Tonight's TV: Cheyenne (1955-1963) - A Warner Archive Blu-ray Review

The Warner Archive Collection has a real winner with its Blu-ray boxed set release of the complete run of the Warner Bros. Western TV series CHEYENNE (1955-63).

CHEYENNE was previously released on DVD by the Warner Archive in seven single-season sets put out from 2006 through 2013.

This new Blu-ray set contains 107 episodes on a whopping 30 discs attractively packaged by season. The number of episodes per season vary from as few as 13 to as many as 20.

The show aired in hour-long slots, with the episodes running anywhere from 40 to 53 minutes without commercials; the shorter episodes date from the first season, when CHEYENNE was part of the rotating series shown on WARNERS BROS. PRESENTS. The other series shown under that banner were KINGS ROW (1955-56) and CASABLANCA (1955-56). After the first season the other two WARNER BROS. PRESENTS series came to an end and CHEYENNE received its own solo time slot.

The basic premise of CHEYENNE, a cowboy wandering from place to place in the post Civil War era, is somewhat like my all-time favorite TV show from the same studio, MAVERICK (1957-62). Being made at the same studio, the shows shared similar guest casts, but the lead characters were quite different.

Instead of MAVERICK's sarcastic gamblers, Cheyenne is a more noble sort. He's kind and mild-mannered, but if provoked he uses his imposing strength (Walker was 6' 6") and frontier knowledge to help those in need.

Pretty much everyone who guest-starred on MAVERICK appears here, along with some different faces; just a few of the guests seen on CHEYENNE are Kathleen Crowley, Diane Brewster, Leo Gordon, Peter Brown, Adele Mara, Peggie Castle, Mala Powers, Peter Breck, Joanna Barnes, Merry Anders, Pat Crowley, Lisa Gaye, Lee Van Cleef, Phil Carey, Audrey Totter, Faith Domergue, James Coburn, and many, many more.

The first CHEYENNE episode, "Mountain Fortress" (1955), evocatively filmed on location at Vasquez Rocks by Carl Guthrie, is pure pleasure. Robert J. Wilke, a classic Western villain, threatens Ann Robinson, who is caught between Indians and robbers on her way to join her soldier fiance -- James Garner! -- at a fort. It's a good show, directed by Richard L. Bare.

Wilke returns opposite Marie Windsor in the Season 3 episode "The Mutton Puncher" (1957), directed by Franklin Adreon and filmed by Harold E. Stine. I skipped ahead to this episode out of viewing order as it was particularly recommended by my late father not long before he passed, and it did not disappoint. Windsor plays a sheep rancher who falls for Wilke, an ornery cattleman.

Obviously it's impossible for me to watch all 107 episodes quickly enough for a timely review, but I skipped around and watched several more to verify both series and disc quality. (It had been a long time since I'd seen an episode of CHEYENNE!) This is one of the era's top Western TV series, and the episodes, as seen on these Blu-rays, look great. I'm very much looking forward to continuing to watch the entire set over the coming weeks.

The prints are of outstanding quality, complete and uncut, remastered from 4K scans of original 35mm camera negatives. Where possible little extras such as commercial "bumpers" and station logos were included.

The lone substantive extra is an interview with Clint Walker, THE LONELY GUNFIGHTER - THE LEGACY OF CHEYENNE, which carries over from the 2006 Season One DVD release of nearly two decades ago.

I've collected the entire MAVERICK series thanks to Warner Archive DVDs but after seeing the high caliber of this set, I'm hoping that we may see MAVERICK in a similar Blu-ray set one day.

For those interested in other Warner Bros. Western releases of the era, I've previously reviewed the Warner Archive Blu-ray collections featuring THE ALASKANS (1959-60) and COLT .45 (1957-60).

In addition to MAVERICK DVDs, I also reviewed the first two seasons of LAWMAN (1958-62) when it was released on DVD.

CHEYENNE is recommended.

Thanks to the Warner Archive and Allied Vaughn for providing a review copy of this Blu-ray. Warner Archive Blu-rays may be ordered from Movie Zyng, Amazon, and other online retailers.

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Tonight's Movie: Mission: Impossible - The Final Reckoning (2025)

After nearly three decades, the MISSION: IMPOSSIBLE movie series has (probably) come to a conclusion with MISSION: IMPOSSIBLE - THE FINAL RECKONING (2025).

