#Rodd Redwing

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Creature from the Black Lagoon (1954)

[scholarofgloom]

[kwebtv]

From the Golden Age of Television

Series Premiere

Buffalo Bill, Jr. - The Fight for Geronimo - Syndication - March 26, 1955

Western

Running Time: 30 minutes

Written by John K. Butler

Produced by Louis Gray

Directed by George Archainbaud

Stars:

Dick Jones as Buffalo Bill, Jr.

Nancy Gilbert as Calamity

Harry Cheshire as Judge Ben Wiley

Rodd Redwing as Jackilla

Harry Lauter as Jed Ford

Robert Easton as Telegrapher Danny Crockett

Jack Daly as Telegrapher Sparks Bauer

Wally West as Henchman Stan Redding

Richard H. Cutting as Sgt. Richards

Chief Thundercloud as Geronimo

[oldshowbiz]

Rico Alaniz and Rodd Redwing spoke nonsense doubletalk in nineteen episodes of Wyatt Earp. Alaniz was an actor born in Mexico and Redwing was an actor born in India. They both played Native American stereotypes for the duration of their careers.

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Sonora Stagecoach 1944

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Ralph Crane. Rodd Redwing, 1956. Source

[mst3kproject]

The Flame Barrier

I’ve got an awful lot of movies from 1958 on my resume, don’t I?  Why is that? Honestly, I couldn’t tell you. Apparently it was just a bumper year for cheap, crappy black-and-white films.  This one stars Kathleen Crowley from The Rebel Set and Rodd Redwing from The Mole People, in a movie written by George Worthing Yates, who also penned Earth vs the Spider.  Also featuring a blob from outer space, with motives even less clear than the one in The Space Children.

Over yet another stock-footage rocket launch, one of those deep-voiced 50’s narrators informs us that there’s a layer of Earth’s atmosphere called the Flame Barrier which destroys everything it touches. This particular rocket was no exception, and its crash-landing in the Mexican jungle may be related to the disappearance of explorer Howard Dalman, whose wife Carol has now come looking for him. She seeks out a pair of prospectors, Dave and Matt Hollister, to guide her to his last known location.  As they go deeper into the bush, they find they’re wandering into something unknown… something that can make men burst into flames!

This movie isn’t terrible.  It’s not great, but it’s not irredeemably awful.  It reminds me a lot of The Giant Gila Monster, in that there’s a story going on and it’s not a bad story per se, but it’s one that’s got nothing whatsoever to do with the title and premise that drew us to the film in the first place.  When the supposed main plot pops up again at the end, it makes for a sudden and jarring shift.

The Flame Barrier starts off all right.  We have the inevitable narrator to give us the backstory, and then it gets right on with meeting the characters.  They’re introduced one by one, telling us their personalities and goals: Carol is naïve and spoiled but she’s trying her best, Matt is a drunk fool but he’s got a good heart, and Dave is a gruff, cynical realist who loves his brother but is tired of his bullshit.  None of them are exactly nice people but you can see where they’re coming from, and they each get an arc.  Carol struggles with whether she really loved Howard, whom she barely knew, and the movie allows her to toughen up and learn how to survive in the wilderness. Dave spends much of the movie being a jerk to Carol but eventually realizes he judged her too harshly and apologizes.  Matt gets a chance to be a hero and takes it, believing that he owes it to Dave for never giving up on him.  The writing is frequently unsubtle but the actors are competent, and these little stories work just fine.

The movie that surrounds them, however, is often very sloppy.  The narrator tells us that the space probe from the opening crashed because ‘it unexpectedly lost its gravitational force’.  What?  What is that supposed to even mean?  The narrator also tells us it’s been six months since Howard disappeared, then mere minutes later Carol says it’s been four. There’s a bit where Carol is menaced by an iguana… the creature is never actually in the shot with her, so they couldn’t find anything scarier?  The stock wildlife footage on their trek through the soundstage sets of Central America includes hyenas.  I can hear Crow saying, “boy, are we in Afri… wait a minute…”  And, pet peeve, they describe a snake as poisonous instead of venomous.

