When director Budd Boetticher died on November 29th, American film lost another master. Though not a household name, Boetticher made crisp, tightly wound movies with more substance and emotional depth than was apparent at first glance. Instead of a flashy style, Boetticher preferred one imaginatively simple and almost elegant at times. Because of this approach films like The Tall T (1957), Decision at Sundown (1957), The Bullfighter and the Lady (1951) and Ride Lonesome (1960) have withstood the test of time while more blatantly ambitious films now seem like period pieces.
Budd was born Oscar Boetticher in Chicago on July 29th, 1916. With a father who sold hardware, Boetticher didn't come from a particularly artistic background. In college he boxed and played football before graduating and heading to Mexico to follow what's surely one of the most unusual ways to enter the film industry: as a professional matador. That's what led an old friend to get Boetticher hired as a bullfighting advisor on the 1941 version of Blood and Sand. Boetticher quickly took other small jobs in Hollywood before becoming an assistant director for films like Cover Girl. In 1944, he directed his first film, the Boston Blackie entry One Mysterious Night. Boetticher made a series of other B-movies, like the underrated film noir Behind Locked Doors (1948), through the rest of the decade.
Boetticher really hit his stride in the 50s when he began to get higher profile assignments, including the semi-autobiographical The Bullfighter and the Lady in 1951 which resulted in Boetticher's only Oscar nomination, for Best Writing. Sam Peckinpah later said he saw the film ten times. Other highlights of this period include Seminole (1953) (one of the first Hollywood films sympathetic to American Indians), the stylishly tight thriller The Killer Is Loose (1956) and the minor classic Horizons West (1952). In the late 50s, Boetticher also started directing TV episodes of series like Maverick and 77 Sunset Strip.
In 1956, Boetticher started a string of films that really established his reputation. These six Westerns starring Randolph Scott are known as the Ranown films after the production company named after Randolph Scott and producer Harry Joe Brown. Actually the first, Seven Men from Now (1956), was produced by a different company but all of them fit together, pushing the idea of the lone cowboy seeking revenge into new territory. The sharp Decision at Sundown twists Western cliche into one of the bleakest endings to slip through the Hollywood gates. The Tall T examines the genre's violent tendencies while Ride Lonesome and Buchanan Rides Alone (1958) have titles appropriate to their Beckett-like stories. The final film, Comanche Station, appeared in 1960.
That was the same year Boetticher made one of the best gangster films, The Rise and Fall of Legs Diamond, before watching everything fall apart. He and his wife decided to make a documentary about the famous matador Carlos Arruza and headed to Mexico. There Boetticher saw Arruza and much of the film crew die in an accident, almost died himself from an illness, separated from and divorced his wife (Debra Paget), and then spent time in various jails and even briefly a mental institution. This harrowing experience left him bankrupt but he still managed to complete the film, Arruza (1968), which gathered acclaim from the few who've been able to see it.
Boetticher managed to make just one more film, My Kingdom For... (1985), a self-reflexive documentary about raising Andalusian horses. He also made a cameo appearance in the Mel Gibson-Kurt Russell suspense thriller, Tequila Sunrise (1988). He died from complications from surgery at the age of 85.
By Lang Thompson
Arruza
Brief Synopsis
Cast & Crew
Budd Boetticher
Carlos Arruza
Maria Del Carmen Arruza
Carlos Arruza Jr.
