palomino Bar Brawl
scene, for example, and some pretty shots of trucks
driving through blowing sand.”
in Hooper (1978)
One set piece is a nearly three-minute diner Director Hal Needham and star Burt Reynolds
brawl between the truckers and bad guy sheriff called Hooper an ode to all stuntmen, although
Ernest Borgnine’s beefy deputies Jim Burk and some interpret it to be autobiographical on both
Allen Keller. A catalyst for the plot, the 11-person Needham and Reynolds’ parts. Aging, broken-
fight was scheduled to be shot over three days early down Sonny Hooper is Hollywood’s top stunt-
in the production but wound up taking Peckinpah man, but he’s being challenged for his title by
a week and a half to film. The fight at the Silver young up- and-comer Jan- Michael Vincent. In
Cloud diner in Algodones became half-slapstick many ways it parallels Needham’s transition from
in nature as Peckinpah utilized his penchant for bone-breaking macho man in front of the camera
slow-motion action to dwell on broken ketchup to the man calling shots behind it. The Vincent
bottles, smashed glass, flying chairs and tumbling character has been said to be based on Stan Bar-
bodies. It’s as if he was knowingly parodying him- rett, a Needham protégé who often worked with
self. Texas Monthly felt, “The slow-motion brawl Reynolds. At the same time, Reynolds plays up his
at the diner actually lessens the impact of the fight; own love for stunts, even going so far as to watch
it merely becomes an abstract lesson in technique.” footage of himself riding rapids in Deliverance
Kristofferson is involved in much of the action, al- (1972) under the guise of it being Hooper doing
though stunt coordinator Gary Combs fills in for stunt work. What’s more, Sally Field is the female
one backward fall. Trucker Burt Young engages in love interest and her father is a legendary stuntman
the fight action with a bemused grin on his face. named Jocko, played by a crusty, scene-stealing
Bob Herron was on hand to double Borgnine, Brian Keith. In real life, Field’s stepfather was
who’s knocked out by a Kristofferson kick early in actor-stuntman Jock Mahoney, and some claim
the fight. Jophery Brown doubled Franklyn Ajaye Hooper is based partly on his rambunctious adven-
while Jadie David subbed for Madge Sinclair. tures. Others say it’s about Buddy Joe Hooker, ar-
Truckers Whitey Hughes, Billy Hughes and guably the top stuntman in town when Hooper was
Tommy Huff were pro stuntmen. made. He worked on the film as Jan-Michael Vin-
Five-eleven and 165 pounds, Kristofferson was cent’s double.
a Golden Gloves boxer and played football at The film is full of great stunts and scant on char-
Pomona College before joining the Army as an acter development, save for when Keith lands in a
Airborne Ranger. He volunteered to fly helicopters hospital bed and Reynolds sees his own future
in Vietnam but wound up working construction flash before his eyes. There’s an interesting char-
jobs while pursuing a career as a country song- acter to be found in a man who beats himself up
writer in Nashville. The Rhodes scholar was a for a living and reaches the end of his physical abil-
walking contradiction, his intelligence and literate ities, but Reynolds falls back too often on his fa-
ability seemingly at odds with his penchant for miliar charming smile and self-amused laugh to
drinking and punching out problems. He was the add much substance to the part. This is never
toughest troubadour in town, but for years fought more apparent than in the three-minute bar fight
problems with alcohol. As a screen fighter he had at the Palomino Club, the legendary country
grit and swagger and could work with the stunt- music venue once located in North Hollywood.
men but wasn't always good at pulling his punches. Reynolds and his stuntman pals are too loud for
He sent Keith Carradine to the hospital with an real- life Pittsburgh Steelers quarterback Terry
errant blow on Trouble in Mind (1985). One of his Bradshaw and Robert Tessier, members of a
more memorable fights came against celebrity S.W.A.T. team who complain they have money in
heckler Robert Englund in A Star Is Born (1976). the jukebox. Reynolds puts on a helmet and mo-
See: Fine, Marshall. Bloody Sam: The Life and ronically smashes his head into the music machine
 19 78 257

to reimburse them. He then

sucker punches Bradshaw,
who spits out a tooth and
smiles. It’s obvious the vio-
lence will be played for laughs
as Bradshaw’s hand breaks the
silly helmet with a punch.
A rowdy Keith has some
humorous moments during
the ensuing battle as he quips
to James Best, “We’re getting
too old for this shit,” and Field
garners laughs as she finishes
her meal amidst the flying
bodies. Norm Grabowski dis-
tracts an opponent by lifting
the Roman centurion skirt
he’s clad in. Tessier and Vin-
cent square off, but they’re
given too little screen time to Burt Reynolds (left) and Jan-Michael Vincent in a fight seen only on some
make an impact. Mostly it’s a TV prints of Warner Bros.’ Hooper (1978).
succession of stuntmen doing
their thing in the Bobby Bass–coordinated action, Courtney in 5 Against the House (1955). The
including Jim Burk, Tony Epper, Walter Wyatt, Jim rugged, plain-spoken Keith was a longtime iron
Connors, Bennie Moore, Jophery Brown, Fred lifter at Vince’s Gym in Studio City. His strength
Schiewiller, Bob Orrison, Tommy Huff, Tom El- was considerable, as was his punch. While guest-
liot, Billy Hank Hooker, J.N. Roberts and Gary ing on the 1963 Fugitive episode “Fear in a Desert
McLarty. Stan Barrett was Reynolds’ double. Brad- City,” he accidentally broke star David Janssen’s
shaw’s offensive lineman Sam Davis and former ribs with a mistimed punch.
Philadelphia Eagles linebacker Tim Rossovich Fights of interest came against Robert Ryan in
play bouncers. The latter lifts Reynolds over his Alaska Seas (1954), Fernando Lamas in Jivaro
head and tosses him out the back window before (1954), Aldo Ray in Nightfall (1957), Clint Walker
gallantly assisting Field out. Bradshaw, Vincent in Fort Dobbs (1958), James Drury in Ten Who
and Tessier follow, while Keith tosses himself out Dared (1960), James Stewart in The Rare Breed
the window. Bradshaw injured his throwing elbow (1966), Dean Martin in something big (1971),
when he flew out the fake window. They all im- Terry Leonard in The Wind and the Lion (1975)
probably bond in the trash and end up watching and Charlton Heston in The Mountain Men
movies at Reynolds’ home. Cut from the theatrical (1980). On the 1959 pilot to the short-lived TV
print but later shown on an expanded network TV classic The Westerner (1960), aired as a segment
telecast was a fistfight between Reynolds and Vin- of Zane Grey Theater, Keith had a rough- and-
cent. Variety called the Palomino brawl “skillfully tumble fight with villain Neville Brand and sur-
executed,” while The Miami News termed it “a clas- prisingly came out the loser. On the series itself,
sic Hollywood bar brawl.” Keith fought Slim Pickens in “Line Camp” and had
Brian Keith served with the Marines during a running brawl with John Dehner in “Brown,”
World War II as an aerial gunner. He attained the “The Courting of Libby” and “The Painting.” One
rank of sergeant but was busted down to corporal of his most memorable fights came against Geof-
after getting into a barroom brawl. The former frey Toone in 1960’s “Jeff.”
dockworker entered films as a stunt double for Vic- See: Bradshaw, Terry, and Buddy Martin. Look-
tor Mature. Six-one and 195 pounds, he earned a ing Deep. New York: Berkley, 1991; Hooper press-
reputation as a drinker and brawler, as well as a book; “Brian Keith.” TV Guide. May 26, 1984; Van
consummate character lead. One of his first parts Gelder, Lawrence. “Brian Keith, Hardy Actor, 75;
came as the star of a Mike Hammer TV pilot. He Played Dads and Desperadoes.” New York Times.
gave an early glimpse of judo skill facing Chuck June 25, 1997.
258 19 78

Clint Eastwood vs. Walter Hardly five minutes goes by without Eastwood
Barnes in Every Which Way but punching someone.
The punches heard here are perhaps the loudest
Loose (1978) sound effects ever associated with a movie punch.
The hard-hitting back alley bare-knuckle brawls Critic Roger Ebert noted it sounded like someone
of Hard Times (1975) get a broad comic treatment was whacking a Naugahyde sofa with a ping pong
from Clint Eastwood, who plays simple California paddle. Cinematographer Rexford Metz used
mechanic Philo Beddoe. The truck-driving mod- hand-held Panaflex and Eyemo cameras while as-
ern cowboy’s constant companion is a scene- suming the position of the opposing fighter taking
stealing orangutan named Clyde, with Eastwood’s punches from Eastwood. Generalized lighting al-
pal Geoffrey Lewis arranging the pick-up fights. lowed him to look in any direction. The technique
In addition to jaw-cracking fights with George P. greatly enhanced the fights and made the audience
Wilbur, William J. Quinn and Walter Barnes in feel they were a participant instead of an observer.
front of enthusiastic betting crowds, Eastwood has Editors Ferris Webster and Joel Cox cut back and
running fisticuffs with vindictive cop Gregory forth between these point-of-view shots and es-
Walcott and John Quade’s embarrassing motorcy- tablished a rhythm with the trading of punches.
cle gang The Black Widows (consisting of Roy Variety wrote, “Action sequences are acceptably
Jenson, Dan Vadis, Bill McKinney and Gene choreographed.” According to Knockout, “[The
LeBell spoofing their tough guy images). He be- film] establishes a new landscape for working-class
gins the James Fargo–directed film by knocking culture in the fight film.”
around Bob Golden over a handful of peanuts. The climactic fight is the most memorable as

Clint Eastwood (center) takes on an entire motorcycle gang with his fists in Warner Bros.’ Every Which Way
but Loose (1978).
 19 7 9 259

Eastwood meets up with bare- knuckle legend See: Anderson, Bob. “Walter Barnes Interview.”
Tank Murdock, played by 6'1", 245-pound football Trail Dust Magazine. Winter 1995-Spring 1996;
pro Walter Barnes. Eastwood is shocked to find Every Which Way but Loose pressbook; Grindon,
Murdock is gray, heavy in the gut, and wearing his Legar. Knockout: The Boxer and Boxing in American
old varsity sweater. Barnes is letter perfect in the Cinema. Jackson: University Press of Mississippi,
role, portraying a true tough guy whose best days 2011.
are far behind him. When they begin to trade
punches, it becomes obvious to Eastwood that Master Bong Soo Han vs. Ed
Barnes is riding on reputation alone. As he knocks Parker in Kill the Golden Goose
his counterpart about, he begins to hear the crowd
murmur he’s going to be the new Tank Murdock.
(1979)
Feeling sympathy for the older fighter and pangs This intriguing match-up between the leading
of doubt at becoming the new man to be taken masters of Hapkido and Kenpo karate was pro-
down, Eastwood leaves himself open for a final moted in martial arts magazines as one of the
desperation shot. After taking Barnes’ Sunday greatest film fights in history. Unfortunately, it’s
punch, Eastwood stays down for the count. The far from it because of marginal production values,
moment lends a sudden sense of depth and char- bad acting, dated fashion trends, rushed choreog-
acter to what for much of the film had been the raphy and ho- hum direction from Elliot Hong
equivalent of a crude romp of cartoon violence. (aka Hong Eiu Bo). The film received a scant re-
The Murdock character was based on a real per- lease. The foremost problem is Master Bong Soo
son who traveled around the country fighting for Han as Captain Han, Los Angeles police detective
money. The script was submitted to Eastwood who does all his fights in wide collar leisure suits.
through a friend because they thought he could While his martial arts kicks are solid, his acting is
give it to Burt Reynolds. Eastwood took a shine hilariously bad and he gives the most wooden line
to the unlikely project, seeing it as a vehicle to readings imaginable. The film begs for an actual
soften his own image and tap into the late 1970s actor to be cast in this starring role. Fellow martial
“good old boy” market that Reynolds had so much artist Ed Parker makes for an effectively menacing
success with via Smokey and the Bandit (1977). bad guy in the part of Mauna Loa, a hit man named
Eastwood, after all, was a bit of a California cow- after a Hawaiian volcano. The problem with Parker
boy already familiar with the honkytonks that is his quick and direct Kenpo moves are difficult
Philo Beddoe traversed. Everyone associated with to capture for the cameras. The producers asked
Eastwood told him he was crazy to take on the Parker for a rough and realistic streetfighting style
movie, but he went ahead. When released, the before filming, so it may not be his Kenpo at fault.
movie became Eastwood’s biggest moneymaker Parker’s fights are exceedingly violent, and the
to date, proving all his naysayers wrong. camera often cuts away from his bare-handed beat-
To train for the fights, Eastwood hired veteran ings, giving the film a cheap and choppily edited
boxing trainer Al Silvani, who had worked with feel.
Jake LaMotta and Rocky Graziano, among 20 When it comes time for the much anticipated
world champs. Silvani was a longtime pal of Frank two- and-a-half-minute Han- Parker warehouse
Sinatra, often traveling with the Rat Pack and play- battle (choreographed by the masters), the audi-
ing minor bits or stunt parts in Sinatra’s films. Here ence quickly realizes that neither martial artist is
he appears as Murdock’s manager. Eastwood also willing to show his own style as inferior. Instead,
upped his weight workouts. Despite being 47, we’re treated to lots of parrying and little actual
Eastwood never appeared more muscular. He did contact. Han throws some fancy kicks that largely
all his own fights, though George Orrison and miss, while Parker gets to demonstrate his prowess
stunt coordinator Buddy Van Horn were on hand twirling a chain, a staff and a light pole. Han breaks
if needed. Chuck Hicks doubled Barnes for a cou- a board and Parker shows off his power smashing
ple of knockdowns. The film ultimately gave East- a chair Han wields as defense, but those are the
wood the image of a man who was tough with or few lively moments. It’s a disappointment after the
without a gun at his side. Eastwood followed with heavy hype that had people envisioning an epic
a sequel, Any Which Way You Can (1980) (see fight along the lines of Bruce Lee and Chuck Nor-
entry), featuring an even bigger and better climac- ris in Way of the Dragon (1972). The moment
tic fight with William Smith. Parker connects with the light pole and gains the
260 19 7 9

upper hand, cop Brad Von Beltz shoots him with He injured his elbow in the fight when he was
a powerful .454 Casule handgun. Parker, wearing knocked onto a table. His fight with Parker neces-
a bullet-proof vest, moves toward Von Beltz, but sitated a second take because Waller’s neck was so
Han lands a jumping kick from behind. Parker is thick he couldn’t effectively snap it back to simu-
pushed into an exposed industrial blade and dies. late being hit. Noted Kenpo masters Larry Tatum
The reality of the situation is the film was bud- and Rainer Schulte also show up sans billing to be
geted for $300,000 with half of that money in de- dispatched by Parker.
ferments, meaning the movie cost $150,000 to Native Hawaiian Ed Parker was introduced to
make. While Bruce Lee spent weeks plotting out Kenpo in the late 1940s by Frank Chow, Adriano
his fights before they went before the cameras, Emperado and William K.S. Chow. After serving
Han and Parker did no preparation or blocking at with the U.S. Coast Guard during the Korean War,
all. They merely stepped into the warehouse the Parker opened his own influential studio. Parker’s
producers had secured for a 24-hour shoot, looked Kenpo used linear and circular motion with mul-
around for useful props and began to fight with tiple strikes delivered in quick succession to vital
whatever was at hand. Such a situation could pose parts of the opponent’s body with the hands, el-
many dangers, but Han and Parker had no prob- bows and knees. Instead of the traditional, one or
lems. Unfortunately, since there were many other two commonly taught movements, Parker advo-
scenes to shoot in the location, they didn’t have cated a series of powerful, continuously flowing
much time to perfect their moves. Then there was movements designed to incapacitate and injure
the matter of who’d be shown to have the upper the opponent over simply allowing one to escape
hand at any given moment. As a result, the fight an attack. His system was flexible in thought and
suffers. According to The Ultimate Guide to Martial action, often a reaction to a particular situation or
Arts Movies of the 1970s, the viewer is “short- attack. Parker essentially added a strong offense
changed by what could have been a truly great fight to the art of self-defense.
scene.” To introduce his system, Parker typically ar-
The film was co-written and produced by noted ranged a demo at a gym and allowed the toughest
writer and martial arts devotee Joe Hyams, who guys to try landing a punch on him. None were
also plays one of Parker’s victims. His co-writer successful. Parker was unique for a martial artist
and co-producers were western movie actor Von because he lifted weights for power. In 1956, he
Beltz (aka Brad Weston) and Patrick Strong, who opened a dojo in Pasadena, California, and began
trained with Bruce Lee as far back as the early taking on celebrity clients such as director Blake
1960s in Seattle. Strong has a brief parking garage Edwards. This led to occasional film and television
fight with Han that’s superior to the final battle. work as a technical advisor and stunt fighter.
He is credited as a choreographer with Han for Parker met resistance from established stuntmen
that fight. Another important behind-the-scenes within the industry who felt he was taking work
figure is Russell Dodson, who served as an asso- away from them. Parker’s most famous celebrity
ciate producer, 2nd unit director and stunt coor- client became Elvis Presley, who first met Parker
dinator. Dodson was a martial arts choreographer in the early 1960s and trained with him periodi-
for The Kentucky Fried Movie (1977) with Han and cally while making movies. By the 1970s, Parker
had worked with Parker in Revenge of the Pink Pan- became one of the singer’s most trusted friends
ther (1978). Dodson appears in Kill the Golden and often traveled on tour as a bodyguard. The
Goose as Parker’s brother-in-law, a karate teacher two had hoped to make their own martial arts ac-
paid a visit by Han. He and his muscular cohort tion film, The New Gladiators, but Presley’s man-
A.J. Rosenthal are dispatched with ease by Han in ager Colonel Tom Parker nixed the notion.
a fight that’s also superior to the climactic Han- Footage bankrolled by Presley of martial arts tour-
Parker fight. naments and personal training appeared as a New
The six-foot, 210-pound Parker has a short fight Gladiators (2002) documentary.
with six-foot, 230-pound bodybuilder Ken Waller. Parker had behind-the-scenes involvement in
The Mr. Universe was known as a tough guy in The Manchurian Candidate (1962) (see entry) and
bodybuilding circles. He served in the Marines displayed his Kenpo skills as the formidable assas-
and played football collegiately at Western Ken- sin Mr. Chong in Revenge of the Pink Panther
tucky and professionally in Canada. His presence (1978). Fights of interest came against Dean Mar-
was promoted through bodybuilding magazines. tin in The Wrecking Crew (1969), Earl Owensby
 19 7 9 261

in Buckstone County Prison (aka Seabo) (1977) and He was a genuinely hard guy and a deep thinker,
Tino Tuisolega in Seven (1979), a Hawaiian-made but the role of Cord didn’t fit him. Nearing 40, he
action film starring Parker’s student William Smith. was far too old for the part despite being in fan-
Parker can be seen training with Smith in the pilot tastic shape. His greatest offense in the eyes of
to The Rockford Files (1974). Parker’s student Jeff martial arts fans was the fact that his kicks lacked
Speakman debuted in The Perfect Weapon (1990), snap and height. The Ultimate Guide to Martial
which remains the best showcase on film for Arts Movies of the 1970s writes, “This film does not
Parker’s Kenpo style. Credited as the film’s tech- deliver on the martial arts fight scenes on any
nical advisor, Parker died from a heart attack be- level.” Films of Fury simply calls it “awful.”
fore its release. Stunt coordinator Terry Leonard had little to
See: Kerr, Leslie-Ann. “Bong Soo Han in Kill do with the martial arts choreography. That re-
the Golden Goose.” Fighting Stars. April 1980; Par- sponsibility fell to Yuen, Carradine’s trainer and
ker, Edmund K., and M. Leilani Parker. Memories the man who had taken over the fights of the final
of Ed Parker: Senior Grand Master of American season of Kung Fu. Unfortunately, Carradine and
Kenpo Karate. Create Space, 2013; Roberson, Tim. Cooper, for all their enthusiasm simply didn’t have
“Ed Parker Rides the Waves of Martial Arts Films.” the skill level needed to pull off the fights success-
Fighting Stars. December 1979. fully either between themselves or with fellow
fighters Earl Maynard, Anthony DeLongis, Mike
Jeff Cooper vs. David Carradine Vendrell, Wilbur Chang, Tom Ascensio, Donnie
in Circle of Iron (aka The Silent Williams, James Watson, Bob Gardner, Milan
Shelden and Leo Whang. Cinematographer Ron-
Flute) (1979) nie Taylor, despite a storied history as a camera-
This mystical martial arts adventure was the man, didn’t have much experience doing fights
brainchild of Bruce Lee, James Coburn and outside Barry Lyndon (1975) and a few episodes
screenwriter Stirling Silliphant. Unfortunately, the of television’s The Avengers. Joe Lewis was brought
final product is a misfire, especially hurt by poor in at the end of production in an attempt to save
casting and subpar fight choreography. It disap- the fights. Lewis doubled Cooper for some kicks
pointed many, although the ideas and philosophy and hired Mike Stone to double Carradine in pick-
presented are of interest. Israeli locations add up scenes filmed near Los Angeles. The star took
much to the look of the film, directed by first-timer that as a great insult to all the training he had put
Richard Moore, previously a D.P. who originally in with Yuen, but Lewis was able to show Carra-
considered the script to The Silent Flute un- dine kicks that looked much better on screen than
filmable. After Lee’s untimely 1973 death, the proj- what he had been doing. The same producers
ect attracted new interest when it became attached starred Lewis in Jaguar Lives! (1979), where he
to producer Sandy Howard and actor David Car- had a well-mounted climactic fight with Anthony
radine, who had great name recognition thanks to DeLongis.
the popularity of the early 1970s Kung Fu TV se- Before the arrival of Lewis, the fights were not
ries. But Carradine wasn’t a martial artist, merely going well. Some of that had to do with budgetary
an athletic actor who had some training. He was limitations and the extra time director Moore was
an interesting presence, though, and able to por- spending trying to coax a passable lead perform-
tray the multitude of parts Lee had originally en- ance from Cooper. The stars were hurting one an-
visioned playing. That left the role of Cord the other physically to the detriment of the film.
seeker, who’d carry the bulk of the action. Cooper had a tooth knocked out by Carradine on
Karate champion Joe Lewis was originally of- the first day of filming. Carradine broke his nose
fered the role of Cord but turned it down largely twice when playing the monkey man character.
because he didn’t want to work fights with a non- On the first occasion, Yuen broke it. Four days
martial artist like Carradine. Well- built blond later, Cooper reinjured it. Carradine also gouged
actor Jeff Cooper was earmarked by Carradine a toe and hurt his knee, which further hindered
from the beginning, despite the fact his martial his ability to move gracefully on camera. Most crit-
arts skills weren’t much better than his longtime ics attacked Cooper’s performance and the film as
friend Carradine’s. The 6'3" Cooper, best known philosophical nonsense, but the Pittsburgh Post-
for opposing Tom Laughlin in Born Losers (1967), Gazette did write, “The fighting, surprisingly, is
had been sparring with Carradine at Kam Yuen’s. one of the best things in the film. It is violent, of
262 19 7 9

course, but virtually bloodless and carefully cho- dine trained for three months with Yuen Woo Ping
reographed and photographed so that at times it in preparation for his brief sword battle with Uma
seems more a dance film than anything else.” Thurman.
Six-foot-one, 175-pound Carradine became a See: Circle of Iron DVD commentary; “The
leading figure in the martial arts craze of the 1970s Reincarnation of Bruce Lee’s The Silent Flute.”
via Kung Fu (1972–1975) once he beat out real Fighting Stars. February 1977; Schimpff, Connie.
martial artist Bruce Lee for the role of half–Chi- “The Awakening of The Silent Flute.” Fighting Stars.
nese drifter Kwai Chang Caine. Thanks to early February 1978; Thomas, Bruce. Bruce Lee: Fighting
dance training, the lanky Carradine had a strong Spirit. Berkeley, CA: Frog, 1995.
pair of legs that served him well for all the jumping
and kicking. Every Kung Fu episode had at least Peter Hehir vs. Steve Rackman
one or two confrontations in which pacifist Caine in The Last of the Knucklemen
kicked the snot out of prejudiced cowboys with
his bare feet. Due to censorship rules, the show
(1979)
was limited to four minutes of violence an episode. The Last of the Knucklemen was a critically ac-
Those four minutes were undeniably the most claimed Australian indie about a group of rugged
popular with audiences. The choreography effec- Outback miners held together by tough foreman
tively used slow motion for the fights and became Gerard Kennedy despite near-constant in-fighting.
a huge hit. Their isolated environment leaves little opportu-
Carradine had no martial arts background when nity for any distraction outside drinking and gam-
cast but soon began sporadic training with Yuen. bling. The graying hard-case Kennedy is front and
Many of his roles involved fights, and Carradine center throughout writer-director Tim Burstall’s
often incorporated kicks into his films whether he impressive adaptation of John Power’s play, al-
knew what he was doing or not. He looked pass- though his authority as “the last of the knuckle-
able enough to general audiences who readily ac- men” is challenged at every turn by the manipula-
cepted him as a real tough guy. However, the ec- tive Michael Preston. In the background is the
centric free spirit earned a Hollywood reputation quiet and mysterious Peter Hehir, who with his
for being undisciplined in fights. He often made thin build and shaggy blond hair throws everyone
contact with actors and stuntmen, and his open a curve when he opts to step in and fight Preston’s
drug and alcohol use negatively affected his once huge German stooge Steve Rackman in Kennedy’s
promising career. Carradine’s best Kung Fu fight place. After laying down a significant wager on the
came against a chain-wielding William Smith in outcome, Hehir makes his case that Kennedy’s
1973’s “The Chalice.” He also fought the likes of fight is with Preston, and Kennedy can see the wis-
Roy Jenson, John Saxon, Robert Phillips, Don dom in that argument. Hehir surprises everyone
Stroud, Bo Svenson, Carl Weathers, Bill Saito and when he turns out to be a black belt who destroys
David Chow. He rebooted the Caine character for Rackman with his powerful kicks both inside and
the 1986 telefilm Kung Fu: The Movie, fighting outside the miner’s desolate tin shed quarters in
William Lucking and Bruce Lee’s son Brandon. under two minutes. The end credits roll with
On his 1966 western TV series Shane, he fought Kennedy fighting Preston against the red desert
Charles Grodin and Ross Hagen in “The Great In- landscape in long shot, their fight ultimately in-
vasion.” significant and never-ending with no clear winner.
Carradine fought Glenn Ford in Heaven with a In scenarios such as these, men will always clash
Gun (1969), Sylvester Stallone in Death Race 2000 with one another.
(1975), Bill McKinney in Cannonball (1976), Six-foot-one Gerard Kennedy was a popular
Charles Napier in Thunder and Lightning (1977), star of Australian TV while the six-foot Michael
James Remar in The Long Riders (1980), Chuck Preston had briefly been a professional boxer in
Norris in Lone Wolf McQuade (1983) (see entry), his native England. Steve “Crusher” Rackman was
Anthony DeLongis in The Warrior and the Sorcer- a popular professional wrestler in Australia and
ess (1984), Patrick Swayze in the TV mini-series had a background as both a boxer and a bouncer.
North and South Book II (1986), Mel Gibson in Rackman does his own stunts in the fight, includ-
Bird on a Wire (1990) and Chad McQueen in Mar- ing going through the wall of the shed and break-
tial Law (1990). In 2004, he was cast by Quentin ing a car window with his head. Hehir was doubled
Tarantino as the title character in Kill Bill. Carra- throughout by Aussie martial artist Richard Nor-
 19 7 9 263

ton. His presence is well-concealed by cinematog- choreographed, and instead of focusing on the
rapher Dan Burstall. The fight was choreographed violence Hill concentrates on pure movement.”
by Australian stuntmen Graham Mathrick and Orange Coast Magazine called the fights some of
Matt Burns. the most violent in screen history. Action Films
See: Murphy, Jim. “Mike Hits the Right Note.” places the bathroom fight among its all-time great
Australian Women’s Weekly. March 11, 1981; Mur- battles: “[It’s] a perfect blend of mixed fighting
phy, Jim. “The Secret Life: Gerard Kennedy.” Aus- styles, fast editing and pulse- pounding rock
tralian Women’s Weekly. November 12, 1980. soundtrack.”
At Hill’s direction, stunt coordinator Craig R.
The Baseball Furies and Men’s Baxley kept the fights realistic and grounded. They
Room Fights in The Warriors were so violent that much of the action didn’t sur-
vive censors for its eventual television broadcast.
(1979) Hill had Andrew Laszlo shoot from low angles,
Director Walter Hill, the man behind the cam- utilizing multiple viewpoints and quick cuts to
era for the great Charles Bronson fights in Hard achieve a flowing sense of energy and momentum
Times, returned with a no-name cast but plenty of with the constant movement on screen. The edit-
stylized action scenes that stirred up real violence ing and overall presentation was slick with a young
in theaters upon the film’s release. In addition to cast acquitting themselves well. Among the War-
vandalism, there were three deaths at screenings riors, Michael Beck as Swan and James Remar as
around the country. The fast-moving plot is based Ajax stand out. Remar is a revelation as the cocky
on a Sol Yurick novel from the Greek Anabasis and Ajax. When it comes time to rumble, he backs up
concerns the assassination of a charismatic street every one of his boasts and proves to be a great
gang leader who had hoped to unify all the youth fighter. Remar and Ajax became audience favorites
in New York City to rise together.
The real culprit David Patrick
Kelly pens the blame on the War-
riors, whose small group must es-
cape across town on foot at night
to their own home turf in Coney
Island. It becomes a tense, night-
marish world of fight after fight
against all the rival gangs who are
out to do them in. Two battles
stand out from the rest: the
Riverside Park fight against the
Baseball Furies who dress in New
York Yankee pinstripes and face
paint while arming themselves
with ball bats; and the men’s
room fight against the Punks.
Movie Maker called it “stylishly
photographed with amazing fight
sequences,” while The Stanford
Daily wrote, “Walter Hill directs
the chase and fight sequences
with a touch of genius.” The New
York Times was also impressed:
“Mr. Hill stages some wonder-
fully looking encounters.” The
Chicago Sun Times termed it “a
ballet of stylized male violence.”
The Motion Picture Guide added, Michael Beck (left) goes to bat against Steven Chambers in Paramount’s
“The fight scenes are brilliantly The Warriors (1979).
264 19 7 9

as the film took on a cult following. Remar is only John Gibson and Steve James. Rob Ryder served
around for the fight in the park, during which he as a location scout but assumed the role of the
cleans up on the opposition. Soon after, he tries black and blue Fury when the original stuntman
to pick up Mercedes Ruehl but finds out she’s a blew out his knee. Ryder squared off against Beck
cop. Handcuffed to a park bench, he’s last seen in the fight. Real 36" baseball bats were used, and
struggling against his bonds. the fight was rehearsed for two weeks before going
Due to budgetary constraints, the studio re- before the cameras. Hill hoped to achieve the feel-
fused Baxley’s request to bring highly paid Holly- ing of a Kurosawa samurai film with this fight.
wood stuntmen with him to New York, so he used The 90-second Union Station subway men’s
members of the recently formed Stunt Specialists room fight was the lone scene not shot on location.
and a variety of gymnasts and dancers adept at It was shot over a period of five days at the Astoria
body movement. He put the main actors through Studios in Astoria, Queens. Portraying the punks
an abbreviated stunt school so they wouldn’t need are Konrad Sheehan, Craig R. Baxley, Gary Baxley,
to be doubled, a smart move that greatly aided the A.J. Bakunas, Eddie Earl Hatch, Tommy Huff and
way the fights came off. The sinewy Beck, a foot- Leon Delaney. Sheehan, on roller skates, is the
ball quarterback for Millsaps College, was able to most notable with his long hair and black shirt
handle the action requirements. He set the athletic with yellow stripes; the role is often attributed to
pace for the rest of the cast, who had to do scene Craig Baxley. Again Hill builds great tension with
after scene of running throughout the film. Remar the synthesizer score as Sheehan checks under the
kept in solid muscular shape by lifting weights for stalls for the Warriors, who ultimately burst out in
the role, and the two young stars often performed a flurry of fists, elbows and bats appropriated from
push-ups between takes to keep their bare arms the Furies. Snow again distinguishes himself as
pumped for the cameras. one to be reckoned with as he lays into the Punks.
The two-minute Riverside Park fight occurs Even the skinny Rembrandt (Marcelino Sanchez)
with the cleated Furies in hot pursuit of a frag- proves to be a great fighter while Cochise (David
mented group of Warriors on glistening streets as Harris) breaks out impressive karate moves. Stunt-
Barry Devorzon’s synthesizer score builds superb man Gary Baxley doubled for Warrior Vermin
tension. Swan and Cowboy (Tom McKittich) (Terry Michos) when he is thrown into a mirror
duck away from Ajax and Snow (Brian Taylor), on the wall. Hill and his editors Dave Holden,
leaving those two as the primary focus of the Fu- Freeman Davies and Billy Weber do a superb job
ries. When Snow begins to tire from the chase, mixing the action. The editors nicknamed Hill
Remar announces he’s sick of running. When the “The Blanket” because he literally covered the ac-
first Fury knocks out Snow and brandishes a base- tion from every angle.
ball bat, Remar famously declares, “I’m going to See: Kipp, Jeremiah. “The Quiet Cool of a
shove that up your ass and turn you into a Popsi- Gypsy Actor: An Interview with James Remar.”
cle.” The fight was graphically written by Hill and Shock Cinema. #19, 2001; “New York Mythology.”
co-scripter David Shaber and featured little musi- Fader. #26, December 2004; Ryder, Rob. Holly-
cal accompaniment despite producer Lawrence wood Jock. New York: Harper, 2006; Talbot, Paul.
Gordon’s suggestion that a score might diffuse the “Swan Song: An Interview with Actor Michael
impact of the violence. Hill made the Baseball Fu- Beck.” Shock Cinema. #41, 2011; The Warriors
ries distinctive soldiers by having them run in sin- DVD special features.
gle file with military spacing and stopping on a
mark. There was so much running to do, the stunt- Tony Ganios vs. The Skinheads
men tired and a group called the New York Road-
runners were brought in for a night of running
in The Wanderers (1979)
scenes. “Leave … the kid … alone,” says the mysterious
The Baseball Furies each had a different makeup leather- jacketed hulk Perry (Tony Ganios). A
scheme. Leader Jerry Hewitt had yellow face paint group of bullying Bronx skinheads think they’re
and a black eye. Steven Chambers had a purple tough and more than a match for one man in an
and black face while Leon Delaney had an orange alleyway in director Philip Kaufman’s nostalgic
face with black eyes and lips. Others were Richard coming-of-age film (set in 1963), based on Rich-
Chiotti, Tony Catham, Gene Bicknell, T.J. McNa- ard Price’s novel about an Italian street gang of lov-
mara, Lane Ruoff, Harry Madsen, Bill Anagnos, able losers. As “Hollywood cool” as any John
 19 7 9 265

Wayne western character riding into town, Ganios character Meat in the 1980s Porky’s films before
repeats his solemn warning. With an everpresent his career petered out due to the inability of cast-
toothpick between his teeth, Ganios annihilates ing directors to see him as anything other than a
the Fordham Baldies in a tremendously satisfying tough ethnic character. He reprised his Perry role
display of bare-knuckle prowess. The massive (- in the Phil Kaufman film Rising Sun (1993), tooth-
6'6", 400-pound) Baldie leader Erland Van Lidth pick still in mouth as he plays a doorman who con-
gives Ganios a wide berth as they stare down with fronts Sean Connery. His Perry could take on en-
the tune “Pipeline” by the Chantays playing on the tire street gangs in The Wanderers, but Connery
soundtrack. It’s a memorable introductory scene, dispatches him with a simple swat. In real life Gan-
and defender Ganios soon becomes a vital mem- ios trained in Brazilian jujitsu.
ber of Ken Wahl’s gang of Tully High wannabe See: Goldberg, Robert. “The Hands of Tan.”
toughs named the Wanderers. Among the Baldies New York Magazine. September 15, 1986; Hannon,
pounded on by Ganios are stunt actors Danny James. Lost Boys of the Bronx: The Oral History of
Aiello III, Nicholas J. Giangiulio, Joe Zimmardi the Ducky Boys Gang. Author House, 2010.
and John Devaney.
The fights come often enough that Newsweek Bruce Lee vs. Kareem Abdul-
labeled the film “like Grease with brass knuckles.” Jabbar and Danny Inosanto
There’s another violent five-minute brawl during
a football game between assorted rival ethnic
in Game of Death (1979)
groups and the menacing short-statured Ducky The 1973 death of Bruce Lee and the smashing
Boys led by Mark Lesly and Alan Braunstein, num- success of Enter the Dragon unleashed a flurry of
bering nearly a hundred strong pint-sized Irish copycat martial art films. Several of these starred
toughs wielding knives and bats. This scene has a Bruce Lee clones, such as Bruce Li (Ho Tsung
bizarre feel to it as Michael Chapman’s camera Tao) and Bruce Le (Huang Kin Lung). It came to
speeds up and slows down with flying dust cover- light that before starring in the U.S.-produced
ing the field and droning music playing on the Enter the Dragon, Lee had begun work on his own
soundtrack. Although he has a cast on a broken Hong Kong–made film, Game of Death. Various
arm, Ganios fights them off well, as does the Chi- sources claimed that Golden Harvest had nearly
nese martial arts gang led by Teddy Wong (Dion 100 minutes of raw Lee footage, including com-
Albanese) and the black gang the Del Bombers led pleted fights with Danny Inosanto, Ing-Sik Whang
by Michael Wright. and 7'4" basketball superstar Kareem Abdul-
Perhaps no one is more impressive than gray- Jabbar. Director Robert Clouse failed to duplicate
haired Emilio (William Andrews), the abusive his Lee success with the martial arts films Black
bodybuilding father of Perry’s pal Joey ( John Belt Jones (1974), Golden Needles (1974) and The
Friedrich). Andrews is a hoot as he rips a park Ultimate Warrior (1975). He was commissioned
bench apart and wields a wooden plank in battle, to finish Lee’s Game of Death, but his screenplay
then swings one of the Ducky Boys around in a (written under the pseudonym Jan Spears) dras-
circle, clearing all those in his way. Stunt coordi- tically changed Lee’s original vision. Despite
nator Vic Magnotta put the scene together with tremendous anticipation, Clouse’s Game of Death
dozens of extras and stunt fighters including Kon- release, five years after Lee’s death, was considered
rad Sheehan, Jerry Hewitt, Steve James, Frank Fer- an abomination.
rara, Bill Anagnos, Eddie Earl Hatch and Tim The Lee character, now named Billy Lo, is a
Gallin. Kung fu master Lawrence Tan set up the martial arts movie star who fakes his own death
martial arts for the camera and performed the and alters his appearance after being pressured by
kicks and sweeps. The battle took a full week of a syndicate led by suave Hugh O’Brian and his
production days to film at Van Cortlandt Park (it muscle Mel Novak and Bob Wall. Though Clouse’s
was lensed intermittently throughout the movie film features decent production values, Sammo
based on the weather). Hung stunt coordination and a solid John Barry
Six-foot-four Greek-Italian teenager Tony Gan- score, there’s a pathetic use of Lee doubles through-
ios was powerlifting in a Manhattan gym when his out, including ill-matching footage of the real Lee
bodybuilder uncle Pete Ganios convinced him to via footage fighting Chuck Norris in Way of the
audition. He won the part of Perry in an example Dragon and a notorious shot of a cardboard cut-
of perfect casting. He became better known as the out of Lee’s face taped to a mirror. Worse, the new
266 19 7 9

footage of the real Lee amounted to a mere 11 min- Jabbar suffered from Corneal Erosion Syndrome,
utes of screen time. Those 11 minutes, however, necessitating his trademark goggles on the basket-
contained fights in a multi-level Chinese restaurantball court.
with a yellow jumpsuited Lee battling both In- Abdul-Jabbar, who originally studied Aikido,
osanto and Abdul-Jabbar. For most Lee fans, this was a casual student of Lee while he was in Los
exciting new footage was enough to add to the Lee Angeles playing basketball with UCLA in the late
legend as the greatest fighter of all time. 1960s. After moving into the pro ranks, he con-
Lee’s original vision surfaced many years later tinued to explore martial arts. While Abdul-Jabbar
in the documentary Bruce Lee: A Warrior’s Journey was on vacation in China in 1972, Lee hit upon
along with the Whang fight and radically different the idea of hooking up with him and fashioning a
footage. In this version, Lee was accompanied by fight for his new film. Abdul-Jabbar readily agreed,
fellow fighters James Tien and Chieh Yuan, who so Lee choreographed a fight between the two
serve mostly as comic relief. The Chinese restau- wildly different physical specimens. Lee was care-
rant was instead a five-level Korean pagoda (the ful to inject not only his philosophy on fighting
Beopussa Temple in Songgaison National Park, into the scene, but humor as well. This was evi-
South Korea) featuring a different challenge at denced by Abdul-Jabbar’s first kick that leaves a
each level. It was Lee’s intention to show different
huge footprint on Lee’s yellow jumpsuit. The fight
martial arts and their inferiority to his freeform took five days to film and is a triumph for Lee as
Jeet Kune Do style. The first fight had Lee and his he vanquishes the giant. Detractors claim that
cohorts fighting Hung and ten black belts at the Abdul-Jabbar’s martial arts appear awkward, but
pagoda’s base. Hapkido master Wang was on the there’s no denying that Lee pulled off one of his-
first floor, besting Tien and Yuan but no match for tory’s most interesting screen match-ups. Once
Lee. The second floor, never filmed, was to have again he was adding to his own reputation and leg-
Lee’s friend Taky Kamura as a master of Praying end by taking on a giant in battle, much as he had
Mantis Kung Fu. The third level, named the Palace done by taking out karate champ Norris in Way of
of the Dragon, would contain Ji Han Jae, another the Dragon.
Hapkido fighter. The fourth level contained es- Inosanto was a student of Lee, though for a brief
crima weapons fighter Inosanto, while the top level period in the 1960s he served as Lee’s instructor
contained Abdul-Jabbar, a freeform Jeet Kune Do in Filipino martial arts. As so often happened with
fighter who strangles Tien but is bested by Lee Lee, he quickly eclipsed his master, but the two
when he discovers that the giant’s weakness is an remained good friends and sparring partners
extreme sensitivity to light. In real life, Abdul- throughout the remainder of Lee’s life. In Game of
Death, the two engage in a
weapons fight in which Lee gets
to show his skill in those arts.
He begins using a Chinese bako,
a thin, reedy bamboo, before
moving to escrima sticks. In-
osanto breaks out a pair of nun-
chaku, swings them impres-
sively, and smiles confidently,
“How do you like that?” His
smile vanishes as Lee produces
his own nunchaku and manipu-
lates them masterfully. Lee hu-
morously smacks Inosanto on
the nose and asks, “How do you
like that?” Real nunchaku were
used in the action, but foam
rubber replacements were used
for contact. Lee had originally
Bruce Lee blocks a Kareem Abdul-Jabbar kick in Columbia’s Game of intended to use the bako, but In-
Death (1979). osanto kept breaking it in re-
 19 7 9 267

hearsal. During the fight, Inosanto was acciden- Chuck Norris vs. Bill “Super-
tally kicked a couple of times and landed hard on foot” Wallace in A Force of One
his back after doing a half-flip. Helpers were sup-
posed to slide a mat under him for his fall but be-
(1979)
came caught up watching the furious action. When Chuck Norris retired from karate com-
The various other fights against Inosanto, petition, his middleweight championship succes-
Novak and O’Brian were done by doubles (Bruce sor was Bill “Superfoot” Wallace. The latter was
Li turned down that job). For the Wall fight, Kim undefeated in the kickboxing ring for the next sev-
Tai-Chung (Yuen Baio) doubled Lee. His other eral years, prompting many fans to endorse a
stand-in for the new fight footage was Chen Yao- dream match between Wallace and the legendary
Po. The O’Brian fight, though well-choreographed, Norris. Since Norris had moved on in his career
suffers from being anticlimactic coming after the and wasn’t about to step back into active compe-
Abdul-Jabbar battle. Day- night continuity is a tition, he did the next best thing for karate fans.
problem, and the audience knows this isn’t the real He cast Wallace as Sparks, the villain in his latest
Lee engaging in the final fight. O’Brian studied film while he starred as Matt Logan, a kickboxing
karate with Wall in preparation for the role, which champion who helps the police track down a mur-
both Steve McQueen and James Coburn turned dering drug dealer who smashes the windpipes of
down. Boxing champ Muhammad Ali and soccer narcotics officers. Through an unbelievably con-
star Pele were also approached by Golden Harvest. trived coincidence, the killer of the cops and Nor-
O’Brian met with the real Lee in 1973 about ris’ protégé Eric Laneuville happens to be none
playing Steiner and was making preparations to other than Wallace, Norris’ opponent for the
fly to Hong Kong when Lee died. Lee intended championship bout held during the climax.
to fight Bolo Yeung at some point in the finished Despite suffering from a routine plot and exe-
film. cution under director Paul Aaron, A Force of One
In 1993, Black Belt ranked this one of the best features plenty of kickboxing in the ring and a final
choreographed martial arts films in screen history, memorable slow-motion confrontation between
and it’s showcased in the documentary Deadli- Norris and the psychotic Wallace on a darkened
est Art: The Best of the Martial Arts Films (1992). country road. This climactic scene was shot at
Corsair wrote that Game of Death had “some of Malibu Ranch on a cold January night with both
the best fight scenes ever to be filmed in a kung actors barefoot and shirtless. The Ultimate Guide
fu–oriented movie.” Leonard Maltin agreed that to Martial Arts Movies of the 1970s said that it was
it contained “some of the most explosive fight shot completely in slow motion, “which instead of
scenes ever filmed.” Films of Fury called it “a mag- accentuating any particular piece of amazing skill
num opus of Bruce’s kung fu—smart, humor- or emotional beat, makes the final fight with Wal-
ous, effective, exciting, fascinating, and even lace more a downer than an upper.” Films of Fury
deep.” Action Films put it near the top of its all-time weighed in with, “A Force of One was superior to
greatest battles: “It shows Bruce at his cocky best.” anything else that could have been termed an
The Ultimate Guide to Martial Arts Movies of the American martial arts movie at the time.” Chuck’s
1970s wasn’t sold on the footage, feeling that had stuntman brother Aaron Norris was on hand to
Lee lived, he likely would have tightened up or double the star and help choreograph the fights.
reshot some of the footage prior to release “to He appears as Chuck’s corner man, and before
match his high expectations of quality and perfec- Wallace was signed was slated to play Sparks. Cam-
tion.” eraman Brian Maeda was a martial artist and used
See: Barden, Renardo. “Dan Inosanto’s Hong pads and a hand- held camera to obtain unique
Kong Sabbatical,” Fighting Stars. September 1978; point-of-view footage of Norris and Wallace de-
Barden, Renardo. “Kareem Abdul-Jabbar: A Re- livering kicks and punches. Composer Richard
membrance of Bruce Lee.” Fighting Stars. Novem- Halligan slowed the tempo of his score down ap-
ber 1978; Lucas, Charles, and Fran Colberg. “Duel propriately when the action switched to slow mo-
to the Death with Bruce Lee.” Fighting Stars. June tion. The fight ends with a broken neck and a grue-
1975; “Western Hero to Eastern Bad Guy: Hugh some ratcheting sound effect.
O’Brian Changes Roles for Game of Death.” Fight- Although they never faced each other in com-
ing Stars. November 1978. petition, Wallace fought several of Norris’ black
belts and once briefly sparred with Norris in 1975.
268 19 7 9

