Shadowplay Goes West

Two more video essays —

For Arrow, I wrote and narrated and Stephen C. Horne edited a piece for the MAJOR DUNDEE restoration, entitled inevitably I suppose MOBY DICK ON HORSEBACK. If R.G. Armstrong’s famous phrase causes you to picture a top-heavy, untenable situation on the brink of collapse, that would not be entirely inappropriate. MAJOR DUNDEE is major Peckinpah but universally acknowledged to be flawed. But Peckinpah’s flaws are always interesting.

The main thing I wanted to avoid with this piece is weighing in too heavily on whether Peckinpah’s vision of the film would have resulted in a triumph had he been allowed to finish it the way he planned. I always get a bad feeling when anyone pretends to know whether footage none of us have seen would transform a film. It’s legitimate to ask whether perhaps the Indian raid intended to open the film was poorly filmed owing to time pressures, but unless you have awfully compelling witnesses — and even then — I don’t think you can draw any conclusions for sure.

My other western vid essay is on JOHNNY GUITAR, as contrasting a subject as you could hope for. Chase Barthel is editing this one. I was in the process of planning this one when I woke up one morning from uneasy dreams, mulling over how I was going to make Plasticine models of the characters. As I slowly woke up fully, I realised this would be madness.

A little while later, I decided to do it.

Well, Truffaut calls JOHNNY GUITAR “a dreamed western.” This will be in part a dreamed video essay.

28 Responses to “Shadowplay Goes West”

  1. David Ehrenstein Says:

    I do hope you’re familiar with the story in Gavin Lambert’s “The Slide Area” entitled “the Closed Set” It’s a devastating “a clef” about the shooting of “Johnny Guitar” While the film in the story isn’t a Western the star is clearly Crawford and the director she’s driving up the wall is clearly Nick Ray. The shooting of “Johnny Guitar” was the very first thing Gavin saw when he came to Hollywood to work with Nick. Talk about a “Baptism of Fire”!

    Jean-Pierre Melville loathed “Johnny Guitar” and couldn’t comprehend why anyone would like it. Francois Truffaut called it “The ‘Beauty and the Beast’ of Westerns.”

    Cue Peggy Lee!

  2. Tony Williams Says:

    David C, Both the Harry Julian Fink novelization based on his screenplay Sam rejected and the script give you a good idea of how the prologue was so important. Even the silent footage showing Brannin’s arrival contains significant foreshadowing of what the film will develop. Since my copy arrived yesterday, I’ve only had time to listen to Glen Erickson’s commentary on the found footage but he does mention Beth Rostes.(One of his colleagues interviewed the actress who played her 15 years ago and she mentions more scenes were shot) I hope more footage will emerge in the future.

  3. It would be great to see some of that sequence, Tony.

    Love The Slide Area. I don’t recall Lambert being around for Johnny Guitar, in Mainly About Lindsay Anderson he asks Ray about the film as something in the past. But he was certainly on board for Bigger Than Life, which he helped write.

  4. Sudarshan Ramani Says:

    I think Major Dundee is what it is. It’s interesting but it doesn’t rank among Peckinpah’s best films (Alfredo Garcia, Straw Dogs, Wild Bunch, Pat Garrett, Cable Hogue). The movie is very much aligned with a lot of conventional codes of the Western genre in the way the other movies aren’t. It’s a bit like a John Ford imitation albeit with a ’60s hipster attitude. Most distasteful is the fact that, Richard Harris’ Confederate general presented as a honorable foil to Charlton Heston’s secretly slimy and dishonorable Union leader is part of the reigning Pro-Confederate ideology that infected and in a large sense defined a good part of the Western genre’s ideology (Jesse James remember was a slaveowner turned anti-Union terrorist who the Confederate press glorified into a noble outlaw). There were movies that resisted and critiqued it (Sam Fuller especially, as well as The Searchers, implicitly) but Major Dundee is very much typical in that respect.

  5. Tony Williams Says:

    I’ve just finished listening to the Erickson/Rode a.c. and will move on to the Erickson a.c. soon. MAJOR DUNDEE is far from conventional and it deliberately undermines the Ford model in many ways, not the least of which is the subversion of Ford’s favorite hymn “Shall we Gather at the River” (had Fielding’s original score for THE GETWAY been used you would have had another example) at the burial scene that is given no respect as well as the casting of one Ford icon Ben Johnson in a negative role (not the last time Peckinpah does this).

