Grim Prairie Tales (1990)

R | 90 mins | Western, Horror, Anthology | 14 September 1990

Director:

Wayne Coe

Writer:

Wayne Coe

Producer:

Richard Hahn

Cinematographer:

Janusz Kaminski

Editor:

Earl Ghaffari

Production Designer:

Anthony Zierhut
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HISTORY

In the version of Grim Prairie Tales viewed by AFI, the title bore the subtitle “Hit The Trail...To Terror” in small print. However, the subtitle was not mentioned in any of the film’s reviews.
       End credits contain the following information: “Special thanks: Dan Allenoff; Pat Alexander; John Cope; Coors Beer; Debbie Ford; Les Gutierrez; Ken Harman; Michael Holmes; Steve Kantor; Earl Lestz; Len Rho Printing; Jeff Reiner; Doug Rettew; Donna Ward; Pepsi-Cola Entertainment Group.”
       According to production notes in AMPAS library files, the original four stories were shot over twenty-seven days in late 1988, mostly in California’s Mojave Desert. For a scene that required a burning tree, filming was done at Bob Hope’s ranch, Hopetown, the former Corriganville, in Simi Valley, CA. The framing story with actors Brad Dourif and James Earl Jones was shot in the Mojave Desert in May 1989, the 11 Aug 1990 Seattle Post-Intelligencer reported. Jones agreed to join the cast after seeing a rough cut of two of the anthology segments. The total budget was $750,000. The film premiered 26 May 1990 at the Seattle International Film Festival, according to that day’s Seattle Times. Though the 21 Sep 1990 DV and other sources reported that the film was scheduled to open in Los Angeles, CA, on 5 Oct 1990, an advertisement in the 4 Nov 1990 LAT noted its eventual release was set for 9 Nov 1990, the day the film was reviewed in LAT.
       In a 17 Jul 2015 interview with the AFI Catalog, writer-director Wayne Coe estimated the cost of the film itself at $600,000. The project ...

