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Hollywood And the O.K. Corral: Portrayals of the Gunfight And Wyatt Earp

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Michael F. Blake's "Hollywood at the OK Corral" nicely fills a gaping hole in the literature on Wyatt Earp's transition from itinerant lawman, gambler, miner, horse thief, pimp, and con man to the iconic, legendary, and nearly mythical character he is today. The same goes for the evolution of the sudden and shocking street fight in Tombstone to today's metaphor for any vicious gun battle, firefight, or other spot where bullets seem to be flying from all sides. This progression for both the "gunfight at the O.K. Corral" and the one participant who remained standing, untouched by lead, and Hollywood's role in building and shapeshifting the legend, has been discussed and argued about at some length in biographies by Casey Tefertiller, Allen Barra, Tim Fattig, Steve Gatto, and others, and in surveys by George McDonald Fraser and others. But this is the first book-length examination, and it is packed with material not published elsewhere.

Right from the start, the O.K. Corral was the stuff of cinema. It was immediately preceded by what must have been one of the most visually arresting images in Western history, the walk down to destiny by Virgil, Wyatt, and Morgan Earp and their ally Doc Holliday. That Blake understands this is clear: his book's cover displays the walkdown most familiar to today's audiences, that of four grim and superbly costumed lawmen played Kurt Russell, Val Kilmer, Sam Elliott, and Bill Paxton from the movie Tombstone.

Blake begins by reviewing the argued-over facts of Wyatt's life, including the OK Corral. In order to accurately compare the "real" to the "reel," film historian Blake understands the importance of getting the history right. This chapter, as do the later ones, benefits greatly from Blake's use of recent historical research, including the Tefertiller and Barra biographies, and Peter Brand's groundbreaking work on Wyatt's Vendetta riders, such as Sherman McMasters and John Johnson (known to filmgoers as "Turkey Creek Jack"). Blake has also sought insight from descendants of the unfortunate McLaury brothers, including writer Pam Potter. Blake next provides an overview of Earp and Hollywood, from the old Westerner's friendship with William S. Hart, through Hollywood's use of Stuart Lake's powerfully influential book "Wyatt Earp: Frontier Marshal," and on to the pervasiveness of Earp and the gunfight in American and global culture (e.g., the Star Trek episode, "Spectre of the Gun").

The heart and soul of the book are the separate chapters on the making of eight theatrical O.K. Corral films: Frontier Marshal (1939), Tombstone: the Town Too Tough to Die (1942), My Darling Clementine (1946), Gunfight at the O.K. Corral (1957), Hour of the Gun (1967), Doc (1971), Tombstone (1993), and Wyatt Earp (1994). Here is where this film historian's nearly half-century immersion in the industry comes into play. (Blake is the son of an actor, a childhood actor himself, and an Emmy-winning make-up artist, as well as published film historian.) Wonderful anecdotes came from a variety of sources, including the subjects of Blake's interviews, including Burt Lancaster and James Garner, "Wyatt Earp" screenwriter Dan Gordon, Tombstone" costumer Joseph Porro, and "Tombstone" historical consultant Jeff Morey. Many wonderful on-the-set photos came from archival sources, including the William S. Hart, John Ford, John Sturges, and Hal Wallis collections.

One of Blake's most important themes is this: "History and Hollywood have never been synchronous when it comes to facts. At best they are civilized adversaries and, at worst, churlish rivals." Blake explains why "historical" films are and must be ahistorical, however much that maddens "buffs" of any historical topic.

Each chapter colorfully reveals the usually difficult gestation of a film, from starry-eyed conception, through arguments over scripts, budgets made and busted, lawsuits threatened, and on-set shouting matches (and at least one angry golf-cart destruction derby), to marketing successes and failures and make-or-break film critic reviews. Each chapter is a delight, precisely because Blake knows how to identify and draw out the conflicts inherent in movie making. In this regard, the making of "Tombstone" was probably the diciest affair. Here Blake's book benefits from the cooperation of Jeff Morey, who helped Kevin Jarre develop perhaps the greatest O.K. Corral script. But each project was an eye-opener. I for one wish the "Doc" chapter had been longer, because one wants to know every detail of how such an abysmal film could ever be made.

The book has a few typos and, as one reviewer noted, at least one miscaptioned picture. The font is a little small for some aging eyes. My biggest complaint is that I wish the book had been bigger. I know Blake must have left some additional good stories out to save space for what's here.

