Wells Fargo

In light of all the hit Broadway musicals that have stumbled in their translation to the big screen, The Music Man stands out as an exception; it is one of the best-loved movie musicals of all time. A great deal of the credit goes to composer Meredith Willson, who resisted studio pressure to hire a big name for the title role (Frank Sinatra or Cary Grant) in favor of the Tony-winning stage star, Robert Preston, who turns in one of Hollywood's most magical performances as the spellbinder who hoodwinks a small town in Iowa. Shirley Jones did not perform the show on Broadway, but she had cut her teeth as a musical ingenue in the films of Rodgers and Hammerstein's Oklahoma! and Carousel and gives Marian the librarian a lovely voice and charming personality. Most importantly, Willson's score combines marching bands and barbershop quartets to capture perfectly the spirit of America's heartland at the turn of the century. A classic. --David Horiuchi

17 track film soundtrack.

Although Robert Preston and Barbara Cook put in stellar performances, it's the music that's the star of this hugely successful document of the 1958 Broadway smash. Written entirely by Meredith Willson, it drew from memories of his childhood in a small Midwestern town. Preston plays a traveling salesman/con artist, while Cook is the dull spinster "Marian the Librarian," whose love for Preston's character makes her come alive. "Seventy-Six Trombones" has become a marching band standard, while "Ya Got Trouble" (featuring dizzying fast-talk from Preston) and "'Til There Was You" (with a gorgeous vocal from Cook) remain well known even among those who have never seen the show. The latter was also a favorite of the Beatles, who covered it on their first album. --Dawn Eden

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"The legend of Union Pacific is the drama of a nation, young, tough, prodigal and invincible, conquering with an iron highroad the endless reaches of the West." This stemwinder of a foreword strikes the pseudo-biblical/American Empire keynote for Cecil B. DeMille's "history" of building the transcontinent railroad. Only the bombast--and Arthur Rosson's second-unit direction--rises to the film's epic mission. The mustache-twirling villainy is right out of 19th-century melodrama, and the romantic triangle of Joel McCrea's railroad troubleshooter, Barbara Stanwyck's aggressively "Oirish" postmistress-on-wheels, and their black-sheep chum played by newcomer Robert Preston is a feeble distraction. Worse, the stars do their stuff on studio sets, in sterile isolation from the locomotives, Indians, and buffalo hovering slightly out of scale on process screens behind them. There's not one but two train wrecks (always a DeMille favorite); in every other department, John Ford had C.B. beat 15 years earlier with The Iron Horse. --Richard T. Jameson

Clint Eastwood fired the original director, Philip Kaufman (The Right Stuff), and took over the reins of this project himself. He may have had a point: this brutal, thoughtful western, a near-tragedy about a Civil War veteran whose past comes looking for him, is probably Eastwood's most mature frontier drama prior to the Oscar winning Unforgiven. Hoping to build a quiet life in a cooperative community of settlers, Eastwood's Wales blames himself when his enemies attack the homestead, and he has to revert to his warrior instincts to help fend off the threat. The jittery intensity of Sondra Locke (who would be Mrs. Eastwood, at least for a while), and the screen-filling charisma of the late Chief Dan George harmonize beautifully with Eastwood, who had finally figured out how to add depth and texture to his stock-in-trade Man of Steel persona. This one may be too short on action to satisfy fans of Eastwood's Dirty Harry films, or of the Italian westerns he made with Sergio Leone, but it's an honorable effort. --David Chute

During the Civil War, Union "Redlegs" attack Southerner Josey Wales's dirt farm and wipe out his family. Seeking vengeance, Wales throws in with a company of Reb guerrillas. Tagged as a renegade after the surrender, he flees west into the vastness of the Indian Territories, where, quite unintentionally, he finds himself cast as the straight-shooting paterfamilias of an ever-growing, spectacularly motley community of misfits and castaways. Which is to say, Josey's personal quest for survival and something like peace of mind evolves into a funky, multicultural allegory of the healing of America. The Outlaw Josey Wales (1976), Clint Eastwood's 31st film as an actor, 20th as international star, and 5th as director, was the first to win him widespread respect. Critics had grumbled when the producer-star replaced Philip Kaufman (The Right Stuff) in the director's chair a week into shooting. They ended up cheering when Eastwood delivered both his most sympathetic performance to date and--with the heroic collaboration of cinematographer Bruce Surtees--an impressive Panavision epic that stresses the scruffiness, rather than the scenic splendors, of frontier life. Though it's been honored with a place in the National Film Registry, Josey Wales is good, not great, Eastwood. The big-gun fetishism can get tiresome, and too many characters exist only to serve as six-gun (and at one point Gatling gun) fodder. But mostly the film is agreeably eccentric, and almost furtively sweet in spirit--a key transitional title in the Eastwood filmography, and one of his most entertaining. --Richard T. Jameson Amazon.com Clint Eastwood fired the original director, Philip Kaufman (The Right Stuff), and took over the reins of this project himself. He may have had a point: this brutal, thoughtful western, a near-tragedy about a Civil War veteran whose past comes looking for him, is probably Eastwood's most mature frontier drama prior to the Oscar winning Unforgiven. Hoping to build a quiet life in a cooperative community of settlers, Eastwood's Wales blames himself when his enemies attack the homestead, and he has to revert to his warrior instincts to help fend off the threat. The jittery intensity of Sondra Locke (who would be Mrs. Eastwood, at least for a while), and the screen-filling charisma of the late Chief Dan George harmonize beautifully with Eastwood, who had finally figured out how to add depth and texture to his stock-in-trade Man of Steel persona. This one may be too short on action to satisfy fans of Eastwood's Dirty Harry films, or of the Italian westerns he made with Sergio Leone, but it's an honorable effort. --David Chute