This being a jungle movie, obviously there are ‘natives’.  I think most of these are actual Mexicans, although Wikipedia says Rodd Redwing may have been from India (if so, I like to think his entire career in Westerns was based on just walking into casting directors’ offices and announcing he was ‘an Indian’, and letting them draw their own conclusions).  Being as this is a movie from the fifties, the natives are there largely to provide a body count – white people aren’t allowed to die until the climax.  To its credit, The Flame Barrier mostly (though not entirely) avoids the trope where the natives have interpreted the mysterious happenings as supernatural, leading the white characters to scoff at the whole thing.  There is some of this, but Dave clearly knows these people well and respects their culture and their warnings.

Then there’s the love story.  Obviously this is a movie, so Carol’s gotta fall for one or other of these idiots, but neither of the Hollister brothers is a good choice. Matt is sweet to her but he’s also a useless drunk who only has a job because his brother puts up with him.  Dave spends eighty percent of the movie being an asshole and I have no idea what Carol sees in him.  At least the two men never fight over her.  I guess the love affair is important to the plot, because it spurs the party on to finish their search for the missing Howard Dalman despite the odds being stacked against them… but that basically boils down to Carol and Dave needing to be sure she’s a widow before they can bone.

After all this messing around in the jungle, with the run time half over we get to the plot, and the movie changes gears with an almost audible ka-chunk.  Now we’ve got this space blob sitting in a cave (how did it get in there when it’s still attached to the rocket?) doubling in size every two hours, which must be destroyed before it can consume the entire earth!  Suddenly we have a laboratory, because all the scientific equipment Howard brought with him is still in perfect condition despite having been sitting in the jungle for either four or six months.  Suddenly Dave the rugged survivalist is a scientist and mathematician.  It’s like they took the same actors and sets and started trying to make a totally different movie.

Honestly, I think this is more or less what happened. I think the multiplying space blob was the movie somebody originally wanted to make – it starts out as a tiny thing in a test tube, growing bigger and bigger until it consumes the whole building and will destroy the entire city if it isn’t stopped!  That sounds like a pretty fun 50’s sci-fi movie in itself. It also, however, sounds like an expensive 50’s sci-fi movie, needing miniatures destroyed and screaming extras and other stuff The Flame Barrier just didn’t have the money for. Hence the need to spend so much time wandering around in the jungle swapping tragic backstories before the characters are allowed to get to that point.

The unfortunate thing about this is that the movie doesn’t really have time to get into the nature of its alien.  In Spacemaster X-7, the Blood Rust was offscreen much of the time but we still had a good idea of what it was and of its capabilities, and the explanations we were given made a reasonable amount of sense.  In The Flame Barrier, we’ve got this blob that apparently lives in the rarified and super-hot outer atmosphere (the writers seem to have confused Earth’s atmosphere with the Sun’s corona), but can also survive on the ground… and its effects are all over the place. Sometimes when things get too close to it, they’re just electrocuted and disintegrated, as happens to the rocket’s original passenger, a very young chimpanzee.  Sometimes people get horribly burned and then burst into flames and are reduced to skeletons hours or days later, as keeps happening to the natives. And then there’s Howard, who somehow managed to get close enough to be swallowed up by the thing and his corpse is still completely intact inside it.

None of this makes any sense.  If the blob has that protective electrocution barrier that the humans must be so careful to avoid, how did Howard get close enough to be trapped in it?  How did the chimp get out to end up wandering around in the jungle?  What the heck is happening to the natives who get burned and then skeletonized and why doesn’t that ever happen to the chimp or any of the main characters?  And how do they manage to kill by electrocution a creature that uses lethal amounts of electricity without any harm to itself?  ‘It’s an alien – we don’t understand it’ can cover a multitude of sins in movie writing, but the blob’s random effects don’t even feel like they could potentially make sense.

