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Only “Virginia City” has an A-film feel about it with Michael Curtiz directing and vital Warner costars. The other three are B Westerns in my view, but Flynn’s presence always made any film considerable better. His performances in all of these films are very well-behaved, he objective doesn’t always have the best material with which to work, and in some cases he is working with some very bizarre casting. The extra features bring this package up to four stars in my belief, but I don’t understand why WHV objective didn’t go ahead and add “Silver River” to the state and obtain it the usual five film classic box site. Someone else has already done an respectable job of summarizing each film. So I’ll unbiased mention the extra features for the site, the director in each case, and my personal rating of each film on a five star scale:
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Montana (1950) directed by Ray Enright. (3/5)
The weakest of the four films in the spot.
Extra Features:
Vintage Newsreel
Buy,Download, Or Stream Errol Flynn Westerns Collection! Click Here
Warner Night at the Movies 1950 Short Subjects Gallery
Joe McDoakes Comedy Short: So You Want a Raise
Classic Cartoon: It’s Hummer Time
Trailers of Montana and 1950’s Chain Lightning
Bonus Gallery of Santa Fe Straggle Series Western Shorts: Oklahoma Outlaws, Wagon Wheels West and Gun to Gun
Rocky Mountain (1950) directed by William Keighley (3.5/5)
Begins well, ends well, but the middle does sag a bit, which is novel for a Flynn film of any genre.
Extra Features:
Commentary by biographer Thomas McNulty [McNulty looks at Flynn's career, his original qualities as a Western hero and his romance with costar Patrice Wymore.]
Warner Night at the Movies 1950 Short Subjects Gallery
Vintage Newsreel
Trailers of Rocky Mountain and The Breaking Point
Bonus Gallery of Santa Fe Paddle Series Western Shorts: Roaring Guns, Wells Fargo Days and Trial by Trigger
Classic Cartoon: Two’s a Crowd
Joe McDoakes Comedy Short So You Want to Move
San Antonio (1945) directed by David Butler (3.5/5)
Extra Features:
Warner Night at the Movies 1945 Short Subjects Gallery:
Vintage Newsreel
Oscar-Nominated Vitaphone Varieties Short Chronicle of a Dog
Vintage Shorts: Frontier Days and Peeks at Hollywood
Classic Cartoons: A Story of Two Mice and Wagon Heels
Trailers of San Antonio and The Corn Is Green
Virginia City (1940) directed by Michael Curtiz. (4/5)
How outlandish to scrutinize Humphrey Bogart playing his role of the bandit with some of the oddest diction ever. Not nearly as top-notch as Dodge City but mild first-rate.
Extra Features:
Commentary by historian Frank Thompson [Thompson discusses this all-star collaboration with Flynn, Humphrey Bogart, Randolph Scott and Miriam Hopkins, and the challenges faced by director Michael Curtiz throughout production.]
Warner Night at the Movies 1940 Short Subjects Gallery
Vintage Newsreel
Technicolor Shorts: Cinderella’s Feller and The Flag of Humanity
1936 WB Short: The Light Brigade Rides Again
Classic Cartoons: Nefarious Country Detours and Confederate Honey
Trailers of Virginia City and A Dispatch from Reuters
Recommended for the Errol Flynn completist. If you haven’t got them already, net the good two volumes of Errol Flynn’s Signature Collection. They are a very favorable introduction to Flynn’s work – especially volume one – and should give you a better thought if you would like this area.
There are westerns (with John Wayne, Gary Cooper, directed by John Ford, Howard Hawks, not to mention Roy Rogers and Gene Autry) and then there are Errol Flynn’s westerns. I believe I saw some of Flynn’s westerns on TV before I saw any of the others and was therefore very surprised to procure that DODGE CITY, VIRGINIA CITY, THEY DIED WITH THEIR BOOTS ON, etc., were unlike any of the other films in the genre. That said, these films created a fresh western sub-genre on their beget terms, mainly because Flynn was a new veil presence and Warners figured out how to tailor stories to his personality.
