Anthony Mann

Because he brought him on.

Anthony Mann started the picture.

It was not working out.

But they had done a movie.

He's been, he's been our guest often.

And, you know, we talked about Anthony Mann's Reign of Terror and Dogville, and he just wrote and published this book called The Other World, which is specifically about French director Christophe Gans.

So, yeah, and Scout, uh, thank you for, you know, doing, uh-

Uh

This is the fourth one.

All right.

Then you previously wrote a book on Tobe Hooper, John Ford, and Anthony Mann.

And, and which of, which of the...

His co-stars were big names, Laurence Olivier, Charles Laughton, Peter Ustinov, even Tony Curtis.

But Kirk had grown frustrated with his director, Anthony Mann.

Mann was encouraging the actors to improvise their lines.

It wasn't going well.

He was very pleased to attract all famous actors.

Slaves, you have arrived at the Gladiatorial School of Lentulus Batiatus.

Stanley picked up where Anthony Mann left off.

The first scene he directed was the gladiator school, where Roman slaves trained to fight each other.

Here we are.

I know we've talked a lot about Westerns and Anthony Mann, but we haven't actually gotten to an Anthony Mann Western yet.

Ah.

Yeah.

I have to look back.

It was a thrab.

Yeah, there's a lot of Anthony Mann-type sudden violence.

I think that happens.

But he was still looking for something else to do, and so he went into two different directions.

One is making a stream of really adult Westerns for, for, uh, Anthony Mann.

The Bend of the River, uh, I mean, Winchester '73.

I mean, these are just spectacular roles where he didn't mind playing somebody who was disagreeable and, and unlikable.

Yes, I am, uh, always happy to give people an opportunity to talk about Westerns, and I'm happy to have you back on.

And it's been over a year since you were on previously when we talked about Anthony Mann's The Furies, and now you're back for another gorgeous black and white Western from the '40s.

And I'm excited to hear your thoughts on it, but first, uh, can you tell us what's been going on with One Track Mind and Reels of Justice and any- anything else you want to point listeners to?

Sure.

performances from like someone who, you know, like this is a woman who had been on Broadway, who had been in 50s Hollywood films.

She had co-starred in John Ford and Anthony Mann films alongside like Lauren Bacall, Henry Fonda, Anthony Perkins, Jack lemon.

And it's one of those classic things where like, you can tell that they hired like a middle-aged woman who was like a little confused about what it was that they were actually making and very clearly looked down on the film that she was in, but she was also, but she was a pro.

So she was like, well, I'm not going to do this and like not put my heart and soul into whatever it is they're asking me to do.

directed by Alfred L.

Worker, with important uncredited direction by Anthony Mann, and photographed by the great John Alton.

The film combines police procedure, urban realism, psychological isolation, and some of the most striking nighttime photography in film noir history.

It was loosely based on the real life criminal career of Erwin Machine Gun Walker, not Kelly, a former police employee and World War II veteran whose Los Angeles crime spree included burglary, robbery, and violent confrontation with the police.

These numbers reflect a film that has maintained a strong reputation among film noir fans, particularly because of its photography, unusual villain, procedural realism, an extraordinary final chase through the Los Angeles storm drain system, long before there were ants in there.

Director Alfred L.

Worker received the official directing credit, but Anthony Mann also directed substantial portions of the film without a screen credit.

That becomes particularly interesting when you consider Mann's extraordinary run of film noir, including Team In 1947, Raw Deal 1948, Railroad in 1947 and Border Incident in 1949.