The Flame Barrier reminds me of other MST3K movies, too. Prominent among them are It Conquered the World and The Crawling Hand, both of which ended on the same unintentionally depressing note: they suggest that the dangers of going into space are so great that humans will never be able to overcome them.  It Conquered the World tells us that there are eight more Venusians just waiting for their own turn to invade.  The Crawling Hand says that exposure to outer space causes mutations that will turn astronauts into mindless murderers.  The Flame Barrier posits that not only is space itself deadly, but is also full of deadly creatures, and the only way to avoid them is to stay on the ground.

This has always interested me because movies like this stand alongside things like the tales of Rocky Jones, Space Ranger!, in which humans have an exciting future among the stars. Stories set in space can be about either the exhilaration of discovery or the terror of the unknown, and this dichotomy seems to be as old as science fiction – Mary Shelley’s Frankenstein is considered the first work of proper sci-fi, and it encompasses both.  Frankenstein tells us that if we let our fear over-rule our curiosity, we’ll miss out on something potentially wonderful.  Movies like The Flame Barrier, and even modern space monster flicks like Alien, seem to say the opposite, that we shouldn’t meddle with the unknown at all.

This movie was kind of a compromise on my part.  I’ve had a lot on my plate lately and I picked The Flame Barrier as a movie that was kinda stupid but wouldn’t be either a test of my endurance or particularly challenging to write about.  I’m hoping to have something a little juicier for you next time.

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Rodd Redwing, 1956

[justfilms]

Creature from the Black Lagoon - Jack Arnold 1954

[kdorhm-blog]

Download The Mole People For Ipod

The Mole People movie download

Actors:

Hugh Beaumont Rodd Redwing John Agar Phil Chambers Cynthia Patrick Alan Napier Nestor Paiva

Download The Mole People

For the Mads' Mole People assistants, see Gerry and Sylvia. Frank Baxter, an English professor at the University of Southern California, explaining the premise of the movie and its basis. Amazon.com: The Mole People: Life in the Tunnels Beneath New York. John Bentley, who leads a Middle. The Mole People - 1956 - 77 Minutes - Shadow's B-Movie Graveyard Title: The Mole People Year Of Release: 1956 Running Time: 77 minutes DVD Released By: Universal Directed By: Virgil W. The Mole People - MST3K Wiki - Mystery Science Theater 3000 This article is about Episode 803. Toth has written a. 1st Skinnys Ballroom - General Manager: Joshua Gamma - Press Contact: molepeopleatx@gmail.com - Artists We. Vogel. The M THE MOLE PEOPLE | Facebook THE MOLE PEOPLE - UPCOMING SHOWS: Sept. 23rd, Scoot Inn, Oct. A party of archaeologists discovers the remnants of a mutant 5000 year old Sumerian civilization living. Vogel Fantasy in The Mole People I didn't read Jennifer Toth's book The Mole People when it came out in 1993. The Mole People (film) - Wikipedia, the free encyclopedia The Mole People is a 1956 science fiction film directed by Virgil W. . John Agar plays Dr. Despite my interest in subway tunnels, the focus of her book, the homeless people who live in

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[oldshowbiz]

Rodd Redwing gave Burt Lancaster his blessing to play a Native American. Redwing was a Hollywood stuntman who sometimes claimed to be Chickasaw, and other times claimed to be Cherokee. Years later it was revealed he was not Native American at all, but Roderick Rajpurkaii from India.

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Download Buffalo Bill in Tomahawk Territory Movies

Buffalo Bill in Tomahawk Territory movie download

Actors:

Clayton Moore Rodd Redwing Charles Harvey Chief Thundercloud Chief Yowlachie Charlie Hughes Shooting Star Slim Andrews

Download Buffalo Bill in Tomahawk Territory

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Rodd Redwing, gun, knife and whip master, 1956 - by Ralph Crane 

Rod Redwing doing “bordershift” for a multiple exposure picture 

[oldshowbiz]

Iron Eyes Cody and Rodd Redwing were a pair of Hollywood actors who pretended to be Native American both on and off the screen. They built up falsified legends and claimed to be among the only “authentic” Natives in Hollywood.

