Sand Creek Massacre, Errol & Olivia, Pailin’s big day & Louis Kraft’s dark times

Website & blogs © Louis Kraft 2013-2020
(All rights reserved.)

Contact Kraft at writerkraft@gmail.com or comment at the end of the blogs


Pailin and I hope and pray that all of you, your loved ones,
and friends worldwide are healthy and safe.

I never thought I’d make it to this wonderful time in my life,
and let me tell you that I feel like the Devil’s got a strangle hold on my left leg
and isn’t about to let go. … Not a good feeling.

Pailin took this photo of me in our front yard—which is always a place of peace for me—after a sleepless night but a good early morning on 7mar2020. I chose to use it here as an introduction to my current writing world and hopefully the beginning of the end of a living nightmare that began in June 2019. Not a promising start for what will hopefully be a very positive blog. At the same time the last nine months have perhaps been the best in my life. My brain functions—it always functions—and it has been key to me maneuvering through a maze of dead ends and false leads while not only making my deadlines, but setting myself up for the best times of my life. If not yet, the answers are getting closer. (photo © Pailin Subanna-Kraft & Louis Kraft 2020)


Sand Creek
and the Tragic End of a Lifeway
has become reality

I completed all of my work at the end of December 2019,
and damnit to hell I miss it! There is a big hole in my life but Errol & Olivia is
doing a good job of lessening the loss (see below).

Available at

University of Oklahoma Press
Amazon
Barnes & Noble
Goodreads
Target
and various National Historic Sites and museums

At first this project seemed like it was from hell, … a hell without end. Physically it has cost me a lot. If I had guts I’d post a recent photo here—an image taken between hanging from a limb and yet being able to scramble to safety yet again. When I was young and playing sports, we used to have a saying, “No guts, no glory.” Today I have no guts, which means no sharing of a photo wherein I’m hanging from that limb and it is starting to crack. … If I did, some of you might cringe, and I don’t want that.

Doris and Louis Kraft Sr. in Yonkers, NY, in 1947. Both were born in Yonkers, as I was, but in less than six years would migrate to Southern California, a state they had long decided would be their home after they had driven across the country twice to visit it. (photo © Louis Kraft 1947)

As the days pass, I’m good with where I am. However, I should share some words that I said at my father’s funeral in 1999:

“As my papa got older, his world shrank. By the time he died, the furthermost extension of his world was his neighborhood. And what a neighborhood it was. When I was growing up it was just like one of those fantasy neighborhoods in the ‘sixties TV shows. The world changed, got harsher, different—but not the neighborhood. It remained the same. It was still that fantasy neighborhood from a 1960 TV show. Pardon me, for I know I’m going to forget someone, and I don’t mean to. You all played a big part in my papa’s life, and Linda* and I will remain forever grateful.”
* Linda was my sister (24dec1950–1mar2006).

This was the only software badge that I bothered to capture. Sun Microsystems was flourishing when it purchased Seebeyond, but five years later it was spiraling toward oblivion when Oracle bought it for peanuts on the dollar.

My neighborhood isn’t like the one I grew up in, for it isn’t magical. That’s okay, for many people of different races and cultures surround me. I like this. My house was built in 1928 and I have lived in it since January 1993. It’s home, and I love it here, as my dad did his final home that he bought in 1955 (yeah, I’ve got a ways to go yet). Still, my life has begun to mimic his, for as I age, my world has also shrunk. (Certainly current events have impacted the previous sentence tenfold.) Maybe I’ll talk about it, and maybe I won’t.

Still, I should share that my life includes my small family of six (representing three races); Pailin’s family and friends in Thailand; our Los Angeles connections; and all of my friends that I met during my personal quest of knowledge, exploration, and creativity. This includes writers, historians, editors, directors, actors, artists, museum and National Park Service personal, the entire software world (which played a major part in my development as a writer and human being), and everyone else that has touched me in one way or another.

Sand Creek & the world it created for me

I am going to share photos of some people that have played key roles in bringing the Sand Creek story from the mists of Neverland to the reality of a book.

LK and Glen Williams, my bro for all time, on a road trip to Tucson, Arizona. On 15jan2012 we had just arrived at Mission San Xavier del Bac. I needed this trip with my good friend; some research (walking into the past and reliving it, if only for a short while), but more importantly doing some mending within myself.(a joke times two in 2011; if I ever share these two episodes from my life that are joined at the hip for all time you’d fall off your chair you’d be laughing so hard). … My sister-in-law worked with the Indian kids at the mission school in the early 1970s. I have some photos from that time, and need to find them. (photo © Louis Kraft and Glen Williams 2012)

Alas, there are many people who played major roles in this process but I don’t have images of many of them. This said, I don’t want them to be ignored or forgotten, and hopefully they won’t be.

An obscure beginning to the Sand Creek story in the 1980s

When I was preparing to walk away from the entertainment industry cold turkey in the early 1980s—and I was about to turn my back on writing screenplays as I had already had begun to write and sell magazine articles—I decided to write a novel about race relations during the time of the 1860s Cheyenne wars. By this time I was aware that some U.S. Indian agents were using their government-appointed positions to become rich by working with traders to steal from their wards. At this time my Indian wars knowledge was minimal other than my study of George Armstrong Custer, which was decent and growing.

LK walking with Leo Oliva (left) and George Elmore (right) on the parade ground at Fort Larned in Kansas on 12may2012. NPS ranger Ellen Jones shot this image as we were walking toward the reconstruction of the building that Ned Wynkoop rented from the post trader for his Cheyenne and Arapaho Agency, which was just outside the southwest perimeter of the fort. Since the early 1990s George, who is now chief historian of the National Historic Site, and Leo, who is a historian, writer, and lecturer, have played major roles in my understanding of the Cheyenne Indian wars. Ellen, after a long career in public service, which includes 17 years at Fort Larned, is retiring this April.

I had seen a little of the soldier turned Indian agent Edward W. Wynkoop in general Indian wars books (a paragraph or two here and another there with both saying basically the same thing), none of which I could recommend at this time for no matter how accurate or how inaccurate they were, the authors glossed over their subjects with a scattering of facts. Worse, much of the information was repeated from book to book with little that was new.

Jack Hines art of George Armstrong Custer and Sitting Bull in “Two Trails to Destiny.” I’m not crazy over his text, but I’ve always liked his portraits of Sitting Bull and Custer, even though he based his rendition of GAC on a famous Civil War image of the soldier. Oh, for those of you who aren’t  aware of it, Custer had his already short hair cut before setting out on what would be his final campaign in May 1876; he died at the Little Bighorn on June 25, 1876. I state this as some people who have seen the Warner Bros. 1941 film, They Died with Their Boots On with Errol Flynn and Olivia de Havilland mistakenly think that the battle site was a short distance from Fort Abraham Lincoln, and it was not. (painting © Jack Hines 1985)

I was well aware of the Indian Ring (or tradership) scandal of 1876 due to George Armstrong Custer’s testimony in March and April of that year. This led to President Ulysses S. Grant’s secretary of war William Belknap’s resignation, and his brother, Orvil Grant, being implicated. An angry president refused to see Custer, and when the lieutenant colonel left Washington D.C. without orders he was placed under arrest. This almost removed Custer from taking part in the 1876 Sioux war. Again, those film buffs who know They Died with Their Boots On (1941) intimately, Custer was punished, but it wasn’t for exposing a fake war due to gold being discovered in the Black Hills but for his participation in the Indian Ring scandal. Also, Custer wasn’t reinstated to command the Seventh U.S. Cavalry due to Flynn’s Custer confronting Grant. No! Generals Alfred Terry and Philip Sheridan requested that Custer be reinstated.

As Wynkoop was good looking, had risked his life to meet with warring Indians in an attempt to end a war, and had later become an Indian agent, I decided that he would make the perfect villain for my novel. I began to research him, and Oops! … He wasn’t who I thought he was, and he wasn’t on the take. I never wrote that novel, but my discovery of who Wynkoop really was led me on a journey that has continued to this day.

Portrait of Wynkoop that has been published in two books and I think three magazines. (art © Louis Kraft 2007)

Ultimately it would be how he reacted to the Sand Creek Massacre that allowed me to be open to writing a book about the subject. This said, it took roughly 25 years before a friend who had a hand in Lt. Charles Gatewood & his Apache Wars Memoir being published and who contracted Ned Wynkoop and the Lonely Road from Sand Creek broached the subject of writing a book that I had no desire to write. He pitched that I had a lot of the required information in-house.

I didn’t have anything close to all the research in-house, but I didn’t know that then. Luckily then University of Oklahoma Press editor in chief Chuck Rankin didn’t give up.

LK with OU Press Editor-in-Chief Chuck Rankin at the Western History Association convention in Oakland, California, on 15oct2011. Chuck gave me the Wynkoop book poster hanging behind us. I framed it and it has been displayed at Tujunga House ever since. (photo © Louis Kraft & Chuck Rankin 2011)

I said “no” numerous times, but Chuck—God bless him—refused to accept my answer, and the rest is history. … Meaning he won me over, we worked out a proposal that was acceptable to both of us, the contract was signed, and I quickly descended into the depths of hell as I struggled to locate mandatory information while at the same time trying to piece the jigsaw of facts and quotes and actions of the leading and supporting players into a readable story.

Although the beginning of the project was a disaster as I searched for what was mandatory to bring the story to life, I did find numerous leads that led to block walls and dead ends. At times this was costly, … not always in cash, but always in time—special time, which is oh-so fleeting for it is something that is gone in a flash never to return except in our memories. This said, some of these failures are worth their weight in gold, for they proved without a doubt that what appeared to be history was nothing more than fiction that had been reprinted so often that it is now accepted as fact.

Gordon Yellowman (left) and Harvey Pratt standing on the overlook to the Cheyenne Washita River village site where Chief Black Kettle and his wife Medicine Woman Later where killed by Custer’s troops when the Seventh U.S. Cavalry charged into the village at dawn on 27nov1868 without knowing who the occupants were. On that day Harvey spoke about Cheyenne warriors from the past and in today’s wars around the globe. Gordon blessed the village site on this day, and on the following day talked about what it was like to be a Cheyenne chief. (photo © Louis Kraft, Gordon Yellowman, and Harvey Pratt 2011)

Of course there is one instance of this that isn’t true. Actually the documents exist but the Oklahoma state government—in an effort to hide the theft of American Indian land—blocked the access to this valuable information from researchers such as myself as the dark past had to vanish to protect the guilty. This was also tragic to historian Dee Cordry, whose upcoming book on key players that I also write about will be must reading when published. Harvey Pratt, his good friend, and a man I was privileged to meet at the Washita Battlefield NHS during a two-day symposium wherein we both spoke in 2011, provided us with the citation we needed.

My memories of the entire process of creating Sand Creek and the Tragic End of a Lifeway slowly morphed into the best project of my life. It far exceeded anything from my acting career, anything from my software writing career, and anything from my fictional and nonfiction projects (including articles and talks). This is a big statement from me. … One of the highlights was Gordon Yellowman allowing me to use his magnificent art, Sand Creek, on the cover of Sand Creek and the Tragic End of a Lifeway.

Pailin took this image on 3oct2014. Good friend and great Cheyenne and Indian wars historian John Monnett (center) and his wife Linda took us to the Sand Creek Massacre NHS in southeast Colorado. Before walking along the bluffs to the west of the extended village site Jeff C. Campbell (NHS ranger–interpretation) kindly spent time with us. I consider him the foremost expert on the village and the terrible actions of November 29-30, 1864. He has since provided me invaluable information in phone conversations, and by providing his documentation and commenting on mine. I can’t begin to tell you how much John has contributed to my understanding of the Cheyenne wars of the 1860s. This was a good day for me. (photo © Jeff C. Campbell, John Monnett, Pailin Subanna-Kraft, and Louis Kraft)

Southern Cheyenne Chief Harvey Pratt (left) on 30mar2017 near El Reno, Oklahoma, when he was honored by the Cheyenne and Arapaho tribes for his service to the tribal community. He is with his friend Dee Cordry, an historian and former police officer, on the day of the ceremony. Eleven chiefs of the Cheyenne Tribal Council of Forty-four were present, as were the tribal governor and lieutenant governor. (Good friend Dee Cordry shared this image with me.)

I’m already feeling the loss of having a day-in and day-out schedule that was non-ending. No matter what else I had to complete, and there was a lot going on during these long-long years that I had to deliver: talks, articles, software books (I think that my last full set of books at Oracle was 23, which I delivered on deadline—I think the cost for them was $100,000), and a novel from hell (but it contained many of the same obstacles as did the Sand Creek manuscript, and I used it as a training ground). I’m proud of The Discovery, a medical-legal thriller that goes in totally unexpected directions and of the Sand Creek story.

One thing that I have is a brain, and it functions on all cylinders at all times.

But that doesn’t mean that there aren’t a lot of people who help me, for there are, and they range from good friends from my Indian wars, American Indians, and Golden Age of Cinema connections. This also includes archival staffs, library staffs, and book and magazine editors and their staffs. Some I know in the flesh and have spent good times with them in SoCal and in many locations across the USA from Virginia to Tucson, Arizona, and in the case of Olivia de Havilland in Paris.

I have many-many more who have worked with me on the phone, via email, and with letters but have never met in person, and some of these people have become good friends, especially Dee Cordry, who, God-willing, I’ll meet in person later this year (at the moment COVID-19 has put that trip in jeopardy). For a number of years now Dee and I have enjoyed an open-door round-robin phone calls and emails wherein we’ve done everything possible to help each other out with our writing projects. Dee administers a terrific page on Facebook that I highly recommend: Cheyenne Trails & Tales. It is a wonderful location to learn about the “Called Out People,” the Tsistsistas (Cheyennes), and rub elbows with them and other American Indians, artists, writer-historians, and people who know and care about their lives, culture, and history.

Harvey Pratt, who, as mentioned above, came to my and Dee’s rescue with invaluable documentation that is related to his family, but is no longer available to writer-historians due to a law that the state of Oklahoma set in place years back to protect unscrupulous people that were thieves and worse. I can’t begin to say how grateful I am to him for his kindness.

I created this painting from a photo I took of Paul and Connie Hedren at the National Cowboy and Western Heritage Museum Wrangler Awards in April 2012. Paul won a Wrangler for his book, After Custer (OU Press, 2011) and I won one for “When Wynkoop was Sheriff” (Wild West, August 2011). (art © Louis Kraft © 2016).

There have been many others who contributed, and one, Indian wars historian Paul Hedren did an in-depth peer review of the Sand Creek manuscript that was easily worth a bag of gold. So did my other peer reviewer but this person chose to remain unknown. As I know a lot of writers who distain or refuse to consider constructive criticism, I have just a handful of words for you—stuff your egos in a box and do what you can to improve your work. … Once there was a Custer historian who thought that he was God’s gift to Indian wars history. Decades back one of his books was being reprinted by another publisher, and I asked him if he would do anything to improve it. He answered, “No. It’s perfect.” He moved on to the other side many years back. Before he did, I never had the guts to tell him that I couldn’t get through the first chapter of “his masterpiece.” Back to Paul; he’s an award-winning author and a well respected authority on the Indian wars. Thank you, Paul, from the bottom of my heart.

I had hoped to post photos and talk about others here, but due the unfortunate truth that I don’t have photos that I had requested of many of them, along with the fact that I don’t have enough room to do so, I hope to address this in future blogs.

LK’s writing world is an ongoing swirl
of research & creativity

Errol & Olivia

Know that some of my copyrighted photographs have been lifted illegally; ditto some of my art. All I can say is that it is a sad state of affairs in the United States when distortion, lies, theft, and violence are condoned. A sad state. The current government is responsible for this (and I have little respect for most of the elected candidates in both major parties), for most of our elected officials think nothing about blatantly lying while doing everything to better the rich at the cost of the electorate, and in some cases doing everything possible to destroy anyone who disagrees with them.

