High Hopes for The Lawless --- Part One

The Lawless was a 1950Paramount release that some say fell into a sinkhole (for its hard-hitting socio/political stance?) and only now is rescued via Olive's DVD sub-license of Para vaulties. Spun off incidents where Mexican-American fruit pickers were California-oppressed, The Lawless was tabbed by producers William Pine and William Thomas to depart genre formula up-to-then adhered to and try something "significant" after profit-making example of late 40's Crossfire, Gentleman's Agreement, and others scraped off cultural underbellies. "The Dollar Bills" were so-named as purest expression of showman love --- fifty-four pics from Pine/Thomas so far were as many hits for theatres playing them --- both Bills up from exhibitor ranks to deliver product they knew buddies still in trenches could sell. The two kept a winning streak, and used it, to play this wild card called The Lawless and wangle Paramountfinancing of the negative. Remember heroic King Vidor talking Metro/Thalberg into The Crowd? Well, the Bills went him one better here, and against bigger odds. Too bad theirs came a cropper and put both in retreat back to formula.

Sixty years' seeming internment of The Lawless was no one's plan. It was just placement of the show among Pine/Thomas holdings sold outside Paramount post-48 packages and consequently used by less TV station outlets. We've had as tough a time seeing The Eagle and The Hawk (1950), Captain China, and The Last Outpost (still do). I don't know of any P/T's being released to video thus far --- is The Lawless a first? (Run For Cover is also just out). Anyway, there's not another one like it, at least not in their inventory. Bill Pine died young (59) in 1955. Up to then, he and Thomas were the whirling-est dervishes in all independent picturemaking. A look at unceasing output makes me wonder when the two slept (they'd slowed down from eight a year to four when The Lawless got made).

Paramount had been distributing for Pine/Thomas since 1941, stuff like Power Dive, Wildcat, and I Live On Danger. Where theatres needed second features and action filling, such was made to order. The Bills had served time sufficient to try something different, though The Lawless wouldn't stray too far off beaten paths of action melodrama that provides plenty of exploitation elements (Variety). Certainly a trade wanted these good soldiers to succeed. Pine/Thomas hedged bets by spending a minimum ... The Lawless cost $435,000 and was shot in eighteen days on small town location (Marysville, Calif.). This was good value for product that Paramounthoped could be sold as a single-billed "A."

Macdonald Carey Chats with Theatremen During The Lawless Selling Trip

The studio got its peek in February '50 and "received enthusiastically" The Lawless. According to Variety, execs agreed with Pine and Thomas that Lalo Rios, the LA carpenter-turned-actor making his screen debut as the would-be lynch victim, should receive a special "introduction" screen credit. Paraalso promised "big budget ballyhoo" to launch The Lawless. An "all-out exploitation surge" would send players Macdonald Carey, Gail Russell, and aforementioned Rios to cross country barnstorm (Russell dropped out, but the others hit roads extensively on the pic's behalf). By mid-March, and midwest exhibitor previewing, Paramountwas convinced this was homegrown merchandise to outshine Paisan, Open City, and others of Euro art origin. The Lawless had the appeal for both the adventure trade and for the trade which has shifted to the art theatre in search of pictures which are fearlessly true to life, said spokesmen.

The Dollar Bills were pragmatic enough to canvass friends in the field for a best selling strategy. These two spent at least as much time in far-flung showman offices as on movie sets, and knew well that theatres were best test ground for promoting. Pine and Thomas figure that "gimmick" selling ideas direct from the owners of the boxoffice will supply plenty of material for a comprehensive exploitation manual which can be used as a guide by all field men, reported Variety. The Independent Film Journal reported P/T clearing decks for their on-the-road market research by insisting Paramountnot schedule production for weeks surrounding openings "so it will not interfere with extensive pre-release ballyhoo junkets conducted by the team." In fact, the Bills brought The Lawless along to opening cities of their April '50 The Eagle and The Hawk, so that they could show the pic to local opinion makers and build anticipation for their release now set for July.

Parent's Magazine gave The Lawless its Special Merit Award in early May after Pine/Thomas advance screened for the editorial staff. A special one-sheet (gratis to theatres) touted the award to further position The Lawless as an attraction well out of the ordinary. But would their prestige actioner attract? The Bills banked that it would, so much so as to be planning more social-themed dramas, that is, if "Lawless" comes across with a profit, said Variety. Unless that picture does business, added Bill Pine, they (meaning Paramount) won't let us make the others. He hoped to explore problems of modern-day Indians next. Parasales was meanwhile mulling how to sell The Lawless. Pine said long runs in art houses was the answer, to go slowly with the film for maximum penetration. What P/T and Paramount settled on was eight pre-release dates for June '50 in selected cities following a world premiere in San Antonio. The sites were Buffalo, San Francisco, Detroit, Boston, Cleveland, Fall River, Mass., and New Bedford, Mass. The fate of The Lawless would rise or fall upon these engagements.