The High Chaparral Blog

The Cannons Have Left Town

Ginny Shook — Tue, 15 Sep 2009 03:13:00 GMT

Here is a cute article from the Tucson Citizen, 1969. You can practically see the show being filmed...

DON SCHELLIE

Meanwhile, Out At The Cannon Spread...

Daily Tucson Citizen, Friday Oct. 24, 1969

It's peaceful these days out at the old ranch house.

The Cannons have left town.

Cast and crew of "The High Chaparral" television series tossed their six-guns and cameras and arc lights and spurs into their warbags and rode off into the setting sun.

To Hollywood.

There they will work until mid-December, filming interior shots that will carry the popular series through the current season. But the Tucson area location filming for the season was completed Saturday.

And so there is a ghostly stillness on the High Chaparral ranch house set out at Old Tucson.

Except, of course, for the hundreds of tourists who daily make the pilgrimage to the Cannon spread to photograph one another in front of the ranch house they see weekly in Living Color on NBC.

But last week there was action at the place. Real action.

Take Friday, for example.

Big John Cannon — Leif Erickson — faced down a guest star badman in the ranch yard.

Henry Darrow, Cameron Mitchell and Mark Slade were there — guns ready — to back him up.

And Linda Cristal wrung her hands and pleaded with Big John to be careful, for the love of Pedro.

All the while the cameras rolled on, grinding out an episode to be called "Jelks."

A makeup man skittered back and forth daubing at smeared makeup and a prop man carefully cleaned a hogleg that had been thrown to the ground.

The morning sun drenched the ranch yard and threw deep shadows on nearby mountains. A crew member wiped at his brow with a bandana.

A worker with a big shovel and garden rake followed some horses as another hosed down a stretch of ground. An electrician fiddled with the innards of his klieg light and the director, in a big, floppy hat, checked some dialogue in the script.

An assistant director used a bullhorn to call in the stars' stand-ins, and the cameraman jockeyed for a better angle.

Three cowboy actors lazed in the shade of the bunkhouse while another practiced his draw. A hairdresser made minor repairs to Miss Cristal's

coiffure.

A pair of big lights was wheeled in closer and a sound man, manipulating a microphone on a long pole, called for more cable.

Workmen walked back and forth with stepladders, hammers, tape, reflectors, paint, and did their things.

Meanwhile, outside the yard, beyond the fence, a man in a yellow vest and big hat kept the crowd of visitors quiet during the filming.

And Erickson faced down the outlaw again, this time from a different angle.

As the cameras rolled on.

But this week all's quiet at the old ranch house.

The Cannons have left town.

Here is a link to the actual article: Out at the Cannon Spread

Cameron Mitchell is the King

Ginny Shook — Sun, 30 Aug 2009 04:03:00 GMT

Here is another newspaper article , this time from 1958, regarding Cameron Mitchell's performance as the King in the musical "The King and I." Wouldn't you have loved to be in the audience for that one?

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STAGE AND SCREEN

Oakland Tribune – Wed, June 11, 1958

No Actor Wanted To Play King's Role

Cameron Mitchell insists modestly he got the role of King of Siam in "The King and I" because "no one else wanted it." When Edwin Lester was casting the production now at the Curran playing to capacity business, all likely actors were reluctant to essay a part already so closely identified with Yul Brynner. Possibility of unfavorable comparison was too formidable for most thespian egos to contemplate.

Not so with veteran performer Mitchell who says he became greatly interested in the Orient two years ago while making "Escapade In Japan." It was during this time, incidentally, that the 39-year-old actor met dancer Machiko for the first time, never dreaming they would be playing on the same stage together as they are now.

"The king appealed to me as a challenging character," Mitchell said the other evening during dinner at Bardelli's. He was overjoyed to get the role. It's a matter of record now that L.A. and local critics went overboard hauling out the adjectives of praise for his performance. It's a workout for Mitchell, playing the monarch with more depth and emotionalism than Brynner displayed.

NEED FOR OXYGEN

In fact, Mitchell finds he makes frequent use of oxygen tanks he keeps in his dressing room. When he's particularly exhausted he finds oxygen helpful in "restoring me to norm."

