Three compositions from "Youngblood Hawke," by Delmer Daves, Charles Lawton, Jr., and Leo K. Kuter, 1964

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• David Ehrenstein says:

  April 17, 2012 at 11:56 am

  “Do they call you ‘Youngy’ or ‘Bloody’?”

• warren oates says:

  April 18, 2012 at 1:25 am

  The stills look so Antonioni-esque that I can­’t ima­gine this film being scored by that mas­ter of music­al unsub­tlety Max Steiner. So does it hold togeth­er as a whole film or is it just inter­est­ing to you visu­ally? I liked Daves’ BROKEN ARROW and 3:10 TO YUMA and I’m look­ing for­ward to the com­ing Blu-ray of THE RED HOUSE, which I have not yet seen.

• LexG says:

  April 18, 2012 at 6:32 am

  NEAL COHEN POWER

• Evelyn Roak says:

  April 18, 2012 at 10:41 am

  As that third still shows, there are remark­able shots of faces and bod­ies through­out Daves’ films, cap­tur­ing their pres­ence, phys­ic­al­ity and sep­ar­a­tion and con­nec­tion from/to oth­ers. Watching 3:10 To Yuma years ago parts of the early-ish bar scene feel more like moments from a Philippe Garrel film than any­thing else.

• The Siren says:

  April 18, 2012 at 1:31 pm

  WOW. Despite your anguished updates on Twitter I must say you are mak­ing the Longest Movie in the History of Cinema look glor­i­ous here.

• James Keepnews says:

  April 18, 2012 at 5:14 pm

  Unless my sum­mers as a teen­age mes­sen­ger in NYC wrought more long-term memory dam­age than the inar­gu­able effect it had on the short-term vari­ety, that cav­ernous, dark marble van der Rohe-esque lobby is no less than the one at 200 Park Ave., now the MetLife Building but at the time this film was shot it was the Pan Am Building. Amirite?

• Alex says:

  April 18, 2012 at 5:37 pm

  I watched the Archive DVD a couple of week­ends ago and it is a beau­ti­ful thing. Very enter­tain­ing movie with good act­ing. Also early on some stun­ning shots of 60’s Manhattan. Interesting creative(or fin­an­cial?) choice to shot widescreen B & W‑why not col­or? I throughly recom­mend the archive disk.

• PaulJBis says:

  April 18, 2012 at 5:43 pm

  There were more than a few B/W widescreen movies back in that peri­od, right? Pretty much every Billy Wilder film, for example (“The apart­ment”, “Kiss me stu­pid”, “The for­tune cookie”…).

• Peter Labuza says:

  April 18, 2012 at 5:47 pm

  The first one looks like a black and white out­take from “Playtime.”

• Oliver_C says:

  April 18, 2012 at 6:01 pm

  Didn’t the con­tem­por­an­eous Japanese (and Kurosawa’s 1958–65 films in par­tic­u­lar) pretty much make black-and-white ‘Scope their own?

• jbryant says:

  April 18, 2012 at 11:16 pm

  It does seem a bit unusu­al that it was in B&W, since Daves was com­ing off a rather long string of col­or films. In fact, the vast major­ity of his films from BROKEN ARROW on were in col­or (excep­tions: RETURN OF THE TEXAM, 3:10 TO YUMA and KINGS GO FORTH).
  I think I’ve men­tioned this before at Dave Kehr’s site, but my two earli­est moviego­ing exper­i­ences are of Delmer Daves films – SPENCER’S MOUNTAIN and SUSAN SLADE. Both trau­mat­ized me (grandpa-meets-falling-tree in the former; baby-meets-cigarette-lighter in the latter).

• Glenn Kenny says:

  April 19, 2012 at 12:48 am

  I haven’t had a chance to respond as I’ve been out today, but…Siren, yeah, that’s kinda the damned­est thing. I’m a pretty sol­id Daves man, and I fully appre­ci­ate the spe­cial fea­ture of the film that our friend Tom Carson elab­or­ates on (here: http://www.gq.com/entertainment/movies-and-tv/201202/tom-carson-favorite-worst-movie-flop ), but yeah, this just did not have the suck-you-in momentum of the likes of, say, “Parrish.” The ridicu­lous mis­cast­ing of poor Ms. Page is but one of the prob­able prob­lems. However, the visu­als ARE pretty spe­cial, and exem­pli­fy that sort of added value that good Hollywood product could provide the view­er absent any oth­er mean­ing­ful vir­tues. You don’t see the above sort of shots in any con­tem­por­ary American pot­boil­er, no sir.

• Oliver_C says:

  April 19, 2012 at 2:13 pm

  “The first one looks like a black and white out­take from ‘Playtime’.”
  Also, is any­one else maybe kinda sorta per­haps see­ing a black-walled, high-ceilinged ver­sion of the space sta­tion from ‘2001’?

• Shawn Stone says:

  April 19, 2012 at 3:08 pm

  It’s nice to look at, there’s Pleshette, and Edward Andrews’ plummy dis­quis­i­tions on “the stag” are delightful.

• Betttencourt says:

  April 20, 2012 at 1:16 am

  Maybe it’s because I’ve loved Woody Allen’s MANHATTAN ever since I saw it at age 17, and Gordon Willis’s work on that film still astounds me, I’ve always loved the com­bin­a­tion of B&W and the widescreen. (I won­der if any­one’s used that awe­some combo for a hor­ror film since THE INNOCENTS and THE HAUNTING.)
  And hav­ing recently seen Tati’s PLAYTIME on the big screen, it’s also the first thing I thought of when I saw the image at the top of the post.
  Those three shots do make the film look won­der­ful. On the oth­er hand, it does star James Franciscus, does­n’t it? (noth­ing against Franciscus, mind you – I was a big fan of LONGSTREET in my youth and still love THE VALLEY OF GWANGI, but he’s one of those act­ors whose career seems to have been reduced to a foot­note at best).

• Peter Nellhaus says:

  April 22, 2012 at 1:35 pm

  My intro­duc­tion to Daves, seen on the big screen in a double fea­ture with “Fail Safe”. I guess I should shell out for the Archives DVD one of these days.