    Peckinpah was not called “the bastard son of John Ford” without good reason and you should examine the differences it has with RIO GRANDE rather than the superficial resemblance.

    Also you must remember that the Civil war reflected a divided nation also at West Point with Jeb Stuart, Lee etc joining the Confederacy while Custer stayed with the North. Enough historical evidence exists to show that the Irish fought both with the Confederacy as well as the Union Army as well as engaging in the anti-draft New York riots. Despite Bresler’s interference MAJOR DUNDEE is very much a complex film as writers such as Seydor and many of the audio-commentaries have pointed out.

    Also, Tyreen never held the rank of a Confederate General while Dundee was for 2 hours in a back story that never survived the films cutting. Tyreen is a failed Gerald 0’Hara from GONE WITH THE WIND. As well as being a critique of American intervention in south-east Asia like THE WILD BUNCH as Richard Slotkin has argued in hiS EXCELLENT gunfight nation (1992), it is a fill dealing with the still complex issue of a divided American still relevant today and does not deserve your denigration of its flawed achievement as an average Western. It is not and deserves some respect as well as some accurate research and acquaintance with critical work before you make more demeaning statements.

  6. I don’t think Sudarshan was being disrespectful. And I don’t know how much respect is required in criticising a film. The complexities you see are indeed there, but how much they change the film is at least in part a matter of opinion.

    I was going to say that in depicting Tyreen as this noble warrior for a lost cause, Peckinpah buys himself the right to show some of Tyreen’s men as horrible racists, which was not a common sight in films about the Civil War. So the movie is a product of its time but at least somewhat subversive.

  7. I generally think that a lot of auteurist critics, and Western genre critics, are hobbling themselves by failing to engage with the ideology of the Lost Cause of Confederacy and how dominant, and persistent it is, and how thoroughly it managed to fool people. In the same way Manny Farber and others looked down on some Communist artists for not being wise about Stalin, you absolutely can see, and should see, Westerns with Pro-Confederate propaganda and so on as works by “useful idiots”. That includes talented film-makers just as a lot of talented and great artists (Brecht, Joris Ivens, Hemingway among others) got suckered by Stalin.

    So I don’t think it discounts or disrespects Peckinpah’s talent and credibility to point out that Major Dundee absolutely is infected with Confederate propaganda. Major Dundee isn’t exceptional from Westerns before or after, whether it’s The Outlaw Josey Wales (source novel was secretly written by an actual legit white supremacist terrorist), Vera Cruz (where Gary Cooper’s Confederate is a default good guy and trustworthy honorable sort), Shane (which makes insulting Robert E. Lee a point that proves Jack Palance as a bad guy)…I can go on. Leone’s The Good Bad and Ugly is another offender.

    I think Major Dundee is technically capable and interesting, and performances are solid, but to me Peckinpah’s other films dealt with stuff in more politically interesting or to be specific, less politically compromised, ways. There are subversive touches in that movie but subversive touches date easily.

  8. Tony Williams Says:

    Edinburgh D.C. First congratulations on your superb video essay bookmarked by GIDGET GOES TO MEXICO. You take an alternative reading of the style of O.W. Hadley’s final scene in terms of the visual style and editing traditional Hollywood narrative devotees have problems with. I believe you also say something like Peckinpah could not bring radical alternatives into Hollywood but he would try to radicalize some of the stylistic conventions – or words to that effect?

    As for “disrespect” please note that I refrained from using Tyree’s remark to Jimmy Lee Benteen, a remark that occurs in other Peckinpah films. What I mean as disrespect was (a) the failure to engage in close reading that would show that a cashiered West Point cadet would not automatically become a General in the Confederacy, Irish origin aside, and (b) utilizing an argument combining what what Robin Wood once termed the “procrustean bed of film theory” and the Cahiers reading of YOUNG MR. LINCOLN that critics now recognize did huge damage to understanding the complexities of the film.

    Certainly “lost Cause: elements are there but they are undermined in a devastating manner. Even Gary Cooper in VERA CRUZ gives up rebuilding his plantation and joining the Juaristas in VERA CRUZ. While people were fooled by Stalin because little knowledge of the Left Opposition reached Western shores, MAJOR DUNDEE deals with its themes in a highly complex and sophisticated manner that deserves respectful interrogation and understanding rather than being subjected to the sledgehammer, one- dimensional Lost Cause propaganda reading that refuses to engage in contradictory aspects within the filmic text.