I know, … a strange beginning to my current number 1 book project. I know.

This photo of Tujunga House was taken on 13oct2016 shortly before nightfall, and for the record our rooms are in constant change. One of the reasons is downsizing. To date the largest hit has been on books and research (and I hate to say it but they are in every room except for the bathroom and kitchen). It’s simple with the books. Do I need them for my current and future projects or will I perhaps read them again for pleasure? If no to either question—good bye. This is similar with the research, except some of the past as well as some that is still in the future is going to move to the Louis Kraft Collection at the Chávez History Library (History Museum of New Mexico, Santa Fe) later this year. I had hoped (and still hope) that this could be an in-person delivery. If not, it will be via FedEx. I sold a lot of American Indian (actually everything I had up for sale last year), Custer, Indian wars, and fiction. More has since been boxed for local bookstores but my health shut that down. COVID-19 has now shut down the local stores (although one bought four huge boxes prior to the Federal government waking up to the fact that the pandemic is real) and a surgery has shut me down until mid-June. More will be eliminated ranging from Custer (my collection is still huge), more Indian wars, probably some film stuff, certainly more fiction (including a first edition Steinbeck along with other key novels), and whatever else I dig up. … Back to the room, which enters into my office and then into a hallway. Change is good, but there’s always a part of me present (and now a part of Pailin is in all the rooms, and you can see some of it here). This said, some of what you see are key to my future writing. The Flynn posters have been up for a long time for two reasons: I like them and each time I look at them they remind me to get the work done! The two small framed images by the lamp are of the pirate Francis Drake for the same reason. The two swords I designed, and they are totally illegal in dueling competition. They are your basic sabres, except that the blades are for épées (where you score points by merely plucking a wrist or arm with the point of the blade) and they don’t bend like foils or sabres, the bells are for sabres but are oversized (and not allowed in competition). Almost all the good dueling you see on stage or in film is with both thrusting and slashing, which you do with sabres. (photo © Louis Kraft 2016)

Progress
Progress is slow, but good. … This is the only way that I work, and honestly I’m thrilled. Just so you know, I easily have enough research in house to complete this project, but believe it or not, since I have returned to Errol & Olivia full time in January 2020 (not counting about four weeks that I have lost due to my health and other work that had to be dealt with, including this blog) my research continues to outpace my writing by easily 75 percent of the time that I have allotted to this manuscript. This is good, for as my knowledge grows so does the twists and turns in the storyline. This  is how I work, and for me it is the only way to work. And this means that I must be focused at all times while being ready to change direction at the drop of a hat.

Scope
The scope has grown considerably, but there’s nothing new here for the growth was already in place in 2015—I just didn’t advertise it. More exactly I needed to sit on this growth for five years. Am I good with this? You bet! Currently this expansion is already over 30,000 words, and more is a comin’.

The reason should be obvious, and it is based upon how long it takes me to complete a polished draft, and the fact that I need to live a long time for there are other Flynn book ideas hovering on the horizon.

What I bring to the table
I wrote these words in August 2013, and they are appropriate here.
I think you need to know a little about me that relates to me being capable of writing Errol & Olivia. Obviously I write biographies, but more is required. I don’t want to drag this out with a lot of words, so we’ll use a few bullets:
  • I discovered Flynn and de Havilland’s films when a boy
  • Flynn’s acting and writing influenced my life
  • While a young teenager I studied fencing with Ralph Faulkner in Hollywood
    • This led to me learning sabre and dueling competition in college
    • It eventually led to me learning “swashbuckling,” or stage combat, and choreographing duels and dueling on stage
  • In junior high school I began studying acting and performing
    • This continued in high school
    • In college I majored in acting and directing
  • For about 15 years after college I attempted to survive in the acting world
  • After quitting acting I have survived as a writer
  • When opportunity presented itself in 2002 I returned to the stage but only in plays I have written
  • I have a track record of bringing historical figures to life in print, on stage, and when speaking before an audience … not to mention my skill with a blade

LK working out with a lady I loved crossing swords with on 3dec1981, as she was a good swashbuckler and fun to be around. That’s our coach on the right side of the image as he and a cameraman shot this workout. Alas, I never saw the filmed footage. (photo © Louis Kraft 1981)

I believe the above qualifies me to not only write about Mr. Flynn and Ms. de Havilland but to approach their lives during a very short period of time in a different and perhaps avant-garde manner. These words are key, for they provide a hint to how I’m writing Errol & Olivia. … And better, I’m going into detail and it’s going to be fun detail; fun and multi-leveled. All I have to do is make it happen.

“Must See, Must Read”
Five intriguing books and five films about the Indian Wars
by Louis Kraft*
Wild West (August 2014)
They Died With Their Boots On (1941, on DVD, Warner Home Video): If Errol Flynn hadn’t played George Armstrong Custer, there would have been no Kraft writing about the Indian wars. Long years past through the present day, critics of this film have pounded it for its historical inaccuracy. Although true, let me invite you to actually research it—which I’ve done since the mid-1990s in preparation of multiple books on Errol Flynn (the first to be called Errol & Olivia). The thrust has been simple: In 1941 Warner Bros. feared being sued, and historical players and facts changed to fiction. Even though the film is fiction, it is so close to truths that have been disguised and altered that it’s scary. I can’t list them here, but trust me, for ’tis true. Don’t buy it? Do your own research. … Errol Flynn’s performance as George Armstrong Custer is magnificent, for he captured the spirit of the man; and Olivia de Havilland is perfect as Libbie Custer. It is arguably Flynn’s best performance, and by far their best performances in the eight films they did together.”
* This column is ongoing in Wild West (by contributors to the magazine).
Usually five books and five films have mini reviews. I made my comments personally related to my writing career. This issue also included two other LK articles.
One, a feature, “Wynkoop’s Gamble to End War,” was, I believe, the best
article that I have written about Ned Wynkoop.

Errol Flynn as George Armstrong Custer in They Died with Their Boots On just before he sets out for Montana Territory and destiny, and the real Custer 11 years before his death at the Battle of the Little Bighorn. For the record Custer set out from Fort Abraham Lincoln in Dakota Territory on his final Indian campaign on May 17, 1876. He didn’t engage Sioux, Cheyenne, and Arapaho Indians on the Little Bighorn River until June 25, 1876. This fact is here for, believe it or not, people have stated to me numerous times that Custer fought his final battle a day or two after setting out. (This image is in the Louis Kraft Collection)

A glimpse at Captain Blood

Here I’m talking about Rafael Sabatini’s great 1922 novel, Captain Blood: The Odyssey, and the classic 1935 Michael Curtiz-directed Captain Blood, which made Errol Flynn a superstar (this term wouldn’t be created until decades after his death) and Olivia de Havilland (and she said this), “a small star.”

This image is based upon a photo taken during a workout shortly before nightfall on 15sept2015. For the record, stage combat/swashbuckling is done with a minimal amount of protective gear, such as elbow and knee pads. Also, in case you didn’t know, the slashing offensive moves have numbers with the same numbers attached to the defensive actions to parry (block) the attack. It’s just like dance, and both combatants must know the moves in slow motion before confronting each other in real time. If not, and one of the duelists gets lost, he/she must get back on track by calling out the numbers so that both parties know exactly what is happening, or simply back off and halt the encounter. I know this for a fact, for while playing Miles Hendon in a 135-performance tour of The Prince and the Pauper in Northern California in 1982 I came within an inch of losing my left eye when the villain got lost and improvised. After the performance the other actors had to hold us apart as I wanted to tear his head off. … When allowed, the first thing I’ll be doing is strengthening my legs, midriff, and arms, and then working out with a blade. BTW, that’s my hair. Yep, sometimes I’m a little slow cutting it. Also I was trying to sell Johnny D. Boggs to allow me to adapt his great novel, East of the Border (Five Star, 2004), which was about Wild Bill Hickok joining Buffalo Bill Cody and Texas Jack Omohundro on the stage. I wanted to play Hickok. Neither Johnny or my great friend and only director this century, Tom Eubanks, weren’t interested. After several years I gave up. You win some and you lose some. Oh, Mr. Eubanks, this image is for you. Guess why. (image © Louis Kraft 2020)

Sabatini’s Captain Blood played a large role in the creation of the Curtiz film, which is in stark contrast to his terrific novel The Sea Hawk. I’ll spend a fair amount of time with the story line of the film, as I think what I’ll say is important. Also, what I have discovered this year has improved my view of the film at least tenfold.

I don’t think that I’m giving anything away when I state that the only thing that Warner Bros. used from Sabatini’s The Sea Hawk, was his title.

That’s it? That’s all you’re going to say about Captain Blood?

I know, … I know, and I know, but I need to say something and it is important:

I could easily add 7,500 words to this blog discussing Captain Blood, my progress with Mr. Flynn, Ms. de Havilland, and the early part of their life and times working together at Warner Bros. The lead-in to this section guarantees that I must keep my mouth shut or face the consequences—the ongoing theft of my copyrighted material, and facts turned into readable prose is a much greater loss than the images. Besides if I share everything there would be no reason for you to buy the book.

I track the thefts. Obviously I don’t have the money to sue each and every cretin. This said, if I ever meet one of them in the flesh, I will deal with them exactly as Mr. Flynn dealt with columnist Jimmie Fidler. Those of you who know Flynn, know exactly what I’m talking about (but it will be juicier than what you know); those of you who don’t will be in for a treat.

E&O on a daily basis

I bought this book (left) when it was first published in 1962, and although treated with kid gloves it hasn’t aged gracefully. The pages have all yellowed and the cover has begun to darken on the edges. There are a lot of quotes in the chapter on Flynn, but I don’t dare trust any of them. That’s right, my view of this book is not worth stating here. All I’ll say is that it won’t appear in my bibliography unless I decide to use a small portion of it to demonstrate how amoral writers deceive their readers. Honestly, this isn’t going to happen for I’m not going to waste any of my word count on a book that should never have been published.

One Flynn historian (who was clueless on how to write nonfiction, and lordy-lordy help us for the fiction will fly fancy-free with zero documentation when his BOOK to END ALL FLYNN BOOKS sees print. I know this for a fact, for after he provided me with a great quote, AND after a month’s worth of my time searching the confirmed archival file for the proof of what he provided, I realized that he was F—g me in the rear end; his research was pure bullshit). This clown once asked me why I read everything that I can get my hands on that is related to my research on Flynn and de Havilland. My answer was simple: “If you don’t know what is in print, regardless if it is accurate or not, you’ll never know this unless you read it.” This was above his egotistical comprehension. Let me just say this, a lot of what has been published about Flynn and de Havilland is error-riddled crap. Lucky us, for there is yet another book moving toward publication that will join this club. If it is ever published buy it at your own risk.

For example, the nonfiction book, “Get Me Giesler” (above) by John Roeburt (the title of the book is a quote). Jerry Giesler was the famed defense lawyer who took on Errol Flynn’s statutory rape case in 1942. I don’t know what I thought about the book in the dark ages. However, now I view it is a sensationalized piece of crap. Of course it is loaded with errors, some of which are egregious. Outrageous might be a better choice of words here, for when the author introduces that Flynn was again confronted with sex with a minor when he had just married his third wife, Patrice Wymore, in Europe, the reader is told that this crime again took place on his ketch, the Sirocco. As Errol had sold the Sirocco not too long after he was acquitted of the charges in 1943, and didn’t marry Pat until 1950, this error pops off the page. Why? Was Roeburt shooting from the hip and didn’t confirm any of his facts? Or did he do it on purpose to make a parallel comparison? If yes, why? These types of errors also make me wonder how many other errors are present in the book. If ever you read the book, and see what I’m talking about, you should also ask the same question. Mainly, are Roeburt’s errors simply piss-poor research or did he create them on purpose? Trust me, this is an either/or question.

Although writing isn’t everyday, for the simple reason that the days aren’t long enough to get everything on my daily list accomplished. More, research is ongoing from day to day. It might be working on tracking down something that may have happened and may not have have happened. Regardless, I must know the answer. Or it might be rummaging through my massive collection of primary source documentation. When I do this, I’m usually looking for something that I know I have and want to add it to the manuscript. Or it might be spent reading selections from my massive library on Mr. Flynn, Ms. de Havilland, and the supporting players in their lives.

Errol, Olivia & the Sand Creek story

One of the things that took so long to complete Sand Creek and the Tragic End of a Lifeway was that I needed to get the historical events in the correct order (no easy task) and bring the main and supporting players to life (and this was totally based upon their actions, their words, and what other contemporaries said about them). This is exactly how I intend to present Mr. Flynn and Ms. de Havilland.

Pailin took this image Tom McNulty at our house on 11apr2014 when he and his beautiful wife Jan visited. (photo copyright © Thomas McNulty, Pailin Subanna-Kraft & Louis Kraft 2014)

I’m certain that many of you who know anything about Errol Flynn’s life are acquainted with Thomas McNulty’s magnificent biography of him, Errol Flynn: His Life and Times (McFarland & Company, Inc., Publishers, 2004). If you aren’t aware of Tom’s book, or haven’t read it, do yourself a favor and get your hands on it. I first read it when it was published, and immediately realized that it was—by far—the best biography written about Mr. Flynn, actor, writer, sailor, father. It was then and it still is today. I’m proud to call Tom and his wife Jan friends.

Tom went the extra mile with his EF book, he did a massive amount of research and added a lot of information that isn’t present in other biographies—that is, he did everything possible to bring Errol to life using his actions, quotes, and others’ thoughts about him.

**********

Like my writing about race relations between Cheyennes, Arapahos, Apaches (and soon to be Navajos), and whites, I have a fairly large network of Flynn/de Havilland archives and knowledgable people (and most are friends, but due to the distances between us some I only know long distance. Those of you in this category I hope to meet in the flesh someday. Flesh? Meaning naked? If you are a beautiful woman, yes! A man? Absolutely not! Regardless of your view of these words by LK, for true or not it was just my mind floating in Na-na land, Pardon me.

This photo of Selene Hutchison-Zuffi was taken in November 2019. She is a historian who works at the Duncan Tavern Historic Center in Paris, Kentucky, who loves to research, is an avid reader (“an avid reader” … my kind of person), and has a deep-rooted interest in the study of Errol Flynn. Because of this David DeWitt made her a co-administrator on his The Errol Flynn Blog on Facebook (also see below). (photo © Selene Hutchison-Zuffi 2019)

To repeat myself, E&O is about their life and times, and if all goes as planned I hope to add a lot that you may not know about them, and not just the good (although there will be good where you thought there wasn’t). All lives are not all good, although in many memoirs and biographies the subjects are pristine individuals without any faults. I have trouble reading these books for all of us—certainly me—have made decisions that weren’t good or mistakes we shouldn’t have made along the way. This is what makes us who we are. Errol and Olivia are no different, and by showing who they were/are will hopefully bring them to life. What I share will not be all positive and certainly not all negative, for the story will be about two people who thought they acted correctly when they did what they did. Trust me, Errol and Olivia were/are two exceptional human beings. Both were/are very intelligent; both were people of the world (Errol beginning with his early days and Olivia when she decided to change her life’s course); both were very desirable to those who knew/know them or wanted to know them; and damn, but both had/have great senses of humor. They were/are real people with real emotions and desires, and not clichés.


I am responsible for every word I write that is published. it doesn’t matter
if an editor messes up my facts or stuffs something into my manuscript that they
know nothing about but spit forth crap as if they are God’s gift to the published word.
When I fix their errors back to what is correct, I expect to see it in print. But sometimes this doesn’t happen. Sometimes the fixes make it into the proofs but then poof! They
are removed from a final proof that I wasn’t allowed to see. It makes no
difference why this happens, for whatever the reason for the errors,
theirs or mine, are now mine and only mine. Everything is on me.
Everything. … This said, I love my editors no matter how livid
I may become when something that should
have happened didn’t.


