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Jeffrey Hunter

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Posted: Friday, July 24, 2009 12:00 am

All in the Eyes

By Frances Ingram

In the 1950s and ‘60s, the most beautiful eyes in Hollywood were thought to belong to Elizabeth Taylor and Paul Newman. However, these two actors never used their eyes more strikingly than Jeffrey Hunter. His stunning blues could be at turns persuasive, soulful, and warm, or intense and filled with madness. Strangely, while audiences were captivated by Hunters eyes, the critics often were not.

It was the power of Jeffrey Hunter’s blue blue eyes, which won for him, over scores of candidates, the role of Jesus in Samuel Bronston’s 1961 production of King of Kings. And yet, his casting was criticized, probably because of his extreme good looks. At a time when film criticism was becoming increasingly unfair, one critic notoriously dubbed the film “I Was a Teenage Jesus.”

Others, however, were enthusiastic about his appearance in the film. “Foremost among the players must be Jeffrey Hunter as the Savior . . . But he comes remarkably close to being ideal. His blue orbs and auburn bob (wig, of course) are strikingly pictorial,” Variety wrote. Bosley Crowther, in the New York Times, added that he “performs with simplicity and taste.”

A look at the movie today undermines Hunter’s detractors—his acting clearly is superb. Fully immersed in the part, never once slipping into camp, he seems calmly spiritual and other worldly. It was a remarkable performance from an actor never given such a part before, or after. If there was anything wrong with his casting, you’d have to blame the producer and director, not the actor. Hunter’s “problem” seems to be that he was almost too handsome, not only for his Jesus role, but for other roles as well. His smashing good looks often seemed a distraction, and while they may have endeared him to viewers, petty-minded film critics just couldn’t forgive him for looking so good.

Henry Herman McKinnies, Jr. was born on Thanksgiving Day, November 25, 1926, right after his mother was preparing dinner. “But nobody at our house got any turkey that day,” Jeff said. “The turkey was me!” That event took place on Hepser Street, in New Orleans, Louisiana, where his parents, H. H. McKinnies and Edith Burgess McKinnies, had migrated from Arkansas. It was reported that the McKinnies family were remote descendants of Zachary Taylor, the twelfth President of the United States.

Not long afterwards, the family moved from New Orleans to Milwaukee, where Jeff grew up near Lake Michigan in the Whitefish Bay part of town.

Hunter’s interest in acting started early. “We had a big backyard,” he said, “and I was always putting on a carnival or a circus. I had a puppet show, too, and I also did magic tricks.” He was said to have played an old man in Goldilocks and the Three Bears for the Children’s Theatre in Milwaukee.

In the summer of 1942, when Jeff was 16, a company of New York summer stock actors, the Northport Players, came to Milwaukee, and for three consecutive summers Jeff played bellboys, sailors, musicians and other bit roles, including the son in Damask Cheek, with this company. Because of this, he set his sights on a theatrical career, although he thought radio work would be his calling.

Jeff enlisted in the U.S. Navy in 1945 and underwent training at Great Lakes Naval Station, Illinois. At Great Lakes, he worked toward a radar technician’s rating, but soon changed to primary training, hoping to get to Japan. Instead, he wound up in sickbay with the measles and complications, leading to a medical discharge in 1946.

He received a scholarship in radio for his freshman year at Northwestern University where he later became president of his fraternity, Phi Delta Theta. At Northwestern, he majored in speech and radio, minored in psychology and English, and acted in the university plays, the NWU radio workshop and guild. He acquired stage experience in The Rivals and Ruth Gordon’s Years Ago. He also did summer stock with Northwestern students at Eagles Mere, Pennsylvania, in 1948, and worked on two Northwestern radio broadcasts. He was also active in the campus film society with David Bradley. Later he would act in Bradley’s production of Julius Caesar (1950), starring Charlton Heston.

Hunter graduated from Northwestern University with a bachelor’s degree in 1949. After graduation, Jeff headed for Hollywood. Soon, at age 23, Hunter found himself enrolled in graduate school at UCLA, studying for a master’s degree in radio programming and technique.

He was cast in a UCLA production of All My Sons in May 1950. Talent scouts from Paramount and 20th Century-Fox were in the audience. He did a screen test over at Paramount, enacting a scene from All My Sons, but when the studio decided to pass on him, he was grabbed by Fox.

