Angel And The Badman Widescreen Television
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(May 16, 2008)
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About the Actor
The Wide-screen Director Adeeb Barsoum graduated from College of Cinema, Cairo, Egypt. 1966. He worked in the Egyptian Television. He moved to US in 1967 and lived in California where he produced and directed 21 programs about California s Missions. He also produced two feature films Fatal Possession and Good Bye My Love. In 2004, He moved with his wife Flor, daughter Ann and two grandchildren Dominic and Jasmine to Arizona where he sat up studio to format the movies to 16x9 wide-screen television. AFA Entertainment his company is the only company to format the public domain movies to16x9 wide-screen television.
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Top Customer Reviews
The main reason for the power of this little modest “B” western is Gail Russell. Her adorable presence, and the amazing chemistry she has with John Wayne move AATB many levels above the expectations for a “B” western. Minus Gail Russell, AATB is just another minor 40’s western. With Gail, AATB becomes a minor masterpiece. I had heard of Gail Russell and had read of her described as a “troubled, moderately good actress”. I saw her for the first time in AATB, and was absolutely bowled over by her presence and acting. Gail had star presence without even trying; the camera loved her and you cannot take your eyes off her, even with John Wayne on screen! And I saw an accomplished actress who could command a scene wordlessly with just her amazing gorgeous eyes and expressive, sensitive, delicately beautiful face. I could not believe that there were critics who could describe the Gail I saw in AATB as a “moderate actress”.
Of course, I soon began to understand the contradiction as I read the bits and pieces I could find about Gail’s troubled life.
The key to Gail’s superb and moving performance as “Penny” in AATB is that she was comfortable, happy, and healthy which boosted her self-confidence, enabling her wonderful turn as “Penny”. It was John Wayne himself who ensured that Gail was well taken care of. Warned by Paramount of Gail’s shyness and drinking to boost her self-confidence, Wayne went to extraordinary measures to ensure that there was no alcohol available to Gail, that she ate healthy, and was not isolated and reclusive and in the course of such care, Wayne spent a lot of time with Gail. Unaccustomed to being treated so special and well, 21-year-old Gail soon developed a big crush on the then-39-year-old John Wayne. Initially just protecting his big investment borrowing Gail from Paramount, Wayne himself soon grew very attached to his young female co-star, although his affections for her were very fatherly rather than romantic. Wayne understood Gail’s anxiety problems as he had overcome anxiety as a young boy himself.
The playful, fun, affectionate interaction on screen between John Wayne and Gail Russell is what makes AATB such a special movie. By making film production, playful, fun, and unstressful, Wayne kept Gail’s anxiety away and her acting was superb as a result. (A terrible shame that other directors and producers could not have been so understanding of Gail as John Wayne was.)
This Olive Films Blu-Ray edition of “Angel And The Badman" is as superbly produced as the firm’s Blu-Ray production of “Wake Of The Red Witch” reviewed earlier. Sound is excellent and video clear; pausing the video and stepping frame-by-frame reveals an astonishing clarity for this 1947 released film. Again, just as in the firm’s Blu-Ray production of “Wake Of The Red Witch”, absolutely excellent technical work by the Olive FIlms crew on this Blu-Ray Disc of “Angel And The Badman”.
“Angel And The Badman” is a special film worth buying in Blu-Ray for several reasons:
(A) It was the very first film produced by John Wayne’s newly established production company which existed as “John Wayne Productions” 1946-1951, became “Wayne/Fellows Productions 1952-1955, and “Batjac Productions” 1956-1974.
(B)It was one of the final film performances of pioneer Hollywood actor Harry Carey. He had arrived in 1913 in Hollywood, often working with legendary director D.W. Griffith, at the beginning of the Hollywood film industry. Harry Carey died of lung cancer in September, 1947, seven months after the movie’s release. Harry Carey was highly respected, and along with William S. Hart was the most influential star to the following generations of western movie actors including John Wayne. Like Hart, Carey strived for gritty realism and a genuine look in his westerns, avoiding the flashy clothes and gear of the likes of Tom Mix, Gene Autry and Roy Rogers.
(C)The movie is regarded as one of the finest performances in Gail Russell’s short career. Not satisfied with the Republic actresses available at the time, out of his small budget, Wayne paid Paramount $125,000 to borrow Gail Russell. Wayne's film editor Harry Keller said, “She was just so beautiful. No one, not even Elizabeth Taylor, was as beautiful as Gail”.
The transfer is pretty decent, but noting special, what made the film was the characters. From the town braggart who claims to know the badman Wayne, to the Sheriff who wants to hang him with a new rope, to the Quaker family that takes him in when he's shot to the sarcastic doctor that waxes philosophy about alcohol and life. A lot of human nature is explored here, and the ending is better than most westerns. One of the very few romantic stints for John Wayne, to go with the Quite Man, Hatari, and North to Alaska. I loved it.
Harry Carey does a wonderful job of authentically playing a Marshall who chronicles Wayne’s transformation. He goes from wanting to hang Quirt with a new rope to ultimately defending Quirt from his former compadres in crime. His great closing line is ”Only a man that carries a gun needs one” as he plans to hang Quirt's gun with a new rope.
The movie begins with gunfire at the hands of John Wayne's character but ends with him surrendering his pistol. The pistol eventually winds up on the ground as the wagon holding Wayne's character and his love interest pulls away from the camera.
It is refreshingly respectful for morality and religious belief.
Nice to see Bruce Cabot in an early Wayne film. He virtually lived in them in the 60s.
It is also refreshing to see that violence is not the acceptable answer to everything. This is in sharp contrast to the extreme and unnecessary violence of Wayne’s later films (especially “The Cowboys” and “Big Jake”). Also missing are the shady characters that Wayne would play in such films as “Searchers” and “True Grit” as well as the vigilante mindset of such films as the “The Sons of Katie Elder” and "The Searchers."
(It is also in "McQ"!)
Do the characters reach the same depth as those in Ford’s great westerns or Red River? Not quite. However, outside of Wayne's well known western films (e.g., "Stagecoach," "Rio Bravo", "Red River," etc. ) it is difficult for me to think of a Wayne western that betters this one.
For a number of years I watched a copy of this film that lacked clarity of picture and sound. It made for hard viewing. With the newly redone Olive film it is much easier to appreciate this fine western.
Good Citizens. John Wayne portrays a tumbleweed rolling toward trouble. He keeps getting
tangled up with the wild side of life with saloon girls and Rowdy Boys he keeps fighting with.
The Fights get a little rougher all the time with tit for tat revenge. John's life is headed toward a
Gallows where Sherriff Harry Carey is waitin' to see which mean boys he hangs.
But The Little Quaker Gal loves the Devil out of Big John Wayne and He lays his guns down.
So the Mean Boys Run John and Gail Russell of a cliff and he heads to town for a showdown.
But God gets the Girl out of a Coma, A wagon chase and John gives her his gun. As the Bad
Boys are about to get John, Sherriff Harry Carey Saves the day. THIS IS A CLASSIC!
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