Chuck Hayward
11 Films
Chuck Hayward
11 Included Films
Charles Bert Hayward (January 20, 1920 – February 23, 1998) was an American motion picture stuntman and actor. He was associated particularly with the films of John Wayne. He doubled for most of the great Western and action stars of the 1950s-1980s. His parents, Bert and Hazel Hayward, were cattle ranchers on a farm near Hyannis, Nebraska, about sixty miles east of Hayward's birthplace in Alliance. He spent his early youth working cattle, then, at 16, left home to join the rodeo circuit as a bronc rider and horse trainer. In 1947, he arrived in Los Angeles and sought work as a wrangler on motion pictures. He began doing stunts in 1949 on The Fighting Kentuckian, doubling for John Wayne. The two became pals and Hayward subsequently stunted and doubled for Wayne on nearly two dozen of the latter's films. Excelling at all sorts of horseback stunts, Hayward doubled most stars of the period who found themselves in Westerns or otherwise astride a horse, including Marlon Brando, Yul Brynner, Steve McQueen, and Gregory Peck. He was prominent in The Big Country, co-produced by Peck. He was known as "Good Chuck" in contrast to "Bad Chuck", in reference to Chuck Roberson, another of Wayne's stunt doubles. He graduated into stunt coordination, arranging the stunts in films such as The Deadly Companions and the TV series The Rat Patrol. He played small roles in numerous films and TV shows, and his appearance often served as an accurate predictor of an upcoming fight scene. He retired from stunt work in 1981, and from acting in 1989. Hayward was a member of the unofficial John Ford Stock Company, a lifetime member of the Stuntmen's Association of Motion Pictures, and an inductee into the Stuntmen's Hall of Fame. He died from Hodgkin's Disease at his home in North Hollywood, California, in 1998. He was married three times, to Ellen Powell, by whom he had a daughter, and to Carol Lynn Shepherd. He had two children with Carol Lynn Shepherd. They were divorced in 1982. He then married Sally Pape Callaghan on October 30, 1982. Before his Hollywood stuntman career, Hayward also worked as a medic in the United States Merchant Marine and he stated that he served on liberty ships. His two boys, along with his wife Carol's best friend who was trying to save them, perished in a forest fire in the early 1980s.
Director: Fred Zinnemann
MoC 4K Blu-ray, both Kino Lorber and Germany Filmjuwelen 4K Blu-ray have poor encode. See nicolas review on Eureka Blu-ray. It seems the 4K restoration on that disc and the Olive Films Signature US release served as the basis for the HDR master Kino Lorber commissioned. There are the same traces of grain management in the opticals and the small number of shots from a lower quality source that were spliced in between the OCN footage. The SDR grayscale looks great though and after having compared everything, I would’ve preferred a 4K SDR release. The Eureka Blu-ray release wasn’t encoded by FiM and it shows. For those with the Blu-ray and an appreciation for optimal encoding, consider an upgrade.Kino Lorber 4K Blu-ray: It seems that Kino Lorber commissioned the HDR/DV grade and some additional cosmetic work on the master. They used to mention "… brand new master by studio X" on their back covers when they were supplied with ready-made materials. This isn’t the case here but maybe someone’s in the know and things are different. The HDR grade is darker than the SDR one and flattened the grayscale quite significantly. I mentioned this in the Sabrina and Sunset Boulevard thread as well but I’m not really a fan of these grades and doubt that they’re enhancing the grayscales to make them appear more film-like. I’ve seen worse and it’s not the end of the world when the film is viewed in a dark environment but don’t expect anything as luminous and sparkly as The Big Heat. Kino Lorber’s encoding can be seen here via ko8ebryant’s caps.Eureka 4K Blu-ray (BD-100): Same 4K master and same HDR grade as on the Kino Lorber 4K but now expertly encoded. Thanks to no compression anomalies standing in the way, we can now scrutinize the master much better. In comparison with the SDR master, I noticed that there are opticals that got hit with further noise reduction and sometimes egregiously so, such as in the scene with Grace Kelly at the train station at roughly 18 minutes into the film. Parts of that scene were sourced from a lower-quality source. In the HDR master, grain was practically erased altogether whereas in the 4K SDR master on the Eureka Blu-ray, grain is visible in the same shot despite the iffy encoding.I’d still recommend the Eureka 4K Blu-ray as the OCN shots and scenes are frequently gorgeous, beautifully detailed and at most only minimally tampered with. The imperfect HDR grade bugs me but I’ll still use Eureka’s 4K Blu-ray for my future viewings due to the FiM encode.
