A Time for Killing (1967)

Director Phil Karlson with Inger and Glenn.

Inger stars as Emily Biddle in the 1967 western A Time for Killing, one of four westerns she would make within two years. Inger's status as the Western dream gal of 1967-1968 prompted Roger Ebert, in his review of Hang 'Em High, to write, "You can tell it's a Hollywood Western because Inger Stevens lives in the boarding house..."

In his book on western filmmakers, Henryk Hoffman praised Inger:

Despite the unimpressive quality of her westerns, Inger Stevens delivered four interesting performances and earned the distinction of one of the most original western leading ladies of the period. 

Inger as Emily Biddle in A Time for Killing, 1967.

Originally titled The Long Ride Home and directed by Roger Corman (who "couldn't get out of his old ways. He was pushing the actors, they were upset, the crew was upset") but quickly taken over by director Phil Karlson, A Time for Killing was based on the 1961 novel A Southern Blade by Nelson and Shirley Wolford. The male leads are Glenn Ford and George Hamilton. Max Baer, Jr. and Paul Petersen also appear and a young Harrison Ford is seen briefly. Paul Petersen would later say that the dismissal of Roger Corman as director was unfair and that the film would've been "ultimately better served" if Corman had continued, because Corman "tried to compensate for the lack of character development in the story by incorporating the Utah landscape."

Filming took place in Utah and Arizona. Realty specialist Darwin Nelson wrote:

Last summer several scenes for The Long Ride Home were made on public domain near the Paria River, and for several weeks Kanab was 'home' for such stars as Glenn Ford, George Hamilton, Max Baer, Jr., Inger Stevens and Paul Petersen. It wasn't the first time Glenn Ford had been on location in Kenab; 25 years ago he spent some time off the set participating in a local rodeo. 

Due to a drought that dried out a riverbed essential to filming, thousands of gallons of water had to be imported from Tucson.  

Inger with actor Todd Armstrong

Glenn Ford was newly married and his wife Kathryn Hayes (known for her decades-long work on As The World Turns plus many guest appearances on 1960's television) visited the set. Glenn's son Peter was happy to be cast in a small role opposite "beautiful Inger Stevens" and made friends with cast members Harrison Ford, Harry Dean Stanton, Timothy Carey, and Paul Petersen. George Hamilton's girlfriend Lynda, daughter of President Lyndon Johnson, also visited the set—with Secret Service agents. 

According to author Patterson, Inger made a rare move and arrived on set with her husband Ike Jones on the first morning of filming. Patterson doesn't reveal the source of this story, but he writes that Inger, with Ike by her side, was confident as she greeted a cast and crew that reacted with "dead silence" and viewed it as an "awkward situation." Inger was seen crying later in the morning and Ike had left by the afternoon. 

Inger waits for dress repairs.

Inger observes a scene.

The film begins with missionary nurse Emily Biddle (Inger) watching her fiance Major Wolcott (Glenn) enforce a death sentence on a Confederate soldier. Major Wolcott must follow the orders of a cruel Colonel, which mercilessly prolong the death of a soldier until Wolcott puts the man out of his misery with a single shot. The treatment of the man's sentence causes a fury among the imprisoned Confederate soldiers, led by Captain Dorrit Bentley (George Hamilton). When he returns to his cabin, Major Wolcott realizes his fiancé witnessed the killing.

Emily: I was watching.

Wolcott calls for a missionary wagon to take Emily to a safe place.

Emily: You're not sending me away?...Why? I've come most of the way across this country to see you.

Wolcott: You couldn't have picked a worse time or place.

Emily: I didn't pick it. The war did. Is it too much to want to share a few days with you?

Wolcott: There are a lot of things I wanted to share with you, Emily, but this was not one of them.

Emily: Couldn't you have done something to stop it? He was a child.

Wolcott: Child or man, he was a soldier and this is a war. And I don't like you seeing it.

Emily:...I've seen the war, Tom, and I hate what I've seen.

