Critique of main title of this 'one-season wonder' that's disappeared from view and availability since its final NBC airing, a summer 1967 repeat.
NBC's "The Road West" 40-second main title is accompanied by four, quickly edited, episodic film clips of the five regular, adult cast members.
In order: BARRY SULLIVAN 1) atop galloping horse, or mock-up; he's IMPROPERLY holding the reins - grabbing through his fist instead of having the reins slotted through his fingers;. 2 & 3) brawl; fist fight; 4) close-up.
GLENN CORBETT 1) full length, facing while proficiently handling a six-gun; 2) chest-high, yelling (while driving a team pulling wagon off-camera); 3) running fast aside wagon, face completely obscured due to hat blocking light (ed. - not a good choice); 4) crouching in the woods, brandishing a revolver; properly lit.
KATHRYN HAYS 1) holding Winchester carbine sweeping it from right to left, a 180, then firing. It's horrible due to scene's darkness; it's a day-for-night shot and she's unrecognizable. What compounds the issue - it's the very first shot, her introduction. It might as well have been one of the men; 2) holding a knife, defending or attacking posture; 3) full length, distressed as in mid-roll down a grassy field, perhaps thrown from wagon or horse; 4) a luminous image of her expressing happy, friendly smile; tanned, white, WHITE teeth, sparkling eyes, bare, tanned shoulders (ed. - WHAT was Glenn Ford thinking / doing when her blew THAT marriage, his second of four?!).
ANDREW PRINE 1) shot low, exciting image of him rolling across ground then fanning his revolver twice; freeze frame with flash from barrel representing second cartridge fired; 2) fighting a fire that fills half the screen, he the other half; 3) about to be punched, or block one, in fight with man whose back is to camera in middle of street; 4) close-up, hat atop head, engaging smile exposes white teeth; flattering.
BRENDA SCOTT 1) from atop horse, appearing confident while facing in direction of camera, attired in figure-flattering dress; 2) appears to be within scaffolding in tree, facing down towards camera's position; 3) close-up, glancing left, full eyes and mouth; hair reddish; interior; 4) standing, eyes closed, fists raised while struggling, apparently defending herself from horseman manhandling or abducting her.
Leonard Rosenman's robust score captures the exciting, full western scope of a 'traveling' western.
Following Scott, the final four seconds cram in a dozen clips. In essence, they are meaningless because they're much too brief; unrecognizable without hitting 'pause' on playback. Obviously THAT wasn't an option when seeing them flash by once each week on NBC, 1966 - 67. Rather inexplicably there are as many generic and stock footage representations than ones including the cast; e.g., arsonist's torch being ignited at campfire - day-for-night; inferno of hay wagon; close of revolver being 'fanned;' gunfire; night explosion of bomb placed on railroad track; wagon or buckboard smashed to smithereens while going over rocky cliff.
The final two seconds are devoted to the longest clip, that of a 'land rush' - FAST-moving horses and wagons going right to left, 'west,' 'westbound.'
The 'womenfolk' get shortchanged as we observe in the blink-and-you'll-miss cast shots: Barry Sullivan aiming a revolver; Andrew Prine slugging someone; seven year-old Kelly Corcoran (a regular, but not included in main title) holding a piglet to his chest; Sullivan and Hays kissing while standing, facing one another; dust-covered Corbett looking worse-for-wear, perhaps at the wagon's descent over rocks site.
Brenda Scott was a Revue / Universal contract player. Historically, with main titles, in certain circumstances the final position, being the last name, is coveted - in the intimate, small world of talent agents and casting directors. Over half a century past from NBC's telecasts of "The Road West" with most participants deceased and scant information 'out there' one can only wonder if such was the case with Ms. Scott. Or, was she last billed reflecting her perceived prominence in Hollywood compared to the other regulars?
It should be noted the main title as seen on the network had the voice of Kraft Foods, veteran radio and television voice artist Ed Herlihy, announcing the sponsor (i.e., Kraft), show title, each star by name. Henceforth, any off-network, syndication prints - should there be any - as well as the proliferation of dozens of copies of each of the 29 hours shipped to foreign markets; obviously since Kraft was only tied into the initial airings on NBC.
