ANDREW McBRIDE’s review of McALLISTER NEVER SURRENDERS By MATT CHISHOLM

 Here’s my 4 star review of 

McAllister Never Surrenders by Matt Chisholm 

Effortlessly readable western

The late Matt Chisholm was one of my favourite authors when I started reading westerns. When I learned he was, like me, English (Chisholm’s real name was Peter Watts) I was further inspired to become a western novelist myself.

Peter Watts (Matt Chisholm) (1929-1983) 

He wrote many westerns, also using the names Cy James and Luke Jones. My favourites were the ones featuring his tough, amiable, flawed hero Rem McAllister.

In McALLISTER NEVER SURRENDERS, McAllister is running a small horse-ranch in Wyoming when a grasping cattle baron comes after his land.

Wyoming

This isn’t the most substantial storyline Chisholm ever constructed, and I do prefer his grittier tales (‘McAllister Rides,’ ‘Strikes’, ‘Cheyenne Death’ etc.)

However, what transforms a familiar scenario is Chisholm’s excellence as a writer. In some quarters the ability to produce effortlessly readable prose is looked down on, but those of us involved in this strange trade know it takes real talent and ability.

Chisholm keeps a cracking pace, puts plenty of grit in the action scenes, writes crisp dialogue and relieves high tension with laconic humour.

‘Never Surrenders’ appears to be one of the last books Chisholm wrote, which indicates, very sadly, that he passed when he was still at the top of his game, with much more to offer.

Find my review here on Amazon.co.uk: https://www.amazon.co.uk/McAllister-Never-Surrenders-Western-Book-ebook/dp/B0722NDM2X/ref=sr_1_1?dchild=1&keywords=mcallister+never+surrender&qid=1617706725&sr=8-1

And here on Goodreads: https://www.goodreads.com/book/show/35276257-mcallister-never-surrenders

You can also find McALLISTER NEVER SURRENDERS here:  https://www.amazon.com/McAllister-Never-Surrenders-Western-Book-ebook/dp/B0722NDM2X/ref=sr_1_1?dchild=1&keywords=McAllister+Never+Surrenders&qid=1617781630&s=books&sr=1-1

ANDREW McBRIDE interviewed by CAMERON JUDD

 Cameron Judd is the author of many acclaimed novels which can be described as, variously, American historical fiction, frontier fiction and westerns. He was a finalist for the Spur award. He’s also a Facebook friend of mine. He’s also a feature writer and columnist for ‘The Greeneville Sun’ based in Greeneville, Greene County, Tennessee – the home county of Davy Crockett no less. In his journalistic capacity Cameron has been kind enough to interview me for ‘The Greeneville Sun’ where we discuss westerns, including my latest novel ‘COYOTE’S PEOPLE’ and a range of topics from the aforesaid Davy Crockett to Robin Hood to Hollywood to vests and/or undershirts!

 

This is an edit of the interview. You can find the FULL INTERVIEW here: http://gstearsheets.greenevillesun.com/editions/gvs_20210130_1_de/pdf/A-06.pdf 

Here you can read my blogs about some of Cameron’s novels:

THE OVERMOUNTAIN MEN

Reviewers called this novel ‘A wonderful, entertaining and enlightening work’ and an 'amazing historical adventure.’

https://andrewmcbrideauthor.blogspot.com/2017/09/author-favourites-overmountain-men-by.html

THE SHADOW WARRIORS

'Another great read by Cameron Judd.’ ‘A terrific novel by an excellent author.’

https://andrewmcbrideauthor.blogspot.com/2017/11/author-favourites-shadow-warriors-by.html

THE PHANTOM LEGION

‘Historically accurate, fast paced, easy reading.’

https://andrewmcbrideauthor.blogspot.com/2017/11/author-favourites-phantom-legion-by.html

SEASON OF RECKONING

‘Awesome.’ 'Great book. Superb author.'

https://andrewmcbrideauthor.blogspot.com/2017/11/author-favourites-season-of-reckoning.html

Here’s my edit of the interview. I’ve highlighted my own comments in bold:

 

A BRIT WESTERN WRITER? WHAT’S UP WITH THAT, MCBRIDE?