This is a library binding of Sabatini’s book that I purchased from a library used book sale in the San Fernando Valley decades ago. It is a 1950 reprint of the classic 1922 work.

As with all my writing, and I can’t stress this enough, is how much people help me during the entire process of discovery and comprehension while I slowly piece my manuscript together. The process continues until the work is published, and often never stops unless I decide to walk away from the subject. Selene (her photo is above) is one of these people who has kindly helped with E&O. Better, this has led to a friendship.

Oh, one more thing and it is important. Over the years I have talked about Captain Blood and The Adventures of Robin Hood (1938), and some Flynn and de Havilland historians and fans haven’t been too pleased with some of my views—which I will discuss in E&O. This year I have spent a lot of time with both films digging through my primary source research, studying the scripts, and viewing selected scenes from the films that will be highlighted in the book.

To those of you who think that I need a good stoning or tar and feathering for my heretical views, mellow out. My opinions of both films* have improved considerably, and this, too, will be highlighted.

* When I complied a top 12 Flynn film list a number of years back Captain Blood and The Adventures of Robin Hood didn’t make the cut. I know, heresy. Neither did Four’s a Crowd, which I love and would have made the list if it been a top 13 list. Flynn and Livvie, as he called her, shine in this film.

Some thoughts that aren’t new

Before louiskraftwriter.com I had the long dead louiskraft.com, but I didn’t design or control it (I only supplied the words, images, and links). Eventually I couldn’t get anything updated (nothing—nada), and it didn’t matter what I offered $$$-wise to get the website updated. This was a joke, a bad joke, and there were other reasons that I couldn’t get it updated. Enough was enough! I walked away and waited for it to die a lonely death. A website (or blog) must be a living presence on the internet (and the administrator can’t disappear). A website/blog can’t be static. The end had been coming for some time, but when the website vanished—gone as if it had never existed I didn’t know it, as I wasn’t informed. It took months before I stumbled upon its demise. … A fleeting image, a ghost, remembered but no longer reality.

About two years later great bud and Errol Flynn expert David DeWitt visited LA and stayed at Tujunga House in early 2013. I had already been planning to create louiskraftwriter.com (even though I didn’t know what the name would be at that time), and he hooked me up with PressHarbor and set up the key information for the new website & blog. He also provided me with some training, a lot of tips, and information on how to proceed.

See David’s great The Errol Flynn Blog, and also his The Errol Flynn Blog on Facebook, both of which he administers. Selene Hutchison-Zuffi, who has become my friend, is also an administrator on the EF Facebook blog.

David_DeWitt_jan2013

I took this image of David DeWitt in the front of Tujunga House in January 2013 when he visited and helped me set up this website/blog. Great times for LK. (photo © Louis Kraft & David DeWitt 2013)

David is an extraordinary gentleman, funny, bright, and I can’t begin to tell you how many great hours we shared just letting our minds connect and flow deep into the night while we talked during his visit. Certainly we discussed Flynn and Olivia de Havilland during his visit, but we also chatted about our current worlds—his and mine—and our past worlds. David is one of my great friends and a go to-expert that I respect.

We live near oceans. I have a mountain range (Santa Monica Mountains) between me and the Pacific, which means if ever a tsunami assaults SoCal as has have happened to Thailand, India, and many other locations Pailin and I will survive the devastation (I shouldn’t say this, but will: there are a lot of stories to tell about LK and the Pacific and some of them are R-rated). David lives on a beach on the South Carolina coast of the Atlantic. When he shares some of his images that he has taken while walking along the sand it looks like heaven. I can’t tell you how envious I am, if I ignore the hurricanes. … Luckily we have a great relationship that grows and thrives. I just wish that we were both lived on the same USA coast.

As everyone who sees these blogs knows that louiskraftwriter.com deals with my thoughts on writing, history, work, life, opinions, and sometimes craziness. I don’t need to say anything else about it, other than when you visit I hope that I don’t bore you to tears.

The website has been updated; some pages have vanished while others have appeared, and certainly Errol & Olivia is featured under Projects.

psk_hallowween_2016_1_ws

Something that hasn’t happened—yet

Jasmine took this image of Taipae, her dog, and my beautiful Pailin at Green Day Spa on Halloween 2016. (photo © Pailin Subanna-Kraft 2016)

In mid-September 2016 I learned that louiskraft.com would become available to purchase at a bargain, and I started the process to buy it. Why? I don’t know, but it didn’t matter, for after I had the winning and only bid I was told that they wanted more money. Adios, amigos. Viya con Dios (Go with God). End of subject. No loss for LK.

Timing is always everything. At that time when the website name became available, but before I realized it was a scam, Pailin had presented me with a Thai word that she told me meant “happy.” When I started using it, she laughed and laughed. Something smelled fishy, but what? Finally we agreed that I’d use the word as it related to a friend (forever unnamed) and she’d film it. Afterward she laughed and laughed. We viewed the video together and she again laughed and laughed. I had used an angry interpretation of the word but couldn’t understand why she was laughing. She enlightened me somewhat, but not totally. I told her that I needed a take no. 2. We taped it. Much better, as I came across sincere, but she couldn’t stop laughing when I viewed it with her. Why? She refused to share the reason. I said that I’d post take 2 on You Tube.”No! No!” she exclaimed, “You can’t do that!” “Huh?” Silence. … I pressed her for what was really going on and eventually she told me the word’s real definition. … What it really meant, … and it wasn’t close to what she had originally told me. The word actually meant something totally different—something good, something that’s always on my R+ rated mind (sorry, but no details are forthcoming).

Pailin at Tujunga House on 22nov2018—Thanksgiving. (photo © Pailin Subanna-Kraft & Louis Kraft 2018)

My turn. I laughed and laughed. She was right. Neither tape could ever be posted anywhere. Ever!

*****

Still the two tapes gave me an idea on how to try to expand my writing projects to the public. Heck, you never know—it might even bring in extra money. Wouldn’t that be nice? More important, this idea might be another way for me to raise questions that I need to ask. How can I truthfully write about people if I’m unclear who they were or why they did what they did? … Alas, this still has not happened due to time limitations. Fingers are crossed that it may now be in my near future.

February 14 throughout time …

Time is short, and I don’t have much to spare, but this day has always played an important role in my life. … And it continues until this time. Actually the here and now is much-much more important than ever.

February 14 is Pailin’s day and it is my day, and nothing can
change this. Ever. Night has arrived. The Vette is ready to growl
(something that makes my lady nervous, but it shouldn’t as the car
and I have bonded over the years). We are off to celebrate not
only this special day but also our marriage on this day in
2014—time flies when you are in love for all time.
(photo © Pailin Subanna-Kraft & Louis Kraft 2020)


Oh yeah, the wrinkles are deeper now, thanks to the past nine months.
Still, I’m grateful for each and every minute since June last,
for this time has been the most special in my entire life.

This image of us playing in the snow was taken in 1956; most likely at Mount Baldy, which is local to Los Angeles and was an easy drive from Reseda, where we lived in the San Fernando Valley. (photo © Louis Kraft 1956)

My mother was my first Valentine
And she was so for many-many years. As the song that Elvis Presley sang and excelled at, says, “Oh, mama liked the roses in such a special way …,” and mine did, especially on Mother’s day and Valentine’s day. I was a mama’s boy, and I can’t begin to tell you how close we were over the years. … We still are.

It’s hard to believe that she’s now been gone for over forty years.

Five women who played major roles in my life
I’m not sharing their names (but you know one of them for she’s in this blog—and she and one other are the only two people I would forfeit my life for in a heartbeat), but some of you may have known one of the other three. There are stories to tell here. Some would make you laugh; others might make you cringe. This said, I’m lucky to know or have known all five. … One I still have contact with and another currently plays a huge part in my life (our relationship has grown and matured over the decades).

My father
He was never my Valentine, but he was forever present in my life … as I was in his (and there are stories to tell here; I could write a book about our relationship). Over most of those years we clashed, and yet he always had my back. There was never a doubt that we loved each other, although at times our actions may have seemed to contradict this. … As the years passed and he grew frail I took care of him, and saw him three- or four- or five-times each week. We ate together, drank together, joked together, discussed our lives (past and present) and enjoyed each others company.

When this photo was taken I wrote for Storm Control Systems, a company that created software that controlled unmanned spacecraft after they were in orbit. We had one customer, the Hughes Satellite Wing of the Hughes Space and Communications Company, which was across the street from us in the South Bay of Los Angeles County in El Segundo. My hours began at 6:00 am and the 26-mile drive was a breeze, but it didn’t matter if I left at 3:00 pm or two or three hours later—the drive was a nightmare (at least an hour and a half to his house and two to mine). I did all his shopping and ate with him about four times a week. Although he was totally against me not following in his footsteps, he saw every play I did locally and read and commented on my drafts, screenplays, articles, and books. On this day (probably a Sunday) we were watching a Dallas Cowboys football game. Johnny Unitas was my man (and always will be). I did like Joe Montana, and Jim Plunkett looked like he played sandlot football (which I did often) but he won some big games. They were gone and I dropped football like a hot potato, except when with my dad—although I did enjoy John Elway’s perseverance. It took Tony Romo (near the end of his career) and Tom Brady to bring me back to football. In this image my dad was enjoying a glass of whiskey and water or Coke, and I may have had a glass of vodka and juice. (photo © Louis Kraft 1998)

My presence, along with a family with three boys across the street, did everything we could so that he could remain in his home. We almost succeeded, but he became so frail that he needed to spend time in an assisted living facility. He was there a week, maybe a little longer, and I could see he wouldn’t leave. I saw him and spent good time with him every day. On a special evening as I was leaving, he said, “I love you.” I always knew this, for during our entire lives together it was obvious. This was the first and only time he ever said this to me.

The next day, February 14, 1999, began early in the morning but quickly turned into a long day and night in living color—a nightmare without end. He died shortly before the wee hours of the fifteenth. This seems like a terrible memory. It wasn’t, for I was lucky to be with him to the end. It was as it had been when his wife/my mother died nineteen years earlier—just him and me (although on this late afternoon and evening three ladies/two are still major in my life) were with me even though a wall separated us when the time arrived. … Afterward my daughter and I were then able to spend time with him.

I’m one lucky cowboy,
for my father gave me the strength to follow my own trail.

Pailin’s perfect day

The following was mostly pulled from social media, but I posted it there so that it
was ready to place here. Those that have already read it, my apologies for
my lady’s perfect day was a major piece of her life and it belongs here.

As some of you knew I had problems beginning in late January before exploding into burning pain by mid-February. Unable to learn how to deal with it online I figured out how to work around this to allow me to escape from captivity even if only for a short time—don’t eat anything.

Pailin playing finger guns with me on 17jun2015. It’s a combination of hide and seek and shooting each other. (photo © Pailin Subanna-Kraft & Louis Kraft 2015)

Also, as some of you may know, Pailin and I are much alike. We are goofballs and we make each other laugh all the time. Perhaps this is because we are still kids at heart. We also have total focus on what we want to do, what we want to accomplish, and we do whatever is necessary to make this happen regardless of what we must overcome.

March 10 was an important day in my lady’s life and I wasn’t going to miss it. She drove while I chattered away, kept my legs as straight as possible, and applied pressure to the lower right side of my abdomen. The early morning rainstorm pounded her car while she maneuvered her way through bumper-to-bumper traffic while avoiding numerous freeways. She was heading to the USCIS building in downtown Los Angeles. This is a place that we both know well, and she intimately, for although I have been in key meetings there with her, on this day it would just be her. Oh, if you don’t know, USCIS stands for United States Citizenship and Immigration Services.

The rain had stopped by the time we reached her destination, and this was lucky for us for after we took an elevator up to a courtyard in a mall I led us up the wrong staircase. Outside we should have been facing the USCIS building, but weren’t. Still we crossed the street to figure out where we were. As it turned out we had used the wrong elevator, and the courtyard looked the same to the east and west staircase exits. As we could see the building to the west we worked our way to it. The cane worked fine as did the pressure I held on the trouble spot. Once inside the building and in the correct room Pailin checked in and sat down to await her turn. I tried to get comfortable while standing, but couldn’t do it. We had discussed this, and had agreed that I would return to the car.

Pailin in the huge garage across Los Angeles Street from USCIS on 10mar2020 (photo © Pailin Subanna-Kraft & Louis Kraft 2020)

As it turned out Pailin’s interview was elsewhere in the building. As she reached the door for her interview the person before her exited the room crying. Pailin knew immediately why, for this lady only carried her passport and what looked like her appointment letter. In stark contrast she carried a large briefcase with all the required documentation, including five years of tax returns, all the original documents from her life, which also included our marriage license, photos, her and my passports, and on and on. She also had two books that I had dedicated to her. She had studied for months (including a document with 100 possible questions to a handful of films and slideshows that showed the process as well as presented different questions), and I can’t begin to tell you how much her spoken and written English had improved. She had a good idea of how the meeting would play out and was not upset by what she had just seen.

She called me after she returned to the courtyard, and I hustled to get to her. She was so excited and happy. We hugged and hugged, and I’ll never be able to tell you how proud I am of her for it is beyond belief.

Pailin and LK shortly after see aced her USCIS interview. (photo © Pailin Subanna-Kraft & Louis Kraft 2020)

Pailin’s interviewer was a Latina, and the entire meeting was casual; that is, they mostly talked about this and that in Pailin’s life with the USCIS agent randomly slipping questions into their conversation. Basically they chatted and got to know each other a little. The meeting focused on Pailin’s life, civics, U.S. history, and the English language.

Pailin told me that the USCIS agent asked her about the drive that morning and how long it took, her name, her employer’s address, why did she travel to the United States, what is the number U.S. senators, how long has she lived at her current address, when is the presidential election, how did you meet your husband, … There were no numbers to the questions, and she answered everything correctly. This also included few questions on a tablet that Pailin read and then wrote her answers. After a while the interviewer said to Pailin, “We don’t have to go on, for you have answered everything correctly, and I can see how much you love your husband and living in the United States,” … yes, my lady was enthusiastic and full of joy with some of her answers … “and I have recommended that you become a United States citizen. You’ll learn the answer soon.”

I took this photo of my happy lady shortly after we returned home from her USCIS appointment on 10mar2020. (photo © Pailin Subanna-Kraft & Louis Kraft 2020)

Before the day ended Pailin received notice that her application to become a U.S. citizen had been accepted. The ceremony wherein she would swear an oath to allegiance the U.S was set for March 19. Appropriately just days before she swore her oath of allegiance, the ceremony was postponed due to the novel coronavirus that has been sweeping across the USA (in particular Washington, California, New York, and now also Florida) and the rest of the world. Whenever it is rescheduled you can bet that I’ll be present with a huge smile on my face.

Dr. Jekyll & Mr. Hyde or is it …
Dr. Kraft & Mr. Hyde, and a surgery

Some of the classic writers that were prolific in the late nineteenth century or the early twentieth century or both have been some of the writers that I’ve enjoyed over the decades, from Robert Louis Stevenson to H. G. Wells to Edgar Rice Burroughs to Rafael Sabatini.

John Barrymore as Mr. Stevenson’s creations on a video cover (BTW, it’s on Amazon Prime). My mother told me more than once that her father was amazed with the Great Profile’s transformation from Dr. Jekyll to Mr. Hyde on the Broadway stage. I have yet to confirm that Barrymore played Jekyll/Hyde on Broadway and think her memory had been off and that her father/my grandfather (who died when I was six) was referring to the 1920 film.

Certainly Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde (1886) is a classic. At times I feel that I would be perfect casting to play both roles, and I could make the transition from Dr. Kraft by not getting a shot and nine days of declining pills; that is four pills twice for three days, three pills twice for three days, and two pills twice for three days. By the evening of the fourth day after the pills had ended I would begin to become Mr. Hyde. The transition would be complete by the morning of the fifth day.

