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Miller—LONELY ARE THE BRAVE—3Under the Influence, 1972 “Circle of Fear”, 1971 Minnie andMoskowitz, 1969 Machine Gun McCain, 1968/I Faces, 1967 “PeytonPlace” (37 episodes), 1967 Tony Rome, 1966 “The Long, HotSummer”, 1966 “Run for Your Life”, 1964 “Burke's Law”, 1964 “Dr.Kildare”, 1963 “Breaking Point”, 1963 “77 Sunset Strip”, 1963 AChild Is Waiting, 1963 “The Dick Powell Theatre”, 1962 The SpiralRoad, 1962 Lonely Are the Brave, 1961 “87th Precinct”, 1960 “TheTab Hunter Show”, 1960 “Alfred Hitchcock Presents”, 1960“Adventures in Paradise”, 1959 Shadows, 1959 “Laramie”, 1958 TheHigh Cost of Loving, 1955 “The United States Steel Hour”, 1955“Appointment with Adventure”, 1955 “Studio One in Hollywood”,1955 “Ponds Theater”, 1955 “Robert Montgomery Presents”, abnd1955 “The Way of the World.” She was married to the actor/directorJohn Cassavetes and appeared in several of his films.WALTER MATTHAU Sheriff Morey Johnson (b. Walter JohnMatthow, October 1, 1920, New York City, New York – July 1,2000, Santa Monica, California) won a best supporing actor Oscar forThe Fortune Cookie (1966). Some of his other 104 credits are 2000Hanging Up, 1998 The Odd Couple II, 1996 I'm Not Rappaport, 1995Grumpier Old Men, 1995 The Grass Harp, 1994 I.Q., 1993 GrumpyOld Men, 1993 Dennis the Menace, 1991 JFK, 1986 Pirates, 1982 IOught to Be in Pictures, 1981 Buddy Buddy, 1981 First Monday inOctober, 1980 Hopscotch, 1980 Little Miss Marker, 1978 CaliforniaSuite, 1976 The Bad News Bears, 1975/I The Sunshine Boys, 1974The Front Page, 1974 The Taking of Pelham One Two Three, 1973The Laughing Policeman, 1973 Charley Varrick, 1972 Pete 'n' Tillie,1971 Kotch, 1971 Plaza Suite, 1969 Hello, Dolly!, 1969 CactusFlower, 1968 Candy, 1968 The Odd Couple, 1965 Mirage, 1964 FailSafe, 1964 Ensign Pulver, 1964 “Bob Hope Presents the ChryslerTheatre”, 1963 Charade, 1963 Island of Love, 1962 Who's Got theAction?, 1962 Lonely Are the Brave, 1956-1962 “G.E. True Theater”,1961-1962 “Target: The Corruptors”, 1958-1961 “Alfred HitchcockPresents”, 1961 “Tallahassee 7000” (26 episodes), 1958 Onionhead,1958 Ride a Crooked Trail, 1957 Slaughter on Tenth Avenue, 19521957 “Goodyear Playhouse” (7 episodes), 1957 A Face in the Crowd,1956 Bigger Than Life, 1952-1954 “Armstrong Circle Theatre”,1950-1953 “Studio One in Hollywood”, 1951 “Shadow of theCloak”, and 1950 “The Big Story.”MICHAEL KANE Paul Bondi has 41 acting credits, among them1994 “Witchcraft VI” (video), 1987 “The Gunfighters”, 1983 CrossCountry, 1980 Middle Age Crazy, 1975 Three Days of the Condor,1974 “The Six Million Dollar Man”, 1970 Love in a 4 Letter World,1965 Promise Her Anything, 1965 The Bedford Incident, 1962 LonelyAre the Brave, 1960-1961 “Armstrong Circle Theatre”, 1961 “TheWorking Mother”, 1954 “Macbeth,” and 1950 “Lights Out”CARROLL O'CONNOR Hinton (b. John Carroll O'Connor, August2, 1924, Manhattan, New York City, New York – June 21, 2001,Culver City, California) has 82 acting credits, some of which are2000 Return to Me, 1999 Gideon, 1996-1999 “Mad About You”,1999 “36 Hours to Die”, 1988-1995 “In the Heat of the Night” (146episodes), 1986 “Convicted”, 1979-1983 “Archie Bunker's Place” (96episodes), 1982 “Gloria”, 1968-1979 “All in the Family” (208episodes), 1977 “The Last Hurrah”, 1974 Law and Disorder, 1972“Of Thee I Sing”, 1971 Doctors' Wives, 1970 Kelly's Heroes, 1969Marlowe, 1969 Death of a Gunfighter, 1969 “Walt Disney'sWonderful World of Color”, 1968 The Devil's Brigade, 1966-1967“Gunsmoke”, 1967 Waterhole #3, 1967 “That Girl”, 1967 “Mission:Impossible”, 1966 Not with My Wife, You Don't!, 1966 Hawaii, 1966What Did You Do in the War, Daddy? , 1965 “Slattery's People”,1962-1965 “Dr. Kildare”, 1965 In Harm's Way, 1964 “The Man fromU.N.C.L.E.”, 1964 “The Fugitive”, 1963 “Bonanza”, 1963 “StoneyBurke”, 1963 “Death Valley Days”, 1962 “Naked City”, 1961-1962“The Untouchables”, 1961 By Love Possessed, 1960 “Shirley TempleTheatre”, 1960 “The United States Steel Hour”, and 1951 “TheWhiteheaded Boy.”WILLIAM SCHALLERT Harry (July 6, 1922, Los Angeles,California) is one of the great character actors. Some of his 363credits are 2011 “Bag of Bones”, 2010 “Medium”, 2008 “Recount”,2008 “The Suite Life of Zack and Cody”, 1999 “Family Law”, 1994“Lois & Clark: The New Adventures of Superman”, 1994 “SweetJustice”, 1994 “Melrose Place”, 1994 “Shake, Rattle and Rock!”,1994 “The Good Life”, 1994 “Coach”, 1993 Beethoven's 2nd, 1993“Star Trek: Deep Space Nine”, 1990 “Murphy Brown”, 1986-1988“The New Gidget” (44 episodes), 1988 “Bring Me the Head of DobieGillis”, 1987 “Matlock”, 1986 “The Twilight Zone”, 1985 “ThePaper Chase”, 1984 “Matt Houston”, 1983 “Magnum, P.I.”, 19791982 “Lou Grant”, 1976 “Ellery Queen”, 1975 “Promise HimAnything”, 1975 “Police Story”, 1974 “The Six Million Dollar Man”,1957-1973 “Gunsmoke” (7 episodes), 1973 Charley Varrick, 19671973 “Ironside”, 1973 “Kung Fu”, 1972 The Trial of the CatonsvilleNine, 1969-1972 “The F.B.I.”, 1972 “Man on a String”, 1971 “ThePartridge Family”, 1969-1970 “Hawaii Five-O”, 1969 “Bewitched”,1968 Will Penny, 1968 “The Guns of Will Sonnett”, 1967 “StarTrek”, 1967 In the Heat of the Night, 1967 “Mission: Impossible”,1966 “The Virginian”, 1963-1966 “The Patty Duke Show” (104episodes), 1962 Paradise Alley, 1962 Lonely Are the Brave, 1962“The New Breed”, 1960-1962 77 “Sunset Strip”, 1959-1962 “TheMany Loves of Dobie Gillis” (24 episodes), 1962 “Bonanza”, 1962“Alfred Hitchcock Presents”, 1960 “Michael Shayne”, 1960 “SeaHunt”, 1960 “The Gambler, the Nun and the Radio”, 1960 “WagonTrain”, 1959 The Beat Generation, 1957 “Leave It to Beaver”, 1957“Zorro”, 1957 Band of Angels, 1957 The Incredible Shrinking Man,1956 Written on the Wind, 1956 Friendly Persuasion, 1956 The LoneRanger, 1953 Sword of Venus, 1951 The Man from Planet X, 1950Perfect Strangers, 1949 The Reckless Moment, 1949 Mighty JoeYoung, and 1947 The Foxes of Harrow.GEORGE KENNEDY Deputy Sheriff Gutierrez (February 18, 1925,New York City, New York) won a best supporting actor Oscar forCool Hand Luke (1967). Some of his other 182 acting credits are2011 Another Happy Day, 2003-2010 “The Young and the Restless”,2008 The Man Who Came Back, 2005 Three Bad Men, 1996 Dallas:J.R. Returns”, 1994 Naked Gun 33 1/3: The Final Insult, 1994“Lonesome Dove: The Series”, 1991 The Naked Gun 2½: The Smell

Miller—LONELY ARE THE BRAVE—4of Fear, 1988-1991 “Dallas” (68 episodes), 1989 The Terror Within,1988 The Naked Gun: From the Files of Police Squad!, 1987Creepshow 2, 1986 The Delta Force, 1980 Death Ship, 1979 TheConcorde. Airport '79, 1977 Airport '77, 1975-1976 “The BlueKnight” (24 episodes), 1975 The Eiger Sanction, 1974 Airport 1975,1974 Thunderbolt and Lightfoot, 1973 Cahill U.S. Marshal, 1973Lost Horizon, 1971-1972 “Sarge” (15 episodes), 1970 Airport, 1969Guns of the Magnificent Seven, 1968 The Boston Strangler, 1968 TheLegend of Lylah Clare, 1967 The Dirty Dozen, 1967 Hurry Sundown,1967 The Ballad of Josie, 1964-1966 “The Virginian”, 1963-1966“Dr. Kildare”, 1960-1966 “Gunsmoke” (7 episodes), 1965 The Sonsof