Hugh Loudon’s “My Hollywood” and Tom Tyler

Tom Tyler’s silent films made for FBO certainly made an impression upon fans around the world early on. Spain dedicated many forms of kiosk literature in the form of pulp fiction and film booklets on these silent films. Tom, along with Frankie Darro, their horses, and dog named Napoleon, were heavily marketed around the world along with many other silent films produced by FBO. In the United Kingdom, Tom Tyler had plenty of fans of that side of the Atlantic, enough to inspire at least one of them by the name of Hugh Loudon to include his silent films in the book “My Hollywood”. Written and published in 1991 by The Self Publishing Association Ltd. in Upton-upon-Servern in Worcestershire, Hugh cites Tom Tyler’s silent films as being an early influence upon his interest in American films.

One of Hugh's favorite cinemas where he attended the matinee was the Cecil located in Treforest, a village in Pontypridd, southern Wales. According to his memoir, one thing that genuinely fascinated him about Tom Tyler was the way the star mounted his horse, often while the horse started galloping. This is commonly known as the “flying mount”, which requires the rider to have a firm grasp on the horn of the saddle while aiming to land in the saddle without falling off onto the other side. Hugh continues to describe watching Tom’s silent films in the first chapter of his memoir, which took place between 1929 and 1931, a year or two after the film’s initial release in the United States, which was not unusual in the United Kingdom and elsewhere in the world at the time. The fact that Hugh was able to fondly remember Tom Tyler’s silent films in 1991 is impressive, a precious memory now faded with a generation no longer with us on earth.

Finally, Hugh devotes chapter eight of his memoir to westerns, where he mentions Tom again in the critically acclaimed “Stagecoach” from 1939. The words which describe Tom as one of the Plummer Boys aching to take on the Ringo Kid, played by John Wayne, are written with relish. Hugh even concludes the scene with how Tom walks into the saloon, his long, drawn-out walk, before collapsing dead beside the bar.

Engagingly written, it is easy to see how "My Hollywood" was written by a teacher who eventually went on to become the Director of Education in the historically rich county of Gwent in southeast Wales. Now out of print, the book can be read through Internet Archive.

Event: John Wayne’s “The Cavalry Trilogy” in Los Angeles, June 22, 2024

Scene from "She Wore a Yellow Ribbon" 1949

There will be a Tom Tyler related event held in Los Angeles, California, on June 22, 2024. Author Michael F. Blake will be doing a presentation on John Wayne’s “The Cavalry Trilogy”, of which “She Wore a Yellow Ribbon” (1949) is one of the three films made in this unique Wayne film series. Blake will be promoting his new book titled The Cavalry Trilogy: John Ford, John Wayne, and the Making of Three Classic Westerns,  published by TwoDot and released in March of this year. “She Wore a Yellow Ribbon” won an Oscar for Best Cinematography and contains the compelling and memorable scene of Tom Tyler as Corporal Quayne undergoing surgery to remove a bullet in the covered wagon as John Wayne and his men trek through a severe thunderstorm out west.

The event location will be at: Hollywood Heritage Museum, 2100 Highland Ave, Los Angeles, CA 90068. Ticket prices range from $14.00 to $18.00. The event time will be 2:00 PM – 3:30 PM.

To order tickets, click here:

www.hollywoodheritage.org/event-details/the-calvary-trilogy-with-author-michael-f-blake

Stagecoach (1939) still one of the greatest films of all time

Who could guess that the John Ford western “Stagecoach” from 1939 would still be considered one of the greatest films of all time – not just from an objective viewpoint, but rather a subjective one? That is the approach taken by TIME magazine’s film critic Stephanie Zacharek in her article titled "How TIME’s Film Critic Chose the 100 Best Movies of the Past 10 Decades" dated July 26, 2023. As a recipient of the Newswomen's Club of New York award and 2015 Pulitzer Prize finalist, Zacharek puts that subjective, critical thought into selecting the one hundred movies for this list. Surprisingly, “Citizen Kane” (1941), “The Godfather” (1972), and “Casablanca” (1942) did not make Zacharek’s list – films which often make the ubiquitous “Greatest Movies of All Time” lists compiled by other film critics.

