The comments, images, background information and the various sub topics that have been posted on "Hatari" are excellent. I was re-reading them because they are so good and it occurred to me that all of you must have seen the movie in order to be so detailed, but I can't figure out how many of us have actually watched it this month.
It really doesn't matter (I'm not that anally fixated).
We deal in lead, friend
Well, I watched this one again and payed particular attention to Mancini's music score. It still didn't contribute one iota to my enjoyment of the film. Sorry, guys and girls, but it just seemed innocuous.
We deal in lead, friend.
Keith, according to the Cinema Retro article, Chuck Roberson didn't double Duke. Ted White, who doubled for Duke in Hawk's "Rio Bravo" was officially assigned that task. The second unit stunt co-ordinator, Paul Helmick, was told by Hawks that Hawks didn't want any of Duke's usual people. He broke the news to Bad Chuck and reported that "the message did not endear me to him one iota"
I strongly endorse Cinema Retro to anyone interested in movies from the '60s and '70s. Our man in Germany Mike Siegel has made many contributions and I've even managed a couple credits my ownself.
We deal in lead, friend.
Rockin' Rocklin! Go to the head of the class. I saw the movie twice before that dawned on me.
Glad to have you join our merry band and look forward to your future posts.
We deal in lead, friend.
Thanks to my friends for pointing out the extensive score to "Hatari". I haven't had the time to revisit the movie and music, but will do so soon.
I know that the score played through in the film, but my point was that it wasn't effective for me.
As counterpoint, I posted that "The Great Escape" will be shown theatrically. Now that is a film with one hell of a score with a rousing main title march theme that immediately sets the indomitable resolve of the POWs against the tuba accentuated authoritarianism of their German captors.
There are themes for several of the individual characters (Blythe, Ives, etc.) that heighten their scenes; a claustrophobic motif whenever the gates close or the guard towers are shown; and a wild, thumping theme for Hilts racing for freedom on his motorcycle.
The music in this film permeates the viewing experience. I didn't catch that from "Hatari".
Of course, every once in a while I'm wrong, so I'll view it again with my ears and mind open.
Not tomorrow though. I discovered that the remastered "Lawrence of Arabia" is being screened for one day only. I'll pack my sunblock and canteen and head for Aquaba.
We deal in lead, friend.
Well guys, Mancini's score didn't do much for me. Granted, The Baby Elephant theme was catchy, but I can't recall any other music helping any other scene. I saw the movie yesterday and can't recall one note from the main title music.
Since my amiga and amigo Hawk and Dooley are surprised at my opinion, maybe I'll watch it again specifically to spot the music. You two and I usually agree about most things.
I recall that "Butch Cassidy and the Sundance Kid" won oscars for best song, "Raindrops Keep Falling on my Head", and best soundtrack. I think the voters confused the two categories or lumped them together because the rest of that score was not that great but the song was a huge commercial hit. I think that happened here too.
We deal in lead, friend.
Well, here's one of Duke's films that will never be remade!
Critics usually state that there is no plot - and they're right to a point - but I noticed when I watched it this morning that Hawks deals with two jinxes. One being Indian and the rhino and the other being Sean with women. Both are put to rest by the last scene, but the Indian-rhino jinx is the only one explicitly mentioned.
Wayne is relaxed and a joy to watch. From his line reading of "Tough luck" early in the film you know that he's in fine form, literally. The weight he lost while filming "The Alamo" is still shed.
You also know that you're in Howard Hawks' country with the male competition, professionals leery of amatures, overlapping dialogue and a performance of "Whiskey Leave Me Alone" which was a highlight in "The Big Sky".
Some of the process shots haven't aged well and the music is horrible. Mancini's "Baby Elephant Walk" was catchy and made a mint, but the main title is non existent and he sounds a bugle charge every time they cut to the other two elephants.
Nobody cares but me, but the actor who played Louis, Valentin de Vargas, manages to draw attention to himself in group shots. He probably learned that by watching Steve McQueen during "The Magnificent Seven". Val played Calvera's henchman, Cirillo, but is uncredited there.
The studio played down the fact that one of the real life white hunters was killed in a jeep wreck and Elsa Martinelli's double was killed by a lion. What they also should have down played is the characters' smoking on the screen. It's incredible! It must have caused more damage than the atomic bomb tests on "The Conqueror"!
So although not one of Duke's best, he is beyond criticism. The film is dated but fun and the international supporting cast is pretty capable. I just don't want my grand children to ask about those white things in everyone's mouth.
We deal in lead, friend.
Mike, welcome back! These images, as always are amazing.
Sorry to hear that you were ill but thrilled to hear about your screenplay. You'll have to keep us informed about it.
Take care.
Bill O'Hara, aka Gorch.
We deal in lead, friend.
I'd like to second Paula's endorsement of the latest CinemaRetro magazine. The "Hatari" article settles several controversies about whether or not stunt doubles were used; if no animals were harmed; and if Duke shot an elephant (not in his pajamas, to paraphrase Groucho).
Our old friend Mike Siegel, aka JuniorMike, has regularly contibuted to this fine publication and I've even received a couple of photo credits myself.
Check out their website.
We deal in lead, friend.