While the show hasn't had an 'afterlife' with which to pen a thorough review, details of the main title will satisfy the ultra-curious.
NBC's "The Road West" 40-second main title is accompanied by four, quickly edited, episodic film clips of the five regular, adult cast members.
In order: BARRY SULLIVAN 1) atop galloping horse, or mock-up; he's IMPROPERLY holding the reins - grabbing through his fist instead of having the reins slotted through his fingers;. 2 & 3) brawl; fist fight; 4) close-up.
GLENN CORBETT 1) full length, facing while proficiently handling a six-gun; 2) chest-high, yelling (while driving a team pulling wagon off-camera); 3) running fast aside wagon, face completely obscured due to hat blocking light (ed. - not a good choice); 4) crouching in the woods, brandishing a revolver; properly lit.
KATHRYN HAYS 1) holding Winchester carbine sweeping it from right to left, a 180, then firing. It's horrible due to scene's darkness; it's a day-for-night shot and she's unrecognizable. What compounds the issue - it's the very first shot, her introduction. It might as well have been one of the men; 2) holding a knife, defending or attacking posture; 3) full length, distressed as in mid-roll down a grassy field, perhaps thrown from wagon or horse; 4) a luminous image of her expressing happy, friendly smile; tanned, white, WHITE teeth, sparkling eyes, bare, tanned shoulders (ed. - WHAT was Glenn Ford thinking / doing when her blew THAT marriage, his second of four?!).
ANDREW PRINE 1) shot low, exciting image of him rolling across ground then fanning his revolver twice; freeze frame with flash from barrel representing second cartridge fired; 2) fighting a fire that fills half the screen, he the other half; 3) about to be punched, or block one, in fight with man whose back is to camera in middle of street; 4) close-up, hat atop head, engaging smile exposes white teeth; flattering.
BRENDA SCOTT 1) from atop horse, appearing confident while facing in direction of camera, attired in figure-flattering dress; 2) appears to be within scaffolding in tree, facing down towards camera's position; 3) close-up, glancing left, full eyes and mouth; hair reddish; interior; 4) standing, eyes closed, fists raised while struggling, apparently defending herself from horseman manhandling or abducting her.
Leonard Rosenman's robust score captures the exciting, full western scope of a 'traveling' western.
Following Scott, the final four seconds cram in a dozen clips. In essence, they are meaningless because they're much too brief; unrecognizable without hitting 'pause' on playback. Obviously THAT wasn't an option when seeing them flash by once each week on NBC, 1966 - 67. Rather inexplicably there are as many generic and stock footage representations than ones including the cast; e.g., arsonist's torch being ignited at campfire - day-for-night; inferno of hay wagon; close of revolver being 'fanned;' gunfire; night explosion of bomb placed on railroad track; wagon or buckboard smashed to smithereens while going over rocky cliff.
The final two seconds are devoted to the longest clip, that of a 'land rush' - FAST-moving horses and wagons going right to left, 'west,' 'westbound.'
The 'womenfolk' get shortchanged as we observe in the blink-and-you'll-miss cast shots: Barry Sullivan aiming a revolver; Andrew Prine slugging someone; seven year-old Kelly Corcoran (a regular, but not included in main title) holding a piglet to his chest; Sullivan and Hays kissing while standing, facing one another; dust-covered Corbett looking worse-for-wear, perhaps at the wagon's descent over rocks site.
Brenda Scott was a Revue / Universal contract player. Historically, with main titles, in certain circumstances the final position, being the last name, is coveted - in the intimate, small world of talent agents and casting directors. Over half a century past from NBC's telecasts of "The Road West" with most participants deceased and scant information 'out there' one can only wonder if such was the case with Ms. Scott. Or, was she last billed reflecting her perceived prominence in Hollywood compared to the other regulars?
It should be noted the main title as seen on the network had the voice of Kraft Foods, veteran radio and television voice artist Ed Herlihy, announcing the sponsor (i.e., Kraft), show title, each star by name. Henceforth, any off-network, syndication prints - should there be any - as well as the proliferation of dozens of copies of each of the 29 hours shipped to foreign markets; obviously since Kraft was only tied into the initial airings on NBC.
While the show hasn't had an 'afterlife' with which to pen a thorough review, details of the main title will satisfy the ultra-curious.