This occurred in an empty gym with only the two test), the battle lines are drawn between the mili-
men present. Both diplomatically recalled that the tary factions. Williams immediately takes three
other got the better of the exchange. The two were chairs over the head from the seamen.
friendly and trained together in California for sev- Stunt coordinator Terry Leonard pays homage
eral weeks before the film, during which they’d to Dodge City as multiple fighting bodies fly right
work on the fights. Norris originated the idea for and left across the screen at a frenzied pace while
A Force of One as far back as 1972, at which time the house band plays on. The sprawling riot pours
he attached the title Good Guys Wear Black. That out onto Hollywood Boulevard, with the night ac-
title was appropriated for a 1978 Norris film with tion superbly captured by the Oscar-nominated
an entirely different plot, but black belt champ Pat lensing of cinematographer William A. Fraker. Pro
Johnson had worked on Norris’ idea and com- football player Frank McRae gets involved wearing
pleted a story and eventual screenplay with Ernest a baseball catcher’s gear for protection as Zoot
Tidyman. Based on the success of Good Guys Wear Suiters get in on the action. Tank commander Dan
Black, the new film was quickly green-lighted and Aykroyd gains some semblance of control after fir-
became another cog in what would make Norris ing a heavy machine-gun into the air, announcing
one of the 1980s’ most popular action stars. that he hates seeing “Americans fighting Ameri-
See: Barden, Renardo, “Bill Wallace: Superfoot cans.” At that point, crazy pilot Wild Bill Kelso
as Bad Guy.” Fighting Stars. June 1979; A Force of ( John Belushi) comes flying out of the sky in hot
One DVD special features; Robertson, Tim. pursuit of what he incorrectly believes is a Japa-
“Karate and Career: Balancing the Burden.” Fight- nese plane. Belushi also has a cameo during the
ing Stars. December 1979; Stout, Jerry. “Brian fight as a Marlon Brando Godfather-inspired char-
Maeda: The Fighting Filmmaker.” Fighting Stars. acter eating spaghetti in a restaurant when the win-
December 1979. dow is broken by a fire truck ladder. In another
notable cameo, James Caan is a sailor who throws
The Uso Brawl in 1941 (1979) Di Cicco’s pal Perry Lang over a railing and onto
a table. Caan was visiting the Burbank set and de-
This is an incredibly destructive Steven Spiel- cided to join the stuntmen for the action scene at
berg comedy (scripted by Bob Gale and Robert Spielberg’s request.
Zemeckis) about the hysteric aftermath of the Few of the usual suspects are visible, which sets
Pearl Harbor bombing on the West Coast in De- it apart from other films. Most of the stunt players
cember 1941. The presence of a Japanese sub cap- are of a new generation which makes perfect sense
tained by Toshiro Mifune and German advisor given the bulk of the sailors and soldiers should
Christopher Lee in American waters leads to be young men. The only readily identifiable screen
plenty of spirited plot machinations. The loud and fighters are Dick Durock and Jerry Brutsche as an
overly ambitious film was lambasted by critics but MP and a soldier dragged across the dance floor
has its admirers for its non-stop sense of chaotic by his fingernails. Vito Carenzo has a running part
energy. Several jokes or characterizations miss the as a shore patrolman who lands another big punch
bullseye, but they come at a rapid-fire pace and on Di Cicco. Six-foot-six Brian Frishman is hard
some are undeniably inventive. A major set piece to miss as another seaman. Among the stars, 5'11",
is a massive brawl between soldiers and sailors at 185-pound Treat Williams, a football player at
a USO jitterbug dance contest hilariously emceed Franklin and Marshall College, was impressive
by Joe Flaherty. Fry cook Bobby Di Cicco is de- enough throwing punches that he was later cast as
termined to win the contest with his girl Dianne legendary boxer Jack Dempsey in the TV movie
Kay, but the male counterparts for the dance must Dempsey (1983).
be military only. Di Cicco’s getting around the Composer John Williams had the jazzy Benny
rules sets the fight in motion as hot-headed soldier Goodman song “Sing, Sing, Sing” played on the
Treat Williams also has his eyes on Kay and stalks set throughout rehearsals and filming of the fight
the elusive Di Cicco through the dancers. Wendie but opted to compose a Goodman-like original
Jo Sperber has her eyes on Williams, and all save aptly titled “Swing, Swing, Swing” during post-
for Kay seem oblivious to those around them in production. The original composition still man-
their single-minded pursuits. When the mercurial aged to capture the era but gave him the latitude
Williams lands a knockout punch on Di Cicco in scoring the film to specifically emphasize
(who has donned a sailor’s outfit to enter the con- punches and falls with brass and woodwinds
 19 8 0 269

matched to Michael Kahn’s editing. Snippets of him to the point where Sandor becomes angry at
the Irish tune “The Rakes of Mallow” from The the pacifistic Keach’s degrading the Marine uni-
Quiet Man are heard at the fight’s beginning in an form when he stoops to lick spilled beer off the
ode to that John Ford film. floor. However, when Lynch tries to sodomize
Most reviewers appreciated the USO sequence. Wilson, Keach’s Killer Kane persona emerges in
The Chicago Sun Times wrote that the brawl se- full bloody regalia. Keach snaps, and so do the
quence “works wonderfully,” while New York necks of an entire biker gang. Keach’s fighting is
opined that Spielberg displayed “a muscular grace deadly efficient, and he doesn’t waste any moves
in his scenes of excess.” The Sun-Sentinel added, in dispatching the gang. Sandor rises for a second
“The USO number that turns into an epic brawl try and is hurled through the bar window for his
is actually well-choreographed and would perhaps trouble. Blatty and cinematographer Gerry Fisher
be considered fair entertainment in a more appro- effectively film a lonely Keach standing over the
priate film for such a scene, but is completely out destruction he has wrought.
of synch here.” The film was made in Hungary, the location of
See: Hettrick, Scott. “Fascinating New Look at the castle used as the military asylum. The biker
Awful 1941.” Sun-Sentinel. July 5, 1996; The Mak- bar was a local film set with a real Viennese mo-
ing of 1941 DVD special features; Williams, Chris- torcycle gang as extras. The fight took three days
tian. “The Tricks of Treat.” Washington Post. De- to complete. Stunt coordinator Bobby Bass ap-
cember 29, 1981. pears as a biker, as do Tim Rossovich, Gary Epper
and Gary’s sister Jeannie Epper, often regarded as
Stacy Keach vs. Steve Sandor the toughest stuntwoman in the business. Keach’s
real-wife Marilyn is a biker girl and takes a fake
in The Ninth Configuration (1980) punch from Keach. Blatty’s wife Linda plays the
Writer-director William Peter Blatty’s cerebral waitress who phones the police. The six-foot, 175-
cult film about patients in a military psychiatric pound Keach does all the convincing martial art
asylum during the Vietnam War concludes with action, a testament to the work put in with judo
one of the tensest scenes in screen history, a fight expert Bass. Sandor, whom Blatty cast after seeing
between military doctor Stacy Keach and a scary him play a theatrical pro wrestler in the TV movie
gang of outlaw bikers led by a memorable Steve Mad Bull (1977), made several suggestions that
Sandor. Set in a gothic castle in Northern Califor- found their way onto the screen. These include
nia, the film is full of oddball characters, quotable the frightening eyeliner he wears, the slow split he
dialogue, and arguments on the existence of God slides into to reach Keach on the floor, tearing off
between the patients, some of whom may be fak- his gloves after they’ve touched Keach, and the
ing their condition to avoid combat. Keach is re- pausing between lines to build drama.
vealed to be the infamous Killer Kane, a special Leonard Maltin called it “an amazing barroom
ops combat warrior who spent his time in Vietnam fight scene.” Variety praised the film’s “terrific series
cutting off the heads of the enemy on dangerous of concluding scenes.” In his autobiography, Keach
behind-enemy-lines missions. Mentally the Ma- proudly called it “one of the great barroom fight
rine has cracked from all the killing, and it’s hoped scenes in movie history.” This sequence has been
by his superiors that he can benefit from curing discussed as a model for aspiring film directors on
the assorted patients. how to build tension within a scene. Everything
Keach takes an interest in God-denying Scott from the dialogue to Barry Devorzon’s background
Wilson, an astronaut who refuses to go to the music and especially Blatty’s editing contributes.
moon because he’s afraid he might not return. As Blatty’s original cut of the fight was three-and-a-
Keach begins to make headway with Wilson, new half minutes, but he later polished it to under a
patient Don Gordon recognizes Keach and his minute. Supposedly some 17 different versions
dark past is revealed. A disappointed Wilson found their way into circulation, all courtesy of
checks out of the hospital and drowns his sorrows Blatty’s continued experimentation. In some mar-
in a cheap beer joint. Among the patrons are mem- kets, the film was released as Twinkle, Twinkle
bers of a biker gang led by Sandor and seedy Killer Kane.
Richard Lynch. When the bikers begin to play Six-foot-two and 200 pounds, Steve Sandor was
rough with Wilson, Keach arrives to intervene. a trainer of guard dogs in the Air Force. A dedi-
The bikers turn their attention to Keach, taunting cated weightlifting and martial arts enthusiast, he
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served as an especially formidable TV villain dur- synched their song “Barroom Buddies” to a pre-
ing the 1970s. On screen, he sought to make his recorded playback. The beer bottles were tossed
fights as realistic as possible and displayed great from a few feet away so they’d have a greater
agility for a big man. He did his own fight stunts chance of hitting the target. Twenty stuntmen
and was noted for the savage intensity he brought were brought in for the location shoot with local
to his portrayals. One of his most interesting as- extras hired to fill out the ranks.
signments came as Frank Frazetta’s animation Though he was directing the film, Eastwood did
model for the mysterious character Darkwolf, the all his own fighting on screen. The man hired to
fighting warrior in Ralph Bakshi’s Fire and Ice double him, George Orrison, appears as a cowboy
(1983). and throws the first punch against Bill McKinney.
Fights of interest came against George Peppard Six-foot-four, 225-pound bodybuilding actor Dan
in One More Train to Rob (1971), Rockne Tarking- Vadis is in the melee pitching away alongside
ton in The No Mercy Man (aka Trained to Kill: McKinney. At one point, McKinney punches his
USA) (1975), Alex Karras in Mad Bull (1977) and hook hand through the bathroom door. East-
Mike Lane in Stryker (1983). On TV, Sandor wood’s company redid the bathroom stalls, and
fought William Shatner in the 1968 “Gamesters of the cast signed the door as a memento for the es-
Triskelion” episode of Star Trek, as well as Jack tablishment. Producer Fritz Manes even gets in-
Palance on Bronk, Robert Urich on Vegas, Lee Ma- volved and performs a stunt, taking a hit and going
jors on The Fall Guy and Mr. T on The A-Team. through dry-wall between a pair of 2 × 4s. Among
See: Birchard, Bob. “A Champ in the Amen Cor- the stunt fighters, six-foot-five Dick Durock paired
ner.” Fighting Stars. August 1975; Keach, Stacy. All up with five-foot-four Jesse Wayne to throw the
in All: An Actor’s Life On and Off the Stage. Guil- little guy (Wayne) around the bar, and Norm
ford, CT: Lyons, 2013; The Ninth Configuration Blankenship punches a beer mug from actor Sam
DVD commentary. Bottoms’ hand. Others stunt artists include Tony
Epper, Vince Deadrick, Ted White, Al Wyatt and
The Saloon Brawl in Bronco Billy John “Bear” Hudkins. Gene LeBell and Jim Burk’s
names are connected to the film, but they are not
(1980) visible in the fight action. A good deal of fight
Having a saloon brawl in a Clint Eastwood ac- footage ended up on the cutting room floor after
tion comedy about a modern cowboy seems nat- editors Joel Cox and Ferris Webster trimmed the
ural, and Bronco Billy delivers with the star and his film down.
ragtag Wild West troupe engaging in fisticuffs with See: Accola, John. “Money, Memories Remain
a bar full of toughs. It was memorable to the Boise, as Bronco Billy Departs.” Idaho Statesman. Novem-
Idaho, locals who appeared in the scene filmed at ber 11, 1979; Kershner, Sandy. On the Trail of
the Big Pine Saloon. They saw a Hollywood fight Bronco Billy. Create Space, 2011.
choreographed up close with stuntmen going
through the moves at half-speed in rehearsal while Chuck Norris vs. Richard
voicing “Pow, Pow!” for perceived hits. Chuck
Hicks coordinated the fight because Eastwood’s
Norton in The Octagon (1980)
normal stunt coordinator Buddy Van Horn was This film’s influential martial arts choreography
unavailable. After the main brawl, two cowboys is considered by many to be Chuck Norris’ best
(Hicks and Robert Hoy) accost Sondra Locke in display of his skills on film as he takes on an army
the parking lot. Eastwood makes quick work of of ninjas in an octagon-shaped training center. The
them with his fists. This night scene was shot with film started the 1980s fascination with ninjas on
a hand-held camera by cinematographer David screen as the black-clad killers, led by weapons
Worth to emphasize the sense of urgency. masters Tadashi Yamashita and Gerald Okamura,
The bar brawl was filmed with three cameras figure prominently in the training of a group of
set up at a variety of angles to capture the action. terrorists. The mysterious lethal ninja character
Worth lit the scene with strong natural overhead Kyo has a nearly three-minute battle with Norris
bulbs to limit wasted time. Country singer Merle near the conclusion involving swords, long knives,
Haggard and his band The Strangers play during feet and throwing stars. Australian martial artist
the fight as entertainment, even as thrown beer Richard Norton portrays the hooded Kyo and also
bottles clang off the microphone stand. They lip- appears as the blond mercenary character Long-
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legs. In addition to that double duty, he appears a growing chain of martial art schools. In 1972,
as a stunt ninja in numerous action segments. Norton and Jones headed up security for a Rolling
Director Erik Karson filmed the Norris-Norton Stones tour and traveled on the road as body-
fight with double camera coverage and no cine- guards for such musical acts as Fleetwood Mac,
matic tricks, opting to let the powerful action David Bowie, James Taylor and Abba. Norton
speak for itself. The two fighters worked on the in- film-debuted as a stuntman in Last of the Knuckle-
tricate choreography for more than a month in the men (1979) (see entry). He fought female karate
Norris backyard and had their moves timed per- champion Cynthia Rothrock in Magic Crystal
fectly. Editor Eric Kann merely had to piece to- (1987) and Lady Dragon (1992), though he often
gether the seamlessly flowing action. Action Films paired up with her to fight bad guys in her China
names this among its top 25 greatest screen fights, O’Brien films. He proved a worthy adversary for
with the final fight against Okinawan karate champ Jackie Chan in City Hunter (1992) and Mr. Nice
Yamashita paling in comparison. Chuck and his Guy (1997), as well as Chan and Sammo Hung in
brother Aaron Norris were the fight choreogra- Twinkle, Twinkle Lucky Stars (1985) (see entry).
phers. Aaron also portrays the character Hatband, See: Brown. B.B. “Richard Norton: A Villain to
who takes a cowboy boot to the face. Like Norton, Watch.” Fighting Stars. April 1981; Coleman, Jim.
Aaron doubled several ninjas. It became a running “Meet the Villainous Richard Norton.” Black Belt.
gag on the Octagon set as stuntmen Aaron, Norton, March 1994; Loder, Kurt. “Richard Norton: Body
Ben Perry, John Barrett and Eric De Pland would Builder of the Stars.” Rolling Stone. September 6,
be knocked out on screen only to reemerge sec- 1979; The Octagon DVD special features.
onds later as a different ninja to do it again. Norton
was killed eight times. Charles Bronson vs. Denny
With the exception of Norton, the ninja stunt-
men were Norris students who worked well with
Miller in Cabo Blanco (1980)
their boss. Unlike traditional fights, much of the This Casablanca retread with Charles Bronson
action involved light physical contact to sell the in the Humphrey Bogart lead has its moments but
blows for the camera. This was especially danger- was heavily edited upon release and disappeared
ous considering the fact that in some scenes, Nor- quickly from theaters. Involving a hunt for Nazi
ris is wearing cowboy boots which could do seri- gold, it’s set in a seaside Peruvian town post–
ous damage if a fighter missed his mark. To protect World War II but filmed in Barra de Navidad and
their faces, the stuntmen wore hockey masks un- the Bay of Tenactita, Mexico. The most interesting
derneath their ninja hoods. Norton added a aspect is the fight between expatriate Bronson and
comedic ad-lib to his first fight with Norris when sadistic German soldier Denny Miller, with Bron-
he takes a boot between the legs and turns to the son coming to the rescue of Camilla Sparv when
camera. John Belushi suggested the aside when Miller slaps her around. The 6'4", 235-pound
Norton was serving as his bodyguard. Norris Miller towers over Bronson, but the latter is furi-
kicked to contact in the finale when he put a foot ous in his assault as he grabs a metal trash can and
onto Norton’s chest and knocked the latter thrashes the taller man quickly. Miller is backed
through a flaming wall. Norton took the kick but over a bed and flipped against a wall, knocking a
another stuntman did the full fire burn. The eerie marlin spear plaque off its mooring. The deadly
growling hisses Kyo uses throughout the fight were decoration falls and a sharp point lands in Miller’s
a form of deep-breathing in Sanchin kata. Norton eye, one of the gorier killings seen in a non-horror
tangled again with Norris in An Eye for an Eye film. The Cincinnati-Enquirer called it “the strang-
(1981) and Forced Vengeance (1982), as well as the est fight sequence ever filmed.”
TV series Walker, Texas Ranger for which Norton As his career went from respected character
served as fight coordinator for several seasons. actor to craggy-faced superstar, the surly Bronson
Earning a black belt at the age of 17 in his native developed a testy reputation among film crews.
Australia, 6'2", 190-pound Norton learned street- This was especially apparent with the largely local
fighting from professional bouncer Bob Jones. The crew on Cabo Blanco. Bronson consistently had
two developed a progressive and evolving martial problems with the script even as the cameras were
art they called Zen Do Kai. Norton became the ready to roll and created a great deal of unrest in
head bouncer at several nightclubs while simulta- regard to the fight. Bennie Dobbins was stunt co-
neously serving as the chief karate instructor for ordinator, brought in after Bronson disapproved
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of his original double. Bronson insisted upon the Bronk “Next of Kin” and Tom Selleck in the 1982
actors doing the entire fight. The athletic Miller Magnum P.I. “Three Minus Two.” Miller portrayed
was game for the fight but didn’t like the idea of bare-knuckle fighters on episodes of Dusty’s Trail,
taking the fall beneath the sharp marlin spear. Young Maverick and Magnum P.I. On the 1980 se-
Bronson called Miller’s double Tony Epper fat, ries When the Whistle Blows, Miller slipped during
and the offended stuntman was ready to tear into a fight scene and took a real punch from pro foot-
the star. Dobbins had to send Epper back to Los ball player Tim Rossovich; the injury called for ex-
Angeles, and Miller had no recourse but to do the tensive dental surgery. It didn’t stop him from
scene. Local crew members privately told Miller doing his own fights. Miller had fights of interest
to accidentally let his fists make contact with Bron- with Ron Ely in the 1981 TV pilot The Seal and
son, but Miller had too much sense, professional- 1987’s Sea Hunt reboot, as well as Stacy Keach in
ism and respect for the Hollywood star. He real- the Mike Hammer TV movie More Than Murder
ized that Bronson was a shy, quiet man who (1983).
preferred the company of his wife and kids. The See: Anderson, Nancy. “The Hidden Man in
delays he caused were because he was trying to Charles Bronson Is Revealed.” Bulletin Journal.
make a good film and a memorable screen fight. April 22, 1979; Miller, Denny. Didn’t You Used to
As they began their fighting, Bronson chal- Be What’s His Name? Las Vegas: To Your Health,
lenged the original choreography. He was sup- 2004.
posed to pick up a breakaway drawer and beat
Miller with it, but he decided a 20-gallon metal Jackie Chan vs. H.B. Haggerty
waste can with an octagon shape made a more in- in The Big Brawl (aka Battle Creek
teresting and lethal prop. Miller reluctantly agreed,
putting several stunt pads under his long-sleeved
Brawl) (1980)
shirt to absorb the blows. On the first take, Bron- The Big Brawl is noteworthy as Jackie Chan’s in-
son cut three of his own fingers on the trash can troduction to American audiences. In it, he plays
and the pro–Miller crew erupted in applause. On a young Chinaman in 1930s Chicago forced by
the second take, with taped fingers, Bronson mobsters into a bare-knuckle fight event in Battle
nailed the entire scene perfectly. The dropping of Creek, Texas (actually San Antonio and Flores-
the marlin spear was done with a metal plate ville). Produced and directed by Enter the Dragon
placed over Miller’s off-screen eye. When the spear filmmakers Fred Weintraub and Robert Clouse,
dropped, a tube with fake blood gushed its con- The Big Brawl wasn’t a great theatrical success, al-
tents. When Miller asked the cameraman if the though it found an audience on cable television
shot looked convincing, the man showed Miller and home video. Chan fans either love it or hate
the still-raised hairs on his forearm. it. The con side opposes the Americanized fights
UCLA basketball player Miller made his name against heavy and oftentimes theatrically plodding
in Hollywood as the first blond Tarzan in the slap- professional wrestlers. Those who love it see it as
dash Tarzan, the Ape Man (1959). The Army vet- Chan’s first attempt to reach American audiences
eran had more success on TV than in films, por- with his special blend of martial arts humor and
traying genial trail scout Duke Shannon on the fantastic gymnastic displays.
popular TV western Wagon Train (1961–1965); The extended climactic brawl involves Chan
in his introductory episode “The Duke Shannon taking on several wrestling types in a battle royal.
Story,” he had a memorable fight with stunt actor Earl Maynard, Ox Baker, Tor Kamata, Paul Mer-
Terry Wilson. Universal exec Lew Wasserman pro- cado and Jeep Swenson are some of the wrestlers
claimed that it was the best fight he’d ever seen. who are eliminated early. Chan fights matches
Wilson tutored Miller in the art of screen fighting against Clarence “Sonny” Barnes and Steve Mer-
which stood him in good stead for the remainder janian. The 6'1", 240-pound Barnes was Min-
of his career as a physical actor capable of doing nesota’s amateur boxing champion and Merjanian
many of his own stunts. He fought co-star Robert was one of the strongest men in the world. Chan
Fuller in 1963’s “The Sandra Cummings Story.” reaches the ten-minute grand finale against H.B.
Memorable TV fights came against Richard Haggerty, who earlier in the picture squeezed the
Boone in the 1960 Have Gun—Will Travel episode life from Maynard and Gene LeBell. At first Chan
“Saturday Night,” Chuck Connors in the 1960 Ri- isn’t able to fight back against Haggerty because
fleman “The Promoter,” Jack Palance in the 1976 his mentor Mako has been kidnapped by gang-
 19 8 0 273

Professional wrestler H.B. Haggerty (left) goes up against Jackie Chan in Warner Bros.’ The Big Brawl (aka
Battle Creek Brawl) (1980).

sters. When Mako escapes, Chan is able to unleash fectly complimented by a catchy Lalo Schifrin
his quickness and multi-angled kicks on a frus- score. Clouse, the go-to man for helming such fare,
trated Haggerty. Sensing a loss, the mobsters back- continued with minor martial arts outings in Force:
ing Haggerty lure Chan into an empty theater. Five (1981), Gymkata (1985) and China O’Brien
There he takes on mob thugs Loren Janes, George (1990).
Fisher, Tom Morga and Nigel Binns, as well as the There was some tension on the set as Chan
knife-wielding lead heavy Ron Max, with a flurry struggled to learn English even as the cameras
of kung fu. Chan emerges from the theater to finish rolled. Stunt coordinator Pat Johnson clashed
off Haggerty and claim the grand prize. mildly with Chan, who felt stifled by the American
Chan also has a comic back alley fight worthy filmmakers’ insistence that he not coordinate his
of Buster Keaton. Admonished by his father not own fights. Johnson stressed to Chan what Amer-
to fight, Chan bests mob thugs Pat Johnson, Tal- ican audiences liked and expected. Chan found
madge Scott and 6'5", 275-pound pro wrestler himself at certain points doing roundhouse
Lenny Montana by forcing them to fall over them- punches over short and effective kung fu strikes.
selves while he eludes them with a series of prat- Clouse had confidence in Johnson’s abilities, as
falls and “accidental” kicks. There are also several they had worked together several times. The big-
enjoyable training sequences with the well-cast gest problem for Chan was the pace of American
Mako, a siege on the mob’s lair, an audition fight filming. While the wrestlers and stuntmen were
against two Asian martial artists in an open air the- physically slow by Asian standards, the filming
ater, and a roller-skating race in which Chan fights style was exceptionally fast, geared toward staying
Donnie Williams. All in all, it’s a great chance for on budget and ahead of schedule to protect the
Chan to show off his athleticism, which was per- bottom line. Chan was a perfectionist known to
274 19 8 0

take weeks on a fight that would be the focus of an Svenson in Final Chapter—Walking Tall (1977),
entire Chinese film. When he wasn’t afforded the David Carradine in Deathsport (1978), Gil Gerard
unending timetable to complete his fights, he felt in Buck Rogers in the 25th Century (1979) and Pep-
his own physical performance suffer. Although per Martin in The Malay Trader (1981). On TV,
Johnson was merely working in the American he fought James Garner in the 1971 Nichols
style, many Chan fans hold him personally respon- episode “Fight of the Century” and Lou Ferrigno
sible for this film’s perceived shortcomings. In fair- in the 1981 Incredible Hulk “Half-Nelson.”
ness to Johnson, he likely had little say in casting See: The Big Brawl pressbook; Oliver, Myrna.
the slow wrestlers. Chan tried the U.S. again with “Hard-Boiled Haggerty, 78; Wrestler, Stuntman,
Rumble in the Bronx (1996) and became a surprise Actor.” Los Angeles Times. February 3, 2004; Singer,
sensation. After several more modestly successful Ben. “Jackie Chan: Welcome to L.A.” Fighting
U.S. releases, he struck box office gold with the Stars. April 1981.
Rush Hour franchise beginning in 1998.
The Gadsden Times wrote, “Forget the plot and Sam J. Jones vs. Timothy Dalton
watch the young Chan zip through a series of en-
counters with the athletic grace of Gene Kelly in
in Flash Gordon (1980)
his prime,” but The Essential Jackie Chan Source- A colorful and campy sci-fi extravaganza from
book found the Big Brawl action scenes “watered Italian producer Dino De Laurentiis and director
down by Chan standards.” Surprisingly, an article Mike Hodges, Flash Gordon stars handsome un-
in Black Belt ranked this as one of the best choreo- known Sam J. Jones as the square-jawed football
graphed martial arts films. According to Fight Chore- player turned space hero taking on Ming the Mer-
ography, “The filmmakers were not able to capture ciless (Max von Sydow). First he has to fight his
the ingenuity, creativity, humor and intricacy of way through Timothy Dalton’s Prince Barin in a
the fight scenes that made Chan stand out in his bullwhip battle to the death on a rotating tilted
Hong Kong films because of The Big Brawl’s em- disc with spikes that intermittently rise and fall.
phasis on brute strength, power and size…. The During the three- minute battle, the two alpha
cues were too much like one-step sparring, where males bond and gain a measure of respect for one
everyone was reacting to a right- handed lunge another. It’s an ingenious set-up for a fight and
punch, which also slowed down the pace and nar- well-realized by stunt coordinator Terry Forrestal
rowed down the possibility of what could be done.” and second unit director Rocky Taylor. The fight
Don “Hard-Boiled” Haggerty had a tough guy was rehearsed for several weeks and there were
reputation dating back to his pro football days with three technicians on hand to operate both the disc
the Green Bay Packers. During the off-season, the and the hydraulic rubber- tipped iron spikes in
Navy veteran toured the land as a pro wrestler, a conjunction with the worked-out fight moves.
vocation he continued full-time when his football During the London shooting, the stars lobbied
days were over. Six-one and 265 pounds, the bald, fight director William Hobbs to let them do much
snarling Haggerty became one of the best known of the difficult action themselves even though
heels in the business. He was also a man able to stuntmen John Lees, Jim Dowdall and Vic Arm-
“shoot” in the ring if need be. To “shoot” is to strong were on hand to serve as doubles. Several
throw away the script and wrestle for real when times both actors fell nearly 30 feet into boxes sur-
there’s actual animosity existing between two rounding the disc as they worked out the compli-
wrestlers or someone new to a territory has to earn cated choreography. There were several minor in-
the right to headline. Nobody in the business juries incurred by both, and humorously their
wanted to “shoot” with Haggerty. costumes kept showing silver spray paint from the
Haggerty found a place in Hollywood where his dressed-up disc. In the original Lorenzo Semple,
fearsome appearance made him a perfect casting Jr., script, both characters were supposed to be
choice when a script called for a giant menacing stripped to the waist. In the finished product, the
madman with a handlebar mustache to wreak dashing Dalton wears a hunter green outfit evok-
havoc. The poolroom brawl in Earthquake (1974) ing memories of Errol Flynn as Robin Hood. The
is a fine example. Fights of interest came against 6'2" Dalton had been trained at the Royal Acad-
George Peppard in P.J. (1968), Anthony Quinn in emy of Dramatic Art and was well-versed in stage
A Dream of Kings (1969), Pam Grier in Foxy Brown combat. He was taught how to handle a bullwhip
(1974), Richard Lawson in Black Fist (1974), Bo by stuntman Reg Harding.
 19 8 0 275

The 6'3", 205-pound Jones, a Marine, saloon Shooting on location in Jackson Hole meant
bouncer and semi-pro football player for the that the production needed the cooperation of
Burien Flyers, was discovered by De Laurentiis on local businesses, whose main street was roped off
The Dating Game. Jones proved to be a handful for during the peak summer tourist season. Every-
the producer and landed in a fight on location with thing went without a hitch. The proprietors were
ten toughs in Leicester Square in which he re- paid handsomely and the filmmakers quickly re-
ceived a gash on his face. De Laurentiis barged into paired any damage their monumental battle
the hospital to insure that the surgeons could save caused. The community was excited to take part
his leading man’s face for the rest of the shoot. in an Eastwood film and interact with his estab-
During Christmas break, Jones returned to Cali- lished cast of familiar faces and beer- drinking
fornia and never came back to finish the film. De simian sidekick Clyde. Producer-star Eastwood,
Laurentiis used stand- ins, stunt doubles and long known for his efficient filmmaking, worked
voiceover artists to piece together what he needed quickly. An entire week had been set aside for the
for second unit and post-production work. Out- fight but the action was accomplished in less time
side of fight-heavy B-films like Fist of Honor (1993), with hundreds of local extras cheering the fighters
Jones never had a starring role in another major on. Legendary tough guy Smith was relieved to
movie. He did show up spoofing his own bad boy finish it quickly as his lifestyle was leaving him
image in a memorable cameo in Ted (2012). short of breath in the 8000-foot elevation. Despite
See: Kezich, Tulio, and Alessandra Levantasi. the care he put into his body regarding nutrition
Dino: The Life and Films of Dino De Laurentiis. New and intense physical exercise, Smith was smoking
York: Miramax, 2004; Leftley, Nick. “Flash Gor- too much and was lured to the infamous local Mil-
don Speaks!” Maxim. December 2012; Scott, Ver- lion Dollar Cowboy Bar for drinks by co- star
non. “Sam Jones Got Lucky in Flash Gordon Harry Guardino. He wasn’t missing any weight
Role.” Schenectady Gazette. December 20, 1980; workouts in the morning as his famed 181/2" arms
Willson, Karen. “Sam J. Jones.” Starlog. #41, De- were as cut and heavily ridged as they’d been a
cember 1980. decade earlier. When he doffs his outer shirt for
the fight, there was a collective gasp in theaters
Clint Eastwood vs. William around the country. Smith’s impressive muscles
Smith in Any Which Way You Can instantly made Eastwood the underdog.
Eastwood and Smith were longtime acquain-
(1980) tances from Vince’s Gym, and their matching up
Inspired by the lengthy Quiet Man (1952) for a screen brawl seemed a natural at the time.
brawl, this action-comedy sequel to Every Which The two actors enjoyed a friendly sportsman’s ri-
Way but Loose (1978) features what has been valry like their characters Philo Beddoe and Jack
called the longest two-man fight ever seen on film. Wilson (an apparent homage to Jack Palance’s
Clint Eastwood and William Smith (as a formida- character from Shane, which was filmed in Jackson
ble but surprisingly friendly adversary) knock one Hole). Eastwood was in top shape from regular
another all over Jackson Hole, Wyoming, while running workouts, and at one point he and Smith
the entire town cheers them on and makes bets on take a jog together as part of their training. East-
the outcome of what they call “the fight of the cen- wood’s Beddoe runs in blue jeans while the
tury.” The two stars, old pros at screen battle, do money-backed Wilson has expensive jogging suits.
nearly the entire 20-minute fight themselves while Any Which Way You Can was made in the summer
numerous cutaways from editor Ferris Webster ad- of 1980 with a presidential election looming on
dress a variety of subplots. Eastwood is doubled the horizon. The two actors engaged in playful
by George Orrison only for a crash through a barn banter since Smith was a Democrat while East-
door and a restaurant window. His usual stuntman wood was a Reagan-backing Republican. When
Buddy Van Horn was on the other side of the cam- Eastwood cracked a couple of Smith’s ribs during
era serving as the director, a solid choice for this the fight, Smith was reluctant to let the star know
assignment given his familiarity with screen fights he’d hurt him and simply fought on. Smith re-
and optimum camera angles. Smith, at perhaps his garded Eastwood as one of the toughest screen
most heavily muscled, managed his own stunts de- fighters he ever faced, on a par with Rod Taylor
spite Nick Dimitri being in costume and on the from Darker Than Amber (1970).
set ready to double him. Some reviewers hinted that the idea of two men
276 19 8 0

Clint Eastwood (left) and William Smith put on an audience-pleasing donnybrook in Warner Bros.’ Any Which
Way You Can (1980).

pummeling one another with such macho mutual “We’re even.” Eastwood clenches his teeth and cor-
admiration had homosexual overtones despite the rects him with, “No, I owe you.” An iconic punch
presence of Sondra Locke in the cast as Eastwood’s knocks Smith clean through a door, its hinges fly-
girlfriend. Smith’s character and the shading he ing. Smith improbably punches air as a one-
brings to it is perhaps the most interesting aspect handed Eastwood rallies to knock him around be-
of the film. It would have been easy for his Jack neath Jackson Hole’s antler- lined town square.
Wilson to be nothing more than a fearsome and After landing a head-twisting punch in front of the
threatening presence, which Stanford Sherman’s camera, Eastwood finishes Smith with a rabbit
script alludes to by referencing that Smith’s past punch to the neck. He’s not out for long, but Smith
opponents wound up dead or incapacitated. Yet awakes with a smile and an offer to take his pal to
Smith brings personality to the part and even be- the hospital as the town erupts in adoration for
comes Eastwood’s ally in fighting off the Mafia the show the two men put on.
stooges to rescue Locke. Warner Bros. publicity trumpeted the fight as
The fight is called off due to mob meddling, but “the most knuckle-bustin,’ gut-wrenchin,’ brain-
Eastwood and Smith are too intrigued by the idea scramblin,’ butt-bruisin,’ lip-splittin’ brawl of all
of who is best to let it go at that. The fight begins time!” It’s a crowd-pleaser to be sure, and most
in a darkened barn and then stretches throughout professional reviewers fell in line in allotting the
the town square and pauses for an Olympia beer. fight a place as one of the greats. The Los Angeles
With a smile and a quip, the two punch away again Times wrote that the brawl “proves to be enjoyable
and crash through a restaurant window. Eastwood because it restores the good, clean fight of the
breaks his arm courtesy of a Smith kick, but East- once-hallowed Spoilers tradition.” Variety called it
wood is determined to fight on one-handed. The “an epic,” and People thought it was “a splendid
two have kept a running tally throughout the film bare-knuckle brawl.” The Big Damn Book of Sheer
of favors owed, and a relieved Smith declares, Manliness called it one of the best one- on-one
 19 81 277

fights in film history, while Action Films ranked it Christopher Reeve vs. Pepper
one of the greatest of all time, declaring, “William Martin in Superman II (1981)
Smith was a perfect choice to go head to head with
Eastwood and their final fight does not disap- This scene remains a lightning rod of debate
point.” The Hollywood Reporter concurred: “It among Man of Steel fans because Superman seem-
helps considerably that Wilson, engagingly played ingly seeks revenge on a simple blowhard bully
by Smith, is no stereotyped heavy; it’s altogether portrayed to perfection by Pepper Martin. Early
proper that two strong stalwarts like Smith and in the film, Superman (Christopher Reeve) has
Eastwood end up as friends.” The Washington Post lost his powers, and in the guise of Clark Kent is
opined, “Though usually cast as a villain, Smith accosted by Rocky (Martin) in a diner over a seat.
has always seemed one of the more engaging studs The tough truck driver mops the floor with Reeve
on the screen. In fact, his extroverted nature and in front of Lois Lane (Margot Kidder). He’s such
imposing physique tend to make him a more like- a louse, he even sucker-punches Reeve in the back
able rugged presence and credible physical threat of the head and knocks him through a glass parti-
than the star.” tion. Reeve did his own stunt here despite Vic
As good as the fight is, much of the choreogra- Armstrong being his assigned double. Later, after
phy consists of Smith and Eastwood taking head- Superman has regained his powers and rid the
snapping punches in front of the camera or swing- world of super threats Terence Stamp, Sara Doug-
ing their own blows at the lens as the Foley Artists las and Jack O’Halloran, he meets up again with
have a field day with the sound effects. David Martin at Don’s Diner. This time Superman gives
Worth followed the combatants around with a car- Martin his just deserts. Martin hurts his hand on
bon arc lamp on a dolly to use as fill light in a nod Reeve’s stomach and ends up being thrown the
to the way John Ford had filmed The Quiet Man. length of the diner into a pinball machine. Reeve
He also included a frame-within-a-frame of Smith explains to the astonished customers with a smile,
at the Antler Park entryway evoking Ford. The bit “I’ve been working out.” The amusingly brief fights
with Clyde grabbing a fistful of spaghetti in the were choreographed by Alf Joint with an assist
restaurant was an improvised moment left in to from Armstrong.
get a laugh. Eastwood also has a humorous fight Superman II began filming back to back with the
with stunt actor Dick Durock. original Superman in 1977 under the direction of
The best fight is arguably the Palomino Bar Richard Donner. Due to finances, filming was sus-
cowboy brawl in which Eastwood and Smith join pended while the first film was completed in the
forces. It’s a fight set up by Smith to gauge how editing room. During this period, the producers
good his opponent Eastwood is. Stunt actor decided to go in a different direction than Don-
George Fisher insults Locke’s singing with Smith ner’s dark tone and hired Richard Lester to com-
stepping in to defend her. Taking a punch from plete the sequel and bring a lighter touch. The re-
Fisher, Smith steps aside to watch Eastwood pound lease left some audience members scratching their
away at Fisher, Walter Scott, Vince Deadrick and heads as the evil villains now sought occasional
Gene Hartline. However, Fisher becomes enraged laughs amidst their mass killing spree. Twenty
to the point of drawing a knife and Smith re-enters years later, a full Donner release saw the light of
the action with a ferocity that causes Eastwood to day on DVD. The diner sequence was filmed by
perform his patented squint and raised eyebrow. Donner on a London set.
Smith breaks Fisher’s knife-wielding arm, kicks The casting of the Man of Steel proved prob-
Scott in the face, knees Deadrick in the nose, and lematic. They ended up going with an unknown
chokes Scott down to a knee before putting him in the form of the handsome Juilliard- trained
out with a short and powerful right hand. It’s an Reeve, who was chosen over 200 other hopefuls.
interesting moment between Smith and Eastwood The one problem: Reeve was non- athletic and
as they size one another up and the soundtrack weighed 180 pounds on a rangy 6'4" frame. The
cranks up the appropriate tune “The Good Guys producers considered using a padded suit before
and the Bad Guys” by John Durrill. hiring British bodybuilder David Prowse to bulk
See: Any Which Way You Can press kit; Teymur. Reeve up in time for filming. Through an intense
T. “William Smith: My Fight with Clint Eastwood three-hour daily weightlifting regimen, Prowse
Was the Longest Two-Man Fight on Screen.” BZ added 30 pounds of muscle onto Reeve, including
Film. April 1, 2010. two whole inches onto his biceps. Reeve felt he
278 19 81

wasn’t getting big enough quick enough and low wrestler H.B. Haggerty. On TV, he fought Wal-
Prowse was relieved of his duties before filming. ter Brennan in The Guns of Will Sonnett episode
Stuntmen Joint and Armstrong and co-star O’Hal- “Alone,” Jerry Quarry in the I Dream of Jeannie
loran kept the young star on the weight workouts “The Strongest Man in the World” and John Ver-
during production. In the guise of Superman, he non in the Bonanza “Yonder Man.”
opted to do many of his own stunts due to a con- See: Martin, Pepper, and Penny Lane. Shrapnel
fidence in his new body. However, Reeve let the of the Soul and Redemption. Page, 2016; Prowse,
sudden stardom go to his head and unwisely ran Dave. Straight from the Force’s Mouth: The Autobi-
afoul of 6'6", 250-pound former heavyweight con- ography of Dave Prowse. Andrews, 2011; Superman
tender O’Halloran. His attitude was quickly ad- II DVD special features.
justed. To Reeve’s credit, he is nearly perfect in the
dual role of Superman and Clark Kent. Harrison Ford vs. Pat Roach
When 6'2", 230-pound pro wrestler Pepper
Martin arrived on the set, Reeve kept his distance.
in Raiders of the Lost Ark (1981)
Martin picked up on this and began to stare men- Screenwriter Lawrence Kasdan’s two- fisted
acingly at Reeve, which unsettled the star. Director character Indiana Jones (Harrison Ford) took part
Donner requested that Martin wear two-inch lifts in all types of hair-raising adventures that made
and let him have a hand in the fight choreography him hugely popular with audiences while simul-
which made Reeve even more uncomfortable. The taneously evoking fond memories of Republic ac-
star legitimately feared being hurt by the imposing tion serials of the 1930s and 1940s. Producer
Martin. Martin put him at ease by taking Reeve’s George Lucas and director Steven Spielberg staged
place in the fight rehearsals to demonstrate how all the action on a grand scale with the backing of
the moves could be performed safely. He puffed John Williams’ iconic score, and several memo-
out Reeve’s jacket and buried his fist into the cush- rable set pieces are excitingly edited by Michael
ioned material which effectively fooled the camera Kahn. Foremost among these is Ford’s fight with
when combined with Reeve’s reaction. Utilizing a giant bald German airplane mechanic (Pat
multiple cameras, they captured the first fight in Roach), made all the more dangerous by the fact
one take. When it came time for the second fight, that a propeller plane is circling them and is about
Martin did his own stunt wearing a jerk vest. At to go up in flames. Glenn Randall, Jr., coordinated
first Martin’s pants created too much drag on the the stunts with British stuntman Vic Armstrong
tabletop. This problem was solved by having him standing in for Ford when the action became too
travel atop a tray of steaming food. hairy. It’s a rousingly good fight and the most
Martin served in the Royal Canadian Navy and memorable of the entire franchise thanks in large
played professional football for the Hamilton part to the ingenious scenario and Ford’s underdog
Tigers before embarking on a pro wrestling career status as he goes up against his huge opponent. In-
(at one point, he held the NWA Pacific Northwest terestingly, Ford fights dirty from the outset, kick-
Championship). His wrestling friends Woody ing, biting and throwing dirt into the eyes of the
Strode and Harold Sakata introduced him to Hol- grinning, cocksure mechanic.
lywood. He was a fitting film and TV heavy, mem- Roach, a professional wrestler turned stunt
orably taking a rifle stock to the jaw from John actor, was something of a good luck piece to the
Wayne in Cahill—U.S. Marshal (1973). Given his Indiana Jones franchise. He also played the main
mat background, many producers and directors al- Sherpa who fights Ford during the Raven Bar fight
lowed him to choreograph his screen fights, for and again went toe to toe with Ford as an Indian
which he never required a stuntman. He tangled guard who ends up in the jaws of a rock crusher
often with Mike Connors on Mannix and James in Indiana Jones and the Temple of Doom (1984).
Garner on The Rockford Files. He played a Gestapo agent and fought Ford on a
Fights of interest came against Tom Stern in An- dirigible in Indiana Jones and the Last Crusade
gels from Hell (1968), Dean Martin in The Wreck- (1989); the footage ended up on the cutting room
ing Crew (1969), Mike Lane in Gone with the West floor. This fight resurfaced on special DVD extras.
(1969), Hal Needham in The Animals (1970) and The Raiders fight was shot in Tunisia. The gutsy
Woody Strode in the TV pilot The Outside Man star wound up doing much of the action with
(1977). Martin starred in the unreleased 1981 film Roach. Both actors relied on one another to signal
The Malay Trader where he put on a fight with fel- when it was time to move out of the way of the
 19 81 279

live propeller as they con-

tinuously circled one an-
other while throwing
punches, oftentimes unin-
tentionally landing blows
to the other’s face. Ford
never complained, even
when he suffered a minor
knee injury when a heat-
softened tire ran over his
leg. He was too busy
watching Roach and his
relationship with the
blade to notice his own lo-
cation to the plane’s tires.
Crew members had to
rock the plane off the
trapped Ford. A drive-
chain is clearly visible on- Pat Roach (left) and Harrison Ford fight around a moving propeller plane in
screen as the means to Paramount’s Raiders of the Lost Ark (1981).
turn the plane’s undercar-
riage. One of the greatest logistical hurdles for cin- astic screen puncher. However, little in his back-
ematographer Douglas Slocombe was the conti- ground suggested he’d be so skilled in this en-
nuity of the shadows, necessitating the scene be deavor outside his working with wood. He had
shot at the same time each day. Photos from the never participated in athletics and was a consci-
set show Spielberg sparring with Roach to perfect entious objector during the Vietnam War. Yet Ford
the fight. Stuntwoman Wendy Leech doubles fe- took to the weight training he did for the part of
male lead Karen Allen as she and Armstrong run Jones and quickly developed a reputation for being
away from the plane in long shot. In real life, Arm- agile and able to do much of his own stunt work.
strong and Leech married. Armstrong won favor He was especially good at acting while partaking
with Spielberg by calling out that a Ford punch in fights, which added to his popularity with au-
would appear as a miss on camera. Spielberg was diences.
ready to wrap the shot but filmed the punch again Many notice the disparity in fighting styles Ford
from a different angle. Armstrong was proven right creates dependent on the type of character he is
when viewing dailies, saving the production from playing. Indiana Jones is a great and resourceful
having to reshoot the costly scene again. fighter, though he is often overmatched physically
The Raven Bar fight was filmed first in a Lon- by his opponents. Ford’s Everyman heroes are far
don studio. Roach was knocked out when he was clumsier, stumbling and grimacing as they are un-
smashed onto a table that didn’t break. Matters accustomed to fisticuffs but still manage to obtain
were exacerbated by the fact that Roach was on results. One of Ford’s most popular moments
fire in the scene. Stuntman Billy Horrigan ran into came in the original Raiders when he is presented
the shot to extinguish Roach, who was unable to with expert swordsman Terry Richards in a mar-
signal that the fire was becoming too hot. Among ketplace. Ford and Richards were supposed to
the bits of the fight that didn’t make the final cut: have an extended fight, but Ford was suffering
Roach press-slamming Ford overhead and throw- from an upset stomach and dysentery. He sug-
ing him against the wall. These later resurfaced in gested to Spielberg that he merely withdraw his
“Making Of ” documentaries. Spielberg then cast gun and shoot the swordsman. The humorous gag
Roach as Otto the German mechanic, necessitat- got one of the biggest audience reactions. Ford’s
ing that Roach shave his head and have a local po- best fights came against Rutger Hauer in Blade
lice friend vouch for his identity when presenting Runner (1982), Michael Levering in Witness
his passport to leave the country. (1985), Sean Bean in Patriot Games (1992), An-
Six-one, 185-pound Harrison Ford, a carpenter dreas Katsulas in The Fugitive (1993), Gary Old-
by trade, excelled as an action hero and enthusi- man in Air Force One (1997), Paul Bettany in
280 19 81