The physician treating me (and he is special) and I realized that the only way for me to again become Dr. Kraft would be to administer a shot and begin another cycle of pills (BTW, these pills would differ over time). 

A little LK background before we talk monsters

Actually this is LK, but it is also the warrior/mystic Apache Geronimo and actor/writer Errol Flynn and the pirate Francis Drake and on and on with me listing everyone I have written about. That is, we are all human beings and we will be judged by our actions, our words, and what other people who know/knew us share. My life is totally different from Flynn, Geronimo, and Drake’s and their lives are totally different from mine. … When anyone writes about us or anyone else the goal should be to find the truth, for that is what defines the person—and not what has most often been printed, “goody-two shoe stories” or “an evil as dark as the devil.”

I’m no saint, and lordy knows I’ve been a hellion for a good part of my life. Does this make me a monster, such as Stevenson’s Mr. Hyde as created by Dr. Jekyll?” No. … For me, mass murderers, rapists, butchers of humankind, and out-and-out racists are or could be monsters depending upon how their actions, views, and words play out.

A long time back after completing roughly 12 days at sea on a Navy nuclear helicopter carrier while living at Hotel del Coronado—the historic beachfront hotel in the city of Coronado, just across San Diego Bay from the California city of San Diego—and better, just steps from the harbor. After location filming concluded I returned to LA. On December 14 of that year this image of me was taken while I was in makeup as Dr. Frankenstein’s monster. Other than dealing with death it was a good time for me. (photo © Louis Kraft 1979)

Slipping back in time I was for a short instant a monster, and so was the lady at my side. This slight detour should really be labeled “beauty and the beast,” for she was (and still is) gorgeous, and well, hell, the image of me in makeup is closer to my view of myself.

Yuck! Just nasty!

After years I’ve learned to live with what I look like, but also over this time I have covered my face with all sorts of mustaches, goatees, and beards—at least then I could envision myself as a pirate or a frontiersman. AND NO, I’m not looking for a comment here. I know, “Kraft, that’s a bad attitude.” What can I say, other than it has been present for decades.

In June 2019 during a trip to Tucson, Arizona, to meet with Stuart Rosebrook, editor of True West, to discuss me writing for the magazine, reality crashed into my world and totally upset the apple cart. No longer would I have to avoid mirrors as I didn’t like my mug, for something, and it is still unknown (although my key physician has worked his way down to a few obscure diseases that aren’t contagious), attacked my face. The dreaded mug that I have cursed until I’ve become blue in the face suddenly shocked me into a new reality. “You think that you’re ugly, cowboy? Well, hold onto your saddle, for you ain’t seen nothin’ yet.”

As I had announced elsewhere on social media I was considering talking about my health but only if I could play around with Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde and somehow deal with my ongoing situation in a humorous way. … I had recently reread Stevenson’s 1886 classic work for the first time in decades and enjoyed it even more this time. Alas, what follows won’t be hilarious.

BTW, for those of you who know Flynn’s 1953 swashbuckler, The Master of Ballantrae, Stevenson wrote the novel that it is loosely—very loosely—based upon. The Richard Thomas (Henry Durie), Michael York (James Durie; the Flynn role) and Timothy Dalton (Col. Francis Burke) TV film (1984) is much darker and much closer to the storyline. … I had worked with Richard on the 1980 TV film, Johnny Belinda (1982) with Dennis Quaid and Rosanna Arquette, which updated the classic Jane Wyman and Lew Ayres 1948 film while making the leading player—Thomas—a member of VISTA (Volunteers in Service to America). I had been a member of VISTA in 1970. When I told him in detail of how clueless the script was on how the volunteers worked with poor people in the continental USA, he said that he couldn’t get it changed. Still, it stated a friendship that lasted until we drifted apart several years later.

Robert Louis Stevenson (perhaps a year or two after he wrote Jekyll/Hyde).

Mr. Hyde is Dr. Jekyll
At the beginning of Stevenson’s story, Mr. Utterson (a lawyer), who is good friend of Dr. Jekyll’s, and who leads us through a good part of the telling of events, had this to say about Mr, Hyde: “He’s is not easy to describe. There is something wrong with his appearance; something displeasing, something down-right detestable. I never saw a man I so disliked, and yet I scarce know why. He must be deformed somewhere; he gives a strong feeling of deformity, although I couldn’t specify the point.

And later Dr. Lanyon, upon receiving a letter from Dr. Jekyll, thinks his friend is insane, and yet follows his instructions and meets Mr. Hyde. He also described the gentleman: “This person (who had thus, from the first moment of his entrance, struck in me what I can only describe as a disgustful curiosity), was dressed in a fashion that would have made an ordinary person laughable; his clothes, that is to say, although they were of rich and sober fabric, were enormously too large for him in every measurement—the trousers hanging on his legs and rolled up to to keep them from the ground, the waist of the coat below his haunches and the collar sprawling wide upon his shoulders. Strange to relate, this ludicrous accoutrement was far from moving me to laughter. Rather, as there was something abnormal and misbegotten in the very essence of the creature that now faced me …”

Stevenson wanted to explore the two sides of man, good and evil. I could be talking about the evil in Kraft, but I’m not. I’m more interested in what Dr. Jekyll had stumbled upon with his experimentation.

Of course if you do some digging you might find that once I received a 10×13″ envelope with a 8×10″ envelope inside it. On the outside of the smaller envelope SHAME was printed in bold with a red marker. The envelope was filled with long dark hair. My heart missed a number of beats.

That delivery still makes my shiver.

People have asked about my heart and cracking my skull open more than once. The second time I photographed the scene of the crime after returning from the emergency room. Thirteen hours had passed since the incident and the blood had dried. I turned the result of falling on my noggin’ into art and posted it on social media (see above, © Louis Kraft 2017).

To learn more about cracking my skull, which led to an EEG of my brain, and ultimately me continuing to walk Mother Earth, see: Sand Creek Massacre, Errol & Olivia, Louis Kraft, and a perfect storm.

Most of my past, the really bad past is hilarious when I look back. In a time not too far gone I had been in a long relationship with a possessive lady; not the person above who scared the XXXX out of me. We had gone out to dinner; one we should have passed on. Later that night she was in her panties and washing her face in the sink in preparation to showering. I had just finished my shower and stepped to the sink to turn the water off as it was about to overflow. “That’s it!” she screamed. “I’m out of here!” … Nope, I don’t think I’ll share this here. Looking back I often ask myself do I dare present these events in a memoir? That’s a big question and I still don’t have an answer. This said, Mr. Flynn did his memoir the proper way (with a little help from a friend), and most likely will have the deciding vote. … I just need to make damn sure that I’m dancing with angels before it is published. If not, I’m certain that my rear end will be sued from here to kingdom come.

I’m going to focus on the transformation from doctor to mister and back. Again, I’m interested in the transformation and not the evil that Dr. Jekyll created.

I’m not a physician but my father-in-law, who became our family doctor shortly after we migrated to California in 1953, certainly was. Over my early adult years, many acting publicity photos were shot in his medical suite. The B&W image of me is one of them. I’m sitting in my father-in-law’s chair in his office (September 1979). This photo actually had a silent bit on the short lived TV show Tucker’s Witch (12 episodes, 1982-83) with Tim Matherson, Catherine Hicks, and Alfre Woodard. It was turned into a political campaign poster and gave me a nice payday for simply handing 2nd assistant director Pam Grant an 8×10. She was a dark-haired beauty and a sweetheart; I luckily worked with her on numerous projects.

This photo was taken on 4oct2019, the night after the assault returned with a vengeance. it would be nothing when compared to what was to come. (photo Louis Kraft 2019)

An ongoing problem without end
As the cyclic attacks occurred twice a month after the shot and pills ran their course, my problem shot through the months. Although the pill prescriptions changed slightly whatever invaded my facial skin and turned my back into a bumpy mess of itchiness, it did not affect any other part of my body. When I looked like Mr. Hyde I avoided all contact with the public except my physicians.

I saw my go-to physician who has been doing everything possible from obtaining various blood tests, biopsies (I wanted a “Z” cut on my face so that I could say that I crossed swords with Zorro; my doctor simply smiled and shook his head no), and referred me to other doctors for second opinions and/or to do additional testing.

LK with Dejah Thoris, my doberman pincher, in 1978. She was fully grown in this image, and was the kindest animal I’ve ever known. My sweetheart died in 1992, and I’ve never owned another animal since. (photo Louis kraft 1978)

Over three weeks last fall an allergist stuck 260 needles in my arms twice to see what might be attacking me. … Milk products (duh; this has been ongoing for decades). … Dogs and cats (I haven’t had a dog since 1992, … my beloved Dejah Thoris, whom I named after the princess of Mars in Edgar Rice Burroughs’s series of books on John Carter of Mars). After the second session he told me, “I don’t know what is attacking you, and I can’t help you. Good luck.” … AND goodbye.

The problem raced into December. I kept my doctors smiling, as I had as many appointments as five or six per week. Ditto my pharmacy, where I think that I became their No. 1 client. That was my social life. … No big deal, for I had to complete all my work on Sand Creek and the Tragic End of a Lifeway no later that December 31, 2019, for it to see a spring publication.

I viewed this as do or die. It was that important to me.

At the end of December 2019 another physician took the lead. He discovered that I was bleeding internally, had a terribly low red blood count, and was anemic. To combat this he eliminated the shot and the drugs that controlled my mysterious skin disorder, which he wasn’t interested in, and replaced them with an expanding range of prescriptions—some of which affected my system but not totally in a positive way.

On subsequent visits with him he refused to look at my detailed printouts of my current health situation and would not listen to what I knew was now happening to me. This would cost me big time.

Dr. Kraft becomes Mr. Hyde & here we’re only talking about the transformation of the real me to the monster
The new drugs prescribed at the end of December 2019 were too potent and ongoing for way-too-long. Oh, they would slowly raise my red blood count. They also plugged me up; by the end of January 2020 I had a hernia. No matter what I said about the growing pain, the physician ignored it for I was now set for the first of two procedures that hopefully discover where the internal bleeding was located.

The drugs also did something else. … and somehow prevented the burning attacks upon my face from returning until the beginning of February. When they returned it was like nothing before, for the transformation was horrifying.

This is one of a series of photos that Pailin took on the evening of 3feb2020. It does not do justice to what I then looked like. Here you can see the bulging red puffs under my eyes, the frightening physical change to the structure of my face, and the arrival of wrinkles that are here to stay. I had become Stevenson’s Mr. Hyde. (photo © Pailin Subanna-Kraft & Louis Kraft 2020)

The disease had returned with a vengeance, turning my face into a burning infernal. Like the flames that have destroyed a good part of California the past three years, my skin  burned around the clock. When the skin began to peel, the burning continued, creating new layers of peeling skin below the top layers (trust me, this would be difficult to recreate with makeup).

When Pailin returned home at 9:30 on February 3 I was waiting for her with my cell phone in hand. She cringed when she saw my skin for it was much worse than when she had left for work. I got in her face and asked her to snap a few photos. My next appointment with the physician now in charge was set for the seventh and I wanted proof of what was happening.

I can’t begin to tell you what this does to one’s hope for the future, and especially so since it had been ongoing since June 2019. But now, … NOW I had proof to show the physician currently in charge of my health, even if what had happened disappeared before my appointment.

Sometimes my faith in the medical profession is pushed to the limit. … Changes are a comin’.

I need not have worried, for my new look was going nowhere. Kraft had become Hyde and needed another medical concoction to reverse what I now had become. My  subsequent medical appointment on the seventh was ludicrous. The first procedure, which this doctor had not ordered, proved negative and did not identify the location of my internal bleeding. Still his only interest was the second procedure (which he also did not order). … Not that I was stuffed up, had a blossoming inguinal hernia that now burned, and had my skin problem staring him the face. … “You don’t look so hot,” he finally managed to say. “I don’t feel so hot,” I sarcastically mimicked. He wouldn’t even refer a surgeon for the hernia. The appointment had ended, for there was nothing more to say.

I ran to the office of my doctor that I trusted and walked in unannounced. He saw me immediately, gave me a shot and an old prescription. But this was just a stop gap; I would see him on the thirteenth to discus my future.

Another of the photos that Pailin had taken on 3feb2020, but this one is better for it shows that I’m a benevolent monster. This said, I wasn’t much in the mood for socializing (the U.S. government had downplayed the coronavirus to the point that I didn’t know anyone who felt at risk at that time). (photo © Pailin Subanna-Kraft & Louis Kraft 2020)

Throughout all this I remained Mr. Hyde
I obtained a reference for the hernia surgery, didn’t bother to tell my physician, and met the surgeon. The surgery was set for March 13. Would I make it to that date?

The second procedure was scheduled for February 27, but the hernia pain now grew by the hour. I couldn’t sit for more than five minutes, and standing was almost as bad. I frantically searched for answers without success.

Then, quite by accident, I discovered that if I lay on my back with my legs stretched in front of me the pain went away.

By this time the burning pain reached the point wherein I could no longer sit on a chair. I had to work on my iMac standing—and then no longer than five minutes (but even then I was at risk of not getting back to bed, my only sanctuary).

LK’s special doctor and a bed
On the thirteenth I met with the physician who had stuck with me throughout my skin ordeal, and who I have nothing but praise for as he has listened to me as he fought to figure out what is going on. We had already discussed perhaps me moving to the UCLA Medical Center to continue the testing. On this day he talked about obscure diseases that were hit or miss at best. I had another shot  but there would be no pills. He moved me to a non-steroidal cream. As he said, “It was a shot in the dark.” I couldn’t lose.

I took this image of my new office on 29feb2020. The room also serves as a work space for my delivery to the Chávez History Library later this year, as does the living room and my real office. A huge project that the hernia has put on hold. Oh, that’s a cavalry saber on the wall; you don’t duel with cavalry sabers because it is impossible to do so. (photo © Louis Kraft 2020)

The bed became so important that as soon as there was a hint of trouble I used a cane to wobble to it, for no matter painful the hernia became once I was flat on my back the pain would slowly subside. … But until that time (15 minutes? 20 minutes?), I couldn’t touch the area or push the hernia back into my body.

About two weeks before the hernia surgery I stupidly sat at the iMac as the work was so detailed I couldn’t do it standing. Like an idiot I ignored the pain as I frantically tried to finish the task. … As soon as I stood the pain blew out of control and I struggled to inch my way to the bed. I made it to the room and moved past a wooden cabinet (to the left of the above photo). That was it. I could no longer place my right foot on the floor and the cane couldn’t support my awkward balance with all my weight on it. I couldn’t reach back and grab the cabinet and I still had two large steps to get to the bed. It was daytime. I was alone, although the cell phone was in my pocket. I couldn’t move back or forward, and this left me one choice—dive for the bed. I’ve always been a good athlete, but not worth much at the moment. There was one catch; I had to land on my back. “No guts, no glory.” I dove for the bed, flipping as soon as I was in the air. I landed on my back on the bed, but not all of me. My knees were at the edge of the bed and my calves hung to the floor. The pain increased tenfold. Using my hands I slowly pulled myself onto the bed. Over a half hour passed before the pain subsided.

I needed an “after” photo for this blog to show that I no longer look like the “Kraft-Hyde” that I hope never to see again. Today (5apr2020) we enjoyed ourselves in the front yard of Tujunga House while she shot a few images. (photo © Louis Kraft and Pailin Subanna-Kraft 2020)

I shared my heroic performance with my bro, Glen Williams, and he asked if Pailin had been home to film it. I told him that she hadn’t been home, and he said, “Too bad, for it could have gone viral on YouTube.” That was a first class idea. That night when she returned home I told what had happened and of Glen’s suggestion to film it for YouTube. “No,” she replied. “I think it’s a great idea and I want to reenact it tomorrow.” “No.” “I think that it would be a fun thing to do.” “NO!” … I’m not always the boss.