So what would make a guy born in the northern part of England and now living in the southern part of that same country develop an impulse to write one of the most thoroughly American varieties of fiction: western novels? The kind with cowboys and Indians, saddles and six-shooters, cattle drives and saloons, 10-gallon hats and other not-particularly-British things?

That question always came to my mind with every new social media posting or email from my across-the-pond friend, Andrew McBride, who lives in Brighton, England. So I decided I’d just ask.

 

Why reach all the way “across the pond” from England’s southern coast for subject matter? Why not write about Cromwell and Guy Fawkes and Robin Hood and all those other British characters and leave Billy the Kid, Sitting Bull, et al., out of it?

 

Turns out that you can credit Greene County, Tennessee, for the western writing career of British author Andrew McBride.

 

Well, that’s an exaggeration. It wasn’t exactly Greene County that helped stir Andrew’s interest in the frontier era of us here in the Colonies. It was instead a famous fellow who was born here.

 

You guessed it. Ol’ Davy. Andrew, now 66, was in boyhood a fan of Davy Crockett, as Walt Disney and Fess Parker led boys around the globe to be. With the influence of television westerns thrown in, British schoolboy Andrew became aware of the American frontier and its stories.

Let me let him say it in his own words:

 

“First let me say how honoured I am to be featured in a newspaper from the great state of Tennessee, and from the home county of Davy Crockett, who was my hero when I was a schoolboy.”

David (Davy) Crockett (1786-1836) in 1834

He goes on: “When I was a kid growing up in the 60s, the western was very prominent. U.S. imports made up about half the TV us Brits watched – shows like ‘Man from Uncle’ but also TV westerns, and movies like the John Wayne/ John Ford classics.

 

“The TV western series ‘The High Chaparral’ really struck a chord with me. They filmed a lot on location and I fell in love with the Arizona landscape. I knew other Brits who didn’t particularly like westerns who watched that show because they loved the scenery. It also got me interested in the historical background – the Apache Wars – which led to an interest in the history of the Old West generally, and also Native American culture.

“When I was in my early 20s a friend turned me on to reading western fiction. I particularly liked the McAllister series written by Matt Chisolm – and when I found out that Chisolm was, in reality, English, I thought: if he can do it, why can’t I? I started writing westerns fairly tentatively, but after about 10 years of picking at it, I got my first one published.”

Andrew’s writing interests have not been entirely western-focused. He says: “I’ve written about 16 novels, not just westerns but some thrillers and two historical novels where I attempted to write realistically about what might be the ‘real’ stories of King Arthur and Robin Hood. Oddly enough, only the books in the most ‘uncommercial’ genre – the western – have been published.”

He added, “I’ve also written a few screenplays which Hollywood has shown absolutely no interest in whatsoever – at least so far!”

 

Mentally putting myself into Andrew’s shoes, I wondered about a specific potential challenge facing him and other non-American authors writing about American characters: making the things those characters say sound like words from American speakers. Has that been a struggle?

 

He answered, “Americans and Brits do talk differently, of course. Americans tend to be more direct and economical in speech than Brits. For example, a Brit will say ‘let me go and find out’ while an American might say ‘let me go check.’”

 

There’s an additional layer of challenge, Andrew is aware, when the American speech he’s writing comes from an earlier historical period.

Regarding that, he told me: “I also have to bear in mind that people in the 19th century, regardless of nationality, spoke differently than folks today. I’ve always tried to get my dialogue right. In fact, I have to say, immodestly, that some of my reviewers – including the award-winning western novelist Lucia Robson – have praised my dialogue.”