Manuel Arruza
Mari Carmen Arruza
Film Details
Technical Specs
Synopsis
In 1953, Carlos Arruza, one of the two top bullfighters in the world, decides to retire following the death of his rival, Manolete. Arruza buys Pasteje, one of the finest bull-breeding ranches in Mexico, and settles down with his wife Mari and three children to raise fighting bulls. At Pasteje, Arruza and several of his matador friends are shown fighting cows in the tienta , or testing ring. Because a bull receives its bravery from its mother, the courage of the cow is believed to determine the nature of her offspring. Another reason for facing off with the cows, rather than the bulls, is that a bull must never see a cape before entering the ring, or he would learn too quickly how to elude the man wielding the cape. On the ranch, Arruza develops a fascination with the art of rejoneo , or bullfighting on horseback. He decides to become a rejoneador and buys a special breed of Portuguese horse trained for the sport. After mastering this form of mounted bullfighting, Arruza performs at the Plaza de Torres in Nogales, Mexico, where the crowd gives him the highest honor by demanding that he forgo the traditional kill from horseback and instead dismount for the final thrust, thus altering the traditional form of rejoneo . Deciding to retire once again, Arruza holds his last official fight at El Toreo, an arena in Mexico City. There Arruza achieves the unique distinction of being cheered by the crowd three times: once as a toreador , once as a rejoneador , and once for the quality of the bulls he has bred. Returning to his private life, Arruza sells Pasteje and builds a new ranch called Rancho Maria after his wife. Soon, however, Arruza becomes obsessed with fighting in the Plaza Mexico, the largest bullring in the world, and determined to fill the arena's over 50,000 seats, schedules another final fight. Arruza thrills the packed stadium, and once again retires to the cheers of the ecstatic crowd. Arruza's life is tragically cut short several months later when, on 20 May 1966, he is killed in an automobile accident after the driver fell asleep and skidded off the road.
Director
Budd Boetticher
Cast
Carlos Arruza
Maria Del Carmen Arruza
Carlos Arruza Jr.
Manuel Arruza
Mari Carmen Arruza
Alfonso Ramirez "calesero"
Juan Silveti
Chucho Solorzano
Silverio Perez
Cesar Giron
Curro Giron
Fermin Espinosa "armillita"
Manuel Capetillo
Luis Briones
Felix Briones
Antonio Del Olivar
Antonio Velazquez
Rafael Rodriguez
Alfredo Leal
Efren Adame
Manuel Espinosa "armillita Chico"
Jorge "el Ranchero" Aguilar
Manolo Amador
Ruben D. Padilla
Don Juan Picon
Ricardo Aguilar
Joao Laureano
Javier Cerrillo
Sara De Flores
Pepe Alameda
Fernando Elizundo
Don Jesus Cabrera
Anthony Quinn
Crew
Lucien Ballard
Budd Boetticher
Budd Boetticher
Beldon Butterfield
Carlos Carbajal
George Crone
Rafael Galson
Harry Knapp
Agustin Lara
Raul Lavista
Rafael Orpeza
Juan Jose Perez Padilla
Miguel Prado
Ken W. Purdy
Arnulfo Vega
Monterde Y Calero
Film Details
Technical Specs
Articles
TCM Remembers - Budd Boetticher
TCM Remembers - Budd Boetticher
Quotes
Trivia
Notes
The film's working title was Ole! The viewed print contained a copyright statement for the Alpha Corporation, but the film, which was released in English and Spanish-language versions, was not registered for copyright. Although the written onscreen credits of the viewed print were in Spanish, the narration was in English. There is no dialogue or synchronized sound in the film, which consists of spoken narration or music played over filmed images. The film ends with the following written epilogue: "No one is really dead until the last man who remembers him is dead, and so Carlos Arruza must live forever." The film's closing credits contain the following written acknowledgment: "Filmed in Mexico and at Estudios Churubusco-Azteca, S.A., Mexico, D. F. and filmed by the members of the Syndicate of Photographers."
In his autobiographical account of the filming of Arruza, director Budd Boetticher, who directed the 1951 drama Bullfighter and the Lady (see below), noted that in 1955 he decided to direct a "real bullfight" film featuring the best matador in the world. Boetticher, an aficionado of the sport, decided to focus on his friend Carlos Arruza, a preeminent torero who had retired from the ring in 1953. Weary of retirement, Arruza decided to extend his career by becoming a rejoneador, or a bullfighter on horseback. Although a 1957 Daily Variety news item noted that Boetticher would partner with Randolph Scott, the star of many Westerns directed by Boetticher, Scott was not involved in the production. According to Boetticher's autobiography, the director began filming background bullfights in Nogales, Mexico, on May 5, 1958. Boetticher spent the next three years filming bullfights in Mexico with cinematographers Lucien Ballard and Carlos Carbajal, interrupting his schedule in the fall of 1959 to return to Los Angeles to direct the film The Rise and Fall of Legs Diamond (see below). Boetticher had planned to cast his then-wife Debra Paget in the role of Arruza's wife, Maria Carmen Arruza, but, according to an April 1971 Daily Variety article, when the director ran out of money in 1961 and started to drink heavily, Paget divorced him, and his business manager, in a move to seize control of Boetticher's film, arranged to have him institutionalized in a sanitarium against his will.