The second procedure found no internal bleeding. The pre-opt for the surgery showed that my red blood count was up to 13. Yes! The inguinal hernia surgery was successful, but was not robotic as anticipated. Scar tissue from a surgery in 2003 prevented this, and it became an old fashioned cut and slice performance. Unfortunately I wasn’t awake, for I would have requested a “Z” (I really don’t have a Zorro complex). Alas, I have pain, but then I won’t be fully recovered until mid-June (meaning no exercise, no yardwork, no heavy lifting, no bending … no bending? Give me a break!).

Best of all: to date the cream has worked wonders on my face. I’m certain that my physician will be as pleased as I am when I see him on April 6.

As the great New York Yankees catcher Yogi Berra used to say, “It ain’t over till it’s over.” My heart surgeon, a technician from Boston Scientific (the company that manufactured my pacemaker and the device that sits next to my desk and monitors my heart 24/7), were in the room where I awoke from the hernia surgery testing my pacemaker.*

* This is a story I’ll save for the future.

I’m in my prime

I would  be remiss if I didn’t end this blog with Val Kilmer’s great quote from Tombstone (1993) when he played Doc Holliday, a thin, consumptive, alcoholic who played a large role in the 1881 shootout at the OK Corral and the vendetta waged by Wyatt Earp afterwards.

A card of Val Kilmer as Doc Holliday that artist-actor Buck Taylor, who played Jack Johnson in Tombstone, sent me years back. (art © Buck Taylor)

Shortly after Wyatt Earp (Kurt Russell) and Doc have arrived in Tombstone and Wyatt has set himself up as a faro dealer, Curly Bill Brocius (Powers Boothe) and Ike Clanton (Stephen Lang) confront him at a gaming table, pushing for a confrontation.

Johnny Ringo (Michael Biehn) steps up to Doc, who is drunk, shortly after Earp has said that he’s retired: “And you must be Doc Holliday.”

 Doc Holliday (Val Kilmer): “That’s the rumor.”

Johnny Ringo: “You retired too?”

Doc Holliday: “Not me. I’m in my prime.”

And so am I.

Through all this Pailin has been my nurse, my private driver, and an angel.
What more could I want?

1st sixth of a Louis Kraft 60-film list

Website & blogs © Louis Kraft 2013-2020

Contact Kraft at writerkraft@gmail.com or comment at the end of the blogs


It is time to move from my Indian wars/race passion
to the world of film, my other passion, and
a blog that I announced in days
long past.

Alas, the long proposed 60-film list has been split
into six installments due to time limitations.

None of the choices made the first sixth of this 60-film list with only one screening.


A major fact

A film must grab and hold my interest from beginning to end. And just as
important I must care about at least one character
and preferably two or more.

This detail of a photo was taken in August 2018 when Pailin shot a series of photos for the University of Oklahoma Press marketing department. I’ve used it elsewhere on social media and like it better than some of the images I delivered to the press last summer. (photo © Louis Kraft and Pailin Subanna-Kraft 2018)

So you know: I study film all the time. Yes, it is for enjoyment, it is when I exercise (or bathe—you snicker and the next time we get together you’ll experience a real evil eye), and it is when I’m looking for something that shows me a way to make a smooth transition in my writing. … It is the perfect medium to see good and bad dialogue, good and bad transitions, and good and bad plots. … I learn as much from the bad as I do from the good. What follows is a living list, and it will grow and change as I move through life. What is here today may not be here tomorrow. This said, and because I’m wordy and time is short this list has been cut into six pieces. The second installment will appear as soon as possible.

LK film lists & opinions that mean nothing

I should tell you up front that I have little respect for most reviews I read. They are opinion, and often they include the reviewer’s bias. I get the Los Angeles Times (the Times was a great newspaper and perhaps will again be so under its new management). Most of my film viewing today is on DVDs or the internet. Currently the paper has two extraordinary film critics (Justin Chang and Kenneth Turan). Even so, I often disagree with them. No big deal, for I often disagree with my view of films. I’m just like everyone else. My view of movies is opinion—nothing more and nothing less. Read it with a grain of salt. Hopefully it may influence you to see some of the films on this list.

Lists change

Certainly my film lists are in constant flux. Sometimes a film or a performance doesn’t hold up over the passage of time. And this is certainly true as films from the Golden Age of Cinema (which will soon become a major focus of future books) have little representation in this list of 50.

I don’t own a TV, and “Frankly, my dear, I don’t give a damn,” to quote Clark Gable from Gone with the Wind. (David O. Selznick/MGM 1939). BTW, this film bores me to tears and yet I will be studying it with a fine-toothed comb in the very near future (see Olivia de Havilland celebrates her 100th birthday + an example of bunk if you don’t already know the reason).

From left: Hattie McDaniel, Olivia de Havilland, and Vivien Leigh in Gone with the Wind. All three would receive Oscar nominations. McDaniel and de Havilland for supporting actress, and Leigh for lead actress. Vivien and Hattie won, and Olivia was devastated, although years later she changed her view and was thrilled that Hattie was honored. LK personal collection.

One blazing inclusion will be Olivia de Havilland’s The Snake Pit (20th Century Fox, 1948 ) along with one other guaranteed film (and perhaps two) that didn’t make an LK top 12 Errol Flynn list a couple of years back. For years The Snake Pit has been on and then off this list of films. Two reasons stand out: it is a hard film to view for its subject matter takes no prisoners and it is not a feel good story. At the same time it gives us Ms. de Havilland’s best screen performance of all time (no other performance of hers comes close to capturing how magnificent her acting capabilities really were). The film was extraordinary for 1948. If Olivia was thirty-two (her age when the The Snake Pit was released) in 2019 and the film was made today one can only wonder what the final product would have looked like, what she would have exposed to the camera for public viewing, and how you and I would have reacted to her performance. My view, and let me tell you that I disagree with easily 90 percent of the Oscar awards for acting and screenwriting, she was robbed for her performance as Virginia Cunningham was before its time at the end of the 1940s and it still is today.

The last two films in this 60-film list

For films at the bottom fifth of the list there is another problem, and doubly so as they won’t be shared until after four additional film blogs have been posted first. Simply this means that two really good films will never be selected as numbers 59 or 60 are firmly in place, and they’re never going away.*

* Hints: Singing while riding a Harley Davidson motorcycle and the pirate Drake. I had linked two spoilers here but changed my mind. I do love being a tease.

Wonder Woman, other films, & Hollywood kissing itself on its rear end

Wonder Woman? What the (expletive)! Yeah, Wonder Woman. Digest this!

Pailin Subanna-Kraft inside the Egyptian Theatre in Hollywood, Calif., just before she saw Errol Flynn’s last A-film The Roots of Heaven (20th Century Fox, 1958) on 15may2014. And … AND … she sat between Errol Flynn fan Robert Florczak and myself at this screening. She told me that she was able to follow the story, which dealt with the preservation of elephants. (photo © Pailin Subanna-Kraft and Louis Kraft, 2014)

Let’s start with Pailin. … Her English grows with leaps and bounds, and this is on a daily basis. Still, when I show her films on the computer and when we see a movie in a theater I try keep the choices to basically western, action, and thriller (although this changed last year). Reason for these choices: Less dialogue, the action often moves the story to conclusion, and I like the above stated genres.

My gorgeous woman (Pailin) works way too-many hours while I’m chained to my computer working on getting the Sand Creek manuscript published and still punch out a blog now and again. Who knows, but perhaps some day I will return to a time currently gone but something that I dearly miss—writing magazine articles and giving talks. Pailin and I are two busy people, but we need a little R&R once in a while. A couple of years back I proposed seeing Wonder Woman to her, a film genre that I have great distaste for and avoid seeing. My proposal to my lady was based on film hype, no other decent films playing in LA, and the current trailer that I showed her, along with a decent review of the film (which, again didn’t mean much).

Pailin took this closeup image of a lighted (that is not a paper) poster of Gal Gadot as Wonder Woman, which was across the hall from the AMC 16 Burbank Theater screening room where we saw the film.

As is well known, Diana, “Wonder Woman,” was a DC Comics character. I’ve known that this film, directed by Patty Jenkins, was coming, and had for some time.

This book cover dust jacket art is by the late, and great, illustrator, Frank Frazetta (1912: Reprint; 1970 in a bookclub edition of the novel. I’ve liked Frazetta’s work since I discovered him while in junior high school and gobbled up Burroughs’ multitude of books that were then experiencing a mass-market paperback bonanza. … A film, John Carter (2012) was based somewhat on this novel (but unnecessarily updated). It had great production value, and an okay John Carter (Taylor Kitsch), but a lifeless and sexless Dejah Thoris (Lynn Collins), and I’m being kind to the lady here. The novel had a lot of sexuality and nudity; zero in the film, which still should have succeeded. Its advertising murdered it for it didn’t let a potential audience know the story’s roots and where the storyline was headed. Too bad. This film had been on an LK top 60 film list, but was banished over two years ago. Pailin has seen it in the Kraft theater and liked it. I like it too, just not Collins’ Dejah Thoris. Yuk! When you have a major player in a film and they don’t show up you have nothing. Will I ever change my mind about Collins’ dismal portrayal as Dejah Thoris?

I was pulling for Pailin to agree. … She did, and on June 3, 2017, I stole her away to see WW in a movie theater. Yeah, we went out on a date.

Wow! To steal from what I said elsewhere on social media: “All I want to say here is this is a good film. It had a plot, character development, decent characters performed by good actors, acceptable dialog, and you know what—I was on the edge of my seat during the entire film. I laughed, I smiled, I was thrilled, and I actually shed a few tears.” … Wonder Woman had been in the running to make this film list. Although it still is the only super-hero film that I’ve seen and liked it didn’t make the list. Perhaps as I’ve only seen it once,but most likely it’ll never make a Kraft film list.

Know that I am not a fan of pulp fiction, other than Edgar Rice Burroughs’ (of Tarzan fame; Tarzana, a town in Los Angeles in the San Fernando Valley, is named after his creation) eleven-book series on John Carter of Mars. The first book in the series hooked me for all time, A Princess of Mars, and her name was Dejah Thoris. A great series, although the last two or three books weren’t as good as the earlier ones.

I also want to mention an extraordinary film, War for the Planet of the Apes (20th Century Fox, 2017). It is science fiction but much more—much-much more.

Andy Serkis as Caesar in War for the Planet of the Apes. LK personal collection.

It is a story of survival and racism, and when we get to the 60 films you’ll see that people of different races play a major role in my choices. This was not pre-set, it just happened when I viewed, then viewed again and again as I studied the films that made this list. I’ve only seen War for the Planet of the Apes once and that was in a movie theater.

Andy Serkis’ work as Caesar, the leader of the apes in their revolt for freedom in War for the Planet of the Apes, was created using CGI. I’m not going to get technical but Serkis and the other ape actors performed while wearing special clothing and had devices attached to them allowing their actions be captured which in turn permitted the special effects team to use their reactions and emotions while turning them into apes. Serkis and the other actors’ work shines and his or one of the other performances should have been recognized during the god-awful four-five months of pure hell time in Los Angeles when money buys awards for films that are stuffed down our throats on a daily basis.

My view on Hollywood kissing itself on its ass for a third of the year every year isn’t printable

Steven Spielberg photo by Patrick T. Fallon for the Los Angeles Times (it appeared in the California section of the paper on 3mar19, pB8).

If those in power used the money that they waste in Los Angeles every year where it was needed there would be no homeless problem (I can give you 30,000 words on this subject). No, instead they buy awards (which is similar to buying elections). Oops! That just popped out.

Mr. Spielberg was upset that Roma won three Oscars (it was nominated for 10). As far as he was concerned it streamed on TV, and even though it had the required number of days playing in movie theaters he considered it little more than a TV film. I can’t comment on Alfonso Cuarón’s Roma as I haven’t seen it (I haven’t seen Green Book or any of the other films that were nominated for Best Picture with the lone exception being A Star is Born). BTW, Cuarón won three Oscars for Roma (directing, cinematography, and best foreign film) and previously won two others in 2014 (for directing and editing Gravity). I wonder if Mr. Spielberg is jealous. Jealous or not, my take on him is that perhaps he complains too much. Why not speak out about the millions upon millions of dollars that are wasted every year to win an Oscar (take a look at the amount of money spent, and that includes for Mr. Spielberg’s films over the decades). I guess it’s okay to buy awards, but don’t you dare stream a film while also forking out big bucks as you may have an advantage over the poor-poor-poor film companies that refused to move forward with how films are viewed today. As Jeff Daly (West Hollywood) wrote in a letter to the Times (published  on 10mar19): “As the Academy Awards attempts to stay relevant, he [LK: Spielberg] proposes to constrict, rather than expand, the scope of what constitutes an Oscar-worthy film.” I agree with Mr. Daly.

Andy Serkis deserved to be nominated for his performance. Yes, his performance was that good, and so were some of the other ape characters in the film. … Better, War for the Planet of the Apes was a story of survival, a story of caring and humanity. It was also a story of war, and it is tragic. My first impression: this is a great film. Will it make the list before the other four blogs are posted? I don’t know, but as stated above I need to see it more than once.

A lot of good films aren’t going to make this list.

Lady Gaga and A Star is Born

I don’t know Lady Gaga’s music; don’t think I ever heard her sing until I saw A Star is Born. My lone memory of the lady was at the 2016 Golden Globe awards, which I only saw clips of on the internet. She won an award and while making her way to the stage she bumped Leonardo DiCaprio’s back. He looked around to see who hit him, then turned back to his table with a huge grin on his face. I have no intention of interpreting what went through his mind at that moment, but I can guess and it was priceless.

The young Lady Gaga had posed for what might be considered risqué images but they were artistic and I think not offensive in any way. However, when compared to the painted person who created an ultra-persona that shot to mega-music stardom with her writing and singing is something that this ol’ cowboy missed. Everything: The massive hits, the multitudes of awards, and a celebrity that is extraordinary.

This image of Gaga is from a Los Angeles Times ad section that was devoted to film awards (28dec2018). Lady Gaga, just like my lady, knows how to pose for the camera.

I took Pailin to see Bradley Cooper’s directing debut while playing the jaded and on the downside rock-country star that Kris Kristofferson created in the 1976 Barbra Streisand film of the same name (which was the third reincarnation of the story of an up-and-coming talent who meets and teams with a major star spiraling, for lack of better words, toward the end of life).

I viewed the coming attraction for Cooper’s 2018 A Star is Born way too-many times. The combination of Cooper and Gaga—read the connection between them on film—grabbed me. Pailin was going to see that film if I had to hogtie her. Luckily the preview caught her interest and she readily accompanied me to a movie theater.

There’s only one question that needs to be asked here, has LK seen A Star is Born more than once?

Actually the last two years have been good for film …

I’m being sarcastic and yet I’m not. … A Star is Born was the only film I saw in movie theaters last year. To date, not one film released in 2019 has caught my interest. All I can say here is that if the film industry depended upon my cash It would have been out of business a long time ago.

Four other films that were released in 2017 and 2018 did grab and hold my attention although I didn’t see them during their theatrical runs: Hell or High Water, Wind River, Hostiles, and Juliet, Naked (which has zero nudity). I have Amazon Prime so I study film (and TV shows that have better casts, scripts, and production quality than many of the films released in recent times) that I don’t own. Oh, in case I didn’t mention it, I have not had pay TV since 2007 when I bought a Corvette (yep, the Vette was worth a hell of a lot more to me than being glued to the boob-tube), and that $130 or so monthly cost was wasted bucks that easily moved over to pay for a car that handled like none other I have ever owned.