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In the version of Grim Prairie Tales viewed by AFI, the title bore the subtitle “Hit The Trail...To Terror” in small print. However, the subtitle was not mentioned in any of the film’s reviews.
       End credits contain the following information: “Special thanks: Dan Allenoff; Pat Alexander; John Cope; Coors Beer; Debbie Ford; Les Gutierrez; Ken Harman; Michael Holmes; Steve Kantor; Earl Lestz; Len Rho Printing; Jeff Reiner; Doug Rettew; Donna Ward; Pepsi-Cola Entertainment Group.”
       According to production notes in AMPAS library files, the original four stories were shot over twenty-seven days in late 1988, mostly in California’s Mojave Desert. For a scene that required a burning tree, filming was done at Bob Hope’s ranch, Hopetown, the former Corriganville, in Simi Valley, CA. The framing story with actors Brad Dourif and James Earl Jones was shot in the Mojave Desert in May 1989, the 11 Aug 1990 Seattle Post-Intelligencer reported. Jones agreed to join the cast after seeing a rough cut of two of the anthology segments. The total budget was $750,000. The film premiered 26 May 1990 at the Seattle International Film Festival, according to that day’s Seattle Times. Though the 21 Sep 1990 DV and other sources reported that the film was scheduled to open in Los Angeles, CA, on 5 Oct 1990, an advertisement in the 4 Nov 1990 LAT noted its eventual release was set for 9 Nov 1990, the day the film was reviewed in LAT.
       In a 17 Jul 2015 interview with the AFI Catalog, writer-director Wayne Coe estimated the cost of the film itself at $600,000. The project had been budgeted at $525,000, but “editing went on for too long.” Besides writing the script, Coe claimed he drew the storyboards, picked the crew, and cast the film, but lost control of Grim Prairie Tales to producer Richard Hahn, mostly in the editing room. Coe’s original concept was a black and white movie, but the money that became available allowed them to film in color. Coe picked a young Polish cinematography student, Janusz Kaminski, to shoot the film, despite his lack of experience with 35mm. “We sent him out to the Mojave desert to experiment with 400 feet of 35mm, and the footage he brought back was so striking, we used it for the opening montage.” He was able to get several “name” actors because Hollywood was in the middle of a writers’ strike that had curtailed film production. To differentiate the stories, Coe and Kaminski designed a different look for each. The first story, for example, was shot “day-for-night,” using amber light filters. Coe later regretted the producer’s final edit, especially of the third story about the pioneer family, which was “brutally cut.” The distributor changed Coe’s title, Weird Two-Fisted Western, to Grim Prairie Tales. However, the film retained Coe’s original “anti-Western” intent.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
Nov 1990
---
Daily Variety
22 May 1990
p. 21
Daily Variety
21 Sep 1990
p. 8
Hollywood Reporter
14 Sep 1990
p. 7, 22
Hollywood Reporter
27 Sep 1990
---
Los Angeles Times
4 Nov 1990
Section T, p. 34
Los Angeles Times
9 Nov 1990
Section F, p. 12
New York Times
14 Sep 1990
p. 15
Newsday (Long Island, NY)
14 Sep 1990
Part II, p. 15
Seattle Post-Intelligencer
11 Aug 1990
Section C, p. 1, 2
Seattle Times
26 May 1990
Weekend, p. 5
Variety
30 May 1990
p. 25
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
East West Film Partners Presents
A Richard Hahn Production
A Wayne Coe Film
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Dir
1st asst dir
Unit prod mgr, The four stories
PRODUCERS
Assoc prod
Assoc prod
Assoc prod
Exec prod
Exec prod
WRITER
Wrt
PHOTOGRAPHY
1st asst cam, The four stories
2d asst cam, The four stories
Gaffer, The four stories
Best boy elec, The four stories
Elec, The four stories
Elec, The four stories
Key grip, The four stories
Best boy grip, The four stories
Grip, The four stories
Grip, The four stories
Grip, The four stories
Grip, The four stories
Grip, The four stories
Grip, The four stories
1st asst cam, Morrison and Farley shoot
2d asst cam,, Morrison and Farley shoot
Gaffer, Morrison and Farley shoot
Best boy elec, Morrison and Farley shoot
Elec, Morrison and Farley shoot
Elec, Morrison and Farley shoot
Key grip, Morrison and Farley shoot
Best boy grip, Morrison and Farley shoot
Best boy grip, Morrison and Farley shoot
Best boy grip, Morrison and Farley shoot
Photog
Cam equip
Elec & grip equip
Elec & grip equip
ART DIRECTORS
Prod des
Art dir, The four stories
Art dir, "Indian Story," The four stories
Asst art dept, The four stories
Asst art dept, The four stories
Asst art dept, The four stories
Asst art dept, The four stories
Asst art dept, The four stories
FILM EDITORS
1st asst ed
2d asst ed
Ed staff
Addl ed
Negative cutter
SET DECORATORS
Set dec/Prop, The four stories
Lead person, The four stories
Set painter, The four stories
Set painter, The four stories
Const foreman, The four stories
Set dresser, Morrison and Farley shoot
Prop master, Morrison and Farley shoot
COSTUMES
Cost des, The four stories
Cost des, The four stories
Cost des, The four stories
Indian ward, The four stories
Ward, Morrison and Farley shoot
MUSIC
Mus ed
Mus scoring mixer
SOUND
Sd, The four stories
Boom op, The four stories
Sd, Morrison and Farley shoot
Boom op, Morrison and Farley shoot
Dial ed
Foley mixer
Foley walker
Remixing eng
VISUAL EFFECTS
2d story, Make-up and Effects Laboratories, Spec e
2d story, Make-up and Effects Laboratories, Spec e
2d story, Make-up and Effects Laboratories, Spec e
1st and 3d stories, Make-up and Effects Laboratori
4th story, Make-up and Effects Laboratories, Spec
Pyrotechnic coord
Opticals
Opticals
MAKEUP
Hair stylist & Make-up, The four stories
Asst hair/Make-up, The four stories
Asst hair/Make-up, The four stories
Hair stylist & Make-up, Morrison and Farley shoot
PRODUCTION MISC
Casting
Exec in charge of prod
Scr supv, The four stories
Prod coord, The four stories
Loc mgr, The four stories
Wrangler
Asst wrangler
Transportation coord
Driver
Driver
Driver
Prod asst
Prod asst
Prod asst
Prod asst
Jenna Abrahamson
Prod asst
Prod asst
Caterer
Scr supv, Morrison and Farley shoot
Transportation, Morrison and Farley shoot
Transportation, Morrison and Farley shoot
Transportation, Morrison and Farley shoot
Water truck driver, Morrison and Farley shoot
Prod asst, Morrison and Farley shoot
Prod asst, Morrison and Farley shoot
Prod asst, Morrison and Farley shoot
Caterer, Morrison and Farley shoot
Caterer, Morrison and Farley shoot
Asst to the prod
Asst to James Earl Jones
Indian consultant
Welfare worker
Security capt
Security guard
Security guard
Fire marshall
Fire marshall
Fire marshall
Fire marshall
Fire marshall
Casting consultant
Prod accountant
Completion bond
Prod insurance
Prod insurance
Dist consultant
Dist consultant
Legal representation
Legal representation
Legal representation
Project consultant
Financial consultants
Business affairs
Investment sales adv
Investment sales adv
Marketing representation
Project asst
Project asst
Horses
STAND INS
Stunt coord
Addl stunts
Addl stunts
Dead body stunt
ANIMATION
Dream seq and main titles, Anim
Dream seq and main titles, Anim
COLOR PERSONNEL
Col timer
Col by
DETAILS
Alternate Titles:
Grim Prairie Tales: Hit the Trail...to Terror
Weird Two-Fisted Western
Release Date:
14 September 1990
Premiere Information:
Premiered Seattle International Film Festival: 26 May 1990; New York opening: 14 Sep 1990; Los Angeles opening: 9 Nov 1990
Production Date:
Late 1988 (four stories) and May 1989 (framing story)
Copyright Info
Claimant
Date
Copyright Number
East West Film Fartners [sic]
11 April 1990
PA477445
Physical Properties:
Sound
Recorded in Ultra-Sound
Color
Duration(in mins):
90
MPAA Rating:
R
Country:
United States
Language:
English
SYNOPSIS