Rodd Redwing was a well-known and respected Hollywood stuntman. Cody raised thousands and thousands of dollars for Native causes. Both appeared in hundreds of films and television shows. Why they felt the need to live life as a fraud is known only to them.

Iron Eyes Cody was born Oscar de Corti in Sicily. Rodd Redwing was born Roderick Rajpurkaii in India.

[oldshowbiz]

click to watch this rare episode of Dave Garroway’s Wide Wide World. 

[oldshowbiz]

“After the turn of the century, Jim Thorpe almost overnight changed the image of the Indian in the mind of the public,” wrote Lakota scholar Vine Deloria Jr. “Suddenly the Indian as super athlete dominated the scene. This concept was soon replaced by the Indian as a show business personality with the rise to popularity of Will Rogers, the Cherokee humorist … when no one succeeded Thorpe and Rogers, Tonto cornered the market as the credible Indian personality.”

The stereotypes of television helped forestall the treatment of Native Americans as human beings. Instead they were mythical creatures or extinct adversaries. If a Native surfaced in the media, they were usually treated as a punchline, with stereotypes about “ugh” or “rain dances” employed in the reporting. 

“Attempts to communicate contemporary problems were brushed aside in favor of the convenient and comfortable pigeonhole into which Indians had been placed,” said Deloria Jr. “Tonto was everything that the white man had always wanted the Indian to be. He was a little slower, a little dumber, had much less vocabulary, and rode a darker horse. Somehow Tonto was always there. Like the Negro butler and the Oriental gardener, Tonto represented a silent subservient subspecies of Anglo-Saxon whose duty was to do the bidding of the all-wise white hero… Tonto would have cut down his relatives with a Gatling gun rather than have a hair on said Ranger’s head mussed … 

“Tonto never rebelled, never questioned the Lone Ranger’s judgement, never longed to go back to the tribe for the annual Sun Dance. Tonto was a cultureless Indian for Indians and an uncultured Indian for whites. Tonto cemented in the minds of the American public the cherished falsehood that all Indians were basically the same – friendly and stupid.” Tonto was criticized as detrimental by a young generation. Vine Deloria Jr. wrote against Tonto in his 1969 paperback Custer Died For Your Sins. And yet, as with The Amos n’ Andy Show in the early 1950s, the stereotype was portrayed by a minority actor with the rarest of engagements - full employment. 

Tonto may have been a stereotype - but he was portrayed by the only First Nations actor of prominence on television. And unlike his fraudulent contemporaries - Iron Eyes Cody, Chief Thundercloud, and Rodd Redwing - Jay Silverheels was the real deal. From the Six Nations of the Grand River, he was considered one of the greatest Iroquois athletes in the world. His last name was given to him while tearing it up as a star lacrosse player. It referred to the blur of his feet as he ran up and down the rinks of Toronto. While scoring goals in a Los Angeles tournament, someone suggested that his athletic build would be perfect for the movies. Soon he was appearing as an “exotic” in the action-packed serials of Republic Pictures. When television came along, he lucked out. He became the most successful Native actor of the 1950s and 60s. His character became the only Native representation on television. It was the cause of much fascination and consternation.

Silverheels had mixed feelings about the part. He made a good living and tried to do a good job with the scripts provided. Most importantly, he invested his healthy income to start the Indian Actors Workshop in Echo Park. It trained young Native actors in theater and showbiz. Any hopeful kid from the rez could enroll in the Indian Actors Workshop for free and the theater did a tremendous job providing Native American actors to Hollywood casting directors who didn’t have a clue. Nearly every appearance by a Native actor in 1970s television or film had come from his school.

When he appeared on a 1968 episode of the Tonight Show, Silverheels appeared handsome and dapper, an ascot tied around his neck.

Johnny Carson: Do you think that the dignity of the American Indian was compromised sometimes by the Hollywood version of history?

Jay Silverheels: Yes, I think in most cases it was. They have projected a stereotype Indian, which is very unreal. Most Indians resent it.