Dinner with Mitchell presents quite an experience. He's enthusiastic about eating raw onions and hot peppers, admits to being "a pretty good cook" himself, says he got his love of food by being raised as one of a family of seven in Pennsylvania Dutch country where hearty farm fare prevailed. Actress Joan Fontaine suggested he change his name

from Mitzell to Mitchell. By that time the lad who left his small home town at 18, braved his reverend father's stern disapproval of the stage and made his way to New York, was a long way from Pennsylvania anyhow.

LETTER ANSWERED

He spent his first few months in Manhattan working in a fleabag theater as an usher "and writing hundreds of letters to everyone I could think of to find out about a real theater job." Among those he nervily addressed in his youthful innocence was Alfred Lunt whom he had just seen in the movie, "The Guardsman." Lunt, unexpectedly, replied.

Soon afterward the tongue-tied and flabbergastered Mitchell was actually on stage demonstrating his acting to the Lunts. They signed him to appear in five roles in "The Taming of the Shrew," a production which made its way to San Francisco in 1939—the last time before this that Mitchell appeared on stage here. He was understudy

for both Thomas Gomez and Richard Whorf, also in that famed staging.

Mitchell, between 1942 and 1944 was in the Army. Upon his discharge, he looked up his old friend Whorf, then a director at M-G-M, a studio which signed up the ex-G.I. His first full length movie was "They Were Expendable." That was followed by "What Next, Corporal Hargrove?" "Command Decision," "Cass Timberlane," "High Barbaree,'' "My

Brother Talks to Horses," and more recently he was seen in "How to Marry a Millionaire," “Man On a Tightrope," "Death of a Salesman" (repeating his stage role of Willy Loman's younger son), "Desiree," "Love Me or Leave Me," "All Mine to Give," and "Carousel," his only screen assignment which required singing.

SELF-DISCIPLINE

A great believer in self-discipline and greatly interested in the philosophy of Zen-Buddhism, Mitchell is relaxed, amiable and straightforward in conversation. Last February he had a rare experience. His father, the Rev. Charles W. Mitzell, had agreed to appear as Matthew Brady in a York, Pa., production of "Inherit the Wind." The Rev. Mitchell became ill at the last moment and Cameron, who happened to be in the area, went on for his dad with the local amateur troupe. With just three rehearsals, he faked all sorts of aids to help him read lines during performances. But he somehow got through it His dad, of course, is reconciled to the theater as a career.

Initially Mitchell shaved his head a-la-Brynner, but he let the hair grow in slightly, finds it suits him better. "And, anyhow,'' he revealed, "the real king actually had rather long hair which he wore in elaborate headdresses." He doesn't use much makeup for the part, gives the effect of Oriental features by his expressions and mannerisms, he says. Whatever the combination, he certainly has the role well in hand, testified for by that prolonged applause night after night at the Curran.

click here to see the actual newspaper page

Who knew that Uncle Buck played baseball?

Ginny Shook — Thu, 27 Aug 2009 00:42:00 GMT

Here is an article from Nevada Day Journal, circa 1947, about Cameron Mitchell's pitching ability (click on the link at the bottom to see a photo of the actual newspaper clipping.)

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Movie Star Will Pitch for Las Vegans

Against Reno Silver Sox Friday Night

Cameron Mitchell takes last-minute lesson on rules from Jane Powell, MGA actress.

Mitchell Recently Threw Shutout Stint

For L. A. Angels Over Hollywood

LOS ANGELES, Cal., Aug. 30. 1947—

Cameron Mitchell, young M.G.M. motion picture star, has just been signed to pitch for the Las Vegas Wranglers of Sunset League.

Mitchell, who recently played second role behind Van Johnson, in M.G.M.'s High Barbary, will pitch his first game for the Wranglers on Sunday afternoon, August 31st, against the Ontario Orioles, at Ontario The handsome M.G.M. star stands 6 feet, 1 inch in height and tips the beam at 190 pounds.

Mitchell has been pitching for the Culver City-Palms semi-professional team, on Sundays, for the

past year, taking his turn on the mound when it did not interfere with his studio assignments. He has a fine pitching record. In fact, so good that Dan Crowley, Detroit Tigers' scout, has been watching his work with interest for the past few months. Crowley believes that Mitchell has definite major league possibilities, and has announced that a Detroit Tiger contract awaits Mitchell's signature at any time that the husky motion picture star would care to ink it.