On a horseback journey across the American prairie to reunite with his wife, store clerk Farley Deeds builds a campfire for the night. He is joined by Morrison, an African-American bounty hunter carrying the body of a wanted murderer to a town in the South. The two men are opposites: Deeds is a well-dressed, bespectacled young gentleman, while Morrison is a crusty mountain man wearing animal skins. Morrison tells Deeds that a man must be dressed for the desert, because nights can be bitter cold. He recalls how he survived a freezing night by gutting a buffalo and climbing inside its still-warm body. Morrison asks the “city boy” what kind of campfire story he wants to hear, and Farley Deeds answers, “a horror story.” Morrison begins his tale by saying that Indians once protected their burial grounds. An old white man named Lee Colby takes a shortcut through an Indian cemetery, where skeletons and rotting bodies are laid out on funeral biers made of blankets and sticks. Colby curses the Indians as he rides. When he comes upon an old chief who is still alive, Colby stops and approaches him. The chief gestures for him to lean closer, but instead of whispering, the Indian bites off part of Colby’s ear. Colby laughs and rides on until sunset. Hearing drums nearby, he stops, makes camp, and falls into a deep slumber. Indian children from a nearby village steal his provisions and saddle, then build a canopy over his sleeping body with sticks and branches. They slather mud over the canopy and pour dirt on top of the mud, creating a mound that seals Lee Colby inside. The morning heat, as ...