This four-film collection brings together the less well-known films. 1940’s VIRGINIA CITY is basically a “prequel” to 1939’s DODGE CITY with Flynn, Alan Hale, and Guinn “Sizable Boy” Williams playing virtually the same characters they did in the first film. My guess is that the romantic subplot with Miriam Hopkins (she and Flynn have absolutely NO hide chemistry) would have confused the care for match in DODGE CITY had they played the same characters. Basically, VIRGINIA CITY is a shaggy dog story; that is, it starts off huge even showing some influence of Ford’s STAGECOACH with its extended sequences on a stage coach (and repeating one of STAGECOACH’s best stunt scenes) . But the set gets so keen with so many characters that there’s enough fable for three films. You know things have gotten out of hand when you score yourself rooting for the Bogart character.
VIRGINIA CITY’s saving grace is that it is an expertly made production and the money really shows on the mask. Technicolor would have been nice (as in DODGE CITY) but the b/w photography is crisp. Max Steiner contributes another magnificent gain although some of the story’s characters, like Frank McHugh, seem to net lost in the location. This epic-scale film is a testament to the confidence Warners had in Errol Flynn at that time. It seems that almost every film he made during those years was an account production and Flynn, at 30 years of age, never looked better.
Fast forward five years to the next film in this dwelling, SAN ANTONIO, and we peep more of a Roy Rogers influence than John Ford – Flynn even sings in this one! Elegant Technicolor is attend (which makes up for a multitude of other shortcomings) but Flynn has developed a current conceal persona by now. Gone is the suitable Robin Hood-like knight that he more or less played in his films up to 1942. His well-publicized trial for statutory rape (he was acquitted however) persuaded Warners to reshape his character along the lines of Rhett Butler – a seeming gentleman with a shady past, decent people didn’t recount to him – and this is the Flynn we ogle in films from about 1943 on.
SAN ANTONIO is Flynn’s fifth western (of eight) and the first that was not an historical western. Played strictly as post-WWII escapist entertainment, Flynn at 35 is beginning to peruse like his dissipated lifestyle has started to gather up with him. His eyes were wonderfully expressive in earlier films but by now they’re monotonous (check his closeups if you don’t beget me) . Teamed for the third time with Alexis Smith, they develop a nice romantic team that almost (but not quite) makes you forget about Olivia De Havilland. Paul Kelly plays the natty villain who seems to be based on Bruce Cabot’s character in DODGE CITY. In accurate life, Kelly earlier served a prison term for a fist fight that turned fatal. But the climatic showdown between Flynn and Kelly that we’ve all been waiting for fizzles out. Duking it out in the deserted Alamo (we have a feeling that Kelly can consume care of himself even against Flynn), the fight suddenly ends when Kelly falls down and hits his head against a rock, presumably killing him. What kind of climax is this!!!!
1950’s MONTANA is the third film in the space but Technicolor seems to be faded to disguise the fact that this film is a 76 miniature B-picture. By now, Flynn was starting to really gape haggard and Warners was pulling the spin on his films (and for the first time loaning him out to other studios) . The previous year’s ADVENTURES OF DON JUAN was Warners’ last distress to promote Flynn in a gigantic budget film. His absences, lateness, and general lack of cooperation on JUAN convinced the studio to honest let him benefit out the remaining films in his contract in routine productions. By 1950, the studio was hiring Gary Cooper and James Stewart for gargantuan budget westerns that a few years earlier almost certainly would have starred Flynn. MONTANA reunited Flynn and Alexis Smith for the fourth and last time – she looks ageless while he has clearly seen better days.
The last film in this plot is ROCKY MOUNTAIN, a better production than MONTANA but a far scream from DODGE CITY, VIRGINIA CITY, SANTA FE Poke, and THEY DIED WITH THEIR BOOTS ON, which were made about a decade earlier. His co-star from most of those earlier films, Mammoth Boy Williams, is with Flynn in ROCKY MOUNTAIN and there are moments when Williams almost seems to say to Flynn, “What happened – how did we wind up in this thing? ” (OK, you can accuse me of having an overactive imagination.)
If you indulge in any of the earlier Flynn westerns, you will want to have this place although it unintentionally documents the decline of one of Hollywood’s greatest stars. Finally, I can recommend the book, “THE FILMS OF ERROL FLYNN” by Tony Thomas, et al. Originally published in 1969, it is chock bulky of stout photos, credits, etc. from all his films. My only complaint is that the authors are dismissive of many beneficial Flynn films – but they made their judgments almost 40 years ago. A number of the Flynn films beyond the essentials (CAPTAIN BLOOD, ROBIN HOOD, SEA HAWK) have grown in stature through the years as it has become clear that we will never contemplate the likes of Flynn or the improbable films that Warners produced for him ever again.
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