Katie Elder, 1965 Shenandoah, 1965 In Harm's Way, 1961-1964“Bonanza”, 1963-1964 “McHale's Navy”, 1963 Charade, 1963 “TheAndy Griffith Show”, 1963 “Perry Mason”, 1963 The Man from theDiners' Club, 1960-1963 “Have Gun - Will Travel” (7 episodes),1962 “Death Valley Days”, 1962 “Rawhide”, 1961 “TheUntouchables”, 1961 “The Asphalt Jungle”, 1960 “Route 66”, 1960Spartacus, 1960 “Wanted: Dead or Alive”, 1960 “Shotgun Slade”,1959 “Colt .45”, and 1956-1959 “The Phil Silvers Show” (9episodes).Alex Cox in the NY Times, 29 July 2012Kirk Douglas was worried. It was 1961, and this actor-producer hadrecently gambled on a big history picture, “Spartacus.” He had firedthe director — Anthony Mann — after a week of shooting, replacinghim with Stanley Kubrick. Mr. Douglas thought the picture hadturned out well, but it still hadn’t been released. Meanwhile he hadencountered a paperback novel — “The Brave Cowboy,” by EdwardAbbey — and optioned it through his production company, Byrna.And Byrna, which had a production deal with Universal,commissioned a screenplay, by Dalton Trumbo.Mr. Douglas was gambling again, but playing a good hand. Thematerial — the story of a modern-day cowboy who breaks into jail torescue his best friend — is original for a western, and gets better as itgoes along. Its screenwriter was talented and hard working.(Blacklisted and jailed after refusing to testify before the House UnAmerican Activities Committee, Trumbo had for 10 years writtenscripts under assumed names, winning an Oscar for one of them asRobert Rich. Mr. Douglas went to bat for Trumbo on “Spartacus,”promising him a screen credit with his real name.) And Trumbo hadsolved the story’s two biggest problems: Why was the hero’s bestfriend in jail in the first place? And why wouldn’t he leave?Abbey’s novel, published in 1956, is set a decade earlier, followingthe introduction of the military draft. Paul, the hero’s friend, hasrefused to register, not because he is a pacifist (he isn’t) but becausehe considers a draft unconstitutional. Like Abbey, Paul is an incipientlibertarian or a patriotic anarchist. He has written the government andlocal authorities about his resistance to unjust authority and beengiven a year in jail. So it’s a moral imperative for Paul — when hisold compadre John W. Burns shows up with two files and a plan toride for Mexico — to turn him down.Fifty years after the release of that film, “Lonely Are the Brave,”westerns may not be much in evidence at the multiplex. But on thesmall screen this summer, complex takes on the genre like “Hell onWheels” (returning Aug. 12 to AMC) and “Longmire” (which hasdrawn big ratings for A&E) are in vogue again, and it’s worth takinganother look at one of the bleakest westerns ever to grace the bigscreen.In 1961, when Trumbo wrote the first version of the screenplay, itwas unthinkable in Hollywood to feature a draft resister. It would beyears before the Vietnam War made the draft an issue — so Trumbo,at his most sardonic, thought of an alternative crime for Paul:associating with parrot smugglers. This lasted one round of what isotherwise an excellent screenplay. In the next version, titled “TheLast Hero,” Trumbo came up with another solution: Paul is in jail forassisting illegal immigrants find food and work. It was a prescientchoice, anticipating the Sanctuary Movement of the 1980s and ourcurrent turmoil over undocumented workers.Having addressed Paul’s “crime of principle,” Trumbo followsAbbey’s novel closely: Burns gets locked up then busts himself andtwo Indians