Arruza literally rescued Boetticher from the sanitarium, after which Boetticher, retaining control of his film, decided to cast his then girl friend, actress Elsa Cardenas, as Maria Aruzza. After several other financial setbacks, Boetticher, with the help of Beldon Butterfield, who is credited as one of the film's producers, raised $15,000 to film Aruzza's climactic bullfight at the Plaza Mexico, the biggest bullring in the world at the time. Boetticher's autobiography noted that in addition to the film's financial shortfall, Arruza's performance at the Plaza Mexico was delayed by the fact that the temperamental bullfighter refused to appear at the plaza until new management took over. According to Boetticher's autobiography and a June 1, 1970 Masters Seminar lecture delivered by the director at the American Film Institute, ten cameras were used to film Arruza's bullfights on 23 January and February 6, 1966, after which Boetticher and editor George Crone spliced the fights together. The film's final sequence, the filming of a fiesta at Arruza's new ranch, was to be completed in May. However, on May 20, 1966 Aruzza was killed when the car in which he was riding skidded off the road. Crone died shortly after Arruza, in June 1966. Following Aruzza's death, Boetticher decided that Mari Arruza should portray herself, forcing him to delay filming for a suitable period of mourning and also reshoot all the scenes in which Cardenas had portrayed Maria.
Still short of funds to complete the picture, Boetticher screened Arruza for director John Sturges, who agreed to finance the rest of the film through his Alpha Corporation. The final shooting was completed over three days in February 1967, and at that time, the English narration was spoken by Jason Robards. After Boetticher assembled a print of the film, Sturges recut it with his editor, Ferris Webster, and rewrote the opening narration. Boetticher, whose contract with Sturges assured him complete artistic control, re-edited the film and arranged for Anthony Quinn to redo Robard's narration. Most reviews credit Quinn as the narrator; however, the viewed print was the Sturges version of the film, featuring a narration by Robards, who in the opening sequence describes the Plaza Mexico as the "biggest bullring in the world." Boetticher stated in his autobiography that Sturges inserted that description, and that the film's narration originally started with the words "Occasionally a man is born whose life is so different, so dangerous...this is the story of Carlos Arruza." According to Boetticher's autobiography, Sturges also deleted the narration that accompanied Arruza's car ride to the Plaza Mexico for his final bullfight. The viewed version contained no narration over Arruza's drive.
An August 1966 Daily Variety news item noted that Arruza'a death caused an upsurge of interest in the film, and at that time, Avco Embassy was negotiating for the rights to worldwide distribution while Columbia was negotiating for distribution rights in Mexico and South America. According to an October 1968 Daily Variety news item, Columbia had picked up the worldwide distribution rights for the film. The film was initially shown in the U.S. on October 25, 1968 at the San Francisco Film Festival. A 1966 Daily Variety article noted that Barnaby Conrad, a member of the festival commission and a bullfight aficionado, arranged for Aruzza to open the festival. An April 1968 Daily Variety news item noted that the film was also to be shown at the Cannes Film Festival in May 1968. The film's official world premiere was in Tijuana, Mexico, on May 22, 1971. At that time, despite earlier reports, Boetticher still had not secured a distributor, and according to the May 1971 Hollywood Reporter review, Boetticher was not sure how he would release it. In an April 1971 Daily Variety article, Boetticher stated that he chose Tijuana to make the screening more accessible for "many more from Hollywood to attend." In addition to the screening, the weekend featured Boetticher performing in a bullfight exhibition for the audience.
Miscellaneous Notes
Released in United States 1971
Film produced in 1968.
Released in United States 1971