When Jeff signed his Fox contract, he was immediately sent to New York for Fourteen Hours (1951). In his small but noticeable role, he was a young man who meets a girl (Debra Paget) on the street during the commotion surrounding the threatened jump of a troubled man (Richard Basehart) from a skyscraper ledge.

When he returned to Hollywood, they told him they didn’t like his name. “Nothing personal, but think up a new one,” they said. He sat in the office of publicity chief Harry Brand at a portable typewriter and pecked out all the names he could think of until finally he said, “How about Jeffrey Hunter?” The publicity man grinned, and said, “Hi, Jeff!”

Jeffrey was featured in two films with Richard Widmark, The Frogmen, and Red Skies of Montana. In these, Hunter’s handsome looks and gentle manner brought to mind two earlier Fox stars, Tyrone Power and the young Henry Fonda.

Recalling the first time they met in 1950, when he was screen testing at Paramount, actress Barbara Rush told The New York Post in 1968 that Hunter was the “handsomest” man she had ever seen, claiming it was love at first sight. Barbara was a Pasadena Playhouse alumnus from Santa Barbara, one of Paramount’s “Golden Circle” starlets before moving over to Fox. After finishing the college movie Take Care of My Little Girl, he drove to Arizona, where she was on location, and proposed. Hunter and Barbara were married on December 1, 1950, at St. Christopher’s in Boulder City. They had a two-day honeymoon in Las Vegas, and then Jeff had to go to the Virgin Islands to film The Frogmen. Barbara would later remember that Jeffrey also had to go on location the day their son Christopher was born in 1952. Ultimately, their careers clashed and, after nearly four years of marriage, they separated and divorced in 1955. Still, they would appear together on screen in No Down Payment (1957).

In 1952 Jeff was being described as “the best bet for stardom seen in many years.” The man who predicted this bright future was Walter Brennan, veteran of 30 years in the movie business and a three-time Oscar winner. He, Jeff, and Jean Peters were at the time filming Lure of the Wilderness. “Jeff has mastered two of the toughest tricks in the actor’s trade,” Brennan said. “He thinks and he listens. Too many actors memorize their lines and repeat the words mechanically. If you’re thinking in character, the words are easy because they’re natural.” According to Brennan, Jeff had the qualities needed by a good actor: “intelligence, desire to succeed, sense of humor, willingness to work hard and study.”

Jeff had second leads in Belles on Their Toes (1952), with Debra Paget, and Dreamboat (1952), with Anne Francis. He acquired his first lead roles in Lure of the Wilderness (1952) and Sailor of the King (1953). In his autobiography, “My Word Is My Bond,” Roger Moore remembers, “The only person I knew in Hollywood, and I mean actually knew, rather than being familiar with from their big-screen appearances, was Jeff Hunter, a good-looking actor under contract to Twentieth Century-Fox. We’d met at a gymnasium in London during my time understudying Geoffrey Toone in The Little Hut on the West End stage. The role called for me to prance about in a loincloth, so I decided I ought to pump up some muscle. Jeff was en route to Malta to start filming the C.S. Forester story, Sailor of the King, and had had the same thought. A firm friendship was forged and, in fact, I named my eldest son Geoffrey after him. In Hollywood it was Jeff who lived just over Coldwater Canyon with his wife, the beautiful Barbara Rush, who showed Dot [Dorothy Squires, Moore’s wife at the time], and me around and helped us in our quest to find a home in Westwood, our preferred area.”

Hunter went on to star in the Western Three Young Texans and the adventure film Princess of the Nile, both released in 1954. In Seven Cities of Gold (1955), Jeffrey played a Diegueno Indian chief who represented the native feelings in California. Blue-eyed Jeff had to wear brown-tinted contact lenses to play the Indian role. He also wore a black wig and had to be painted from head to toe with intricate war paint designs, which caused co-star Rita Moreno to tease him that it took longer for him to get made up than it did her. Jeff and Rita swam, danced and dined together often during the Mexico stopover and took a two-week holiday in Acapulco when their parts were finished, but they laughed off any talk of it being a romance, chalking it up to “friendship and mutual interests.”

He was loaned-out to appear with John Wayne in the Western, The Searchers (1956), directed by John Ford. This is the one indisputable masterpiece of Hunter’s career, and contains one of his best performances. The New York Herald Tribune wrote, “Jeffrey Hunter is excellent as the boy who shares [Wayne’s] relentless search. He is far more emotional and likable and he matures over the five years from a naive kid to a man who can take care of himself in tough situations. Hunter has many fine scenes.” The critic for the Herald Tribune was especially impressed by Hunter’s “scene where he’s asked to read Wayne’s last will and testament.” Wrote Louella Parsons in May of 1956, “When you see The Searchers, you’ll agree with me that Jeff Hunter is a fine actor. He shares honors with John Wayne and is just as good as Duke, which is no faint praise.”