out of jail, heading for the hills on his coquettish horse,Whiskey. The film’s second half tracks Burns’s evasion of hispursuers and his encounter with a nemesis both inevitable andludicrous. Trumbo shows a clear sense of location and landscape,including as his title page a hand-drawn map of the cowboy’sintended route, via the Sangre de Cristo and Manzano Mountains,into Mexico.Armed with a map, a great script, and a first-rate cast — he wasplaying Burns himself — Mr. Douglas seemingly had nothing toworry about. Yet on May 4, 1961, from the Western Skies Hotel inAlbuquerque, with production already under way, he wrote a troubledletter. It was addressed to Mr. Gary Cooper, Beverly Hills.“Dear Coop,” he wrote. “When for years you’ve had affection for aguy and you find it suddenly turning to resentment, you begin tothink it deserves some comment.” He went on to say, “Put yourself inmy spot. I’m doing a picture that should have been done by only oneguy. I know it — my entire company knows it. Start with the title —The Last Hero. Now whom does that fit — me? Hell, no!”Mr. Douglas complained to Cooper that his director, David Miller,was uncommunicative and focused on realism. The only directionMiller had given was, “try and play this the way Gary Cooperwould.” Even worse had been Abbey’s arrival on set. Mr. Douglasreported that he’d driven to meet Abbey at the Albuquerque airport:“Fifty guys step off the plane but I spot him immediately — why? Helooks like Gary Cooper. To make matters worse, when I meet him, hetalks like Cooper!”For a moment it sounds as if Mr. Douglas the producer was anglingfor Cooper to take over the lead. But this was impossible. Cooper wasterminally ill and would die nine days later. Certainly Mr. Douglas

Miller—LONELY ARE THE BRAVE—5knew this when he wrote he wanted to follow in Cooper’s footstepsthroughout the shoot: “I know now that at best I will come remotelyclose. But more important — I do know also that just trying to be youwill make a better me.”Such heartfelt words acknowledged that outside help would not beforthcoming. It is the message of the film as well. Abbey’s presencelooms over the film — both Burns and Paul contain aspects of hischaracter — but did he really look like Cooper? To a certain extent.Did he really visit the set? Recalling Abbey after his death in 1989,Mr. Douglas wrote, “I never met Mr. Abbey, but we wrote to eachother several times.”your article you quote Abbey: "I am the one who loved un-fencedcountries."I never met Mr. Abbey, but we wrote to each other severaltimes. I apologized to him that the studio insisted on changing thetitle of "Brave Cowboy" to "Lonely Are the Brave."In the more than 60 films that I've made, this is my favorite.I am very pleased when I get a letter, or someone comes up to mesaying it is also their favorite.Hollywood was capable of transferring the feelings of thisgreat environmentalist to film. People will always be able to see aswell as read the beliefs of this great man in "Lonely Are the Brave."KIRK DOUGLAS Beverly HillsWhich was it? Does it matter? Either way, the story of Abbey’s visitgave Mr. Douglas an opportunity to write a fan letter, and to preparefor a role he felt his mentor could have better played. As thepressmen conclude in “The Man Who Shot Liberty Valance,” theother great western made that year: If confronted with two conflictingversions, “print the legend.”Before the shoot Byrna put out a release emphasizing Miller’srealism: nonactors would be cast, a genuine painter would play