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#Comanche station license
#Comanche station series

Writer Burt Kennedy and director Budd Boetticher lent the films what critic Andrew Sarris described as the intimate dynamics of a floating poker game: in each picture Scott’s protagonist found himself at odds with an equally shrewd villain.

#Comanche station how to

knew how to make a shot of three or four riders beneath a big sky look suitably gigantic. They do without big-studio production values, yet are epic in feel - cameramen like William Clothier and Charles Lawton Jr.

#Comanche station series

Wh en showing his age in the second half of the decade, Scott embarked on a series of compact western dramas co-produced with Harry Joe Brown. Non-political and possessed of an unbreakable integrity, the Scott hero could be counted on for eighty minutes of uncomplicated western conflict. Even as he got older his noble countenance and straight-shooting manners endeared him to audiences. Randolph Scott may have been the busiest western star of the 1950s. Explosive’s Blu-ray of Comanche Station is a beautiful stand-alone HD encoding, authorized and authentic. A few years back Sony released a box set of Randolph Scott-Budd Boetticher westerns but only on DVD. Western fans will gravitate toward Explosive Media’s releases for their consistent quality. In a few cases the films being offered are simply being pirated.

#Comanche station license

Foreign distributors license American movies that the studios won’t release here, but sometimes they don’t have access to good video masters. One must be careful when ordering Blu-ray discs of Hollywood films from overseas.

Starring Randolph Scott, Nancy Gates, Claude Atkins, Skip Homeier, Richard Rust. Street Date J/ Einer Gibt Nicht Auf / available at / EUR14,99 It’s also a showcase for the underrated Nancy Gates and Claude Akins, and a pleasure to watch in wide, wide CinemaScope.ġ960 / Color / 2:35 widescreen / 74 min. Louis Seguin, «Positif», n.Randolph Scott’s final ‘Ranown’ western is a minimalist masterpiece, an unusually gentle story about a great westerner on a forlorn romantic quest. From the gorgeous opening scene in which the camera focuses easily upon a cowboy in a maze of rocks and crags, to the succession of looks with which the protagonists identify and recognize one another during a shootout, his style and ideas take on the same, seemingly linear simplicity, which is in truth more complex than ever. In 1960 Boetticher appeared at the height of his style. It is the place where encounters happen, relationships are established, and misunderstandings are clarified. In the latter film, the place is Comanche Station, a stop on the way to the classic diligence of Lordsburg. Ride Lonesome, along with Comanche Station, are built on a land, around a privileged place. He develops a sensitivity for places which is the mark, Indian of course, of great authors of westerns. As he perfects the catharsis which skims any excess off the emotions, the director delves deeply into his knowledge of the land and the men that populate it. However, the desperation is so total, so perfect, that it finds its own form of consolation inside itself. Beyond such dialectic chemistry, serenity appears once again, calmer than ever, and more exasperated and desperate. Throughout the series, the themes are refined and strengthened, colliding with their opposites. Completing their first film inseparably with their last, Boetticher and Kennedy close the circle.