 

He confessed one language blunder from in his first published western: “I did mess up over a British/American language issue on the second page of my very first novel ‘CANYON OF THE DEAD.’ I have my character wearing a ‘vest’ – I meant what Americans would call an ‘undershirt.’ What Americans call a ‘vest’ we Brits call a ‘waistcoat.’ You could say I blew my credibility on only my second page! Since then, I’ve tried to use American English with regard to detail as well as dialogue.”

Vest (UK)/ undershirt (US)

Waistcoat (UK) Vest (US)

Has Andrew been able to visit the American West he writes about?

Here’s what Andrew had to say about researching the American terrain: “I don’t think you need to physically visit all locations, especially in this internet age when you can watch videos of any far-away place on earth. For example, when Elmore Leonard was writing westerns, he’d never been west of the Mississippi. In my case, I have been to the American West, but not to all the places I’ve written about.”

 

Andrew describes his westerns as “largely outdoor/ wilderness affairs” in which his characters “tend to end up stuck in some remote desert or up an inaccessible mountain – and I’ve not been to all of them.”

 Arizona

What is Andrew’s most recent novel?

“My latest, published by Five Star Publishing, is ‘COYOTE’S PEOPLE.’ it’s based loosely on real events that occurred during the Apache Wars in Arizona in the 1870s,” Andrew says. “It’s a rights-of-passage story about a 17-year-old white boy being thrust into manhood by what happens to him. It’s also a bit of a ‘Romeo and Juliet’ tale in that he falls in love with an Apache girl. They find themselves in the middle of the conflict raging around them, threatened by both sides.”

At the moment, Andrew says, “‘COYOTE’S PEOPLE’ is only available in hardback, with a large print hard back version due to be published in February or March. So you can buy it from the usual bookstores and on sites like Amazon and Barnes and Noble. It’s also available in libraries, so if it’s not in yours, order it in!”

 

A Brit writing westerns isn’t as unusual a phenomenon as it might first appear. Andrew mentioned Matt Chisolm. There were quite a few others, too.

 

Meanwhile, Andrew McBride, thanks, and keep your eyes (and your word processor) aimed westward!

25 WESTERN MOVIES TO ENJOY

 I recently produced a 25 ESSENTIAL WESTERNS blog. There I took on the foolhardy task of compiling a list of ESSENTIAL westerns, movies you just have to see to appreciate the western at its best, at its most ground-breaking, and touching the main western bases. Films featuring the key western actors and directors. Find it here: https://andrewmcbrideauthor.blogspot.com/2020/09/25-essential-western-movies.html

I’ve decided to supplement this list with a further 25 WESTERNS TO ENJOY, movies that aren’t ground-breaking or innovative but show the western at its most entertaining. Some of these films have considerable artistic merit and/or thought-provoking elements, such as a debate on the validity or otherwise of violence/ the treatment of the Native Americans etc., issues the western has often addressed. Others are simply good shoot ’em up fun to keep a viewer entertained for a couple of hours. A few might be described as ‘guilty pleasures,’ personal favourites that I seem to be in a minority in enjoying. So not all of the following films are great, or classic, but all have given me plenty of enjoyment.

This isn’t anything like a complete list and I could have included more. I decided to stop at 25, for no particular reason, or I’d be writing the world’s longest blog. Between my ESSENTIAL westerns blog and this one, there’s hopefully enough to introduce someone new to westerns to the genre, to help them ‘get’ westerns – and have a good time doing it. If a favourite movie of yours isn’t here, it may be because it’s already appeared on my ESSENTIAL list. The films listed there are: THE COWBOYS, FORT APACHE, THE GUNFIGHTER, HOMBRE, JESSE JAMES, THE LEFT-HANDED GUN, LITTLE BIG MAN, A MAN CALLED HORSE, MY DARLING CLEMENTINE, THE NAKED SPUR, THE OX-BOW INCIDENT, RED RIVER, RIDE THE HIGH COUNTRY, RIO BRAVO, THE SEARCHERS, SHANE, THE SHOOTIST, STAGECOACH, THE TALL T., 3.10 TO YUMA, UNFORGIVEN, VERA CRUZ, WAGON MASTER, THE WILD BUNCH, WILL PENNY, BAD DAY AT BLACK ROCK and LONELY ARE THE BRAVE.

