Scott Brady

I don't remember.

Uh, the veteran actor Scott Brady.

I don't know who that is.

Hmm.

Yeah.

I'm, I'm pretty certain the episode of, of, um, All in the Family when Edith and Archie have a fight, and she says she's gonna walk out and go to the bar and leave him there, and the first time she is in the bar and she meets, um, him, and Doris Roberts.

Apparently, apparently Scott Brady dated Gwen Verdon.

There you go.

You know, Catherine Lee Scott and others would come back and do something else for him.

Scott Brady, one of Curtis's favorite actors, worked in six productions for him.

Oh, so many others.

Jim Storm, I know, did a

Roy Finnis and...

I can't think of some of the names that Mills, Watson, uh, others, you know, would show up, uh, uh, in, in lesser roles, sometimes leading, but sometimes minor roles over and over again, just because they wanted to work with him.

And, uh, Scott Brady, you know, who had done Westerns and film noir, um, um, hung around and wanted to be in Curtis's movies.

And so Curtis said, well, we'll just stick around and I'll put you in something else.

Also, a Joanne Paflug, I think that's how you pronounce her name, as Louise Harper.

A Simon Oakland as Tony Vicenzo Scott Brady as Captain Roscoe Schubert.

And you younger listeners might know who she is.

Maybe not know her by name, but this is Margaret Hamilton.

And there are plenty of other familiar noir faces here.

Scott Brady played police sergeant Martin Brennan, and he would appear in crime films including Undertow 1949, The Model and the Marriage Broker 1951, and The Restless Bree 1957.

Roy Roberts played Captain Breen, and he seemed to turn up everywhere in classic film noir, including Force of Evil 1948, The Enforcer 1951, and House of Strangers 1949.

Quip Bissell, who played electronics dealer Paul Reeves, became one of the era's most dependable supporting actors, appearing in films such as Root Force 1947, Cannon City 1948, and The Killer That Stalked New York 1950.

The clip dialogue, official tone, procedural details, and emphasis on method rather than melodrama all feel like stepping stones towards those later Dragnet series.

The supporting cast reinforced that feeling because the film is filled with faces that seem to belong in film noir.

Roy Roberts, Whit Bissell, Scott Brady, even smaller parts contained actors like John Dinner, Kenna Tobey, Dorothy Adams, and Brian Folger.

They're exactly the kind of actors who give classic film noir its... texture? They may not always be the stars, but they make the world believable.

Will Vienna and Johnny Guitar stand up to the ranchers and come out alive? just to walk you through the cast of this fine film here.

It stars Joan Crawford as Vienna, Sterling Hayden as Johnny Logan, Johnny Guitar, Emma Small is played by Mercedes McCambridge, Scott Brady plays the dancing kid, Ward Bond plays John McIvers, and you can read the rest of the main cast here in the transcript, which includes some famous names like Ernest Borgnine or Royal Dano.

All right, so what's good about Johnny Guitar? Well, this first thing is called Ladies with a Vengeance, and it's gonna add three points.

It's wild to have these two women fighting each other as the plot in a 1954 Western.

And it's awesome.

And what's so odd, too, is that Joan Crawford is 49 here, which by Hollywood standards had to be old then.

Female actors complain Hollywood may not cast them as love interests at that age now, but if you can believe it, this film's love interest for her, Sterling Hayden as Johnny, was 37, and the secondary love interest, Scott Brady as the dancing kid, was just 29.

So not only were the gunfighter-slash-power roles flipped to women, but even the lead's romantic partners were younger men.

The film's focus on strong female characters, rather than the typical male leads, sets it apart from its contemporaries.

The male characters, including the dancing kid, played by Scott Brady, often take a backseat to the powerful performances of Crawford and McCambridge.

This shift in focus challenges the genre's norms and offers a fresh perspective on the Western narrative.

Visually, the film is a feast for the eyes.