"HOW THE WEST WAS WON" (1962) Photo Gallery

 

Below are images from the 1962 blockbuster, "HOW THE WEST WAS WON". Directed by four directors, the movie starred Debbie Reynolds, George Peppard and Carroll Baker:

"HOW THE WEST WAS WON" (1962) Photo Gallery

TIME MACHINE: Compromise of 1850

 

TIME MACHINE: COMPROMISE OF 1850

One hundred and seventy years ago marked the passage of the controversial document, the Compromise of 1850. The document was a package of five separate bills passed by the United States Congress in September 1850. These bills were used to defuse a political confrontation between slave and free states on the status of territories acquired after the Mexican–American War.

A new debate over slavery in the territories had erupted during the Mexican–American War. Many Southerners sought to expand slavery to the newly-acquired lands and many Northerners, wary of economic competition with slave owners in the West, opposed any such expansion. The new state of Texas’ claim to all former Mexican territory north and east of the Rio Grande, including areas that had never been effectively controlled, further complicated the debate. These issues prevented the passage of acts to create organized territorial governments for the land acquired during the recent war – lands that included the present-day states of California, Texas, New Mexico, Arizona, Utah, Nevada and western Colorado.

In early 1850, with the assistance of Democrat Senator Stephen A. Douglas of Illinois, Whig Senator Henry Clay of Kentucky had proposed a package of bills that would settle the more important issues before Congress. His proposals included:

*The cession by Texas of some of its northern and western territorial claims in return for debt relief
* The establishment of New Mexico and Utah territories
*Admission of California as a free state
*A ban on the importation of slaves into the District of Columbia (Washington D.C.) for sale
*A tougher fugitive slave law

Clay had originally favored voting on each of his proposals separately. However, Democrat Senator Henry S. Foote of Mississippi convinced him to combine the proposals regarding California's admission and the disposition of Texas's borders into one bill. Both Clay and Foote hoped this combination of measures would convince congressmen from both North and South to support the overall package of laws even if they objected to specific provisions.

Clay's proposal had attracted the support of some Northern Democrats and Southern Whigs like Douglas and Vice-President Millard Fillmore. But the proposal lacked the backing necessary to win passage. President Zachary Taylor opposed the proposal and wanted both California and New Mexico to be admitted as free states. Democrat Senator John C. Calhoun of South Carolina and some other Southern leaders argued that the compromise was biased against the South because it would lead to the creation of new free states. Not long after expressing his opposition to the proposal, Calhoun died at the end of March. Northern politicians like Whig Senator William H. Seward of New York opposed the pro-slavery elements of the Compromise, especially a new fugitive slave law. During a speech on the Senate floor on March 11, 1850, Seward invoked a "higher law than the Constitution" argument to express his opposition against Clay’s proposals.

The debate over Clay’s proposal led to verbal sparring between Vice-President Fillmore and Democrat Senator Thomas Hart Benton of Missouri (who opposed the pro-slavery elements of the proposal) over Texas’s borders. During the pair’s debate, Senator Foote drew a pistol on Benton. In early June, nine slaveholding Southern states sent delegates to the Nashville Convention to determine their course of action if the compromise passed. Some delegates preached secession, while the moderates ruled and proposed a series of compromises that included extending the Missouri Compromise of 1820’s dividing line to the Pacific Coast. The situation took a major turn when President Taylor suddenly died on July 9, 1850. His death led Fillmore to become the 13th President of the United States and the end of presidential opposition to the proposals.

The individual proposals were initially introduced as one "omnibus" bill. Despite Clay's efforts, the bill failed to pass during a crucial vote on July 31, 1850. It was opposed by southern Democrats and by northern Whigs. Clay announced his intention to pass each part of the bill on the Senate floor the following day. However, the 73-year-old Clay became physically exhausted from the effects of tuberculosis, which would eventually kill him nearly two years later. After Senator Clay left the Senate to recuperate in Newport, Rhode Island; Senator Stephen A. Douglas took the lead in attempting to pass Clay's proposals through the Senate.

