Hammer Horror?

Leaning heavily into advertising their latest picture as a horror film, Hammer promptly used its trailers and advertising posters to highlight those spooky aspects, going so far as to name it Night Creatures (1962) for the United States market, while in England, they went with the more accurate title of Captain Clegg – focusing on the swashbuckling action adventure elements that revolve around pirates, smugglers, and the Royal Navy. Set in the eighteenth century, the story follows the supposed death of the infamous titular pirate Captain Clegg in 1776, who has been hanged to death by the Royal Navy for his long list of crimes... but not before Clegg maroons one of his men (Milton Reid) and cuts out his tongue for assaulting his beloved wife.

One of the major films to challenge the Hays Code before it finally failed in 1968 (to be replaced with our modern rating system) was also one of the first to usher in what is called New Hollywood (putting an end to the traditional Hollywood System), namely, the biographical crime drama Bonnie and Clyde (1967), directed by Arthur Penn. Based upon the real life bank robbers, Bonnie Parker (Faye Dunaway) is a bored amateur poet and waitress in her early twenties looking for any adventure to come her way during the crippling Great Depression... Clyde Barrow (Warren Beatty – McCabe & Mrs. Miller) just so happens to be a recently released convict that she spots and becomes infatuated with.

If you’re looking for one of the most wildly intense nights of chaos set on film, then Airport (1970), co-written and directed by George Seaton (Miracle on 34th Street) is in the running for that honour. Often deemed a disaster movie with plenty of drama, moments of action, tinges of comedy (see above), as well as some obvious thrills, it’s a mixed bag of sorts, as it’s got an impressively massive cast, clever use of split screen to keep the narrative moving along (it might remind some of the popular 2000s tv show 24), and throw a wild number of ideas at the screen to create one frantic evening effect, yet its languid pacing holds some of these elements back from being a more memorable disaster thriller. In fact, star Burt Lancaster even called it “a piece of junk”.

After a middling success with Broadway Bill (1934), Frank Capra wanted to return to the gargantuan success he had with his film released earlier that year, the rare Academy Award winner of the ‘Big Five’, It Happened One Night. Turning pen to paper with his then go to writer Robert Riskin, they worked on developing a tale based upon Clarence Budington’s short story “Opera Hat” – which was turned into serial form in The American Magazine, and it soon became the director’s biggest box office success yet, Mr. Deeds Goes to Town (1936). Certainly part of why Frank Capra’s work would become known as ‘Capracorn’, this feature thrives thanks to its Great Depression setting (which was obviously still a major problem at the time), sweetly sentimental charm, and its belief in a humanist outlook.

A revisionist feature that in many ways is the closing bookend to the classic western, Clint Eastwood directs and stars in (notably his last picture in the genre he helped make famous again) 1992's Academy Award Best Picture winner Unforgiven. Throwing the traditional rhythm out the door, David Webb Peoples writes a tale set at the end of the Wild West where in every characters’ mind, they are the ‘good’ guy. Centred around a town called Big Whiskey, Wyoming, Sheriff ‘Little Bill’ Daggett (Gene Hackman – The Replacements) runs the town with an iron fist – banning any guns in the place (if they don’t listen, he makes an example of them). Also of note, the lawman, though not a great craftsman, is trying to build his own home.

Originally meant to be a satire... though of a film very few have ever seen nowadays, the Norman Z. McLeod western comedy The Paleface (1948), written by Frank Tashlin about 1929's Virginian, infuriated the man in how it was directed (as a more generic spoof of the western)... but funnily enough, despite the screenwriter’s opinion, until Blazing Saddles (1974) came out, it was the highest grossing western parody of all-time and spawned a sequel in Son of Paleface (1952), while it was also remade as the Don Knotts vehicle The Shakiest Gun in the West (1968). After government agents tasked with tracking down an illegal gun smuggling ring turn up dead, the infamous Calamity Jane (Jane Russell) is secretly broken out of jail by Gov. Johnson (Charles Trowbridge) with the hope that she will take a pardon for going undercover to get to the bottom of this rebel-rousing (similar to rabble-rousing) gang in the frontier land.