THE FINAL RECKONING proved to be a worthy, if somewhat exhausting, finale to a grand eight-film series.

Our time with the two hour, 49-minute movie began with a welcome to the audience from Tom Cruise. I really appreciate these messages, emphasizing the importance of the theatrical experience and that the entire production team has worked hard for us, the viewers. Both those points were amply illustrated by THE FINAL RECKONING.

The movie picks up from MISSION: IMPOSSIBLE - DEAD RECKONING (2023), formerly known as MISSION: IMPOSSIBLE - DEAD RECKONING PART ONE.

Things have become much more serious since the previous film, as the world is on the brink of nuclear annihilation due to the AI system "The Entity."

Evil Gabriel (Esai Morales) has obtained possession of a "poison pill," capable of killing off The Entity, which was designed by Luther (Ving Rhames), one of the key longtime members of the team led by Ethan Hunt (Cruise).

In order to end the threat from The Entity, Ethan and the rest of his team (Simon Pegg, Hayley Atwell, Pom Klementieff, and Greg Tarzan Davis) must obtain not only the poison pill, but the "Podkova" cartridge from the Russian submarine which was attacked by The Entity at the beginning of the previous film. Neither job will be easy...especially as the submarine is at an unknown location at the bottom of the Arctic Ocean.

While I think DEAD RECKONING remains my favorite film in the series, as I loved its humor, redemption themes, and particular action set pieces, the weightier and more serious FINAL RECKONING is also excellent moviemaking, and I was satisfied when it came to its end.

Yes, the film's pair of impressive big action set pieces -- one in the ocean, one in the skies -- perhaps go on a bit too long this time around; one suspects so much effort and expense went into those sequences that they didn't want to trim them down, and in a sense it's easy to understand that. Certainly, everything Cruise and his production team had to give is left on the screen.

I've seen complaints from some quarters that there was too much in the way of flashbacks and exposition in the movie's first hour, but I didn't have any issues with that aspect and indeed, appreciated some reminders from past films.  We're talking about three decades of story here!

Vanessa Kirby's White Widow is missed this time around, but that's offset by wonderful new additions. Just as DEAD RECKONING brought back Henry Czerny's Kittredge from the very first film, this movie also makes brilliant use of another character from the 1996 movie. It may take just a second to register the familiar face, but when the viewer does, well, it's absolute genius, and I loved he became a key player.

I also loved Trammell Tillman as gutsy Captain Bledsoe, the perfect person to team with Ethan in the buildup to his improbable underwater mission. (Yes, much about the film is improbable, actually; but hey, the series is called MISSION: IMPOSSIBLE, right? And, as Ethan's team members are fond of saying, they'll "figure it out.")

The development of previous characters is outstanding, starting with Ethan himself; over the years he's developed from relatively cocky, daring young man to an equally daring but emotionally drained rescuer who has lost some of those he loves along the way and carries the literal weight of the world on his shoulders, in ways big and small. He's determined to protect his friends but he's also got a world to save. Cruise brings dramatic heft to the role, even providing impressive acting along with stunt work while he's hanging on for dear life in the skies.

I also love the maturation of Benji (Pegg) over time, remembering his beginnings early on in the series; his genius and experienced confidence, having essentially become Ethan's co-leader by this point, is rather moving. Benji's team works in parallel with Ethan's journey; if one team succeeds but the other fails, all is lost.

Klementieff's assassin Paris, whose character was a key aspect of the previous film's redemption theme, is marvelous here as a newly recruited member of Ethan's team; she's determined to kill Gabriel and also provides needed humor at the moments of peak drama. The moment when Benji asks if she has any medical experience and she shrugs and responds "I kill people" got one of the biggest laughs in the movie, as did Benji's response ("I can work with that").

There's also some delightfully black humor before the opening credits, as Ethan rescues my favorite character of the last two films, pickpocket Grace (Atwell), by brutally doing away with her intended killer. The entire killing is played off camera, entirely told by Grace's reactions and facial expressions. It's very funny, and the moment provides a great lead-in to Lalo Schifrin's thrilling MISSION: IMPOSSIBLE theme.

This chapter in the series also features Angela Bassett as the President, Hannah Waddingham as a Navy admiral, and Janet McTeer, Holt McCallany, Nick Offerman, Shea Wigham, Cary Elwes, Rolf Saxon, and Lucy Tulugarjuk.