    The film is about a divided America, then and now, and reducing it to a piece of Lost Cause propaganda does a disservice both to the film’s complexities and the necessity for more sophisticated and nuanced readings in this era of knee-jerk “woke” reaction. Ideology exists in every film but do not certain films take issue with the ideology and undermine it in certain ways? I believe MAJOR DUNDEE does, despite its present form.

  9. Close reading is great, but then there’s also the overall impression a film gives, which is of course hugely subjective. But my overall impression is that Tyreen serves as a kind of corrective to Dundee, is more human, is right more of the time. And here’s this Southern officer who is never racist, who fought for reasons apparently unconnected to preserving slavery (or anyway, no connection is made).

    The divided America theme certainly comes across strongly. But is it necessary to that theme for Tyreen to be divorced from the racism of his cause? Or is that only necessary to keep him somewhat sympathetic (the film is skilled in balancing Dundee and Tyreen: the former is really only appealing because, if we love story, we tend to want him to succeed in at least starting his illegal mission)?

    It’s certainly interesting that Tyreen ends up dying for the flag he’s previously rejected. Perhaps because of cuts, but more likely because Peckinpah never managed to finish the script, it’s quite unclear what leads him to make that change. Maybe, like most Peckinpah heroes, he just felt the need to die for SOMETHING.

  10. Tony Williams Says:

    As you undoubtedly have the Arrow edition, you’ll recall Glenn’s commentary over the silent footage of Lt. Brannin’s arrival and the reference to him wearing the Custer scarf, seen briefly in the opening scenes of the film now bloodied. Due to the cuts and Sam’s removal , confusion reigns. Yet does not Tyreen deprive Dundee of what he most secretly yearns for: a Custer Last Stand heroic death. Had there been no problems on the film, Sam would have directed THE GLORY GUYS that deals with the Custer theme again and made it much better than the Arnold Laven version. Parallels abound in DUNDEE throughout many scenes.

    Also, what irritates me about the “imitation Ford” charge is the fact that it involves avoidance of what Sam was trying to do in subverting a Master. FORT APACE is also a key reference with Dundee being a version of Col. Owen Thursday.

    You ask why Tyreen has no explicit connection to Southern slavery motifs. Isn’t the reason that after being cashiered from West Point with Dundee casting the crucial vote, he has nowehere else to go? Dundee and Tyreen are GLORY GUYS according to the title of that awful film that Peckinpah would have rewritten and directed much better. They are both into battlefield honor and also psychologically sick in many ways being militaristic doubles. Tyreen does not care about the slavery of his new Cause in the same way that Dundee does not care about violating national boundaries and causing the death of his troop in his version of Custer’s Last Stand.

    As Glenn says at the end of his a.c., it is about reconstructing a film we love and filling in the gaps, very much in the same manner you bring slow-motion into reconstructed scenes in your stimulating video essay.

  11. Without wanting to wade into the debate about MAJOR DUNDEE’s treatment of Southerners, it is interesting to pick up the thread with how the Spaghetti Westerns treated the Confederates.

    FACE TO FACE, HELLBENDERS and DJANGO have scenes meant to point out the cruelty and racism of the American South and the Confederate cause, but other films are fine with having active/former Confederates as heroes or sympathetic characters (KILL THEM ALL AND COME BACK ALONE is the first that comes to mind). It seems unclear whether it’s due to a vague understanding of American history (KILL THEM ALL seems to think Virginia looks like Texas/Mexico), a sympathy for the losers (due to their own national history), or commercial considerations (the drive-in market in the American South).

  12. Sudarshan Ramani Says:

    The presumption that one could fight for the Confederacy without caring about slavery is the “lie” of the Lost Cause of the Confederacy. Richard Harris’ Tyreen absolutely gives lie to that. I don’t buy the idea that fighting for the Confederacy was the only alternative after being cashiered out of West Point. The severing of political agency from professional choice is absolutely a genre convention and a middle-of-the-road centrist one at that. By contrast, for all its problems The Searchers never hides the fact that Ethan Edwards, ex-Confederate absolutely is a white supremacist, as are the settlers.

    The problem with Major Dundee is that for the movie to work, Tyreen has to be accepted as a more viable and valuable alternative but for that to work you have to sever his nobility, his service to the Confederacy, from actual politics. And severing the Confederacy from politics is in fact the ideology of the Lost Cause of the Confederacy.