The Searchers was the beginning of a fruitful association with director John Ford, which also included The Last Hurrah (1958) and Sergeant Rutledge (1960). The roles he enacted for Ford gave Jeff a chance at more mature parts, not the roles that Fox gave him to appeal to teen audiences. They solidified his status, proving that he was much more than a handsome presence on camera. John “Pappy” Ford was conscious of Hunter’s underlying strength and sincerity, but, unfortunately, his handlers at Fox weren’t as perceptive as Pappy.

His contract with Fox became stifling as he was assigned and lent out for roles that rarely, if ever, stretched him as an actor. He was there merely as a handsome, reliable lead or second lead: The Proud Ones (1956), A Kiss Before Dying (1956), Gun for a Coward (1957), The True Story of Jesse James (1957, as Frank James), The Way to the Gold (1957), and No Down Payment (1957). Bosley Crowther, in the New York Times, did notice the actor’s charisma in The Great Locomotive Chase (1956), a loan out to Walt Disney: “The actors all do very well . . . Jeffrey Hunter’s positively staggering as the valiant Confederate conductor who leads the chase.”

Hunter married Joan “Dusty” Bartlett on July 7, 1957, at the Ojai Valley Inn. It was the second marriage for both, and he would adopt her son Steele. They met in Tucson on the set of A Kiss Before Dying, where she served as a stunt rider for Virginia Leith. They had two sons, Todd (1959) and Scott (1962).

Hunter’s last film for Fox as a contract player was 1958’s In Love and War. It would the fifth movie that Hunter appeared in at Fox with friend Robert Wagner. Hunter, who always tried to be realistic about the course of his career, knew that Fox had been giving better parts to their other contractees, including Wagner. A perfect case in point is their joint appearance in A Kiss Before Dying, with Wagner getting the meaty, psychopathic lead and Hunter the conventional leading man. In an interview in ‘58, Jeff felt that In Love and War was “the first time since I’ve been at 20th that Bob and I have had comparable roles. He was signed at the studio about four months before I was and he’s shot straight to the top. I became sidetracked due to several things. I tried to interest myself in other things. I made short and feature films since directing always interests an actor.”

Hunter had branched out a bit in 1955 when he formed the company World Wide Adventures, Inc., which put together The Living Swamp, released by Fox. This 33-minute documentary was narrated by Dale Robertson, who had acted with Jeff in the college co-ed movie, Take Care of My Little Girl. The Living Swamp was filmed in Georgia, at the Okefenokee Swamp Park, where location shooting for Hunter’s Lure of the Wilderness was shot.

His second film as producer was La ciudad sagrada (1959), also known as The Sacred Idol, and filmed in Yucatan, Mexico. Starring Gloria Cansino, it was about an expedition that searches for a fortune believed to be in a lost Aztec city. It was co-produced by Edward Nassour, Hunter, and David DaLie, and directed by DaLie, Ismael Rodriguez and Edward Nassour. When Nassour passed away in 1962, his brother sold the footage of La ciudad sagrada to producer Robert Patrick, who then filmed some additional scenes with Marshall Thompson. The result was The Mighty Jungle in 1964. It is unclear if La ciudad sagrada was ever released theatrically in its original form.

In 1953 Hunter had been very effective playing a brave Canadian sailor in the Royal Navy who single-handedly battles a German warship in Sailor of the King. Looking great in a uniform, it was then no surprise to see him back in the military in 1960 starring in the very successful war drama Hell to Eternity. That same year, he also appeared in two solid, enjoyable B-budgeted films, Key Witness and Man-Trap. But his good performances in these would be overshadowed by King of Kings in 1961.

Paramount had released Cecil B. DeMille’s silent epic The King of Kings, starring British-born H. B. Warner as Christ, in 1927. Hunter said at the time that he had not seen the earlier version, not wanting to be intimidated by Warner’s interpretation of the role. “I don’t really know who selected me,” Hunter continued to an interviewer. “I hadn’t met [producer Samuel] Bronston before the start of the picture, but had known Nicholas Ray, who directed it, and I did hear that my good friend John Ford suggested me to Ray.” Nicholas Ray had previously directed Hunter in The True Story of Jesse James.