Director Christopher McQuarrie does his usual excellent job. There's also outstanding editing by Eddie Hamilton mixing together what's happening in multiple places, and we may never know how cinematographer Fraser Taggart and aerial director of photography Phil Arntz accomplished all of their impressive shots.

When the movie came to its conclusion and the MISSION: IMPOSSIBLE theme music began as the credits rolled, the audience at my sold-out screening burst into loud applause. I experience that regularly at classic film screenings, but it's a rarity when I see new movies.  It was well deserved, not simply for the film but the entire series.

Parental Advisory: This film is rated PG-13. It's the usual non-gory violence seen in previous entries, balanced by positive themes such as teamwork, dedication to protecting others, and love of "found family."

A trailer is here.

The entire 30-year MISSION: IMPOSSIBLE film series has brought me many hours of top-notch entertainment and is very highly recommended.

Previously: MISSION: IMPOSSIBLE (1996), MISSION: IMPOSSIBLE II (2000), MISSION: IMPOSSIBLE III (2006), MISSION: IMPOSSIBLE - GHOST PROTOCOL (2011), MISSION: IMPOSSIBLE - ROGUE NATION (2015), MISSION: IMPOSSIBLE - FALLOUT (2018), and MISSION: IMPOSSIBLE - DEAD RECKONING PART ONE (2023).

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On Memorial Day

Remembering with deepest gratitude the brave men and women who gave their all for our nation and our freedom.

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The 2025 Arthur Lyons Film Noir Festival in Review

One of my favorite events of the year is the annual Arthur Lyons Film Noir Festival. I've been attending the festival for a decade now, and this year's festival was wonderful as always.

This year's festival opened on Thursday evening, May 8th, and ran through Sunday, May 11th. The festival took place in its longtime home, the Palm Springs Cultural Center, also known as the Camelot Theatres.

Festival producer and host Alan K. Rode is seen above along with regular festival guests Victoria Mature and Steven C. Smith.

As always, Rode's Film Noir Foundation colleague Eddie Muller joined him in introducing films this weekend (seen below). Muller is seen in the above photo signing copies of his new book, the revised and expanded edition of DARK CITY DAMES, alongside Jeffrey Mantor of Hollywood's Larry Edmunds Bookshop.

A dozen films were screened between Thursday evening and Sunday afternoon, including a number of rarities. The festival featured a mixture of 35mm and digital prints, including the digital theatrical premieres of PAID IN FULL (1950) and UNMASKED (1950).

Half the films shown at the festival were new to me; I wanted to get reviews up while they were fresh in my mind and have reviewed four of the films thus far, linked near the end of this post.

Opening night featured Errol Flynn and Barbara Stanwyck in CRY WOLF (1947), a film I really enjoy. The poster seen here is from the collection of Brian Light; photos of additional posters from his collection are seen below.

Errol Flynn's daughter Rory joined us prior to the movie to sign her book THE BARON OF MULHOLLAND: A DAUGHTER REMEMBERS ERROL FLYNN.

She later joined Alan Rode in the theater for an interview:

Opening night concluded with a reception under the stars in front of the theater. The festival was very well attended throughout the entire weekend.

Three out of the four films shown on Friday were new to me: SWELL GUY (1946), LUST FOR GOLD (1949), and PAID IN FULL (1950), which were shown along with an all-time favorite, JOHNNY O'CLOCK (1947).

Two of Saturday's films, UNMASKED (1950) and THE FRIENDS OF EDDIE COYLE (1973), were also first-time watches for me. They were screened along with ANGEL FACE (1953) and THE UNSEEN (1945).

I'll add that it was 108 in Palm Springs that Saturday, so we were glad to be in a dark, air-conditioned theater!

Joel McCrea's grandson Wyatt McCrea was interviewed by Alan Rode at the Saturday night screening of THE UNSEEN. It's always wonderful to hear him share stories about his grandfather, not to mention his grandmother, Frances Dee.

Wyatt is seen after the screening with Victoria Mature and Alan Rode:

Sunday morning was one of my favorite films of the festival, the new-to-me KISS TOMORROW GOODBYE (1950).