    As for Major Dundee’s anti-imperial theme…US-Mexican or what is now called the Borderland Studies discourse in US history (i.e. the relationships between settlers and Mexicans on the Southwest border which has at various times been porous and then made rigid and so on), that’s something which Peckinpah has engaged in multiple films, and with far more depth and feeling, and without the equivocation of the Confederate cause to compromise it. I

  13. Tony Williams Says:

    First, Mr. K. Good observations. If you look up Sebastian Hasselbeck’s excellent Spaghetti Westerns Database you will find an informative article on how the genre reflects Italian history. One reason why so many films in that genre feature the Confederacy (A BULLET FOR SANDOVAL etc) is that Italy lost in WW2 just like the Confederacy. Also, the genre is critical of slavery.

    Now, SR, MAJOR DUNDEE is not a didactic examination of slavery. As Sam Goldwyn says, “If you want to send a telegram, use Western union!” Peckinpah is making his own creative film about a continuing divided America. Both the title character are flawed in several ways, the director affirming neither. Ironically, since you critique Stalinism in an earller post, your attitude seems very close to that concept since you are asking of the film what is clearly not there and its other creative complexities even in its flawed version. Again, you are imposing a procrustean concept on to the film and you refuse to see its other values. Tyreen is a naive idealist, a flaw Sam refers to constantly, and is not to be read as someone with a (21st century consciousness debating the pros and cons of an issue that is not the main focus of the film which lies elsewhere. I would suggest you read Trotsky’s LITERATURE AND REVOLUTION where he applauds Celine’s JOURNEY TO THE END OF THE NIGHT without getting bogged down in the author’s sad turn towards Fascism. I would also suggest you read Slotkin’s GUNFIGHTER NATION (1992) that engages fully in the Borderland issues you refer to. Slavery does occur in MAJOR DUNDEE. several references occur to it but it is not the focus of the film which lies elsewhere.

  14. David Ehrenstein Says:

    As he’d covered “Johnny Guitar” in “The Slide Area” Gavin skipped over it in “Mainly About Lindsay Anderson.” He told me personally about what a horror show the set was and he was amazed that the film went on to become cult classic. Further proof of the fact that films sometimes have “a life of their own” irrespective of who made them and how.

  15. I’ve got Mainly About in front of me, and Lambert clearly says he met Ray in 1956. So either he witnessed the shooting of Johnny Guitar without meeting Ray until two years later, or he learned about Johnny Guitar from Ray. I don’t think he’s rewritten history to meet Ray later. He specified that Ray had already made Rebel when they met.

    As for Dundee and Tyreen — we don’t completely know Peckinpah’s intentions because he wasn’t able to make the film the way he wanted, but we can still assess the film we have. We also can’t be completely certain of what was and was not sayable at the time, regarding the South. I’m prepared to believe Peckinpah went as far as he could with indicting the Confederacy for racism in a Hollywood film of the period.

    The Searchers is more centrally about racism, and one can either read Ethan Edwards’ anti-Indian sentiments as connected to the racism of his soldiering for the South: but a viewer who prefers not to question such things could choose to see him as a tough but noble man who only becomes flawed when his quest for revenge drives him to it. The film nudges us to consider his background, but doesn’t insist on it. Which is part of its artistry: it’s not agit-prop.

    Hollywood movies tend to provide such loopholes up until Mandingo and Roots, I think. Major Dundee has a clear opportunity to show us Tyreen’s attitudes, but chooses to let RG Armstrong settle that conflict. It definitely leaves the “good people on both sides” argument unchallenged. I know that’s not what the film is about. But it’s one of the things it’s about — Peckinpah chose to set it during the Civil War and he chose to have Black soldiers riding with Confederates.

  16. Tony Williams Says:

    I’ve jut finished listening to Glenn’s superb solo commentary on the DVD where he does go into the screenplay in meticulous detail giving us as far as possible “Peckinpah’s intentions” as well as noting that Arthur Hadley and Jefferson fight the French side by side in a easily missed insert prior to Aesop’s death. You are correct about “artistry” (and, by implication. how a Zhadanov p.c. imposed approach would be disastrous) as well as the fact that “Peckinpah went as far as he could with indicting the Condederacy for racism in a Hollywood film of that period.”