Instead of presenting Clay's proposals as one bill, Douglas ensured that the proposals were presented as separate bills:

*The Fillmore Administration and the Senate would deny Texas's claims to New Mexico, asserting that the United States had promised to protect the territorial integrity of New Mexico in the Treaty of Guadalupe Hidalgo. However, the compromise would allow the United States to assume Texas's debts and set the state's northern border at the 36° 30' parallel north (the Missouri Compromise line) and much of its western border followed the 103rd meridian.

*California would be admitted as a free state on September 9, 1850.

*The Territories of New Mexico and Utah would be organized under the Treaty of Guadalupe Hidalgo.

*The nation's capital, Washington D.C., would cease to become a major center for the domestic slave trade. However, slavery would continue to exist within its borders. Although all Southern politicians opposed this proposal, they were eventually outvoted.

*A new fugitive slave law would be created in the form of the Fugitive Slave Act of 1850. Enacted on September 8, 1850; this new law would enforce Federal judicial officials in all states and Federal territories, including those states and territories in which slavery was prohibited, to assist with the return of escaped slaves to their masters from those states and territories that permitted slavery. Anyone who refused to assist in the capture of fugitive slaves or assisted a fugitive would be liable to a steep fine or imprisonment.

By September 1850, both the United States Senate and House of Representatives managed to form an agreement over all major issues and voted for the passage of the new Compromise of 1850. President Fillmore signed four of the proposals, with the exception of the Fugitive Slave Act. He signed that into law after Attorney General John J. Crittenden assured him that the law was constitutional. Many historians argue that the Compromise of 1850 had played a major role in postponing the American Civil War by at least a decade. However, one element of the new compromise - the establishment of the Fugitive Slave Act - led to legal abuses regarding the pursuit of fugitive slaves and the safety of free blacks throughout the country. The new law also led to growing support of the abolition movement and the re-opening of the slavery issue. This led to the passage of the Kansas-Nebraska Act of 1854, a law drafted by Stephen Douglas that would help inflame the slavery issue until the eve of the U.S. Civil War.

"SENSE AND SENSIBILITY" (1981) Review

 

"SENSE AND SENSIBILITY" (1981) Review

Jane Austen's 1811 novel, "Sense and Sensibility" has been a favorite with her modern-day fans. The novel has produced at least three television and two movie adaptations and a literary parody. However, this review is about the seven-part, 1981 BBC adaptation.

Directed by Rodney Bennett and adapted by Alexander Baron and Denis Constanduros, "SENSE AND SENSIBILITY" starred Irene Richards and Tracey Childs as the two main protagonists - sisters Elinor and Marianne Dashwood. The story focused on the sisters' attempts to find happiness in the tightly structured society of early 19th century England. Through their experiences with men and their relationship with each other, Elinor and Marianne learn that one must strive for a balance of both sense and sensibility.

From an overall point of view, this "SENSE AND SENSIBILITY" seemed to be a solid adaptation of Austen's 1811 novel. I have noticed in many articles and reviews of Austen adaptations made in the 1970s and 1980s, fans tend to view them as "faithful" in compare to later ones. Frankly, I have yet to see an Austen adaptation made before or after 1986 as completely faithful. And I can extend this opinion to this 1981 production. One, Baron and Constanduros' screenplay began with the grieving Dashwood women returning to Norland Hall, after viewing a potential new home. And there is no sign of a Margaret Dashwood - the youngest of the three sisters - in sight. But since the other versions of the novel are no more or less faithful, I do not have a problem with this. But I did have a problem with the miniseries' ending. It featured Edward Ferrars asking for Elinor's hand in marriage and Colonel Brandon commencing his courtship of a receptive Marianne. That is it. The ending seemed a bit too abrupt for my tastes.

And I had other problems with "SENSE AND SENSIBILITY". Peter Woodward gave a charming performance as the novel's ne'er-do-well, John Willoughby. Unfortunately, Woodward's presence barely made a dent in the production. And his biggest scene - in which Willoughby expressed remorse for his bad treatment of Marianne to Elinor - featured some over-the-top acting. Watching Diana Fairfax's performance as Mrs. Dashwood, I found myself wondering why Elinor was forced to assume so much responsibility for their household at Barton Cottage. Despite a first-rate performance from Fairfax, her Mrs. Dashwood barely seemed like the emotional widow who was forced to come down to earth by her more sensible older daughter. She seemed just as sensible in her own way, if slightly more emotional than her elder daughter.  I barely remember Marjorie Bland's portrayal of Mrs. Jennings' older daughter, Lady Middleton. She failed to leave a mark in my memories. I could say the same about Hetty Baynes as Mrs. Jennings' younger daughter, Mrs. Charlotte Palmer. And Margot Van der Burgh's Mrs. Ferrars seemed more like a dress rehearsal for Lady Catherine de Bourgh in Austen's "Pride and Prejudice".