Cameron displayed his hurling ability in the Damon Runyon Cancer Fund game at Hollywood, recently, when, while pitching for he Hollywood Stars, he blanked the Los Angeles Angels in the four innings which he worked.

The Las Vegas Club has been in need of pitching strength for the last few weeks, and General Manager Les Powers is elated over the fact that he has been able to come to terms with Cameron Mitchell. The studio has given Mitchell permission to pitch the remainder of the season for the Wranglers, inasmuch as the Sunset League campaign comes to a close on Friday, September 5th. Manager Newt Kimball of the Las Vegas Wranglers has announced that Cameron Mitchell will also take the hill against the Reno Silver Sox at Reno City, on Friday night, September 5th, the final game of the 1947 Sunset League season. Mitchell is eager to oppose the Silver Sox in Reno City on September 5th (he will fly to Reno for this engagement, returning immediately after the contest) for the game has been designated "New York Giants' Night." One of Mitchell's idols, ever since he was a youngster, was Carl Hubbell, the famous -New York Giants' pitcher. (The Reno club, incidentally, has a working agreement with the New York Giants—the reason for their New York Giants’ night.)

Movie Star will Pitch for Las Vegas

Memphis Film Festival Panel Discussion with Linda Cristal

Ginny Shook — Thu, 02 Jul 2009 01:26:00 GMT

Here is a little clip from the outstanding panel discussion at the Memphis Film Festival with Henry Darrow, Don Collier, and Linda Cristal via speaker phone. There were about 200 people in the audience to listen to their heroes. In this clip Linda tells how she got the part of Victoria Cannon.

Ray Nielsen, director of the festival, is the moderator of the discussion. Besides the HC cast members, other members of the panel are Peter Brown and Anne Helm.

http://highchaparralblog.com/2009/07/01/memphis-film-festival-panel-discussion.aspx
June 5, 2009 Panel Discussion at the Memphis Film Festival with Don Collier, Henry Darrow, Peter Brown, Anne Helm, and Linda Cristal via speaker phone.

Leif Erickson in Blonde Savage

Ginny Shook — Sun, 18 Jan 2009 02:52:00 GMT

In this 1947 movie, Leif Erickson plays a character very unlike Big John Cannon and very reminiscent of Manolito Montoya. Listen to his smooth dialog in this clip. Leif really makes this jungle movie something special.

http://highchaparralblog.com/2009/01/17/leif-erickson-in-blonde-savage.aspx

Ted Markland in 1960

Ginny Shook — Sun, 18 Jan 2009 02:28:00 GMT

Here is a scene from the TV Western series "Tate" with a baby-faced Ted Markland (along with Martin Landau) as a guest star. This episode, "Tigero," and was broadcast on August 3, 1960.

http://highchaparralblog.com/2009/01/17/ted-markland-in-1960.aspx

Don Collier Cowboy Christmas Poem

Ginny Shook — Sun, 21 Dec 2008 21:55:00 GMT

Here is a Cowboy Christmas poem as told by Don Collier.

Don Collier Christmas Poem

Ginny Shook — Sun, 21 Dec 2008 21:50:00 GMT

Here is a Christmas poem as told by Don Collier.

For What We Are About to Receive

Ginny Shook — Thu, 27 Nov 2008 03:46:00 GMT

Here are two scenes from the Thanksgiving episode of The High Chaparral.

http://highchaparralblog.com/2008/11/26/for-what-we-are-about-to-receive.aspx

Susan McCray has a gift idea

Ginny Shook — Mon, 10 Nov 2008 03:37:00 GMT

There are only 46 shopping days until Christmas. Susan McCray has recorded a wonderful promo with a great gift idea for all music lovers.

Warm Heart Cool Hands

Doctor From Dodge

Ginny Shook — Sat, 08 Nov 2008 03:50:00 GMT

On this day (November 8) in 1887, John Henry "Doc" Holliday died from tuberculosis. In his honor, here is a scene from The High Chaparral episode, "The Doctor From Dodge."

http://highchaparralblog.com/2008/11/07/doctor-from-dodge.aspx

Backstage at the High Chaparral

Ginny Shook — Thu, 18 Sep 2008 03:22:00 GMT

The following article appeared in a 1970 edition of the Tucson Citizen. The epsiode for which the babies were being cast was "A Matter of Survivial" from the 4th season. Watch the clip here to see Linda Cristal with the lucky baby who won the role (referred to in the IMDB as "the Glass twins").

