Raoul Walsh’s Gun Fury

It is hard to believe that Raoul Walsh, the man who directed The Roaring Twenties (1939), High Sierra (1941), They Died with Their Boots On (1941), Objective, Burma! (1945), White Heat (1949) and other classic genre films for Warner Brothers, never received an Oscar nomination. Film historian David Thomson pondered this in The New Biographical Dictionary of Film, writing, “Was it just that he was so reliable, so direct and “simple” an entertainer? Or was it a matter of not making the proper “big” pictures?” Even after his peak years at Warners, Walsh continued to make audience pleasing hits such as Battle Cry (1955), the fourth biggest box office success of its year. Even some of the B-pictures Walsh made during his final years in Hollywood look like A-pictures now such as the 1953 western, Gun Fury.

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Burning Love

The early 1960s was a turbulent time for the film industry and the Hollywood studio system was becoming a relic of the past as television and other competitors in the entertainment field lured audiences away. Some movie actors could see the writing on the wall and began to pursue film offers outside Hollywood and the U.S. Some of the more famous former studio contract players who escaped and reinvented themselves in Europe were Clint Eastwood, Charles Bronson, Lee Van Cleef, Jean Seberg and Jane Fonda. Even seasoned veterans like Edward G. Robinson, Lee J. Cobb and Bette Davis appeared in movies made overseas but one of the more unusual examples of American actors appearing in an international production is Barry Sullivan and Martha Hyer in Pyro…The Thing Without a Face (1964, aka Fuego in the European market), directed by Julio Coll and filmed in Spain. 

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The Worm Turns

Japanese film poster for THE GLAMOROUS GHOST (1964)

The Glamorous Ghost (Japanese Title: Sanpo Suru Reikyusha, 1964) is something of a rarity in Japanese cinema – a noir comedy. This is the sort of twisty, convoluted farce in which all of the main characters are greedy, immoral and deceitful and you end up rooting for Asami (Ko Nishimura), the taxi driver protagonist, only because he is a pitiful underdog with a simple dream – to retire and run a pig farm in the country. His plan to accomplish that, however, involves blackmail and worse and before The Glamorous Ghost reaches its macabre but amusing climax, most of the major players have departed this mortal coil.

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