    Yet, what seems to be missed is the irony of Tyreen being Irish. Lacking the upward mobility of Gerald 0’Hara in GWTW (and I wonder how many of these cases were present in pre-Civil War South), without money, the Lost Cause Tyreen would be regarded as little better than a “dirty Irish mick” as Robert Young puts it in CROSSFIRE (1947). That is among many of the ironies in the film that the monolithic p.c methodology misses in its appropriated rigid application of what Q.D. Leavis once describes as the lock and key approach.

    Also, R.G. humiliates Benteen but it is Tyreen who shows sincere leadership by commending Aesop, something the Southern-born Dundee can not bring himself to do in the exercise of relevant command.

  17. Sudarshan Ramani Says:

    Mr. Williams, surely you can do better than paint me as part of a “monolithic PC culture”. You quote Robin Wood who famously condemned David Lynch’s Dune for being homophobic. I can go back to Rivette who condemned Kapo for the aesthetic tracking shot, or many other instances where prominent critics have validated a critique of a film founded on its ideological shortcomings.

    As for Tyreen being Irish, well there are different waves of Irish immigration. The Irish Catholic immigration in the decades after the Famine defined the modern Irish-American identity in a way earlier immigration didn’t, they were the ones who faced discrimination, barriers of advancement, and prejudice from society. Statistically speaking, the majority of Irish immigrants to USA have been Protestants many of them dating to the time of the Revolution (later called Scots-Irish). I don’t recall if Tyreen is Irish Catholic, although that might be possible given aristocratic middle class Catholic families and so on were a thing. So I don’t think Tyreen being Irish-American counters the film’s shortcomings…after all immigrant waves being co-opted or manipulated against the underclass is an old story as is the idea that Irish Americans were originally tolerated far better before the waves of poor arrived after the Famine (look at Asian Americans and how they are being treated over the last two years after decades of being “model minority”). The Duke of Wellington being Irish and defeating Napoleon won him acceptance but it didn’t help the Irish any more than Napoleon being Corsican helped Corsicans.

  18. Tony Williams Says:

    Again, you are doing a disservice to a very complex film by reading it against the prism of one particular dogmatic concept and damning it for that. It is reminiscent of the contents of Stalin’s Complete Works. I only managed to get through Vol. 3 before boredom resulted. I would suggest reading Trotsky for complexity both in art and politics as well as listening to the very informative audio-commentaries and special features on the recent DVD release. Works of critical exploration that understanding the complexity of any particular film or text are also important.

    The works mentioned in the opening paragraph are completely irrelevant to what Glen Erickson has described as a near masterpiece ruined by Jerry Bressler, To force it into one particular straitjacket does the film and criticism in general a manifest disservice.

  19. Rather than a straitjacket, call it a lens. Any lens focuses some things and excludes others. Sudarshan is taking the film seriously as a Civil War movie, and finding fault with its vision of that war. If it were considered as a film about the Indian wars, it might fare even worse, since it’s rather one-sided. But Dundee’s racism towards his own Indian guides (whose fates were cut from the release version) marks the film as unusual for its time, comparable to The Searchers in exposing something usually concealed.

    If it’s unfair to criticise Peckinpah for not exploring the Civil War more fully, it might be fair to blame him for biting off more than he could chew. Or we could put the blame on studio cuts, but without seeing what was removed it’s impossible to be sure how much damage was done. In the end, all we have is the film and a few outtakes, and it’s fair to assess that, with the proviso that it may not fully represent anyone’s intentions.

  20. David Ehrenstein Says:

    “The Searchers” IS Agit-Prop. It was made in direct response to Brown vs. Board of Education of Topeka Kansas because it’s subject is the supposed evil of “race-mixing.” As such it’s right up there (or down there) with “The Birth of a Nation.” But Ford and his collaborators are far more canny than Griffith. Wayne’s mission is to find Natalie Wood and kill her for having been defiled by a non-white. (It’s what’s known as an “honor killing”) But she’s Natalie Wood so he can’t really do tat. Instead he takes her in his arms and takes her home — an act that’s completely out of character. The film’s famous last shot of Wayne going off alone underscores how white racism cn be used and disavowed at the same time. Wayne is the racist tool of a society that can use him and the pretend it has nothing to do with him. s you can tell “The Searchers” enrages me as few films ever do.