One article which takes a definitive look at this movie, which received an Oscar nomination for Ford’s efforts as director, is written by David A. Punch, “Stagecoach: Defining the Western”.  As a canonical film, “Stagecoach” certainly revived interest in the western genre at a time in Hollywood when most westerns of the oater variety dominated the 1920’s to 1930’s. While the cinematography, direction, and screenplay are a major cut above everything done at the time, what really makes the movie stand out is the complex character development. In steps Tom Tyler, who eventually became a member of Ford’s company, appearing in “Drums Along the Mohawk” (1939), “The Grapes of Wrath” (1940), “Red River” and “She Wore a Yellow Ribbon”, to name a few. Even better, Tom also had the required background for the demanding role he played as Luke Plummer, as minor a role – and character – in “Stagecoach”. No doubt one of the most memorable scenes in the movie is where the viewer is introduced to Luke Plummer, his personality, and character development – primarily in belated silent film form, with only a few spoken lines. Tom’s performance received accolades from film critics. I wrote extensively about Tom’s performance, and the likeliest reason for it in the article located here. 

Whether subjective or objective as a movie choice, “Stagecoach” is sure of one thing: even first-time viewers will be as impressed with it as much as weathered fans of the film.

 

Tom Tyler in shadows and light

Many famous directors such as Alfred Hitchcock and Orson Welles used shadows and different lighting techniques to add depth in a scene of a feature film. This allows the viewer to see the movie as a realistic, three-dimensional image, complete with the layers of light and shading. Also known as Chiaroscuro Lighting in Hollywood, probably the best example in a film Tom Tyler appeared in is “Blood on the Moon” (1948) where he plays a supporting role. As with other film noirs from the 1940’s, low-key lighting is used to achieve the dramatic, somber mood of the story. There are other examples of such lighting taking place in a number of Tom’s westerns, including ones where he has starring roles. Continue reading below to find out which of these movies have scenes with the distinct contrast of lighting and shadows.

Rider of the Plains 1931

A precursor to Tom Tyler’s roles as an outlaw in “Powdersmoke Range” (1935) and “Stagecoach” (1939), “Rider of the Plains” places him in a similar character although one who is on the verge of becoming reformed. Like the other Trem Carr B-westerns Tom appeared in, there is a strong element of human interest in this film. Rare for a low-budget western, the characters are surprisingly well developed. There is also a distinct onscreen chemistry between Tom and child actor Andy Shuford, who plays Tom’s impetuous young pal.

To enhance Tom’s role of Blackie Saunders, he is wears a black shirt with white trim plus a black cowboy hat. Most scenes in “A Rider of the Plains” are filmed either at dusk, at night or dawn. Even indoors scenes at night show the bare minimum of light upon the faces of the actors in an attempt to stimulate the dark personality of Blackie when the local church pastor Jim Wallace (Ted Adams) and former member of Blackie’s gang comes up against him in order to give Sandy (Shuford), Tom’s partner, a chance at a better life. It is when Jim starts explaining the reasons to Blackie when the latter starts to growl “Stop preaching to me!” several times when shadows are cast over his face, as if he were possessed (in Poland, this movie was released under the title “Szatanski Cowboy”, or “The Satanic Cowboy”). Blackie even attempts to strangle Jim to death, with his big, strong hands wrapped firmly around his neck as the clergyman is pushed backward onto a table, surrounded by darkness in the room. Still talking to Blackie as if to discourage him from doing evil, Jim is back on his feet, and with the darkness fading away from the background, the shadows from Blackie’s face gone, only a severe expression remaining in his face. His steely eyes dart about like those of a serpent, as he continues to face the camera. Such a dramatic scene would not be repeated until 1939 when Tom Tyler turned in a critically acclaimed performance in “Stagecoach” (1939). Archie Stout’s cinematography is above-average here, with direction from John P. McCarthy.

Terror of the Plains 1934

Somewhat similar in plot to “West of Cheyenne” (1931) which marks Tom Tyler’s first feature-length synchronized sound film, “Terror of the Plains” contains one scene which distinctly plays off light against shadows. 

Tom Lansing leads a relatively happy life as a cowpuncher for an outfit when he receives a letter from his father who is being held in a jail up in Cheyenne. His father (Ralph Lewis) is being framed for a murder he did not commit, and with this news in hand, Tom acts quickly. He explains to his boss at work that he must leave to take care of an important matter, not disclosing what it is, while at the same time, his pal Banty (Frank Rice) gives the boss a number of complaints, primarily health issues. Leaving on horseback, Tom and Banty travel to their destination.