Even so, Hunter was reluctant at first to essay the role, but ultimately was excited by the acting opportunity it presented. Some reviews were pleasant, others not so. Variety called it “a major motion picture by any standard—as a production, as a script for masterly management of scenes by its director Nicholas Ray and as entertainment. King of Kings wisely substitutes characterizations for orgies.”

There’s been some talk that, perhaps, after King of Kings, Hunter’s career took a slide because of typecasting. He addressed this issue in the Los Angeles Citizen News in 1965. “I was warned not to do it,” he told columnist Joan Schmitt. “Actors who play Jesus are supposed to have a hard time getting other roles to follow, but I felt this was a myth. After all, how can you be type-cast as Christ? There just aren’t that many Jesus roles around. If it affected my career at all I think it helped it, and I doubt if the public thought of me as Christ when they next saw me as Temple Houston on television. Max Von Sydow, who plays Christ in The Greatest Story Ever Told, has already been cast as the male lead in Hawaii, so obviously he hasn’t been type-cast either.”

It was an optimistic view, but there were other ramifications besides typecasting, and Hunter was obviously aware of them. Many of his personal reviews for King of Kings were absolutely devastating, especially this slimy diatribe from Time magazine: “The corniest, phoniest, ickiest, and most monstrously vulgar of all the big Bible stories Hollywood has told in the last decade . . . The imitation of Christ is little better than blasphemy. Granted that the role is impossible to cast or play . . . whatever possessed producer Bronston to offer the part to Jeffrey Hunter, a fanmag cover boy, with a flabby face, a cute little lopsided smile, baby-blue eyes, and barely enough histrionic ability to play a Hollywood marine?

“And why dress the poor guy up in a glossy-curly page-boy peruke, why shave his armpits, and powder his face till he looks like a pallid, simpering chorus-boy Christ of the religious-supply shoppes?”

Reviews such as this, even though they are nakedly vicious and sound insidiously deceptive, do not help careers. His reputation suffered, and the work he did after King of Kings trended toward television, and away from the big screen. Still, his friend John Wayne came through the next year with Hunter being cast in a good role along with the biggest male actors of the day. In the all-star World War II epic, The Longest Day (1962), Hunter plays a sergeant who sacrifices his life in a decisive action that leads to the collapse of German resistance on bloody Omaha beach, thus securing victory in the Normandy invasion.

Hunter did star in the Italian-made Gold for the Caesars (1963), playing a slave-architect “in the thick of an Italian-made spear and sandal saga,” said Robert Salmaggi in the Herald Tribune. “Jeff, however, doesn’t even muss one hair on his handsome head . . . he even wears the most stunning thigh-length tunic with matching sandals.” King of Kings seems to have had an opposite affect on Hunter’s popularity outside of the United States. Overseas, he was regarded as a big star, and he would capitalize on this appeal abroad later in the decade.

In the U.S., Hunter found steady work on television during the 1960s, and much of this work outranks much of his film acting. His roles were diverse and his acting took on an intensity and sureness that was compelling. Some of the shows in which he appeared on were Checkmate, Combat!, Bob Hope Presents the Chrysler Theater, The F.B.I., Kraft Suspense Theatre, Death Valley Days, Daniel Boone, The Green Hornet, The Alfred Hitchcock Hour, and Insight.

Soon, Hunter was offered a two-year contract by Warner Bros., which included starring as a circuit-riding Texas lawyer in the NBC-TV series Temple Houston (1963-1964). Jeff was an executive producer of this Western series, along with William T. Orr and Jack Webb, and he had formed a production company, Apollo Productions, to handle production of the show. Even though this show is fondly remembered by those who saw it, Hunter was not happy with it. “In the first place, we had no time to prepare for it,” he said in 1965. “I was notified on July 17 to be ready to start August 7 for an October air date. When we reached the screen, we did not have a single segment ready. It was done so fast the writers never got a chance to know what it was all about. We all wanted to follow the line indicated by the pilot film, which we thought would make a charming series. NBC, however, favored making it serious. Then after 13 episodes, the ratings were rather low and Warners switched to tongue in cheek comedy, somewhat on the order of Maverick. We wound it up after 26 episodes.”