This book is an absolute must for anyone interested in Wyatt Earp, the O.K. Corral, Westerns, and how Hollywood makes any movie.

As John Ford's character in "A Man Called Liberty Valance" said, "This is the West, sir. When legend becomes fact, print the legend!" The movies have never tried to be accurate history. Time and money and often good story telling requires that some people and events will have their appearances altered by the film maker. But, the viewer seldom is in on the reasons changes are made and how the process took place. Michael F. Blake has changed all that, at least as far as the Earp/ Clanton street fight near the O.K. Corral.
This excellent new book not only tells you about the true history as compared to the movie versions, but gives a film maker's insite to many of the problems that happened before and during the filming schedule. With help from top Earp historian, Jeff Morey, Blake reveals for the first time in print the extreme dificulties incured during the making of the 1993 film, "Tombstone." This is a must own book for anyone interested in Western films. Bye the way, the few typos that slipped by proof readers, are not a reflection of the writer not knowing, but rather as in most books the first printing escapes with a few missed identifications or spelling errors.

If you can't enjoy this book, then you either don't enjoy the history of the Old West, or you have no interest in Hollywood westerns. Anyone who does enjoy western americana will find Michael Blake's fascinating study of Hollywood's Wyatt Earp and the O. K. Corral revealing, and downright fun. The story of the Earp/Tombstone legend in film is a recapitulation of how images of arguably the most famous gunfighter and the most famous gunfight have evolved. The author demonstrates how historical forces have changed interpretations on celluloid. Blake, author of the previously well-received Code of Honor: The Making of Three Great American Westerns (comprising of High Noon, Shane, and The Searchers) takes the reader through eight feature films covering the years 1939 to 1944.

McFarland, publisher of numerous fine books in the western film genre, does its usual fine work in presenting Blake's book in a high-quality trade paperback 7 x 10 format. The opening chapter of the book is a capsule history of events leading up to October 26, 1881, and what followed, including Earp's vendetta ride and later life. Blake incorporates the most recent scholarship in Earp studies into this eighteen page essay. Chapter 2 is a discussion of Hollywood's discovery of Wyatt Earp by, among others, silent film western star William S. Hart. It also introduces the influence of Stuart N. Lake's popular biography Wyatt Earp, Frontier Marshal. Lake's shadow will loom large in later productions. This chapter also includes a look at fictional Earps- Gunsmoke's Matt Dillon and Hugh O'Brian in The Life and Legend of Wyatt Earp.

The eight movies examined in detail are as follows:

1. Frontier Marshal (1939)
2. Tombstone: The Town Too Tough To Die (1942)
3. My Darling Clementine (1946)
4. Gunfight at the O. K. Corral (1957)
5. Hour of the Gun (1967)
6. Doc (1971)
7. Tombstone (1993)
8. Wyatt Earp (1994)

Each movie gets a chapter wherein the film is examined in detail as to script, plot, casting, direction, production values, acting, authenticity, problems during filming, clashing egos and even music for each film. The author fearlessly gives his well-thought out views on all aspects of each movie, and while you may not agree with every assessment, you know they have been carefully considered. Blake places each movie in its historical context, and in gives them an overall review, rating them from the well-crafted and well-performed (Tombstone) to the failed (Wyatt Earp) to the execrable (Doc). Blake's own background as an Emmy Award winning makeup artist (he has written three books on Lon Chaney), period stills, film posters, many from his personal collection, his first-person interviews, all bring the reader as close as one can imagine to the production of each individual film. Hollywood legends like John Ford, Henry Fonda, Burt Lancaster, James Garner, Kevin Costner and others walk the pages of the book. Even the much maligned performance of Victor Mature as Doc Holliday in My Darling Clementine is seen in a new and more positive light. Many western movie buffs admire the movie Tombstone, and with the help of historian and film consultant Jeff Morey who worked for a time on the film, Blake tells the behind-the-scenes story of how Kevin Jarre's script became a cult classic.

In this candidly written and enjoyable book we see how the legends of Wyatt Earp, Doc Holliday, and the O.K. Corral gunfight became household names through their Hollywood images on the silver screen.

Michael F. Blake is my favorite author, and this book is one of the reasons why. This is a well researched book, and it shows his love for the cinema and history. At the same time, Michael doesn't write above the heads of his audience, like many film scholars do. He writes for the working class audience, which is most appreciated. This is a wonderful study of Wyatt Earp, Doc Holliday, and those who brought their stories to the screen.

