Bret and Bart Maverick (and in later seasons, their English cousin, Beau) are well dressed gamblers who migrate from town to town always looking for a good game. Poker (5 card draw) is ... See full summary »
Stories of the journeys of a wagon train as it leaves post-Civil War Missouri on its way to California through the plains, deserts and Rocky Mountains. The first treks were led by gruff, ... See full summary »
Marshal Earp keeps the law, first in Kansas and later in Arizona, using his over-sized pistols and a variety of sidekicks. Most of the saga is based loosely on fact, with historical badguys... See full summary »
Lawman is the story of Marshal Dan Troop of Laramie, Wyoming and his deputy Johnny McKay, an orphan Troop took under his wing. In the second season Lily Merrill opens The Birdcage Saloon ... See full summary »
The Shiloh Ranch in Wyoming Territory of the 1890s is owned in sequence by Judge Garth, the Grainger brothers, and Col. MacKenzie. It is the setting for a variety of stories, many more ... See full summary »
Professional gunfighter Paladin was a West Point graduate who, after the Civil War, settled into San Francisco's Hotel Carlton were he awaited responses to his business card: over the picture of a chess knight "Have Gun, Will Travel ... Wire Paladin, San Francisco." Written by
Ed Stephan <email@example.com>
In early production of the series, Paladin's trail clothes were a rich midnight blue. This nicely complimented Richard Boone's blue eyes. They read as black on the black and white film of the day. There was a shirt redesign from a buttoned front to a V-neck and the colours of both changed to black around that time. Whenever Paladin's clothes were referred to in dialogue, he was always called 'the man in black,' whether he dressed in blue or black. See more »
Paladin shoots a .45 Long Colt pistol and Derringer. When the derringer is fired the sound is depicted as being less than that of his full size pistol. In reality, since they shoot the same cartridge, they would sound approximately the same. See more »
I don't think you got a very good look at this gun while you had it. The balance is perfect. This trigger responds to a pressure of one ounce. If you look carefully in the barrel you'll see the lines of the rifling. It's a rarity in a hand weapon. This gun was handcrafted to my specifications and I rarely draw it unless I mean to use it. Would you care for a demonstration?
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We are used to 40 years of hour-long dramas and half-hour comedies. We think those time limits were somehow decreed by God. But once upon a time, half hour dramas were common. I've got a large collection of Gunsmokes, (it was ½ hour for the first six years- the most popular year sit ever had), Have Gun Will Travels, as well as Naked City and Secret Agent, (Danger Man), both of which were ½ hour in their first seasons. So were many other shows, including man Westerns, like Wyatt Earp, Bat Masterson and the Rifleman. My experience is that these shows were uniformly strong and interesting and that they packed as much drama and action in 30 minutes as most shows do in 60. Occasionally, there's a plot that could have used some fleshing out and maybe an ending that seemed too pat, as if they lacked the time for something appropriately complex. One thing ½ hour dramas didn't do very well is allow for ensemble casts. They usually concentrate on single stars with supporting players mostly in the background and stock villains. There wasn't time for subtle shadings. The drama was as stark as a shoot-out.
Still, there are so many hour-90 minute and even two hour dramas I've seen over the years that were padded with irrelevant subplots, pointless red herrings and other nonsense that the spare, to the point storytelling of these early efforts has a strong appeal. Have Gun Will travel was probably the best of the half hour dramas because it was perfect for it. Other than Hey-Boy, (and Hey Girl), there was just one cast member- the Hero. He was a constant, allowing for all the character development to be about the villain, or perhaps whoever was threatened by him. Despite Paladin's efforts at avoiding violence, the show typically came down to the inevitable shoot-out, where he had even better luck than Matt Dillon, (he was wounded far fewer times). Into this form was injected a series of shot, pithy poetry reading by the Shakespearean trained Richard Boone. That, plus the complexity of the villains, made this show a cut above the many other westerns of it's time. Ironically, what the show did not do well was comedy. Boone's stoic visage registered disgust better than amusement and disgust isn't very funny.
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