1 VCR VIDEO @ 28 MIN #604 *1995

Not many Westerns can claim to be original. Seven Men from Now can. Its making, for the B-picture arm of John Wayne's Batjac company, was a modest enterprise. The screenwriter, Burt Kennedy, was just starting out; the director, Budd Boetticher, was a matador-turned-filmmaker with only one film of distinction (The Bullfighter and the Lady) in a journeyman career; the star, Randolph Scott, was regarded as "over the hill." Yet the three men's talents blended uncannily, producing not just a terrific Western but a cinema masterpiece--an ironical, beautifully spare bit of storytelling that became the ideal showcase for Scott's sandy reticence. You don't want anybody synopsizing the story for you; there's little of it, really, yet how it's told makes it complex and compelling. We know, from a memorable first scene, that Scott is hunting down seven men who did something terrible. He will be thrown together with several other characters, including Lee Marvin as an affable but deadly rascal with whom he shares some history. Everybody has private reasons to be traveling through Apache country. Savor every syllable of the laconic dialogue, what people say and what they don't quite say--what they think they understand about one another's motives, except that that understanding keeps getting rearranged. Seven Men from Now went missing after Wayne's death in 1979 threw the Batjac library into limbo. (Its success had inspired Scott, Boetticher, and Kennedy to collaborate on three other remarkable Westerns--The Tall T (1957), Ride Lonesome (1959), and Comanche Station (1960)--which, because they weren't made for Batjac, we've had little trouble seeing over the years.) The movie became legendary, a Holy Grail for film buffs. Now, with a beautiful restoration on DVD, it gets to be a movie again. A great one. --Richard T. Jameson

Tormented by the death of his wife, a former sheriff (Randolph Scott) sets out to even the score with the seven outlaws who killed her during a Wells Fargo robbery. During his quest for vengeance, Scott encounters a married couple on their way to California and a pair of shady gunmen with a hidden agenda. Compelling western drama from director Budd Boetticher also stars Lee Marvin, Gail Russell. 78 min. Widescreen (Enhanced); Soundtrack: English Dolby Digital mono; Subtitles: English; audio commentary; featurettes; photo gallery; theatrical trailers.

All 14 episodes from the first season and all 38 episodes from the second season--including "The Thin Rope," "The Lynching," "Jesse James," "Belle Star," and "The Sniper"--are featured in a six-disc set. 21 2/3 hrs. total. Standard; Soundtrack: English Dolby Digital mono. **52 episodes on 6 discs. 21 2/3 hrs.**

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Wells Fargo. Brand New. Gumball Candy Machine Specifications: Height:11" . Comes with gumballs. Can dispense all types of small candies such as MMs, Jelly Bellys, etc. Accepts all coins. Can be set for free dispensing

It's the vehicle that settled the Old West. Before the transcontinental railroad and the automobile, there was the overland stagecoach. Now it's back-in astonishing accurate replica hand-assembled with more than 150 separate components. Loaded with unbelievable details, like genuine leather window shades and vintage graphics. Before the transcontinental railroad and the automobile, there was the overland stagecoach. Rattling through bad lands wrought with danger, it connected the burgeoning towns of the great frontier, delivering its cargoes of gold, company payrolls, the mail and the brave men and women who settled the West. This precision-engineered scale model is a fitting tribute to their tenacious spirit -- and to the distinguished history of Wells Fargo. Assembled by hand from more than 150 separate parts. Rich with detail. From the driver and "shotgun" seats to the spoked wheels and realistic interior. There's an authentic re-creation of a Wells Fargo strongbox, scale shotguns and luggage. Main Showroom

Over 250 parts including 4 horses with harness reins, hitch chains, driver, shotgun rider & passengers. 2.5 feet Long