America's most famous gunfight has been immortalized on celluloid eight times with results ranging from truly awful ('Doc') to rip-roaring actioners ('Gunfight at the O.K. Corral') to cinema classic ('My Darling Clementine'). Noted film historian/author Michael Blake (CODE OF HONOR, FILMS OF LON CHANEY, etc.) examines each of those films in this 2007 release from McFarland Publishing. Wild West and Western film buffs alike will want to pick up a copy of this gem!

Before he delves into the various O.K. Corral movies, Blake wisely summarizes what is known historically about the Earps, the O.K. Corral incident and subsequent events. He then discusses each of the films starting with 'Frontier Marshal' and ending with Kevin Costner's 'Wyatt Earp.'

Blake is as a good a writer as he is a researcher. His accounts of each film's development, on-site filming and the reception each received from critics and the public make for fun reading. Leafing through the book, it's amazing to realize that none of the eight films accurately captured what actually transpired before, during and after the events of Octorber 26, 1881. Some came close; others are so far from reality as to stagger the imagination. Despite their inaccuracies however, there is some great movie-making going on.

John Ford's 'My Darling Clementine,' for example, is wonderful cinema. Henry Fonda made a great Wyatt Earp. Who can't enjoy his quiet, commanding presence, the balancing scene on the porch scene or his endearing knee-high dancing with Clementine? Walter Breannan is a wonderfully mean Old Man Clanton and Grant Withers' Ike Clanton, with his unblinking, dead-to-the-world stare is positively chilling. Unfortunately Ford's climatic shootout is total fiction.

The testosterone-soaked Burt Lancaster-Kirk Douglas 'Gunfight at the O.K. Corral' does a much better job with the Wyatt-Doc relationship but, again, the shootout is pure Hollywood. I'm willing to beat my next paycheck Earp did not say "Hit the dirt!" back in 1881.

'Tombstone' may strike the best balance between accurate history and engaging filmmaking. However I simply can't picture the real Wyatt Earp crying in public after Morgan's death. From my readings, the image I have of Wyatt Earp is a very tightly-wrapped, stoic, family-first/last/and always individual who acted decisively and with whatever force was necessary in a threatening situation.

'Wyatt Earp' had the potential to be definitive but, as shown in Blake's book, a movie can be ruined just as quickly by egos and bad direction as by historical inaccuracy. Though the critics trashed Costner's performance, I still wonder if that might have been a fairly accurate approximation of the real Wyatt Earp up there on the screen. And, as much as I loved Val Kilmer's performance, Dennis Quaid is THE Doc Holliday in my book. What a performance!

My only beef with the book is that I so wanted Blake to indicate what version he liked most, who he thought made the best Wyatt, the best Doc, etc. I would have enjoyed that.

In any case, if you love the Wild West and/or film history, you'll enjoy HOLLYWOOD AND THE O.K. CORRAL. It's a great read, maybe even a must read. Highly recommended.
*******

This is the book many western movie fans have been awaiting for years. In fact, it's amazing nobody got around to it before. It is fortunate, however, that Michael F. Blake was the writer to finally get it on the page.

After his excellent "Code of Honor - The Making of Three Great American Westerns", he has kept his focus on classic Hollywood westerns. This time, it's the eight feature films in which Wyatt Earp makes his famous walk down the dusty streets of Tombstone to the O.K. Corral. Whether simple B-movie entertainment, or hoped for grandious epic, the makers of these films had their own unique reasons for creating them. With each retelling, from the 1930s to the 1990s, the movie reflected the times in which it was made. Due to his incredible amount of research, Michael Blake discusses each one in detail. It is remarkable the changes several of them went through from casting and initial script to final release. Often scenes were filmed but never made it into the film. Blake discusses these deleted scenes, including several photos of them. (In fact, there are many never before seen photos throughout the book.) Finding out what actors were at one time considered for the casts is particular fun. Some of these "near misses" will make your head spin. Although each movie is given its due, the chapter on "Tombstone" will probably be of greatest interest to many readers. That story in itself is facinating.

Ask any western film fan the question "What is the most famous gun fight in history?"

Some might say the Alamo, some might say the Battle of the Big Horn, but most will say "It's the O.K. Corral". Because of a feud between the Clantons and Earps, a momentary exchange of gunfire has been immortalized, and one man, Wyatt Earp has come to symbolize an entire genre.