Because I’m expressing my opinions throughout, I decided to forgo the use of phrases like ‘in my view’ or IMHO as I’d be repeating them endlessly.

Films are listed in alphabetical order, not in any order of merit.

THE BIG COUNTRY (1958)

Easterner GREGORY PECK gets a rough ride from the locals when he arrives on the cattle ranges of Texas, and then gets caught up in a private war between two rival ranchers. Big-scale, intelligent western with a great theme tune by JEROME MAROSS. BURL IVES steals every scene he’s in as one of the warring ranchers, winning an Oscar in the process. 

BUTCH CASSIDY AND THE SUNDANCE KID (1969)

I really enjoyed this movie when it first came out, but I’ve gone off it somewhat over the years. The script feels a little anachronistic and the two leads come over as men of the 1960s, not the 1890s. I also find the ‘Raindrops keep falling on my head’ sequence a bit cloying. Having said that, there’s plenty of wit in the script, the ‘chase’ sequence is very well done and visually striking and there’s a tremendous shoot-out at the end.

THE COMANCHEROS (1961)

In ‘The John Wayne Scrapbook’ Lee Pfeiffer writes: ‘The Comancheros isn’t often discussed as a masterpiece, and perhaps it isn’t. However, it would be difficult to find a western that is more enjoyable to watch.’ That about sums up this cheerful, zestful ride. JOHN WAYNE shades into James Bond territory as a Texas Ranger who goes undercover to break up a gang in league with hostile Indians. Great fun, and Wayne has tremendous chemistry with co-star STUART WHITMAN and villain LEE MARVIN.

CUSTER OF THE WEST (1967)

I seem to be in a small, select band in my admiration for this action-packed western, with plenty of Cinerama spectacle. English actor ROBERT SHAW was unlikely casting as the ‘boy General’ but gives a typically powerful performance as a conflicted, driven man.

 FLAMING STAR (1960)

Another artistic success for DON SIEGEL who rose in stature as a director through the 50s. Helped by a taut script, based on a CLAIR HUFFAKER novel, Siegel manages to get a good performance out of his star, ELVIS PRESLEY, in a serious, mostly non-singing role. Presley is supported by an able cast including STEVE FORREST and JOHN McINTIRE. The film mixes tough action with some sympathy for Native Americans.

FORT MASSACRE (1958)

Largely unknown U.S. Cavalry versus Indians western, with JOEL McCREA playing against type as a soldier whose hatred of Apaches drives him to destruction in harsh desert surroundings. Notable for the visceral (for its time) action scenes.

THE GREAT NORTHFIELD MINNESOTA RAID (1972)

The best movie on JESSE JAMES - just called 'JESSE JAMES' (1939) - is on my essential list. THE GREAT NORTHFIELD MINNESOTA RAID makes an interesting contrast, as both movies reflect the times when they were made. NORTHFIELD is very much of the 'revisionist' era and takes a cynical, blackly comic look at this famous outlaw and his associates. The film postulates that COLE YOUNGER (played by CLIFF ROBERTSON) was the real 'brains' behind the James/Younger gang. It also breaks the mould in having an actor play Jess - ROBERT DUVALL - who actually looks like him!

GUNFIGHT AT THE OK CORRAL (1957)

One of several enjoyable takes on the story of WYATT EARP, which also includes HOUR OF THE GUN (1967) and the fictionalisation WARLOCK (1959.) Lacking the beauty and artistry of the best of these - JOHN FORD’s ‘My Darling Clementine,’ - but a good example of the well-made traditional western, chronicling the events leading up to the fabled gunfight. KIRK DOUGLAS gets my vote for best screen DOC HOLLIDAY in his portrayal of the tortured, self-destructive dentist-turned-gun man.