The biggest slip-up in Hunter’s career, considering its continued iconic popularity, is the chance he missed with Star Trek. Hunter was cast as Christopher Pike, captain of the starship Enterprise, in the original Star Trek pilot in 1964. Hunter was enthusiastic, at first, about the prospect of starring on the show. Los Angeles Citizen News, in January of 1965, described it as “a science fiction show—year 2000, with Jeff playing an American astronaut who patrols the galaxy in a 190,000-ton space city. The ‘ship’ carries a crew of 203 people, who visit American colonies in space as well as unexplored planets.” Jeff remarked to Joan Schmitt, “We run into prehistoric worlds, contemporary societies, and civilizations far more developed than our own. It’s a great format because writers have a free hand—they can have us land on a monster-infested planet, or deal in human relations involving the large number of people who live together on this gigantic ship.

“We should know within several weeks whether the show’s been sold. It will be an hour long, in color with a regular cast of a half-dozen or so, and an important guest star part each week. They’re calling it ‘Star Trek.’ The thing that intrigues me most about the show is that it is actually based on the Rand Corp.’s projection of things to come. Except for the fictional characters, it will almost be like getting a look into the future and some of the predictions will surely come true in our life-time.

“With all the weird surroundings of outer space the basic underlying theme of the show is a philosophical approach to man’s relationship to woman. There are both sexes in the crew; in fact, the first officer is a woman.”

However, when a reluctant NBC requested a second pilot to be filmed in early 1965, Hunter declined. “I was asked to do it,” he told the Milwaukee Journal in July, “but had I accepted, I would have been tied up much longer than I care to be. I have several things brewing now and they should be coming to a head in the next few weeks. I love doing motion pictures and expect to be as busy as I want to be in them.”

Producer Gene Roddenberry, after hearing the news, wrote to Hunter, “I am told you have decided not to go ahead with Star Trek. This has to be your own decision, of course, and I must respect it,” and then asked Hunter if he would come back for “one day or two of shooting an additional action opening which can result in a fast, tightly cut, exciting film release.” But Hunter, who had a six-month exclusive contract for the series lead, declined that request, too. Footage from the first pilot was later incorporated into a two-part episode in Star Trek’s first season called The Cage.

In a radio interview on November 7, 2005, Laurel Goodwin, his co-star in the Star Trek pilot, revealed that Hunter’s wife at the time, Joan Bartlett, demanded he get more money to continue performing in the lead role when the series was picked up as a regular series. After long negotiations, the producers, feeling great pressure, decided to simply recast Hunter for a new actor and captain, James Tiberius Kirk, played by William Shatner. Gene Roddenberry added another, more plausible version to Hunter’s bail out: “His wife of the time didn’t want him to” do the part, Gene said, “and convinced him that science fiction was beneath him, and so I just had to pick someone else.”

Hunter’s film credits in the ‘60s included the William Conrad-directed Brainstorm (1965), where he gave an outstanding performance as a man pretending to be insane in order to get away with killing his lover’s (Anne Francis) abusive husband (Dana Andrews). He also appeared in the science-fiction adventure Dimension 5 with France Nuyen, had a cameo appearance in 1967’s A Guide for the Married Man, and had a featured role in Custer of the West, which starred Robert Shaw.

Bob Hope selected Jeff to co-star with him in the 1967 comedy The Private Navy of Sgt. O’Farrell, and Hunter turned in a surprisingly good, very funny performance. “It would be easy if I just played straight man to the world’s greatest comedian,” wrote Jeff, “but you know Bob Hope—he has the laughs to give away and I’m the guy he’s handing them to.” Jeff was right on target when he told the Hollywood Citizen-News, “It’s a great part, one of the best in my entire career.” Unfortunately, it was also one of Hope’s lesser comedies. It’s a shame that Hollywood never managed to capitalize on Jeff’s comedic abilities.

Alas, the remainder of his film career consisted of foreign-made B-movies, the last being 1969’s !Viva America! His last TV appearance that year was in an episode of Insight. He lobbied hard for the TV role of Mike Brady on The Brady Bunch in 1968, but the part was instead given to Robert Reed, when the producers felt Hunter was—surprise—too handsome for the role.

In February of 1967, the Los Angeles Herald-Examiner reported that his wife Joan ended what she called in her testimony an “untenable situation” by divorcing him. She affirmed that Hunter sometimes drank to excess, and was absent from home frequently.

Hollywood was taken by surprise when he eloped to Juarez, Mexico, with TV actress Emily McLaughlin on February 4, 1969 after a whirlwind courtship of just a few short months. Emily had been married once before, to actor Robert Lansing. That union had lasted thirteen years and produced a son, Bobby. Emily appeared on the ABC daytime soap opera General Hospital.

