Red Tomahawk (1966)

82 mins | Western | December 1966

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HISTORY

Some sources give Panavision as film's anamorphic process.
       After a decade-long absence from feature films, actress Betty Hutton was poised to make a comeback as “Dakota Lil” in producer A. C. Lyles’s upcoming film for Paramount Pictures, Red Tomahawk. Hutton and her co-star, Howard Keel, had previously appeared together in Metro-Goldwyn-Mayer Corp.’s 1950 release, Annie Get Your Gun (see entry). Principal photography began on 4 May 1966 at Albertson Ranch in Westlake Village, CA, as noted in that day’s DV. By the following week, production had moved to Stage 16 at the Paramount Pictures studio lot in Hollywood, CA, according to the 9 May 1966 LAT. Hutton’s part was scheduled to conclude after ten days of filming. However, on 13 May 1966, a DV news item announced the actress was out of the film due to “a misunderstanding on the approach to the picture.” Joan Caulfield was hired to replace her.
       Theatrical release took place on 25 Dec 1966 at Cincinnati, OH’s Twin Drive-In, where Red Tomahawk played as the second feature after Fantastic Voyage (1966, see entry), as advertised in that day’s Cincinnati Enquirer. A 6 Jan 1967 opening was scheduled to follow in Pittsfield, MA, the 4 Jan 1967 [Pittsfield, MA] Berkshire Eagle noted. ...

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Some sources give Panavision as film's anamorphic process.
       After a decade-long absence from feature films, actress Betty Hutton was poised to make a comeback as “Dakota Lil” in producer A. C. Lyles’s upcoming film for Paramount Pictures, Red Tomahawk. Hutton and her co-star, Howard Keel, had previously appeared together in Metro-Goldwyn-Mayer Corp.’s 1950 release, Annie Get Your Gun (see entry). Principal photography began on 4 May 1966 at Albertson Ranch in Westlake Village, CA, as noted in that day’s DV. By the following week, production had moved to Stage 16 at the Paramount Pictures studio lot in Hollywood, CA, according to the 9 May 1966 LAT. Hutton’s part was scheduled to conclude after ten days of filming. However, on 13 May 1966, a DV news item announced the actress was out of the film due to “a misunderstanding on the approach to the picture.” Joan Caulfield was hired to replace her.
       Theatrical release took place on 25 Dec 1966 at Cincinnati, OH’s Twin Drive-In, where Red Tomahawk played as the second feature after Fantastic Voyage (1966, see entry), as advertised in that day’s Cincinnati Enquirer. A 6 Jan 1967 opening was scheduled to follow in Pittsfield, MA, the 4 Jan 1967 [Pittsfield, MA] Berkshire Eagle noted.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Berkshire Eagle [Pittsfield, MA]
4 Jan 1967
p. 14
Cincinnati Enquirer [Cincinnati, OH]
25 Dec 1966
p. 42
Daily Variety
12 Apr 1966
p. 10
Daily Variety
27 Apr 1966
p. 7
Daily Variety
4 May 1966
p. 3
Daily Variety
11 May 1966
p. 28
Daily Variety
13 May 1966
p. 2
Los Angeles Times
9 May 1966
Section C, p. 21
Los Angeles Times
1 Feb 1967
Section E, p. 8
Variety
18 May 1966
p. 70
Variety
8 Jun 1966
p. 20
Variety
11 Jan 1967
p. 28
Variety
1 Feb 1967
p. 32
Variety
5 Apr 1967
p. 5
DETAILS
Release Date:
December 1966
Premiere Information:
Cincinnati, OH, opening: 25 Dec 1966; Pittsfield, MA, opening: 6 Jan 1967; Portland, OR, opening: late Jan 1967
Production Date:
began 4 May 1966
Copyright Info
Claimant
Date
Copyright Number
A. C. Lyles Productions
22 December 1966
LP33643
Physical Properties:
Sound
Color
Pathé
Widescreen/ratio
Panavision
Duration(in mins):
82
Country:
United States
Language:
English
SYNOPSIS

Following the massacre of General Custer and the 7th Cavalry at Little Big Horn, Army Captain Tom York rides into nearby Deadwood to warn the townspeople that the rampaging Sioux may attack. York is suspected of being a deserter until gunfighter Ep Wyatt identifies him as a special agent of the Army. Two huge Gatling guns are buried somewhere in the town, but only Dakota Lil of the local dance hall knows where, and she refuses to disclose the hiding place, claiming that they have already caused enough tragedy, including the deaths of her husband and little boy. York persuades her that the guns are vital to warding off an Indian attack, and she eventually leads him to where they are buried. Before they can be assembled, however, they are stolen by Elkins, a gambler who intends to sell them to the Sioux. Banded together by York, the townspeople kill Elkins, build barricades, mount the Gatlings, and prepare for the attack. York, Wyatt and old Columbus Smith ride off with the Gatlings to help a cavalry troop pinned down by the Sioux. Although Smith is killed, cavalry troops are found, and the Sioux quickly scatter. With peace restored, York decides to settle down in Deadwood with Dakota ...

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Following the massacre of General Custer and the 7th Cavalry at Little Big Horn, Army Captain Tom York rides into nearby Deadwood to warn the townspeople that the rampaging Sioux may attack. York is suspected of being a deserter until gunfighter Ep Wyatt identifies him as a special agent of the Army. Two huge Gatling guns are buried somewhere in the town, but only Dakota Lil of the local dance hall knows where, and she refuses to disclose the hiding place, claiming that they have already caused enough tragedy, including the deaths of her husband and little boy. York persuades her that the guns are vital to warding off an Indian attack, and she eventually leads him to where they are buried. Before they can be assembled, however, they are stolen by Elkins, a gambler who intends to sell them to the Sioux. Banded together by York, the townspeople kill Elkins, build barricades, mount the Gatlings, and prepare for the attack. York, Wyatt and old Columbus Smith ride off with the Gatlings to help a cavalry troop pinned down by the Sioux. Although Smith is killed, cavalry troops are found, and the Sioux quickly scatter. With peace restored, York decides to settle down in Deadwood with Dakota Lil.

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

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.