Alan Rode introducing a movie during the festival:

We had to leave Palm Springs a bit earlier than usual this year and thus missed the Sunday afternoon screenings of the great films ACT OF VIOLENCE (1948) and ON THE WATERFRONT (1954). We had an absolutely marvelous time at the festival and can't wait till next year!

For those able to stay in Palm Springs through Sunday evening, there was the added bonus of a special screening of a black-and-white edition of NIGHTMARE ALLEY (2021) with director Guillermo del Toro present for an interview along with his wife and co-screenwriter, Kim Morgan.

Previously reviewed films seen at the 2025 Arthur Lyons Film Noir Festival: CRY WOLF (1947) (also here), JOHNNY O'CLOCK (1947), ANGEL FACE (1952), and THE UNSEEN (1945).

New-to-me films reviewed following this year's festival: SWELL GUY (1946), LUST FOR GOLD (1949), UNMASKED (1950), and KISS TOMORROW GOODBYE (1950). We also saw PAID IN FULL (1950) and THE FRIENDS OF EDDIE COYLE (1973) which I hope to review in the future.

On our way to the festival we made a stop at Pioneertown, a movie location dating from 1946. Look for an article on it coming soon to my Classic Movie Hub Western RoundUp column.  (Update: Here is the direct link to my article on Pioneertown, which has a fascinating history. I've included numerous photos.)

Previously: The 2025 Arthur Lyons Film Noir Festival Schedule.

Coverage of previous Arthur Lyons Film Noir Festivals: The 2015 Arthur Lyons Film Noir Festival in Review; The 2017 Arthur Lyons Film Noir Festival in Review; The 2018 Arthur Lyons Film Noir Festival in Review; The 2019 Arthur Lyons Film Noir Festival in Review; The 2021 Arthur Lyons Film Noir Festival in Review; The 2022 Arthur Lyons Film Noir Festival in Review; The 2023 Arthur Lyons Film Noir Festival in Review; The 2024 Arthur Lyons Film Noir Festival in Review.

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Tonight's Movie: The Flame (1947) - A Kino Lorber Blu-ray Review

It's New Year's Eve, and a camera glides over the city to a darkened apartment, where a shot rings out...

This description might make a savvy classic film viewer think of the opening of Eagle-Lion's REPEAT PERFORMANCE (1947), which begins with Joan Leslie shooting husband Louis Hayward on the last night of the year...but in this case the sequence is from an entirely different movie from the same year, THE FLAME (1947).

THE FLAME was just released on Blu-ray by Kino Lorber in the Dark Side of Cinema XXV collection. To my knowledge this is the first time it's been available for home viewing.

John Carroll plays George MacAllister, the shooter in the movie's opening scene. Carroll, formerly an MGM contract player, had moved to Republic Pictures that year; before THE FLAME he appeared for the studio in a pair of Bill Elliott's Westerns, WYOMING (1947) and THE FABULOUS TEXAN (1947).

Most of THE FLAME is told in flashback, as we learn that ne'er-do-well George's girlfriend Carlotta (Vera Ralston) is nursing his wealthy brother Barry (Robert Paige), who's in poor health due to an unnamed malady.

George and Carlotta have a plan for her to marry Barry, who's not expected to live long, after which she'll inherit Barry's millions and she and George will live happily ever after.

There are just a couple of problems: George has another girlfriend on the side, Helene (Constance Dowling)...and George also hasn't counted on Carlotta falling for Barry for real.

Nor has George figured in that Helene has another boyfriend, Ernie (Broderick Crawford), who's in need of funds to keep Helene happy and discovers he has an excellent opportunity to blackmail George and Carlotta...

I thoroughly enjoyed THE FLAME, finding it one of those relatively unknown little movies which proved to be a wonderful discovery. It has a solid script by Lawrence Kimble, based on a story by Robert Terrance Shannon, and I found it a very worthwhile 97 minutes which I hope will become better known.

The movie was shown in a Republic Pictures series at the Museum of Modern Art several years ago -- Farran Smith Nehme wrote an excellent overview for the Village Voice -- and I'd love to see this one shown at future film noir festivals.

With its "gothic noir" elements -- Barry lives in a forbidding coastal mansion which calls to mind MY NAME IS JULIA ROSS (1945) -- and a feeling of impending doom, THE FLAME has a touch of the otherworldly tone which also sets apart REPEAT PERFORMANCE. These New Year's Eve films would make a marvelous double bill.