GUNMAN’S WALK (1958)

One of those quiet, below-the-radar movies that made the 50s a golden age for western film. A strong debate on the morality of violence underpins this tale of a rancher (a typically intense performance by VAN HEFLIN) and his two sons as they come into manhood.

THE MAGNIFICENT SEVEN (1960)

This film is tremendously popular and any criticism of it I make is going to arouse the ire of western movie fans. But I’m going to risk it anyway. One reason I think ‘Magnificent’ is ‘good not great’ is that I saw it after seeing ‘The Seven Samurai,’ the Japanese masterpiece directed by AKIRA KUROSAWA. ‘Samurai’ is such a staggeringly brilliant film it eclipses any follow-up.

SEVEN SAMURAI (1954)

Further, I’d quibble with some of the casting in ‘Magnificent’; I’ve never really bought ROBERT VAUGHN in westerns, and I don’t think YUL BRYNNER, BRAD DEXTER and (particularly) HORST BUCHHOLZ are well cast. On the plus side you have solid work from STEVE McQUEEN and JAMES COBURN, CHARLES BRONSON and ELI WALLACH are both outstanding in their roles, there’s some memorable dialogue (‘We deal in lead, friend’) and good action scenes. Topped off by one of the greatest scores – written by ELMER BERNSTEIN - in western movies.

ONE-EYED JACKS (1961)

Based loosely on CHARLES NEIDER’s great novel ‘The Authentic Death of Hendry Jones’ – which is a fictionalisation of the life of BILLY THE KID. MARLON BRANDO directed and starred, getting strong performances out of KARL MALDEN, SLIM PICKENS and BEN JOHNSON, all playing villains. Set in an unusual location for westerns – the Pacific coast of California.

THE OUTLAW JOSEY WALES (1976)

CLINT EASTWOOD directed and starred in this 'revisionist' western about a loner fighting the American Civil War long after it's ended. Maybe it rambles on too long, and Eastwood is too super-human to fully engage with, but there's much for western aficionados to enjoy, from the visual splendour of the landscapes to the laconic dialogue leavened with black humour and the punchy action scenes.

PILLARS OF THE SKY (1956)

The U.S. Cavalry and Indians clash in 1868 Oregon. Part of the 1950s cycle of sympathetic-to-Native Americans movies that included BROKEN ARROW, APACHE, DEVIL'S DOORWAY, SMOKE SIGNAL and WHITE FEATHER, any of which might have made this list. A highlight is the excellent running-fight battle sequence.

RIDE LONESOME (1959)

I’d rate ‘The Tall T’ the best of the quality westerns RANDOLPH SCOTT made with director BUD BOETTICHER, but this comes second. A small-scale production about a handful of characters crossing a hostile wilderness, and all the better for its tautness and simplicity.

RUN OF THE ARROW (1957)

Long before 'Dances with Wolves' there was this film, written and directed by SAMUEL FULLER, about a white man so alienated from white society he prefers to live with the Sioux. An unusual and original take on Native American society, although it's never explained why southern-born ex-Confederate ROD STEIGER has an Irish accent! STEIGER sometimes hams it up, but that's counter-balanced by effective underplaying by BRIAN KEITH, RALPH MEEKER and CHARLES BRONSON (as a Sioux chief.)

THE SCALPHUNTERS (1968)

BURT LANCASTER sends himself up as a rough-hewn fur trapper partnering a black slave (OSSIE DAVIS) - who turns out to be a much brighter and more sophisticated man. They pursue a ruthless gang led by TELLY SAVALAS in an enjoyable, energetic, comedy-western romp.

SHE WORE A YELLOW RIBBON (1949)

My favourite of the acclaimed’ cavalry trilogy’ director JOHN FORD made with JOHN WAYNE is ‘Fort Apache,’ but this instalment also has many strengths, from WINSTON HOCH’s Oscar-winning colour photography to John Wayne’s wonderful performance as a man much older than his actual years.