Paul’swife, the sets would showcase her work. It was all for naught:professional actors — Gena Rowlands, Walter Matthau, GeorgeKennedy — were used instead. “The Brave Cowboy,” shot as “TheLast Hero,” was released in 1962 as “Lonely Are the Brave” —elegantly photographed, theatrical rather than “natural,” exuberantlyacted, deftly paced. There is no greater western, and certainly nomore tragic one. Despite his doubts Mr. Douglas personified Burns,flouting cinematic rules by doing his own stunts and co-starring withan animal, a high spot of his career.It’s hard to imagine a film so radical, or so pessimistic, being madetoday. Though a Korean War hero, Burns refuses to carry ID or listento reason. He disrespects the power company by cutting its barbedwire fences; the county jail, by breaking out; the sheriff, whosemanhunt he eludes; the military-industrial complex, whose helicopterhe shoots down; and us, the viewers, who — when the lights go up orthe DVD ends — return to a life played mainly by the rules.Remarkable for a low-budget western, “Lonely Are the Brave” posesuneasy questions about the idea, and value, of heroism. Do Paul’sprinciples justify abandoning his wife and child? Where does Burns’sextraordinary journey lead?Letter from Kirk Douglas in the Los Angeles Times, March orApril 1989 Death of Writer Edward AbbeyI was very sad to read in your paper that author Edward Abbey("Thoreau of the American West") has died (Part 1, March 16). Inyour detailed obituary, I was astonished that no mention was made ofhis book "The Brave Cowboy.""I came across a paperback edition of this book around 1960,and was deeply moved. I bought the movie rights and finallypersuaded Universal to allow my company, Bryna, to make the film,which was brilliantly written by Dalton Trumbo and produced byEddie Lewis. In the cast with me were Gena Rowlands, WalterMatthau and William Shatner [sic], and introducing Carrel [sic]O'Connor in a small role. They all gave marvelous performances.In the opening scene, I played Jack Burns (Edward Abbey),who rides across a wide plain and comes up to a large wire fence. Iget off my horse, taking a pair of pliers, cut the fence and ride on. InMegan Sapnar, U Wisconsin Center for Film & Theater Research"Lonely Are the Brave is my favorite movie. I love the theme that ifyou try to be an individual, society will crush you I pleaded withUniversal not to release Lonely Are the Brave like a cheap littleWestern, which is how they saw it " (Ragman's Son 339, 341)The late 1950s and early 1960's saw an explosion ofexperimental films made by young French directors like FrançoisTruffaut, Jean-Luc Goddard, and Claude Chabrol. This French "NewWave" movement won international acclaim while also earning bigbucks at the U.S. box office. New art house venues were thriving andAmericans were developing a hearty appetite for European artcinema. It was against this industrial climate that Kirk Douglasbecame interested in producing a new American western, one thatwould challenge the stronghold of the international avant-garde andremind American audiences that Hollywood craftsmanship cancompete with foreign films. "I got tired of hearing people rave aboutthe 'artistry' of European films," he told one reporter. "We can makejust as fine films in America—and I decided to prove it." ("KirkDouglas Film Has Odd Career").Based on Edward Abbey's novel "The Brave Cowboy," andadapted as a screenplay by Dalton Trumbo, Lonely Are the Bravefollows the story of a free-spirited cowboy named Jack Burns (KirkDouglas) who struggles to live as an individual among theencroaching world of modern civilization. After coming to the aid ofa friend (Michael Kane) and then breaking out of jail, Burns is chasedon horseback through the perilous 2-mile high cliffs of the Sandiamountain range in Central New Mexico, fighting off helicopters andthe forces of law and modernity. He is patiently pursued by the mildmannered Sherrif Johnson (Walter Matthau), who secretly hopes thatthe cowboy makes it over the border to safety.Lonely are the Brave was not only Kirk Douglas's favoritefilm, but it was also a source of pride for the team who made it.Executive Producer Edward Lewis notes that the film testedextremely well with audiences but "for me, more important, is thefact that I love it—I can truthfully say that it's the first picture that

Miller—LONELY ARE THE BRAVE—6I've made that I really like." Cinematographer Philip Lathrop anddirector David Miller shared this sentiment, and script supervisor,Dick Michaels, called the work "a fine creative film" and notes thatworking on it "was a fortunate opportunity," a genuine complimentfrom a man who adds that he "is not interested in being a scriptsupervisor much longer."Before production even started, the script was sent to authorEdward Abbey for comments, an unusual move in the industry thatdemonstrates the team's commitment to the story and the characterdevelopment of Jack Burns. "All of us involved in this project havelong admired the novel and it is for this reason that we submit thescreenplay to you for your comments you may care to make on it,"Lewis writes. While "delighted" with the script, Abbey begs theproducers not to use the original working title "The Last Hero," a pleathat was heeded, however, not because of Abbey's insistence butbecause the rights could not be secured. A five-page list of potentialtitles was circulated before "Lonely Are the Brave" was selected; it"tested by far the best of many we tried, primarily because itconnoted 'quality.'"Nonetheless, the script still went through the usual back-andforth with the MPAA Production Code Administration. GeoffreyShurlock's concern with the scripts "crudities" demonstrates thenegotiations between writers and censors in the years before theratings system was implemented. Despite Shurlock's doggedinsistence on the removal of fart jokes, wayward preachers, andextraneous "hells" and "damnits," he ultimately found the film to be"an exciting story which reveals the very heart of the Americanspirit." It was proof, he said, that "outstanding films can still be madewithout the immortality and decadence which pervades many oftoday's movies."Rogers & Cowan, Kirk Douglas's public relations firm,worked on developing a unique publicity point of view that focusedon Bryna's two-fold conception of the film's themes of "realism" and"ruggedness." The "American neo-realism" that they identifyincludes a "semi-documentary" feel to the filmmaking. In sharpcontrast to Spartacus, Bryna's newly released big budget epic, LonelyAre the Brave was shot in black and white and produced on a muchlower budget. In addition, they planned

Miller—LONELY ARE THE BRAVE—2 Roman Holiday, 1951 He Ran All the Way, 1951 The Prowler, 1950 Rocketship X-M, 1950 Gun Crazy, 1945 Our Vines Have Tender Grapes, 1945 Jealousy (story), 1944 Thirty Seconds Over Tokyo, 1943 Tender Comrade, 1943 A Guy Named Joe, 1940 Kitty Foyle, 1940 We Who Are Young, 1940 A Bill of Divorcement, 1940 Curtain Call, 1939 Five Came Back, 1939 The Flying Irishman .