The next scene cuts to Tom speaking with his father who is in jail. Well lit from both inside the cell as well as outside, his father explains what happened and what Tom must do in order to exonerate him. With his father’s faith in him, Tom will have to meet face to face with Butcher Wells (William Gould), the real murderer, who is hiding out in Twin Rocks Canyon. As if to break the fourth wall, Tom is facing the camera, speaking his dialogue, before bidding his father farewell. Here the light seems to fade away as Tom walks down the hallway of the jail, his face grim and obscured every second step of the way by the dark shadows. For Tom Lansing, this walk through darkness is only a precursor of what he come up against once he reaches the canyon where he must find the man who framed his father. J. Henry Kruse photographs this scene artfully in this western directed by Harry S. Webb.

Stagecoach 1939

Considered one of the best western movies ever made and directed by John Ford, what makes “Stagecoach” so unique for Tom Tyler is that even though his role is of a supporting nature, his performance has been critically acclaimed over the decades if only for the reason that while his dialogue is minimal, he executes his performance as if it were a silent film, not a synchronized sound movie. Bert Glennon is the cinematographer for “Stagecoach”, and with John Wayne in his first leading man role as the Ringo Kid, he joins seven other passengers upon a stagecoach headed to Lordsburg across the rugged southwest, often passing through Indian territory.

Ringo has some unfinished business with Luke Plummer (Tom Tyler) which he intends to put to rest once and for all. When the stage reaches Lordsburg and Luke receives word from a family member, he is sitting at a table playing poker with a group of men in a saloon, with one of the establishment’s dancers at his side. Stacks of poker chips are on the table in front of him, as he holds four cards in his left hand. Luke’s eyes shift from side to side before he stands up, his face and upper body darkened by a shadow, before he casts his four playing cards upon the table: two aces, and two eights, a series known as “Dead Man’s Hand”, so called because that was the same hand held by Wild Bill Hickock when he was shot dead on August 2, 1876. Luke knows the jig is up, and his nervousness is obvious from when he leaves the poker game to when he swaggers up to the bar for a shot of whisky. Looking every inch the lean, mean fighting machine that he is onscreen, Tom Tyler literally dominates the saloon scene until he leaves, forced to leave his rifle behind, when he and two other Plummer men enter the night streets to do battle with Ringo, eventually shot by his enemy in the darkness of late night. 

Blood on the Moon 1948

Long considered a movie of the western-noir subgenre, Robert Mitchum has the starring role in “Blood on the Moon” with Robert Wise as the director. Tom Tyler appears in a supporting role as Frank Reardon, one of John Lufton’s (Tom Tully) men who happens to be a cattle owner. Lufton is engaged in a conflict with a group of homesteaders. Jim Garry (Mitchum) is asked to help an old friend by the name of Tate Riling (Robert Preston) to take part in a business scheme to influence Lufton to sell his herd of cattle to them. Tate double crosses his friend, and from there things go downhill.

Tate’s plan unravels when Jim finds out what is really taking place, and in a saloon late one night, the two men start brawling on the floor in a grueling fistfight. What takes place next is perhaps one of the most significant and memorable scenes in the movie. Reardon is hiding just behind the door to the saloon, waiting to walk in and deliver a final blow to Jim in the form of a bullet. Minimal lighting is present, and with Jim exhausted from the fight, lies on top of Tate upon the floor. Reardon finally enters the saloon, walking at a slow, even pace. His physical frame is obscured by total darkness on one step, until he is in font of Jim and stands over him, ready to plug him. Here Tom Tyler is truly intimidating in appearance, with the camera angled upwards at him as he walks, coming closer to the two beaten men on the floor, before the camera levels again to show Tom getting shot by Walter Brennan.

It is worth noting that the cinematographer for “Blood on the Moon” is Nick Musuraca, who also worked on many of Tom Tyler’s silent films for FBO. For the brief few minutes Tom Tyler has on film in all, it is this scene which builds up the suspense at a point in the movie which determines the winner between the cattle owner and the homesteaders.