The movie has some superbly directed sequences, such as an early scene with George driving towards his hotel; it manages to be both spooky and heart-pounding, as George is stopped by a police officer (Eddie Dunn) and initially makes the incorrect assumption as to why he was pulled over. The movie has a number of similarly well-orchestrated moments which elevate it above the norm.

The cast may not be comprised of the best actors of the era, yet I rather enjoyed that they were relatively fresh faces on the noir scene.

This is one of several films teaming Ralston and Carroll, who were frequently teamed at Republic; their other films were WYOMING, I, JANE DOE (1948), SURRENDER (1950), and BELLE LE GRAND (1951).

I've always liked Carroll, who like his MGM contemporary James Craig gradually moved into doing good character work; one of his final films was Budd Boetticher's DECISION AT SUNDOWN (1957), where he played a strangely admirable villain. He's got just enough sleaze here to make the role work.

Ralston isn't especially believable in her early scenes as the film's ostensible femme fatale, lacking the varied shadings needed to convey her character's transformation from bad girl to good; at the same time, you could easily read the character as not having what it took to be a "bad girl" from the outset. She's likeable and at times downright angelic in the film's latter sections, and I quite enjoyed her here.

Ralston has been unfairly stereotyped over the years as a poor actress who was the paramour and later wife of Republic Pictures head Herbert J. Yates, but I don't feel she's received her due. While certainly not one of Hollywood's better actresses, she nonetheless had what it took to sustain a successful career over the better part of two decades, and she was actually quite good in a number of films, including DAKOTA (1945), more than holding her own in a spunky role opposite John Wayne, and the underseen JUBILEE TRAIL (1954), where she headed a deep cast alongside Forrest Tucker and Joan Leslie.

Paige (CAN'T HELP SINGING) is similarly considered a rather bland actor, yet I found him entirely believable and effective here as the kindly Barry, a genuinely nice guy. What can I say? I liked him.

Crawford and Dowling also had supporting roles in the previous year's outstanding BLACK ANGEL (1946) for Universal Pictures, a personal favorite. They're excellent here, providing the film with some needed spice, with Crawford perfect as the determined blackmailer.

Dowling has a lot of fun with her more ambiguous character and has a couple terrific scenes. In the first, she puts over a sultry take on Kahn and Donaldson's "Love Me or Leave Me" when performing in a nightclub; in the second, she pays a call on Carlotta and shares some plain facts about George. Her exit is a great moment.

Kudos also to Victor Sen Yung, who takes an initially stereotypical role as George's houseboy, Chang, and turns the part into something deeper and quite moving in his final scenes.

The supporting cast also includes Blanche Yurka, Henry Travers, Hattie McDaniel, Harry Cheshire, John Miljan, and Garry Owen.

Bess Flowers fans will spot the movies' best-known "dress extra" walking through a lobby near the movie's start, dressed in New Year's finery. I remember at one point Flowers' IMDb credits numbered in the 800s; her listings are now at over 1100! I've added a couple of her credits myself over the years.

Like the other films in this Kino Lorber set, the previously reviewed CITY THAT NEVER SLEEPS (1953) and HELL'S HALF ACRE (1954), THE FLAME was directed by John H. Auer, who mostly worked at Republic Pictures. He does a fine job on all three films, in each case sustaining a very effective moody tone and making good use of actors often seen in support in leading roles.

The film was memorably shot in black and white by Reggie Lanning. Kino Lorber's beautiful, gleaming Blu-ray print shows off Lanning's photography to great effect. The print is from a new Paramount Pictures HD master from a 4K scan.

Disc extras consist of a commentary track by Heath Holland (Cereal at Midnight), plus a gallery of trailers for three additional films available from Kino Lorber.

This Dark Side of Cinema set is another winner, especially as it makes THE FLAME available on Blu-ray for the first time, and is very highly recommended.

Thanks to Kino Lorber for providing a review copy of this Blu-ray collection.

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Around the Blogosphere This Week

Miscellaneous bits of news and fun stuff from around the Internet...