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On a horseback journey across the American prairie to reunite with his wife, store clerk Farley Deeds builds a campfire for the night. He is joined by Morrison, an African-American bounty hunter carrying the body of a wanted murderer to a town in the South. The two men are opposites: Deeds is a well-dressed, bespectacled young gentleman, while Morrison is a crusty mountain man wearing animal skins. Morrison tells Deeds that a man must be dressed for the desert, because nights can be bitter cold. He recalls how he survived a freezing night by gutting a buffalo and climbing inside its still-warm body. Morrison asks the “city boy” what kind of campfire story he wants to hear, and Farley Deeds answers, “a horror story.” Morrison begins his tale by saying that Indians once protected their burial grounds. An old white man named Lee Colby takes a shortcut through an Indian cemetery, where skeletons and rotting bodies are laid out on funeral biers made of blankets and sticks. Colby curses the Indians as he rides. When he comes upon an old chief who is still alive, Colby stops and approaches him. The chief gestures for him to lean closer, but instead of whispering, the Indian bites off part of Colby’s ear. Colby laughs and rides on until sunset. Hearing drums nearby, he stops, makes camp, and falls into a deep slumber. Indian children from a nearby village steal his provisions and saddle, then build a canopy over his sleeping body with sticks and branches. They slather mud over the canopy and pour dirt on top of the mud, creating a mound that seals Lee Colby inside. The morning heat, as well as the footsteps of children above, awaken him. Lighting a match, Colby realizes he is trapped in a tomb. Farley Deeds likes Morrison’s story, but asks why he told it. He offers the bounty hunter a cup of coffee, challenging him to tell another. Morrison’s next story is about a young store clerk named Tom Woodby, who, like Farley Deeds, is riding home to see his wife. He overtakes a young pregnant woman named Jenny Turberville walking along the trail. Tom stops, offers to let her join him for protection, and builds a campfire. She admits she is traveling because people in the last town spurned her as an indecent woman. During the night, a strange noise awakens him. Lying nearby, Jenny confesses she told Tom she was pregnant because he would be less likely to hurt her, but now she can see Tom is a “good man,” not like “the others.” She seduces him, and as they make love, her vagina sucks his body inside her. Pregnant again, Jenny gathers Tom’s belongings and begins walking. Disgusted, Farley Deeds calls the story “sick,” but Morrison chides him for being aroused. Farley Deeds claims to have a better story about a family moving west in a covered wagon, hoping to start a new life near a town much like the one they left behind. Arthur Hinton shows his wife, Maureen, and teenage stepdaughter, Eva, their new homestead, which encompasses a square mile. Eva asks whether they will build their new house under a big shade tree or on top of a hill. Maureen thanks Arthur for being a “good man” who was willing to marry an unmarried woman with a child. As Maureen sets a dinner table next to their wagon, Eva imagines what her bedroom will be like. Maureen hopes the family has enough money and provisions, but Arthur assures her that with the help of nearby townspeople, everything will be okay. They hear horses. Four men from town appear and call to Arthur to join them. Maureen objects, telling Arthur it would be wrong. One of the horsemen tells Arthur to catch up with them after he settles his wife down, and the four ride away. During an argument, Arthur slaps Maureen and leaves. Later that night, Eva awakens and walks off toward where she last saw her stepfather. She approaches a flaming tree surrounded by several men. The bodies of a man, a woman, and a child hang from the tree, as Arthur Hinton hits them with a board. Eva screams and runs home to her mother. When she returns to camp, her stepfather is already there. He explains to Eva that the victims were bad people, but Eva fends off his attempt to embrace her. Maureen fires a warning shot to end their struggle and tells Arthur to go inside the tent. Alone with Eva, she tries to convince her that Arthur is not a bad man like the others. He was willing to marry her when other men turned away, and for that reason she cannot stop loving him. The next morning, Eva is silent during breakfast. Later, as the family rides into town, Eva sees a girl’s white bonnet lying beside the road. Asking her stepfather to stop, she picks up the bonnet and ties it on her head. Eva tells Arthur, “I love you, Pa.” He replies that he loves her, too, and assures her they will make this new place a beautiful home. Morrison likes Farley Deeds’s story, but fortified with a few drinks of whiskey feels he has to “top it” with a better one. Wealthy landowner Bill Horn challenges local gunfighters to vie for the privilege of being his “hired gun.” Miguel Colochez has already outdrawn and killed two men. As Horn’s ranch hand, Bluey, drags off the second victim, Sheriff Dr. Francis Leaderman complains to Horn about holding bloody shootouts on the main street. Horn brushes aside Leaderman’s complaints, explaining that the men were willing to fight, because as Horn’s enforcer, the winner would be a local “king.” The only gunfighter left is Martin Lough, known as the “best gun” in the territory. At a hotel, the fastidious Lough dresses in his best suit and cleans his pistol. On the street, he faces off against Colochez. According to the rules, each has only one bullet. When they draw, Lough shoots Colochez in the neck but does not kill him. The wounded man clutches his throat, runs at Lough, and tackles him. They fight until Colochez collapses. Horn congratulates the bloody Lough and invites him to stay at his ranch, so they can sign a contract in the morning, but Lough insists on spending the night in the hotel. He beds down with a saloon girl named Sarah. That night, Lough has a nightmare about Colochez, and awakens in the morning with blood on his hands and on the sheets. When Sarah apologizes for having her monthly “curse,” he throws her out of the room. As Lough washes up, Horn’s man, Bluey, knocks on the door and tells him he is late for the signing. Lough insists on shaving first, but as he scrapes the strait razor under his jaw, he sees Colochez behind him, guiding his shaving hand. Hearing a yell, Bluey opens the door and finds Lough’s body in the empty room with his throat cut. As day breaks, Farley Deeds is angry that Morrison kept him up all night. As they saddle up, Morrison proudly shows Deeds the wanted poster for killer Alvin Raymer, the man slung over Morrison’s second horse. Morrison reads off the man’s description, including missing fingers, but Deeds notices that the corpse has all its fingers. Looking again at the wanted poster, Morrison shrugs and cuts the body loose. It falls to the ground. As Morrison joins Deeds, he admits, “Wasn’t him.”

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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