DCG
LVC bits from BOONE bio
Thu Sep 10, 2009 7:31pm

RICHARD BOONE: A Knight without Armor in a Savage Land
(David Rothel) Empire Publishing, 2000 (hc), 2001 (trp).


HAVE GUN - WILL TRAVEL
1962-63 Season

p. 235 - 236

"The Treasure" (December 29, 1962)
Director: Andrew V. McLaglen

CAST: Jeanne Cooper, Jim Davis, Deforest Kelley, Lee Van Cleef, Bob Woodward, Buck Taylor.

PLOT: Jess Harden went to prison for robbing the bank at War Lance of $80,000. The money was never found, and Harden is about to be released. Paladin is hired by Harden's wife to provide protection when she and her husband rendezvous in War Lance, now a ghost town, in case anyone else tries to get the loot which Harden has supposedly hidden.

COMMENT: A strong guest cast adds quality to this exciting episode.

* * *

p. 238 - 239

"Face of a Shadow" (April 20, 1963)
Director: Andrew V. McLaglen

CAST: Enid Jaynes, Lee Van Cleef, Nestor Paiva, Richard Reed, Harry Carey, Jr., Rayford Barnes, Roy Barcroft, William Woodson.

PLOT: Paladin is hired by Dan Tibner to deliver ten thousand dollars to a bank in San Francisco. Before he receives the money, Tibner is found dead and the money is missing. Suspects abound, including the men who discovered the body and a camp of gypsies.

COMMENT: This is a below average episode in the series. The plot is somewhat convoluted, and the resolution at the end is very weak. We never do see the missing money, and the man who is taking the guilty party to the law is awfully chummy with him. One could suspect that the whole story was constructed to provide an opportunity for Richard Boone to have the fine guitar music of Laurindo Almeida as background for a short gypsy dance that he performs with the beautiful Enid Jaynes.

===

p. 185

MEDIC
"Day 10" (November 1, 1954)

PLOT: When a family comes down with the plague, public health officials try to isolate the threat by quarantining the neighborhood. Then a second case breaks out on the other side of town.

===

p. 154 - 155

TEN WANTED MEN
(1955) Color 80m (Columbia)
Director: H. Bruce Humberstone
Screenplay: Kenneth Gamet, Irving Ravetch, Harriet Frank, Jr.

CAST: Randolph Scott, Jocelyn Brando, Richard Boone, Skip Homeier, Alfonso Bedoya, Leo Gordon, Donna Martell, Lee Van Cleef, Minor Watson, Francis J. MacDonald, Clem Bevans, Lester Matthews, Tom Powers, Dennis Weaver, Louis Jean Heydt, Kathleen Crowley, Denver Pyle, Jack Perrin, Julian Rivero, Reed Howes, Franklyn Farnum, Terry Frost.

PLOT / COMMENT: Cattle baron John Stewart (Scott) wants to bring law and order to the large area of Arizona Territory where his cattle runs and where he rules his domain with benevolence. Wick Campbell (Boone) has a somewhat smaller spread but prefers to impose his personal type of law and order on the territory -- sometimes with guns blazing 00 and foresees a time when he will replace Stewart and become the power in the territory. Their conflict builds into a climactic fist fight that is vicious and brutal. As usual, Boone is very effective in his role as the villain of the piece.

* * *

p. 170

GOD'S GUN
(1977) Color 90m (Cannon Films)
Director: Frank Kramer (Gianfranco Parolini)
Screenplay: Frank Kramer

CAST: Jack Palance, Richard Boone, Lee Van Cleef, Christopher George, Lynda Day George, Leif Garrett, Robert Lipton, Cody Palance.

PLOT / COMMENT: Outlaw Jack Palance, grinning maniacally throughout the film, comes to the town of Juno City with his gang of bank robbers. In short order a man is stabbed to death in the saloon by one of his gang, and the local priest (Van Cleef) goes in search of the killer and brings him back to town for trial. Soon Palance and his gang return to town, kill the priest, and proceed to loot the town and rape the women as the townspeople cower in the background. The town sheriff (Boone) is ineffetive in his feeble attempts to stop the gang. Eventually, the priest's gunfighter twin brother (also Van Cleef) gets word of what has happened and comes to Juno City to seek revenge for his brother's murder -- and achieves it in a bloody climax. This film certainly must mark the nadir of the careers of Jack Palance and Richard Boone. Palance mugs outrageiously throughout the amateurish production, which was obviously produced on the proverbial shoe string. Boone looks tired and disengaged throughout. It is very apparent that his voice has been dubbed by some other actor. The inferior sound quality of the film suggests that the entire picture was looped in post-production, by which time, according to Claire Boone, Richard had walked out on the dismal situation -- and one could not blame him.