Note the mention of Frank Kennedy. Attenders of the 2007 High Chaparral Reunion will remember meeting Frank's son Michael at the event.

See the actual article on the High Chaparral Reunion website here.

Tucson Daily Citizen WEDNESDAY, JUNE 10, 1970
Five Pairs Good For TV Openers By Don Schellie

The "High Chaparral" brass waded into the room ready for the showdown.

Except for Henry Wills.

He tippy-toed into the room, sneakily skirted its center and folded quietly and wisely onto in out-of-the-way corner chair — far from the action. Which seemed like a chicken thing for Henry to do because he is action director of the NBC-TV series and usually is in the thick of things. But Henry's action means gunfights and falling from horses and tumbling off cliffs and barroom brawls of the knock-down, drag-out variety.

That forenoon last week, though, the action was of a different sort. The room — a Hilton Inn-banquet room — was knee-deep in babies and that action needed more of his direction. Somebody had written a baby into a Chaparral script to be filmed at Old Tucson, beginning this week. That meant - identical twins must be hired for the role so the tykes could spell one another before the camera.

Frank Kennedy, who operates a casting service here in Tucson, rounded up five sets of twins ranging from nine months to a year old. An assortment-of mothers and fathers, grandmothers, aunties, friends, brothers and sisters was seated around the room, juggling diaper bags, nursing bottles and toys and rattles that jingled when you shook them.

And clustered on the carpeting in the center of the room were the babies —10, count 'em, 10 — and that's where the action was. "Now, watch where you step," said Jim Schmerer, producer of the series, as he led the group into the room.

So production manager Kent McCray, director Bill Wiard and assistant director Ray DeCamp watched where they stepped. That's when Henry Wills tippytoed off to his quiet place in the corner.

McCray dropped to his knees and crawled into the throng. Jennifer — or maybe it was Janette — offered him a rattle.

Wiard, who will direct the baby segment, folded his fingers into a frame and squinted at babies through its knuckly aperture.

Kimberly (or Kelly?) took off at a fast crawl for the open doorway and DeCamp outdistanced her and pulled it shut. There were squawls and screeches and shrieks of delight. A mother wiped at a candidate's drool with Kleenex and explained simply, "Teething."

James and Joseph faced each other down and Leah Ann — or Lisa Ann — tried to scale the heights of Kent McCray. The Chaparral brass stepped back, away from the babies and parents, and held a whispery conference. Larkelyn followed them but Lynnelyn stayed behind with the other twins.

Somebody flung a nursing bottle and somebody else cried. One baby yanked a rattle from another baby's mouth and started gumming it herself. A mother made a quick grab — wiped the rattle — and handed it back to its owner. "Usually, she's not this fussy," another mother explained. "But it's almost nap time."

The director nodded knowingly. They returned to the floorful of matched sets. Schmerer hunkered and eyed a fat-cheeked baby and the baby crawled over and put out her arms to be picked up. The producer lifted her and tickled her under the chin.

Wiard picked up one baby and placed her beside her twin and studied them together as somebody else's twin crawled between the director's legs. A little miss in a polka-dotted sunsuit pulled herself up, walked an unsteady couple of steps and flopped to the floor. She cried.

McCray was back on his hands and knees again, crawling, looking from little face to little face, doing funny noises to make the babies laugh.

There was another hush-hush conference and then the Chaparral men said their thank-yous and told the parents they'd be in touch with them. And the producer and director and production manager and assistant director left the room.

Action director Henry Wills left his quiet corner and followed them.

There was a look of relief on his face as he tippy-toed out.

http://highchaparralblog.com/2008/09/17/backstage-at-the-high-chaparral.aspx

1970 Newspaper Article on Rudy Ramos

Ginny Shook — Sat, 13 Sep 2008 03:13:00 GMT

The following wire story appeared in newspapers around the country on August 29, 1970:

Rudy Ramos wins part so easily
Rudy Ramos is the new boy on TV's "The High Chaparral." Rudy is a 19-year-old Mexican-Indian from Oklahoma. The show's casting director was looking for that type, but couldn't find him. Then Rudy wandered to and, after he read, he was quickly told that he had the part. At first, he didn't believe it -- it was all too sudden -- but when he was convinced that it all had really happened, he had a reaction they still talk about in the program's office. He went over to the casting director's pretty secretary and said, "Do you mind if I put my arms around you? I just had something incredibly wonderful happened to me, and I have to hold on to someone." Rudy is a good-looking boy, so Suzie said, "Be my guest," and he stood there, with his arms around her and his head on her shoulder for a full minute.