What follows is totally opinionated and personal

First sixth of LK’s Top 60 films

Most of the films in the top 10 have remained at the top even though this blog has been years in the making (except for the last two as they have special conditions attached to them, and those “special conditions” make them mandatory). … Believe it or not I have been called a racist over the years, for the simple reason that three very important ladies in my life have been Asian. I don’t know what to say about people who say this about me. The following is not defensive, it is simply a fact of my life. When it comes to ladies I love them all. Every race has gorgeous and intelligent and caring women; every race. I am going to state a simple fact that is not self-justifying as all the attacks upon my so-called racism toward women has always come from Anglo-American women. I need to address this. They don’t know what they are talking about and they should keep their damned mouths shut. If they did any research they would know that I have been intimate with more white women than all the other races put together. More important, when a woman enters my life her race means nothing to me. All that matters is who she is.

When I finally complete the entire list of 60 films you’ll see that many actors (male and female) are in numerous films. They are listed not because of their race but because I cherish their performances in these films. Nothing more and nothing less.

  1. Thunderheart, directed by Michael Apted and w/Val Kilmer, Sam Shepard, Graham Greene, Sheila Tousey, Chief Ted Thin Elk, John Trudell, Julius Drum, Fred Ward,and Sarah Brave (1992)
    This film has moved around at the top of the LK’s favorite films since I saw it shortly after it was released.

    One of the DVD covers for the film.

    The reason is simple: Thunderheart has a great plot and screenplay (by John Fusco), deals with a fictional depiction of events that happened on a Lakota reservation in the 1970s, has many characters that grabbed my interest and made me care about them, and shows racism going in both directions. It is a thriller; it is also a tragedy. I can’t spoil the film by telling you what happens, but when it does you’ll cringe and perhaps tear up. I did. I’ve seen Thunderheart at least thirty times (not counting the three screenings for this blog), and each viewing was as alive as when I first saw it. I haven’t talked about the cast, but the leading and most of the supporting players are extraordinary. When I view the film time and again I think to myself that some of them weren’t/aren’t actors—they were/are real people playing roles based upon the tragic reality of their peoples’ lives in modern-time USA. This sentence gives you a hint of what you are going to experience in Thunderheart. It doesn’t matter if this film is number five or number one on my list, for I enjoy it every time I watch it.

    Kilmer is sitting with Chief Ted Thin Elk, who in real life was an elder in the Oglala Lakota tribe. In the film, Thin Elk is also a tribal elder who is at the center of the fictional Sioux reservation. When Kilmer first meets him he is disrespectful but over the course of the film he changes his opinion. LK personal collection.

    There are seven key relationships in this film, and all are of major importance: Kilmer/FBI agent Ray Lavoi (who hates that he is quarter Lakota); Shepard/FBI legend Frank Coutelle; Greene/Tribal police officer Walter Crow Horse; Tousey/Maggie Eagle Bear; Ted Thin Elk/Grandpa Sam Reaches; Trudell/Jimmy Looks Twice; and Brave/Grandma Maisy Blue Legs (Tousey’s name should be above the title, and I can make a case for Thin Elk and Trudell also being above the title). Kilmer must deal with all of them once he is assigned to investigate a murder on the rez (reservation); an assignment he abhors but is stuck with it because of his mixed-blood heritage.

    During Thunderheart there are many keys that unravel what really happened when a tribal member is murdered on the rez at the beginning of the film. For Kilmer’s part it is a journey that could have never happened if he didn’t follow the trail of clues without an open mind. Here he is presenting Tousey with a ticket from an event that he is certain will reveal who the murderer was. Tousey tells him that it is a piece of paper and that she won’t look into it even though she has access to who bought the tickets. LK personal collection.

    Shepard meets Kilmer at the airport and immediately sets Kilmer’s reception and status on the rez in place. “Turn your head to the right,” Shepard drily states. “In the right light you look like Sal Mineo. Did you ever see Arizona Prairie, did you ever see that one?” BTW, this film doesn’t exist and Shepard has delivered a major insult. Mineo was not an American Indian but played one at least twice (in Disney’s Tonka, 1958, and in John Ford’s Cheyenne Autumn, 1964). Still it was enough for Shepard to use him to ridicule Kilmer. It would be worse from the Indian side. Greene calls him out as a “wanna-be Indian,” Tousey dismisses him as the “FBI Indian,” and Drum/Richard Yellow Hawk fries him as the “Washington Redskin.” These relationships are critical to the plot moving forward at an increasing pace until suddenly you are confronted with wolves feasting. It is tragic and gut-wrenching moment, and I love it.

    Kilmer, who has slowly sided with Greene, has the proof he needs and brings the tribal police officer to meet the key to what is going on, but it isn’t as it was when he obtained the information. The modern-day cavalry is about to shoot them as their cars charge forward, which is similar to a dream Kilmer had of being at Wounded Knee when the Seventh U.S. Cavalry massacred the Sioux in December 1890 (Greene claims he had a vision). Their end has arrived, … or has it? LK personal collection.

    Shelia Tousey was, along with Chief Ted Thin Elk, John Trudell (who, in real life, was an activist for Indian rights), Sarah Brave, Julius Drum, and Graham Greene, perfect casting. She played a university-educated school teacher with children who had returned to the reservation to “help” her people, which also included being raped before the film begins. She is pretty, in control, but there wasn’t a forced relationship between her and Kilmer. Still, and although they were at odds and confrontational throughout most of the film, there is a connection. A connection. We’ve all been there, that is we’ve known people who might have been special but the relationship could never move to fruition for whatever reason.

    Best, Thunderheart grabbed me from the moment that Shepard began introducing Kilmer to the reservation. From there it goes in directions that change time and again. This is perhaps the most satisfying film I’m ever seen.

  2. Miami Vice, directed by Michael Mann and w/Colin Farrell, Gong Li, Jamie Foxx, John Ortiz, Naomie Harris, Luis Tosar, Elizabeth Rodriguez, John Hawkes, Barry Shabaka Henley, and Ciarán Hinds (2006)
    I liked the TV series Miami Vice with Don Johnson and Philip Michael Thomas (1984-89, with an unaired episode in January 1990), so when this film opened I was first in line to see it.

    This photo of Gong Li dates to Miami Vice. This is an LK image with her signature (not shown). LK personal collection.

    This thriller moves at lightning speed, has characters that jump off the screen, and it grabbed me from beginning to end. The TV series? Poof! Gone, never to be seen again. I have never been a fan of Farrell, but his performance was decent, tough, edgy, and by the end of the film, human. But the total surprise of the film was the Chinese actress Gong Li. For her English-language films Li learns her lines phonetically, which makes her performances even more amazing. Of her films on this list only one other is in English.

    A drug undercover operation goes bust; agents are killed, and Hawkes/Alonzo Stevens steps in front of big rig in front of Farrell/Sonny Crockett and Foxx/Ricardo Tubbs when he learns that his wife and daughter have been murdered. …

    John Ortiz as Jose Yero in one of his computer rooms watching Gong Li/Isabella dance with Colin Farrell/Sonny in a Cuban club in Havana, Florida. He isn’t pleased with what he sees and his discovery will lead to a big twist in the film. LK personal collection.

    We see Li for the first time when Florida undercover agents Farrell and Foxx pose as drug dealers who can deliver product in Florida, and maneuver to meet the linchpin who runs operation in the field, Ortiz/Jose Yero. Although Ortiz is not the kingpin of the cartel he is in complete control every time he is on camera. He is a master of the internet and the digital world and controls his domain from his computer rooms at his base or elsewhere when necessary (his performance was charismatic while being frightening). Farrell and Foxx appear to be unarmed when they enter a safe house in a very bad neighborhood way south of the border. It is obvious that they will be lucky to survive the encounter. They do, but it has nothing to have to do with luck. They are as focused, as deadly as Ortiz, and they one-up him. … They also get hired by him.

    Li is a silent image sitting in shadow, and the only memory of her is her crossed legs. This was my introduction to an actress who has since become my favorite of all time. Li’s performance was riveting, and I’m terribly understating this here. I could not take my eyes off her whenever she was on camera. This was not because she was beautiful, and she is, but because her natural and yet controlled performance captivated me in every scene.

    The film keeps me on edge while multiple characters are in jeopardy throughout. The dialogue is strong and moves the plot while developing all the characters. Yes, this film is a thriller and yet we are involved with almost every one of them, and it is relationship driven.

    Colin Farrell and Gong Li in the final scene in Miami Vice. They are outside a safe house and waiting for the boat that will remove her from the here and now. The relationship they had is over (but not dead), this is the present, and there is no future. … Been there and totally understand the moment. LK personal collection.

    Again this is a fast moving thriller, sexy beyond belief, but with a multitude of people I liked and cared about—good and evil, and trust me that John Ortiz is the devil incarnate while being so alive that he still resides in a dark area I never want to visit. … Li and Farrell struggle at the climax of the film when he must grab her and yank her to safety or watch her be killed. She is fury on two legs as she lashes out at him. He is stronger and pulls her from the carnage. By the time they reach a deserted building that butts up to a river she has calmed down. Inside the house he turns his back to her and she walks outside. She understands that the reality now controlling her life is inevitable and cannot change. So does he. Great acting. This is my favorite scene on film.

  3. Blood Diamond, directed by Edward Zwick and w/Leonardo DiCaprio, Djimon Hounsou, Jennifer Connelly, David Harewood, Arnold Vosloo, and Kagiso Kuypers (2006)
    This film is absolutely brilliant in oh-so-many ways.

    DVD cover for the widescreen edition of Blood Diamond.

    It deals with the illegal diamond trade in Sierra Leone, Africa, during the 1990s, racism, and the brutal murder of innocent people during a civil war wherein young boys were abducted and forced to become soldiers and trained to kill. It gives DiCaprio/Danny Archer (a white South African) his best part to date as a smuggler who doesn’t care about anyone or anything but himself; Hounsou/Solomon Vandy (a Black Mende fisherman who loves his family and will do anything to protect them); and Connelly/Maddy Bowen (an American reporter who craves a sensational story that would turn the diamond smuggling world on end).

    Without giving too much away, DiCaprio and Hounsou are incarcerated at the beginning of the film.

    As Hounsou and Kuypers race toward their family the worst possible happens. LK personal collection.

    This began after a good day at school for Kuypers/Dia Vandy (who is Hounsou’s son). He is excited at what he just learned as they walk back to their village. Suddenly rebels in trucks appear in the distance and it is obvious what their destination is. Hounsou forces Kuypers to flee (to no avail) as he attempts to save the rest of his family.

    The DiCaprio/Hounsou relationship doesn’t begin well. Worse, war erupts in the city and both run for their lives. LK personal collection.

    DiCaprio works for Vosloo/Colonel Coetzee (a big-time diamond smuggler). Unfortunately his latest gig to smuggle diamonds out of Sierra Leone ends badly. Hounsou’s life also sucks for after his village had been destroyed he became a forced worker for an illicit-diamond mining operation that is overseen by Harewood/Captain Poison. When the mining operation is raided Hounsou ends up in the same jail as DiCaprio. Harewood—now minus an eye—soon joins them. All three are separated in large cages of prisoners but can see each other. When Harewood exposes Hounsou for burying a huge diamond DiCaprio is all ears. DiCaprio is released first. When Djimon is set free DiCaprio is ready to strike for this diamond is his ticket out of Africa.

    But all isn’t as it should be, and this is the spine of the film. By now most of us are aware of how bad race relations have been in the Land of the Free over the centuries. No matter what my or your opinion is of the USA, it has been much worse on the continent of Africa. Some of what goes on during this small time-grab of history not long in the past is both horrifying and hard to watch.

    Hounsou is released from jail but DiCaprio’s forcing a partnership is ill-timed. They are at odds with no common ground. Worse the war has come to them and they must flee or be massacred.

    DiCaprio and Connelly in a private moment as he presents her with the information that will shoot her to the front of the newspaper-reporting world. LK personable collection.

    Enter Connelly, who oozes sex appeal (but not because she wears slinky clothes as she doesn’t). All business she connects with DiCaprio at an outside bar, but her lone goal is to expose the worldwide diamond trade, which in turn will give her credibility and celebrity. He realizes who she is, and says, “You’re a journalist.” “That’s right.” “Piss off, huh?” he replies. They see each other later at the same bar and while they dance she pushes him, finally saying, “Help me out off the record.” “Well, off the record I like to get kissed before I get fucked, huh,” he replies before walking away. A truer statement was never said. These two people never kiss, DeCaprio is harsh on Hounsou throughout the film, but by the end of it all three of them are human beings worth knowing in a shocking world that I have heard about, read about, but have never experienced. This film has been in my top five for years.

  4. Nobody’s Fool, directed by Robert Benton and w/Paul Newman, Pruitt Taylor Vince, Jessica Tandy, Dylan Walsh, Alexander Goodwin, Melanie Griffith, Bruce Willis, and Philip Seymour Hoffman (1994)
    Over time more than one person has declared that Paul Newman always played himself. This wasn’t negative, for these people made it clear that Newman was very good at playing himself. … I know this for a fact. In Nobody’s Fool, Newman/Sully struggles with surviving winter with his son’s family (and he’s not welcome), a lady who is his for the asking (Griffith/Toby Roebuck) who works for his sometime employer (Willis/Carl Roebuck), and a fragile woman who rents him a room (Tandy/Miss Beryl). This picture, probably more than most of the other films on this list, is character driven and the results are extraordinary. I can’t say enough about Newman’s sardonic and yet heartfelt performance of a man who meanders through his world of woe (he had been nominated for an Oscar and he should have won, at least in my view). The ups and downs of not only Newman, but of all the people in his life and this includes grandson Goodwin/Will Sullivan. All of them are a delight to behold regardless of their level of misery. Still I don’t want my life to be like Newman’s cinematic life, and yet I do as it is vibrant, in trouble, taking wrong-turns, caring, disappointed, and in love. No matter how bad it gets (and Newman even gets shot at and arrested for driving his pickup on the sidewalk) it is totally up-lifting. Maybe I should show you why.

    Philip Seymour Hoffman played Officer Raymer. He didn’t like Newman’s Sully and sped his patrol car to a parallel halt in front of Newman as he drove his beat-up pickup on the sidewalk in a residential neighborhood. He’s out of his car in a flash and with his revolver supported by his auto’s roof ordered Newman to stop and get out of the car. When Newman inched toward him, he fired away. The bullets missed Vince/Rub and Newman but shattered the windshield. Newman stopped the truck and walked toward Hoffman, who approached him. You can see what happened, and can guess what followed. LK personal collection.

    Maybe I shouldn’t.

    I’ve had my run-ins with John Law and they should be documented. Forget the streets for the worst was with LA County Sheriff’s Department Officer Libel. She pronounced her name differently than spelled and didn’t like it when I addressed her as Officer Libel (as spelled). This was in the mid-1980s when I quit acting cold turkey. My sister was then an officer in the Sheriff’s Department and she supported me joining her on the force. Officer Libel took offense at me applying for the position and told me, “I’m going to get you.” “Why?” “We don’t want any actors on the force,” and she did get me. When I told my sister that I was going to go after her in print, she said: “Don’t do it.” “Why?” “Don’t do it.” “Why?” “They’ll get you.” “Why?” “Don’t do it,” was all she’d say. I eventually understood her meaning and walked away from a heinous lie. … And I haven’t even mentioned encounters on the streets. All I’ll say here is that I’m not the goodie-two-shoes you think I am.

    Ditto Paul Newman’s Sully. At the same time he’s a giving and caring person (I hope that you’re making the connection here).

    Nobody’s Fool takes place in December. It is cold and dark at times. Here Newman is talking with his hired hand and best friend Pruitt Taylor Vince (as Rub Squeers). The best part of their relationship is that Vince has no fear of voicing what he is unsure or unhappy about. When Newman’s grown up son (Dylan Walsh as Peter Sullivan) enters the picture with his own family problems and Newman turns his back on the past and welcomes his reunion with his son Vince fears for his relationship, and this includes a major piece of jealousy. LK personal collection.