1992 Republic LaserDisc
Director: Fred Zinnemann
MoC 4K Blu-ray, both Kino Lorber and Germany Filmjuwelen 4K Blu-ray have poor encode. See nicolas review on Eureka Blu-ray. It seems the 4K restoration on that disc and the Olive Films Signature US release served as the basis for the HDR master Kino Lorber commissioned. There are the same traces of grain management in the opticals and the small number of shots from a lower quality source that were spliced in between the OCN footage. The SDR grayscale looks great though and after having compared everything, I would’ve preferred a 4K SDR release. The Eureka Blu-ray release wasn’t encoded by FiM and it shows. For those with the Blu-ray and an appreciation for optimal encoding, consider an upgrade.Kino Lorber 4K Blu-ray: It seems that Kino Lorber commissioned the HDR/DV grade and some additional cosmetic work on the master. They used to mention "… brand new master by studio X" on their back covers when they were supplied with ready-made materials. This isn’t the case here but maybe someone’s in the know and things are different. The HDR grade is darker than the SDR one and flattened the grayscale quite significantly. I mentioned this in the Sabrina and Sunset Boulevard thread as well but I’m not really a fan of these grades and doubt that they’re enhancing the grayscales to make them appear more film-like. I’ve seen worse and it’s not the end of the world when the film is viewed in a dark environment but don’t expect anything as luminous and sparkly as The Big Heat. Kino Lorber’s encoding can be seen here via ko8ebryant’s caps.Eureka 4K Blu-ray (BD-100): Same 4K master and same HDR grade as on the Kino Lorber 4K but now expertly encoded. Thanks to no compression anomalies standing in the way, we can now scrutinize the master much better. In comparison with the SDR master, I noticed that there are opticals that got hit with further noise reduction and sometimes egregiously so, such as in the scene with Grace Kelly at the train station at roughly 18 minutes into the film. Parts of that scene were sourced from a lower-quality source. In the HDR master, grain was practically erased altogether whereas in the 4K SDR master on the Eureka Blu-ray, grain is visible in the same shot despite the iffy encoding.I’d still recommend the Eureka 4K Blu-ray as the OCN shots and scenes are frequently gorgeous, beautifully detailed and at most only minimally tampered with. The imperfect HDR grade bugs me but I’ll still use Eureka’s 4K Blu-ray for my future viewings due to the FiM encode.
1992 Republic LaserDisc
Director: John Ford
MoC better encode than Olive Films. Brightness levels vary quite a bit between them.
Director: John Ford
MoC better encode than Olive Films. Brightness levels vary quite a bit between them.
Director: John Ford
4K Blu-ray is muffled, even compared to already poor WB Blu-ray, from nicolas: "The most noise reduction of any release, leaving hardly anything above 8 kHz. Bass content has also been removed globally."
Director: John Ford
4K Blu-ray is muffled, even compared to already poor WB Blu-ray, from nicolas: "The most noise reduction of any release, leaving hardly anything above 8 kHz. Bass content has also been removed globally."
Director: William Wyler
Kino Lorber Blu-ray/Final Cut Blu-ray
Kino Lorber Blu-ray/Final Cut Blu-ray
The Kino BD has additional extras but the Laserdisc still has exclusive extras and commentary not included on the Kino release. AVOID the MGM Blu-ray for the stretched aspect ratio error that was only finally corrected for the Kino Lorber reissue after much fan outcry.
Director: William Wyler
Kino Lorber Blu-ray/Final Cut Blu-ray
Kino Lorber Blu-ray/Final Cut Blu-ray
The Kino BD has additional extras but the Laserdisc still has exclusive extras and commentary not included on the Kino release. AVOID the MGM Blu-ray for the stretched aspect ratio error that was only finally corrected for the Kino Lorber reissue after much fan outcry.
Director: Stanley Kubrick
4K Blu-ray DTS:X mix most closely approximates original surround mix
Criterion DVD has additional features not found on the 4K Blu-ray
Director: Stanley Kubrick
4K Blu-ray DTS:X mix most closely approximates original surround mix
Criterion DVD has additional features not found on the 4K Blu-ray
Director: Samuel Fuller
Director: Samuel Fuller
Paramount 4K Blu-ray but poor encode, no alternatives though
Paramount 4K Blu-ray but poor encode, no alternatives though
Director: Blake Edwards
Director: Blake Edwards
Director: Mel Brooks
Director: Mel Brooks
Director: Irwin Allen
Director: Irwin Allen
11 films