Do you suppose the Suzie mentioned in the article is Susan McCray?

Click here to see the actual article.

Don Collier's new movie

Ginny Shook — Mon, 01 Sep 2008 18:02:00 GMT

Starting September 5, Don Collier's latest movie, Jake's Corner, opens throughout Arizona at Harkins Theatres. Here are some of the locations and September dates:

Nor Terra 14
North Valley 16
Arrowhead Fountain 18
Gateway Pavilion 18
Tucson Spectrum 18
Superstition Springs 25
Arizona Mills 24
Chandler Fashion 20

There will be a special premier of the movie at the real Jake's Corner on September 3. Go to the Jake's Corner site for more details, view the trailer or listen to the music.

Introducing Mark Slade

Ginny Shook — Sun, 31 Aug 2008 16:18:00 GMT

This article and photo appeared in the January, 1968 issue of 16 Magazine, under the title "Introducing Mark Slade."

Need to see a bigger copy? Go to The High Chaparral Reunion site.

The High Chaparral Reunion 2009

Ginny Shook — Mon, 21 Jul 2008 02:43:00 GMT

http://highchaparralblog.com/2008/07/20/the-high-chaparral-reunion-2009.aspx

To see a larger version, visit The High Chaparral Reunion site.

Mark of the Turtle stunts

Ginny Shook — Wed, 11 Jun 2008 01:18:00 GMT

Stuntmen during The High Chaparral era (and before) never asked to be recognized for their work. But the stunts in this scene from the episode "Mark of the Turtle" are just too great not to give them credit for their outstanding work.

The first dramatic fall from a horse is done by Henry Wills, stunt coordinator for The High Chaparral. This is followed by a breathtaking fall from a cliff by Bill Shannon. Next are two more saddle falls close together; first by Henry again, followed by the great Jack Williams.

http://highchaparralblog.com/2008/06/10/mark-of-the-turtle-stunts.aspx
Stunts from Mark of the Turtle - The High Chaparral

Bob Hoy at the Memphis Film Festival

Ginny Shook — Wed, 04 Jun 2008 14:05:00 GMT

Come see Bob Hoy this weekend at the Memphis Film Festival. This year is a celebration of 75 years of The Lone Ranger, and 70 years of Superman. Bob doubled Jay Silverheels in several episodes of The Lone Ranger and worked with Jay again in the movie Saskatchewan. He also played the part of Perlmutter, one of the bad guys, in the 1981 movie Legend of the Lone Ranger. There will be many great celebrities at the Memphis Film Festival with wonderful stories to tell - don't miss it.

Bob Hoy in Legend of the Lone Ranger

Don Collier for Arbuckles Coffee

Ginny Shook — Sat, 31 May 2008 14:50:00 GMT

Don Collier just made a commerical for Arbuckles' Coffee (the best coffee in the world, honest). Click on the link below to go to their site and watch, or tune in to Cowboy Flavor on the RFD network. Also appearing in the commerical is Fred Imus, host of Sirius Radio's Fred's Trailer Park Bash, on which Don is the sidekick. Fred's horse Lilly makes a cameo appearance.

Arbuckle's is currently offering the Don Collier Special; a great deal. While you are visiting the site, click on Listen to the Arbuckle Legend to hear Don tell a story.

www.arbucklecoffee.com

Don Collier for Arbuckle's Coffee

Joseph Pevney, High Chaparral Director Sept. 15, 1911 - May 18, 2008

Ginny Shook — Thu, 29 May 2008 23:56:00 GMT

Joseph Pevney, who directed three episodes of High Chaparral, passed away on May 18th. He had an incredible career as a director, with many TV Westerns to his credit, such as Bonanza (6 episodes), Wagon Train (11 episodes), The Loner (6 episodes), The Virginian (7 episodes) - as well as 14 episodes of Star Trek (including the famous episode "The Trouble With Tribbles".

Here is a special remembrance about Joe, recorded by Susan McCray.