    Every movie—every movie—should be like this! Like Thunderheart, every time I see this film it is a new experience, and affects me in a different way. … It is a piece of life that all of us experience but in different and yet personal ways. I need to say something about Paul Newman here, and it’s a black mark on LK for I’ve mostly ignored his films over the years. Don’t ask why for I don’t know the answer while at the same time seeing some damned-good performances by him.

    I’ve made a point of ignoring the plot for the reason that it is all over the place, and I could never do it justice without giving everything away. I don’t want to do this as this is a film that must be experienced without knowledge of what is coming.

  5. Red Corner, directed by Jon Avnet and w/Richard Gere, Bai Ling, Tsai Chin (Chairman Xu), Jessey Meng, Tzi Ma, and James Hong (1997)
    This film is a nightmare lurking quietly in the dark for any of us who visit foreign countries if you or I make a mistake.


    At the beginning of this century my daughter and I were riding in a Paris subway. The
    car was empty except for two young women who sat across from us near the rear
    exit (two men stayed by the exit and although we couldn’t see them they carried on
    a conversation with the women in French. I had some words, enough to know that
    they were talking about us. “At the next stop,” I quietly said to my daughter, “we’ll wait
    until it’s almost time for the subway to depart. When I tell you, we’re going to rush
    to the front exit and get off.” “Why?” “Just do it.” During the stop the women watched            us and smiled as they chatted with the still unseen men. “Now,” I whispered and we
    dashed to the exit and got off just before the door shut. As the subway pulled away all
    four were
    glaring at us through the windows. …

    This was nothing compared to what Richard Gere is about to experience.

    Businessman Gere/Jack Moore is about to close a major deal with his Chinese partners. Everyone is enjoying themselves in a hotel banquet room, drinking, and watching a fashion show on a ramp. One of the models pointedly makes eye contact with him. He catches her look, and as she is pretty he maintains the contact. After the show has ended Gere notices her glancing at him and drawing something. He excuses himself and crosses to her table and looks at her creation. He points to his nose. “Is that me? My nose?” They’re able to communicate with a few words and gestures.

    Richard Gere and Jesse Meng easily connect, but it won’t go as either of them expect. LK personal collection.

    The conversation flows easily, too easily, and before the evening ends Meng/Hong Ling is in Gere’s hotel room. The night is magical as they enjoy each other’s company.

    Morning arrives early—too early—and Chinese police break the hotel door open and charge into the room. Gere is yanked awake. He’s groggy, unaware what has happened or is about to happen. He quickly learns that horrid screams were reported in the night. Gere appears so drunk that it would have been impossible for him to indulge in sex, much less rape and brutally murder Meng. Still, the room is one-huge murder scene. There is blood and gore everywhere, not to mention Meng’s corpse. Three large and empty bottles of alcohol are just part of the evidence (but none of the police ever question how two people could have drank that much without passing out hours before the crime allegedly happened).

    The case is open and shut and there is no doubt what the final verdict will be. Ling/Shen Yuelin is assigned to defend the evil Jack Moore. This is the last thing in the world she wants. Ditto Gere when he realizes that his defender considers him guilty. We are now at the point where the story begins.

    This is a dramatic scene from the film captured in a German lobby card, and the title translates to Red Corner: Labyrinth Without a Way Out. Gere’s character has been accused of murder in China. Bai Ling (center) is his lawyer, and her performance is right there with Gere as the story progresses to conclusion. Unfortunately I have never seen her in anything else although she has been in a number of other movies that might be considered “B” films. Perhaps it is because she had posed nude elsewhere; if yes, she shouldn’t be punished for this. LK personal collection.

    With Gere’s arrest and being assigned to Ling the plot of Red Corner moves into the world of racism and shows the consequences of might happen when a person is imprisoned in a foreign country, … and it is brutal.

                         Hey, folks, take a look at the USA: How many
                    foreign-born children are going to die in modern-day
                 concentration camps while separated from their parents,
                    or simply disappear never to be reunited with their
                                parents before they are deported?

    The film is a courtroom drama and a thriller and both genres mix easily.

    A free man, Gere is about to board a flight that will return him to the USA. Unfortunately I don’t know the translation of the words. For the record the film never screened in China. LK personal collection.

    Unforeseen circumstances lead to Gere’s eventual freedom. This is not to say that Ling’s Shen Yuelin didn’t do everything she could to win in court but her country controlled what she could and could not do.

    The scene in the poster is at the end of Red Corner. Like other films in this list the leading characters have come to respect each other, have the beginnings of feelings for each other, but there is no where to go as their lives have different life trajectories.

    Perhaps Richard Gere is ignored in the USA and damned in China for something that if you aren’t aware of it you should be: His stance on Tibet and other injustices in our world. KUDOS to him for he dares to speak up about heinous reality. This has not pleased China, and after this film was released he became a persona non grata in both Tibet and China. By the way, the film was shot in the USA.

  6. Quigley Down Under, directed by Simon Wincer and w/Tom Selleck, Laura San Giacomo, Alan Rickman, Steve Dodd (1990)
    This is a western down-under in Australia. Don’t let this fool you for it deals with racism, the butchery of indigent people, and in my opinion contains the best gunfight in all of western film history.

    This image of Tom Selleck was taken as he got off the ship that transported him from the USA to Australia. He is good with guns, especially the rifle, and he answered an ad for a gun for hire. This image is almost iconic, and I love what the production company did to move from color to almost grayscale in the photo. LK personal collection.

    Selleck/Matthew Quigley was/is just one of numerous actors that starred on TV and then moved successfully to film (Steve McQueen, Clint Eastwood, James Garner, and George Clooney were/are four biggies that made this jump).

    Although Laura San Giacomo’s Crazy Cora (left) is tough, a fighter, and a survivor, she is totally in tune with the harsh world that she has been dumped into and reacts to it. Here she is looking at a dead Aboriginal woman that she had connected with. LK personal collection.

    What can I say? Quigley Down Under is little more than an American Indian wars story moved to the Australian Outback. Yeah, right. I need to say a few more words, mainly that this is a storyline that shines beyond belief.

    The wild and unpredictable prostitute San Giacomo/(aptly named) Crazy Cora and the stoic gunman Selleck are a mismatch from the get-go. Their relationship is hilarious and sad at the same time. Their joining is one that can never work, and we know that in the first reel when Selleck protects her from an escort that are little more than thugs with rape on their minds, and whose function is to deliver her and others to their final destination that are days in the future.

    Alan Rickman is perfect as Elliott Marston, a wannabe gunman and all that it entails. LK personal collection.

    Journey’s end is the massive ranch that Rickman/Marston lords over. He is also envious and knowledgeable of the gunfighters of the American West, and especially Wild Bill Hickok whom he desperately wants to become the Australian counterpart and this to the point that he envisions himself walking the streets of Dodge City, Kansas, during its heyday. Worse, he yearns to kill a worthy pistoleer in a gunfight. Selleck had no idea what he hired on to do when he reached Rickman’s ranch. He quickly learns when he dines with his racist employer who traffics in people. Aborigines and women, and the former are the reason for his employment.

    In this scene from the film Laura San Giacomo holds an Aborigine boy who she rescued from a massacre and has since protected with her life. It is one of many in which we get an inside look at her character as well as Tom Selleck’s. LK personal collection.

    Dodd/Kunkurra is Rickman’s token Aborigine man servant and is dressed appropriately for his position. Unfortunately I don’t have any photos of Steve Dodd from the film, and it looks like his acting career and active support of Australian Aborigines was long. He is throughout the film and we get to know him for who he really is despite him performing his duties without a misstep. Actually, we soon see that the entire film focuses on the plight of the Aboriginal people who inhabit the wide open spaces of the never-ending Outback of Australia. Do not doubt that you will see that their lifeway, although on the other side of the world, is similar to the American Indians in that they are looked down upon as less than human and the invading white man would like nothing better than eliminate them. Although there are many Aborigine actors in the film, except for Dodd, their parts are small. At the same time they and what they represent is forever present.

    This is a publicity photo of Laura San Giocomo and Tom Selleck near the end of the film. It is one of several taken at this time and is my favorite. LK personal collection.

    Even though two people struggling to survive in the middle of a desert without anything but themselves, don’t let this fool you. The intended elimination and butchery of the Aborigines is the focus of the film. It is vivid, heart-rending (the only thing missing is the sexual mutilation of dead victims) and it effects me each viewing as much as it does San Giacomo and Selleck.Selleck quickly realizes he made a mistake sailing to Australia, and this quickly puts him and San Giacomo on the run—two outcasts who don’t get along with no chance of survival. This mismatched farce that joins them at the hip gives both of them plenty of room to explore who they are and what they want. Their relationship is always alive and easily worth 20 viewings of the film.

    Although presented upfront the murder of the Aborigines is basically ignored by the British who rule the land as they look down at the Australians and the wild people of the Outback. Racism drips from the screen. Although hinted at but not anticipated a one-on-one gunfight looms—a la Wild Bill Hickok. It is a comin’, and when it happens it does not disappoint. The film stands up fine without a final gunfight, but when Selleck and Rickman face each other it is a classic duel, and my favorite of all time.

  7. Last of the Mohicans, directed by Michael Mann and w/Daniel Day-Lewis, Madeleine Stowe, Wes Studi, Russell Means, Steven Waddington, Eric Schweig, Jodhi May, and Maurice Roeves (1992)
    The first time I saw this film was when my daughter needed to view it for a school assignment and we rented it on video. I was bored to tears and fell asleep.

    Daniel Day-Lewis and Madeleine Stowe are the best film duo in what I consider a western film (and that includes Errol Flynn and Olivia de Havilland in They Died with Their Boots On, Warner Bros., 1941). I know, I know—heresy! … But this isn’t so as production values and film have changed over those 51 years. If Flynn and de Havilland played George and Livvie Custer in 1992 it might have been a different LK comment here. We’re talking about place and time. LK personal collection.

    A great start (and I’m being sarcastic at myself). … Believe it or not I’ve seen the film many times since then, so I guess that first impressions are not always accurate.

    Wes Studi plays Magua, a Huron chief who has aligned with the French during the French and Indian war with the English (between 1754 and 1763). LK personal collection.

    All I can say is that the scope of this film, the script (adaptions from James Fenimore Cooper’s novel and Philip Dunne’s 1936 screenplay by John L. Balderston, Paul Perez, and Daniel Moore), the dialogue, the grasp of race (and that includes between the British and the colonists) during the French and Indian war, and acting all gel in such a fusion of reality and fiction that every time I see the film it is an experience.

    I need to introduce you to Wes Studi; he’s a great American actor who happens to be a full-blooded Cherokee from Nofire Hollow, Oklahoma. What’s best about the roles he’s played is that he easily moves between being an antagonist and a protagonist. In Last of the Mohicans his Huron Chief Magua is the former as he chose to team with the French. On screen he is focused, intense, totally in control of the moment, dangerous beyond belief, and his character is someone none of us ever want to face when our lives are on the line. This is a terrific portrayal by him and one of numerous performances wherein he brings American Indians to life on screen.

    These are real people in real situations, and I don’t care if it is Day-Lewis/Hawkeye, the scout who walks between the races with the father who adopted him; Means/Mohican Chief Chingachgook; the white princess Stowe/Cora Munro who has been sheltered from the world by her father Roeves/Colonel Edward Munro of the British army; her younger sister May/Alice, who falls in love with Chingachgook’s son Schweig/Uncas; and finally the British officer Waddington/Major Duncan Heyward who stood firmly for God and country but becomes heinous when Cora refuses to accept his proposal of marriage. It sounds complicated; it isn’t.

    Left: Major Duncan Hayward (Steven Waddington) has offered his life for Hawkeye and his lady’s lives. They run but stop and look back. He is burning at the stake. This cannot be and Hawkeye (Daniel Day-Lewis) ends his life while Cora Munro (Madeleine Stowe) watches. This is not the climax of the film. LK personal collection.

    In this film we walk between race and equality time and again. It is alive, explosive, and, even though I have read James Fenimore Cooper’s great novel several times and know the ending I am on the edge of my seat until this film ends, and the final reel explodes in tragedy.

    Chingachgook (Means) and Hawkeye (Day-Lewis) look into the distance. They have survived, as has Cora (Stowe), but the chief is now the last Mohican. LK personal collection.

    Before walking away from Mr. Means (10nov1939-22oct2012), who was an Oglala Lakota (Sioux), I need to tell you that he played a large role in the creation of the American Indian Movement (AIM), the takeover of the town of Wounded Knee, South Dakota (1973), with Dennis Banks and many others, a standoff with the U.S. government that lasted 71 days (27feb1973–8may1973). Many have cursed Means and those with him during those days that seem a lifetime ago. No! He and AIM were fighting for American Indian rights. This must be praised and not censored.

    Daniel Day-Lewis (left), Michael Mann (director), Madeline Stowe, and Russell Means at a premier of Last of the Mohicans in 1993 (but I don’t know where). LK personal collection.

    Day-Lewis and Stowe are one of the best film duos in the last 40 years. This said, Errol Flynn and Olivia de Havilland, who played George and Libbie Custer in They Died with Their Boots On (Warner Bros., 1941), are my top film duo for all time, and will forever remain so.

  8. The Birds, directed by Alfred Hitchcock and w/Rod Taylor, Tippi Hedren, Jessica Tandy, Suzanne Pleshette (as Annie Hayworth), and Veronica Cartwright (1963)
    Even though all the advertising pushed Hedren, Alfred Hitchcock’s current “discovery,” this is Rod Taylor’s film.

    Rod Taylor/Mitch Brenner begins a relationship with Tippi Hedren/Melanie Daniels in Bodega Bay shortly after they met in a bird shop in San Francisco, when he enjoyed himself at her expense. It was not a good introduction but—there’s also a “but” when a relationship begins. What I really like about this film is its closeness to the Golden Age of Cinema and the inception of what film would become by the end of the 1960s/beginning of the 1970s. LK personal collection.

    A production shot during filming with the cast listening to Hitchcock. LK personal collection.

    Mr. Taylor’s charms, as almost always, light up the screen from the moment he appears. More, the story is seen through his eyes, and he dominates this decent reinvention of Daphne du Maurier’s short horror story of birds attacking people on a farm in England. His charm, like fellow Australian Errol Flynn’s, is always present in his films after he became a leading man. Although The Time Machine (1960) would turn him into a star, it was The Birds that would be his film for all time.

    Regardless of Tipi Hedren, who was perhaps forced to do things she did not want, being publicized as the lead of the film—she wasn’t. I have heard hints of what most–likely happened between her and director Alfred Hitchcock but have never been privy to this and don’t know the details. Of course I can guess. I met Ms. Hedren once at the end of the 1970s when tigers her from Shambala Preserve, an animal sanctuary created in the early 1970s in Acton, California, were used in a Tom Skerritt TV film, Maneaters [as spelled] are Loose (Mona Productions, 1978), wherein they terrorized a rural community. I had met Tom when I was assigned to work with him on a script he was developing at Theatre West (Studio City, Calif.) in 1969. Before the play went into production he was cast as one of the three leading doctors in MASH (20th Century Fox, 1970), a black comedy about the Vietnam war, and never looked back.

    Rod Taylor and Tippi Hedren in one of their many scenes after the birds begin to attack people. Although featured and pretty to look at starlet Hedren had no chance of upending Taylor’s charm and presence in every frame in which he appeared in The Birds. From beginning until the end his persona and performance drove the film to conclusion. Taylor delivered an easy and yet well-defined performance that was key for one of Hitchcock’s best films to succeed. LK personal collection.