Firewall (2006) and Igor Jijikine and Dimitri Di- Tessier, unimpressed, punches Moore in the jaw
atchenko in Indiana Jones and the Kingdom of the to the humorous sound effect of glass breaking.
Crystal Skull (2008). Bobby Bass was stunt coordinator with Allan
See: Duke, Brad. Harrison Ford: The Films. Jef- Graf, Dave Mungenast, Don Ruffin, Tom Harper,
ferson, NC: McFarland, 2008; Raiders of the Lost Richard Epper, Mike DeLuna, Jim Nickerson,
Ark DVD commentary; Rinzler, J.W., and Laurent Brad Orrison and Conrad Palmisano taking part
Bouzereau. The Complete Making of Indiana Jones: in the fight action outside Tucson, Arizona. Bobby
The Definitive Story Behind All Four Films. Del Rey, Sargent doubles star Reynolds when Chan is fight-
2008. ing in the foreground. Needham let Chan set up
his own fighting but wouldn’t acquiesce to the
The Biker Brawl in The Cannon- month of preparation Chan requested for the
scene. The husky Graf, a USC football player who
ball Run (1981) takes an extended series of Chan’s punches and
This silly, often absurd Hal Needham cross- kicks, would become one of the more visible stunt
country car race picture headlines the director’s actors of the 1980s and 1990s. His crowning
pal Burt Reynolds in yet another of his mugging, achievement: his brutal fight with W. Earl Brown
self-centered “good old boy” portrayals. Reynolds in the 2006 Deadwood episode “A Two-Headed
is partnered with Dom DeLuise in an ambulance Beast.”
with their main competition coming from Dean Overall the film proved great fun for the actors
Martin and Sammy Davis, Jr., dressed as priests in to make and was a huge box office hit thanks to
a red Ferrari. Jackie Chan improbably plays a Japa- undemanding audiences who simply sought a
nese competitor in a Subaru. Roger Moore comes few laughs. It was followed in 1984 by Cannonball
off the best as a dandy who thinks he’s Roger Run 2 which was every bit as dumb and featured
Moore playing James Bond. Farrah Fawcett, Jack another climactic desert brawl at the Pinto Ranch.
Elam, Bert Convy, Jamie Farr, Adrienne Barbeau, This one threw in Telly Savalas, Doug McClure,
Tara Buckman, Rick Aviles, Michael Hui and Alfie Tony Danza, Richard Kiel, Henry Silva, Joe Thies-
Wise are all along for the ridiculous ride. The mann and an orangutan, among other ingredients.
Chicago Sun Times called it “an abdication of artis- Chan’s fight choreography with stuntmen Brans-
tic responsibility at the lowest possible level of am- combe Richmond, Rick Avery and Tom Elliott was
bition.” at least improved in this second go-round. For all
When the competitors are stalled by road work its flaws, these fun-filled fights still have a place in
on a desert highway, they encounter a biker gang the hearts of those who saw them as kids.
led by Peter Fonda. The bikers prove to be incred- See: The Cannonball Run DVD commentary;
ibly incompetent as the heavyset DeLuise dons Von Doviak, Scott. Hick Flicks: The Rise and Fall
the superhero persona of Captain Chaos for the of Redneck Cinema. Jefferson, NC: McFarland,
four-minute fight, which seems to be aimed at en- 2004.
tertaining 12-year-olds. Reynolds takes nothing
seriously as he laughs throughout the punchfest. Jan-Michael Vincent vs.
Martin is also guilty of taking the fighting too Michael Parks in Hard Country
lightly, though the sight of a 60-year-old priest
beating up bikers is a visual treat. At least Chan
(1981)
gets to show off his kicks. However, it’s a poorly Considered a knock-off of Urban Cowboy (1980),
choreographed fight by his standards. Several of director David Greene’s Texas-set Hard Country
his kicks sweep past his foes without the ap - has its merits. Filmed in 1979, it provides an early
pearance of contact. According to Hick Flicks, look at Kim Basinger as a young beauty who wants
“[Chan’s] fancy footwork is crowded out by the to escape the dead-end life of her beer-guzzling
mugging and preening of his co-stars,” while The boyfriend Jan-Michael Vincent but loves him all
Essential Jackie Chan Sourcebook admitted that the the same. It also features one heck of a fight be-
film is “difficult for some fans to watch.” Chan does tween antagonistic brothers Vincent and Michael
get a laugh when he executes a final double leg kick Parks. The blood vs. blood aspect makes this par-
and splits his pants. Moore also gets laughs spoof- ticularly interesting, and it’s one of the best acted
ing his image when he adopts a martial arts stance and most emotional fights ever put on film. Vin-
and announces he is Roger Moore. Biker Robert cent and Parks engage in the brutal fistic exchange
 19 81 281

after the sleazy Parks senses Basinger’s vulnerabil- Johnston in A Breed Apart (1984), Steve James lay-
ity and forces himself on her. The two knock one ing a martial arts whooping on Willem Dafoe in
another all over a model mobile home office until To Live and Die in L.A. (1985), Tommy Lee Jones
each is a bloody, bruised, red-eyed mess. They are fighting Lee Ving and stuntmen Carl Ciarfalio and
on the verge of tears but out of brotherly compe- Don Pulford in Black Moon Rising (1986), Bryan
tition continue to take the fight one punch further Brown improvising with kitchenware on Tim
to try to get the last word. Finally Vincent calls it Gallin in F/X (1986), Jeff Daniels trying to survive
quits and staggers off and Parks collapses into an against a psychopathic Ray Liotta in Something
easy chair. The 5'11", 170-pound Parks is especially Wild (1986), drunk Mickey Rourke goading bar-
good here. The actors do the majority of the phys- tender Frank Stallone into an alley fight in Barfly
ical exchange with doubles Mike Tillman and (1987), and Tom Selleck battling crooked cop
Mickey Gilbert seen in long shot for a couple of David Rasche in An Innocent Man (1989).
wall-slamming tumbles. John Moio served as stunt See: Jan-Michael Vincent: The E! True Hollywood
coordinator. Story; Shapiro, Dana. “Jan-Michael Vincent.” Icon.
Five-foot-ten, 165-pound Vincent spent his June 1999.
youth soaking up sun on California’s beaches. His
Golden Boy good looks and sinewy build attracted Burt Reynolds vs. Dan Inosanto
attention as the hippie-turned-Marine in the TV and Weaver Levy in Sharky’s
movie Tribes (1970), and he immediately proved
himself skilled in on-screen and off-screen fisti-
Machine (1981)
cuffs. He once beat up Charles Manson follower After muddying his tough guy reputation with
Tex Watson and won the role of Robert Mitchum’s a flurry of comedic car crash films for stuntman
son in Going Home (1971) by getting into a boxing pal Hal Needham, Burt Reynolds returned to
ring to spar with the star. Charles Bronson likewise gritty urban police fare as the director and star of
approved Vincent’s casting as his hit man appren- Sharky’s Machine, based on William Diehl’s novel.
tice in The Mechanic (1972), and the young actor Reynolds’ role as Atlanta vice cop Sharky recalls
was especially good taking on multiple opponents the physical direction his career once seemed
in a poolroom fight in Buster and Billie (1974). headed as the star of the TV cop shows Hawk
Once heralded as the next Paul Newman, Vincent (1966) and Dan August (1970–1971). The ener-
marred his reputation with substance abuse and a getic film has many hard-hitting and memorable
multitude of legal difficulties including barroom moments as Reynolds saves high-priced call girl
quarrels. Rachel Ward from crazed hit man Henry Silva; in-
Vincent had notable fights in The Undefeated cluding a basement fight with a pair of Asian thugs
(1969), Big Wednesday (1978) and Hooper (1978) (Dan Inosanto and Weaver Levy). The one-
(see entries). Fights of interest came against minute fight in partner Richard Libertini’s home
Robert Mitchum in Going Home, Gene Hackman begins with a jolt and is superbly choreographed
and James Coburn in Bite the Bullet (1975), L.Q. by Bobby Bass. It benefits from the gutsiness of
Jones and Martin Kove in White Line Fever (1975), Reynolds, who does all his own fighting for Wil-
Richard Gere in Baby Blue Marine (1976), Rudy liam A. Fraker’s mobile camera despite Bobby Sar-
Ramos in Defiance (1980), Lance Henriksen in Hit gent being available for doubling duties. Atlanta-
List (1989) and Dan Haggerty in Abducted II: The based Wing Chung instructor Francis Fong dou-
Reunion (1995). On TV’s Bonanza, he fought Jim bled Inosanto when Reynolds smashes him into a
Davis in 1968’s “The Arrival of Eddie” and Charles kid’s playpen.
McGraw in 1969’s “Unwanted.” On Gunsmoke, he Although Reynolds puts up a valiant fight and
fought Ken Mayer in 1971’s “The Legend.” By the swings a folding chair at his assailants, the speed
time he was starring on Airwolf (1984–1987), he of the martial artists’ furious assault soon takes
was more reliant on stunt doubles for extended him down. Cal Poly football player Levy knocks
fights. him out with a pair of nunchaku. Plaudits go to
A few other 1980s fights flew under the radar Reynolds for being unafraid to lose a screen fight,
and are worthy of mention, specifically for their setting himself up as an underdog for the audience
unbridled brutality. Among these are Sean Penn to root for. This leads to an unforgettable scene
against Esai Morales in Bad Boys (1983), Rutger where Reynolds is tortured on a boat by crooked
Hauer taking on Brion James and John Dennis cop Darryl Hickman and has his fingers cut off one
282 19 82

joint at a time by Inosanto’s balisong knife. Reyn- the best fight of Sylvester Stallone’s career based
olds ultimately gets what’s left of his hands on on a combination of technical expertise and audi-
Hickman’s gun and takes care of the Asian assas- ence involvement. At this point in his career, Stal-
sins before the final shootout with Silva in a high- lone had the ability to rouse audience emotion
rise. Few reviews mentioned the Asian fight spe- with himself cast as the underdog. First Blood in-
cifically, although Time wrote of Reynolds, “As a troduces movie audiences to one of Stallone’s
director he’s good with violent unpleasantness.” most famous characters, disillusioned Vietnam vet
When Inosanto auditioned for Bass, he was sur- John Rambo, a killing machine struggling to adapt
prised to find Reynolds wanted to run through the to life back in the U.S. The iconic character origi-
fight with him to test his reactions to Reynolds’ nated in writer David Morrell’s 1972 page-turner
punches. A dull knife blade was used for the ex- of a novel of the same name. When Stallone’s
change and Inosanto inadvertently cut the star. In- Rambo is unjustly railroaded by Pacific Northwest
osanto feared Reynolds would be upset, but the cop Brian Dennehy, he unleashes his pent-up frus-
star didn’t care. He simply asked Inosanto to throw tration on the entire police station, taking down
him to complete the audition. After Reynolds hit Dennehy and sheriff ’s deputies Jack Starrett, Chris
the floor, he bandaged his hand and told Bass they Mulkey, David Caruso, Michael Talbott, Bruce
had found their man. In the film, Bass allowed In- Barbour, Alf Humphreys and David Crowley in a
osanto to fully show off his martial arts, tweaking heart- pumping burst of adrenaline Newsweek
what didn’t work well for the camera. called “astonishingly efficient.” Diamond
See: Oliver, Myrna. “Bobby Bass, 65: Legendary Farnsworth, Frank Orsatti and Don McGovern
Hollywood Stuntman.” Los Angeles Times. Novem- were all on hand to double Stallone, but the
ber 11, 2001. screenwriter-star did the majority of the fight ac-
tion. Cinematographer Andrew Laszlo was able to
Sylvester Stallone vs. The keep his camera on Stallone throughout, aiding
Police Station in First Blood the verisimilitude of the fight immensely. Al-
though he was opposed to actors doing their own
(1982) fights on the principle of safety, Conrad Palmisano
With regard to the boxing choreography seen coordinated the action and handled the second
in the original Rocky (1976), this is far and away unit for director Ted Kotcheff. Jerry Goldsmith’s
rousing score is es-
pecially memo-
rable and fits the
transition of the
scene. Joan Free-
man edits for max-
imum impact.
The film was
shot on location in
Hope, British Co-
lumbia, during the
fall and winter,
with Stallone pa -
rading around the
frigid environment
in a cut-off T-shirt.
The police station
was built in front of
the town’s District
Hall on the corner
of Wallace and
Third Avenue, with
the on-screen con-
Sylvester Stallone takes out Michael Talbot in Orion’s First Blood (1982). struction being
 19 82 283

worked into the plot as a remodel by production his success. Over the next several years he began
designer Wolf Kroeger. The actors playing the po- adding increasing muscle to his 16" biceps by
licemen were skeptical Stallone could best them working out with bodybuilders Franco Columbu
in a realistic fight. Stallone’s bodyguard Tony and George Pipasik. Stallone trained in the boxing
Maffatone was brought in as a technical advisor. ring with Ray Notaro for Rocky sequels and also
A weapons expert, he demonstrated to the actors endured martial arts workouts with Carter Wong
and stuntmen that a man of Rambo’s training and David Lea. As his muscles grew, he became an
could indeed escape the situation by having them on-screen power-puncher, dropping the likes of
all take a whack at him. He dispatched the entire obnoxious characters Martin Kove in Rambo: First
squad with ease. Filming ensued but not without Blood Part II (1985) and Andy Robinson in Cobra
Stallone taking his share of bumps and bruises. (1986) with one mighty blow.
Stallone endured up to 14 takes being clubbed in Stallone fought David Carradine in Death Race
the small of the back by character actor Starrett, 2000 (1975), Voyo Goric in Rambo: First Blood
who tended to get carried away with his perform- Part II (1985), Brian Thompson in Cobra (1986),
ance. Stallone erred during the breakout and Terry Funk in Over the Top (1987), Harold Dia-
smashed a stuntman’s nose with his elbow. Actors mond and Randy Raney in Rambo 3 (1988),
Dennehy, Mulkey and Talbott all waved away Sonny Landham in Lock Up (1989), Robert Z’Dar
stuntmen and took falls to improve the footage. in Tango and Cash (1989), Tommy Morrison in
Stallone showed off his agility sliding across the Rocky V (1990), Wesley Snipes in Demolition Man
floors and breaking out the Tiger Claw technique (1993), Mickey Rourke in Get Carter (2000),
to dispatch a deputy. Stallone gave his all to the Steve Austin in The Expendables (2010), Jean
fight and the results are on the screen. According Claude Van Damme in The Expendables 2 (2012),
to Fight Choreography, Jason Momoa in Bullet to the Head (2012), Arnold
Schwarzenegger in Escape Plan (2013) and Mel
Rambo’s empty-handed fight scene against Gibson in The Expendables 3 (2014).
multiple attackers is a brawl, self-defense, and See: First Blood DVD commentary; Sanello,
grappling in a very well-choreographed fight Frank. Stallone: A Rocky Life. Edinburgh: Main-
scene. Although a few of the moves and reac- stream, 1998; Taub, Eric. Gaffers, Grips, and Best
tions in the fight were theatrically flashy, it still
Boys. New York: St. Martin’s, 1994.
keeps the emotional core of the fight. What also
made the fight/escape from jail so satisfying for
the audience was the gradual set-up that led to Nick Nolte vs. Eddie Murphy
the fight, so by the time Rambo emotionally ex- in 48 Hrs. (1982)
plodes and fights back, the audience was already
behind Stallone’s character, and they are re-
Writer-director Walter Hill’s popular comedy-
lieved of all the tension that was built up to that action flick memorably pairs beefy, perpetually
point. hung- over cop Nick Nolte with flashy, sharp-
tongued convict Eddie Murphy, who he has
Sylvester Stallone, 5'8" and 180 pounds, served sprung from prison for 48 hours to help him track
as an athletic coach and worked odd jobs such as down brutal cop-killing criminals James Remar
bouncer while trying to break into films. He made and Sonny Landham. The cop and con are at each
it as the screenwriter and star of Rocky, an inspi- other’s throats from the get-go, with their acid re-
rational tale about a simple-minded tough from marks spilling into a riotous three-minute physical
the streets of Philadelphia who gets a chance to confrontation in an alleyway that begins with
fight for the heavyweight title. Stallone’s Rocky Nolte announcing, “I fight dirty.” He slugs Mur-
Balboa character won audiences over by doing phy, who slams the car door into the unsuspecting
one-armed pushups and punching raw sides of Nolte’s legs. It’s a classic brawler vs. boxer situa-
beef in a meat locker. As screenwriter, he insisted tion, as Murphy scores early with his jabs and
he play a part in the fight choreography in his quickness, making the shambling Nolte swing
bouts against Carl Weathers, although Jim Nick- wildly and stumble around. Nolte uses his superior
erson handled the more intricate aspects of the brawn to tackle Murphy into the garbage and put
punches and camera angles. The Rocky role pro- a whooping on him with several unanswered
pelled Stallone to star status, and from that point punches. Time didn’t think the mismatch would
forward he realized how his physique factored in take that long, noting, “The brawny Nolte looks
284 19 83

as if he could blow the willowy Murphy away with a pro boxer on the run from the mob after he takes
one punch.” Both men are comically exhausted as out champion George Maharis in a hotel brawl
the police arrive to break up the fight. Nolte shows over Lynda Day George. As an adult hiding out in
his badge to the cops, who allow the fighters to the Merchant Marine, he encounters the infa-
leave in Nolte’s beat-up sky blue Cadillac Deville mously evil Falconetti (William Smith) at sea.
convertible. As Nolte prepares to pull away, he Tension between the men builds to the breaking
lands a final blow on Murphy’s jaw. The Chicago point as Smith bullies Nolte’s black friend Herbert
Sun Times remarked that Hill’s films “almost always Jefferson, Jr. Nolte and Smith have the most heav-
feature at least one beautifully choreographed, un- ily anticipated fight in TV history in a cargo hold,
believably violent fight scene.” and neither disappoints during the two minutes
Bennie Dobbins was stunt coordinator with of action. Nolte did all his own fights with Smith,
Terry Leonard doubling Nolte and John Sherrod earning the respect of the industry’s stuntmen.
doubling Murphy over the three days it took for Nolte was a physical actor known for obsessive
Hill to complete the scene. The major drawback preparation. He trained several months with pro
is the too-obvious use of Sherrod as Murphy’s boxer Sonny Shields for the Rich Man, Poor Man
double. It was Murphy’s film debut, and he was part and often transformed his body from role to
unfamiliar with movie fights. Dobbins was able to role. He was huge and threatening in Q&A (1990),
use Nolte far more than he was Murphy in setting as scary to the audience as to Timothy Hutton
up the best punches and angles. Movie fight vet- when he decided to rough him up. In the comic
eran Nolte’s on camera for over 90 percent of the Three Fugitives (1989), Nolte was like a bull in a
fight. Dobbins was constantly sparring with Mur- China shop knocking over everything in his way.
phy and throwing punches at him on the set to He opened eyes with the precision of his brutality
keep him loose for the fight. Hill and cinematog- in taking out Richard Masur and Ray Sharkey with
rapher Ric Waite shot over Nolte’s back on Mur- martial arts in Who’ll Stop the Rain (1978). He had
phy and over Sherrod’s back on Nolte, trying to trained in tai chi chuan for the role with Marshall
keep Sherrod in shadow as much as possible. They Ho’o. Nolte fought Robert Viharo in Return to
had both actors throw punches at one another to Macon County (1975), Bob Minor in The Deep
give editor Freeman Davies the best footage pos- (1977) (see entry), Dennis Hayden, Rex Pierson
sible. Nolte weighed over 220 pounds, while Mur- and Dave Efron in Another 48 Hrs. (1990), Robert
phy was closer to 150. In the sequel Another 48 DeNiro in Cape Fear (1991), Treat Williams and
Hrs. (1990), a much heavier Murphy gets revenge Daniel Baldwin in Mulholland Falls (1996) and
by throwing a basketball into Nolte’s face. Sean Penn in U–Turn (1997).
Standing nearly 6'1" and tipping the scales at See: 48 Hrs. movie press kit; Gast, Peter. “48
185 pounds in top shape, Nolte was good enough Hrs.: High Tension Stunts in Nick Nolte’s Crime
as a football player to receive a scholarship to Ari- Thriller.” Action Films. February 1983; “Nolte Had
zona State but was loath to attend classes. He also to Take Pounding for Role.” The Dispatch. Febru-
played ball at Eastern Arizona College, the Uni- ary 6, 1976.
versity of Omaha, Colorado State and Pasadena
City College. On the side, he was an iron worker Chuck Norris vs. David
in Los Angeles. At this point, he came to the real- Carradine in Lone Wolf
ization that he didn’t have what it takes to become
a professional football player. He was busted by
McQuade (1983)
the FBI for selling fake draft cards to underage A highly anticipated three-minute showdown
drinkers and became a convicted felon, which kept between grizzled karate hero Chuck Norris and
him from Vietnam and turned him on to the life TV’s Kung Fu stylist David Carradine had audi-
of an itinerant actor. ences rushing to movie theaters. Multiple black
It was his star- making turn as good- hearted belt Norris is a tough Texas Ranger in modern-
loser Tom Jordache in the groundbreaking 1976 day El Paso and Carradine is a European martial
mini-series Rich Man, Poor Man that made him a arts champ heading a smuggling operation along
household name. Nolte was superb in the multi- the border. Both are involved with Barbara Car-
faceted role, playing a quick-fisted hellion who sur- rera, and the film builds to the memorable climax
prises NFL legend Dick Butkus with the power that sees their contrasting styles meet in a dusty
behind his blows in a street fight. Nolte becomes border town with pulsating Spaghetti Western
 19 83 285

music from composer Fran-

cesco De Masi heightening
the tension. Not only are
their styles different, but
Carradine strangled Norris’
mentor L.Q. Jones, shot his
dog, and fights dirty one-on-
one. He kicks Norris when
he’s down, tosses dirt in his
face and, worst of all, he
backhands Norris’ teenage
daughter to the ground. This
sends Norris on a rallying
comeback of flying reverse
kicks and spinning back-
hands in a display of raw, un-
bridled power. Punishing
elbow blows and sweaty
slow-motion shots are dis- Chuck Norris (left) and David Carradine engage in a highly anticipated show-
played, as both actors im- down in Orion’s Lone Wolf McQuade (1983).
pressively do the fight with-
out the aid of stunt doubles. gether to build up the tension between their char-
John Barrett and Darwin Benjamin were on acters. Stories surfaced that the stuntmen warned
hand to stunt-double Norris with Charlie Skeen the star that Carradine was hitting and kicking too
ready to step in for Carradine, but the actors were hard. Once filming began, Norris had to issue a
adamant they were doing everything. Cinematog- warning to Carradine, emphasized with a moder-
rapher Roger Sherman did need to speed up the ate punch to Carradine’s kidney. Reports of broken
camera to make a few Carradine kicks appear more noses and Carradine kicks to Norris’ jaw reached
impressive. Norris choreographed the fight with the media, but Carradine later recalled only a
the help of his brother Aaron Norris. Aaron plays strained leg ligament on his part and a bulky groin
one of the goons Chuck fights throughout the film, for Norris as a result of the four days it took to film
as do Gil Reyes, Richard Terschel, Russ Dodson, the battle. He claimed their fight went smoothly
Rick McCallum and Kane Hodder. Lone Wolf Mc- and that Norris was a total professional. Black Belt
Quade was one of Chuck’s most popular films and called the final fight “one of Norris’ best,” while
was later reworked into the long-running TV se- the Toledo Blade regarded it as a “treat for barroom
ries Walker, Texas Ranger (1993–2001). brawl fans.”
Publicity played up the fact that Carradine’s See: Allen, Terence. “The Top Three Movies of
contract stipulated he couldn’t be seen losing a Jean- Claude Van Damme and Chuck Norris.”
screen fight to Norris for fear of upsetting his Kung Black Belt. August 1994; “Chuck Norris Goes
Fu fans. Carradine dominates the fight early, only Troubleshooting.” Fighting Stars. February 1983.
to be pulled away from the action when he begins
to lose. Norris and director Steve Carver solve the The Greasers vs. the Socs
contract situation with a grenade. Carradine, bat- in The Outsiders (1983)
tling a stagnant career, was energized by landing
the film and trained with Rob Moses. Once he “Let’s do it for Johnny!” announces teen heart-
reached the set, he began a training program with throb Matt Dillon before the Greasers rumble in
Norris’ stable of stuntmen. When Carradine grew the rain with the Socs (the preppy socials) in an
bored with the rigor after the first day, he bought empty lot in this Francis Ford Coppola adaptation
beers and shots of rum for the stuntmen. The next of the popular S.E. Hinton novel about 1960s
day he sailed through the workouts while the youth.
stuntmen struggled. It was decided that Carradine Johnny (Ralph Macchio) was knifed in an inci-
could do his own thing on the set. dent with Socs Leif Garrett and Darren Daulton,
Norris and Carradine avoided working out to- leading to the major showdown and plenty of
286 19 83

heated emotion. Coppola said that the filming of nose for Lowe, and a broken thumb for Cruise.
this fight was harder than anything he’d ever done. Cruise also had a cap removed from a tooth for
There were approximately two dozen young men the fight. When a local punched Swayze square in
in front of Stephen H. Burum’s camera all trying the face, Swayze responded by knocking the man
to capture the maestro Coppola’s attention with out.
their energetic fighting. After an establishing pan Hooker tried to build a spirit of unity among
of the combatants, Coppola and his editors chose his young cast of Greasers by having them train
to keep the segmented shots brief and confined, together, running and lifting weights daily while
maintaining visual interest and believability with he taught them to stunt-fight. Much of the actors’
a flurry of cuts. There were no sweeping panorama free time was spent gearing up for the fight and
shots of the overall battle since there were a great raising havoc in the hotel. They routinely donned
deal of local extras filling the ranks. boxing gloves, headgear and mouthpieces and
Standing out among the cast of young up-and- sparred with one another in their hotel rooms.
comers during the brawl are Greasers Patrick Cruise added nearly 20 pounds of muscle for the
Swayze and Tom Cruise. Both prove to be superior role. The young “Brat Pack” (as they were dubbed
fighters and show their future potential as action by the press) became like brothers. Throughout
stars. Swayze starred in Road House (1989) (see the shoot, the filmmakers intentionally main-
entry) while Cruise played a bare-knuckle scrap- tained tension between the actors cast as Greasers
per in Far and Away (1992). Matt Dillon as Dallas and Socs, including a much-hyped football game
also acquits himself well in the nearly four minutes between the groups. There was some real animos-
of brawling. Rob Lowe, C. Thomas Howell, Emilio ity between cast members. Cruise and Lowe had
Estevez and Glenn Withrow register far lower on to be pulled apart when their rehearsals became
the scale of tough guy swagger. Howell’s Ponyboy too spirited.
Curtis is knocked unconscious by the fight’s first See: Coppola, Francis Ford, and Gene Phillips.
punch. Primarily representing the Socs in the rum- Francis Ford Coppola: Interviews. Jackson: Univer-
ble is stunt actor John Meier as a former football sity Press of Mississippi, 2004; Lowe, Rob. Stories
acquaintance of Swayze’s Darrell Curtis. Those I Only Tell My Friends: An Autobiography. New
two square off throughout the fight, which was York: Henry Holt, 2011; Sheen, Martin, and Emi-
filmed at Crutchfield Park in Tulsa, Oklahoma. lio Estevez. Along the Way: The Journey of a Father
As part of the auditioning process, the young and Son. New York: Simon & Schuster, 2012.
actors were asked to improvise a fight on a sound-
stage, with everyone intent on impressing Cop- Sean Connery vs. Pat Roach
pola. Stunt coordinator Buddy Joe Hooker and
Coppola took a chance once on location in Tulsa
in Never Say Never Again (1983)
by hiring as fighters many locals, including Tom Never Say Never Again is a James Bond film
Hillman, Tom Patton, Joe Cervantez and Gene made outside the franchise’s normal production
Bledsoe who were paired up as fighting partners team by director Irvin Kershner from a Lorenzo
with the stars for budgetary reasons. Intermixed Semple, Jr., screenplay. It therefore faced an audi-
with the locals were young professional stuntmen ence of divided loyalties. The film is based on
Reid Rondell, Tom Elliott, Steve Davison and Thunderball, which was already made with Sean
Scott Wilder. Much of the brawl became an ad- Connery in 1965. The new producers did manage
libbed free-for-all, especially when rain began to to coax a graying Connery back to reprise his most
fall on the first day of shooting. For continuity’s famous role, despite him once saying he’d never
sake and because the rushes looked so good, sim- again play the part. The movie is a mixed bag, but
ulated “rain towers” were used for the remainder does boast a four- minute fight at a Shrublands
of the four-day shoot with a bonfire raging in the health clinic, where an aging 007 has been sent to
background. The battleground became a virtual dry out and get back into fighting condition. He
mud pit with cast members slipping and sliding gets to do that when the huge SPECTRE hench-
all over the place as they wrestled and punched at man Lippe (Pat Roach) shows up to interrupt a
one another. Between takes, the cast members Connery weightlifting session by pushing down
wrapped in blankets and drank hot chocolate. The on the bench press machine. “Heavy, Mr. Bond?”
chilly stars came away with some real injuries: a Roach asks, his sole line of dialogue.
cut lip for Estevez, a black eye for Howell, a bloody The two fight all over the clinic, with Connery
 19 83 287

Pat Roach (left) stalks Sean Connery in Warner Bros.’ Never Say Never Again (1983).

doing everything possible to survive against his old star. Stunt actor Roach does his own fight
oversized opponent. Connery emerges victorious work. Connery punches with dumbbells and
after throwing the contents of a lab beaker into throws them at Roach. He even swings a chest ex-
Roach’s face. With burning eyes, Roach backs into pander, which Roach rips apart with one great
a shelf filled with glass objects. He falls to his pull. However, the fight suffers because we never
knees and then flat on his face, revealing shards of discover anything about Lippe. There’s no intro-
glass and a long cylinder in his back. It’s a curi- duction before the fight to establish his lethalness
ous end for a powerful bad guy in the Oddjob and or cruelty. He appears inconsistent throughout the
Jaws tradition. When Connery looks at the con- fight as well. He displays great strength and can
tainer’s contents, it’s James Bond’s urine sample. punch through doors. Other times Connery
Supposedly the ammonia present in the specimen merely shakes off the punches. Roach keeps com-
burned Roach’s eyes, but some viewers like to ing, but there’s little sense of dramatic urgency as
think Agent 007 had a nasty case of the clap. there was in the previous Connery Bond fights.
Newsweek labeled the fight a “fun passage,” while Here it seems they’re spoofing Bond. A disengaged
the Pittsburgh Post-Gazette found it “thrilling and Roach even stops to smile when he overhears a
well-choreographed.” goal being scored from a soccer broadcast. Ironi-
Throughout the Douglas Slocombe–lensed cally, he has just kicked Connery in the head. An
fight, Roach takes delight in tossing Connery like interesting weapon is used by Roach, a whip-like
a rag doll. Its broadly comedic staging is far more 44-inch metal belt he can snap to rigidity to break
reminiscent of the Roger Moore–style Bond fights Connery’s defenses such as the blade of a knife.
than those of Connery. More often than not, stunt Roach was intrigued by the odd weight bench
coordinator Vic Armstrong fills in for the 51-year- at the beginning of the scene, as was the audience.
288 19 8 4

When Roach cut the cable attached to the coun- Highlights are a Chan cartwheel kick and an
terweights, the unattached bar became heavier. Urquidez spinning back kick that misses Chan but
Roach bought the bench from the filmmakers and extinguishes the flames of a series of six nearby
modified it. He placed it in his own gymnasium candles. This was an amazing feat Urquidez re-
and advertised it as the bench from the film. It at- peated for the cameras on a second take. Despite
tracted great attention, and Roach was occasion- the intensity of the action, Chan brings his patented
ally known to re-enact the Connery scene with humor, pausing a few times to rub a sore body part
lucky gym patrons. Since the film was made out- and breaking out of a hold by tickling Urquidez’s
side normal Bond production channels, some armpit. These close- up humor breaks help the
stuntmen caught flak. All was quickly forgotten fight’s pacing, so it’s not merely a desensitizing as-
and Armstrong once again resumed working on sault on the viewer’s senses. It also gives the fight-
the Bond series. Armstrong blocked the action out ers a chance to size one another up. Chan ends the
on paper, but once on the set he went from visual fight with a flying knee to Urquidez’s chin that
memory and accepted suggestions from Connery knocks the latter out a high window.
and Roach. They spent three weeks putting the The fight coordinator was Wheels on Meals di-
fight together. Aikido instructor Steven Seagal was rector and co-star Sammo Hung, one of the pop-
hired to brush up Connery’s martial arts skills. In- ular “three brothers” consisting of Chan, Hung
stead, Seagal managed to break Connery’s wrist and the other co-star Yuen Biao. Chan and Biao
during training. He wasn’t around when the film- both fight Keith Vitali. This was top-ranked Amer-
makers filmed the fight at Luton Hoo in Bedford- ican karate fighter Vitali’s first experience with
shire. The filming was rushed as they were losing Hong Kong–style filmmaking and he was in awe
the location (the queen was scheduled to attend a at the skill and time put into the fights. He was
dance the following day). They recreated the lab confused, however, when Chan told him they were
room at Elstree Studios in London. Ironically, the ready to do their on-screen fight as they hadn’t yet
finished film features only the footage shot at rehearsed or worked out the choreography. Chan
Luton Hoo. said that rhythm was more important than chore-
See: Film ’83: Never Say Never Again special; ography and they’d find their on- screen tempo
Never Say Never Again press kit. once they started sparring for the cameras. Chan
told Vitali to throw some kicks, and he began beat-
Jackie Chan vs. Benny “The Jet” ing a rhythm on his own thigh. When he had a ca-
Urquidez in Wheels on Meals dence worked out, he began mixing in his own
kicks. In his fight with Chan, Vitali accidentally
(1984) kicked the star in the throat. Vitali immediately
Jackie Chan has said that the mind-boggling broke character to check on Chan’s welfare. This
five-minute kung fu vs. kickboxing battle in the drew the wrath of the crew since Hung had not
Barcelona Spanish Old Castle in Wheels on Meals called “cut.” The ever-resilient Chan was okay. Vi-
was his best, and there’s little argument. Inside tali later kicked Hung during a fight. Hung told Vi-
Kung Fu called the showpiece of this curiously ti- tali at the film’s end that he’d be hit over the head
tled action-comedy “one of the greatest fights of with a vase in a fight scene for these transgressions.
all time.” Jackie Chan: Inside the Dragon said it was Hung held true to his word, and there’s the trace
“one of the best fight scenes ever filmed.” Films of of a smile on Vitali’s face when the vase goes over
Fury termed it “the most realistic martial arts fight his skull. The Vitali role was originally offered to
in kung fu film history,” and it’s highlighted in the Richard Norton, who was on tour as Linda Ron-
1992documentary Deadliest Art: The Best of the stadt’s bodyguard and had to decline.
Martial Arts Films. The high praise is warranted as Behind the scenes, there was considerable ten-
the screen is filled with some of the fastest action sion observed between Chan and Urquidez. Chan
ever put onto celluloid. Speculation abounds that challenged Urquidez to see who could do the most
the film was slightly sped up, but Chan has denied back-flips, but Urquidez had little interest in en-
that’s the case. It’s simply two great martial artists gaging in showboat acrobatics. It was decided
at the peak of their powers. The fighters make they’d fight to contact on the body, and at times
body contact with several kicks, sometimes revers- the contact was too hard. The Chinese stuntmen
ing the other fighter’s momentum and sending were amazed by Urquidez’s fighting skill and abil-
their body sprawling in the opposite direction. ity to withstand Chan’s punches and kicks, which
 19 8 4 289

had to play on Chan’s ego. Some viewers believe to go bare-knuckle. Dafoe’s fists clinch and he lets
Urquidez had padding on beneath his shirt, but out a primal scream as he rushes Pare. Over the
Chan’s light cut off T-shirt appears to provide him next two minutes, Pare gets to knock the heavy
little protection. Some uncharacteristic grappling lacquer from Dafoe’s hair, but not before some
occurs, leading viewers to believe parts of the im- tense moments where Dafoe gets the upper hand.
provised fight might have been real. At one point, Almost the entire fight is impressively done by
Chan hit Urquidez full force in the head. Urquidez the stars with Hill editing sharply for maximum
merely smiled when Hung checked on him. When impact. Stunt doubles Bruce Barbour and Dia-
Chan was hit in return, he became angry, warning mond Farnsworth’s presence is undetected in the
Urquidez he’d never work in Hong Kong again. finished product. The fight took more than nine
Whether this was said in jest or in seriousness is days to shoot and was another triumph for stunt
unknown. Chan did repeatedly joke about putting coordinator Bennie Dobbins. The fight is the only
on gloves for real with Urquidez, to which the kick- scene set during the daytime. Production designer
boxer responded, “Any time, Jackie.” That never John Vallone created an impressive neon color-
happened, especially seeing as both men were filled world resembling the streets of Chicago be-
tired by the end of the nearly 48 straight hours neath the elevated rail. Much of the movie was
spent shooting the fight. Chan literally slept on shot under a giant tarpaulin-covered set at Uni-
the floor of the set instead of returning to his ac- versal Studios, with painstakingly long periods of
commodations. Whatever the tensions were be- time spent by cinematographer Andrew Laszlo to
tween them during this shoot, Chan was highly light the rain-covered streets.
complementary of Urquidez in interviews. Pare’s character Tom Cody is a cool hero and a
Urquidez was brought back to Hong Kong to fight great fighter. The audience first encounters him in
Chan for Dragons Forever (1987). This fight, al- a diner after he has been summoned to rescue
though shorter in length, is nonetheless an inter- Lane from the creepy clutches of Dafoe. In the
esting companion to their Wheels on Meals mas- diner, Pare’s Cody encounters wannabe tough Paul
terpiece. Urquidez also impressed with an Mones and his gang (stuntmen Vince Deadrick,
excellent fight against John Cusack in Grosse Pointe Jr., Paul M. Lane, Bernie Pock, Spiro Razatos and
Blank (1997). Jeff Smolek). Taking off his jacket to reveal cut-off
See: Logan, Bey. “Hong Kong Superstar Jackie sleeves and ripped muscles, Pare takes Mones’ but-
Chan Owes as Much to Charlie Chaplin as He terfly knife, slaps him and gives him the knife back.
Does to Bruce Lee.” Black Belt. January 1994. “Try again,” he insists. When Mones does try, Pare
beats him and his entire gang up with ease and
Michael Pare vs. Willem Dafoe takes their 1951 Studebaker. All the vehicles are
from this vintage era. He later rescues Lane from
in Streets of Fire (1984) the bikers in a storm of fiery gas tank explosions
Director Walter Hill returns with one of the with Dafoe promising it’s now personal between
1980s’ most visceral and stylish fights in what was the two. This sets up the final showdown where
marketed as “a rock and roll fable” set in “another the two fighters deliver.
time, another place” as beautiful rock singer Diane Hill cast the two actors because they were rel-
Lane is kidnapped by a vicious biker gang. To the atively unknown. In reality, the 6'1", 185-pound
rescue comes Lane’s former lover, 1950s-style Pare, a former high school wrestler and football
loner Michael Pare. He memorably squares off player, towered over the 5'7", 145-pound Dafoe,
against 1980s punk-rock biker Willem Dafoe with yet they appear evenly matched thanks to superb
spike maul sledgehammers for the first half of the editing and Hill’s variety of camera tricks. The
climactic four-minute fight, then fists and boots sledgehammers they use were made of rubber.
until Pare literally pushes a wobbly, out-on-his- Pare wanted to take boxing lessons but Hill per-
feet Dafoe over. It’s all backed by Ry Cooder’s pul- suaded him not to, preferring that Pare stick to
sating score. roundhouse punches for the camera. In post-
The actors are perfect in their roles. There’s an production, the sound effects crew achieved their
especially great moment when the impossibly pale flesh-pounding results by purchasing a pig carcass
Dafoe loses his hammer and his lips begin to they whaled on with fists and assorted objects.
quiver as he realizes Pare can smash him. The The Chicago Tribune found the fight “repulsive”
sporting Pare tosses his hammer aside and offers while the Los Angeles Times called the action
290 19 8 5

“noisy and empty.” It nonetheless proved influen- Sunspot Cabaret Motel along the Pacific Coast
tial. Highway. It’s good despite the fact that stuntman
Cinematically, Streets of Fire is a transition fight, Jophery Brown is far too apparent as Duke’s dou-
bringing in the 1980s and beyond at full-bore with ble. The mall fight is cartoon-like as Schwarzeneg-
its rapid-fire edits and Ry Cooder backing score. ger dispatches guard after guard, even hurling a
It’s in line with the glossily produced music video dozen off him at once. This fight took six days to
approach raging across MTV at the time. There’s film and was shot at night so the mall could remain
still “old school” mixed in. The choreography is open during the daytime. The final battle with the
pure streetfighting with no elaborate spinning soldiers of the fictional country Val Verde was
martial arts moves. Hill’s camera is stationary with filmed at both the San Simeon Hearst Estate near
numerous long shots and pauses in the action in- Big Sur and the Harold Lloyd Estate in Beverly
forming the audience exactly what is going on. Hills. Joel Kramer and Jeff Jensen were assigned
The actors are afforded a chance to register dra- as Schwarzenegger’s doubles, but the shirtless star
matically and play off one another. What people would do the majority of his own action scenes
remember most about the fight are the comic book due to his physique. George Fisher doubled Wells.
exchanges of hammers and fists flash-cut in time Martial arts expert Vendrell worked out daily with
to match the rock music score. It’s different Schwarzenegger on location or at the gym in-
enough from what came before to begin ushering stalled on the 20th Century-Fox lot.
in a new era. Wells, having scored as the bad guy in The Road
See: Loretti, Nicanor. “Eddie Wilson Speaks! Warrior (1982), originally read for Bennett but
An Interview with Michael Pare.” Shock Cinema. didn’t land the part and returned to his native Aus-
#25, 2004; Maslin, Janet. “At the Show.” New York tralia. Two days into production, Schwarzenegger,
Times. June 8, 1984; “The Sound of Impact.” Wall director Mark Lester and producer Joel Silver de-
Street Journal. January 2, 2014. cided the actor who was cast as Bennett wasn’t
credible enough as a physical threat. They opted
Arnold Schwarzenegger vs. to recast the part and summoned Wells from Aus-
Vernon Wells in Commando tralia. Unfortunately, Wells had fallen out of shape
and was recovering from a broken arm (he kept it
(1985) in a sling when not filming). Even worse, the Ben-
In Commando, we find perhaps the 1980s’ corni- nett outfit he inherited was too small and accen-
est fight: Austrian bodybuilder Arnold Schwarze- tuated the belly-weight he had gained. The con-
negger as Special Forces agent John Matrix vs. trast between Schwarzenegger and Wells is
rogue commando Bennett (Vernon Wells) after marked, and many consider this fight one of the
the latter kidnaps his daughter Alyssa Milano. The greatest mismatches in screen history. Although
fact Bennett is an out-of-shape, flamboyant heavy they were roughly the same height and weight,
dressed in a chain-mail tank top while looking like Schwarzenegger’s Matrix was all muscle and Wells’
Freddie Mercury of the rock band Queen makes Bennett looked like a one-time athlete who hadn’t
it all the more campy. Wells’ hilariously over-the- been inside a gym in years. Odds were evened by
top performance made Bennett a cult figure with Matrix suffering from a bullet wound in the arm
audiences. The film itself is entertaining popcorn and, one would surmise, exhaustion from killing
nonsense, despite being notoriously violent. 81 people in the ten minutes prior to the show-
Schwarzenegger kills almost 90 people and punches down.
and kicks scores more, all the while delivering One reason for the cult status is the perceived
comic one-liners courtesy of screenwriter Steven gay angle existing between Matrix and Bennett,
de Souza. Wisecracking heroes would continue to which director Lester denies was ever screenwriter
strain action film creditability going forward. Steven de Souza’s intention. Wells’ mustached
Stunt coordinator Bennie Dobbins and fight co- Bennett pines over Matrix like a lost love through-
ordinator Mike Vendrell were busy on this film, out the film with campy line readings. He refers to
setting up major fights with Wells in a boiler room, the object of his infatuation by his first name, while
Bill Duke in a motel room, and approximately 30 Schwarzenegger refers to his character as Bennett,
stuntmen at the Sherman Oaks Galleria Mall. Va- the unfit soldier he kicked out of his unit for un-
riety called the fights “sharp martial arts stuff.” The specified reasons. When they meet in the climax,
Duke fight was shot in a day at the now-defunct the dialogue between the two goes way over the
 19 8 5 291

top as Schwarzenegger
teases Wells with his knife
and what he fantasizes
doing with it, and the latter
reaches ecstatic heights
with his line readings.
The Matrix-Bennett
fight was originally sup-
posed to take place on the
beach, but during filming it
was decided to shoot in a
boiler room on the 20th
Century-Fox lot. The ac-
tors and stuntmen fought
atop grates and received nu-
merous cuts and scratches.
Wells won admirers when
he didn’t flinch upon grab-
bing the hot furnace door Vernon Wells (left) battles Arnold Schwarzenegger in 20th Century-Fox’s
as he tries to force Schwar- Commando (1985).
zenegger inside. The latter
trusted Wells not to push him too close to the fire. Samra in True Lies (1994), James Caan in Eraser
The nine-inch knives were custom-made by Texan (1996) and Sylvester Stallone in Escape Plan
knife expert Jack W. Crain. Schwarzenegger dom- (2013).
inates the early part of the fight as Wells loses his See: Commando DVD commentary; Com-
blade. Midway through the battle, Wells is pushed mando movie press kit; Horsting, Jessie. “The
into a transformer and is electrocuted. Miracu- Spectre of Wez.” Starlog. #124. November 1987.
lously, he makes a stunning comeback and begins
to win the fight (“I’m feeling really, really good, Sammo Hung vs. Richard
John!”). Wells gets a gun and is about to shoot Norton in Twinkle, Twinkle
Schwarzenegger, but the hero rips a steam pipe
from the wall and hurls it into Wells, pinning him
Lucky Stars (1985)
to the wall as steam exits the pipe (actually con- This Sammo Hung–directed Hong Kong film,
densed CO2). Schwarzenegger ends the fight with the third in the Lucky Stars series, opens with an
the now famous line, “Let off some steam, Ben- incredible three-minute fight in a Pepsi bottling
nett.” warehouse: Jackie Chan fights alongside Yuen
Arnold Schwarzenegger was a seven-time Mr. Baio and Andy Lau against an army of thugs in-
Olympia and five-time Mr. Universe back when cluding Kar Lok Chin and Dick Wei. This is cre-
he was carrying roughly 20 more pounds of mus- ative fight choreography at its finest, with the nim-
cle on his physique. The 6'1" Austrian Army vet- ble Baio getting a showcase for his fighting skills.
eran worked hard on martial arts and agility train- Outside the martial arts and acrobatics, the rest of
ing for Conan the Barbarian (1982), but it was the thinly plotted comic action film is no great
arguably the display of his pumped-up muscles shakes. It concludes with Hung taking on western
that turned him into the biggest action star of the villain Richard Norton in a grueling battle, and
1980s and 1990s. When the shirt was off or the then Japanese assassin Yasuaki Kurata’s deadly sais
arms were bared, it was hard to believably double with tennis rackets. Chan has a brief alley fight
him. Schwarzenegger fought Rick Rossovich in with Norton during a chase and was originally
The Terminator (1984), Jesse “The Body” Ventura supposed to have the fight with Norton for the cli-
in The Running Man (1987), Sven Ole-Thorsen in max. However, Chan hurt his back doing a stunt,
Red Heat (1988), David Efron in Twins (1988), and Hung stepped in to fight Norton.
Michael Ironside in Total Recall (1990), Richard The men fought to contact (the Hong Kong
Tyson in Kindergarten Cop (1990), Robert Patrick custom) in a banquet room setting for over three
in Terminator 2—Judgment Day (1991), Ofer minutes, continually working in moments of
292 19 8 7