Michael F. Blake, in his book, "Hollywood and the O.K. Corral" has tackled the topic of what really went on, and why has it become so important that Hollywood has produced nearly 100 films on the topic over time. Even Star Trek used the O.K. Corral imagery in one episode during the 1960's! Due to the overwhelming numbers of films, Michael has focused on 8 productions. Given the 250 page length of the book already, it could be an encyclopedia if all the films were discussed.

The real even occurred on October 26, 1881 and lasted only a short time. Michael firstly presents a discussion of the real life of Wyatt Earp and his subsequent discovery by Hollywood. Most film goers do not realize that Wyatt lived in Los Angeles, and was infuriated with the manner in which the famous event was portrayed. Wyatt Earp was a good friend of William S Hart, and through his efforts an accurate recitation of the events was produced but it did not elicit any offers. Only after Earps' death, did Stuart Lake publish "Wyatt Earp, Frontier Marshall" to great acclaim, yet it was filled with historical inaccuracy.

But Hollywood was hooked.

Frontier Marshall (1939) was the first film. And in the book, Michael examines `Tombstone: The Town Too Tough To Die' (1942), `My Darling Clementine' (1946), `Gunfight At the OK Corral' (1957), `Hour of the Gun' (1967), `Doc' (1971), `Tombstone' (1993), and `Wyatt Earp' (1994) in detail. His familiarity with the nuances of the actual story, and the major films give the book a unique chemistry. Whether the discussion focuses on the script, acting, or subtle details altered to fit the vision of the film-makers, Mr Blake captures it.

Rare photographs are included in the book. One of the most stark reminders of the `event' is the image of the Clantons lying side by side by side in matching coffins. Images from the films, in front of and behind the scenes, accompany each chapter and turn this `academic' discussion into a substantially complete presentation. The co-operation of actors, service providers, and directors in some of the films gives readers an insight into the magic of film making.

If you have ever been fascinated by the O.K. Corral fight and want to learn the facts behind the fiction, this is one book that should form part of your `Tombstone' shelf. [...]
Tim Lasiuta

I have purchased many books over the years relating to my interest in the Old West and Tombstone in particular. Mr Blakes wonderful book is up there with the best. Right from the first few pages it's obvious that because of Michaels long experience in the film industry, he has access to people and information available only to a very few well connected individuals.
The book gives a fascinating insight into the making of the key movies about Tombstone, the politics, the conflicts and interactions between all the key players, and an excellent analysis of each movie in relation to the known facts surrounding Tombstone on the 1880's.
The book is crammed with dozens of rare photographs, many of which will not have been seen before.
I loved this book. Congratulations Mr Blake on a fine effort.
If I was to complain, it would be that this book will have a very long shelf life, and remain important for years to come, so I would have loved to see a hard cover version, just to match the quality of the contents, and perhaps ensure the book survives the rigours of many readers over the next many decades, but it's more a compliment than a complaint

JOHN ALLDRED
NEW ZEALAND

I really enjoyed Blake's "Code of Honor." I don't think "Hollywood and the O. K. Corral" is up to that level. Here he looks at the scripts and finished films of nine movies that tell the same basic story, and it just gets repetitious. He didn't really have much to say about "Tombstone the Town Too Tough to Die" and "Doc," and I would have been happier had he skipped them to focus on 1932's "Law and Order" and 1959's "Warlock," two movies that are about Earp in Tombstone even if the names are changed.

On the positive side, the book made me want to see "Frontier Marshal" and go back to "Gunfight at the O. K. Corral" and the discussion of "My Darling Clementine" was very well done.

However, the real value of the book is in what it brings to light: the huge difference between making films under the studio system and the chaos of filmmaking now. Blake's book makes clear that Allan Dwan, John Ford and John Sturgis were self-disciplined men who could focus on filmmaking because they were in a system which expected people to work and not throw temper-tantrums. The contrast between the making of their films and "Tombstone" and "Wyatt Earp" could not be greater. Egos run out of control, people have been promoted beyond their capacity and discover it, and fear and factionalism rule off-camera. One of the producers of "Tombstone" is quoted as saying: "We took a great script and make an okay movie." And Blake shows how they were lucky to achieve that.

So "Hollywood and the O. K. Corral" was more interesting to me for how it revealed the difference between how movies were made and how movies are made.

This 1-star rating is deceptive. Here's why. After anxiously awaiting this book I did the quick-flip thru when it arrived and found on page 222 a picture of Dennis Quaid as Doc identified as being from the movie 'Tombstone'. How can a book that hopes to be the definitive book on O.K. Corral movies be read with enthusiasm when it makes such an error?