Emily had accompanied Hunter to Spain where he filmed !Viva America!, which co-starred Pier Angeli. The Spanish “experts” who were supposed to blow out a window in a house Jeff was in blew the glass into the room instead. Jeff received powder burns in his eyes, cuts on his face, and a blow to his head. Weirdly, on a stopover in England, an old friend delivered another blow, quite accidentally. The man, a former British Commando, hit Jeff on the chin with a judo chop. Although Jeff knew judo, he didn’t react quickly enough; perhaps because his reflexes had been dulled by the accident in Spain.

While on the plane returning to the United States, Jeff’s right arm suddenly became semi-paralyzed and he lost the power of speech. The doctors later said his earlier injury was exacerbated by the pressurized cabin. An examination showed that a vertebra in his neck was out of place. Jeff was hospitalized for a couple of weeks on his return to Los Angeles. Shortly after his release from the hospital, Emily came home from work to discover that her husband had been found by a friend lying unconscious at the foot of the stairs in their Van Nuys house. He had apparently stumbled at the top of a stairway, overturned a planter, and fell to the bottom. He was rushed to the hospital. That night, an operation was performed to relieve the pressure of a massive hemorrhage of the brain. Emily believed that Jeff was out of danger when she left the hospital the next morning, although she later said that he had a premonition of his death just days before, telling her, “If I should cross the bridge before you do, darling, remember, I’ll be waiting for you on the other side.” On May 27, 1969, Jeffrey Hunter passed away. He was 42 years old.

Though Hunter never hit superstardom in his too-short life, he left behind a strong list of solid, convincing performances. His biggest obstacle was his exceptional good looks. “Hunter is an extraordinarily handsome—almost pretty—actor, but such looks can be a drawback and a distraction in poorly developed roles,” wrote Variety in its review of No Man Is an Island (1962). As usual, his critic had it wrong. No Man Is an Island was a fine film and his fans enjoyed his performance in it. In retrospect, it’s obvious that his problem was more than being too good looking. By the 1960s film criticism was becoming perverse, and critics were more likely to pretend that there was something “wrong” with a clean cut actor like Hunter. They tried to fit him into a stereotype of pretty-faced emptiness, and somehow they got away with it. Near the end of his life, he seemed to be aware of his problem, even if he didn’t yet realize it was something he should have fought back against. With a bit of bitterness, he remarked, “This face of mine. Shouldn’t the ravages of time be doing something to it?” If he had lived longer, it seems likely that he could have revitalized his career. Alas, he never had the chance.

Despite what some critics said, the people who actually watched his films usually knew they were in for a treat if Jeffrey Hunter’s name was on the marquee. His compelling eyes truly were the windows to his soul, and as a skilled actor he could speak with his eyes and touch millions of people. Since he also was intelligent, he had an intelligent understanding of life in general, and he lived by the credo, “Be natural, sincere, and honest on and off screen . . . A good acting job must come from the mind and heart.” Hunter not only understood this, he proved it. Fortunately, the proof is still there on the screen for all to see.

The Films of Jeffrey Hunter

1950: Julius Caesar 1951: Fourteen Hours, Call Me Mister, Take Care of My Little Girl, The Frogmen 1952: Red Skies of Montana, Belles on Their Toes, Dreamboat, Lure of the Wilderness 1953: Sailor of the King 1954: Three Young Texans, Princess of the Nile 1955: Seven Angry Men, White Feather, Seven Cities of Gold 1956: The Searchers, The Great Locomotive Chase, The Proud Ones, A Kiss Before Dying 1957: The True Story of Jesse James, The Way to the Gold, No Down Payment, Gun for a Coward 1958: Count Five and Die, The Last Hurrah, In Love and War, Mardi Gras 1960: Sergeant Rutledge, Hell to Eternity, Key Witness 1961: King of Kings, Man-Trap 1962: No Man Is an Island, The Longest Day 1963: Gold for the Caesars, The Man from Galveston 1965: Brainstorm, Murieta, 1966: Strange Portrait, Dimension 5 1967: A Witch Without a Broom, A Guide for the Married Man, The Christmas Kid, Custer of the West 1968: The Private Navy of Sgt. O’Farrell, Find a Place to Die, Sexy Susan Sins Again 1969: Super Colt 38, !Viva America!