levity. After a devastating Norton kick, Hung rubs against George Lazenby in Stoner (1975), Lee Hoi
his chest and Norton asks, “Painful?” Hung pre- San in The Magnificent Butcher (1979), Cynthia
tends it isn’t, and the bit becomes a running gag. Rothrock in Millionaire’s Express (1986), Billy
Two of the best moments have Hung being Chow in Eastern Condors (1987), Lau Kar-Leung
knocked through a glass door and doing a flip off in Pedicab Driver (1988) and Donnie Yen in SPL
a table to avoid a chair thrown by Norton. Hung (2005).
shows us these moments in slow motion. Through- See: Cooper, Richard. Enter the Fat Dragon: The
out the fight, the 5'7", 230-pound Hung hit Nor- Life and Films of Sammo Hung. Screen Power Pub-
ton hard but expected to be hit in return. It was lishing, 2009.
Norton’s first Hong Kong film so he was obliged
to accept whatever was dished out to make a good Mel Gibson vs. Gary Busey
impression. Hung’s side-kick was especially force-
ful and literally knocked Norton across the room.
in Lethal Weapon (1987)
The lone precautionary measure taken: Norton “Would you like a shot at the title?” Mel Gibson
used a small piece of cotton as a mouth guard. The memorably asks Gary Busey.
fight was grueling under the hot studio lights, the “Don’t mind if I do,” replies the stone cold psy-
temperature reaching upwards of 115 degrees cho.
(there was no air conditioning). The film crew The audience knows they’re in store for a whale
shot 18 hours a day, seven days a week, for three of a fight in a meeting of men who’d later ironically
weeks on the Hung- Norton fight to perfect it. be perceived to be two of the most eccentric actors
When Hung’s fist connects in slow motion with in Hollywood. Lethal Weapon is one of the first
Norton’s jaw for the final punch, it creates an ex- films to feature legitimate Brazilian jiu-jitsu and
plosion of moisture from Norton’s hair. The fight mixed martial arts, and was influential in the fre-
is featured in Deadliest Art: The Best of the Martial netic filming style it presented. Gibson and Busey
Arts Films (1992). According to Films of Fury, “the fight all-out for nearly four minutes at night on a
brilliantly choreographed and executed fights save watery lawn in front of cops who uncharacteristi-
the day.” cally allow one of their own to partake in a ven-
Roly-poly, surprisingly agile Hung specialized detta match. Riggs (Gibson) and Mr. Joshua
in Wing Chun kung fu, showing off both powerful (Busey) are ex–special forces Black Ops warriors
blocks and strikes. After study at the Peking Op- and therefore have fighting styles rarely seen in
era, he debuted as a motion picture stuntman in movies. Their realistic moves were a forerunner
his teens. Hung’s fight choreography and overall to pop culture interest in submission fighting, es-
film direction is noted for its frenetic pacing and pecially considering Gibson finishes Busey off
his preference for fighting to flesh-smacking con- with a triangle choke.
tact. He often made up the choreography on the The box office smash from screenwriter Shane
fly, working on a few moves at a time before put- Black became the prototype for the “buddy cop”
ting together a rough edit of the fight routine in film thanks to the chemistry between the suicidal
the evening. He’d decide what the next day’s Gibson and his sympathetic though often exasper-
moves would be and how much longer the overall ated partner Danny Glover. A lean Busey has never
fight should last and in which direction it should been better than as the chilling killer who impas-
go. He understood the importance of camera an- sively allows a flame to burn the skin on his arm.
gles and editing to complement his entertaining The original cut opened with a scene where Gib-
choreography. son impressively dispatches Jeff Imada and Miguel
Along with Chan, Hung was at the forefront of Nunez in a bar, but this was dropped in favor of
the comedy kung fu genre emerging in the late the famous moment where a solo Gibson sticks a
1970s as he starred in Enter the Fat Dragon (1978), gun in his mouth and contemplates pulling the
a film spoofing his girth. In the early 1980s, he cre- trigger. The film spawned three sequels, with Gib-
ated the comic horror kung fu genre and later son unexplainably losing all the fighting knowl-
starred in the popular American TV series Martial edge he possessed in the first film. By Lethal
Law (1998–2000). Notable fights include Enter Weapon 4 (1998), he is kicked all over the screen
the Dragon (1973), The Man from Hong Kong by martial artist Jet Li and is incapable of mount-
(1975), Game of Death (1979) and Wheels on Meals ing any defense.
(1984) (see entries). Fights of interest came Gibson, Glover and Busey were given two
 19 8 7 293

months of extensive training in weapons, fighting using herky- jerky movements and an overhead
and physical fitness with stunt coordinator Bobby spotlight from the hovering helicopter to distort
Bass. Gibson worked out four hours a day for the the on-screen movement. The film was edited by
role. Director Richard Donner let it be known that Stuart Baird in a quick, choppy style to make it
he wanted the climactic fight to be as original as difficult to tell what was going on. This fast-paced
possible. Assistant director Willie Simmons was style where the camera is quicker than the eye be-
into unusual martial arts and introduced Donner came the norm in Hollywood’s ensuing years, es-
and Bass to three martial arts experts who brought pecially in such films as The Bourne Identity (2002)
fresh fighting styles to the film. Two styles had and its sequels where the viewer is in danger of be-
roots in the American penal system but could be coming nauseated from all the on-screen motion.
traced back to Africa. Jailhouse Rock, represented This type of fight can be counterproductive to
by technical advisor Dennis Newsome, was a 19th both audience comprehension and the showcasing
century African art of self-defense involving head- of offensive or defensive movements. There was a
butting, boxing and utilizing one’s surroundings reason John Wayne and Yakima Canutt threw tele-
for defense. Capoeira was created by Angolans graphed roundhouse punches for the camera and
from West Africa to protect against slave traders. the audience’s benefit.
It features large circular kicks and flowing dance- The Chicago Tribune wasn’t impressed: “The
like movements. Cedric Adams was the film’s ex- final fight scene, billed as virtuoso of hand-to-hand
pert in this style. Brazilian jujitsu was a modifica- combat, is so over-lit and over-edited the viewer
tion to traditional Japanese jujitsu perfected by the can’t see what’s happening.” The Washington Post
Gracie family in Brazil in the early 1900s. Rorion was willing to overlook the flashiness and accept
Gracie was the technical advisor in this style with the fight for what it contributed to the storyline:
an assist on the film from his brother Royce. Both “The release provided by the final confrontation
were renowned ground fighters. is genuinely cathartic.” In regard to director Don-
Stunt doubles Mic Rodgers and Shane Dixon ner, Time wrote, “Among movie bone- crackers
worked through the fight routine, but they’re he is the one who seems to have an advanced de-
mostly seen in long shots in the finished film. The gree in chiropractic.” The fight did impress the
bulk of the action is Gibson and Busey. The 5'8", writers of The Big Damn Book of Sheer Manliness
160-pound Gibson uses flashier elbows, kicks and who call it one of the best one-on-one fights in
leg sweeps. The six-foot, 185-pound Busey takes film history.
advantage of his size and strength, lifting Gibson See: Lethal Weapon DVD special features;
off the ground and slamming him onto the top of Lethal Weapon press kit; O’Neill, Terry. “Terry
a police cruiser. Both men trade vicious head O’Neill Interviews Mel Gibson.” Fighting Arts In-
butts, and Busey swings a pole at Gibson, who de- ternational. #44, 1987; Taylor, Gerard. Capoeira:
fends himself with a police baton. At one point The Jogo de Angola from Luanda to Cyberspace.
Busey begs Gibson to kick him in the face. The Berkeley, CA: North Atlantic, 2005.
fight was filmed over a period of four nights in
studio-manufactured rain. The water source was Timothy Dalton vs. Andreas
a fire hydrant while a wind machine simulated a Wisniewski in The Living
helicopter overhead. In the celebrated final se-
quence, Gibson goes for a failed arm-bar while
Daylights (1987)
Busey tries a rape choke. Gibson is able to apply By the 1980s, the James Bond franchise was
the triangle choke with his legs and cinch it around pushing the envelope for extravagant stunts, and
Busey’s neck as the latter makes it into his guard director John Glen’s The Living Daylights doesn’t
position. disappoint. The climactic fight is between first-
It took Gibson several takes to apply the triangle time Bond Timothy Dalton and towering blond
choke correctly for Stephen Blatt’s cameras. The assassin Necros (Andreas Wisniewski) on a cargo
intricacies of the various unfamiliar styles proved net hanging from the back of a Hercules 130 trans-
troublesome for both the actors and the stuntmen. port plane in flight over Afghanistan; it provides
They had such difficulty in presenting the non- one of the series’ most elaborate real-life gags in
traditional moves for the camera that Donner the days before CGI made anything possible. The
opted to film in an equally non-traditional manner. net flaps back and forth in turbulence thousands
Donner went in close with a hand-held camera, of feet above the earth as the men struggle with
294 19 8 8

one another while simultaneously hanging on for survives the fight coordinated by Paul Weston.
dear life. If the thrilling scenario presented by Time humorously wrote that the film has “the best
screenwriters Richard Maibaum and Michael G. kitchen fight since the Gremlins got microwaved.”
Wilson isn’t enough, there’s a ticking bomb. And Dalton played Bond again in Licence to Kill (1989),
they’re flying into a mountain. After years of being in which he took part in a major brawl in Bimini’s
conditioned to the whimsical Roger Moore’s take Barrelhead Bar.
on Bond, audiences weren’t sure what to make of See: Glen, John. For My Eyes Only. Washington,
the grim Dalton’s serious and intense portrayal of D.C.: Brassey’s, 2001; The Living Daylights DVD
007. But once John Barry’s iconic score kicks in, special features; “Timothy Dalton.” The Living
the audience is caught up in the drama. Daylights Official Poster Magazine. 1987.
Stuntmen B.J. Worth and Jake Lombard dou-
bled Dalton and Wisniewski in the air over the Steven Seagal vs. Henry Silva
Mojave Desert for the long shots. Skydiving spe-
cialist Worth served as the aerial coordinator. Al-
in Above the Law (1988)
though both were equipped with safety chutes, Aikido master Steven Seagal, in his starring
they were in danger of being knocked unconscious debut, presented a unique new martial art for the
as they were whipped around on the net. Hidden screen and achieved instant popularity with audi-
spotters were on hand in the back of the cargo hold ences. The 6'4", 210-pound actor’s brutal art of
to dive off after them if they either lost their grip self-defense was an eye-opener. An offshoot of ju-
or were hit and flew away. When climbing in on jitsu, Aikido emphasizes joint locks and throws.
the flapping net, Worth was nearly cracked against Seagal had distinguished himself as the first Cau-
the plane. The close-ups were shot by Alec Mills casian to run a dojo in Japan, and was introduced
at Pinewood with the actors on a mock-up net over to the film world as fight coordinator in the action-
a fake landscape approximately six feet above the packed film The Challenge (1982). Having power-
ground. Even that was taxing as it took three days ful agent Michael Ovitz as a student opened more
to complete the fight with Dalton and Wisniewski doors in Hollywood. It helped immensely that
hanging on the ropes. The Spy Who Thrilled Us Above the Law had a decent budget and a skilled
calls this the best stunt sequence in the entire director in Andrew Davis to ensure that the fights
Bond series. According to The Motion Picture were well-done. Seagal had his differences with
Guide, “This is one of the most harrowing fight Davis over where best to position the camera to
scenes in any Bond opus, or any recent action ad- showcase his streamlined streetfighting version of
venture film for that matter.” Aikido.
The Hercules fight is not even the film’s best. The cocky Seagal backs up his tough talk with
That honor goes to the surprising “old school” quick and powerful moves and he shows no shred
fight in a kitchen between Wisniewski and a sec- of mercy as he breaks bones and dislocates the
ondary character played by stuntman Bill Weston joints of his opponents. Hardly anyone gives him
as an operative identified as Green Four. Wis- a fight, and that became a common complaint
niewski, disguised as a milkman, encounters butler about Seagal and his action scenes. Even when he
Weston in the kitchen at the Stonor Park safe was taking on someone as skilled as Danny In-
house where Jeroen Krabbe is under guard. Wis- osanto in Out for Justice (1991), his opponent was
niewski kills to the song “Where Has Everybody barely allowed to put up any kind of a fight.
Gone?” and he puts that on his portable cassette Branscombe Richmond was beaten to a pulp in
player as an especially odd touch. Their wild fight Hard to Kill (1989), William Forsyth was annihi-
pulls out all the stops; an electric carving knife and lated in Out for Justice and Tommy Lee Jones fared
frying pan are brought into play. It’s refreshing to horribly in an Under Siege (1992) knife fight. Au-
see a character other than Bond exhibit actual diences initially took to Seagal but his persona
fighting skills, and Weston is nearly successful in quickly wore thin. He slipped into a string of
eliminating the highly skilled assassin. Although direct-to-video films as he gained a great deal of
he was a ballet dancer by trade, the athletic 6'2" weight.
Wisniewski did the fight with coaching from the In Above the Law, Seagal plays former CIA agent
stuntmen. However, he did inadvertently knock turned Chicago cop Nico Toscani. A rogue CIA
Weston unconscious. The stuntman also broke a group headed by Henry Silva is funneling drug
finger. As a reward of sorts, Weston’s Green Four money to Central America and Seagal rises to the
 19 8 8 295

challenge. He takes on the criminal element in a McTiernan film pushes many of the right buttons.
bar fight, a street fight and a convenience store The fact that Willis is playing a New York City cop
fight before clashing with chief bad guy Silva and gives him plausibility for his gun handling and
his men in the basement kitchen of Chicago’s fighting ability, highlighted by a fight against
Blackstone Hotel. The scene was filmed during Alexander Godunov. Both men are given extreme
the humid summer with the temperature reaching motivation to hurt the other by Steven de Souza
nearly 100 degrees. Silva, wearing a weighted glove and Jeb Stuart’s screenplay. Willis is trying to res-
and fighting poor eyesight, accidentally broke Sea- cue his wife Bonnie Bedelia from lead terrorist
gal’s nose in the scene. Seagal was rushed to the Alan Rickman and an impending explosion, while
hospital and forced to stay up all night icing his Godunov is trying to avenge Willis’ self-defense
nose to avoid swelling and black eyes. He took the killing of his brother Andreas Wisniewski. Willis
blame for the accident, believing he should have rubs salt into Godunov’s mental wound by telling
used a foam glove or had a stuntman take the aging him how his brother screamed when Willis broke
Silva’s place. his neck.
The Chicago Tribune called the action sequences Stunt coordinator Charlie Picerni put the fight
“sleek and strong.” The Boston Globe wrote, “While together with an emphasis on the characters and
there’s no questioning Steven Seagal’s authenticity their actions for cinematographer Jan de Bont’s
in the fight scenes, these scenes never seem any- fluid camera. Picerni uniquely designed it so the
thing but set pieces.” Films of Fury writes of Seagal’s 6'2" Godunov’s menacing character Karl punches
Aikido prowess, “It was the hand-to-hand equiva- on a straight plane while Willis attacks from an-
lent of a wild-mouse rollercoaster, spinning the gles. Ballet dancer Godunov’s martial arts kicks
antagonists in tight, fast, vicious circles.” Vern, au- quickly put Willis at a distinct disadvantage, as
thor of Seagology: The Ass-Kicking Films of Steven does his pistol which puts Willis on the run. The
Seagal, took a tongue-in-cheek approach to Seagal fight transitions from a darkly lit, steam- filled
but wrote seriously about Above the Law’s fighting: room in the Nakatomi Plaza (actually the new Fox
“His Aikido looks convincing and the quickness Plaza) to a bright open stairwell courtesy of pro-
of the fights make them stand out from other ac- duction designer Jackson De Govia; the ever re-
tion pictures of the time. The fights are also more sourceful Willis makes use of his surroundings to
raw and brutal than many martial arts films, espe- continually harass and confound Godunov. A
cially American ones. His style is not as much hanging chain puts what Willis thinks is a perma-
about looking cool as it is about dispatching op- nent end to Godunov. Throughout the loud four-
ponents as quickly as possible.” minute battle, composer Michael Kamen’s score is
See: Above the Law pressbook; Coleman, Jim. present but unobtrusive, rising to meet the fight’s
“One Tough Dude.” Black Belt. February 1989; most suspenseful moments.
Goldstein, Patrick. “Steven Seagal Gets Shot at One flaw in the thrilling fight is the liberal use
Stardom.” Los Angeles Times. February 14, 1988; of easily identifiable stunt doubles (Keii Johnson
Vern. Seagology: The Ass-Kicking Films of Steven for Willis, Don McGovern for Godunov). This
Seagal. London: Titan, 2008. was in the days before Hollywood began placing
actors’ heads on stuntmen’s bodies through the
Bruce Willis vs. Alexander use of computer effects, but for some fans it’s an
endearingly cheesy quality to an otherwise excit-
Godunov in Die Hard (1988) ing action film. To some viewers it was the end of
In the testosterone-filled era of heavily muscled an era. According to the video essay Chaos Cinema,
cartoon action stars named Schwarzenegger and “The fight itself is frantic yet clearly understand-
Stallone came a decidedly different Everyman able, both riveting and stabilizing, the M.O. of clas-
hero in the form of Die Hard’s John McClane sic cinema.”
(played by Bruce Willis). He had an average-guy Willis unfortunately made several increasingly
body and talked himself through self-doubt into ridiculous Die Hard sequels that saw his wisecrack-
action, but when he took on a gang of terrorists in ing McClane character become a hardened tough
a Los Angeles high-rise, he connected mightily guy with the nearly superhuman ability to survive
with audiences. Entertainment Weekly ranks this as large-scale explosions. Willis, a 180-pound six-
the greatest action movie ever made. That might footer, had solid fights with Vernon Wells in Sunset
be a stretch, but there’s no denying that the John (1988), William Sadler and John Amos in Die
296 19 8 8

Hard 2 (1990) and Karl Urban in Red (2010). He Keith David to don special sunglasses that will
threw a killer punch at Kim Coates in The Last Boy allow him to see the aliens’ subliminal messages
Scout (1991). On TV’s Moonlighting (1985–1989), in our everyday advertising, as well as the aliens
his cocky David Addison character was deservedly sprinkled among the citizens. David wants nothing
punched out by Mark Harmon in 1987’s “I Am Cu- to do with the sunglasses, but Piper is relentless.
rious Maddie.” So is the “old school” fight. Both actors take all
See: Chaos Cinema (2011); Die Hard DVD com- their own incredible bumps in the Jeff Imada–co-
mentary; Die Hard movie press kit. ordinated action. Carpenter and D.P. Gary B.
Kibbe shot with a Panaglide Steadicam, allowing
Roddy Piper vs. Keith David them to smoothly follow the action. Editors Gib
Jaffe and Frank Jimenez manage to maintain pace
in They Live (1988) for one of the screen’s most extended battles.
Writer-director John Carpenter’s cult sci-fi film There’s enough variation in movement to maintain
about aliens secretly invading our society features visual interest.
one of Hollywood’s most famous screen fights. The fight has it all: punches, kicks, knees, a back
Upon its release, the New York Times called it “a suplex and even a 2 × 4 that Piper smashes into a
noisy attenuated slugfest” and the Los Angeles car window. David chastises him with an expletive
Times labeled it “crazily protracted.” Yet this fight and Piper half-laughs an apology, one of the fight’s
has routinely made most Internet-era “Best Of ” more memorable moments. Many see it as an ab-
lists based on its length and sheer rugged tenac- surd reason for the friends to dole out violent pun-
ity. ishment on one another. Why doesn’t David just
The over-the-top fight is nearly six minutes of look through the glasses? Perhaps it’s because
brutal back-and-forth back alley action as Roddy David knows there’s something out there he
Piper tries to force his fellow construction worker doesn’t want to see, and his life will never be the
same if he does. Piper finally forces
David to don the sunglasses and see
the world around him. The two join
forces to take on the aliens, with a
gun-wielding Piper famously pro-
claiming, “I’ve come here to chew
bubblegum and kick ass, and I’m all
out of bubblegum.”
In the original script, the fight se-
quence was brief, but when Car-
penter landed pro wrestler Rowdy
Roddy Piper as his leading man he
began to envision an epic battle to
rival The Quiet Man (1952). Car-
penter even had his actors watch
that film for inspiration. Carpenter
left it up to Imada and the actors to
come up with the action, requesting
only that three wrestling moves be
used. These were a suplex, a
clothes line and a sidewalk slam.
When Carpenter gave the revised
script to Imada, there were four
blank pages reading, “The Fight Be-
gins,” “The Fight Continues,” “The
Fight Still Continues” and “The
Fight Concludes.” Imada’s first
Roddy Piper (left) and Keith David put on a fight for the ages in Uni- order of business was toning down
versal’s They Live (1988). Piper, who was used to selling
 19 8 8 297

moves to a huge live audience. Piper and David re- Patrick Swayze vs. Marshall
hearsed with Imada for three weeks in Carpenter’s Teague in Road House (1989)
backyard before unveiling their work to the direc-
tor. The fight itself was filmed in two and a half Rowdy Herrington’s cult favorite Road House is
shooting days on a specially padded parking lot one of the decade’s cheesiest yet most treasured
that looked realistic and rough. For years, the land- films, containing enough fights to fill ten normal
mark punchathon was shown to new stuntmen en- films. It’s The Rocky Horror Picture Show for macho
tering the business as an example of how to put guys. Much of its lasting appeal is due to the Zen-
on a great fight. It was even spoofed on the ani- like cool of philosopher–bar bouncer Dalton
mated South Park show as “The Cripple Fight,” (Patrick Swayze), whose given to saying catch-
with the choreography copied in homage. phrases like, “Pain don’t hurt” when he’s sliced
The six-foot Piper had a reputation as a fearless open by a knife. The undersized Dalton is a well-
tough guy beyond the wrestling ring. He was a dressed, long- haired NYU grad and the best
Golden Gloves boxer in his youth and earned a “cooler” in the business. A cooler is the lead
judo black belt training under Gene LeBell. Piper bouncer who makes everything fall in line. His
was over 220 pounds when Carpenter approached reputation is transcontinental. When Swayze takes
him at 1987’s Wrestlemania III, but that weight on a particularly tough bar called the Double
could appear too bulky on film. At the director’s Deuce in the small town of Jasper, Missouri, he
request, Piper trained and dieted with the leg- runs afoul of local fat cat John Wesley (Ben Gaz-
endary Vince Gironda, who ripped him up for the zara) and his thugs. The local law is so nonexistent
cameras at 200 pounds. The 6'2", 220-pound Dalton calls in his mentor, the grizzled Wade Gar-
David was a stage-trained actor with a certificate rett (Sam Elliott), to lend a hand, thereby treating
in Stage Combat. Piper claimed that David had a the audience to hand- to-hand combat nirvana.
terrific punch but no idea of his own personal There’s one problem with Dalton: He’s haunted
strength. Piper told David he could unload on him by a past incident in which he ripped a man’s throat
below the neck, but to pull his punches around out, and strong evidence suggests our conflicted
the face. When the TV show Entertainment Tonight hero might be a serial offender when he faces
came on the set to cover the fight, a nervous David flashy martial artist Jimmy Reno (Marshall
accidentally connected with Piper’s face. Piper Teague, playing a role Scott Glenn turned down).
shrugged the blow off and told David not to worry Stunt coordinator Charlie Picerni put the fights
about it. David occasionally clipped Piper in the together and kickboxing champion Benny
eye when snapping back a punch, but the wrestler Urquidez trained Swayze and made sure the mar-
didn’t mind when compared to what he usually ex- tial arts were accurately presented on screen. Black
perienced in the ring. David later re- belt stuntman Randy Hall was hired to double
called that he never felt intimidated
working with the wrestler, as Piper
insured his safety and was a complete
professional. Piper had noteworthy
fights with martial artist Billy Blanks
in Back in Action (1993) and Tough
and Deadly (1995).
See: Lethem, Jonathan. They Live.
Soft Skull, 2010; Nashawaty, Chris.
“They Live: John Carpenter on Why
His Sci-Fi Classic Is as Timely as
Ever.” Entertainment Weekly. Novem-
ber 5, 2012; Piper, Roddy, and
Robert Picarello. In the Pit with Piper.
New York: Berkley Boulevard, 2002;
They Live movie press kit; Wilson, D.
Harlan. They Live. New York: Co-
lumbia University Press, 2015. Patrick Swayze (left) and Marshall Teague engage in a riverbank
duel in United Artists’ Road House (1989).
298 19 8 8

Swayze if the actor couldn’t pick up all the moves. What’s more, it kept the audience involved in the
Teague was an accomplished martial artist and flow of the action. And there’s a ton of action.
wouldn’t require a double. Urquidez closely Swayze fights not only Teague but Gazzara in the
watched Swayze’s movements for a full week be- climax. Given Swayze had been established as a
fore deciding on a specific martial arts style for super fighter and had torn out Teague’s throat, the
him to adapt. As he began to teach Swayze cat-like fight is evened out by having Swayze shot in the
fighting moves, he incorporated background arm and Gazzara swinging everything available in
music into their training because of Swayze’s his mansion (an actual Bel Air estate). When
strong dance history. With a beat behind him, Swayze overcomes all the odds, his hand instinc-
Swayze picked up the moves well enough to do his tively goes back into full trachea-ripping position.
own fighting. Hall doubled him when he bull- At that moment, none other than beleaguered
dogged Teague off a motorcycle. auto store owner Red West arrives with a rifle to
The cities of Fresno and Valencia, California, make his decision for him.
stood in for rural Missouri. When Teague arrived Along the way, Swayze has multiple fights
at the locale, he and the 5'9", 165-pound Swayze against Terry Funk, Anthony Delongis, Gary Hud-
began testing one another. The ice was broken son, John Doe, Michael Rider, John Young and
after Teague made physical contact with Swayze Tiny Ron Taylor. Actors Delongis and Hudson
while blocking the fight and the latter absorbed had started as stuntmen and were able to do all
the blow without complaint. Both were outfitted their own fights, as did professional wrestler Funk.
with hidden pads in target areas to absorb blows. A conflicted Swayze even takes a swing at Elliott,
They fought to contact the rest of the fight, which who catches the punch in midair. The streetfight-
took five nights to film. The men performed the ing Elliott goes through most of the same hench-
fight routine a total of 71 times for the cameras. men Swayze has already walloped, including
Swayze, who was shirtless, had to have makeup Teague in a bar brawl. Gazzara stops that interest-
cover the bruises that formed on his arms and ribs. ing fight by firing a gun in the air. Entire fight se-
When the fight was over, he had fluid drained from quences were cut due to the film’s length. Actor
his left knee. At one point, Teague picked up a log Keith David, fresh from making They Live (1988),
in the heat of battle and hit Swayze with it. That can barely be seen in the finished film though he
shot remains, and Swayze later claimed his ribs gets prominent billing in the opening credits. He
were injured from the hit. The fight blocking and had a much larger role as a bar patron who helps
kicks are all done well, with sparse but memorable the bouncers in a fight against the rednecks. David
dialogue interspersed throughout the three- had a fight with Funk that was cut for time. The
minute battle to heighten the drama and increase burly Funk, one of the legends of the wrestling
the tension between the men. Swayze goes for the ring for the brutal style he employed and the
throat when Teague brings a gun into the fight. lengths he’d push his battered body, contributes
Director Herrington wanted to incorporate the greatly to the film as the Double Deuce’s original
infamous ripping-out of Teague’s throat based on bouncer who doesn’t go quietly into the night. His
a second-hand story he was told. The actors were presence and popularity in hardcore wrestling cir-
uncomfortable and felt it was too over-the-top, but cles adds to the movie’s macho cult appeal.
they went through with it. Female lead Kelly There’s a slew of stunt personnel filling the
Lynch later related that she almost laughed off- ranks of the bar brawls, including Tony Epper,
camera when it came time for Swayze to rear back Jeannie Epper, Mic Rodgers, Henry Kingi, Allan
and rip. Teague took the fall into the river, with Graf, Ted White, Glenn Wilder, Branscombe Rich-
the water recorded at a chilly 42 degrees. Teague mond, Gary Combs, Tommy Huff, Gary McLarty,
did a perfect take, earning a $500 bet from a crew Jeff Imada, Bruce Paul Barbour, Leon Delaney,
member who told him he’d “suck air” when he hit Frank Orsatti, Ron Stein, Patricia Tallman and
the cold water. Swayze and Teague became close Buddy Joe Hooker. About 40 other stunt perform-
friends and remained in contact with one another. ers receive credit and can likely be seen some-
Herrington and cinematographer Dean Cundey where in the background of the fights. R.L. Tolbert
shot much of the fight action with a Steadicam so served as Elliott’s double, though Elliott appears
they could move the camera as the action dictated. to do all his own stunts. He’d staged memorable
This insured better coverage of the overall chore- fights with David Soul and William Smith on TV’s
ography and that misses would appear to be hits. The Yellow Rose (1983–1984) and went on to have
 19 8 8 299

a noteworthy battle with Gavan O’Herlihy in the Post said that the film “lays out its story with the
western Conagher (1991). subtlety of a wrestling match.” The Los Angeles
Critics lambasted Road House, but New York Times wrote, “Melodramatic at best, Herrington
Magazine did find the multitude of fights “emo- is in his element in fight scenes, and out of it the
tionally satisfying.” Most reviewers were willing rest of the time.” Road House was followed by Road
to accept the overall implausibility and count it as House 2: Last Call (2006), a Swayze-less sequel.
a guilty pleasure. However, more than a few See: Holtzclaw, Mike. “Road House Role Lives
thought the action stretched too far. The Chicago On.” Daily Press. February 2, 2003; Road House
Tribune said the movie would have been “perfectly DVD commentary; Road House press kit; Wood,
hilarious, were it not for the wide strain of sadism Jennifer M. “The Best Fight Scenes from Road
that underlies the action,” while the Washington House.” Men’s Journal. June 2014.
This page intentionally left blank
 Epilogue

In many ways, Road House was the end of an era martial arts (MMA) sporting events and even to
and an appropriate cut-off point for this text. Fight a degree glamorized tough guy characters like
choreography changed drastically in the increas- Swayze’s Dalton on cable broadcasts of Road
ingly computerized world of the 1990s. Flashy House are largely responsible. The new century has
kicks, at times anatomically impossible, perma- seen MMA gyms spring up around the country
nently replaced the roundhouse punch as tradi- with an increasing interest in Brazilian jujitsu and
tional slugfests became all but obsolete. Rapid ed- Israeli-based Krav Maga defense techniques. Small
iting, hyperactive camera movements, post- city bars and local road houses are now likely to
production digital altering, close- framing, and have any number of clientele with some training
Wushu-influenced wire work seen in films like The in effective ground fighting.
Matrix (1999) forever altered what a fight scene The cinematic appeal of the muscular
looked like and how it was perceived by increas- Schwarzenegger-Stallone action hero of the 1980s
ingly younger audiences with shorter attention also created a nation of bicep-flexing testosterone
spans. Screen fighters such as Jean- Claude Van junkies who have further clouded their rational
Damme, Dolph Lundgren, Jet Li and Wesley thought with hormone-altering steroid use. This
Snipes enjoyed brief periods of popularity as new generation has likely been raised on violent
screen kickers. New action stars the likes of Jason video games, extreme pro wrestling and rap music,
Statham and Michael Jai White needed to be well- seeking instant gratification in the sensory-
versed in martial arts to effectively come across to overloaded Internet age. The general code of cow-
modern audiences. Mention should be made of boy ethics first exhibited in the John Wayne
the occasional “old school” fight that snuck through B-western has changed. There used to be a time
during this time such as those seen in Fight Club when a beaten man left with his head down and
(1999) and Snatch (2000), both starring Brad Pitt. that was it. Now there’s an emotional rush to seek
There was still the occasional interesting match- retribution, repercussions be damned. Old-
up generating buzz such as the pairing of heavily fashioned bar fights seen as recently as Clint East-
muscled actors Vin Diesel and Dwayne “The wood’s early 1980s output have vanished. Now any
Rock” Johnson in Fast Five (2011). real smash-up results in numerous arrests and law-
Road House is a modern western, a film that suits. Punch out a loudmouth troublemaker in
harkens back to an earlier time where men solved today’s day and age and you’d be running the risk
their problems using their fists. A highly trained of being shot, stabbed, arrested and sued. It’s far
fighter could remain calm and cool until it was easier to live vicariously through the cinema, fan-
time not to be cool, confident in his superior train- tasizing that we’re in there throwing punches
ing that he could take on any type of situation. alongside Randolph Scott and the Duke in a dif-
Times have changed, and the popularity of mixed ferent time and a different place.

301
This page intentionally left blank
 Bibliography

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 Index

Numbers in bold italics indicate pages with photographs.

The A-Team (TV) 159, 250, 251, 270 136, 151, 158, 168, 169, 178, 183, Ames, Leon 21
Aaberg, Denny 255 250 Amos, John 295
Aaron, Paul 267 The Alamo (1960) 95 Amsler, Joe 246
Abbe, Kenshiro 208 Alaska (1945) 6 The Amsterdam Kill (1977) 48, 135
Abbey, Edward 146 Alaska Seas (1954) 46, 257 Anabasis 263
Abducted II: The Reunion (1995) 281 Alba, Rose 166 Anagnos, Bill 264, 265
Abdul-Jabbar, Kareem 265, 266, 267 Albanese, Dion 265 Ancho, Ramon 164
Abilene Town (1946) 43, 56, 57 Albert, Eddie 24, 164 Anderson, Bob 41
Above the Law (1988) 148, 294–295 Albright, Budd 174, 184 Anderson, James 103, 105
Ace High (1968) 201, 227 Albuquerque (1948) 34, 43 Anderson, John 123, 129
Across the Pacific (1942) 24 Alcaide, Chris 45, 66, 84, 96, 129 Anderson, Michael 233
Across the Wide Missouri (1951) 29 Alcott, John 208, 240 Anderson, Michael, Jr. 162
Adair, Red 189 Alden, Eric 31 Andersson, Bibi 173
Adam, Ken 161, 178, 240 Alden, Norman 183 Andes, Keith 83
Adam at 6 A.M. (1970) 218 Alderson, John 189 Andre, Carl 95
Adams, Cedric 293 Aldrich, Robert 48, 114, 115, 157, 218, Andrews, Dana 13, 26, 30, 39, 57, 58,
Adams, Julie 26 219 78, 112, 128
Adams, Nick 16, 125, 155, 202 Alekan, Henri 206 Andrews, William 265
Adams, Phil 229 Alessandri, Roberto 201, 212 Angel and the Badman (1947) 12, 60,
Adios Amigo (1975) 226 Alexander, Dick 26, 27, 49 61
Adorf, Mario 168, 173, 174 Alexander, Sandy 140 Angel and the Badman (2009) 61
Adventure (1945) 29 Alexander, Tiana 242 Angel Baby (1961) 142, 144
Adventure’s End (1937) 12 Alfie (1966) 171–172 Angel in Exile (1948) 65
Adventures in Silverado (1948) 68 The Alfred Hitchcock Hour (TV) 75 Angel Unchained (1970) 199–200, 215
The Adventures of Bullwhip Griffin Ali, Muhammad 214, 234, 267 Angels Die Hard! (1970) 199
(1967) 55 Alias Billy the Kid (1946) 52 Angels from Hell (1968) 278
The Adventures of Gallant Bess (1948) All-In Fighting 59 The Angry Hills (1959) 48, 124
129 All Mine to Give (1957) 104, 129 The Animals (1970) 278
The Adventures of Martin Eden (1942) All the Brothers Were Valiant (1953) Ankrum, Morris 44
45 22, 56 Another 48 Hrs. (1990) 284
The Adventures of Nick Carter (1972) All the Way Boys (1972) 201, 212 Ansara, Michael 119, 128
78, 242 All the Young Men (1960) 64 Anthony, Leo 55
The Adventures of Ozzie and Harriet All Through the Night (1942) 24 Antonini, Artemio 201
(TV) 165 Allen, Brad 254 Any Number Can Play (1949) 29
The Adventures of Robin Hood (1938) Allen, Dede 230 Any Which Way You Can (1980) 1, 86,
41 Allen, Duane 234 160, 186, 215, 232, 236, 259, 275,
The Adventures of the Falcon (TV) 83 Allen, Fred 54 276, 277
Africa—Texas Style (1967) 174 Allen, Irvin 192, 193 Apache (1954) 113
Against All Flags (1952) 41 Allen, Karen 279 Apache Rifles (1964) 102
Agar, John 58 Allen, Rex 182 Apache Territory (1958) 100, 120
Aherne, Brian 18 Allen, Woody 141 Apache Uprising (1966) 82, 120
Aidman, Charles 142 Allin, Michael 219 Apache Woman (1955) 86
Aiello, Danny 171 Along Came Jones (1945) 30 The Apple Dumpling Gang (1975) 182
Aiello, Danny III 265 Along the Great Divide (1951) 105 Appointment with Danger (1951) 64
Aikido 204, 266, 288, 294, 295 Altemus, Gene 202 The Aquanauts (TV) 184
Air Force One (1997) 279 Alton, John 61, 65, 76, 128 Aragon, Art 102
Airplane! (1980) 98 Ambush (1949) 22 Archainbaud, George 43, 47, 50
Airwolf (TV) 183, 281 Ambush at Cimarron Pass (1958) 75, Archer, Anne 83
Ajaye, Franklin 256 186 Archer, John 105
Akerstream, Mark 254 The Ambushers (1967) 158, 236 Archer, Peter 219
Akins, Claude 82, 89, 125, 126, 135, American Combat Judo 59 Arctic Flight (1952) 21, 104

307
308 Index

Arena, Fortunato 201 Bacon, Lloyd 12, 23, 41 Barnes, Rayford 99

Arie, Bruno 212 Bacon, Rod 49 Barnes, Walter 258, 259
Arizona Bushwhackers (1968) 66 Bad Bascombe (1947) 10 Barnum, Joey 102
Arizona Ranger (1948) 65 Bad Boys (1983) 281 Barratt, Robert 14, 15, 42, 43, 79
Arlen, Richard 37, 38, 42 Bad Day at Black Rock (1955) 29, 46, Barrett, James Lee 191
Armendariz, Pedro, Jr. 79, 136 109, 110, 125, 131 Barrett, John 271, 285
Armored Command (1961) 121, 141, Bad for Each Other (1953) 96 Barrett, Stan 189, 192, 202, 256, 257
142, 143 Bad Georgia Road (1977) 149, 183 “Barroom Buddies” 270
Armour of God (1986) 254 Bad Man of Brimstone (1938) 10 Barrows, George 62
Armstead, Bill 8 The Badge of Marshal Brennan (1957) Barry, Gene 112, 114, 120–121
Armstrong, Dave 150 62, 90 Barry, John 166, 169, 192, 207, 265,
Armstrong, Peter 236 The Badlanders (1958) 64, 110 294
Armstrong, R.G. 142, 244, 245 Badlands of Dakota (1956) 33 Barry Lyndon (1975) 240–241, 261
Armstrong, Robert 18 Badman’s Country (1958) 78, 84 Barrymore, John 10
Armstrong, Vic 193, 274, 277, 278, Baer, Buddy 81, 123, 136 Barsha, Leon 147
279, 287, 288 Baer, Max 29, 119, 120, 135, 232 Barth, Carmen 33
Arness, James 26, 46, 62, 70, 83, 88, Baer, Max, Jr. 231, 232 Barthelmess, Richard 7
94, 104, 118, 120, 123, 124, 136, Baffert, Al 8 Bartlett, Richard 126
141, 156, 160, 169, 192 Bail, Chuck 150, 164, 229 Barton, Gregg 43, 73, 103
Arnett, James 181, 202 Bain, Al 140, 157, 172 Bartonious, Rai 228
Arnold, Denny 192, 215, 228, 234, Bain, Sherry 205 Basinger, Jeanine 65
255 Baird, Stuart 293 Basinger, Kim 280, 281
Arnold, Jack 119 Bakaleinikoff, Mischa 84 Basque Zipata 156
Around the World in Eighty Days Baker, Carroll 122, 132 Bass, Bobby 225, 257, 269, 280, 281,
(2004) 254 Baker, Del 172, 231 282, 293
Arras, Leon 231 Baker, Frank 150 Bassman, George 62, 160
Arrowhead (1953) 96, 97 Baker, George 159 Bastianoni, Giancarlo 201, 212, 227
Arthur, Jean 48, 92 Baker, Joe Don 214, 217, 218, 235 Bat Masterson (TV) 112
Arthur, Johnny 49 Baker, Ox 272 Bates, Bert 207
Ascensio, Tom 261 Baker, Rex “Snowy” 19 Batman (1966) 172
Asher, Jack 130 Baker, Robert 213 Batman (TV) 172, 183, 236
Askew, Luke 179, 183 Baker, Stanley 48, 64, 124, 250 Battle, Mike 199
Asner, Ed 176 Baker’s Hawk (1976) 136 Battle Creek Brawl (1980) 272, 273,
The Asphalt Jungle (1950) 120 Bakshi, Ralph 270 274
The Asphalt Jungle (TV) 223 Bakunas, A.J. 264 Battle Cry (1955) 114, 174
Assante, Armand 115 Baldwin, Daniel 284 Battle for the Planet of the Apes (1973)
Assassination (1967) 148 Ball, Susan 92 126
Assault on a Queen (1966) 146 Ball of Fire (1941) 30, 58 The Battle of Apache Pass (1952) 116
Asther, Nils 6 The Ballad of Cable Hogue (1970) Battle of Broadway (1938) 18
Attel, Abe 8 255 “Battle of Kernville” 9
Attenborough, Richard 231 The Ballad of Josie (1967) 98, 156 Battles of Chief Pontiac (1952) 108
Aubochon, Jacques 47 Ballard, Lucien 120, 162, 214, 244 Baud, Antoine 189
Auer, Mischa 31 The Baltimore Bullet (1980) 168 Baxley, Craig 263, 264
August, Joseph 17 Banacek (TV) 159, 200 Baxley, Gary 264
Austin, Jerry 55 Bancroft, Anne 166 Baxley, Paul 106, 118, 124, 137, 158,
Austin, Steve 283 Bancroft, George 10, 13, 28 169, 185, 188, 207, 210
Autry, Gene 38, 60, 65, 73, 104, 119, The Bandits (1967) 236, 242 Baxter, Alan 15
133, 174 Bannen, Ian 152 Baxter, Warner 10
Avalon, Frankie 184, 202 Bannon, Jim 116 Bayan, Oliver 246
Avery, Rick 280 Bar 20 (1943) 43 Bayless, Luster 153
The Avengers (TV) 131, 208, 261 Barabbas (1961) 92, 97 Baylor, Hal 46, 88, 89, 98, 111, 119,
Avil, Gordon 97 The Barbarian and the Geisha (1958) 121, 126, 136, 148, 172, 186
Aviles, Rick 280 12, 130 Bayou (1957) 98
The Awful Truth (1937) 156 Barbeau, Adrienne 280 Beach, Rex 6, 115
Axton, Hoyt 114 Barber, Bobby 48 Bean, Sean 279
Aykroyd, Dan 268 Barbi, Vincent 110, 174 Bearcats (TV) 178, 198
Barboni, Enzo 200, 201, 211 The Beastmaster (1982) 183
Baa Baa Black Sheep (TV) 241 Barbour, Bruce 282, 289, 298 “Beat ’Em Up Film” 226
Baby Blue Marine (1976) 281 Barcroft, Roy 49, 51, 52, 60, 61, 111, Beatty, Warren 183
Baby, the Rain Must Fall (1965) 155, 119 Beaulieu, Priscilla (Presley) 187
236 The Barefoot Mailman (1951) 82 Beck, Charles Clarence 15
Bacall, Lauren 127 Baretta (TV) 236 Beck, Michael 263, 264
Bacigalupi, Louis 35, 71, 72 Barfly (1987) 281 Becker, Kenneth 126, 127
Back in Action (1993) 297 Barger, Sonny 100, 199 Bedelia, Bonnie 295
Back to God’s Country (1953) 101, 174 Barker, Lex 43, 83, 108, 137 Beetley, Samuel 68, 70
Background to Danger (1943) 33 Barker, Philip 15 Berry, Noah 5, 7, 43
Backlash (1956) 96 Barnacle Bill (1941) 10, 65 Beery, Wallace 6, 9, 10, 22, 29, 33, 65
Bacon, David 49 Barnes, Binnie 39 The Bees (1978) 222
Bacon, Irving 44 Barnes, Clarence “Sonny” 272 Behind Locked Doors (1948) 92
 Index 309