...Coming September 16th from Running Press: CRISS-CROSS: THE MAKING OF HITCHCOCK'S DAZZLING, SUBVERSIVE MASTERPIECE STRANGERS ON A TRAIN by Stephen Rebello. Rebello is also the author of ALFRED HITCHCOCK AND THE MAKING OF PSYCHO and A CITY FULL OF HAWKS: ON THE WATERFRONT SEVENTY YEARS LATER - STILL THE GREAT AMERICAN CONTENDER.

...Kino Lorber has targeted a July 15 release date for the previously announced EXCLUSIVE (1937) starring Fred MacMurray and Frances Farmer, directed by Alexander Hall. It will feature a commentary track by Jason A. Ney, joined by Farmer expert Jeffrey Kauffman.

...There's a new book coming from silent film expert Ben Model next month: THE SILENT FILM UNIVERSE. It features a foreword by esteemed film historian Jeanine Basinger.

...At Silentology Lea Stans writes about Western star Tom Tyler and the Blu-ray set of Tom Tyler Westerns recently released by Ben Model's Undercrank Productions.

...The first woman, Mandy Walker, has been elected President of the American Society of Cinematographers. Her credits include HIDDEN FIGURES (2016) and MULAN (2020).

...Colin reviews TROOPER HOOK (1957), starring Joel McCrea and Barbara Stanwyck, at Riding the High Country.

...Coming to Region 2 Blu-ray in August from Powerhouse Indicator: OUT OF THE CLOUDS (1955) and STORM CENTER (1956). OUT OF THE CLOUDS, an "airport" film directed by Basil Dearden, is a U.S.-only release. STORM CENTER stars Bette Davis, directed by Daniel Taradesh.

...New this month from Simon & Schuster's Avid Reader Press: HOLLYWOOD HIGH: A TOTALLY EPIC, WAY OPINIONATED HISTORY OF TEEN MOVIES by Bruce Handy. An excerpt on Mickey Rooney and the Andy Hardy films recently appeared in The Hollywood Reporter.

...My sincere appreciation to David Blakeslee and Criterion Cast for sharing links to several of my reviews on Argentinian film noir in conjunction with a new episode on the same topic. The podcast may be accessed here, along with links to other resources.

...I just learned about the existence of the LITTLE HOUSE COLORING BOOK, published by HarperCollins in 2016. It's based on Garth Williams' classic illustrations for Laura Ingalls Wilder's books. I suspect I'll be picking it up at some point.

...Jacqueline T. Lynch has reviewed HEAT LIGHTNING (1934), starring Aline MacMahon, Ann Dvorak, and Preston Foster, at Another Old Movie Blog. It's part of the Classic Movie Blog Assocation's Cry Me a River "tearjerkers" blogathon; more entries are linked at the CMBA site.

...Based on a recommendation I just purchased SCREWBALL COMEDY AND FILM NOIR: UNEXPECTED CONNECTIONS by Thomas C. Renzi. It was published by McFarland Books in 2012.

...My summer reading stack also includes last year's JEAN PETERS: HOLLYWOOD'S MYSTERY GIRL by Michelangelo Capua. It was published by the University Press of Mississippi.

...Glenn Erickson's latest Blu-ray reviews include SIDE STREET (1950), recently released by the Warner Archive Collection. SIDE STREET stars Farley Granger, Cathy O'Donnell, and James Craig, directed by Anthony Mann.

...Over at Greenbriar Picture Shows, John McElwee takes a look at STAR DUST (1940) starring Linda Darnell and John Payne.

...Notable Passing: Sad news, Mara Corday has died at the age of 95. Her February passing was just announced in The Hollywood Reporter. Corday was in a great many '50s Westerns I've enjoyed, including a few reviewed here, and she was also in several "monster" movies such as TARANTULA (1955). She retired to raise a family after marriage to actor Richard Long, but following his early 1974 death she appeared in several Clint Eastwood movies, including THE GAUNTLET (1977). Eastwood, a friend from Corday's '50s studio days, gave her small roles to help her maintain health insurance.

...More Notable Passings: George Wendt, famed for his role as "Norm!" on CHEERS (1982-93), has died at 76...Production designer Les Dilley has died at 84.  His credits included STAR WARS (1977), THE EMPIRE STRIKES BACK (1980), and RAIDERS OF THE LOST ARK (1981)...Cinematographer Billy Williams (THE WIND AND THE LION) has died at 95. He was an Oscar winner for GANDHI (1982).

...For additional recent links of interest to classic film fans, please visit my May 17th column.

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