Wolcott: I know. I like to see things grow. I don't like to see things die.

The enraged soldiers watch a touching scene as Major Wolcott bids a loving goodbye to Emily and Captain Bentley visibly seethes at the sight of their embrace. After Emily departs, Captain Bentley confronts Wolcott about his sensitivity toward the soldiers.

Bentley: I can see you're frettin' all over their feelings, all leaky-eyed, lovin' them like a brother. Major, they don't have one damn bit of love for you. Whether you own up or not, you hate them.

Wolcott: I hate no man.

Bentley: Well, there's a little time yet.

Wolcott: Captain, what do you want?

Bentley: Well, for you to feel the way I do, that's all.

Wolcott: The war's nearly over.

Bentley: Major, this war will never be over.

The Confederate soldiers make a violent escape from the Union camp overnight. At daybreak, they meet the missionary wagon carrying Emily to safety and overtake it. They kill the Union soldiers protecting Emily and then Captain Bentley abducts her.

Warning: There are major plot spoilers in this paragraph. Please pick up reading after the two shots of Inger and Glenn below if you want to skip them. What follows is a long chase between Major Wolcott and his Union troops and Captain Bentley and his band of Confederate soldiers. Emily Biddle's safety is threatened throughout the film as Captain Bentley lewdly smiles at her. Emily watches as the men imprisoning her become more uncouth and violent toward one another. Emily never backs down. She threatens to kill Bentley several times and insults him many more. Eventually, after many spoken and unspoken suggestions that he will, Captain Bentley viciously rapes Emily—to cause her pain, to cause Major Wolcott pain, and because the ruthless, terrorizing man says "somehow, someplace we got to win before we lose." The build-up to the assault and the assault scene itself are extraordinarily difficult for me to watch. 

Although Inger is exceptional in the scenes she's been given—adding poignancy to her limited lines and a strength of character to Emily—and her striking beauty absolutely glows in Panavision and Pathecolor, I've only been able to watch this movie two times. It's a major trial to sit through, and I'm not alone in this assessment.

Inger and Glenn on set

Inger and Glenn on set

Composer Van Alexander, in his autobiography, remembered that the the movie was "in deep trouble. Directors had been changed in the middle of filming, there were many rewrites on the script and the picture was still lousy...Jonie Taps called me in to save the picture with a good musical score." Alexander scored the film and wrote a main theme for Eddy Arnold to sing.

Alexander wrote that at the film's preview, "the audience laughed in all the wrong places. They laughed during the dramatic sequences. They hissed at the hero and applauded the villain. God, it was awful! Talk about embarrassing! I wanted to crawl under the table."

Later the film would be rescored by guitarist Mundell Lowe to the frustration of Alexander.

Inger and Glenn prepare for the wagon departure scene

Promotion of the film was weak. The promotional materials suggested that exhibitors bring audiences in by focusing on the movie being Glenn Ford's 100th release. The also urged that Inger's character being a nurse from Massachusetts should attract New England women; if you've seen the film you know how ludicrous that tactic would prove. The movie is quite brutal and certainly not what would be termed a "women's picture" in the 1960's.

Peter Ford was right in his summary that the movie had "some strong scenes, but there was a choppy, unfinished feeling to it, perhaps a result of the directorial transference. A Time for Killing went virtually unnoticed on release."

Author Lee Pfeiffer wrote:

If Sigmund Freud had written a Western, the result would be something like A Time for Killing. Admittedly a B Western, the film has the distinction of at least attempting to be something more. However, the script suffers from making the only interesting characters the least important...the film is unremittingly grim and made even grimmer by the efficient but downbeat performances of the cast. 

Halliwell's Film Guide called it a "savage" western about the "corruption of war" while Leonard Maltin kept his response brief by noting, "Director Karlson has made some good minor films in the past; this isn't one of them."

All photos in this post are scans of color transparencies in my collection. You can view more on set photos that are unfortunately not in my collection (including my favorite on set Inger shot—this one! and my second favorite shot—Inger singing) at this site here.