Behind the Rising Sun (1943) 45, 46, The Big Shot (1942) 24 Blood Song (1982) 202
54 The Big Sky (1952) 62, 105 Bloodsport (1988) 222
Bel Geddes, Barbara 70 The Big Sleep (1946) 16, 24 Bloody Mama (1970) 200
Bellamy, Madge 7 The Big Sleep (1978) 48, 111 Bloom, George “Tex” 25
Belle Starr’s Daughter (1948) 57, 84 The Big Sombrero (1949) 73 Bloom, Phil 10
Bells of San Angelo (1947) 59, 60 The Big Steal (1949) 48 Blottner, Gene 61
Belmondo, Jean-Paul 190, 202, 203 The Big Trees (1952) 21, 105 Blown Away (1994) 86
The Beloved Brute (1924) 18 The Big Valley (TV) 26, 89, 126, 150, The Blue Dahlia (1946) 64
Belushi, John 268, 271 151, 205, 218 Blue Hawaii (1961) 127, 143
Benchley, Peter 250 Big Wednesday (1978) 254–255, 281 Blue Steel (1934) 12
Bendix, William 48, 64, 71 Billings, Ted 31 “Blue Suede Shoes” 127
Bend of the River (1952) 57, 116, 117 The Billion Dollar Threat (1979) 251 Bo, Hong Eiu 259
Beneath the Planet of the Apes (1970) Billy Jack (1971) 203, 204, 205, 229 Bo Jujitsu 234
96, 195–196 Binns, Edward 86 Boeke, Jim 165
Benedek, Laslo 100 Binns, Nigel 273 Boetticher, Budd 44, 92, 102, 131
Benjamin, Darwin 285 Bird on a Wire (1990) 262 Bogart, Humphrey 16, 21, 23, 24, 39,
Benjamin, Richard 224, 225 Biroc, Joseph 157, 218, 227 57, 64, 65, 125, 203, 271
Bennett, Bruce 68 The Biscuit Eater (1972) 121 Bogdanovich, Peter 246, 247
Bennett, Nigel 231 Bishop, Larry 200 Bolder, Cal 128, 140
Bennett, Spencer Gordon 49 Bishop, William 68, 74, 77, 121 Bolt, Robert 223
Benton, Robert 177 Bissell, Mike 222 Bomber (1982) 227
Berenger, Tom 195 Bite the Bullet (1975) 230, 281 Bomber’s Moon (1943) 84
Bergen, Polly 144 Bixby, Bill 182 Bonanza (TV) 55, 63, 66, 67, 78, 83,
Berger, Ralph 41 Black, Shane 292 89, 108, 118, 126, 128, 129, 157, 168,
Berger, Senta 164 Black Aces (1937) 9 174, 182, 184, 236, 278, 281
Bergerac, Jacques 116 Black Belt Jones (1974) 224, 265 Bond, Rudy 174
Berkeley, Busby 36, 227 Black Caesar (1972) 226 Bond, Ward 8, 9, 10, 12, 15, 24, 25,
Berlatsky, David 232 Black Eye (1974) 226 26, 32, 33, 34, 38, 39, 40, 41, 46,
Berlin Express (1948) 46 Black Fist (1974) 274 50, 51, 57, 58, 65, 85, 87, 90, 99,
Berman, Henry 179 Black Gunn (1972) 188 194
Bernard, James 130 Black Horse Canyon (1954) 79 Bonner, William 205
Bernard, Ron 202 Black Moon Rising (1986) 281 Bonomo, Joe 11
Bernstein, Elmer 158, 182 Black Patch (1957) 84, 100 Boom Town (1940) 28, 29
Bernstein, Leonard 105 Black Saddle (TV) 151 Boone, Richard 18, 48, 55, 89, 94, 95,
Berrell, Lloyd 178 Black Samson (1974) 160, 228–229 98, 108, 110, 111, 118, 120, 122, 132,
Bersten, Bernie 229 Black Sheep Squadron (TV) 241 137, 143, 144, 156, 202, 206, 250,
Best, James 135, 148, 257 The Black Shield of Falworth (1954) 272
Best of the Badmen (1951) 46, 71 164 Boorman, John 179
The Best Years of Our Lives (1946) 58 Black Spurs (1965) 75, 120 Boot Hill (1969) 201
Beswicke, Martine 26 The Black Swan (1942) 35 Border Law (1931) 9
Bettany, Paul 279 The Blackboard Jungle (1955) 45 Border River (1954) 79
Bettger, Lyle 58, 103, 116, 119, 164 Blackman, Honor 162, 208 Border Treasure (1950) 65
Between Men (1935) 49 Blackmon, Don 105 Borderline (1950) 15
Betz, Matthew 50 Blade Runner (1982) 279 Borgaze, Frank 19
The Beverly Hillbillies (TV) 231 Blake, Robert 236 Borghese, Salvatore 201, 212
Beyond the Purple Hills (1950) 73, 174 Blanchard, Mari 26 Borgnine, Ernest 43, 64, 109, 110,
Biao, Yuen 219–220, 236, 267, 288, Blangsted, Folmer 20, 189 120, 124, 131, 146, 176, 177, 187,
291 Blanke, Henry 64 188, 218, 219, 256
Bickford, Charles 12, 13, 15, 18, 20, Blankenship, Norm 249, 270 Borienko, Yuri 192, 193
21, 42, 43, 46, 58, 64, 65, 132 Blanks, Billy 297 The Born Losers (1967) 184, 203, 251,
Bicknell, Gene 264 Blatts, Stephen 293 261
Bieri, Ramon 142 Blatty, Linda 269 Borsalino (1970) 190, 202–203
Biff Baker, USA (TV) 104 Blatty, William Peter 174, 269 Bosco, Philip 86
The Big Boss (1971) 213 Blazing Magnums (1977) 249 The Boss (1956) 77
The Big Brawl (1980) 253, 254, 272, Blazing Saddles (1974) 24, 182, 227– Boss Nigger (1975) 160, 226
273, 274 228 Boss of Boomtown (1944) 27, 67
The Big Bus (1976) 228 The Blazing Sun (1950) 73, 104 Boss of Hangtown Mesa (1942) 49
The Big Cat (1949) 68, 73, 74 Blech, Hans Christian 101 Bottoms, Sam 270
Big City (1937) 18, 19, 26 Bledsoe, Gene 286 The Bounty Hunter (1954) 43
Big City Blues (1947) 24 Blind Rage (1978) 226 The Bounty Man (1972) 136
The Big Country (1958) 96, 128, 132, Blocker, Dan 55, 62, 63, 77, 78, 89, The Bourne Identity (2002) 293
133 118, 128, 146, 157, 169, 174, 182 The Bowery (1933) 9, 10, 33
The Big Gusher (1951) 21 Blodgett, Michael 168 Boxers 19, 78
The Big Heat (1953) 45, 84 Blood Alley (1955) 12 Boxleitner, Bruce 70
The Big House (1930) 10 Blood and Guts (1978) 160 Boyd, Russell 236
Big Jake (1971) 12 Blood and Steel 221 Boyd, William 29, 43, 44, 46, 47
Big Jim McLain (1952) 12, 88, 89, 90 Blood Money (1974) 206, 212 Boyd, William “Stage” 5, 39, 37
The Big Land (1957) 64 Blood on the Moon (1948) 47, 70, 71 Boyle, Charles P. 92
The Big Operator (1959) 100 Blood on the Sun (1945) 14, 53, 54 Boyle, Marc 152
310 Index

The Boys from Brazil (1978) 128 Bronk (TV) 97, 160, 270, 272 Burr, Raymond 29, 41, 46, 65, 81, 117,
Bracht, Frank 96, 158, 194, 234 Bronson, Charles 1, 55, 60, 106, 107, 171
Bradbury, Robert N. 11, 16 108, 111, 143, 144, 157, 164, 179, Burrell, Johnnie 242
Bradford, Lane 52, 61, 81, 84, 103, 189, 190, 202, 205, 206, 235, 238– Burson, Polly 26, 118
117, 119, 136 240, 244, 245, 251, 263, 271, 272, Burson, Wayne 94
Bradford, Richard 152, 169, 170 281 Burstall, Dan 263
Bradford, William 73 Brooks, Joe 157 Burstall, Tim 262
Bradshaw, Terry 256, 257 Brooks, Mel 24, 227, 228 Burton, Billy 192, 200, 224
Brady, Scott 66, 68, 74, 75, 78, 100, Brother Orchid (1940) 24 Burton, Richard 46, 107, 129
104, 120, 186 The Brothers Karamazov (1958) 88 Burton, Tony 249
Bragg, Don 181 Brovelli, Angelo 165 Burum, Stephen H. 286
Brand, Neville 32, 75, 78, 84, 90, 101, Brown, Bernard 37 Bus Stop (1956) 134
120, 200, 235, 242, 257 Brown, Bryan 281 Busey, Gary 217, 254, 255, 292, 293
Brand of the Outlaws (1936) 4 Brown, Calvin 188 The Bushwhackers (1952) 66
Branded (1950) 13, 64 Brown, Jim 88, 90, 110, 137, 177, 184, Buster and Billie (1974) 281
Branded (TV) 62, 66, 141, 169 185, 187, 188, 189, 190–191, 223, Butch Cassidy and the Sundance Kid
Branded a Coward (1935) 49 224, 226 (1969) 171, 179
Brandenberg, Chet 25, 55, 140 Brown, Johnny Mack 48, 49 Butkus, Dick 178, 284
Brando, Marlon 100–101, 105, 106, Brown, Jophery 256, 257, 290 Butler, Archie 164
118, 119, 140, 169, 182, 195, 210, Brown, Lucky 94 Butler, Bill 208
268 Brown, O. Nicholas 249 Butler, John K. 103
Brandon, Henry 58, 101 Brown, Peter 78, 160 Buttolph, David 121
Brandt, Byron “Buzz” 244 Brown, Reb 222, 254, 255 Byrd, Ralph 57
Brannigan (1975) 12, 231 Brown, Robert 249 Byrnes, Edd 122, 135
The Brasher Doubloon (1947) 84 Brown, W. Earl 280
Brauner, Asher 48 Brubaker, Tony 152, 223, 244, 245 Caan, James 62, 164, 174, 210, 211, 242,
Braunstein, Alan 265 Bruce, Robert C. 15 243, 249, 268, 291
The Brave Cowboy 146 Bruce Gentry (1949) 49 Cabeen, Boyd 81, 179
“Brawling Buddy Picture” 3, 9, 18, 39, Bruce Lee: A Warrior’s Journey (2000) Cabo Blanco (1980) 107, 271–272
108, 149, 150, 175 266 Cabot, Bruce 13, 15, 24, 32, 37, 41,
Bray, Robert 65, 115, 132, 134, 148 Brueck, Betty 26 42, 45, 51, 61, 68, 176, 189, 191
Brayham, Peter 172, 231 Bruns, George 113 Caesar, Sid 228
Brazilian Jujitsu 292, 293, 301 Brute Force (1946) 113 Café Hostess (1940) 74
Brazzi, Rosanno 12 Brutsche, Jerry 268 Cage (1989) 255
Brazzo, Jack 97 Bryant, William 168, 174 Cagney, James 13, 14, 15, 23, 24, 33,
Breaker! Breaker! (1977) 217 Brynner, Yul 35, 88, 160, 164, 224, 39, 53, 54, 104
Breakheart Pass (1976) 107, 244–245 225 Cahill—U.S. Marshal (1973) 278
Breakout (1975) 107 Buchinski, Charles 106 Cain and Mabel (1936) 29
Breathless (1960) 203 Buck Rogers in the 25th Century (1979) Caine, Michael 171
Breck, Peter 102, 126, 133, 150–151, 274 Calhoun, Rory 6, 48, 75, 78, 82, 86,
205 Buckman, Tara 280 98, 100, 111, 119, 120, 128, 169
A Breed Apart (1984) 281 Buckner, Robert 24 Call Him, Mr. Shatter (1974) 250
Breen, Hurley “Red” 25 Bucko, Ralph 50 Callaghan, Duke 158, 182
Breen Production Office 95 Buckskin (1968) 100 Callahan, Mushy 14, 21, 33, 40, 76,
Brega, Mario 138 Buckskin Frontier (1943) 28, 50 98, 105, 113, 127, 157, 171, 241
Bremen, Lennie 175 Buckstone County Prison (1977) 261 Camerini, Mario 105
Brennan, Walter 29, 278 Bucktown (1975) 226 Cameron, Rod 21, 27, 31, 39, 50, 55,
Brent, George 24, 41, 65 Buddy Goes West (1981) 227 57, 62, 66, 67, 68, 82
Bresler, Betty 175 Buffalo Bill (1944) 79, 92 Campbell, Colin 5
Brian, David 43, 121 Buffalo Bill (1965) 138 Campbell, William 96
Bridges, Beau 85–86 Buffalo Bill Jr. (TV) 90 Canadian Pacific (1949) 28, 43
Bridges, Jeff 86, 244 The Bugle Sounds (1943) 10 Canary, David 171
Bridges, Lloyd 34, 45, 66, 79, 85, 86, Bugner, Joe 227 Cangey, Dick 241
120, 121, 149 Bulldozer (1978) 227 Cannon for Cordoba (1970) 159
Brimstone (1949) 57, 62, 67 Bullet for a Badman (1964) 102 Cannonball (1976) 215, 262
Briskin, Mort 217, 235 A Bullet Is Waiting (1954) 120 The Cannonball Run (1981) 142, 158,
Brix, Herman 26 Bullet to the Head (2012) 283 246, 251, 254, 280
Broad, Kid 10 Bullock, Dick 189, 192 Cannonball Run 2 (1984) 280
Broadway (1942) 31, 33 “Bump Men” 16 Canutt, Joe 96, 154, 163, 234
Broccoli, Albert “Cubby” 152, 178, Burgess, Anthony 208 Canutt, Tap 140, 154, 192
192, 193 Burk, Jim 154, 176, 184, 189, 191, 192, Canutt, Yakima 3, 10, 11, 13, 15, 16,
Brodie, Steve 47, 65, 86, 127, 143 196, 202, 229, 256, 257, 270 17, 18, 19, 25, 35, 49, 52, 54, 61, 73,
Brodine, Norbert 32 Burke’s Law (TV) 114 138, 230, 244, 293
Broken Arrow (1950) 117 Burkley, Dennis 142, 244 Cantafora, Antonio 201
Broken Lance (1954) 96 Burnette, Stephen 157, 228 Canyon Passage (1946) 39, 57, 58
The Broken Law (1918) 5 The Burning Hills (1956) 89, 121 Canyon River (1955) 84, 104, 112
Brolin, James 95, 96, 224, 225 Burns, Bob 13 Capanna, Omera 201, 212, 227
Bronco (TV) 90, 98, 104, 122 Burns, Matt 263 Cape Fear (1962) 47, 128, 144, 145
Bronco Billy (1980) 215, 270 Burnside, William 150 Cape Fear (1991) 145, 284
 Index 311

The Cape Town Affair (1967) 95, 225 Cass, John 70 China O’Brien (1990) 271, 273
Capitani, Remo 200, 201 Cassavettes, John 141, 223 Chinchilla, Jose Luis 227
Capoeira 293 Cassidy, Ted 159, 171, 188 The Chinese Boxer (1969) 237
Capra, Frank 51 Cast a Long Shadow (1959) 102 The Chinese Connection (1972) 213–
Capri, Ahna 197, 198 Castle, Don 67 214, 253
Captain America (1979) 255 Castle, Peggie 26, 98 Chino (1974) 190
Captain Apache (1971) 90, 250 Castro, April 242 Chiotti, Richard 264
Captain Blood (1935) 41 Castro, June 242 Chisell, Noble “Kid” 157
Captain Carey, USA (1950) 64 Castro, May 242 Chisum (1970) 12, 68, 196, 197
Captain Caution (1940) 32, 42 Cat O’Nine Tails (1971) 196 Choreography 3, 11, 36, 59, 80, 103,
Captain China (1950) 34, 76, 77 Catching, Bill 98, 116, 142, 145, 157, 117, 135, 140, 143, 200–201, 213,
Captain Fury (1939) 18 163, 164, 168, 209, 224, 225, 228 215–216, 221, 227, 240
Captain Lash (1929) 18 Catfights 26 Chow, Billy 292
Captain Newman, M.D. (1963) 164 Catham, Tony 264 Chow, David 147, 225, 262
Captain of the Clouds (1942) 14 Catron, Jerry 163, 174, 179 Chow, Frank 260
Captain Scarface (1953) 65 Cattle King (1963) 23, 50 Chow, Raymond 237
Captive Girl (1950) 38 Cattle Thief (1936) 39 Chow, William K.S. 260
Capucine 140 Cattle Town (1952) 24 Choynski, Joe 40
Carambola (1974) 201 Cavens, Fred 41 Christie, Agatha 173
Carbonara, Gerard 50 C.C. and Company (1970) 160, 199 Chrome and Hot Leather (1971) 160
Cardiff, Jack 184 Cedillos, Ron 217 Chuka (1967) 110, 176, 177, 178
Carenzo, Vito 268 Celebrity Daredevils (TV) 105, 142 Chulack, Fred 197, 199
Carey, Harry, Jr. 96, 191 Centennial (1978) 136, 242 Chuman, Howard 41
Carey, Phil 90, 101 Cervantez, Joe 286 Chun-Wei, Yuen 253
Carey, Timothy 96, 98, 101, 173, 186, Cesar, Julio 222 Chuntz, Alan 231
218 Chadwick, Cyril 7 Cianci, Mickey 22, 42
The Carey Treatment (1972) 168 The Challenge (1982) 206, 294 Cianfriglia, Giovanni 212, 227
Cargo to Capetown (1950) 31, 66 Challis, Christopher 250 Ciarfalio, Carl 281
Caribbean (1952) 77 Chambers, Steven 263, 264 Cimarron (1931) 50
The Cariboo Trail (1950) 43, 62 The Champ (1931) 10 Cimarron (1960) 45, 83
Carlson, Richard 92 Champion (1949) 105 Cimarron City (TV) 84, 118
Carmichael, Al 138 Chan, Jackie 117, 203, 214, 221, 227, Cimarron Strip (TV) 111, 148, 250
Carnera, Primo 54, 92, 135, 208 253–254, 271, 272, 273, 274, 280, The Cincinnati Kid (1965) 155
Carpenter, John 296, 297 288, 289, 291 Cinematography 3, 134
The Carpetbaggers (1964) 64, 158, Chance, Larry 30, 94, 108 Circle of Iron (1979) 168, 261–262
159 Chandler, Chris 189 Citizen Kane (1940) 57
Carr, Thomas 52 Chandler, Gene 249 City Across the River (1949) 202
Carradine, David 45, 160, 183, 193, Chandler, Jeff 6, 88, 92, 97, 100, 114, City Beneath the Sea (1953) 46, 91–92
200, 206, 213, 215, 222, 236, 261, 115, 116, 120, 123 City Beneath the Sea (1971) 250
262, 274, 283, 284, 285 Chandler, John Davis 190 City Detective (TV) 67
Carradine, John 17 Chandler, Lane 30, 55 City for Conquest (1940) 14, 16
Carradine, Keith 218, 219, 256 Chandler, Raymond 72 City Heat (1984) 142, 186
Carrera, Barbara 284 Chaney, Lon, Jr. 16, 30, 31, 33, 34, 43, City Hunter (1993) 254, 271
Carrera, Fernando 174 72, 76, 86 Clark, Al 101
Carroll, John 13, 42, 65, 74 Chang, William 261 Clark, Bobby 182
Carruth, Milton 58, 74 The Chantays 265 Clark, Dane 94, 98
Carson, Fred 111, 157, 190 Chao, Hsiung 212 Clark, James 156
Carson, Jack 15 Chapman, Michael 265 Clark, Jason 229
Carson, Johnny 162 Charade (1963) 156–157 Clark, Roydon 135, 168, 173, 175,
Carson, Lance 255 Charisse, Cyd 117 184, 189, 192, 217, 234
Carson, Sunset 52, 112 Charles, Ray 254 Clarke, Charles G. 130, 134, 141
Carson City (1952) 43, 122 Charley Varrick (1973) 218 Clarke, David 83
Carsten, Peter 184, 185 The Chase (1966) 101, 169–170 Clarke, Richard 49
Cartledge, Bill 94 Chase, Borden 69, 83, 110 Clarke, Warren 208
Caruso, Anthony 63, 64, 81, 107, 108, Chase, David 211 Clay, Cassius 214
110 Chen, Chuan 212 Cleopatra Jones (1973) 215
Caruso, David 282 Chen, Yao Lin 246 Clifford, John 172
Caruso, Mickey 160 Cherwin, Richard 52 Clift, Montgomery 46, 69, 70, 89, 110
Carver, Steve 285 Chesebro, George 73 Climax (TV) 129
Carveth, Gordon 17, 63 Cheung, George Kee 292 Cline, William C. 16, 35, 49
Casablanca (1941) 271 Cheyenne (TV) 26, 88, 89, 100, 104, Clisby, Neal 19
The Case of the Dangerous Robin (TV) 118, 122, 136, 156, 170, 190 Cloak and Dagger (1946) 30, 59
131 Cheyenne Rides Again (1937) 34 A Clockwork Orange (1971) 208–209
Casey, Bernie 188, 218 The Cheyenne Social Club (1970) 117 Clothier, William H. 123, 149, 153,
Casey Jones (TV) 104 Chiba, Sonny 239 155, 176, 184, 189, 191
Casino, Jimmy 135, 188 Chicago Confidential (1957) 57 Clouse, Robert 197, 198, 217, 265,
Casino Royale (1967) 203 Chiffre, Yvan 156, 203 272, 273
Cason, John 38, 73, 118, 133 Chin, Kar-Lok 291 Clucher, E.B. 200
Cass, Dave 154, 156, 193, 249 China Girl (1942) 18, 84 Clyde, Andy 47
312 Index

Coates, Kim 296 Cook, Donald 14 Crean, Paddy 41

Cobb, Lee J. 23, 105, 106, 131, 167 Cool Hand Luke (1967) 156, 171, The Creature Walks Among Us (1956)
Cobb, Randall “Tex” 217 180–181 123
Cobra (1986) 283 Coontz, Bill 164 Creber, William 195
Coburn, James 96, 112, 164, 167, 168, Cooper, Ben 62 Creed, Roger 17, 104, 172, 194, 197
174, 213, 239, 255, 261, 267, 281 Cooper, Gary 5, 12, 29, 30, 34, 39, 55, Crenna, Richard 244
Coby, Michael 201 58, 59, 85, 95, 96, 129, 131 Crews, Harry 244
Cochran, Steve 72, 100, 101 Cooper, Jack 152, 252 Crichton, Michael 224, 225
The Cock-Eyed World (1929) 3, 18 Cooper, Jeff 261, 262 Crick, Robert Alan 227
Cocteau, Jean 6 Cooper, Kenny 19 Crime Busters (1977) 201, 212
Code of Silence (1985) 217 Cop and a Half (1993) 142 The Crimson Ghost (1945) 49
Code of the Secret Service (1939) 95 Coppola, Francis Ford 210, 285, 286 The Crimson Kimono (1959) 131, 137
Code of the Silver Sage (1950) 51 Cop’s Honor (1993) 190 The Crimson Trail (1935) 39
Code of the Yukon (1918) 5 Corbett, Ben 25, 55 Cripple Creek (1952) 83, 84
Code Two (1953) 115 Corbett, Gentleman Jim 8, 13, 40, 41, Crisp, Donald 18, 116
Coffer, Jack 160 67, 84, 120 Crockett, Dick 66, 118, 155, 163, 164,
Cogan, Henri 178 Corbett, Glenn 137, 168, 231 172, 174, 185, 228, 248
Colbert, Claudette 28 Cord, Alex 169 Cromwell, John 35
Colbert, Robert 241 Cord, Erik 225 Cromwell, Richard 7
Cole, Jack 127, 128 Cording, Harry 8, 21, 49 Cronjager, Edward 57
Colla, Richard 202 Cornelius, Billy 172 Cronjager, Henry 7
Colley, Don Pedro 195 Cornell, James 63 Cronyn, Hume 113
Collier, Don 127, 143, 176, 191 Coronado 9 (TV) 62, 67 The Crooked Way (1949) 77
Collins, Chick 13, 14, 17, 21, 25, 31, Coroner Creek (1948) 43, 67, 68, 80 Crosby, Bing 92
63 Corpus Christi Bandits (1945) 51, 52 Crosby, Floyd 85
Colorado Sunset (1939) 38, 73 Cortez, Ricardo 8 Crosby, Wade 60, 61
Colt Comrades (1943) 43, 47 Cortez, Stanley 150 Crosswinds (1951) 68, 77
Columbu, Franco 283 Cosby, Bill 189 The Crowd Roars (1938) 22
Column South (1953) 102 Cosneck, Barney 59 Crowley, Dave 56
Comanche (1956) 58 Costello, Don 48 Crowley, David 282
The Comancheros (1961) 12, 91, 150, Costello, Johnny 223 Crowther, Bosley 77
250 Costello, Julia Martinez 214 The Cruel Tower (1956) 83
Combs, Gary 229, 256, 298 Cott, Jonathan 115 Cruise, Tom 286
Come Blow Your Horn (1963) 146 Cotton, Joseph 75 Crumley, James 235
Comes a Horseman (1978) 62, 211 Couch, Bill 163, 175, 184, 192 Crusader (TV) 108
“Comic Kung Fu” 253, 254, 292 Couch, Chuck 111, 192 Culp, Robert 91, 143
Comiskey, Pat 173 The Court Martial of Billy Mitchell Cundey, Dean 298
Commando (1985) 290–291 (1955) 131 Curtis, Clive 225
Composers 55–56 Courtland, Jerome 82, 83–84 Curtis, Dick 10, 20, 49, 52, 60, 61
Conagher (1991) 299 Courtney, Chuck 154, 189, 205, 241, Curtiss, Edward 38, 92, 108, 119
Conan the Barbarian (1982) 160, 291 242, 257 Curtis, Howard 155, 163, 165, 244
El Condor (1970) 90, 188 “The Cousins” 36, 163 Curtis, Ken 57, 96
Conflict (1936) 50 A Covenant of Death (1967) 121 Curtis, Tony 105, 107, 113, 139, 141,
Connaught, Richard 208 Cow Country (1950) 112 146, 162, 163, 164, 175, 196, 246
Connell, Thelma 172, 178 Cow Town (1950) 73 Curtiz, Michael 24
Connelly, Christopher 182 Cowan, Jerome 10 Cusack, John 289
Connery, Sean 1, 124, 139, 151, 152, Cowboy (1958) 202 Cushing, Peter 130
260, 161, 166, 170, 178, 179, 192, Cowboy and the Senorita (1944) 26 Custer (TV) 115
194, 206, 207, 246, 252 265, 286, Cowboy Holiday (1934) 26
287, 288 The Cowboys (1972) 12, 209, 210 Daddi, Franco 212
Connor, Edric 157 Cox, Joel 258, 270 Dafoe, Willem 281, 289
Connors, Chuck 62, 66, 89, 98, 113, Crabbe, Buster 37, 38, 43, 73 D’Agostino, Albert 129
118, 120, 122, 127, 128, 132, 141, Crabtree, Arthur 56 Daheim, John 35, 49, 50, 65, 81, 104,
149, 168, 169, 195, 233, 252, 272 Cradle of Courage (1920) 5 113, 118, 124, 127, 138, 148, 155,
Connors, Jim 229, 232, 257 Craft, Charles 52 172, 173
Connors, Mike 55, 141, 236, 278 Craig, James 66 Dahl, Roald 178
The Conqueror (1956) 99 Crain, Earl 122 Dailey, Dan 15, 117, 120, 124
Conrad, Michael 91 Crain, Jack W. 291 Dakota (1945) 12, 54, 55
Conrad, Robert 78, 88, 136, 187, 206, Crain, Jeanne 110 Dallas (TV) 62, 112
236, 241, 242, 252 Crampton, Gerry 107, 136, 161, 178, Dalton, Audrey 107
Convoy (1978) 110, 255–256 184, 185, 188 Dalton, Timothy 274, 275, 293, 294
Convy, Bert 280 Crane, Bob 130 Daly, Tyne 199, 200
Conway, Jack 28 Crawford, Broderick 29, 30, 31, 32, D’Amato, Paul 171
Conway, Morgan 55 33, 34, 38, 39, 66, 67, 76, 78, 79, 83, D’Amboise, Jacques 103
Conway, Pat 67 125 D’Ambrosio, Brian 206, 238
Conwell, Carolyn 171 Crawford, Joan 26 Dan August (TV) 142, 281
Cooder, Ry 289, 290 Crawford, John 119, 124, 173, 230 Danger Man (TV) 124
Coogan’s Bluff (1968) 155, 185, 186, Crawford, Leslie 231, 245 Dangerfield, Rodney 120
200 Creach, Everett 176, 189, 247 Dangerous Mission (1954) 32
 Index 313

Daniel Boone (TV) 66, 68, 114, 140, Death Journey (1976) 226 De Souza, Steven 290, 295
156, 174, 252 Death of a Gunfighter (1969) 96, 222 The Desperadoes (1943) 26, 43, 44,
Daniels, Carol 174 Death Race 2000 (1975) 262, 283 45
Daniels, Gary 254 Death Valley Days (TV) 95, 100 Destry (1954) 26
Daniels, Jeff 281 Death Wish II (1982) 107 Destry Rides Again (1939) 26–27
Daniels, William H. 74 Death Wish III (1985) 107 The Detectives (TV) 23, 131
Danova, Cesar 160 Deathsport (1978) 274 DeToth, Andre 82, 133, 134
Danton, Ray 135–136 De Bont, Jan 295 Deutsch, Adolph 33, 103
Danza, Tony 280 DeCarlo, Yvonne 74, 120, 132 Devane, William 179
Darby O’Gill and the Little People DeCordova, Frederick 74 Devaney, John 265
(1959) 152 DeCorsia, Ted 24, 58, 113 Devil Dogs of the Air (1935) 14
Dark City (1950) 55, 96 Deeb, Gary 218 The Devil’s Brigade (1968) 118, 126,
Dark of the Sun (1968) 177–178, 184– The Deep (1977) 250–251, 284 183–184, 202
185, 188 Defendu 183 Devil’s Doorway (1950) 22
Dark Passage (1947) 24 Defiance (1980) 281 The Devil’s Eight (1969) 115
Darker Than Amber (1970) 1, 160, The Defiant Ones (1958) 164 Devine, Andy 50
178, 197–199, 221, 275 DeFoe, Don 158 Devol, Frank 114
Darnell, Linda 97 DeForest, Jimmy 50 Devon, Richard 23, 127
Dassin, Jules 77 DeGaetano, Alfred 65 Devorzon, Barry 264, 269
The Dating Game 275 De Govia, Jackson 295 Dew, Eddie 65
Daulton, Darren 285 DeGrasse, Robert 42, 50 DeWilde, Brandon 92, 94, 129
Davenport, Doris 29 DeHavilland, Olivia 41 Dexter, Anthony 81
Daves, Delmar 106 Dehn, Paul 161, 195 Dexter, Brad 32, 48, 60, 79, 98, 121,
David, Jadie 256 Dehner, John 84, 113, 117, 135, 257 136
David, Keith 296, 297, 298 Dekker, Albert 12, 29, 39, 50, 61, 71, Dheigh, Khigh 132, 135
Davies, Freeman 264, 284 79 Dial, Dick 163
Davis, Andrew 294 Delaney, Billy 6 Diamond, Harold 283
Davis, Bud 218 Delaney, Leon 264 Diamond, Peter 130, 172
Davis, Jim 28, 43, 62, 63, 66, 67, 90, De Laurentis, Dino 234, 274, 275 Diamonds Are Forever (1971) 152,
96, 100, 112, 118, 123, 125, 176, 211, Delconte, Ken 174 206, 207, 250
281 Deliverance (1972) 215 Diatchenko, Dimitri 280
Davis, Karl 32 Dell’Acqua, Alberto 201 Di Cicco, Bobby 268
Davis, Ossie 113, 142, 182, 183, 236 Dell’Acqua, Roberto 201 Dick Powell Theatre (TV) 91
Davis, Ronald L. 75 Delon, Alain 158, 189, 190, 202, 203, Dick Tracy (1945) 55
Davis, Sam 257 206 Dick Tracy (1990) 183
Davis, Sammy, Jr. 145, 280 Delongis, Anthony 261, 262, 298 Dick Tracy’s Dilemma (1947) 57
Davis, Sid 61, 69 The Delta Force (1986) 217 Dickey, Quentin 154
Davis, Wee Willie 40, 48 Deluise, Dom 227, 228, 280 Dickinson, Angie 26, 121, 123, 169,
Davison, Steve 286 DeLuna, Mike 280 179
Davy Crockett and the River Pirates DeMarco, Mario 16, 18 The Dictator’s Guns (1965) 100
(1956) 67, 114 Demarest, William 232 Die Hard (1988) 295–296
Davy Crockett, King of the Wild Frontier DeMartino, Alberto 249 Die Hard 2 (1990) 295, 296
(1955) 54, 113, 114 De Masi, Francesco 285 Diehl, William 281
Dawn Rider (1935) 11, 12 Demetrius and the Gladiators (1953) Diesel, Vin 301
Dawson, Ralph 33, 55, 99 32 Dietrich, Marlene 26, 30, 32, 33, 36,
Day, Robert 137, 181 DeMille, Cecil B. 13, 43 37, 42
The Day and the Hour (1963) 250 Demolition Man (1993) 283 Dillon, Matt 285, 286
Day of the Badman (1958) 15 Dempsey (1983) 268 Dime, James 32, 140
Day of the Evil Gun (1968) 45 Dempsey, Jack 10, 11, 19, 59, 73, 118, Dimitri, Nick 1, 194, 197, 198, 199,
Day of the Outlaw (1959) 46, 57, 133– 239, 249, 268 211, 226, 229, 238–240, 275
134 Demura, Ryuzo 130 The Dinah Shore Show (TV) 226
The Day the World Ended (1956) 49, De Niro, Robert 145, 224, 284 Dionisi, Mario 201
50 Dennehy, Brian 217, 282, 283 Directors 125
The Day They Took the Babies Away Denning, Richard 46, 116 The Dirty Dozen (1967) 46, 107, 188
129 Dennis, John 41 Diskant, George 83, 90
Deadliest Art: The Best of the Martial Dennis, Nick 157 Distant Drums (1951) 30
Arts Films (1992) 214, 215, 222, DeNormand, George 28, 29, 48, 140, Dive Bomber (1941) 41
267, 288, 292 157 Dix, Richard 28, 50
The Deadline (1932) 11 Denver and the Rio Grande (1952) Dixon, Lee 60–61
The Deadly Trackers (1973) 160, 177, 120 Dixon, Shane 293
195 De Pland, Eric 271 Django Unchained (2012) 235
Deadrick, Vince 155, 270, 277 Deray, Jacques 202 Dmytryk, Edward 45, 158
Deadrick, Vince, Jr. 289 Derek, John 24, 32, 62, 125 Dobbins, Bennie 148, 157, 175, 202,
Deadwood (TV) 280 Dern, Bruce 96, 186, 209, 210 214, 228, 271, 272, 284, 289, 290
Dean, James 106 Desert Fury (1947) 113 Dobson, James 142
Dean, Man Mountain 19 Desert of Lost Men (1951) 51 Dobson, Tamara 215
DeAngelis, Guido 212 Desert Sands (1955) 115 Doc Savage—The Man of Bronze
DeAngelis, Maurizio 212 Designing Woman (1957) 127–128, (1975) 233–234
Death in Small Doses (1957) 98, 169 169, 236 Dr. No (1962) 152, 252
314 Index

Dr. Quinn, Medicine Woman (TV) Dumbrille, Douglas 30, 44, 47 Ellena, Jack 165
200 Dunaway, Faye 237 Elliott, Biff 114
Doe, John 298 Dunbar, Paul Lawrence 228 Elliott, Bill 39, 42, 49, 61, 68, 112
Dodge City (1939) 24, 25, 26, 27, 30, Duncan, Archie 68 Elliott, Sam 160, 297, 298
39, 41, 42, 50, 61, 162, 227, 268 Duncan, Kenne 52, 73 Elliott, Tom 257, 280, 286
Dodson, Russell 260, 285 Dundee, Jimmie 10, 63 Elmer Gantry (1960) 113
$ (1971) 75 “Dune Buggy” 227 Elmore, Richard 165
The Domino Principle (1977) 231 Duning, George 116 Elvis—What Happened? 187
Donahue, Steve 172 Dunn, James 27 Ely, Ron 81, 100, 115, 140, 170, 171,
Donahue, Troy 98, 200 Dunn, Linwood 57, 153 181, 229, 233, 234, 272
Donen, Stanley 103, 117, 156 Dunne, Joe 248 Emerson, Steve 172, 231
Donlevy, Brian 18, 26 Dupar, Edwin 119 Emmons, Bill 8
Donlin, Mike 8 Dupuis, Art 81 Emperado, Adriano 260
Donner, Richard 277, 278, 293 Duran, Larry 118, 157, 163, 174, 185, Emperor of the North (1973) 91, 110,
Donner, Robert 191, 192 222 218–219
Donno, Eddy 150, 154, 176, 229 Durning, Charles 244 Empire (TV) 135, 184
Donnybrook 86, 194 Durock, Dick 234, 268, 270, 277 Enchanted Island (1958) 58
Donoghue, Roger 105–106 Durrill, John 277 End of the Trail (1936) 26
Donovan’s Reef (1963) 12, 54, 91, 149, Duryea, Dan 67, 77, 104, 116, 117 Endfield, Cy 124
150 Dust Be My Destiny (1939) 39 Endicott, Helen 119
Don’t Pull Your Punches (1938) 65 Dusty’s Trail (TV) 68, 272 The Enforcer (1951) 24, 57
The Doolins of Oklahoma (1949) 43 Duval, Henry 202 The Enforcer (1976) 186
Double Impact (1991) 222 Duvall, Robert 211, 242 English, John 73
Double Trouble (1984) 201 Dwyre, Johnny 206 Englund, Robert 107, 244, 254, 256
Doucette, John 65 Dye, George 8 Enright, Ray 37, 38, 67, 68
Douglas, Gordon 135, 176, 223 Dynamite (1929) 13 Enter the Dragon (1973) 143, 160,
Douglas, Kirk 8, 62, 96, 101, 104–105, Dynasty (TV) 159 198, 214, 215, 219, 220, 221, 222,
110, 111, 112, 113, 121, 138, 139, 228, 253, 265, 272, 292
146, 147, 164, 176, 195, 200, 208 Each Dawn I Die (1939) 14, 33 Enter the Fat Dragon (1978) 292
Douglas, Sara 277 The Eagle’s Brood (1935) 44 Entertainment Tonight 297
Douglas, Warren 170 Earthquake (1974) 156, 274 Epper, Andy 185, 228, 234
Dourif, Brad 230 Eason, Breezy 37 Epper, Gary 234, 269
Doversola, Gordon 147 East of Java (1935) 13 Epper, Jeannie 171, 269, 298
Down Laredo Way (1953) 182 East of Sumatra (1953) 92, 116 Epper, John 140
Downing, Joe 24, 33 Eastern Condors (1987) 292 Epper, Richard 255, 280
Dowdall, Jim 274 Eastman, George 226 Epper, Stephanie 163
Doyle, David 185, 186 Easton, Jock 124 Epper, Tony 136, 149, 160, 182, 183,
Doyle, Jack 29 Eastwood, Clint 1, 18, 66, 75, 82, 140, 195, 228, 234, 242, 257, 270, 272,
Dracula A.D. (1972) 130 155, 156, 173, 179, 185, 186, 200, 298
Dracula, Prince of Darkness (1966) 215, 232, 233, 236, 253, 270, 275, Eraser (1996) 211, 291
130 276, 277, 301 Erickson, Leif 65, 114, 129
Draeger, Donn 130, 178 Eaton, Aileen 224 Ericson, John 83
Dragon Flies (1975) 236 Eaton, Shirley 174 Escape from Alcatraz (1979) 186
Dragons Forever (1987) 254, 289 Ebert, Roger 258 Escape Plan (2013) 283, 291
Drake, Charles 120 Ebsen, Buddy 159 Escrima 221, 266
Drake, Tom 96 The Ed Sullivan Show (TV) 80, 111, Estevez, Emilio 286
A Dream of Kings (1969) 92, 274 123, 174 Eubanks, I.E. 3
Drew, Ellen 82 Eddy, Nelson 18 Evans, Bob 78
The Drowning Pool (1975) 171, 202 Edge of Doom (1950) 58 Evans, Gene 88, 132
Dru, Joanne 69 Edge of Eternity (1959) 72, 128 Evans, Robert 174
Drum (1976) 235 Edge of the City (1957) 223 Everson, William K. 6
Drum Beat (1954) 64, 106, 107 Editors 3, 145–146 Every Which Way But Loose (1978)
Drums Across the River (1954) 16, Edwards, Blake 24, 66, 162, 163, 174, 186, 215, 232, 233, 236, 258–259,
102, 103 247, 248, 260 275
Drunken Master (1978) 253–254 Edwards, Tom 198 Everything’s Ducky (1961) 17
Drunken Master II (1994) 254 Edwards, Vince 104, 120 The Evil That Men Do (1984) 179
Drury, James 94, 174, 257 Efron, Dave 284, 291 The Executioner (1970) 159
Drysdale, Don 233 Egan, Richard 35, 48, 113, 134, 135 The Expendables (2010) 283
Duel at Apache Wells (1957) 62 The Eiger Sanction (1975) 186, 232– The Expendables 2 (2012) 283
Duel at Diablo (1966) 172–173 233 The Expendables 3 (2014) 283
Duel in the Jungle (1954) 58 Eischied (TV) 218 Exposed (1947) 16
Duel of the Titans (1961) 135, 138 Eisenhower, Dwight D. 132 An Eye for an Eye (1981) 217, 271
Duff, Howard 108 Ekins, Bud 200 Eye of the Tiger (1986) 160
Duffy, Thomas F. 107 El Dorado (1967) 12, 47, 175, 176 Eyes of the Underworld (1942) 34
Dugan, Michael 75, 124, 127 El Paso (1949) 77, 120 Eyles, Allen 192, 196
Duggan, Andrew 120, 132 Elam, Jack 90, 115, 117, 280
Duke, Bill 290 Eldredge, George 48 F-Troop (TV) 24
The Dukes of Hazzard (TV) 130 Elias, Louie 139, 172, 177, 184, 185, Fabian 140
Dullea, Keir 159, 160, 223 197, 198, 223, 225, 229 Face of a Fugitive (1959) 15
 Index 315

Fadden, Tom 65 Finch, Peter 110 Forbidden (1953) 164

Fairbairn, W.E. 59, 183 Fineschi, Lorenzo 201 The Forbidden Kingdom (2008) 254
Fairbanks, Douglas 6, 7 Fingerman (1955) 68 Force: Five (1981) 273
The Fall Guy (TV) 60, 270 Fingers (1978) 224 A Force of One (1979) 217, 267–268
Fallen Angel (1945) 13, 42, 58 Finn, Lila 118 Force 10 from Navarone (1978) 252–
False Colors (1943) 44, 46, 47 Finn, Mickey 145, 186 253
Fanfare for a Death Scene (1964) 135 Finnerman, Gerald 225 Forced Vengeance (1982) 217, 271
Fantl, Richard 84 Finney, Albert 208 Ford, Francis 75, 87
Fapp, Daniel L. 167 Fire and Ice (1983) 270 Ford, Fritz 165, 169
Far and Away (1992) 286 Fire Down Below (1957) 48 Ford, Glenn 15, 28, 42, 44, 45, 66, 83,
The Far Frontier (1949) 60 Firecreek (1967) 117, 149 84, 86, 128, 141, 174, 262,
The Far Horizons (1955) 15, 96 Firefox (1982) 186 Ford, Harrison 278, 279, 280
Farese, Jude 160 Firewalker (1986) 217 Ford, John 7, 8, 18, 39, 51, 75, 86–88,
Farewell, Friend (1968) 107, 189–190 Firewall (2006) 280 94, 122, 124, 130, 149, 150, 166,
Fargo, James 258 First Blood (1982) 282–283 167, 172, 192, 225, 246, 269, 277
Farkas, Emil 211, 225, 226, 242 First Mission (1985) 254 Ford, Patrick 87, 130
The Farmer Takes a Wife (1935) 12, First Strike (1996) 254 Foreman, Carl 85
13, 15 Fischer, Bruce M. 136, 186 Forest, Michael 164
The Farmer Takes a Wife (1953) 13 Fisher, George 228, 231, 273, 277, Forrest, Steve 58, 104, 173, 250
The Farmer’s Daughter (1947) 83, 290 Forrestal, Terry 274
108, 123 Fisher, Gerry 231, 269 Forster, Robert 178, 217
Farnsworth, Diamond 255, 282, 289 Fisher, Lance 242 Forsyth, William 294
Farnsworth, Richard 69, 138, 163, 193 Fisher, Terence 130 Forsythe, John 159
Farnum, William 3, 5, 6, 49, 83, 110 Fist of Honor (1993) 275 Fort Apache (1948) 94
Farr, Jamie 280 Fists of Fury (1971) 213 Fort Apache—The Bronx (1981) 171
Farrar, David 58 Fists of Fury (1972) 213 Fort Bowie (1958) 94
Farrell, Steve 86 5 Against the House (1955) 257 Fort Defiance (1951) 94, 98
Farrow, John 81, 99 5 Card Stud (1968) 158 Fort Dobbs (1958) 257
Fast Company (1978) 222 Five Fingers of Death (1972) 212–213 Fort Osage (1952) 39, 67
Fast Five (2011) 301 Flaherty, Joe 268 Fort Utah (1967) 62, 66, 75, 82
Faulds, Andrew 67 Flaherty, Pat 25, 26, 29, 41, 61 Fort Worth (1952) 43
Faulkner, Edward 153, 189, 191 Flaming Feather (1952) 28, 68, 120 48 Hrs. (1982) 283–284
Faulkner, Ralph 41 Flaming Star (1960) 127, 140, 141 40 Guns to Apache Pass (1967) 103
Fawcett, Farrah 280 Flap (1970) 92 The Forty-Niners (1954) 61
Fawcett, Jimmy 31, 35 Flash Gordon (1980) 274–275 40 Pounds of Trouble (1963) 141, 164
The Fearmakers (1958) 58 Flavin, James 18, 41 Foster, Art 40
Feinberg, Ron 132 Fleischer, Richard 81–82, 83, 134, Foster, Lewis R. 76
Felton, Earl 83 140, 234 Foster, Norman 21, 113
Fenady, Andrew J. 168 Fleming, Eric 81 Foster, Preston 17, 18, 21, 51, 57, 71,
Fenton, Frank 43, 72 Fleming, Victor 7, 12, 13, 29 73, 74, 90, 94, 95
Ferguson, Ken 228, 255 Flemying, Gordon 187 4 for Texas (1963) 54, 146, 157, 158,
Fernandez, Abel 97 Flesh (1932) 10 202, 236
Ferrante, Joe 163 Flesh and Fury (1956) 164 Four Guns to the Border (1954) 120
Ferrara, Frank 265 Flesh and the Spur (1957) 50 “The Fourth Wall” 227
Ferrigno, Lou 255, 274 Flight Lieutenant (1942) 45 Fowler, Gene, Jr. 128, 152
Field, Sally 243, 256, 257 The Flight of the Phoenix (1965) 110, Fowler, Hugh 134, 141
Fielding, Jerry 242 156 Fowley, Douglas 10, 24, 41, 50, 74
Fields, Jackie 19 Flippen, Jay C. 117 Foxx, James 81
The Fiend Who Walked the West Flory, Med 170, 182 Foxy Brown (1974) 274
(1958) 174 Fluellen, Joel 169 Fraker, William A. 268, 281
The Fiercest Heart (1961) 250 Flying Fists (1937) 26 Framed (1975) 218, 235–236
The Fight Before Christmas (1994) Flynn, Errol 24, 25, 4041, 42, 65, 160, Franciosa, Tony 111, 171, 173
201 274 Francis, Anne 143
Fight Club (1999) 301 Flynn, Pueblo Jim 10 Francis, Olin 28
Fighting Blood (1916) 5 Foch, Nina 138 Franciscus, James 164, 171, 195–196,
Fighting Coast Guard (1951) 68, 82 Foley, Jack 108 213
The Fighting Fists of Shanghai Joe Foley Artists 108 Frank, T.C. 204
(1973) 206 Folsey, George 103 Frankenheimer, John 147
The Fighting Heart (1925) 8, 18 Fonda, Henry 12, 15, 33, 45, 65, 202, Frankenstein Meets the Wolf Man
Fighting Man of the Plains (1949) 43 236 (1943) 34
The Fighting Ranger (1934) 9, 39 Fonda, Peter 174, 280 Frankie and Johnny 8
The Fighting 69th (1939) 14 Fondato, Marcello 227 Frazetta, Frank 270
Fighting Stars Magazine 241 Fong, Francis 281 Freckles (1960) 57
Figlia, Paola 201, 212 Foote, Horton 169 Freebie and the Bean (1974) 211, 249
Film Speed 9, 20, 36, 60, 169, 201, Footlight Parade (1932) 14 Freed, Bert 95, 203, 204
204, 205, 213, 214, 219, 225, 227, Footlight Serenade (1942) 32, 76 Freeman, Joan 282
285, 288, 292 For a Few Dollars More (1967) 186 Fregonese, Hugo 79
Final Chapter—Walking Tall (1977) For Your Eyes Only (1981) 246 French, Victor 12, 89, 92, 123, 250
217, 274 Foran, Dick 13, 149 The French Connection (1971) 230
316 Index

