Tom Keene had a flexible career in cowboy movies, where he appeared as different cowpokes, bucking the trend of a single persona like Tom Mix or Roy Rogers. From cowboys to more upper and lower scale movies, he changed his name to Richard Powers in the 1940s and played Colonel Tom Edwards in Plan 9 From Outer Space, and a major general in Red Planet Mars. He did a lot of television work appearing in Adventures of Superman and Death Valley Days. He even found time to do Broadway in the 1940s. Not one to be pegged to any one role or genre, he eventually retired from acting in the late 1950s and hawked insurance and real estate. Luana Walters also had a busy career, starring in movie serials like Shadow of Chinatown with Bela Lugosi, Superman, and Captain Midnight. She starred with Bela Lugosi again in The Corpse Vanishes as the feisty reporter. Her last movie role was in The She-Creature in 1956.
Tom Keene began his acting career as George Duryea, starring as Abie in one of the touring companies for Abie’s Wild Irish Rose, a Broadway hit in 1922. From there he took the male lead in Cecil B. De Mille’s The Godless Girl from Pathé Studios. He did more features for Pathé and other studios, and in the early 1930s he took the name Tom Keene beginning with RKO’s The Sundown Trail. Seeing success in Westerns, but fearful of being typecast, he left Hollywood for summer stock. When he returned, he took on varied roles in various movies beginning with King Vidor’s Our Daily Bread. His plan to not be typecast worked well, except for the problem of not achieving the notoriety and stardom that a consistent onscreen persona would have given him. So he returned to Westerns for a few years, but then left the silver screen for a stage play that bombed. He moseyed back to Hollywood and continued working with RKO and Republic, eventually turning to television westerns and retiring to the dusty trails of real estate and insurance sales. One important note: Rita Cansino eventually changed her name too: to Rita Hayworth.
(Research: Riders of the Range: The Sagebrush Heroes of the Sound Screen by Kalton C. Lahue and B-Westerns at https://www.b-westerns.com/tkeene.htm.)
One of the last cowboy stars of the silver screen, Rex Bell began riding horses and packing heat in the late 1920s at Fox. When movies switched to sound he shifted into the Bs, both westerns and actioners, with many made for Monogram. Those movies mixed in a more modern (for then) setting along with the cowboys, including gangsters and fast cars (again, for then). He met the It Girl, Clara Bow, when they worked together in the 1930 film True to the Navy. They married in 1931 and settled into their Walking Box Ranch near Searchlight Nevada. Bell’s final film was The Misfits in 1961.
“In 2015, I began poring over issues of Broadcasting Magazine. A wonderful database of which is available at worldradiohistory.com. Initially, I was just hunting around for anything related to movie packages for television. I started in the early 1950s, but suddenly decided that I should focus on looking for any ads related to the Screen Gems Shock TV package. Once I found the first ad in 1957, I went headfirst into that rabbit hole and looked over every issue from 1957 to 1959. 156 issues. 100 pages per issue, I now realize I looked at 15,600 pages of this trade magazine just to find a few nuggets. Since this insane research happened a decade ago, I can’t be certain how long it took me, but my wife assures me that it took long enough.
“The result of this bottomless research project was 16 trade ads, all published at the absolute height of Screen Gems Shock package success. Each one is a glimpse into the excitement and astounding draw the package had across the country in every major and minor TV market. It was this specific movie package for television that gave birth to what we know now as the “horror movie host.” But, for adults in 1957, those specifically involved in TV on every level, it was a windfall. It is interesting now to look over these trade ads and realize that this was the birth of movies being sold to TV, something people of my generation (I was born in 1973) simply took for granted because we grew up watching movies on TV before we ever stepped into a theater.
“15 of these ads are Screen Gems SHOCK specific. Including an ad for the follow-up package called Son of Shock. I’ve also included a bonus ad not from Screen Gems, but from A.A.P. for their “Horrors” film package, which was basically 52 films NOT owned by Universal. Interesting to note that A.A.P. was keenly aware that the Screen Gems package was going to draw viewers. The A.A.P. ad appeared on 9-30-1957, one page after Screen Gems’ “Never Before on TV” trade ad. Ahh, the good old days of Television, no good idea ever goes un-stolen!”
09-23-1957-GET READY TO SHOCK-SCREEN GEMS09-16-57-FIFTEEN MORE DAYS TO SHOCK-SCREEN GEMS09-23-57-EIGHT MORE DAYS TO SHOCK-SCREEN GEMS09-30-1957-SHOCK-SCREEN GEMS AD