In 2021, A Time for Killing was released on Region 1 DVD as part of a Glenn Ford triple feature. The DVD can be found here. The western had long been available on other region DVDs.

You can read about Inger's other westerns on the blog: Firecreek, 5 Card Stud, and Hang 'Em High.

Inger and Glenn

Sources:

Alexander, Van. From Harlem to Hollywood. Bear Manor Media. 2009.

Ebert, Roger. "Hang 'Em High." https://www.rogerebert.com/reviews/hang-em-high-1968

Ford, Peter. Glenn Ford: A Life. University of Wisconsin. 2011.

Hoffman, Henryk. 'A' Western Filmmakers. McFarland. 2008.

Joyner, C. Courtney. The Westerners. McFarland. 2009.

Maltin, Leonard. Leonard Maltin's 2015 Movie Guide. Penguin. 2004.

Nelson, Darwin. "Little Hollywood." Our Public Lands. 1967.

Pfieffer, Lee. The Films of Harrison Ford. Kensington Publishing. 2002.

Weaver, Tom. Science Fiction Stars and Horror Heroes. McFarland. 2006.

The Farmer's Daughter in DC

Inger on location in D.C.
Source: TV Guide, December 1963

Though not published until December, the photos in TV Guide's "Talk About Backgrounds" pictorial were actually taken in late summer 1963 when the newly formed crew of The Farmer's Daughter filmed on location in Washington, D.C.. 

Inger may have expected the filming schedule to be routine work, but this particular trip to the nation's capitol would introduce her to the two politicians she would support in the 1968 presidential race. TFD director Don Taylor's dedication to the perfect shot would result in a fall at the Lincoln Memorial—his sprained ankle required crutches and a wheelchair (seen in front of Inger below). 

Following filming, William Windom and Inger were the guests of honor at a Screen Gems reception at the Statler Hilton Hotel. Senator Hubert Humphrey and Senator Thomas Kuchel served as honorary hosts. Margaret McManus, in her story on the party, wrote that the "hot summer's haze hung over Washington with the tenacity of a politician who refuses to concede the election...95 humid degrees...no evening for a party, but here there is always a party."

McManus noted that the three-room suite was crowded with people. Bill Windom stood in a corner talking while Inger "floated around the rooms in flowered chiffon, a study of graciousness. She put together a shade of Katy, a shade of the grande dame and a shade of the Hollywood actress and it all came out pretty good. She was equal to the time and place."

Inger chatted with Congresswoman Couya Knutson. Senator Humphrey arrived late but spent time talking and taking photographs with Inger and Bill.  Senator Thomas Kuchl was at the party, but reportedly difficult to find. Former ambassador and famous socialite Perle Mesta, a figure who would be integral to a party during the series' final season and will make another appearance on this blog this week, was also present.

Inger chats with Senator Hubert Humphrey
Source: News Tribune, 1963.

When asked what sealed her decision to play Katy on television, Inger said that the series was "the first one that seemed good enough to take" and that production chief Bill Dozier "fed my ego to the bursting point...How could I turn it down after that?"

Inger showed excitement to be honored at the party, but the greatest delight had occurred earlier that day when Inger and Bill met Robert Kennedy. Inger shared:

I don't know how it was arranged but we went up to his office, and it was so thrilling. Of course, I'd like to meet the President, too, but maybe the next time. Bobby Kennedy said he might come to the party, but I don't see him. He said he would watch the show.

Inger would prominently display a photo of that meeting in her home for the rest of her life. Later, Bobby Kennedy had a silver tray delivered to the set of the show as a thank you for the visit. 

Bill, Bobby, Inger.
Source: C. Wingate's scan from Windom's book.

Inger would keep this photo on display in her home.
Source: Scan from Patterson's book.