The French Connection II (1975) 230 The Garment Jungle (1957) 111 Gleason, James 9
The French Key (1945) 55 Garner, James 122, 156, 172, 173, 186, Glen, John 192, 245, 252, 293
Frenchie (1950) 26 213, 222, 274, 278 Glenn, Scott 142, 206, 297
Friedrich, John 265 Garnett, Tay 8, 9, 30, 31, 63 Glick, Joseph 10
Friendly Persuasion (1956) 125 Garrett, Donna 207 Glickman, Mort 36, 49
Frisco Kid (1935) 13, 14 Garrett, Hank 105, 237 The Glory Alley (1952) 115
Frishman, Brian 268 Garrett, Leif 285 The Glory Guys (1965) 164, 182, 211
Frivalous Sal (1925) 5 Garrett, Sam 25 The Glove (1978) 222
From Dusk Til Dawn (1996) 226 Garson, Greer 112 Glover, Brian 231
From Here to Eternity (1953) 110, 146 “Garyowen” 75 Glover, Bruce 188, 199
From Russia with Love (1963) 1, 26, Gatlin, Jerry 150, 154, 162, 176, 184, Glover, Danny 292
83, 151, 152, 161, 207, 208 191, 219, 227 Go for It (1983) 201, 212
Frontier, Dominic 196 Gator (1976) 142 Go West, Young Lady (1941) 26
Frontier Circus (TV) 125 The Gauntlet (1977) 186, 236 God Forgives, I Don’t (1974) 201
Frontier Days (1945) 24 Gausman, Russell A. 139 Godard, Jean Luc 203
Frontier Gal (1945) 67 Gavin, James W. 249 Goddard, Paulette 26
Fuentes, Miguel Angel 179 Gavin, John 75 The Godfather (1972) 210–211
The Fugitive (1993) 279 Gay, John 202 Godfrey, George 19
The Fugitive (TV) 132, 147, 257 The Gay Caballero (1932) 8 God’s Country and the Woman (1937)
Fuller, Clem 71 Gaynor, Janet 12 65
Fuller, Lance 86, 132 Gazzara, Ben 297, 298 God’s Little Acre (1958) 132, 174
Fuller, Robert 46, 62, 100, 144, 151, G.E. Theatre (TV) 84 Godunov, Alexander 295
205, 272 Geary, Bud 19, 32, 48, 49, 52, 61 Going Home (1971) 48, 281
Fuller, Samuel 88, 95, 131, 137, 150 Geary, Richard 17, 157, 163, 174 Gold Is Where You Find It (1938) 65
Fuller’s Earth 29, 58 Gee, Dennis 242 Goldblum, Jeff 107
Fullmer, Don 184 Geer, Lennie 39 Golden, Bob 258
Fullmer, Gene 184 Geer, Will 117 Golden Gloves (1939) 46
Fun in Acapulco (1963) 127 The Gene Autry Show (TV) 73, 104 Golden Needles (1974) 217, 265
Funari, Augusto 201 Gentleman Jim (1942) 39, 40, 41, 61 The Golden Stallion (1949) 60
Fung, Brian 242 Gentry, Race 79 Goldfinger (1964) 152, 160, 161, 162,
Funk, Terry 283, 298 George, Christopher 115 252
Fury, David 112, 137, 168, 181 George, Lynda Day 284 Goldman, William 247
Fury at Showdown (1957) 125 Gerard, Gil 274 Goldsmith, Jerry 146, 195, 244, 282
F/X (1986) 281 Gere, Richard 281 Goldwyn, Samuel 29
Gerstad, Harry G. 5, 85, 172, 176, 235 Golitzen, Alexander 139
G-Men (1935) 14 Get Carter (2000) 283 Gone with the West (1969) 26, 174,
G-Men Never Forget (1947) 119 Get Smart (TV) 100 278
G-Men Versus the Black Dragon (1943) Get Tough 59 Gone with the Wind (1939) 29
49, 67 The Ghost Ship (1943) 50 The Good Guys and the Bad Guys
Gable, Clark 10, 28, 29, 39, 83 G.I. Blues (1960) 127 (1969) 47, 156, 193, 194
Gabourie, Fred 120 Giangiulio, Nicholas J. 265 “The Good Guys and the Bad Guys”
Gabriel, Roman 191, 192 Giant (1956) 101, 121, 122, 233 277
The Gal Who Took the West (1949) Gibbs, Alan 189, 192, 200, 223 Good Guys Wear Black (1978) 217,
74, 75, 80, 82 Gibson, John 264 268
Gale, Bob 268 Gibson, Mel 262, 283, 292, 293 Goodman, Benny 268
Galento, Tony “Two Ton” 105, 106 Gilbert, Billy 31 Gorbachev, Mikhail 95
Galimberti, Gilberto 201 Gilbert, John 10 Gordon, Don 159, 269
Gallagher, Tap 75 Gilbert, Lewis 171, 178, 251 Gordon, Jack 140, 157
The Gallant Legion (1948) 42, 61 Gilbert, Mickey 189, 192, 202, 215, Gordon, Lawrence 264
Gallin, Tim 265, 281 228, 234, 281 Gordon, Leo 43, 62, 67, 75, 77, 78, 81,
Gallo, Lew 155 Gilda (1946) 45 82, 84, 95, 99, 100, 101, 108, 116,
Galloway, Don 200 Gill, Fred 94 119, 120, 136, 153, 154, 170, 171,
Gambina, Jimmy 224 Gilliat, Sidney 56 173
Gambling for High Stakes (1978) 212 Gilligan’s Island (TV) 102, 104 Gorgeous (1999) 254
Gambling House (1952) 32 Gindolph, Bryan 239 Gorgeous George 54, 113
Game of Death (1979) 174, 214, 265, Giordani, Aldo 212 Goric, Voyo 283
266, 267, 292 Girl from Havana (1940) 28 “Gorilla Picture” 82
Gamet, Kenneth 42, 80, 82, 118 The Girl He Left Behind (1956) 173 Gorman, Cliff 225
Gangs of New York (1938) 13 The Girl Hunters (1963) 115 Gorraro, Romo 178
Ganios, Pete 265 A Girl in Every Port (1929) 18 Gorshin, Frank 172
Ganios, Tony 152, 264, 265 Girls! Girls! Girls! (1962) 127, 184 Gorss, Sol/Saul 21, 24, 25, 79, 81,
Garcia, Darnell 222 Gironda, Vince 297 104, 108, 113, 117, 120, 127, 137,
Garden of Evil (1954) 30, 95, 129 Girotti, Mario 201 138, 140, 148, 157, 163, 174
Gardner, Ava 83 Giuffre, Aldo 139 Gortner, Marjoe 251
Gardner, Bob 261 Giustini, Oscar 201 Gosoku-ryu Karate 107, 156, 211
Gardner, Stu 179 Glass, Seamon 228 Gossett, Lou 173
Garfield, John 39 The Glass Key (1935) 26, 33 Gotch, Frank 5
Garland, Beverly 26 The Glass Key (1942) 64 Grabowski, Norm 127, 257
Garland, Thomas 92 Gleason, Jackie 155, 248 Grace, Martin 252
 Index 317

Gracie, Rorion 293 Guidice, Don 237 Hamilton, George 142, 143, 144, 159
Gracie, Royce 293 Guilda 249 Hamilton, Guy 161, 207
Graf, Allan 280, 298 Gun Battle at Monterey (1957) 90, 121 Hamilton, Hank 233, 242
Graham, Fred 20, 21, 24, 25, 31, 39, Gun for a Coward (1957) 15 Hammer (1972) 160, 226
40, 42, 48, 49, 50, 52, 54, 56, 58, Gun Fury (1953) 78, 100, 101 “Hammer Blow” 200, 227
60, 61, 63, 67, 71, 75, 76, 79, 80, Gun Glory (1957) 56 Han, Bong Soo 204, 229, 230, 259,
105, 120, 124, 140, 186 Gun Smoke (1931) 37 260
Graham, Gary 175 Gun the Man Down (1956) 118, 123, Hang ’Em High (1968) 186
Graham, Gerrit 223 124 The Hangman (1959) 132
Graham, Lyla 26 Gunfight at Dodge City (1959) 79 Hangman’s Knot (1952) 43, 90, 91
Graham, Shelia 28 Gunfight at the OK Corral (1957) 65 Hannemann, Nephi 132
Gran Torino (2008) 186 The Gunfighters (1947) 43 Hannon, Chick 94
Grand Canyon Trail (1948) 60 Gung Fu 234 Han’s Island 221
Grand Hotel (1932) 10 Gung Ho! (1943) 47 Hapkido 203–205, 229, 230, 259,
Granger, Farley 200 Gunga Din (1939) 145, 156 260, 266
Granger, Stewart 22, 46, 55, 56, 140 Gunn, Moses 128 Hard Country (1981) 280–281
Grant, Cary 156 Gunner, Robert 167 The Hard Ride (1971) 205
Grant, James Edward 61, 88, 99, 149, Gunpoint (1966) 102 Hard Rock Harrigan (1935) 8
150, 153 Guns for San Sebastian (1968) 107 Hard Time (1998) 142
Grave of the Vampire (1972) 160, 211 Guns, Girls, and Gangsters (1959) 90 Hard Times (1975) 1, 107, 238–240,
Graves, Peter 35, 92, 97, 98, 120, 156, Guns of the Magnificent Seven (1969) 251, 258, 263
169 218 Hard to Kill (1989) 294
Gray, Charles 94, 214 Guns of the Timberland (1960) 64 Hardcase (1972) 136
Gray, Colleen 26, 90 The Guns of Will Sonnett (TV) 278 Hardcore (1979) 175
Gray, Joe 33, 126, 145 Gunslinger (1956) 26, 66 The Harder They Fall (1956) 135
Grayson, Dave 146, 209 Gunsmoke (1953) 102 Hardin, Ty 90, 98, 122, 242
Graziano, Rocky 106, 112, 171, 177, Gunsmoke (TV) 26, 62, 68, 94, 104, Harding, Reg 274
259 112, 118, 123, 141, 142, 156, 160, Harlan, Russell 27, 41, 43, 47, 50, 69,
The Great Escape (1963) 145 169, 202, 236, 244, 281 133, 163
Great Guy (1937) 14 Gur, Aliza 26 Harmon, Mark 296
The Great John L (1945) 120 Guthrie, A.B. 92, 112, 134 Harmon, Pat 8, 10
The Great Locomotive Chase (1956) Guthrie, Carl 135, 157 Harper (1966) 171, 236
67, 114 Guys and Dolls (1956) 101, 118–119 Harper, Tom 280
The Great Race (1965) 24, 162, 163, Gymkata (1985) 273 Harris, Bob 154, 186
164, 174, 236 Gypsy Colt (1954) 39, 90 Harris, Brad 233
The Great Scout and Cathouse Thurs- Harris, David 264
day (1976) 91 Haade, William 16, 21, 26, 30, 33, 60, Harris, Garry 177
The Great Sioux Uprising (1953) 116 61, 73 Harris, Julius 246
The Great Togo 137 Hackman, Gene 83, 142, 195, 230– Harris, Richard 47, 96, 105, 160, 169,
Greed in the Sun (1964) 203 231, 233, 281 177, 194–195, 230, 236
Green, Duke 14, 17, 24, 31, 32, 35, 49, Hackman, Richard 230 Harris, Townsend 130
55, 150 Hadley, Reed 37, 66, 120 Harrison, Archie 229
Green, Max 78 Hageman, Richard 75 Harrison, Doane 8
Green, Nigel 174 Hagen, Ross 127, 184, 262 Harrison, Linda 195
The Green Archer (1940) 27 Haggard, Merle 270 Hart, Babe 146
The Green Berets (1968) 181 Haggerty, Dan 160, 181, 281 Hart, Bill 44, 154, 160
The Green Hornet (TV) 172, 212, 214 Haggerty, Don 32, 79, 94 Hart, John 62
Green Mansions (1959) 148 Haggerty, H.B. 92, 159, 272, 273, 274, Hart, William S. 5, 6
The Green Slime (1968) 202 278 Hartline, Gene 277
Greene, David 280 Hagio, Tasuke 19 Harvey, Don 73
Greene, Graham 13, 23 Haglund, Oren 95, 131 Harvey, Laurence 147, 171
Greene, Howard 15, 73 Hagney, Frank 8, 10, 18, 19, 21, 26, 28, Harvey, Lew 19, 21
Greene, Lorne 67, 126 29, 31, 40, 49, 55, 63, 118, 150 Harvey, Michael 46
Greenwood, Don B. 130 Hakim, Fred 177, 198 The Harvey Girls (1946) 74
Greer, Jane 72 Hale, Alan 10, 14, 20, 21, 24, 32, 33, Hashimoto, Riki 214
Grey, Zane 27, 42 41, 44, 63 Hatch, Eddie Earl 264, 265
Grier, Pam 274 Hale, Alan, Jr. 15, 21, 23, 73, 75, 84, Hathaway, Henry 15, 42, 140, 162
Grier, Rosey 222 104, 129 Hauer, Rutger 279, 281
Gries, Tom 190, 244 Haleva, Jerry 86 Have Gun—Will Travel (TV) 18, 55,
Griffith, Melanie 230 Hall, Conrad 181, 247 89, 94, 98, 108, 111, 118, 122, 132,
Griggs, Loyal 94, 170 Hall, Donna 163 137, 144, 156, 202, 206, 272
Grissell, Wallace 49, 51 Hall, Randy 297, 298 Havlick, Gene 44, 80, 118
Grodin, Charles 262 Hall, Jon 18 Hawaii (1966) 195
“Groin Punch” 179, 217 Hall, William 8, 18 Hawaii 5–0 (TV) 131, 132
Gross, Frank 79 Haller, Ernest 32, 55, 131 Hawaiian Eye (TV) 200, 241
Grosse Point Blank (1997) 289 Halligan, Richard 267 Hawk (TV) 142, 231, 281
Gruber, Frank 50 Halloran, John 53, 54 Hawkins, Mary Ann 119
Guardino, Harry 178, 275 Hamilton, Big John 51 Hawks, Howard 69, 85, 175
Guffey, Burnett 157, 188 Hamilton, Chuck 8, 63, 81, 92 Hawmps (1976) 182
318 Index

Hayden, Dennis 284 Henson, Frank 231 Hobbs, William 274

Hayden, Russell 28, 49 Henstall, Bruce 239 Hoch, Winton C. 75, 86, 129, 145
Hayden, Sterling 15, 28, 77, 90, 110, Hepburn, Audrey 156 Hodder, Kane 285
112, 119, 120–121, 123 Her Cardboard Lover (1942) 22 Hodges, Mike 274
Hayes, Allison 26 Her Man (1930) 8, 9, 63 Hodiak, John 22, 74, 113
Hayes, Gabby 50, 61 Hercules (1957) 135 Hoffman, Bern 33, 75
Hayes, Isaac 118 Hercules Unchained (1959) 135 Hoffman, Bud 171
Hayes, John 211 Here Come the Brides (TV) 249 Hoffman, Dustin 247
Haynes, Leroy 227 Here Comes the Navy (1934) 14 Hogan, Jack 129
Haynes, Michael 160, 200 Heritage of the Desert (1933) 26, 43 Hogan, Pat 96, 113, 114, 140
Hays, Kathryn 168 Herman, Jean 189 Holcombe, Herbert 25
Hays, Kent 192 Herman, Pee Wee 225 Holden, Dave 264
Hayward, Chuck 124, 127, 130, 154, Hero and the Terror (1988) 217 Holden, William 33, 45, 48
157, 184, 225, 228, 249 The Heroes of Telemark (1965) 105, Hollandersky, Al 10
Hayward, Lillie 70 195 Holliman, Earl 86, 105, 121, 141, 142,
Hayward, Susan 57 Heron, Julie 139 162
Hayward, William Hero’s Island (1962) 78 Hollywood By Helicopter 130
Hazard, Lawrence 36 Herrick, Jack 10, 40 Hollywood Man (1976) 160, 199
Healey, Myron 108 Herrick, Joseph 10 Holman, Rex 102
Healy, Bill 49 Herrington, Rowdy 297, 298, 299 Holmes, John W. 207
Heart of Dragon (1985) 254 Herrmann, Bernard 113, 144, 171 Holmes, Phillips 8
Heart of the Rio Grande (1942) 73 Herron, Bob 174, 175, 177, 228, 234, Holt, Jack 26, 64
Heart of the Rockies (1937) 19 241, 248, 249, 256 Holt, Larry 234, 249
Heart of the Rockies (1951) 60 Heston, Charlton 15, 30, 55, 62, 96, Holt, Tim 64, 65, 112
Heartbreak Hotel (1988) 127 97, 132, 133, 168, 169, 195, 225, Hombre (1967) 171
Heartbreak Ridge (1986) 186 236, 257 Home from the Hill (1960) 159
Heat (1986) 142 Hewitt, Jerry 264, 265 Home of the Brave (1949) 86
Heath, Larry 204 Heyburn, Weldon 8 Homeier, Skip 15, 121
Heaven with a Gun (1969) 45, 262 Hibbert, Bill 172 Homicide Bureau (1939) 42
Hecht, Ben 78 Hibbs, Jesse 108, 115, 116 Homolka, Oscar 31
Heermance, Richard 131 Hice, Eddie 172 Hondo (1953) 12, 99, 100
Heflin, Van 22, 41, 92, 93, 94, 231 Hickey, Joe 29 Hondo (TV) 126
Hefner, Hugh 185 Hickman, Bill 163 Honey West (TV) 143
Hehir, Peter 262 Hickman, Darryl 281, 282 Hong, Elliot 259
Heisler, Stuart 119, 121 Hickox, Douglas 231 Hong Kong (TV) 88, 137, 177
Heldorado (1946) 60 Hickox, Sid 40 Honky Tonk (1941) 29, 39
Hell Below Zero (1954) 64, 124 Hicks, Chuck 91, 157, 163, 167, 169, Honkytonk Man (1982) 82
Hell Divers (1932) 10, 29 174, 175, 181, 186, 194, 230, 232, Honolulu Lou (1941) 68
Hell Drivers (1957) 124 259, 270 Honor Among Thieves (1968) 189
Hell in the Pacific (1968) 91, 206 Hickus, Louis 9 Honor Blackman’s Book of Self-Defence
Hell Is a City (1960) 124 Higgins, Michael 202 208
Hell on Frisco Bay (1955) 64, 177 The High Chaparral (TV) 115, 129 Honor Bound (1928) 8
Hell-Ship Morgan (1936) 28 The High Commissioner (1968) 178 Ho’o, Marshall 284
Hell Up in Harlem (1973) 226 High Noon (1952) 30, 85, 86 Hoodlum Empire (1952) 82
The Hell with Heroes (1968) 178 High School Confidential (1958) 103, Hooker, Billy Hank 257
Heller, Otto 172 129 Hooker, Buddy Joe 225, 256, 286,
Heller, Paul 219 High, Wide, and Handsome (1937) 13, 298
Hellfighters (1968) 12, 42, 189 43 Hooper (1978) 142, 247, 251, 256–
Hellgate (1952) 120, 123 Highpoint (1984) 195 257, 281
Hellman, Lillian 169 Hightower, Slim 87 Hopkins, Bo 142, 259, 242
Hellman, Monte 242 Highway Patrol (TV) 31 Hopkins, George James 163
Hell’s Angels ’69 (1969) 184 Hill, Arthur 242 Hopkins, John 166
Hell’s Belles (1968) 184 Hill, Riley 150, 229 Hopper, Jerry 130
Hell’s Outpost (1955) 67, 82 Hill, Terence 200–202, 211–212, 226, Hopper, Wes 20, 21
“Helmet Cam” 225 227, 248, 249 Hoppy Serves a Writ (1943) 27, 43,
Helmore, Tom 127 Hill, Walter 238–240, 263, 264, 283, 44, 47
Helton, Percy 182 284, 289, 290 Horizon’s West (1952) 46, 123
Henderson, Dell 156 Hillman, Tom 286 Hornbeck, William 94, 122
Hendrian, Oscar “Dutch” 17 Hillyer, Lambert 6 Hornung, Paul 184
Hendry, Gloria 223 Hinton, S.E. 285 Horrigan, Billy 279
Hennesy, Tom 12, 135, 140, 150, 154, Hiona, Sam 242 Horror of Dracula (1958) 130
176, 250 Hipp, Paul 211 Horton, Robert 83, 169, 202
Henreid, Paul 113 The Hired Gun (1957) 120, 169 Horvath, Charles 81, 84, 88, 104, 112,
Henriksen, Lance 281 Hirschler, Kurt 219 113, 116, 124, 127, 136, 141, 145,
Henry, Bill 14, 119 His Kind of Woman (1951) 47, 81–82 154, 157, 163, 177, 188, 202
Henry, Carol 52 His Majesty O’Keefe (1954) 88, 113 Hosford, Mary 129
Henry, Mike 118, 181, 190, 233 Hit List (1989) 281 Hostile Guns (1967) 100
Henry, Robert “Buzz” 44, 145, 147, Hitchcock, Alfred 171, 247 Hot Shots (1991) 86
150, 154, 160, 167, 209 Hitchcock, Jane 246 Hot Shots! Part Deux (1993) 86
 Index 319

Hotel de Paree (TV) 121 I Was a Teenage Werewolf (1957) 128– Ives, Burl 132, 133
Hound Dog Man (1959) 250 129 Iwamatsu, Mako 214
House, Lucille 155 Ice Palace (1960) 46
House of Wax (1953) 107 Ice Station Zebra (1968) 110, 124, The Jack Benny Show (TV) 137
How to Fight Tough 59 188 Jackass Mail (1942) 10
Howard, Sandy 261 “Iconic Punches” 58, 153, 222, 227– Jackie Chan’s Stuntman Association
Howdy, Clyde 135, 137, 157, 185 228, 238, 276, 296 254
Howe, James Wong 23, 164, 194 Ihnat, Steve 169 Jackman, Fred, Jr. 37, 67
Howell, C. Thomas 286 I’ll Take Sweden (1965) 184 Jackson, Al 104
Howes, Reed 12, 25, 44 I’m for the Hippopotamus (1979) 201, Jae, Ji Han 266
Hoy, Robert 79, 106, 139, 163, 174, 227 Jaeckel, Richard 107, 111, 157, 171,
186, 270 I’m Gonna Git You Sucka (1988) 221 183, 202
Hoyt, John 86 Imada, Jeff 292, 296, 298 Jaffe, Gib 296
Huang, Pei Chi 250 Imbro, Getano 201 Jaguar Lives! (1979) 139, 261
Hubbs, Gilbert 219 Impasse (1969) 142 Jai-White, Michael 301
Hud (1963) 171 In Harm’s Way (1965) 105 Jailhouse Rock 293
Hudkins, Ace 172 In Like Flint (1967) 168 Jailhouse Rock (1957) 127, 128
Hudkins, Dick 135, 202 In Old California (1942) 12, 39, 40 Jakab, Lajo 246
Hudkins, John “Bear” 61, 95, 120, In Old Oklahoma (1943) 12, 39 James, Anthony 195
124, 127, 152, 153, 157, 163, 165, In the Heat of the Night (1967) 188 James, Brion 281
184, 192, 234, 270 In This Corner (1948) 75 James, Clifton 121, 169
Hudson, Gary 298 Ince, Thomas 6 James, Steve 221, 255, 264, 268, 281
Hudson, Rock 98, 101, 105, 121, 122, Incident at Phantom Hill (1966) 205 Janes, Loren 17, 138, 140, 154, 155,
159, 174, 191, 192, 233 The Incredible Hulk (TV) 274 162, 185, 195, 228, 273
Hudson Hawk (1991) 168 The Indian Fighter (1955) 105 Janssen, David 105, 108, 122, 132,
Huff, Tommy 241, 256, 257, 264, 298 Indiana Jones and the Kingdom of the 147, 200, 222, 257
Huffaker, Claire 189 Crystal Skull (2008) 280 Japrist, Sebastian 189
Huggins, Roy 90, 101 Indiana Jones and the Last Crusade Jason, Rick 131
Hughes, Billy 164, 256 (1989) 278 Jauregui, Eddie 35
Hughes, Howard 70, 81–82, 83, 158 Indiana Jones and the Temple of Doom The Jayhawkers (1959) 114, 116
Hughes, Whitey 130, 164, 241, 242, (1984) 278 Jeet Kune Do 91, 196, 213, 214, 216,
256 Indrisano, John 15, 46, 63, 72, 93, 98, 266
Hui, Michael 280 103, 109, 115, 117, 118, 147, 148, Jefferson, Herbert, Jr. 284
Hulette, Gladys 7 157, 249, 250 Jeffries, Jim 19, 84
The Human Factor (1975) 157 “Infatuation” 55 Jennings, William Dale 209
Humphreys, Alf 282 Inferno (1953) 46 Jensen, Jeff 290
Hung, Sammo 219, 236, 265, 271, The Informer (1935) 18 Jensen, Richard 92
288, 291, 292 Ingels, Marty 142 Jenson, Roy 15, 94, 96, 127, 130, 134,
Hunt, J. Roy 17, 68 Ingram, Jack 38, 48 140, 141, 154, 155, 157, 158, 160,
Hunt, Marsha 65 Innocent Bystanders (1972) 124 163, 167, 177, 186, 202, 235, 236,
Hunt, Peter 151, 161, 166, 178, 192, An Innocent Man (1989) 281 242, 244, 258, 262
193, 245 Inosanto, Danny 214, 242, 265, 266, Jeong, Chang-Hwa 212
Hunt, Terry 102 281, 282, 294 Jesse James’ Women (1954) 26
The Hunter 180 The Intruder (1962) 99 Jessup, Robert 177
The Hunter (1980) 156 Invasion of the Bee Girls (1973) 160 Jijikane, Igor 280
Hunter, Jeffrey 15, 129 Invaders of the Lost Gold (1981) 139– Jim Thorpe—All-American (1951) 113
Hunter, Tab 89, 100, 121, 173 140 Jimenez, Frank 296
Hunter, Thomas 156–157 Invasion USA (1985) 217 Jivaro (1954) 257
Hurricane Smith (1952) 66 Invisible Stripes (1939) 33 Jobert, Marlene 189
Hurst, Ralph 122 Invitation to Happiness (1939) 15 Joe Dakota (1957) 80, 83, 90, 125–
The Hustler (1961) 171 Ireland, John 31, 43, 45, 62, 65, 66, 126
Huston, John 41, 64, 130, 131 67, 69, 75, 82, 86, 113, 142 Joe Kidd (1972) 186, 200, 232
Hutton, Jim 189 The Iron Horse (1924) 7, 8 The Joe Palooka Story (TV) 108
Hutton, Timothy 284 Iron Man (1952) 101, 116, 123 “John Wayne” Punch 11, 12, 92, 99,
Hyams, Joe 260 Iron Mistress (1951) 64 186
Hyde-White, Wilfred 173 Ironside (TV) 200, 212, 224 Johnny Allegro (1949) 33
Hymer, Warren 30 Ironside, Michael 291 Johnny Belinda (1948) 13
The Iroquois Trail (1950) 84 Johnny Come Lately (1943) 14, 15
I Cover the Underworld (1955) 90 Island of Fire (1991) 254 Johnny Cool (1963) 89, 148
I Died a Thousand Times (1955) 97 It Can Be Done, Amigo (1972) 97, 227 Johnny Eager (1942) 22
I Dream of Jeannie (TV) 278 It Happened at the World’s Fair (1962) Johnny Guitar (1954) 26, 110, 120
I Married a Communist (1949) 39 127, 148–149 Johnny Reno (1966) 58
I Shot Jesse James (1949) 74 The Italian Connection (1972) 148 Johnny Ringo (TV) 142
I Spy (TV) 143, 189, 236 It’s a Mad Mad Mad World (1963) Johnny Stacatto (TV) 141
I Stole a Million (1940) 28, 33 152–153 Johnson, Arch 56, 205, 217
I, the Jury (1953) 114 It’s Always Fair Weather (1955) 117– Johnson, Arte 159
I, the Jury (1982) 115 118 Johnson, Ben 50, 52, 61, 92, 93, 94,
I Walk Alone (1947) 54, 105, 113 “I’ve Been Working on the Railroad” 111, 123, 191, 192, 214, 236, 244
I Walk the Line (1970) 115, 128 174 Johnson, Don 255
320 Index

Johnson, Dwayne “The Rock” 178, Kaplan, Jonathan 248 Kerns, Hubie 150, 172
217, 301 Kaplan, Marvin 152, 153 Kerr, George 130
Johnson, Erskine 37 Karate 142, 147, 148, 167, 173, 179, Kershner, Irvin 286
Johnson, Jack 18, 31, 63 186, 201, 203, 206, 211 Kesey, Ken 202
Johnson, Julie Ann 26 The Karate Kid (1984) 222 Kevin, Sandy 232
Johnson, Keii 295 Kar-Leung, Lau 292 Keys, Robert 43, 86, 89
Johnson, Leroy 84, 104, 157 Karlin, Fred 225 Keys to the City (1950) 29
Johnson, Noble 8 Karlson, Phil 30, 73, 90, 98, 217, 235 Kibbe, Guy 296
Johnson, Pat 155, 222, 268, 273, 274 Karras, Alex 227, 228, 270 The Kid Comes Back (1938) 21, 65
Johnson, Rafer 181 Karson, Erik 271 Kid Crochet 158
Johnson, Russell 101, 102, 120, 151, Kascier, Johnny 21 A Kid for Two Farthings (1955) 208
205 Kasdan, Lawrence 278 The Kid from Kokomo (1939) 21
Johnson, Tor 92 Katsulas, Andreas 279 Kid Galahad (1938) 21
Johnson, Van 62, 111 Katt, William 254 Kid Galahad (1962) 127
Johnston, John Dennis 281 Kaufman, Millard 109 Kid Nightengale (1939) 76
Joint, Alf 161, 231, 277, 278 Kaufman, Philip 264, 265 Kidd, Michael 103, 117, 118
Jones, Billy 17, 21, 44, 75, 87 Kay, Dianne 268 Kidder, Margot 277
Jones, Bob 271 Kazama, Ken 225, 226 Kiel, Richard 179, 246, 251, 252, 280
Jones, Buck 9, 11, 39 Kazan, Elia 105, 106 Kieling, Wolfgang 171
Jones, Dick 73, 80, 90 Keach, Marilyn 269 Kiley, Richard 95
Jones, Griffith 22 Keach, Stacy 115, 269, 272 Kilian, Victor 54
Jones, James Earl 252 Keaton, Buster 273 The Kill (1973) 202
Jones, Jay 182 Keel, Howard 66, 103, 176 Kill a Dragon (1967) 97
Jones, L.Q. 102, 281, 285 Keenan, Robert C. 70 Kill Bill (2003/2004) 212, 253, 262
Jones, Nathan 254 Keighley, William 20 Kill the Golden Goose (1979) 259–
Jones, Quincy 187, 212 Keinosuke, Enoeda 91 260
Jones, Ray 48 Keitel, Harvey 224 The Killer Elite (1975) 211, 242–243
Jones, Robert C. 152 Keith, Brian 46, 57, 78, 84, 96, 111, Killer Force (1975) 174
Jones, Sam J. 274, 275 117, 125, 136, 158, 174, 182, 256, The Killer Inside Me (1976) 200
Jones, Stanley 175 257 The Killers (1946) 57, 113
Jones, Tommy Lee 86, 183, 186, 281, Keith, David 127 Killer’s Kiss (1955) 139
294 Keller, Allen 256 Killifer, Jack 21
Jordan, Louis 58 Kellett, Pete 160 The Killing (1956) 120–121
Jordan, Matty 157 Kelley, Barry 79 Kilrain, Jake 41
Jory, Victor 24, 25, 27, 28, 33, 41, 43, Kelley, De Forest 58, 128 Kilroy, Billy 106
45, 50, 68, 79, 120 Kellin, Mike 46 Kimlin, Newton P. 165
Joshua (1976) 226 Kellum, Terry 70 Kin, Shek 219
Joste, Phil 172 Kelly, David Patrick 263 Kindergarten Cop (1990) 291
Journey to Shiloh (1968) 200, 211 Kelly, Gene 117, 274 King, Charlie 3, 4, 16, 18, 27, 38, 44,
Judge, Arlene 37 Kelly, Jack 48 49
Judo 19, 23, 24, 35, 45, 53, 54, 59, 64, Kelly, Jim 206, 219, 221 King, Henry 7
86, 91, 95, 96, 98, 100, 107, 109, Kelly, John 32 King, Louis 9
110, 125, 131, 137, 147, 162, 165, Kelly, Paul 41 King, Perry 235
166, 167, 181, 183, 204, 205, 206, Kelly the Second (1936) 26 King, Tony 226
208, 217, 223, 224, 257, 269 Kemp, Dan 218 King Boxer (1972) 212
“Judo Chop” 143 Kendall, Suzy 197 King Creole (1958) 127
Jujitsu 21, 130, 156, 292, 294 Kendo 131, 137, 202, 206, 228, 229 King Kong (1933) 41
Jukado 165 Kenjutsu 206 King of Alcatraz (1937) 71
Jungle Man-Eaters (1954) 139 Kenpo Karate 97, 131, 139, 143, 147, King of the Coral Sea (1953) 178
Junior Bonner (1972) 94, 214–215, 160, 187, 226, 248, 259, 260 King of the White Stallions (1958) 84
218 Kennedy, Arthur 39, 41, 45, 48, 64, Kingi, Henry 298
Juran, Nathan 94, 102, 103 116, 117, 164 Kings Go Forth (1958) 146, 164
Jurado, Katy 26, 140, 141 Kennedy, Burt 123, 135, 159, 176, 193 Kingsley, Jim 219
Kennedy, Don 171 Kino, Robert 155, 205
Kaga, Rintero 130 Kennedy, Douglas 84 Kinski, Klaus 206
Kahana, Kim 234, 242 Kennedy, Edgar 29 Kiss Me Deadly (1955) 57, 114–115
Kahn, Michael 269, 278 Kennedy, Fred 75, 87, 104, 133 Kiss of Death (1947) 95
Kajukenbo Karate 200, 241 Kennedy, George 98, 108, 110, 128, Kiss of Fire (1955) 97
Kamata, Tor 273 147, 156–157, 162, 173, 180, 181, Kiss Tomorrow Goodbye (1950) 15, 39
Kamen, Michael 295 193, 194 Kissin’ Cousins (1964) 127
Kamura, Taky 266 Kennedy, Gerard 262 Kjellin, Alf 146
Kane, Joseph 8, 19, 54, 61 Kennedy, Tom 10, 18 The Klansman (1974) 129
Kangaroo (1952) 111 Kenner (1969) 88, 188 Klecko, Joe 142
Kann, Eric 271 Kent, Ted J. 30, 33, 95, 182 Klein, Robert 247
The Kansan (1943) 27, 50 Kenton, Erle C. 33 Kleven, Max 238, 240. 250
Kansas City Confidential (1952) 76, The Kentuckian (1955) 112–113 Kline, Richard 234
90 The Kentucky Fried Movie (1977) 219, Klondike (TV) 168, 252
Kansas Pacific (1953) 119–120 260 Knaggs, Shelton 50
Kanter, Hal 126 Kerim, Son of the Shiek (1962) 138 Knights of the Range (1940) 28
 Index 321

Knock on Any Door (1949) 24, 125 Lamas, Lorenzo 226 Lau, Andy 254
The Knockout Cop (1973) 227 Lambert, Jack 24, 56, 57, 60, 67, 74, Lau, Cherry 242
Knockout Reilly (1927) 50 84, 98, 115, 117, 133, 134 Laughlin, Frank 230
Knoetze, Kolthe 227 Lamotta, Jake 224, 259 Laughlin, Tom 184, 203, 204, 205,
Knopf, Christopher 219 Lamour, Dorothy 63 206, 229, 230, 251, 261
Knudson, Frederic 72, 81, 152 L’Amour, Louis 99 Laura (1944) 58
Koch, Pete 142, 186 Lancaster, Burt 54, 57, 66, 88, 105, Lauter, Ed 113
Kodokan Judo 183 112, 113, 147, 164, 169, 182, 183, Lauter, Harry 73, 218
Koenekamp, Fred J. 186, 204, 232, 222 Laven, Arnold 164, 181
234 Lancer (TV) 120, 218 The Law and Jake Wade (1958) 23,
Kohler, Fred 7, 8, 9, 13, 14, 43, 50 Land of the Giants (TV) 55 148
Kolldehoff, Reinhard 245 Landau, Martin 156 Law and Order (1953) 74, 94–95
Kolster, Clarence 37, 107, 119, 121 Landham, Sonny 217, 283 Law of the Lawless (1964) 42
Korman, Harvey 227 Lando, Joe 200 The Law vs. Billy the Kid (1954) 75,
Kortman, Bob 6, 15, 63 Landon, Michael 66, 108, 128–129, 104
Kosugi, Sho 90 155, 168, 184, 233, 236 Lawford, Peter 111, 145
Kotcheff, Ted 282 Landres, Paul 42 A Lawless Street (1955) 43, 118
Kotto, Yaphet 235 Lane, Allan “Rocky” 51, 52, 119, 122, Lawless Valley (1938) 8
Kovack, Nancy 26 133 Lawman (TV) 82, 122
Kovacs, Ernie 140 Lane, Ben 169 Lawrence, Marc 34, 42, 59
Kovacs, Laszlo 246 Lane, Bill 234 Lawrence, Robert 139
Kove, Martin 222, 281, 283 Lane, Diane 289 Lawson, Lola 207
Krabbe, Jeroen 294 Lane, Michael 123, 135, 136, 270, 278 Lawson, Richard 274
Kramer, Joel 290 Lane, Pat 63 Lawton, Charles, Jr. 80, 82, 91
Kramer, Stanley 152 Lane, Paul M. 289 Layne, Rex 184
Krasner, Milton 37, 195 Lane, Priscilla 54 Lazenby, George 192, 193, 236, 237,
Krav Maga 301 Lane, Vicki 249 292
Krieg, Joe 201 Laneuville, Eric 267 Le, Bruce 265
Kristofferson, Kris 244, 255, 256 Lanfield, Sidney 72 Lea, David 283
Krizman, Serge 172 Lang, Charles 116, 126, 143, 175 Leadville Gunslinger (1952) 52, 122
Kroeger, Wolf 283 Lang, Fritz 59 Leather Gloves (1948) 129
Krone, Fred 73, 114, 175, 184, 192, Lang, Perry 268 Leavitt, Sam 137, 144
225 Lanning, Reggie 35, 49 LeBaron, Bert 35, 87
Kronsberg, Jeremy Joe 258 Laramie (TV) 62, 89, 100, 144, 205, LeBell, Gene 142, 157, 158, 165, 167,
Kruger, Stubby 63 233 174, 178, 217, 222, 223, 226, 229,
Kruschen, Jack 153 Larceny (1948) 77 242, 258, 270, 272, 297
Kubota, Tak 107, 156, 211, 233, 242 Larch, John 101, 120 Lee, Brandon 262
Kubrick, Stanley 120, 138, 139, 208, Lardner, Ring, Jr. 59 Lee, Bruce 1, 91, 155, 158, 168, 172,
209, 240, 241 Laredo (TV) 55, 78, 88, 101, 160 173, 174, 196, 198, 212, 213–214,
Kulky, Henry 108 Larkins, Bob 103 215, 216, 217, 219, 220, 221, 222,
Kumagai, Howard 24 Larsen, Keith 97 224, 225, 230, 237, 242, 250, 253,
Kung Fu 211, 266 LaRue, Lash 113 259, 260, 261, 262, 265, 266, 267
Kung Fu (1971) 160, 167, 200, 204, The Las Vegas Story (1952) 32, 98 Lee, Chen 206
206, 236 Lashelle, Joseph 72, 78, 125, 128, 167, Lee, Christopher 130, 268
Kung Fu (TV) 183, 206, 213, 222, 169 Lee, Eric 242
261, 262, 284, 285 Lassiter, Frank 198 Lee, Howard 242
Kung Fu: The Movie (1986) 262 The Last Bandit (1949) 61, 68 Lee, Hwang Jang 253, 254
Kuniyuki, Ken 54, 67, 102 The Last Boy Scout (1991) 296 Lee, Linda 216
Kunze, Ray “The Enforcer” 255 The Last Command (1955) 110, 120 Lee, Robert 64
Kurata, Yasuaki 291 The Last Days of Pompeii (1935) 74 Leech, George 192, 207, 231, 252
Kuri, Emile 41, 50 The Last Frontier (1956) 32 Leech, Wendy 279
Kurosawa, Akira 206, 264 The Last Hard Men (1976) 96, 168 Lees, John 274
Kwai, Yuen 253 The Last Hunt (1956) 56 LeGault, Lance 127
Kwariani, Kula 120 Last of the Knucklemen (1979) 262– Legend of Drunken Master (1994) 254
Kwouk, Burt 147, 247, 248 263, 271 The Legend of Nigger Charley (1972)
Last of the Mohicans (1936) 42 226
Ladd, Alan 13, 27, 63, 64, 71, 92, 93, Last of the Mohicans (1977) 251 Legend of the Lost (1957) 12
94, 106, 107, 110, 124, 134, 158, 159, Last of the Pony Riders (1953) 73 The Legend of Tom Dooley (1958) 129
174, 177, 231 Last of the Warrens (1936) 16 Leigh, Barbara 214
Lady Dragon (1992) 271 The Last Posse (1953) 32, 125 Leigh, Janet 62
Lady in Cement (1968) 146 The Last Rebel (1971) 139 Lemmon, Jack 48, 162, 163
A Lady Takes a Chance (1943) 12, 48 The Last Sunset (1961) 101, 105 Lenard, Mark 249
The Lady Takes a Flyer (1958) 116 The Last Train from Gun Hill (1959) Leonard, Leo 96
Lai 206 105, 121 Leonard, Sheldon 64, 67, 84
Laidlaw, Ethan 32, 44, 55 The Last Wagon (1956) 96 Leonard, Terry 154, 190, 191, 195,
Lally, Mike 31, 48, 140, 157 Laszlo, Andrew 263, 282, 289 202, 228, 254, 255, 257, 261, 268,
Lam, Ching-Ying 236 Laszlo, Ernest 112, 114, 152, 157 284
Lamarr, Hedy 28 Lathrop, Phillip 146, 147, 155, 174, Leone, Sergio 186
Lamas, Fernando 190, 257 179, 239, 242 Leonetti, Matthew 249
322 Index

Leoning, John 241 Loftin, Carey 31, 35, 49, 65, 100, 110, Lynch, Richard 217, 230, 269
Lerner, Fred 155, 202, 226, 238, 249 152, 163, 174, 179, 217 Lynn, Jeffrey 76
Lero, Rocco 227 Loggia, Robert 156 Lyon, William 117
LeRoy, Mervyn 112 Lom, Herbert 77, 248 Lyons, Cliff 21, 25, 54, 55, 69, 75, 99,
Lesly, Mark 265 Lombard, Jake 294 124, 125, 130, 140, 150, 154, 160,
Lesser, Sol 137 London, Julie 131 176, 189, 196
Lester, Mark 290 The Lone Gun (1954) 78, 84, 112 Lyons, Richard E. 160
Lester, Richard 277 The Lone Ranger (1956) 112, 119 Lyons, Robert F. 159
Lester, Rick 231 The Lone Ranger (TV) 94, 119, 122,
Let ’Em Have It (1935) 37, 42 133 M-Squad (TV) 55, 62, 91, 104, 108
Let Freedom Ring (1939) 18 The Lone Ranger and the Lost City of Macao (1952) 48, 98
“Let the Sun Shine In” 231 Gold (1958) 119 Macchia, John 175
Lethal Weapon (1987) 292–293 Lone Star (1952) 29, 31, 83 Macchio, Ralph 285
Lethal Weapon 4 (1998) 292 The Lone Star Trail (1943) 47, 48, 49 MacDonald, Ian 41, 45
Lettieri, Al 12, 107 Lone Wolf McQuade (1983) 217, 262, MacDonald, Jim 194
Levering, Michael 279 284–285 MacDonald, John D. 144, 197
Levin, Henry 225 Lonely Are the Brave (1962) 105, 146, MacDougall, Ranald 184
Levy, Bill 75 147, 156 MacGraw, Ali 255
Levy, Weaver 281 Lonelyhearts (1958) 46 MacKenna’s Gold (1969) 128
Lewis, Ed “Strangler” 40, 54, 78, The Loner (TV) 86 MacLane, Barton 10, 13, 14, 15, 24,
224 Lonesome Dove (1989) 183 32, 39, 41, 55, 64, 65, 72, 73
Lewis, Geoffrey 258 Long, Nate 249 MacLean, Alistair 244
Lewis, Jerry 121 The Long Gray Line (1955) 35, 98 MacMurray, Fred 15, 39, 42, 71, 92,
Lewis, Joe 215, 233, 261 A Long Ride from Hell (1968) 135 120
Lewis, Joseph H. 118 The Long Riders (1980) 262 The Macomber Affair (1947) 71, 128
Lewis, Mitchell 5 The Longest Yard (1974) 251 Macon County Line (1974) 231
Li, Bruce 265, 267 Longstreet (TV) 196, 213 MacReady, George 33
Li, Jet 254, 292, 301 Loomis, Dan 22, 117 Mad Bull (1977) 269, 270
Libertini, Richard 281 Lopez, Perry 125 Mad Magazine 85
Licence to Kill (1989) 294 Lord, Jack 23, 131, 132, 174 Madden, Lee 199
The Lieutenant (TV) 149 Lorre, Peter 21, 33 Madison, Guy 120, 126
The Life and Legend of Wyatt Earp The Losers (1970) 199 Madison, Noel 74
(TV) 174 Louis, Joe 10, 11, 16, 36, 37, 111 Madsen, Harry 264
The Life and Times of Judge Roy Bean Louise, Tina 133, 141 Maeda, Brian 267
(1972) 171 Loussier, Jacques 184 Maffatone, Tony 283
The Light of Western Stars (1940) 27, Love, Damien 82 Magalotti, Paola 201
28 Love and Kisses (1965) 164, 165, 166 Magers, Boyd 39
The Light Touch (1951) 55, 56 Lovejoy, Frank 64, 86 Maggio, Vincenzo 227
Lightnin’ Crandall (1937) 16 A Lovely Way to Die (1968) 105 Magic Crystal (1987) 271
Lilley, Jack 228 Lovering, Otho 56, 66, 150, 153, 167, Magnee, Walter 78
Linow, Ivan 79 168, 193 Magner, Harvey 74
Liotta, Ray 281 Loving You (1957) 126, 127 The Magnificent Brute (1936) 18
Lipinski, Eugene 186 Lowe, Edmund 3, 18 The Magnificent Butcher (1979) 292
Lipstein, Harold 103, 170 Lowe, Rob 286 The Magnificent Seven (1960) 98, 112
The Liquidator (1966) 178 Lucas, George 278 Magnotta, Vic 265
Lisi, Virna 175 Lucas, Sharon 163, 165, 174 Magnum P.I. (TV) 110, 146, 272
Little, Cleavon 227, 228 Luciano, Michael 114, 157, 219 Magrill, George 52
Little Big Horn (1951) 66, 86 Luckenbacher, George 113 Maharis, George 83, 121, 132, 141,
Little House on the Prairie (TV) 100, Lucking, Bill 195, 262 142, 184, 284
128, 233 Lucky Jordan (1942) 64 Mahin, John Lee 28
Little Joe, the Wrangler (1942) 49 Lucky Lady (1975) 142, 230 Mahoney, Jock 39, 45, 67, 68, 73, 74,
A Little Romance (1979) 39 The Lucky Texan (1934) 10 79, 80, 81, 82, 90, 100, 113, 119,
Little Sky, Eddie 139 The Lucy Show (TV) 12 122, 125, 126, 137, 138, 139, 140,
Liu, Chia Yung 212, 250 Ludwig, Edward 88 160, 205, 234, 256
Live a Little, Love a Little (1968) 127, Lugignano, Joseph “Cowboy” 106 Maibaum, Richard 152, 161, 166, 192,
186, 187 Lugosi, Bela 34 206, 251, 294
Live and Let Die (1973) 246 Lulu Belle (1948) 84 Maidment, Terence 172
The Living Daylights (1987) 293–294 Lumberjack (1944) 44 Mail Order Bride (1964) 159–160,
Livingston, Bob 19, 60 Lund, Art 86, 194, 226 236
Lloyd, Al 55 Lundgren, Dolph 301 Maivia, Peter Fanene 178
Lloyd, Frank 53 Lundigan, William 46 Major Dundee (1965) 96, 168, 195,
The Lloyd Bridges Show (TV) 149 Lung, Hwang Kim 265 255
Lo, Kenneth 254 Lupino, Ida 17, 72 Majors, Lee 151, 222, 270
Lo, Leih 206, 212 Lust to Kill (1958) 62, 118 Make-Up 158–159
Lo, Wei 213 The Lusty Men (1952) 48 Mako (aka Mako Iwamatsu) 214, 242,
Loaded Guns (1975) 139 Luxford, Albert J. 152, 166 272, 273
Lock Up (1989) 283 Luz, Teresita M. 242 Mako—The Jaws of Death (1976) 202
Locke, Sondra 270, 276, 277 Lyden, Pierce 49, 50 The Malay Trader (1981) 274, 278
Lockwood, Gary 127, 148–149, 183 Lynch, Kelly 298 The Male Animal (1942) 15
 Index 323