  21. Tony Williams Says:

    Good points, DC. Conflicting perspectives influenced the film. “Charleston” wanted it to be a Civil War movie while Columbia initially and Peckinpah wanted it to be an epic roadshow movie with an interval until the studio pulled the plug on that idea during shooting and removed $1 million from the budget. Actually in his excellent solo commentary, Glenn Erickson goes into great detail about what the movie could have been from the evidence of screenplays and outtakes especially the original ending that suggested the conflict would still continue and the survivors utterly decimated in another surprise attack, the only evidence remaining would be the journal of “unreliable narrator” Trooper Ryan.

    Yes, what we have finally is a film that “may not fully represent anyone’s intentions” but any lens must consider complex and diverse elements that come under the microscope and not exclusively focus on one aspect to the detriment of others that may contradict the presumed focus. Yes, we must take the film on its terms.

    Think (even if this were possible!) of how AIR FORCE (1943) could conceivably be if Arthur Kennedy and Gig Young engaged in a debate of how American foreign policy may have been culpable in causing Pearl Harbor by limiting Japanese markets in the 30s, suspected FDR engineering the Japanese attack (as in Toland’s DAY OF INFAMY) or somebody pointed out how the “Moto” aspect was racist and also unfair to Peter Lorre who was not even Japanese!

    Anyway, DUNDEE is a complex film about a nation trying to be united despite its divisive construction and only finding it temporarily in bloodshed and violence at the end. Even the final images, as we have it now ,suggests the conflict will still continue on many levels.

  22. Sudarshan Ramani Says:

    Historically a number of great critics and writers do in fact “exclusively focus on one aspect to the detriment of others” as you put it. Rivette’s famous piece on the Tracking Shot of Kapo is the most notable (wonder what he would have said about SON OF SAUL but that came out when he was stricken by Alzheimer’s). Robin Wood himself condemned David Lynch’s DUNE for its homophobic imagery and was also h

    In Major Dundee, the logic dictates that Heston’s Dundee be shown as more flawed and morally compromised and hypocritical than the Confederate hero. So the film’s critique and any external observations that the film takes, it’s subversive attitude to conventional heroism, all of which exists in the film, rests on a compromised foundation. I don’t think pointing that out is the same as calling for censorship or saying that it shouldn’t exist on DVD (any more than I would call doing that with Shane). Perhaps I am being ignorant of the film’s complexities, but it’s also likely that those who defend Major Dundee are being ignorant of its shortcomings. Major Dundee has existed so long as a movie butchered by studios and taken away from Peckinpah that trying to investigate and get at the original vision has substituted for criticism (the same way Sergio Leone’s Once Upon a Time in America escaped criticism for its sexism and misogyny because the crusade for restoring its original vision had taken so much space). The fact is the compromise of the film’s political criticism exists in any version you can dig up and unearth. Short of deleted scenes clarifying Richard Harris’ as a corrupt hypocrite who merely affects nobility, the problem still exists.

    The Searchers definitely has problems and I would certainly not call it a movie without blemishes certainly, and I do think David Ehrenstein’s view of it is valid. I don’t know about it being sparked by a response to Brown V. Board of Education, but I will say that The Searchers looks a lot better than say, John Huston’s The Unforgiven (adapted from another book by the same writer of the source book for Ford’s film) which I saw recently and that movie normalizes the fears about miscegenation far moreso than The Searchers does, and somehow ends up being more racist.

  23. David Ehrenstein Says:

    What this al comes down to is Showboat

  24. David Ehrenstein Says:

    Sorry that link doesn’t work. You can find that “miscegenation case” scene Here.

  25. Tony Williams Says:

    If you look at MAJOR DUNDEE closely you will see that enough evidence exists to show Tyreen as a “corrupt hypocrite”. Sam does not spell it out A-B-C but lets the audience do the work (if they want to) according to what he expected from his editors. Otherwise, as he would say, “Ge3t on the bus.”

  26. David Ehrenstein Says:

    GAY JEOPARDY BONUSPOINT BONANZA: Henry Brandon who played Natalie Wood’s Comanche kidnapper in “The Searchers” also played “Accaius Page” the dean of a nudist children’s school in “Auntie Mame” His lover was Mark Herron — Judy Garland’s fifth husband . The marriage in 1965, lasted all of six months and did not suspend their affair. Herron’s most notable acting role was as “Enrico” the lovelorn camp follower of Anouk Aimee in “Fellini’s 8 1/2”

  27. Tony Williams Says:

    A great conclusion to this debate by our respected David E!

  28. David Ehrenstein Says:

    Merci !

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