Inger would support Bobby's presidential bid and, although it is rarely reported, was present at Kennedy's address at the Ambassador Hotel when he was assassinated on June 5, 1968. After Kennedy's death, Inger would support Hubert Humphrey for presidency and campaign on his behalf in various cities across the United States. There is much to be said about the political campaigning and civic work that Inger completed in her lifetime. More on that in the future!

Sources: 

McManus, Margaret. "Inger Stevens Guest in Washington."  The News Tribune. July 28, 1963.

"Talk About Backgrounds: The Farmer's Daughter Uses a Most Impressive Set."  TV Guide. December 1963.

"Viewer Approval is Forecast for Inger Stevens TV Show." The Times Dispatch. September 18, 1963.

Windom, William. Journeyman Actor: A Memoir. iUniverse. 2009.Winter, Emery. Inger with a Flat Tire: A Peevish Vixen." The Charlotte News. October 26, 1963.

Inger Stevens: Lions Bowl Queen

Inger, Lions Bowl Queen, waves
during the 1965 Christmas parade.
Source: Santa Maria Times.

It was announced via the Santa Maria Times on November 27, 1964 that Inger Stevens would serve as the first queen of the Lions Bowl Junior College football game at Dave Boyd Field on December 5, 1964. The game was sponsored as a benefit for Santa Maria Council for Retarded Children and Inger, as the California Council for Retarded Children’s honorary chair, gladly participated.

Inger arrived in Santa Maria, California, on Friday, December 4th. The following morning Inger was in place as parade entry #6 in the Santa Maria Christmas parade, which featured eight bands and approximately thirty-five floats/cars. In the parade route, Inger followed Harrel Fletcher and Lane Bryant, co-chairmen of the RMA Christmas Committee and she preceded pageant princesses from the local schools.

The Coalinga Falcons beat the Santa Barbara City College Vaqueros with a final score of 41-19 at the game later that day. Inger made a special appearance during the half-time show where she was formally presented the title of Lions Bowl Queen of 1964. A month later, Santa Maria Times reported that a check for $1,125.75 was presented to Dorothy Bell, president of the Santa Maria Council.

Inger speaks to the crowd at the
1964 Lions Bowl festivities.
Source: Santa Maria Times.

Inger was named as Lions Bowl Queen a second time the following year and appeared at the second annual Lions Bowl on December 3-4, 1965. On Friday, December 3rd at 7:00 p.m., Inger attended a cocktail party at Iversen Motor Company, which fully benefited the Santa Maria Council. Inger mingled and signed autographs. The following day Queen Inger rode in the morning Christmas parade (see photo of Inger in the '65 parade at top of this post.) Later in the day, Inger appeared at the game at Dave Boyd Field where she witnessed Harbor College beat Reedley College with a final score of 51-16. Though Inger didn't make a fuss, there was some embarrassment for the Noontime Lions Club when they realized a member forgot to give Inger a bouquet of flowers during the half-time presentation.

Inger uses Lions Club President Al Hall's back
to sign autographs during the 1965 cocktail party.
Source: Santa Maria Times.

Inger frequently filled her weekends with work as the honorary chair of the California Council for Retarded Children (also known as the CCRC). In addition to publicity and charity opportunities arranged by the statewide and local councils, Inger initiated and hosted a series of celebrity art shows to benefit children. As early as 1963 Inger promoted the English translation of aunt Karin Stensland Junker's book The Child in the Glass Ball—a story of Karin's journey as a mother to two children with intellectual disabilities. 

Inger proudly shows aunt Karin's book
The Child in the Glass Ball.
Source: scan from my collection.

Inger not only served as honorary chair of the CCRC, but also volunteered much of her free time with children at the Kedrin Community Health Center and joined the Advisory Board of the Neuropsychiatric Institute at UCLA. One month before her death, Inger stated that the work she completed with the Institute and the Council was the most fulfilling work of her life.

Inger with a child in her work with the CCRC.
Source: Original Jerry Lem site/Darrell Short

Inger's 1966 appointment to the Advisory Board
of Neuropsychiatric Institute.
Source: Original Jerry Lem site.