Malibu Run (TV) 184 Marathon Man (1976) 247 Mathrick, Graham 263
Malone (1986) 142 Marco, Jose 186 The Mating Game (1959) 160
Malone, Dorothy 94 Marcus, Greil 148 The Matrix (1999) 253, 301
The Maltese Falcon (1941) 24, 65 Marcus, James 208 Matsuda, Don Sugai 19
Maltin, Leonard 74, 151, 153, 231, Margret, Ann 199 A Matter of Wife and Death (1976)
244, 267, 269 Marin, Edwin L. 50, 56 178
Maltz, Albert 59 Marines, Let’s Go! (1961) 141, 236 Matthau, Walter 105, 112, 127, 135
Malvern, Paul 11 Markowitz, Richard 168 Matthews, Carl 48
A Man Betrayed (1941) 50 Marks, Owen 23, 64 Matthews, Kerwin 111
A Man Called Dagger (1967) 252 Marley, J. Peverall 106 Mattox, Matt 103
A Man Called Gannon (1969) 111 Marlowe (1969) 173, 213 Mature, Victor 32, 55, 98, 257
A Man Called Horse (1970) 195 Marlowe, Scott 95 Maunder, Wayne 115
A Man Could Get Killed (1966) 173 Marno, Marc 125 Mauriello, Tami 105
The Man from Bitter Ridge (1955) 108 Marquess of Queensbury Rules 40, Maverick (TV) 55, 89, 122, 173, 186
The Man from Colorado (1948) 45 87, 245 The Maverick Queen (1956) 75
The Man from Del Rio (1956) 92 Marquette, Jack 190 Max, Ron 273
The Man from God’s Country (1958) Marrill, Alvin H. 49, 97 Maxwell, Bill 153
84 Mars Attacks! (1996) 188 Maxwell, Jenny 143
The Man from Hong Kong (1975) 193, Marsh, Tiger Joe 105 May, Karl 108
236–237, 292 Marshal of Mesa City (1938) 8 Mayer, Ken 281
The Man from Laramie (1955) 116, Marshall, Alan 133 Maynard, Earl 234, 250, 251, 261,
117 Marshall, George 17, 26 272
The Man from the Alamo (1953) 28, Marshall, Tony 128 Maynard, Ken 39
45, 174 Marta, Jack 19, 39, 54, 60, 172, 217, Maynard, Kermit 38, 63, 124, 140
Man in a Suitcase (TV) 170 230, 235 Mayo, Frank 5
Man in the Saddle (1951) 43, 82 Martial Arts 109, 110, 115, 131, 137, Mazurki, Mike 40, 45, 46, 54, 55, 56,
Man in the Shadow (1958) 88, 100, 143, 147, 148, 165, 166, 167, 179, 65, 67, 77, 78, 86, 91, 96, 108, 113,
116 188, 200, 203–205, 206, 212–213, 114, 139, 149, 157, 158, 166, 167,
The Man of the Forest (1933) 43, 65 215–217, 219–222, 223, 225, 228– 232
Man of the East (1972) 201, 211–212, 229, 230, 234, 237, 241–242, 243, Mazzie, Dominick 217
233 247, 248, 249, 259–260, 272, 281– McAmbridge, Mercedes 26
Man of the West (1958) 30, 131–132 282, 284, 288–289, 294, 295 McBride, Mark 172
The Man Who Died Twice (1958) 55, Martial Law (1990) 262 McCallum, Rick 285
67 Martial Law (TV) 292 McCardle, Mickey 163, 174, 202
The Man Who Loved Cat Dancing Martin, Dean 126, 137, 141, 146, 147, McCarroll, Frank 38, 50
(1973) 142, 222–223 157, 158, 162, 181, 184, 190, 216, McCarthy, Thomas 234
The Man Who Shot Liberty Valance 236, 257, 260, 278, 280 McClory, Sean 45, 90, 169
(1962) 90, 117, 150 Martin, Dewey 107 McClure, Doug 83, 141, 151, 205, 280
Man with a Camera (TV) 107–108 Martin, Jean 201 McClure, Greg 60, 84
Man with the Golden Gun (1974) 221, Martin, Lori 144 McClure, Jack 150
246 Martin, Pepper 139, 158, 274, 277, McClure, John 203
The Man with the Iron Fists (1972) 278 McCord, Merrill 19
Man with the Steel Whip (1954) 113 Martin, Phillip 50 McCord, Ted 64, 121
Man Without a Star (1955) 105, 110, Martin, Strother 153, 154, 180, 239 McCoy, Al 10
111 Martinelli, Tony 35 McCrea, Jody 222
The Manchurian Candidate (1962) Martinson, Leslie H. 172 McCrea, Joel 12, 28, 31, 39, 71, 78,
146, 147, 148, 198, 260 Marty (1955) 110 79, 86, 92
Mancini, Henry 103, 156, 174 Maru, Maru (1952) 41 McCubbin, Russ 170, 186
Mandell, Daniel 29 The Marvelettes 224 The McCullochs (1975) 231–232
Mandingo (1975) 234–235 Marvin, Lee 12, 43, 55, 62, 90, 91, 97, McDonald, Frank 37
Manes, Fritz 186, 270 100, 101, 109, 129, 130, 136, 149, McDougall, Stuart 208
Mangano, Silvana 105 150, 164, 179, 180, 194, 197, 206, McDowall, Roddy 55, 126, 250
Manhattan (1924) 50 218, 219, 233, 235, 244, 245 McDowell, Malcolm 208
Manhunt (TV) 28 The Masked Marvel (1943) 49, 50 McEveety, Bernard 168
Manhunt on Mystery Island (1945) 49 Mason, Jackie 153 McGann, William C. 7, 39
The Manhunter (1919) 5 Mason, James 78, 234 McGaughy, Rod 163
Mankiewicz, Joseph L. 119 Mason, LeRoy 12, 27, 28, 61 McGavin, Darren 57, 102, 115, 157
Mankiewicz, Tom 206 Masquerade (TV) 198, 199 McGee, S.J. 228
Mann, Anthony 65, 82, 116, 131, 138 Massacesci, Aristide 249 McGill, Barney 10, 17
Mann, Daniel 167 Massacre River (1948) 120 McGill, Everett 186
Mannix (TV) 141, 236, 278 The Master (TV) 90 McGoohan, Patrick 110, 124
Manpower (1941) 32, 33 The Master Gunfighter (1975) 206 McGovern, Don 282, 295
Mansfield, Duncan 7 Master of the Flying Guillotine (1975) McGrath, Frank 104, 124, 127
Manson, Charles 281 237 McGraw, Charles 45, 60, 83, 97, 108,
Mantee, Paul 107, 235, 252 Masters, Mike 241 123, 125, 126, 281
Mantle, Clive 186 Masters, Tony 250 McGuire, John 59
Many Rivers to Cross (1955) 23, 104 Masur, Richard 284 McGuire, Michael 239
Mao, Angela 219 Mate, Rudolph 30, 97 McHale’s Navy (TV) 110
Mapes, Ted 20, 52, 55, 71 Matheson, Tim 121 McIntire, John 182
324 Index

McKee, Pat 17, 40 Meyer, Emile 84 The Mob (1951) 32, 78

McKinney, Bill 186, 199, 200, 214, Meyer, Otto 9 Mockridge, Cyril 141
215, 244, 258, 262, 270 Miami Supercops (1985) 201 Mohave Firebrand (1944) 61
McKittich, Tom 264 Miami Vice (TV) 255 Mohawk (1956) 75, 78
McLaglen, Andrew V. 88, 89, 111, 123, Michael, Manny 172 Mohr, Gerald 90
144, 155, 183, 184, 189, 181, 192, Michos, Terry 264 Mohr, Hal 26, 100
196 Mickey Spillane’s Mike Hammer (TV) Moio, John 163, 174, 281
McLaglen, Leopold 18 115, 139 The Molly Maguires (1970) 194–195
McLaglen, Victor 1, 3, 8, 13, 17, 18, Middleton, Robert 119 The Mollycoddle (1920) 6, 7, 10
75, 77, 84, 86, 87, 88, 149, 156, 194 The Midnight Man (1974) 113 Molyneaux, Gerald 132
McLaren, Wayne 215 Mifune, Toshiro 91, 205, 206, 268 Momoa, Jason 283
McLarnin, Jimmy 19 The Mighty McGurk (1947) 10, 129 Mones, Paul 289
McLarty, Gary 176, 189, 192, 257, 298 Mike Hammer (TV) 115, 257 The Money Trap (1966) 141
McLintock! (1963) 12, 51, 99, 153, Milano, Alyssa 290 Mongo’s Back in Town (1971) 218
154, 155, 236 Miles, Bob 128 Monkey on My Back (1957) 129
McMahon, Ed 223 Miles, Sarah 222, 223 Monroe, Del 217, 218
McMahon, Horace 73, 74 Milford, John 132, 196 Monseleson, Antonio 201
McMillan and Wife (TV) 101 Milius, John 254, 255 Montalban, Ricardo 91
McNally, Stephen 13, 15, 108, 117, 120 Miljan, John 13 Montana (1950) 41
McNamara, T.J. 264 Milland, Ray 12, 92 Montana Belle (1952) 68, 75
McNeill, Allen 10 Miller, Ann 26 Montana, Bull 6, 19
McNeill, Joe 70 Miller, Arthur C. 35 Montana, Lenny 273
McQ (1974) 12, 231 Miller, David 146 Monte Walsh (1970) 91
McQueen, Chad 262 Miller, Denny 68, 97, 205, 233, 234, Montenegro, Hugo 191
McQueen, Steve 115, 128, 155, 156, 271, 272 Montgomery, George 18, 57, 78, 83,
214, 216, 236, 267 Miller, Jack 69 84, 85, 88, 100, 104, 111, 112, 118
McRae, Frank 268 Miller, Mindi 225 Montgomery, Robert 74
McRaney, Gerald 160, 233 Miller, Virgil 21 Monty, Harry 55
McShane, Ian 152 Miller, Winston 72 Moon Over Burma (1940) 71, 74
McTiernan, John 295 Millican, James 22, 129 The Moonlighter (1953) 15, 39
McWilliams, Paul 25 Millionaire’s Express (1986) 292 Moonlighting (TV) 296
Mean Johnny Barrows (1976) 226 Mills, Alec 294 Moonraker (1979) 246, 252
Mean Streets (1973) 224 Mills, Frank 10 Moore, Archie 244
“Mean Woman Blues” 126 Mills, Freddie 56 Moore, Bennie 257
The Mechanic (1972) 107, 281 Mills, John 56, 177 Moore, Clayton 60, 94, 112, 119, 120,
Meehan, George 44 Mills, Mort 120 122, 133
Meeker, Ralph 114, 115, 117, 128 Milner, Martin 91 Moore, Kieron 152
Meet John Doe (1941) 30 Milton, Franklin 179 Moore, Michael 202
Megowan, Don 62, 84, 118, 123, 124, Mimieux, Yvette 184 Moore, Rex 94
142, 183 Minelli, Vincent 127 Moore, Richard 202, 261
Mellor, William C. 110, 122 Mineo, Sal 222 Moore, Roger 152, 164, 207, 225,
Mellotte, Joe 87 The Mini-Skirt Mob (1968) 184 245, 246, 251, 252, 280, 287, 294
Melody Ranch (1940) 65, 73 Minor, Bob 225, 240, 250, 284 Moore, Ted 152
Melton, Troy 122, 148, 163, 185, 228 Mirage (1965) 128, 156 Moore, Vaughn 28
Memmoli, George 224 Mission—Impossible (TV) 98 Morales, Esai 281
The Men (1951) 101 Mississippi Burning (1988) 230 Moran, Frank 10, 40, 63
Men Are Such Fools (1938) 21, 24 The Missouri Traveler (1958) 86, 91, More, Kenneth 185
The Men from Shiloh (TV) 151 129–130, 236 More Dead Than Alive (1968) 136,
Men with Whips (1936) 28 Mr. Billion (1977) 182, 201, 248, 249 181, 190
Mendoze-Nova, Jose 211 Mr. Deeds Goes to Town (1936) 30 More Than Murder (1983) 272
Mercado, Paul 272 Mr. Lucky (TV) 98 Moreno, Robert 165
The Mercenaries (1968) 184 Mr. Majestyk (1974) 107 Morga, Tom 226, 273
Mercer, John 101 Mr. Nice Guy (1997) 254, 271 Morgan, Bill 193
Mercury, Freddie 290 Mr. Ricco (1975) 158 Morgan, Bob 66, 68, 79, 80, 82, 84,
Meredith, Burgess 172 Mr. Soft Touch (1949) 45, 66 87, 90, 91, 97, 98, 101, 115, 119, 120,
Meriwether, Lee 172 Mr. T 160, 251, 270 123, 124, 125, 127, 133, 140
Merjanian, Steve 272 Mitchell (1975) 218 Morgan, Boyd “Red” 84, 127, 133,
Merkel, Una 26 Mitchell, Cameron 30, 95, 104, 115, 140, 145, 150, 154, 163, 170, 172,
Merrill, Frank 9 129 173, 176, 228
Merrill, Gary 78, 129 Mitchell, Gordon 138, 206 Morgan, Dennis 14, 28
A Message to Garcia (1935) 10 Mitchum, Christopher 12 Morgan, Stacy 137
Messina, Emilio 201, 212 Mitchum, Jim 249 Mori, Hideo 24
Methot, Mayo 24 Mitchum, Robert 43, 44, 46, 47, 70, Moriarty, Steve 228
Metty, Russell 45, 102, 110, 139, 182 71, 81–82, 83, 89, 92, 97, 98, 111, Morituri (1965) 101
Metz, Rexford 258 120, 124, 133, 135, 143, 144, 145, Morley, Christopher 211
Metzetti, Otto 15, 17, 32 146, 175, 176, 193, 194, 195, 281 Moross, Jerome 132
Metzetti, Tom 32 Mittsommernacht (1967) 205 Morphy, Lew 50
Metzetti, Victor 15, 17, 32 Mix, Tom 13, 158 Morrell, David 282
Meyer, David 246 Mixed Martial Arts (MMA) 292, 301 Morris, Chester 10, 18
 Index 325

Morris, Jeff 127 Nazarro, Ray 83 Noel, Jimmy 140

Morris, John 227 ‘Neath the Arizona Skies (1934) 11 Nolan, Lloyd 63, 64, 71
Morris, Johnny 172 The Nebraskan (1953) 90 Nolte, Nick 145, 160, 250, 283, 284
Morris, Wayne 13, 20, 21, 24, 65, 67, Nedell, Bernard 44 None but the Brave (1965) 136
74, 104, 122 Needham, Hal 105, 111, 144, 150, 151, Noose for a Gunman (1960) 62, 100
Morrison, Tommy 283 154, 157, 160, 163, 176, 184, 189, Norma Rae (1979) 233
Morrow, Jeff 158 191, 196, 200, 205, 223, 228, 246, Norris, Aaron 267, 271, 285
Morrow, Vic 45, 127, 174 247, 256, 257, 278, 280, 281 Norris, Chuck 1, 129, 155, 158, 215–
Moses, Rob 285 Negulesco, Jean 71 216, 217, 224, 259, 262, 265, 266,
Mountain, Terry 193 Neibaur, James L. 141 267, 268, 270, 271, 284–285
The Mountain Men (1980) 97, 257 Nelson, Charles 82 North, Alex 139
Mudge, Carl 32 Nelson, David 165 North and South Book II (1986) 262
Mulhare, Edward 168 Nelson, Ed 155 North from the Lone Star (1941) 61
Mulholland Falls (1996) 284 Nelson, Kristin 165 North of Nome (1936) 26
Mulkey, Chris 127, 282, 283 Nelson, Ozzie 165 North of the Great Divide (1950) 57,
Muller, Eddie 95 Nelson, Ralph 155 60
Mungenast, Dave 280 Nelson, Rick 164, 165 North to Alaska (1960) 12, 56, 128,
Muni, Paul 33 Nesbitt, Darren 124 140
Murakami, Sego 41 Nestell, Bill 52 North to the Klondike (1942) 31, 33,
Murder, He Says (1945) 15 Nevada (1944) 47 34, 76
Murder, My Sweet (1944) 54, 72 Nevada Smith (1966) 156 Norton, Jack 50
Murderers Row (1966) 141, 158 The Nevadan (1950) 43, 68, 80 Norton, Ken 234, 235
Murph the Surf (1975) 241 Never Say Never Again (1983) 152, Norton, Richard 254, 262, 263, 270,
Murphy, Al 81 286, 287, 288 271, 288, 291, 292
Murphy, Audie 16, 101, 102, 103, 113, The New Gladiators (2002) 143, 260 Norton, William L. (B.W.L.) 182, 255
148, 151 New Police Story (2004) 254 Not as a Stranger (1955) 47, 146
Murphy, Billy 202 New York Town (1941) 15, 71 Not for Hire (TV) 115
Murphy, Eddie 283, 284 Newman, Alfred 35 Not Quite Hollywood (2008) 237
Murray, Don 64, 134 Newman, Joseph 143 Not with My Wife You Don’t (1966)
Murray, Jack 75 Newman, Paul 171, 177, 179, 180, 181, 164, 175
Murray, Zon 84 196, 202, 208, 236, 281 Notaro, Ray 283
Murton, Peter 161 Newsome, Dennis 293 Nott, Robert 42, 68
Musante, Tony 190 Newton, Stacy 154 Nova, Lou 43, 78
Musaraca, Nicholas 70 The Next Man (1976) 152 Novak, Mel 265, 267
Music 55, 56 Nicart, Eddie 142 Nozawa, Fuji 111, 137, 223
Muss ’Em Up (1936) 74 Nichols (TV) 173, 274 Nuckles, Paul 160, 163, 192, 199
Mutiny on the Bounty (1935) 29 Nickelodeon (1976) 142, 241, 246– Nugent, Frank 75, 86, 149, 150
Mutiny on the Bounty (1962) 195 247 Nunchaku 213, 221, 248, 266, 281
My Darling Clementine (1946) 65 Nickerson, Jim 224, 250, 280, 283 Nunez, Miguel 292
My Friend Irma (1949) 158 Nicol, Alex 116 Nyby, Christian 59, 70
My Gun Is Quick (1957) 115 Nielsen, Leslie 149 Nyman, Ron 150
My Lucky Stars (1985) 254 Night and the City (1950) 54, 77, 78 N.Y.P.D. (TV) 223
My Name Is Nobody (1973) 201 Night Fighters (1960) 195
My Outlaw Brother (1951) 71 Night Gallery (TV) 149 Oates, Warren 135, 159, 160, 239
My Pal Trigger (1946) 60 Night Moves (1975) 230–231 O’Brien, Chuck 174
My Son Is Guilty (1939) 42, 45 Night of the Grizzly (1965) 100, 136, O’Brien, Edmund 54, 68
My Three Sons (TV) 15 170, 171, 234 O’Brien, George 7, 8, 13, 18
Mysterious Mr. Moto (1938) 21, 22 Night of the Juggler (1980) 225 O’Brien, Hugh 64, 73, 101, 103, 173,
Mystery Ranch (1932) 8 Night Passage (1957) 112, 117 174, 265, 267
The Night the Lights Went Out in Geor- O’Brien, Pat 14, 31, 39, 45, 65
Naish, J. Carrol 10 gia (1981) 200 O’Connell, L.W. 9
Nakajima, Shohitsu 178 The Night They Raided Minsky’s O’Connor, Carroll 175
Naked Alibi (1954) 121 (1968) 68 The Octagon (1980) 217, 270–271
The Naked Edge (1959) 30 Nightfall (1957) 174, 257 Octopussy (1983) 225, 246
The Naked Prey (1966) 72 Nightmare Alley (1947) 54 Odds Against Tomorrow (1959) 46
The Naked Spur (1954) 115, 117 1941 (1979) 211, 268–269 Odds and Evens (1978) 201, 212
The Naked Street (1955) 92, 98 1990: The Bronx Warriors (1982) 226 Odell, Cary 181
Nalder, Reggie 250 99 and 44/100% Dead (1974) 169, O’Dowd, Mike 105
Namath, Joe 139, 199 195 Odyssey 104
Nancy Steele is Missing (1937) 16, 17 99 River Street (1953) 57, 76, 98, 99 Of Mice and Men (1939) 16, 34
Napier, Alan 89 Ninjas 270, 271 O’Fearna, Edward 7
Napier, Charles 178, 241, 262 The Ninth Configuration (1980) 269– The Offence (1973) 152
Narcisco, Nathaniel 128 270 Oh, Soon Taik 217
The Narrow Margin (1952) 83 Nishiyama, Hidetaka 222 O’Halloran, Jack 168, 217, 252, 277,
Narrow Margin (1990) 83, 231 Nix, Ron 229 278
The Narrow Trail (1917) 6 No Down Payment (1957) 129 O’Hara, Maureen 86, 153, 154, 155
Natwick, Mildred 75 The No Mercy Man (1973) 229, 270 O’Hara, U.S. Treasury (TV) 200
Naughton, James 160 No Minor Vices (1948) 58 O’Herlihy, Gavan 107, 299
Navajo Joe (1966) 142 Nocturne (1946) 33 Okamura, George 137
326 Index

Okamura, Gerald 242, 270 Our Leading Citizen (1938) 13 Parkison, Chuck, Jr. 192
O’Keefe, Dennis 10, 28, 65, 77 Our Man Flint (1966) 167, 168, 236 Parks, Geoff 254
Okinawa-Te 97, 147 Out for Justice (1991) 294 Parks, Michael 217, 280, 281
Oklahoma Justice (1951) 49 Out of the Past (1947) 47, 143 Parks, Trina 207
The Oklahoma Kid (1939) 14, 23, 24 The Outcast (1954) 62, 125 Parnell (1937) 29
The Oklahoman (1957) 79 The Outcasts (TV) 134 Parole de Flic (1985) 190
The Old Chisholm Trail (1942) 49 The Outcasts of Poker Flats (1952) Parry, Harvey 10, 13, 14, 17, 21, 22,
The Old Corral (1936) 60, 73 129 23, 24, 31, 53, 55, 61, 64. 89, 118,
Old Ironsides (1928) 10 Outland (1981) 152 120, 130, 140, 154, 157, 228
The Old West (1952) 73 The Outlaw (1943) 70 Part Two, Walking Tall (1975) 217
The Old Wyoming Trail (1937) 20 The Outlaw’s Daughter (1954) 62 Party Girl (1958) 23
Oldman, Gary 279 The Outlaws Is Coming! (1965) 26 Parton, Regis “Reg” 104, 163, 174,
Oliney, Alan 225, 234 The Outrage (1964) 171 228
Olivier, Laurence 128, 138, 247 “Outside Crescent Kick” 204 Pascal, Ernest 57
Olsen, Merlin 100, 191, 192, 218 The Outside Man (1977) 139 “Pass System” 3, 11
Olsen, Moroni 12 The Outsider (1961) 164, 196 Passage to Marseille (1944) 24, 39
O’Malley of the Mounted (1921) 6 The Outsider (1983) 203 Passage West (1951) 77
Omar Khayyem (1957) 125 The Outsiders (1983) 285–286 Passion (1954) 34, 72
On, Andy 254 Over the Top (1987) 283 Passport to Treason (1952) 67
On Dangerous Ground (1951) 39, 46 Overland Pacific (1954) 40, 80 Pasternak, Joe 30
On Her Majesty’s Secret Service (1968) Overlander, Web 89 Pat and Mike (1952) 174
192, 193 Ovitz, Michael 294 Pat Garrett and Billy the Kid (1973)
On the Old Spanish Trail (1947) 60, Owen, Gareth 246 244, 255
83 Owen, Reginald 10 Pataki, Michael 60, 211, 250
On the Waterfront (1954) 101, 105, Owens, Glen 66 Pate, Michael 118, 135
106 Owensby, Earl 260 Paths of Glory (1957) 115
Once a Thief (1965) 190 Oyama, Mas 178 Patrick, Robert 291
Once Is Not Enough (1975) 105 Patriot Games (1992) 279
Once Upon a Texas Train (1988) 250 Pacino, Al 210 Patten, Luana 143
“One Against Many” 30, 80, 89, 135, Page, Geraldine 99 Patton, Tom 286
185–186, 189, 213, 217, 221, 290 Page, Grant 236 Paul, Victor 157, 165, 172, 217
One-Armed Boxer (1971) 237 Pai, Daniel Kane 143 Pavan, Marisa 107
One-Armed Swordsman (1967) 237 “Paint Down” 183 Pavelic, Teddy 110
One-Eyed Jacks (1961) 101, 182 Painted Desert (1931) 29 Pawley, Edward 14
One Foot in Hell (1960) 64, 134 Painted Desert (1938) 8 Pawnee (1957) 84, 88
100 Rifles (1969) 142, 188, 190–191 Pal, George 233 Pay or Die (1960) 110
“One-Inch Strike” 213 Palance, Jack 92, 95, 96, 97, 101, 116, Payne, Jim 172
One More Train to Rob (1971) 159, 160, 227, 270, 272, 275 Payne, John 18, 34, 68, 76, 77, 90, 95,
270 Pale Rider (1985) 179, 253 98, 100, 120
One Shoe Makes It Murder (1982) 48 Pallette, Eugene 50 Pearce, Donn 180
One Step Beyond (TV) 108 Palm Springs Weekend (1963) 242 Peck, Gregory 68, 71, 82, 92, 115, 127,
O’Neal, Griffin 241 Palmer, Ernest 13 128, 132, 133, 144, 145, 156, 169
O’Neal, Patrick 164 Palmer, Fred 64 Peckinpah, Sam 94, 160, 164, 204,
O’Neal, Ryan 184, 240, 241, 246, 247 Palmisano, Conrad 280, 282 214, 215, 218, 242, 243, 255, 256
O’Neill, Dermot “Paddy” 183 Pals of the Saddle (1938) 11 Pedersoli, Carlo 227
Onions, Oliver 212, 227 Panama, Norman 175 Pedicab Driver (1988) 292
Only the Valiant (1951) 128 Panhandle (1948) 66, 67 Pedregosa, Miguel 201
Operation CIA (1965) 142 Panic in the Streets (1950) 95 Pee Wee’s Big Adventure (1985) 225
Operation Secret (1952) 72 Papillon (1973) 155 Pele 267
Oran, Bob 55 Paradise Canyon (1935) 3, 11 Pender, Brandon 242
Orbom, Eric 139 Paradise Hawaiian Style (1966) 127, Pendleton, Nat 10
The Oregon Trail (TV) 126, 178, 198 143 Pendulum (1969) 159
Orrison, Bob 192, 224, 257 Pardners (1956) 158 Penn, Arthur 169, 230
Orrison, Brad 280 Pardon Our Nerve (1938) 26 Penn, Sean 281, 284
Orrison, George 157, 228, 259, 270, Pare, Michael 289 Pennell, Larry 89, 151, 249
275 Park Row (1952) 88 Pennick, Jack 19
Orsatti, Frank 282, 298 Parker, Colonel Tom 143, 260 Peppard, George 101, 158, 159, 182,
Ortega, Artie 48 Parker, Ed 97, 102, 131, 143, 147, 155, 200, 250, 270, 274
Osborne, Bud 25 160, 168, 248, 259, 260 Peralta, Gregorio “Goyo” 212
Oscar (1991) 105 Parker, Eddie 11, 12, 31, 37, 42, 48, 49, The Perfect Snob (1941) 92
O’Shea, Jack 18, 48 52, 59, 61, 80, 84, 108 The Perfect Specimen (1938) 40
Osmond, Cliff 126 Parker, Fess 66, 67, 68, 113, 114, 116, The Perfect Weapon (1990) 261
O.S.S. (1946) 64 156, 174, 252 Perkins, Anthony 148
O’Steen, Sam 181 Parker, Jack 37 Perkins, Gil 21, 25, 31, 35, 37, 42, 81,
The Osterman Weekend (1983) 255– Parker, Jameson 233 83, 118, 120, 157, 163, 164, 172, 192,
256 Parker, John 197 194, 217, 235
Oswald, Gerd 125 Parker, Willard 46, 77 Perkins, Jack 140, 157, 163, 164, 193,
O’Toole, Barney 22 Parkins, Barbara 245 228
Otterson, Jack 30, 37, 38 Parkinson, Cliff 50 Perkins, Peter 151
 Index 327

Perrine, Valerie 249 Poitier, Sidney 64, 101, 164, 173, 174, Puzo, Mario 210
Perry, Ben 271 188, 223 Pyle, Denver 205
Perry, Bob 21 Police Story (1985) 254
Perry, Cecil 28 Police Story (TV) 121 Q & A (1990) 284
Perry, Felton 241 Police Story 2 (1985) 254 Quade, John 158, 226, 258
Perry, Jack 24, 32 Police Story 3: Supercop (1992) 254 Quaid, Dennis 200
The Persuaders (TV) 161, 246 Police Woman (TV) 121 Quarry, Jerry 278
Peter Gunn (TV) 92, 122, 164, 236 Polito, Gene 225 Quayle, Anthony 138
Peters, House, Jr. 60, 84 Polito, Sol 14, 20, 24, 59 The Quick Gun (1964) 102
Peters, Jean 95 Pollack, George 173 The Quiet Man (1952) 1, 12, 18, 86,
Peters, Lyn 211 Pollack, Sydney 182, 237 87, 88, 123, 129, 140, 149, 232, 246,
Petrie, Howard 56, 81, 121 Pomeroy, Allen 11, 12, 21, 25, 29, 32, 269, 275, 277, 296
Pevarello, Osarick 201, 212, 227 37, 42, 48, 49, 50, 55, 61, 133 Quinlan, Noel 236
Pevarello, Renzo 212 Pony Express (1953) 96 Quinn, Anthony 15, 79, 91, 92, 97, 98,
Pevney, Joseph 170 Porter, Don 84 105, 107, 116, 128, 274
Phantom of the Plains (1945) 61 Portman, Eric 30 Quinn, William J. 258
Phillips, Frank 197 Post, Ted 195 Quirk, Lawrence J. 22
Phillips, Lou Diamond 61 Potts, Cliff 202 Quirt and Flagg 3, 9, 18, 39, 108, 175
Phillips, Robert 128, 188, 197, 241, Powder Town (1942) 18
262 Powell, Dick 72 Rachel and the Stranger (1948) 48
Physical Demands 181 Powell, Jane 103 The Racket (1951) 48
Picerni, Charles 142, 157, 172, 174, Powell, Nosher 231, 246 Racket Busters (1938) 24
225, 295, 297 Power, Tyrone 35, 54, 98, 113, 135 Rackman, Steve 262
Picerni, Paul 107 Powers, John 262 Raden, Mike 255
Pichel, Irving 80 Powers, Mala 92, 108 Rafelson, Bob 243
Pickard, John 65, 135 Preminger, Otto 78 Raft, George 9, 10, 14, 15, 23, 26, 28,
Pickens, Slim 62, 101, 159, 164, 182, The President’s Lady (1953) 62, 96 31, 32, 33, 104
227, 228, 249, 257 The Presidio (1988) 152 Ragan, Mike 102, 113, 119
Pickup on South Street (1953) 95–96 Presley, Elvis 126, 127, 128, 131, 140, Raging Bull (1980) 224
Pierce, Jack 58, 74 141, 143, 148, 164, 165, 167, 184, Raiders of San Joaquin (1943) 49
Pierre of the Plains (1942) 42 186, 187, 199, 255, 260 Raiders of the Lost Ark (1981) 278,
Pierson, Frank 180 Presley, Priscilla 216 279, 280
Pierson, Rex 284 Presnell, Harve 164 Rails into Laramie (1954) 77, 90
Pine, Bill 38 Preston, Michael 262 The Rain People (1969) 211
Ping, Yuen Woo 253, 262 Preston, Robert 15, 39, 46, 63, 64, 70, Rainer, Luise 19
The Pink Jungle (1968) 156, 173 71, 74, 79, 128 Raines, Steve 94
The Pink Panther 147, 247 Preston, Wayde 135 Rainey, Buck 9
The Pink Panther Strikes Again (1976) Price, Richard 264 The Rainmaker (1956) 86, 121
247–248 Price, Vincent 32, 58, 81, 190 Rains, Claude 34
Pinson, Allen 121, 137, 185 Pride of the Marines (1936) 13 Raisch, Bill 146, 147
Pipasik, George 283 Prime Cut (1972) 91, 230, 233 “The Rakes of Mallow” 86, 269
“Pipeline” 265 The Prince and the Pauper (1937) 41, Rall, Tommy 103
Piper, Roddy 142, 296, 297 65 Rambo—First Blood Part II (1985)
Piranha (1972) 160 Prine, Andrew 183 283
Pirates on Horseback (1941) 44 Prison Break (1938) 39, 65 Rambo 3 (1988) 283
Pitt, Brad 301 The Prisoner of Zenda (1952) 56 Ramos, Rudy 281
Pitti, Carl 104 Production Code Administration Ramoth, William 106
Pittsburgh (1942) 12, 36, 42, 43 (PCA) 59, 110, 114 Ramrod (1947) 79, 86
Pizzuti, Riccardo 201, 211–212 The Professional (1981) 203 Rancho Notorious (1952) 39
P.J. (1968) 159, 274 The Professionals (1966) 46, 139 Randall, Glenn, Jr. 278
Planer, Franz 98 Prohaska, Janos 153 Randall, Jerry 200
Planet of the Apes (1968) 96, 195 Project A (1983) 254 Randall, Tony 160
Planet of the Apes (TV) 160 Project: Kill (1976) 149 Randolph, Ty 225
Plasschaert, Alex 175 Pronto, Joe 211 Randy Rides Alone (1934) 11
Platinum High School (1968) 202 Proportion, Peter 255 Raney, Randy 283
Platt, Louise 32 Props 25, 44, 55, 89, 119, 184, 193, The Range Rider (TV) 73, 80, 90,
Platt, Marc 103 220, 236, 260, 272 104, 113, 122, 126, 205
Playhouse 90 (TV) 97 The Protector (1985) 254 The Rare Breed (1966) 117, 257
Pleasance, Donald 178 Proval, David 224 Rasche, David 281
“Please Mr. Postman” 224 Prowse, David 252, 277 Rashomon (1950) 206
Ploski, Joe 157 The Public Enemy (1931) 14 Rasputin, Ivan 125
Plummer, Christopher 195 Pulford, Don 281 Rasulala, Thalmus 158, 226
Plunder of the Sun (1953) 45 Pullen, William 102 Ravagers (1979) 195
The Plunderer (1919) 5 Purcell, Dick 21 Raw Deal (1948) 65–66
The Plunderers (1960) 116 The Purple Monster Strikes (1945) Raw Edge (1956) 78, 120
Plymouth Adventure (1953) 86 49 Rawhide (TV) 18, 66, 81, 140, 186,
Pock, Bernie 289 Pursued (1947) 47 232
Poe, Fernando, Jr. 87 Pusser, Buford 217 The Rawhide Years (1955) 164
Point Blank (1967) 91, 179, 180 “The Pussy Galore” 162 Ray, Aldo 114, 128, 132, 174, 181, 257
328 Index

Razatos, Spiro 289 The Revolt of Mamie Stover (1955) Roach, Pat 240, 241, 278, 279, 286,
Reaching for the Sun (1941) 39, 79 135 287, 288
Reagan, Ronald 77, 94, 95, 100, 275 Rey, Alejandro 127 Road House (1948) 71, 72, 95
A Real American Hero (1978) 217 Reyes, Gil 285 Road House (1989) 286, 297–298,
Reap the Wild Wind (1942) 12, 54 Reynolds, Bernie 47, 83 301
Rear Window (1954) 117, 171 Reynolds, Burt 66, 141, 142, 144, Road House 2: Last Call (2006) 299
Reason, Rex 58, 97, 101 190–191, 222, 223, 230, 231, The Road to Denver (1955) 90
The Rebel (TV) 16, 202 243,244, 246, 247, 256, 257, 259, The Road Warrior (1982) 290
Rebel in Town (1956) 77 280, 281, 282 Roar of the Iron Horse (1951) 122
Red (2010) 296 Reynolds, William 210 Roarke, Adam 184
Red Ball Express (1952) 174 Rhee, Khang 143 Robards, Jason 68
Red Heat (1988) 291 Rice, Charles J. 169 Robbers’ Roost (1955) 84, 100, 111
Red Mountain (1951) 64 Rich, David Lowell 225 Robbie, Seymour 199
The Red Pony (1949) 48 Rich, Ronald 172, 178 Robbins, Harold 158
The Red Pony (1973) 15, 94, 236 Rich Man, Poor Man (TV) 160, 284 Robbins, Rudy 154
Red River (1948) 12, 65, 69, 70 Richard, Addison 44 Rober, Richard 29
Red River (1988) 70 Richard Diamond, Private Detective Roberson, Chuck 48, 99, 115, 119,
Red River Valley (1938) 73 (TV) 108, 122 124, 130, 133, 144, 150, 154, 157,
Red Skies of Montana (1952) 95, 111 Richards, Jeff 103, 104 160, 162, 176, 183, 189, 190, 192,
Red Sun (1971) 107, 205–206 Richards, Paul 114 195, 196
Red Sundown (1956) 100 Richards, Terry 107, 136, 188, 279 Roberts, Arthur 61
Reddwing, Rodd 80 Richman, Mark 121 Roberts, J.N. 192, 200, 257
Redford, Robert 103, 107, 169, 237 Richmond, Branscombe 146, 217, Roberts, Pernell 128, 244
Redigo (TV) 135 280, 294, 298 Roberts, Roy 15, 80
Redman, Frank 48 Richmond, Kane 35, 84 Robertson, Dale 13, 42, 112, 129
Reed, Alan 96 Richmond, Ken 77 Robin and Marian (1976) 152
Reed, Donna 90, 101 Rickman, Alan 295 Robinette, Dale 251
Reed, Jerry 142 Riddle, Nelson 157, 172 Robinson, Andy 218, 283
Reed, Marshall 49, 67 Rider, Michael 298 Robinson, Bernard 130
Reed, Maxwell 114 Ride a Crooked Trail (1958) 102, 148 Robinson, Dar 142, 234
Reed, Michael 245 Ride Beyond Vengeance (1966) 126, Robinson, Dewey 28, 54
Reed, Oliver 195, 208, 246 168, 169 Robinson, Doug 208, 231
Reed, Philip 120 Ride Clear of Diablo (1954) 102 Robinson, Edward G. 24, 32, 33, 74
Reed, Walter 131 Ride Out for Revenge (1957) 86, 120 Robinson, George 38, 108, 126
Reese, Tom 140, 141, 158, 164, 236 Ride the High Country (1962) 79, 160, Robinson, Hank 228
Reeve, Christopher 277, 278 255 Robinson, Joe 124, 162, 171, 178, 206,
Reeves, Bob 55, 84 Ride the Man Down (1952) 67, 68 207, 208
Reeves, Steve 135, 138, 233 Rider on the Rain (1970) 189 Robinson, Sugar Ray 55
Regan, Charles 63, 76 Riders of Black River (1938) 20 Robinson, Terry 22, 29, 44
Reggiani, Aldo 196 Riders of Death Valley (1941) 13 Robinson, Tony 231
Reid, Milton 252 Riders of Destiny (1933) 11 Robotham, George 83, 92, 97, 101,
Reisner, Allen 129 Riders of the Deadline (1943) 47 104, 118, 124, 140, 144, 164, 192
Remar, James 262, 263, 264, 283 Riders of the Purple Sage (1942) 84 Robotham, John 255
Remick, Lee 134 Riders of the Rockies (1937) 18 Rocco and His Brothers (1960) 190
Renault, Jack 50 Riders of the Timberline (1941) 27, 44 Rock Island Trail (1950) 42, 68
Renegade (TV) 226 Ridgeway, Suzanne 119 Rock, Pretty Baby (1956) 222
Rennahan, Ray 96, 118 Riding the Wind (1942) 65 The Rockford Files (1974) 173, 261
Renoir, Claude 252 Riebe, Loren 31, 35, 61 The Rockford Files (TV) 173, 222
Requiem for a Gunfighter (1965) 55, The Rifleman (TV) 89, 118, 122, 168, Rocky (1976) 282, 283
67 169, 233, 252, 272 Rocky V (1990) 283
Requiem for a Heavyweight (1962) Rim of the Canyon (1948) 73, 80 Rode, Alan K. 83
92 Rimfire (1949) 133 Rodgers, Mic 293, 298
Requiem for a Heavyweight (TV) 97, Rio Bravo (1959) 85, 126, 158, 175 Rodney, John 47
152 Rio Conchos (1964) 111, 122 Roger Torrey, Gangster (1944) 74
The Restless Breed (1957) 75, 100 Rio Lobo (1970) 12 Rogers, Buddy 37
The Restless Gun (TV) 77 Riot in Cell Block 11 (1954) 99 Rogers, John 21
The Restless Years (1957) 222 Riot on the Sunset Strip (1967) 174 Rogers, Roy 26, 57, 59, 60, 73, 83,
Return of a Man Called Horse (1976) Rising Sun (1993) 152, 265 133
195 Riss, Dan 64 Rogers, Wayne 46, 89
The Return of Jack Slade (1955) 26 Ritt, Martin 194 Rogue Cop (1954) 23, 33, 104
The Return of Mr. Moto (1965) 148 Ritter, Tex 18, 48, 49 Rogue River (1951) 98, 120
Return of the Badmen (1948) 43, 46, River Lady (1948) 57, 67 Roizman, Owen 237
68–69 River of No Return (1954) 48, 89, 120 Roland, Gilbert 64
Return of the Dragon (1972) 215–216, The River Pirate (1928) 18 Roland, Rita 187
217 Riverboat (TV) 57, 66, 142, 157 Rolling Thunder (1977) 179
The Return of Wildfire (1948) 37 Rivers, Joe 8, 19 Roman, Ric 146, 158
Return to Macon County (1975) 284 The River’s Edge (1957) 92 The Romance of Rosy Ridge (1947)
Revenge of the Pink Panther (1978) River’s End (1940) 28 62, 63
260 Roach, Hal 32 Romanoff, Constantine 32, 63
 Index 329

Romanus, Richard 224 Russell, John 66, 67, 68, 74, 78, 79, Santa Fe Passage (1954) 77, 100
Romero, Alex 103 82, 120, 122, 128, 135 Santa Fe Saddlemates (1945) 52
Romero, Cesar 172 Russell, Kurt 108 Santa Fe Trail (1940) 41
Romero, Eddie 241 Russell, Rosalind 26 Santiago (1956) 64
Romero, Ned 251 Russell, William 171 Santillo, Frank 160, 214
Rominger, Glenn 9 Russo, Gianni 210 Santschi, Tom 3, 5, 6, 8, 110
Romito, Victor 157 Ruttenberg, Joseph 148 Sarafian, Richard C. 222
Rondell, Reid 286 Ryan, Robert 13, 39, 45, 46, 56, 68, Saratoga Trunk (1945) 30, 55, 56
Rondell, Ronnie, Jr. 124, 137, 144, 69, 71, 88, 89, 91, 92, 109, 117, 123, Sargent, Bobby 280, 281
157, 163, 164, 174, 184, 189, 228 133, 134, 257 Sarrazin, Michael 202
Rooker, Michael 230 Rydell, Mark 209 Sasamori, Dr. Juzo 206
Rooney, Mickey 17, 202 Ryder, Mitch 199 Saskatchewan (1954) 64, 174
Rope of Sand (1949) 113 Ryder, Rob 264 Satan’s Sadists (1969) 103
Roper, Jack 40, 54, 61, 76, 86 Saunders, Patti 163–164
Rosales, Thomas, Jr. 255 Saddle Tramp (1950) 78, 79, 82 Saunders, Russ 94, 104, 138
Rose, Bob 17, 21, 31, 55, 87, 163 Sadilek, Frank 100 Savage, Archie 107
Rose, Sherman 27, 41 Sadler, William 295 Savage, Milo 224
Rose, Wally 120, 124, 150, 163, 172, Saenz, Eddie 118, 120 The Savage Horde (1950) 61
175, 192 The Saga of Hemp Brown (1958) 120 Savalas, Telly 182
Rosebrook, Jeb 214 Sagebrush Trail (1933) 11 Savate 129, 156
Rosenberg, Stuart 180 Sailor’s Luck (1933) 27 Sawaya, George 172, 174, 228
Rosenbloom, Maxie 18, 26 The Saint (TV) 246 Sawtell, Paul 65, 68, 74, 80, 96, 118
Rosenman, Leonard 189, 195 St. Claire, Michael 168 Sawyer, Joe 14, 15, 24, 45, 73
Rosenthal, A.J. 260 St. Ives (1976) 107 Saxe, Carl 104, 114, 174, 194
Ross, Barney 129 St. John, Jill 207 Saxon, Aaron 53
Ross, Michael 41, 43 The St. Louis Kid (1934) 14 Saxon, John 96, 113, 219, 221–222,
Rossi, Count 10 Saito, Bill 48, 132, 262 262
Rossini, Gioacchino 208 Sakaguchi, Seiji 217 Scaife, Edward 137, 185
Rosson, Harold 28, 83, 105, 112, 176 Sakata, Harold “Oddjob” 139, 160, Scalawag (1973) 78, 105, 200
Rossovich, Rick 291 161, 162, 202, 252, 278 The Scalphunters (1968) 113, 182, 183
Rossovich, Tim 257, 269, 272 Saloon Brawls 8, 20, 21, 24, 25, 30, 31, Scammell, Roy 208, 240
Rothman, Marion 204 44, 48, 49, 50, 60–61, 63, 83–84, Scaramouche (1952) 56
Rothrock, Cynthia 271, 192 93, 118–119, 140, 145, 159–160, Scarecrow (1973) 230
Rotter, Stephen A. 230 162–163, 164, 171–172, 175, 183– Scarface (1932) 33
Rough Night in Jericho (1967) 158, 184, 185–186, 212, 214–215, 224, Scarlato, Joseph 71
159, 182 225, 227–228, 231, 255–256, 257, Scarlet Angel (1952) 101
Rough, Tough, and Ready (1945) 18 268–269, 270, 277, 298 Schaefer, Jack 92
The Rounders (1965) 15, 45 Salter, Hans 30, 37, 42 Scharf, Walter 54
Rourke, Mickey 281, 283 Salute to the Marines (1943) 10 Scheider, Roy 247
Roustabout (1964) 127, 143 Salvorti, Renalto 190 Scheiwiller, Fred 157, 228, 257
Route 66 (TV) 83, 91, 132, 141, 142, Sam Whiskey (1969) 136, 142 Schenk, George 190
168, 184, 223, 231 Sambrell, Aldo 102, 142, 191 Schifrin, Lalo 181, 185, 219, 273
Rouvelle, Catherine 203 Sampson, Will 252 Schlesinger, John 247
Rowe, Ralph 150 Samra, Ofra 291 Schmeling, Max 10
Rowland, Roy 62, 104 Samson and Delilah (1949) 32, 55 Schneiderman, George 7
Roy, John 157 Le Samurai (1967) 190 Schreyer, John F. 98, 190
The Roy Rogers Show (TV) 60, 108 San, Lee Hoi 292 Schueneman, Karl 156
Roya, David 204, 205 San Antone (1953) 26, 67, 68 Schulberg, Budd 105
Royce, Frosty 43, 47 San Antonio (1945) 41 Schulte, Rainer 260
Royko, Mike 70 San Antonio Kid (1944) 61 Schumacher, Phil 83
Rozsa, Miklos 53 San Francisco (1936) 28 Schuster, Harold 13
Ruehl, Mercedes 264 The San Francisco Story (1951) 39, 79 Schwartz, Howard 172
Ruffin, Don 280 San Quentin (1937) 24 Schwarzenegger, Arnold 160, 188,
Ruggiero, Gene 124 San Quentin (1946) 65 211, 243, 244, 283, 290, 291, 295,
Ruitters, Reo 245 San Soo Kung Fu 160, 247 301
Rumble in the Bronx (1996) 254, 274 Sanchez, Marcelino 264 Scofield, Granville Owen 66
Run, Angel, Run! (1969) 199 Sande, Walter 64, 73, 102 Scorchy (1976) 160
The Runaround (1946) 31, 67 Sanders, George 22, 35 Scorsese, Martin 88, 150, 184, 224
The Running Man (1987) 188, 291 Sanders, Sandy 73, 84 Scott, George C. 175
Runyon, Damon 118 Sanderson, Harold 166 Scott, Gordon 135, 137, 138, 139
Ruoff, Lane 264 Sandor, Steve 97, 159, 229, 233, 269– Scott, Ken 250
Rupp, Sieghardt 205 270 Scott, Randolph 1, 6, 13, 26, 28, 34,
Rush Hour (1998) 274 The Sandpiper (1965) 107 36, 37, 38, 42, 43, 44, 56, 57, 62,
Russel, Tony 205 Sands, Danny 163, 192 65, 66, 67, 68, 69, 74, 79, 80, 82,
Russell, Bing 211 Sands of Iwo Jima (1949) 68, 196, 202 90, 91, 92, 100, 108, 110, 115, 116,
Russell, Gail 60 The Sands of the Kalahari (1965) 250 118, 122, 301
Russell, J. Gordon 26 Sanford, Ralph 25 Scott, Talmadge 273
Russell, Jack 88 Santa Fe (1951) 43, 79, 80, 81 Scott, Timothy 232
Russell, Jane 81, 83 Santa Fe Marshal (1940) 44 Scott, Walter 164, 219, 249, 277
330 Index