    The film begins simply when lawyer Taylor is in a bird shop in San Francisco to buy a bird for Cartwright/Cathy Brenner, his young sister’s birthday, who lives in the small Northern California community of Bodega Bay with their mother Tandy/Lydia Brenner. Hedren is present and they clash over the identity of lovebirds. Taylor enjoys the confrontation; her less so. On a whim she buys the lovebirds to deliver to his sister in Bodega Bay, a little more than an hour’s drive north of San Francisco on the California coast (for the record a good part of the film was shot on location). This is just the beginning of a film that is filled with charm, caring, and even love before it slowly dives into a horror that could someday happen—a relationship–centric reality that begins on a light note and slowly gets darker and darker and darker …

    The next two films are musts for this list but they shouldn’t be in the number 9 and 10 spots. They are here for one simple reason, and that is
    they have played a major role in my life. To be exact they
    have impacted over 20 years of my life.

  9. Last of the Dogmen, directed by Tab Murphy and w/Tom Berenger, Barbara Hershey, Steve Reevis (1995)
    The story centers on the Cheyenne people (seen or not), and although they are mostly shadows for easily three-fifths of the film they are the focus throughout. This film has been a major part of my life since before 2013 when I finally signed a contract to research and write a book about the Sand Creek massacre. No joke, and I’m as surprised as you, for somewhere around 2010 or 2011 if you asked me if I would write a book about the massacre and mutilation of people who thought they were under the protection of the U.S. government I would have laughed in your face.

    These photos are totally out of order here. Who gives a damn? I don’t. What you see here is Tom Berenger’s fantasy that could never be true; Barbara Hershey’s most magnificent dream becoming reality; and a world of Cheyenne people surviving from 1864 and long into the future undiscovered (Lordy, lordy, … this is a time and place that LK would gladly step into even if he could never return to reality). LK personal collection.

    Do not doubt that I have known this film since the beginning for I saw it twice when it premiered in Los Angeles in 1995. Barbara Hershey was already one of my favorite actresses and in my opinion she and Tom Berenger had the perfect chemistry to make this story work. Better, 18 years later the film influenced my decision to buy into a project with such a huge scope that I knew that it would be years before it saw print. Sand Creek and the Tragic End of a Lifeway will be published in spring 2020. Hershey and Berenger’s performances are delightful and I never saw a false moment in their relationship. At the same time I’ve cursed them for all the years they’ve stolen from my life. If not for them, and the magnificent former editor-in-chief at the University of Oklahoma Press, Chuck Rankin, the Sand Creek manuscript would have never happened. Let’s start with Cheyenne Dog Men surviving the massacre of Sand Creek on November 29, 1864, and living undiscovered into the modern world is a great premise (although totally illogic). For the record there were only a small number Dog Men (white man term for the warrior society: Dog Soldiers) at Sand Creek.

    Tom Berenger and Barbara Hershey are prisoners of Cheyennes lost in time in Last of the Dogmen. LK personal collection.

    The butchery was beyond description and included hacking sexual organs off the dead and using them as ornaments and headbands (this is a fact). Berenger can be evil and he can be charming (I could list a number of his films that didn’t make this list, but could have), … Hershey is one of the best ignored actresses of my time (perhaps because many of her films were B productions, perhaps because she never had a breakout success, perhaps because she did a lot of TV work). I don’t know. This is a lady that I have never met, have no clue to who she really is, and this is disappointing.

    Barbara Hershey in Last of the Dogmen. LK personal collection.

    Years back I fantasized that she was a guest on a major nighttime talk show and I was an add-on due a book being published and she tore into me for my view on history. I challenged her to present proof to backup what she claimed. She challenged me to do the same. The host enjoyed the fireworks and invited us both back to continue our personal war. By the second evening Ms. Hershey had read some of my books and backed away from her less than savory view of me. Alas, nothing could happen for by then our history was already fact and couldn’t be rewritten. … I like my history but at times wonder what could have happened if I had turned right instead of left on that long lonely road we all travel.

    Berenger is a modern-day bounty hunter and has ridden into a mostly unexplored Montana mountain range called the “Outback” with his dog, Zip (who is a scene stealer), to track down three escaped convicts. All he finds are a few pieces of what once were men and an Indian arrow. One night he sees Indians from the mid-nineteenth century riding in and out of the mist. Or did he? After returning to civilization and needing to know the answer he looks for a university professor and Cheyenne Indian expert on a massive excavation site but can’t find him (that is Professor L. D. Sloan). He is pointed one way and then another and always misses his target. Finally he comes upon two college students who are on both sides of a woman. In frustration he blurts out: “Do any of you know where the old fart L. D. Sloan is?” The two students slowly point at the woman (Hershey), who says: “‘L. D.,’ for ‘Lillian Diane.'” Oops!

    One of many photos of Tom Berenger and his horse in the film. He is glaring at Barbara Hershey when she announces that she is joining him in his search for Cheyennes from 1864 living into the present. LK personal collection.

    She isn’t impressed with his suggestion that Indians from the past could have survived into the future undetected. Refusing to leave he shows her the arrow. Hershey confirms that it is a Cheyenne Dog Man arrow. “Well?” he pushes, trying to get her to confirm that Cheyennes from times past are living in the Outback. “$12.95 in any gift shop,” she says, dismissing him.

    Later, and after Berenger has done research in old newspapers (something that LK does often), Hershey agrees to accompany him into the Outback. He thinks one of her male students is going to join him, and is upset when he realizes that she is going with him. After he complains that the trip is no place for a woman, she checks her saddle and mounts. “Let’s get a move on,” she tells him. “As they say, we’re burnin’ daylight.”

    Other than totally enjoying this film while knowing that it could never have happened, there is one scene in it that grabbed me the first time I saw it and it has never let go. It happened one night in the Outback while Hershey and Berenger relaxed in camp after a long day with zero results hunting for the Cheyenne Dogmen.

    Put another way, her handful of words are the reason why I decided to sign the contract for the Sand Creek manuscript …. “What happened was inevitable,” Hershey tells him. “The way it happened was unconscionable.”

  10. Geronimo: An American Legend, directed by Walter Hill and w/Wes Studi, Jason Patric, Gene Hackman, Kevin Tighe, Matt Damon, Robert Duvall, Steve Reevis (Chato), Stephen McHattie, Rino Thunder, Rodney A. Grant, Lee du Broux, and Pato Hoffman (1993)
    When this film opened in Los Angeles I saw twice in movie theaters. I liked the scope and grandeur, but not the focus which I thought was all over the place. It should have concentrated on Studi/Geronimo but wandered.
    Although this blog isn’t about music I must mention Ry Cooder’s magnificent film score, which was a mix of period music and his original compositions. I have a lot of film scores that I play often, and Mr. Cooder’s soundtrack is my favorite for all time.
    … At the time I saw the film it was touted as factual. I knew nothing about the war leader/mystic Geronimo (although I did like how the mysticism was worked into the story) or the Chiricahua Apaches. I also knew nothing about the whites who had large roles.

    This image is from the beginning of the film when Geronimo and Gatewood hold off a Tucson posse after he returned to the U.S. in February 1884. There are a number of problems with this scene and they are major. 1) When Geronimo returned he was accompanied by 15-16 warriors, some 70 women and children, and a herd of 135 cattle stolen in Mexico. 2) Gatewood wasn’t present although Davis was but he wasn’t a raw recruit right of West Point. 3. There wasn’t a posse (only two government officials, whom Davis and Lt. J. Y.F. Blake got drunk while Geronimo moved northward with his people and stolen cattle). Actually the error list for Geronimo’s return to American soil is extensive. … The above scene shows Studi and Patric scattering the “Tucson” posse and it has decent dialogue and is fun to watch but is little more than pure fiction. LK personal collection.

    This is “The Dreamer” (or medicine man?) at Cibicue (think Hoffman but the credits are confusing). It is a small part but it has always stayed with me as he is sympathetic (perhaps read symbolic) while the U.S. officer in charge is brutal and non-listening and pushing the event to violence, which included three Apache scouts turning on the soldiers they served with and which resulted in them hung as traitors. It is the perfect scene to move the story forward. … Or is it? The Cibicue Apaches were/are one of five bands of Western Apaches, of whom the White Mountains were/are the largest and most aggressive (the other three were/are the San Carlos, Northern Tonto and Southern Tonto). More important. Actually MORE IMPORTANT is that that White Mountains and Chiricahuas did not get along to the point that the former often served as Apache scouts for the U.S. in the wars against the hated Chiricahuas. … The incident at Cibicue happened in 1881—three years before Geronimo returned to American soil in 1884 (see above)—and there were no Chiricahuas present and certainly not Geronimo but this tragic incident has Studi present and it shows just how good Geronimo was at surviving while at war. This is good for it gives us a close-up look at Geronimo, but again the Western Apaches were enemies of the Chiricahuas. But—that is BUT—the film continues with its fiction for the next major sequence in it gives us Geronimo’s final breakout from the reservation (1885 from Turkey Creek, which was some 30-35 miles east southeast of Fort Apache, which was located on the White Mountain Indian Reservation. Lordy-lordy, how many missed opportunities could this film present to a movie-going public that was/is clueless? LK personal collection.

    The film begins when Geronimo returns to the  U.S. from Mexico. Patric’s Gatewood and Damon’s Davis (a raw recruit just out of West Point) travel to the Mexican border to meet him and escort him to the reservation.

    Things are about to get complicated in the string of events and their dating that the film covers right through Geronimo’s final surrender. This said, they are dramatic, exciting, and present culture while supposedly documenting the final years of Geronimo and the Chiricahua Apaches freedom. A few examples will show just how mixed up the script was—and again touted as historically correct—while mixing a string of events that weren’t related and at the same time shoving a number of scenes into the film that are right out of paperback western novels sold in grocery stores that romanticize or demonize the taming of the American West.

    The killing at Cibicue, as intimated above, led to Geronimo and Naiche’s last outbreak from being prisoners of war and living on a reservation (LK: pure baloney). Naiche was the last hereditary Chiricahua chieftain and during those last years while struggling to remain free they often camped and traveled together, and of great importance were together at the final surrender. His absence from the film is huge (and in my opinion the most heinous error in it).

    This scene shows Geronimo (Studi), Nana but called “Old Nana” (Thunder) in the film as the producers probably felt we wouldn’t see his white hair and realize that he was older than Geronimo, and Mangas (Grant) at Turkey Creek. Although not in the film there would be a lot of dissension within the tribe prior to the final breakout and it totally missed the disruption between the Chiricahua leaders and people in regards to if they should flee or not. LK personal collection, and this is my favorite still from the film.

    Soon after the breakout Patric/Gatewood led a patrol of soldiers with a handful of Apache scouts. A Chiricahua war party tailed him. Soon the war leader challenged him to a one-on-one duel. This was nicely shot and exciting. In the image Patric realizes what is happening and knows what he must do. LK personal collection.

    Prior to the 1885 breakout from Turkey Creek Charles Gatewood commanded patrols of 80 Apache scouts when in the field (a subordinate officer and an interpreter were the only other white men on these patrols; sometimes the interpreters were Apaches). In 1885 the real Gatewood was military commandant of the White Mountain Indian Reservation headquartered at Fort Apache in the mountains to the north of the San Carlos Indian Reservation in the valley far below. Although in the field briefly at the beginning of the outbreak he spent the rest of the war overlooking his wards, the White Mountain Apaches. … No matter for in the film Patric/Gatewood is center stage in two of the most dramatic scenes in the film after Geronimo fled the rez for the last time—scenes that never happened in reality (see the above image for the first one).

    As you’ll see directly below I’m not too keen on Bob Duvall’s performance. This image is from the first scene in the film (I have a great shot of him firing away in the Mexican cantina but I didn’t want to use it). LK personal collection.

    In the second scene Patric/Gatewood and his totally fictional escort travel into Mexico looking for Geronimo. They stumble upon a destroyed village and see the remains of Indian men, women, and children who weren’t at war but had been murdered and then hacked to pieces by scalphunters. When Patric and escort enter a cantina he sees McHattie/Schoonover, who craves Reevis/Chato’s scalp. This scene reeks of hatred and violence.

    Before moving forward I need to share a few thoughts. Hackman/General George Crook and Tighe/General Nelson Miles provide good and believable performances while “Bob” Duvall absolutely sucked as scout Al Sieber (those of you who know anything about Sieber can guess why). I hate myself for saying this as I enjoyed a great three-plus months working closely with Bob in 1980. I can’t say enough good words about the man, the human being who was kind and giving, and one of the most iconic actors of my lifetime (more below when I share a few thoughts about Mr. Patric).

    Patric/Gatewood and Studi/Geronimo reach Skeleton Canyon, New Mexico Territory for the final surrender in September 1886 (the actor/characters in the background weren’t present). Unfortunately the entire Geronimo–Gatewood meeting in Sonora, Mexico, that August was total bullshit in the film (the researchers–writers–producers of Geronimo: An American Legend had no clue how dramatic that long one–day meeting between Gatewood, Geronimo, and Naiche was. The film’s loss, our loss, film history’s loss. LK personal collection.

    Wes Studi, even though ten–plus years too young to play Geronimo, is brilliant. I’ve always felt this way about his performance because he humanized the war leader/mystic. Geronimo’s name terrorized people in the American Southwest, but that was/is a totally one–sided view. Let’s simply consider the number of wives, number of children, number of family members he lost over his lifetime and ask one question: Why did he do what he did? I know the answer and it’s never going to change. … Not so with Jason Patric’s performance and since 1995 I’ve ripped his portrayal of Gatewood (mainly because I don’t think he did any research other than knowing that the lieutenant was from Virginia). … There have been three films that have played major impacts on my life: Errol Flynn’s The Sea Hawk (1940), Flynn’s They Died with Their Boots On (1941), and Geronimo: An American Legend. If I can remove/ignore the facts in Mr. Flynn’s films I can do it with Mr. Studi and Mr. Patric’s film. When I do this, and it has taken me over two and a half decades to do so, this is a pretty damned good movie. I just told you my view of Wes Studi’s  performance. Finally after what feels like forever I can accept Jason Patric playing Gatewood heroically (and ditto Mr. Duvall’s racist performance).


    Almost a year and a half after seeing Geronimo: An American Legend I signed Custer and the Cheyenne for Aaron and Ruth Cantor Cohen at Guidon Books in Scottsdale, Arizona. They had always helped me over the years, and on this occasion our conversation turned to western film. Specifically we discussed two films, this one (which did not do well at the box office) and Tombstone (which was a major hit), and how they impacted book sales. Wyatt Earp, Doc Holliday, and the gunfight at the OK Corral saw a major increase in sales whereas Geronimo and the Apache wars did not. I’ve read about Holliday and Earp but I’m never going to write about them. Conversely Gatewood and Geronimo had caught my interest.

    LK with a colorized cutout of a photo of Geronimo taken at Canyon de los Embudos in Sonora, Mexico, in 1886, at the Geronimo exhibit, Arizona Historical Society, Tucson, Arizona, on 12feb2012. (photo by Glen Williams and © Louis Kraft and Glen Williams 2012)

    Ruth told me that the Gatewood Collection was housed at the Arizona Historical Society in Tucson, Arizona. The following month I took a week off from Infonet (where I was a technical writer) wrapped between two weekends and drove to Tucson. Whoa, cowboy! The following month I took two weeks off wrapped between three weekends. At that time I had begun my next Indian wars book (on Ned Wynkoop), but now it went on hold (as it turned out a ten-year hold, although there were Wynkoop talks, articles, and the beginning of Wynkoop one-man plays). I had discovered an amazing man in Charles Gatewood but it wasn’t enough, and I quickly realized that Geronimo would be the perfect companion in dual biography.

    So why is this film on the list?
    No Aaron, no Ruth, and no film, … no two LK books:
    Gatewood & Geronimo (2000) and
    Lt. Charles Gatewood & His Apache Wars Memoir (2005).