Sources: 

“Bowl Queen in Parade.” Santa Maria Times. December 4, 1964. 

“Coalinga Wins Lions Bowl game, 41-19.” Santa Maria Times. December 7, 1964. 

“Harbor Stuns Reedley in 51-16 Lions Bowl Route.” Santa Maria Times. December 6, 1965 

“Inger is Lions Bowl Queen.” Santa Maria Times. November 24, 1965.. 

“Lions Bowl Proceeds Presented.” Santa Maria Times. January 14, 1965. 

“Lions Bowl Queen.” Santa Maria Times. November 27, 1964. 

Oppenheimer, Peer J. "Inger Stevens Says: 'I Can't Live Only for Myself.'" Family Weekly. March 8, 1970.

“Parade Officially Opens Christmas Shopping Time.” Santa Maria Times. December 4, 1964. 

“Santa Claus Comes to Town.” Santa Maria Times. December 4, 1965. 

“Signature from a Star.” Santa Maria Times. December 4, 1965. 

“Vaqueros Prep for Lions Bowl.” Santa Maria Times. December 2, 1964.

Take Me to the Fair: Amusement Park Pictorial

In its January 1965 issue, Movie Life magazine featured a pictorial of Inger letting loose at a local amusement park. Obviously staged publicity during the run of The Farmer's Daughter, the editors spun the story as Inger, upon hearing her show's director yell "Cut!", rushing "out of the Screen Gems' parking lot and onto the open road...For a brief hour Inger took her pert nose off the grindstone and poked it into a world of fun. She raced on the merry-go-round, walked barefoot, ate cotton candy. Unwound. For a gal who believes in a firm 'no trespassing' sign on her private life—this was a rare occasion, allowing us a personal glimpse of a wistful, wondrous Inger Stevens."

Sources:

All photos are scans from my magazine collection.

"Off Limits." Movie Life. January 1965.

Inger on the Advantages and Disadvantages of Beauty

Inger in TV and Movie Screen, August 1964.

When asked by fan magazine writer M.P. Todd what it felt like to be beautiful, Inger responded:

You sincerely meant that last compliment, didn't you? I could tell. So I'll give you a serious answer. Today I never think about how I look. Maybe it's because for too many years I thought of myself as ugly. You know the type. I had straight hair, teeth that went in all directions, and I was the shape of a string bean that had been left out in the sun too long. By the time I grew up to look like what I am now, I had already developed the feelings inside of a girl who does not consider herself pretty. I'll tell you a secret, if I am attractive today it is because my face—all of me on the outside—reflects an inner security I have never possessed before. 

What was it like as a girl being treated like a Hollywood beauty? Inger shared:

At first, the attention, the compliments are wonderful. Later, often too much later, the beauty discovers that people, especially males, flocked around her mainly because it gave their egos a boost to be seen with her. At first, innocently, the beauty trusts too much. She believes all the excess adjectives. She delights in all the conquests  she makes merely by existing. But then it begins to catch up with her. If, along the way, she hasn't taken the time to develop her mind, her personality, her character, then she usually winds up alone. She's confused. Unable to cope with the situation. She becomes bitter, miserable. She realizes all too late that she's been used like a pet—a toy—to be exhibited then put back on the shelf. 

Perhaps that's why I searched so long to try and find the right way for me to live my life. There was a period where I, too, received and reveled in the flowery adjectives and the phony attention that actually wasn't directed at the real me but at what my surface supposedly represented. When I finally understood—it was a painful period. I won't discuss it, except to tell you that that I finally hit upon a solution. Now I don't allow myself to rely or depend upon outside words of praise from others. This leads only to self-deception and pain, believe me. Today I have learned to rely only on myself to judge my own true worth. I see my weaknesses and I try to correct them. I see my strengths and I try to preserve them. 

Source: 

Todd, M.P. "A Brand-New Inger Stevens." TV and Movie Screen. August 1964.