Scott, Walter M. 130, 195 Shane (TV) 262 Sieggmann, George 50

Scott, Zachary 95, 121 Shanghai Knights (2003) 254 Sign of the Pagan (1954) 97, 116
Scotti, Vito 232 Shanghai Noon (2000) 254 Sikking, James B. 231
Screenwriters 150 Shannon, Billy 154, 160, 177, 228 The Silent Flute (1979) 168, 213, 261
The Sea Bat (1930) 13 Sharif, Omar 128 Silent Rage (1982) 217
Sea Devils (1937) 17, 18, 74 Sharkey, Ray 284 Silliphant, Stirling 242, 261
Sea Fury (1958) 124 Sharky’s Machine (1981) 142, 281– Sills, Milton 5
The Sea Hawk (1940) 41 282 Silva, Henry 23, 89, 102, 147, 148,
The Sea Hornet (1951) 62, 67 Sharp, Alex 163 250, 280, 281, 294, 295
Sea Hunt (TV) 86, 234, 272 Sharp, Clint 104 Silvani, Al 146, 171, 224, 259
Seabo (1977) 261 Sharpe, David 31, 35, 59, 60, 61, 64, Silver, Joe 8
Seagal, Steven 148, 288, 294, 295 100, 102, 103, 119, 125, 127, 129, Silver, Joel 290
The Seal (TV) 234, 272 163, 170, 174, 175, 228 The Silver Horde (1930) 79
Search and Destroy (1981) 200 Shatner, William 99, 143, 149, 189, Silver Queen (1942) 41
Second Chance (1953) 47, 97 236, 270 Silver River (1948) 41, 65
Secret Agent (TV) 124 Shatter (1974) 250 Silvera, Frank 139
Secret Agent of Japan (1942) 74 Shaughnessy, Mickey 45, 72, 127, 128, Silverheels, Jay 116, 119
Secret Agent X-9 (1945) 86 140, 249 Silvestri, Umberto 104, 105
Secret Command (1944) 65 Shaw, Robert 151, 152, 207, 250 Simmons, Bob 151, 161, 166, 178,
The Secret Fury (1950) 46 Shaw, Run Run 242 207, 251, 252
Secret Service in Darkest Africa (1943) Shaw, Victoria 137 Simmons, Jean 118, 182
49, 67 She Wore a Yellow Ribbon (1949) 18, Simmons, Willie 293
Secret Service of the Air (1939) 95 75, 76, 122 Simon, Abe 105
“See See Rider/Jenny Take a Ride” Shea, Billy 63 Simon and Simon (TV) 82, 160, 233
199 Sheehan, Konrad 264, 265 Simonovich, Lucky 89
Seiler, Lewis 42 The Sheepman (1958) 45, 128 Simpson, Mickey 21, 43, 52, 75, 81,
Seinfield (TV) 86 Shelden, Milan 261 82, 111, 119, 121, 122, 136, 233
Seiter, William A. 48 Sheldon, Les 223 Simpson, O.J. 235
Seitz, George B. 19 Shelton, Joy 56 Simpson, Robert 191, 196
Seitz, John F. 63, 104 Shenandoah (1965) 117 Sin Town (1942) 31, 38, 39
Selander, Lesley 27, 66, 97 Shepard, Courtland 171 Sinatra, Frank 47, 119, 146, 147, 148,
Selleck, Tom 272, 281 The Shepherd of the Hills (1941) 12, 157, 158, 164, 198, 208, 259
Sellers, Peter 147, 247, 248 39, 50 Sinclair, Madge 256
Selznick, David O. 41 Sherman, Al 8 “Sing, Sing, Sing” 268
Seminole (1953) 101, 174 Sherman, Roger 285 Singer, Marc 183
Semple, Lorenzo, Jr. 172, 237, 274, Sherman, Stanford 276 Singin’ in the Rain (1952) 117
286 Sherman, Vincent 83 Singleton, Penny 26
Sennett, Mack 145 Sherrod, John 284 Sirrico, Tony 224
Sergeant York (1941) 30, 39 Shiatch, Dan 56 The Six Million Dollar Man (TV)
Sergeants 3 (1962) 145–146, 158 Shields, Sonny 284 222
Sergel, Jack 53, 54, 224 Shigeta, James 132, 137, 149 16 Fathoms Deep (1948) 34, 86
Server, Lee 70, 82, 88 Shih, Kien 219, 221 Skall, William V. 84, 129
The Set-Up (1949) 46, 89 Shimada, Teru 24, 177 Skeen, Charlie 285
Seven, Johnny 107 “The Shin-Kicking Club” 34 Skin Game (1971) 173
Seven (1979) 261 Shire, Talia 210 Skinner, Frank 26, 30, 74
Seven Brides for Seven Brothers (1954) Shock Corridor (1963) 133, 1150–151 Sklover, Carl 163
103–104, 201 The Shock Punch (1925) 50 Sky Devils (1931) 44
Seven Men from Now (1956) 91 Shock Treatment (1964) 250 Skyjacked (1972) 96, 225
The Seven Samurai (1954) 206 “Shoot” 77, 274 Skyscraper (1927) 44, 63
Seven Sinners (1940) 8, 12, 30, 31 Shootfighter (1993) 222 Skyscraper Wilderness (1937) 18
Seven Ways from Sundown (1960) 102 Shooting Straight (1930) 50 The Slams (1973) 188
Seven Women (1966) 54, 139, 166– Shorr, Lester 168 “The Slap Club” 34
167 Short, Luke 70, 72 Slap Shot (1977) 171
7th Cavalry (1956) 43, 100 Short Grass (1950) 66 Slapstick Fights 76, 103, 118, 124, 145,
77 Sunset Strip (TV) 98, 122, 131 A Shot in the Dark (1964) 247 153, 171, 200–201, 212, 226–227,
Seward, Blanche 28 Shotgun (1955) 112, 121 246, 256
Sexton, Frank 40 Shotgun Slade (TV) 75, 104 Slate, Jeremy 127, 162, 183, 184
Seydel, Jurgen 143 Shotokan Karate 91, 143, 222, 226, Slaughter (1972) 188, 223
Shaber, David 264 241 Slaughter in San Francisco (1973) 217
The Shadow (1940) 27 Shout at the Devil (1976) 91, 244– Slaughter on Tenth Avenue (1957) 135
Shadow in the Sky (1952) 115 245 Slaughter’s Big Rip-Off (1973) 137,
Shadow of Chikara (1977) 218 Showdown at Abilene (1956) 81 188, 200, 223–224
Shail, Robert 124 Shreave, James 214 Slave Ship (1937) 10
Shalako (1968) 139, 152 Shumate, Harold 50, 56, 70, 79 Sleeper (1973) 141
Shamrock, Frank 217 Shun-yi, Yuen 253 Slightly Honorable (1939) 31
Shamroy, Leon 140 Sickner, Roy 154 Slim (1937) 15
Shamus (1973) 142 Sidney, Sylvia 15 Slocombe, Douglas 279, 287
Shane (1953) 64, 92, 93, 94, 118, 121, Siege at Red River (1954) 111 Slomanski, Hank 143
231, 275 Siegel, Don 55, 99, 140, 141, 185 Slow-Motion 213, 214, 215, 219, 225,
 Index 331

230, 234, 241, 242, 245, 248, 256, The Sound of Fury (1951) 86 Stang, Arnold 152, 153
262, 267, 285, 292 Sousa, John Phillip 234 Stanley, Frank 233
Smachi, Sergio 201 South of Pago Pago (1940) 18 Stanwyck, Barbara 26
Small, Buddy 98 South of St. Louis (1948) 28, 79 Star in the Dust (1956) 26
Smashing the Money Ring (1939) 95 South Park (TV) 297 A Star Is Born (1976) 256
Smith, Dean 105, 154, 163, 174, 202, South Sea Woman (1953) 113, 169 Star of Texas (1953) 21, 122
237 Southwest Passage (1954) 66, 67 The Star Packer (1934) 12
Smith, Dick 247 Soylent Green (1973) 169 “The Star-Spangled Banner” 214
Smith, Don G. 76 Space Cowboys (2000) 186 Star Trek (TV) 143, 149, 211, 236,
Smith, Howard 76 The Spanish Main (1945) 55, 65 270
Smith, Jack Martin 172, 195 Sparr, Robert 190 Star Wars (1977) 252
Smith, Jamie 139 Spartacus (1960) 65, 83, 105, 138, Starcrash (1979) 251
Smith, John 77, 89, 115, 125, 233 139, 140, 164 Stark, Richard 180
Smith, Leonard 22 Sparv, Camilla 271 Starr, Ron 79
Smith, Paul L. 139, 201 Spawn of the North (1938) 15, 33 Starr, Sally 26
Smith, Ted 24, 40 Speakman, Jeff 261 Starrett, Charles 20, 49, 86, 112, 117,
Smith, Wilbur 184 Spears, Jan 265 119, 133
Smith, William 1, 55, 78, 88, 97, 123, Speedtrap (1977) 218 Starrett, Jack 223, 282, 283,
142, 160, 173, 178, 195, 197–199, Speedway (1968) 127 “The Stars and Stripes Forever” 175
211, 221, 222, 226. 228, 229, 232, Spencer, Bud 97, 200, 201, 212, 226, State Trooper (TV) 67
233, 259, 261, 262, 275, 276, 277, 227 Statham, Jason 301
284, 298 Spencer, Dorothy 140 Station West (1948) 26, 72–73
Smoke Signal (1955) 58 Spencer, William 144 Statler, Mary 163
Smokey and the Bandit (1977) 259 Sperber, Wendie Jo 268 Stay Away, Joe (1968) 127
Smoky (1933) 28 Spielberg, Steven 268, 278, 279 Stay Hungry (1976) 244–245
Smoky (1946) 15, 42 Spiker, Ray 84, 140, 157 The Steel Cage (1954) 66
Smoky (1966) 114 Spillane, Mickey 83, 114, 115 Steele, Bob 3, 4, 14, 16, 18, 24, 34,
Smolek, Jeff 289 “Spinning Back Kick” 217 102, 103
Smoorenberg, Ron 254 Spirit of the Eagle (1991) 160 Steele, Freddie 40, 55
Snake in the Eagle’s Shadow (1978) SPL (2005) 292 Steele, Tom 31, 35, 48, 49, 50, 52, 61,
253–254 The Split (1968) 110, 187, 188, 189 84, 100, 104, 119, 150, 154, 157,
Snatch (2000) 301 The Spoilers (1914) 3, 5, 6, 7, 13, 17, 163, 228
Snatch, Sammy 157 19, 20, 29, 32, 33, 37, 46, 52, 61, 72, Steiger, Rod 106
Snipes, Wesley 283, 301 74, 83, 94, 108, 110, 116, 121, 134, Stein, Abe 53
Snowfire (1958) 118 173 Stein, Herman 103
Snyder, Edward 8 The Spoilers (1923) 5 Stein, Ron 298
Snyder, William 97, 119 The Spoilers (1930) 5, 29, 30 Stein, Sammy 18, 40, 55
Soble, Ron 110, 155 The Spoilers (1942) 1, 6, 12, 36, 37, Steinbeck, John 48
Soldier in the Rain (1963) 155, 156 38, 39, 41, 42, 43, 49, 66, 68, 140, Steiner, Max 23, 55, 56, 59, 64, 129
Soldier of Fortune (1955) 29 232, 276 Steinkamp, Fredric 148, 173
Soldier of Fortune (TV) 82 The Spoilers (1955) 6, 115, 116, 120, Stell, Aaron 175
Soldiers Three (1951) 56 132 Stell, Frank 226
Solis, Raymond 242 Spoilers of the Plains (1951) 60 Stephens, Harvey 23
Solomon and Sheba (1959) 35 The Sport Parade (1932) 79 Stephens, John M. 204
Some Came Running (1958) 146, 158 Spottiswood, Roger 239 Sterling, Jack 62, 94
Somebody Up There Likes Me (1956) Springfield Rifle (1952) 30, 34 Sterling, Robert 71
171, 177 Springtime in the Sierras (1947) 60 Stern, Phil 12
Something Big (1971) 158, 257 Spy Smasher (1942) 35, 36 Stern, Tom 183, 184, 278
Something of Value (1957) 101 The Spy Who Loved Me (1977) 246, Stevens, Craig 41, 78, 92, 122, 164
Something to Sing About (1937) 14 251–252 Stevens, George 92, 93, 94, 121, 122
Something Wild (1986) 281 Stacey, Eddie 172 Stevens, Leith 170, 177
Sometimes a Great Notion (1970) 171, Stack, Robert 71, 97, 98, 101, 184 Stevenson, Adlai 197
202, 236 Stacy, James 68 Stewart, James 26, 57, 112, 115, 116,
Sommers, Cap 140, 172 Stader, Paul 40, 55, 68, 81, 92, 97, 117, 133, 156, 171, 257
Son of Fury (1942) 35 122, 124, 130, 154, 156, 157, 163, Stewart, Nils Allen 142
Song of Arizona (1946) 60 164, 195, 228 Stewart, Rod 55
Song of Texas (1943) 60 Stadtler, Phil 182 Stick (1985) 142
Sonnenberg, Gus 19 Stage to Tucson (1950) 21, 67 Stiles, Robert 75
The Sons of Katie Elder (1965) 12, Stagecoach Kid (1949) 65 Stine, Clifford 94
121, 156, 158, 162 Stagecoach to Denver (1946) 51 Stine, Harold 8, 177
Soo, Park Jong 200 Stagecoach West (TV) 89, 132, 148 Stoloff, Ben 17
The Sopranos (TV) 211 The Stalking Moon (1969) 128 Stompanato, Johnny 152
Sorbo, Kevin 217 Stallion Road (1947) 95 Stone, Mike 225, 261
Sorensen, Paul 110 Stallone, Frank 281 Stone, Peter 156
Sorrell, Karen 21 Stallone, Sylvester 105, 244, 262, Stoner (1974) 193, 292
Soul, David 298 282, 283, 291, 295, 301 Stoney, Jack 13, 25, 35, 48, 50, 61, 84,
Souls at Sea (1937) 30 Stamp, Terence 208, 277 108
Sound Effects 3, 68, 225, 235, 257, Stampede (1949) 67 Stoney Burke (TV) 131, 132
277, 280, 289 Stand Up and Fight (1939) 10, 22, 23 Storch, Larry 162, 163
332 Index

Stories of the Century (TV) 62 Surtees, Robert 209 Tarzan Goes to India (1962) 81, 100
The Storm (1938) 13, 65 Susannah Pass (1949) 59 Tarzan the Ape Man (1959) 272
Stout, Archie 11, 57, 61, 75, 86, 99 Sutton, Robert 186 Tarzan the Magnificent (1960) 80,
Stradling, Harry, Jr. 118, 193, 223, 255 Sutton, Tom 249 137, 138
Stranded (1936) 65 Suzanne, George 32, 49 Tarzan’s Fight for Life (1958) 138, 139
Strange, Glenn 25, 38, 44, 50, 55, 61 Svenson, Bo 217, 262, 274 Tarzan’s Greatest Adventure (1959)
Strange Cargo (1940) 29, 39 Swamp Fire (1946) 38 137, 138
Strange Lady in Town (1955) 58, 112 Swamp Water (1942) 26, 39, 58 Tarzan’s Magic Fountain (1949) 108
Strange New World (1975) 222 Swayze, Patrick 262, 286, 297, 298, Tarzan’s Three Challenges (1963) 81,
Strange Shadows in an Empty Room 301 139
(1977) 249–250 The Sweeney (TV) 231 Tatum, Larry 260
The Stranger and the Gunfighter (1974) Sweet, Tom 141 Taurog, Norman 143, 148, 186, 187
206, 212 Sweet Bird of Youth (1962) 171 Taxi (1932) 14, 33
The Stranger Wore a Gun (1953) 43, Swenson, Jeep 272 Taylor, Brian 264
91, 110 Swing High, Swing Low (1937) 15, 92 Taylor, Dub 191
Strangers When We Meet (1960) 105 “Swing, Swing, Swing” 268 Taylor, Duke 19, 35, 92
Straw Dogs (1971) 214 The Swiss Conspiracy (1975) 222 Taylor, Kent 6, 84
The Street Fighter (1975) 239 Swofford, Ken 187 Taylor, Larry 115, 173, 245
Street Hunter (1990) 255 Swoger, Harry 218 Taylor, Ray 48
Street-fighting 185, 259, 271, 290, The Sword and the Sorcerer (1982) Taylor, Robert 22, 23, 33, 56, 104,
294, 299 251 131, 132, 148
A Streetcar Named Desire (1951) 101, Synanon (1965) 169 Taylor, Rock 274
106 Sze, Tang 219 Taylor, Rod 1, 64, 88, 126, 137, 176,
Streets of Fire (1984) 289–290 177, 178, 184, 185, 195, 197–199,
Strickland, Connie 229 Tae Kwon Do 143, 216, 226, 254 221, 236, 275
Strictly Dynamite (1942) 18, 77 Taeger, Ralph 126, 168, 252 Taylor, Ronnie 261
Strike It Rich (1949) 67 Tafler, Sydney 171 Taylor, Tiny Ron 298
Strode, Woody 81, 82, 138, 139, 140, Tai Chi Chuan 222, 234, 284 Taza, Son of Cochise (1954) 101
148, 152, 166, 167, 186, 278 Tai-Chung, Kim 267 Teague, Guy 74
Stromsoe, Fred 172, 185, 228, 241, Take a Hard Ride (1975) 188, 206, Teague, Marshall 60, 217, 297, 298
249, 250 226 Teal, Ray 30, 58, 101, 120
Strong, Patrick 260 Take Me to Town (1953) 120 Ted (2012) 275
Strongbow, Jules 32 Take the High Ground (1953) 95–96 Teenage Thunder (1957) 205
Stroud, Don 78, 105, 159, 185, 186, Talbot, Lyle 24 Tegner, Bruce 23, 100, 109, 131, 147,
199, 200, 217, 223, 241, 262 Talbot, Michael 254, 255, 282, 283 165, 166, 167
Stryker (1983) 270 Talbot, Slim 55, 85 Tegner, June 23
Stuart, Jeb 295 Tales of Wells Fargo (TV) 112, 126 Temple Houston (TV) 89
Stuart, Randy 26 Tall in the Saddle (1944) 12, 39, 50, Templeton, George 8
Stunt Coordinators 4, 17, 61 51 Ten Little Indians (1966) 173–174
Stunt Doubles 2, 3, 58 Tall Man Riding (1955) 43, 122 Ten Nights in a Barroom (1932) 6
Stunt Specialists 264 The Tall Stranger (1957) 79 Ten North Frederick (1958) 250
Stuntmen’s Association of Motion Pic- Tallman, Patricia 298 Ten Seconds to Hell (1959) 97, 116
tures 17, 44, 47, 91, 117, 120, 126, Talmadge, Richard 7, 15, 31, 32, 44, Ten Tall Men (1951) 113
135, 155, 160, 164, 173, 198 48, 61, 140 Ten Wanted Men (1955) 43, 100
Sturges, John 109, 110, 145 Tam, Simon 242 Ten Who Dared (1960) 94, 257
Sudden Death (1975) 200, 241–242 Tamblyn, Russ 103 Tenbrook, Harry 10
Sudden Impact (1983) 186 Tan, Lawrence 265 Tennessee Champ (1954) 107, 121
Suga, Toshiro 246 Tanaka, Professor Toru 217 The Tennessee Ernie Ford Show (TV)
Sugino, Yoshio 206 Tang, Wilfred 242 77
Sukman, Harry 137, 144 Tang Soo Do 216 Tennessee’s Partner (1954) 77, 95
Sullivan, Barry 75, 100, 102 Tango and Cash (1989) 283 Tension at Table Rock (1956) 135
Sullivan, Brick 87 Tao, Hu Tsung 265 Terhune, Bob 193
Sullivan, Charles “Chuck” 8, 63, 157 Tarantino, Quentin 184, 212, 226, The Terminator (1984) 291
Sullivan, John 248 235, 262 Terminator 2: Judgment Day (1991)
Sullivan, John L. 10, 40, 41, 67, 126 Taras Bulba (1962) 164 291
Summers, Jerry 154, 163, 185 Tarbes, Jean Jacques 203 Terrell, Ken 31, 35, 49, 61, 81, 84, 103
Summers, Neil 154, 249 Tarkington, Rockne 181, 221, 228, Terror in a Texas Town (1958) 121
Sun, James Wang 219 229, 270 The Terrorists (1974) 152
Sundholm, William 32 Tarn, Michael 208 Terschel, Richard 285
The Sundown Rider (1933) 39 Tarzan (TV) 81, 100, 115, 140, 181, Tessier, Robert 1, 238–240, 250, 251,
The Sundowners (1950) 71 229, 234 256, 257, 280
The Sundowners (1960) 48 Tarzan and the Great River (1967) Tesuji, Murakami 143
Sunset (1988) 295 181 The Texan (TV) 120, 128
Super Fuzz (1980) 201 Tarzan and the Huntress (1947) 122 Texans Never Cry (1951) 73
Superman II (1980) 277–278 Tarzan and the Jungle Boy (1968) 181 Texas Across the River (1966) 158,
Support Your Local Gunfighter (1971) Tarzan and the Slave Girl (1950) 108 190
193 Tarzan and the Trappers (1958) 138 Texas John Slaughter (TV) 115, 244
Support Your Local Sheriff (1969) 193 Tarzan and the Valley of Gold (1966) The Texas Rangers (1951) 84
Surtees, Bruce 230, 255 118, 181 “Texas Switch” 196
 Index 333

Texas Terror (1935) 12 Tidyman, Ernest 268 Trailin’ Danger (1947) 49

The Texican (1966) 102 Tien, James 266 The Train Robbers (1973) 178
Thackery, Bud 52, 185 Tierney, Gerald 74 Trained to Kill, USA (1975) 229, 270
That Man Bolt (1973) 225–226 Tierney, Lawrence 65, 66, 74, 75, 79, Trapeze (1956) 113, 164
That Man from Rio (1964) 203 108 Trapped (1949) 86
T.H.E. Cat (TV) 156 Tiger Cage (1974) 160 The Travels of Jamie McPheeters (TV)
These Thousand Hills (1959) 134, “Tiger Claw Technique” 283 55, 108
135, 236 The Tiger Woman (1944) 49 Travers, Bill 173, 186
Thesz, Lou 54, 78, 224 Tightrope (TV) 55 Treasure of the Sierra Madre (1948)
They Call Me Renegade (1988) 201 Till the End of Time (1946) 48 24, 65–66
They Call Me Trinity (1970) 200– Tillman, Mike 281 Trenchard-Smith, Brian 236, 237
201, 202, 212, 227 Timber Tramps (1975) 89, 126 The Trial of Billy Jack (1974) 204,
They Died with Their Boots On (1941) Timberjack (1955) 121 229–230
41 Time Limit (1957) 96 “Triangle Choke” 292
They Drive by Night (1941) 33 The Time Machine (1960) 177 Tribes (1970) 281
They Live (1988) 296–297, 298 Tin Pan Alley (1940) 76 Tribute to a Bad Man (1956) 15
Thiesman, Joe 280 The Tingler (1959) 7 Trinity Is Still My Name (1971) 201,
“The Thieving Magpie” 208 Tiomkin, Dimitri 69, 85, 112, 121 212
The Thin Red Line (1964) 223 Tip on a Dead Jockey (1957) 23, 132 Triplett, John 172
The Thing from Another World (1951) T.J. Hooker (TV) 189 Tropic Zone (1953) 95
123, 209 To Live and Die in L.A. (1985) 281 Trouble in Mind (1985) 256
The Third Day (1965) 159 To the Last Man (1933) 38, 43 Trouble in the Glen (1954) 68
13 Rue Madeleine (1947) 54 Tobey, Kenneth 103, 124, 203 Troublemakers (1994) 201
This Property Is Condemned (1965) Tobruk (1967) 101, 159 Truck Turner (1974) 118
107 Todd, Edward 35 True Lies (1994) 291
This Sporting Life (1963) 195 Tokyo Joe (1949) 23, 24 Trumbo, Dalton 138, 146
Thomas, Bill 38 Tol’able David (1921) 7 Tryon, Tom 115, 164, 245
Thomas, Bruce 215 Tol’able David (1930) 7 Tuan, William 254
Thomas, Larri 118 Toland, Gregg 29 Tucker, Forrest 29, 30, 42, 43, 61, 67,
Thompson, Brian 283 Tolbert, R.L. 298 68, 73, 74, 75, 77, 82, 112, 116, 128,
Thompson, Carlos 23 Tomasini, George 63 196, 231, 232
Thompson, J. Lee 144 Tomassi, Vincenzo 249 Tufts, Sonny 77
Thompson, Walter 35 Tomei, Louis 31, 35 Tuisolega, Tino 261
Thoms, Jerome 137 Tone, Franchot 29 Tully, Tom 29
Thordsen, Kelly 58, 102, 117, 148 The Tonight Show (TV) 162 Tulsa (1949) 39, 71
Thornton, Mairtin 87 Tony Rome (1967) 146 Tumbleweed (1953) 101, 102
Thorpe, Harry 7 Too Much, Too Soon (1958) 41 Turkel, Joe 115
Thorpe, Jim 19, 41 Too Tough to Kill (1935) 28 Turn the Other Cheek (1975) 201, 212
Thorsen, Sven-Ole 291 Toone, Geoffrey 257 Turner, Derek 195
Three Blondes in His Life (1961) 81 Top Gun (1955) 121 Turner, Don 21, 25, 59, 85, 120
Three Days of the Condor (1975) 237– Top Secret (1984) 228 Turner, Earl 49
238 Topper, Burt 205 Twelve Weeks in Hong Kong 222
Three Fugitives (1989) 284 Torn, Rip 96, 171 Twelvetrees, Helen 8
Three Hours to Kill (1954) 58 Torn Curtain (1965) 171 20 Mule Team (1940) 10
The Three Musketeers (1948) 117 Tornatore, Joe 229 20,000 Leagues Under the Sea (1954)
Three the Hard Way (1974) 188, 221, Tornek, Jack 55 105, 112
226 Torrence, Ernest 7 20,000 Men a Year (1939) 74
Thunder Afloat (1939) 10 Torrey, Roger 58, 116, 123 Twice in a Lifetime (1974) 110
Thunder and Lightning (1977) 262 Torrisi, Pietro 201, 212, 227 The Twilight Zone (TV) 91
Thunder Bay (1953) 117 Tosh Togo 161 Twinkle Twinkle, Killer Kane (1980)
Thunder in the Pines (1948) 49 Total Recall (1990) 291 269
Thunder in the Sun (1959) 116, 156 Touch of Evil (1958) 97 Twinkle, Twinkle, Lucky Stars (1985)
Thunder Mountain (1947) 65 Tough and Deadly (1995) 297 254, 271, 291–292
A Thunder of Drums (1961) 107, 143– Tough Guys (1986) 105, 113 Twins (1988) 291
144 Tough Guys Limited 78 Two Missionaries (1975) 201
Thunder Over the Plains (1953) 43, The Tougher They Come (1950) 21, 74 Two Rode Together (1961) 96
108 The Toughest Gun in Tombstone (1958) Two Seconds (1932) 74
Thunder Road (1958) 47 84 Tycoon (1946) 12
Thunderball (1965) 152, 161, 166, The Toughest Man in Arizona (1952) Tyler, Tom 8, 27, 34, 44, 67, 70, 74
286 28 Tyson, Richard 291
Thunderbolt (1995) 254 Tourneur, Jacques 57
Thunderbolt and Lightfoot (1974) 156, Town Tamer (1965) 58, 128 U-Turn (1997) 284
186, 215 Trackdown (1976) 249 Ubaldi, Giorgio 201, 212
Thunderhoof (1948) 74 Tracy, Spencer 19, 28, 29, 39, 44, 86, Ukmar, Bruno 201
Thurman, Uma 262 109, 110, 131 Ukmar, Franco 201, 212, 227
Thurston, Helen 26, 163 Trail Guide (1952) 65 The Ultimate Warrior (1975) 160,
Tick … Tick … Tick (1970) 188 Trail of Hate (1922) 26 265
A Ticket to Tomahawk (1950) 120 Trail of the Lonesome Pine (1936) 15 Ulysses (1954) 104–105
Tickle Me (1965) 127, 187 Trail Street (1947) 46 Ulzana’s Raid (1972) 183
334 Index

The Undefeated (1969) 12, 42, 101, Ving, Lee 281 War Paint (1953) 97–98
191, 192, 281 Violence 59, 67, 68, 116, 179, 182, The War Wagon (1967) 12, 105, 176
Under California Stars (1948) 60 198, 208, 209, 212, 216, 234, 235, Warbutton, Cotton 19
“Under-Cranking” 9, 36, 166, 227 262, 263, 290 Ward, Autry 215
Under Pressure (1935) 13, 18 Virginia (1941) 15, 120 Ward, Bill 119
Under Siege (1992) 294 The Virginian (TV) 83, 108, 111, 128, Ward, Burt 172
Undertow (1949) 74 141, 157, 174, 205 Ward, Rachel 281
The Underworld Story (1950) 194 Visit to a Small Planet (1960) 121 Ward, Roger 236
Unfinished Business (1941) 74 Vitali, Keith 288 Ward, Steve 215
Unforgiven (1992) 195, 230 Vitali, Leon 240 Ward, Troy 215
The Unforgiven (1960) 113, 222 Vivyan, John 98 Warden, Jack 222, 223
Union Pacific (1939) 71, 79 Vogel, Paul 124 Warlock (1959) 96
Untamed (1955) 35, 113, 135 Vogel, Virgil 102, 103 Warlock, Dick 228
Untamed Frontier (1952) 75 Volkie, Ralph 11, 97 Warpath (1951) 68
The Untouchables (1987) 152, 170 Von Beltz, Brad 260 Warren, Charles Marquis 96
The Untouchables (TV) 98, 100, 184 Von Homburg, Wilhelm 184 Warren, Eva 81
Up the River (1930) 39 Von Sydow, Max 195, 274 Warren, Jennifer 230
Up to His Ears (1965) 203 Vue, Sonny 186 Warren, John F. 171
Uppercut (1978) 227 Vye, Murvyn 79 The Warrior and the Sorceress (1984)
Urban, Karl 296 262
Urban Cowboy (1980) 280 Waco (1966) 104 The Warriors (1979) 263–264
Urich, Robert 251, 270 Wagner, Robert 96, 171, 250 Wasserman, Lew 272
Urquidez, Benny “The Jet” 288, 289, Wagner, Sidney 62 Watch Out, We’re Mad (1974) 201,
297, 298 Wagon Train (TV) 39, 46, 81, 83, 85, 226–227
Used Cars (1980) 223 126, 144, 169, 205, 272 Waterfront (TV) 57, 74
Utah Blaine (1957) 120 Wagon Wheels Westward (1945) 61 Waterloo Road (1945) 56
The Wagons Roll at Night (1941) 24 Watson, Jack 183
“V for Victory” 36 Wah, Yuen 219 Watson, James 261
Vadis, Dan 186, 258, 270 Wahl, Ken 265 Watson, Tex 281
Valley of the Giants (1938) 13, 20, 21 Waikiki Wedding (1937) 92 Watson, Weldon 171
Valley of the Kings (1954) 23 Waite, Ric 284 Watsutu, Professor Haiku 21
Vallone, John 289 Wake Island (1942) 39, 71 Watters, George 219
Van, Frankie 33, 101, 116, 164, 228 Wakeford, Kent 224 Watts, Queenie 172
Van Cleef, Lee 39, 62, 82, 85, 90, 121, Walcott, Gregory 91, 122, 212, 230, Waugh, Fred 192
125, 126, 188, 206, 250 232, 233, 257 Waxman, Sam E. 185
Van Damme, Jean-Claude 221–222, A Walk in the Spring Rain (1970) 213 Way, Guy 150, 155, 165, 172
283, 301 Walk Like a Dragon (1960) 132 Way for a Sailor (1931) 10
Van Den Ecker, Beau 147 Walken, Christopher 246 Way of a Gaucho (1952) 111, 120
Vanders, Warren 110, 127 Walker, Clint 26, 88, 89, 100, 118, Way of the Dragon (1972) 1, 214, 215–
Van Dyke, W.S. 22 122, 135, 136, 137, 156, 170, 190, 216, 217, 259, 265, 266
Van Horn, Buddy 154, 259, 270, 275 234, 242, 257 The Way West (1967) 96, 105
Van Lidth, Erland 265 Walker, Rock 189 Wayne, David 172
Van Patten, Dick 225 Walker, Texas Ranger (TV) 178, 217, Wayne, Jesse 174, 198, 270
Van Sickel, Dale 49, 50, 52, 55, 56, 58, 250, 271, 285 Wayne, John 1, 3, 6, 10,11, 16, 25, 30,
81, 84, 86, 104, 124, 163, 174 The Walking Hills (1949) 43, 66 31, 34, 36, 37, 39, 41, 42, 43, 46, 48,
Varga, Count Billy 75 Walking Tall (1973) 217–218, 235 50, 51, 54, 55, 60, 61, 68, 69, 70, 75,
Varteresian, Harry “Turk” 174 Walking Tall (TV) 217 85, 86, 87, 88, 89, 90, 91, 95, 99,
Vegas (TV) 251, 270 Walking Tall (2004) 217 100, 111, 115, 116, 117, 124, 125,
Vendrell, Mike 261, 290 Wall, Bob 97, 155, 216, 219, 220, 221, 126, 130, 131, 133, 140, 144, 149,
Venetz, Werner 217, 242 222, 265 150, 153, 154, 155, 156, 162, 175,
Vengeance Valley (1951) 66, 113 Wallace, Bill “Superfoot” 254, 267, 176, 178, 189, 191, 192, 196, 197,
Ventura, Jesse “The Body” 291 268 209, 210, 228, 231, 250, 265–265,
Ventura, Lino 100, 203 Wallace, Irving 101 278, 293, 301
Vera Cruz (1954) 107 Wallace, Richard 32 Wayne, Patrick 12, 153
Vernon, John 180, 278 Waller, Ken 260 Weathers, Carl 252, 262, 283
Verziara, Marcello 201, 212, 227 Walls of Hell (1964) 81 Webb, Jack 64
Victor/Victoria (1982) 173 The Walls of Jericho (1948) 72 Webb, Richard 58
Vidor, Charles 44 Walsh, George 10 Webb, Roy 50, 70
Vidor, King 110 Walsh, Raoul 3, 9, 10, 32, 33, 40, 41, Weber, Billy 264
A View to a Kill (1985) 246 101 Webster, Ferris 83, 144, 145, 147, 233,
Vigilante (1983) 140 Walsh, Terry 172 258, 270, 275
Viharo, Robert 284 Walte, Malcolm 28 Weed, Spig 124
The Vikings (1958) 105, 164 Walter, Ernest 185 Wei, Dick 254, 291
Village Tale (1935) 43 Walters, Marvin 229 Weider, Joe 244
Vincent, Jan-Michael 48. 63, 83, 183, The Wanderers (1979) 264–265 Weintraub, Fred 219, 272
191, 230, 239, 254, 255, 256, 257, Wang-Yu, Jimmy 236, 237 Weintraub, Sy 137, 181
280, 281 Wanted—Dead or Alive (TV) 115, Weisbert, David 134, 141
Vincent, Sailor 8, 10, 21, 22, 25, 29, 128, 155 Weissmuller, Johnny 38, 51, 122, 139
48, 55, 63, 130, 164 War Arrow (1953) 116 Welch, Raquel 190
 Index 335

Welcome to Hard Times (1967) 174 White, Lester 101 Williams, Bill 102
Weld, Tuesday 148 White, Joseph 118 Williams, Donnie 186, 261, 273
Welles, Mel 29 White, Ted 134, 136, 174, 179, 234, Williams, Elmo 85
Welles, Orson 57 270, 298 Williams, Guinn “Big Boy” 19, 24, 25,
Wellman, William 29 White Heat (1949) 14, 54 26, 33, 43, 44, 72
Wells, Ted 43, 47 White Hunter, Black Heart (1990) 186 Williams, Jack 25, 124, 131, 176
Wells, Vernon 290, 291, 295 White Lightning (1973) 142, 245 Williams, John 175, 268, 278
We’re in the Navy Now (1926) 10 White Line Fever (1975) 281 Williams, Oscar 241
We’re No Angels (1975) 139 The White Tower (1949) 45, 86 Williams, Richard 223
Werle, Barbara 26 White Witch Doctor (1953) 82 Williams, Ron 236
Werty, Quentin 184 Whitely, John 95, 225 Williams, Treat 268, 284
Wessell, Dick 32 Whiting, David 223 Williams, Van 89, 172, 213, 214
West, Adam 172, 183 Whitman, Stuart 12, 90, 111, 134, 148, Williamson, Fred 160, 188, 225, 226
West, Mae 54 249, 250 Willis, Bruce 168, 295, 296
West, Red 127, 141, 143, 148, 186, Whitmore, James 115 Willis, Gordon 210
187, 241, 242, 298 Whitney, Norman D. 107 Willis, Leo 6
West, Sonny 141, 186, 187 Whitney, Peter 15, 32, 89, 92 Wills, Chill 153
West of Carson City (1940) 49 Who Am I? (1999) 254 Wills, Henry 61, 94, 96, 102, 104,
West of the Divide (1934) 11 Who Finds a Friend Finds Treasure 145, 160, 162, 182
West of the Pecos (1935) 50 (1981) 201 Wilson, Harry 8, 19, 22, 31, 63, 157
West of the Pecos (1945) 47 Who’ll Stop the Rain (1978) 284 Wilson, Michael G. 294
The West Point Story (1950) 15, 104 Wichita (1955) 79, 86 Wilson, Scott 269
Western Courage (1935) 39 Wickes, Mary 26 Wilson, Terry 56, 62, 66, 87, 104, 117,
The Westerner (1940) 29, 30, 68, 232 The Wide Country (TV) 121 124, 126, 127, 130, 176, 272
The Westerner (TV) 84, 182, 257 Wide Open Town (1941) 43 Wilson, Whip 112, 113
Westlake, Donald 187 Widmark, Richard 72, 77, 95, 96, 105, Winchester ’73 (1950) 116, 117, 133
Westmore, Bud 146 111, 222 The Wind and the Lion (1975) 257
Westmore, Ern 65, 74, 159 Wikel, Larry 242 Windfall (1977) 248
Westmore, Frank 159 Wilbur, George P. 228, 234, 235, 258 Windjammer (1937) 8
Westmore, Monte 159 Wilcoxon, Henry 30 Windsor, Marie 26, 83
Westmore, Perc 14, 40, 55, 59, 159 Wild, Harry J. 72, 81 Wing Chung Kung Fu 281, 292
Westmore, Wally 93, 126–127, 158, The Wild and the Innocent (1959) 102, Wings (1927) 37
159, 177 151 The Wings of Eagles (1957) 12, 124–
Weston, Bill 294 The Wild Bunch (1969) 46, 204, 214, 125
Weston, Brad 260 255 Winning (1969) 171
Weston, Cecil 21 Wild Geese Calling (1941) 15, 65 Winninger, Charles 48
Weston, Paul 294 Wild Harvest (1947) 8, 63, 64, 71 Wino Willy 100
Westward Bound (1944) 16 Wild Horse Mesa (1933) 43 Winters, Jonathan 152, 153
Westworld (1973) 224–225 Wild in the Country (1961) 127, 148, Winters, Ralph 62, 103, 155, 163, 174
Wetbacks (1955) 86 187 Winters, Shelley 26
Wexler, Paul 233, 234 The Wild McCullochs (1975) 54, 68, Wisdom, Norman 68
Whang, Ing-Sik 265, 266 86, 231–232 Wise, Alfie 280
Whang, Leo 242, 261 The Wild North (1952) 56 Wise, Robert 70
What Did You Do in the War, Daddy? The Wild One (1953) 91, 100–101, Wise Girl (1937) 26
(1966) 168, 174–175 105 Wiseman, Joseph 152
What Price Glory (1926) 3, 18 Wild Rovers (1971) 241 Wishard, Joe 138
What Price Glory (1952) 15 Wild Stallion (1952) 94 Wisniewski, Andreas 293, 294, 295
What Price Glory (stage) 39 The Wild Wild West (TV) 88, 187, Withers, Grant 43, 60, 95
“What’d I Say?” 254 206, 241, 252 Withrow, Glenn 286
Wheeler, Charles 199, 223 The Wild Wild West Revisited (1979) Witness (1985) 279
Wheels on Meals (1984) 254, 288– 242 Witney, William 35, 36, 39, 59, 60, 73
289, 292 Wildcat (1942) 37, 38 Wolcott, Earl A. 8
Whelan, Arlene 26 Wilde, Cornel 34, 71, 72, 92, 95, 128, Wolf Dog (1958) 62
When a Man Sees Red (1917) 5 249 The Wolf Man (1941) 34
When Hell Broke Loose (1958) 107, Wilder, Gene 227, 228 Wolfe, Bud 31, 35, 63, 81, 104
202 Wilder, Glenn 127, 136, 142, 158, 174, Wolfe, Robert 214
When the West Was Fun (TV) 45, 90 184, 192, 229, 230, 298 Wolper, David 184
When the Whistle Blows (TV) 272 Wilder, Scott 286 Wolves of the Night (1919) 5
When Time Ran Out (1980) 171, 196 Wiles, Buster 21, 24, 25, 32, 55, 63 Woman Chases Man (1937) 31, 79
“Where Has Everybody Gone?” 294 Wilke, Robert 62, 68, 81, 84, 96, 97, Woman of the North Country (1952)
Where the Sidewalk Ends (1950) 58, 98, 105, 112, 113, 117, 119, 121, 123 62, 67
78 Wilkinson, John 177 The Woman on Pier 13 (1949) 39
Whip Fights 113, 182, 274 Wilkus, Bill 35 The Woman on the Beach (1947) 13,
Whirlwind (1951) 73 Will, Jay T. 139 46
Whispering Smith (1948) 71 Will Penny (1968) 96, 236 The Women (1939) 26
Whispering Smith (TV) 103 Willard, Jess 18, 63 The Wonderful Country (1959) 48,
The Whistle (1920) 6 Willcox, Chuck 128 133
Whistling Hills (1951) 49 Willens, Marvin 157 The Wonderful World of Disney (TV)
Whitaker, Slim 27, 44 “William Tell Overture” 119 113
336 Index

Wong, Carter 283 Wynant, H.M. 148 Young, Gig 242

Wong, Don 217 Wynn, Keenan 150, 163 Young, Jack N. 95, 110, 117, 123, 131,
Wong, Sam 254 Wyoming (1947) 39, 61–62 154
Woo, James Wing 222, 242, 247 Young, John 298
Woo, Jimmy 148, 160 The Yakuza (1975) 48 Young, Otis 134
Wood, Mickey 78 Yamashita, Tadashi 270, 271 Young, Skip 165
Wood, Sam 55 Yancy Derringer (TV) 81, 122, 126 Young, Terence 152, 166, 206
Woodcock, John 183 A Yank at Oxford (1938) 22 Young, Victor 41, 86
Woods, Harry 8, 9, 12, 16, 27, 46, 47, Yao-Po, Chen 267 Young Billy Young (1969) 48
49, 50, 51, 79 Yarnell, Bruce 121 Young Cassidy (1965) 177
Woodward, Morgan 12, 174 Yates, Herbert 52, 88 The Young Lions (1958) 89
Woody, Jack 22 Yates, Peter 250 Young Maverick (TV) 272
Wooley, Sheb 121, 176 The Yearling (1946) 68, 128 Yrigoyen, Joe 59, 61, 73, 157, 163, 228
Woolsey, Jay 89 The Yellow Mountain (1954) 100, 108 Yu, Jimmy Wang 236, 237
The World in His Arms (1952) 92, 128 The Yellow Rose (TV) 160, 298 Yuan, Chieh 266
Worth, B.J. 294 “The Yellow Rose of Texas” 121 Yuen, Corey 236, 253
Worth, David 270, 277 Yellow Sky (1948) 82, 128 Yuen, Kam 261
Worth, Nicholas 186 Yellowstone Kelly (1959) 126, 135, Yuen, Simon 253
The Wreck of the Mary Deare (1959) 136, 137 Yung, Victor Sen 24
30, 96 Yen, Donnie 254, 292 Yung-Lung, Wang 213
The Wrecking Crew (1969) 137, 158, Yeoung, Bolo 219, 221–222, 267 Yurick, Sol 263
213, 216, 260, 278 Ying, Kuo Lien 242
Wrestling 77–78, 105, 166–167, 201, Ying, Lam Ching 220, 221 Zane Grey Theatre (TV) 78, 86, 95, 110,
272–274, 296, 297 Yojimbo (1961) 206 126, 257
Wright, Michael 265 Yordan, Philip 133 Zbyszko, Stanislaus 77, 78
Written on the Wind (1956) 98, 101 York, Dick 202 Z’Dar, Robert 283
Wushu 301 York, Duke 14, 26 Zemeckis, Robert 268
Wyatt, Al 67, 84, 90, 91, 101, 118, 119, York, Jeff 66, 67, 114 Zen Do Kai 271
123, 133, 145, 147, 160, 163, 172, Yorke, Terry 173 Zendar, Fred 92
173, 228, 270 You Can’t Win ’Em All (1970) 107, Ziegler, William 37
Wyatt, Al, Jr. 254, 255 164 Ziker, Dick 192, 225
Wyatt, Walter 163, 192, 209, 225, 228, You Only Live Twice (1967) 152, 178– Zimbalist, Efrem, Jr. 86, 131
229, 257 179 Zimmardi, Joe 265
Wykoff, Frank 19 You Were There (TV) 66 Zinnemann, Fred 85
Wyler, William 29, 30, 132, 133, 168 Young, Burt 242, 256 Zinner, Peter 210
Wyman, John 246 Young, Clifton 24 Zorro’s Black Whip (1944) 49, 113
Wyman, Robert 177 Young, Freddie 178 Zumwalt, Rick 152