THESE THOUSAND HILLS (1959)

The great western novelist A. B. GUTHRIE JR. felt this was the best film adaption of his work. If you ignore the syrupy theme tune and the slightly sanitised look, this is an authentic take on life on the cattle ranges of 1880s Montana. With a bit more grittiness it might have approached Shane-level greatness.

A THUNDER OF DRUMS (1961)

An under-appreciated western about a remote U.S. cavalry outpost. Some of the younger actors – GEORGE HAMILTON, RICHARD CHAMBERLAIN – are a little bland and modern-seeming, but RICHARD BOONE holds it together as the tense, hard-bitten commanding officer, displaying what one critic called ‘craggy nobility.’ The film climaxes with Boone and his troops pursuing raiding Apaches into stunningly-photographed Arizona locations.

TRIBUTE TO A BAD MAN (1956)

Late in his career, JAMES CAGNEY made a few westerns. This gritty tale, based on a JACK SCHAEFER story, deals with the very real Old West issue of lynching. Cagney gives a fine performance as a rancher with ‘hanging fever.’ There’s excellent support from IRENE PAPAS and STEPHEN McNALLY, strong location photography and an authentic take on the bleak lives cowboys often lived. One caveat: I don’t like the title!

TRUE GRIT (1969)

JOHN WAYNE finally picked up an Oscar (which he should have won 20 years earlier for ‘She Wore a Yellow Ribbon’ or ‘Red River’) with his roistering performance as wayward lawman Rooster Cogburn. Cogburn’s character switches from rascally to clownish to heroic, an acting challenge Wayne more than meets, and he gets strong support from KIM DARBY and ROBERT DUVALL.  

VALDEZ IS COMING (1971)

A gritty, action-packed western from the ‘revisionist’ era, this movie is based on an ELMORE LEONARD novel. BURT LANCASTER plays Bob Valdez, a despised Mexican lawman pursued through desert and mountains by a rancher and his private army. At which point we – and the pursuers, to their cost – discover Valdez has wilderness skills honed scouting against the Apaches, and that he’s a one-man fighting and killing machine.

THE WESTERNER (1940)

WALTER BRENNAN won an Oscar playing 'JUDGE' ROY BEAN, likable one minute, treacherous and villainous the next. He's pursued by his friend/enemy GARY COOPER in a lyrical, folksy tale leavened with plenty of black humour. .

WESTERN UNION (1941)

Epic-scale production about the laying of the transcontinental telegraph line across the west. ROBERT YOUNG and RANDOLPH SCOTT vie for the same girl, while dealing with renegade whites and Indians. There’s top-notch location photography, script and performances, and strong period detail.

WINCHESTER 73 (1950)

JAMES STEWART believed switching to westerns rescued his film career. Formerly known as a likable light-touch actor in contemporary dramas and comedies, he toughened up his image considerably in this cracking adventure about men in obsessive pursuit of a ‘one-in-a-thousand Winchester.’ The first of a string of fine westerns Stewart made with director ANTHONY MANN, where the character Stewart portrayed was often motivated, sometimes neurotically, by revenge. Strong support from SHELLEY WINTERS and DAN DURYEA as a ‘laughing villain.’

As with my ESSENTIAL list, there were no ‘Spaghetti Westerns’ included here. Without wanting to sound too high-brow about it, I find them entertaining but lacking in depth. THE GOOD, THE BAD AND THE UGLY is the only one I considered. And again no recent westerns feature. My ESSENTIAL list featured none made after 1992, and the most recent one on this list was made in 1976! These are all from the ‘classic western’ period, which I would define as 1939 - 1976. I find it a bit depressing that modern film makers can’t seem to make a great western any more. I’d be delighted for some of them to prove me wrong!

As I said, these are just my opinions. Feel free to disagree – as long as we keep it civil!