But there were performances that impressed me. Julia Chambers and Pippa Sparks made a very entertaining Lucy and Ann Steele. I was especially impressed by Chambers' performance, which struck a fine balance between Lucy's scheming and desperation to become a member of the respectable and wealthy Ferrars family. Philip Bowen's portrayal of Robert Ferrars struck me as rather funny. He gave the character a foppish edge that I have never seen in other portrayals of the character. Donald Douglas was certainly down-to-earth in an affable manner as Mrs. Dashwood's cousin, Sir John Middleton. Amanda Boxer gave a spot-on portrayal of the cold-blooded and domineering Fanny Dashwood. But the one performance that really impressed me was Peter Gale's as the Dashwood family's new patriarch, John. Although he gave a solid performance in the miniseries' early episodes, he really came into his own in the role, when the story shifted to London. I was especially impressed by one scene in which Gale's John tried to point out the suitability of Colonel Brandon as a match for Elinor.

At first, I was not that impressed by Robert Swann's portrayal of Colonel Brandon. However, as the story progressed, Swann skillfully revealed the character's passion and emotions behind the stoic facade. There are two other performances of which I have a similar view. When I first saw "SENSE AND SENSIBILITY", I had regarded Bosco Hogan's portrayal of Edward Ferrars as boring. But numerous viewings made me realize that he gave a very subtle performance. With a bit of patience, I noticed how Hogan managed to express Edward's feelings about Elinor and Lucy with the expressions on his face and in his eyes. I also became more appreciative of Annie Leon's portrayal of the cheerful Mrs. Jennings. She was no Elizabeth Spriggs or Patricia Rutledge, but I must admit that I was very impressed by the manner in which she captured Mrs. Jennings' friendly, yet vulgar personality . . . especially in the production's second half. Both Irene Richards and Tracey Childs gave solid performances as Elinor and Marianne Dashwood. The two actresses did a first-rate job of holding the miniseries together as the the leads. And both were somewhat spot-on in their portrayal of the two sisters. Mind you, I would have liked if Richards had revealed the passion that Elinor harbored for Edward in small moments. And I wish that Childs' Marianne was not so sober - especially in a few scenes in the miniseries' earlier episodes. But in the end, they did a very good job.

As far as production design goes, I am afraid that Paul Joel did a solid job. But there was nothing about his work that I found particularly impressive. I suspect that he may have been hampered by the budget. I was NOT impressed by Dorothea Wallace's costumes. Frankly, I found them rather cheap looking and in some cases, slightly ill fitting. Like the miniseries' production design, it was probably hampered by the budget. Overall, I would have to say that this "SENSE AND SENSIBILITY" was the least impressive looking adaptation I have ever seen.

"SENSE AND SENSIBILITY" had its virtues. Both Irene Richards and Tracey Childs gave excellent performances and kept this production together, along with director Rodney Bennett. The supporting cast also included memorable performances from the likes of Peter Gale, Amanda Boxer, Donald Douglas, Julia Chambers Bosco Hogan and Robert Swann. And screenwriters Alexander Baron and Denis Constanduros managed to create a solid script that was nearly faithful to the story. And despite a few disappointing performances and some slightly underwhelming costumes, my regard for this production has risen over the years. Much to my great surprise.

"THE ADVENTURES OF ROBIN HOOD" (1938) Photo Gallery

 

Below are images from the 1938 swashbuckler film, "THE ADVENTURES OF ROBIN HOOD".  Directed by Michael Curtiz and William Keighley, the movie starred Errol Flynn in the title role:

 "THE ADVENTURES OF ROBIN HOOD" (1938) Photo Gallery