---

p. 29

[ this is a self-Q & A to and from author Rothel ]

Q - Hadn't his film career pretty much wound down by 1976?
A - Well, he had a cameo in THE SHOOTIST and then he went to Israel to film GOD'S GUN, but he did begin to talk about hanging up his acting spurs around this time. "I don't really like to act any more," he told reporter Dick Kleiner. "It used to be pure fun for me, but no more. When I act now, I get to the end of the day and I realize that I haven't gotten any kick out of it. And if I don't get a kick out of it, why do it?"

Q - Was GOD'S GUN, made in Israel, really a disaster?
A - Noted writer Cleveland Amory visited Israel in May of 1976 during the time Boone was working on the film -- before he walked out on the production. Boone told Amory, "I'm starring in the worst picture ever made. The producer is an Israeli and the director is Italian, and they don't speak. Fortunately it doesn't matter, because the director is deaf in both ears."

---

p. 61

(author Rothel interviews Claire Boone, Richard's wife)

DR: It was also around the late 1960s and 1970s that Dick started to take a great interest in Israel.

CB: Dick went to Israel to make MADRON with Leslie Caron in 1969, and we both just fell in love with Israel. We made some very nice friends there. We'd always stay at the Dan Hotel. It was one of the old Israeli Hotels; we didn't go and stay at the Hilton or any of the other American hotels. We got to know all the staff, and eventually it was like going home because Dick went over there at least nine times, and I must have gone five or six times with him.

DR: Was this interest an outgrowth of the fact that his mother was Jewish?

CB: Oh, yes, I'm sure,* because he was always interested in the Jewish faith -- not that he was ever religious himself, but he knew a lot about both religions, Christianity and Judaism; he was very studied in both. And, of course, just about everyone we knew in Hollywood was Jewish. We celebrated all the holidays with them, and they celebrated all of the Christian holidays with us.
But Dick was really interested in helping them start a movie industry in Israel. They didn't have one at the time. So MADRON was the first movie he made over there. Leslie Caron was his co-star. I don't know how she happened to be cast in the movie, but she was wonderful. There wasn't any dancing for her in that picture; they spent most of their time trooping through the desert with a donkey. (laugh) It was very hard making that movie because they [the Israelis] weren't used to making movies. If anything could go wrong, it did. Every night they would come back from working hard in the intense heat of the Be'er Sheva Desert. Be'er Sheva means the seventh well. People used to travel around from well to well when they journeyed across the desert.
The financing for the picture was very precarious. The money men were wheeling and dealing like you wouldn't believe to keep the production afloat. They weren't ever sure that they were going to be able to finish the picture, because the money kept running out. Dick got paid, of course, but I don't know if everyone else associated with the picture ever got completely paid. Every night Dick had -- I'll call them the money man and the planner -- a meeting with them in our large motel apartment in Be'er Sheva. The money man woul dcome and say in his thick accent, "Dick, we have problems, problems!" And they would sit there for hours sorting out and trying to solve these problems. (laugh)

DR: The other movie Dick made in Israel was a Western called GOD'S GUN with Jack Palance and several other American actors.

CB: I didn't think they ever finished that thing; I've never seen it. Dick quit in the middle of the production of that movie. He left and they dubbed someone else's voice. He said was terrible, and they had trouble with the financing too. He said it was just amateur night in Dixie, so he left.


* (from p. 36, Boone's sister somewhat contradicts Claire's take on Boone's interest in Israel)

David Rothel: Could it be that Dick's later interest in Israel might have come from his mother, the fact that she was Jewish?

Betty Lou (B'Lou Boone) Brown: I think it came out of his spirit of the wild West. He once said to me, "I loved it when we rode [through Israel] with the driver having a machine gun sitting on the seat next to him." I think he loved that. I don't know that it was the Jewish; I think it was the adventure and the danger.

===

FYI, all....
DCG.




    • thx for posting this DSG and Bob also!Valerie, Sat Sep 12 3:00pm
      I've "saved" both posting even if possible duplicates, my "favorites" aren't organized but at least the info is THERE so DSG while I have no doubts about your organizational abilities if you ever are ... more
    • hey DCGbob lackey, Fri Sep 11 6:03pm
      It's been years since I read that interview I told you about that Dick Boone did on God's Gun. God's Gun was suppose to come out as a double feature with Kid Vengence but Boone absolutely trashed the ... more
      • Boone headedDCG, Sun Sep 13 3:19pm
        Brief reply here at the Lib, bobL: Thanx for another run-down of that Boone int text, and the TV spots -- I'm sure I'll dig 'em up, eventually. With limited alternative POVs (eg: those who were there ... more
      • I whole heartedly agree with ya Bob!.....Alanna, Sat Sep 12 12:18pm
        I've seen this movie and I have to admit that it has to be THE worst LVC flick. I was surprised to read that Boone walked out in the middle of the production but, now that I think of it, with the... more
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