Audie wanted badly to work with Robert Mitchum his studio put the kibosh on the opportunity, and instead of a partnership as proposed by Audie for several films with Mitchum

Ten Films That Audie Murphy Never Made
By club member Bill Russo of Stoughton, Massachusetts
Actors often pass on movies, or find scheduling conflicts that prevent them from
making important movies that might have changed the direction of their careers. In Audie
Murphy’s case the missed opportunities are particularly wrenching because Audie so
needed a first-class hit, especially late in his movie career.

Here is a list of the films that should be wonderful additions to the Audie Murphy
pantheon, but now they must stand just as sad examples of what might have been.
* BACK FROM HELL. This was meant to be the sequel to his autobiography. With a
focus on his later years in Hollywood and his post-trauma stress, production under Desi
Arnaz suffered from decisions about whether Murphy could be presented as a victim. In one
script version Murphy would help an alcoholic, stressed veteran to adjust to life after the
War. Audie’s friend threatened to sue if they filmed such a false story; Audie had always
been unhappy with the unsanitized version of To Hell and Back. No one wanted to film a
story about the real Audie Murphy and his difficult personal problems. Unable to settle on a
focus, the idea for the movie languished for years, regularly reported by tabloids as a
possibility, but it never happened.
* THE ALAMO. John Wayne’s 1960 epic could have been improved with the addition of
Audie in the cast. Duke Wayne however was extremely sensitive to the fact that Audie was a
real war hero and Wayne merely a film hero. So, as producer and director of The Alamo, the
Duke felt disinclined to allow Audie to upstage him. Though Audie expressed an interest as a
Texan to play one of the state’s defenders, the role was cast with Laurence Harvey, an
Englishman, to play Travis, the military man who shoots off a cannon in response to the
request for unconditional surrender. At the time many felt to omit Audie from the film was a mistake.

* DIRTY HARRY. Don Siegel, an early director of Audie westerns and a friend, wanted
to pit Audie against Clint Eastwood in the first of the successful detective series. This could
have been Audie’s great comeback role, garnering him renewed fame and box-office clout.
One of the most tragic aspects of Audie’s death in 1971 was that he never had the chance to
match himself against Clint Eastwood as the psychopathic punk who has been immortalized
by the question, “Do you feel lucky today?”
* WOODS COLT. Audie optioned this low-rent Faulkner-style story by Thames
Williamson about an Ozark boy who is hunted by a mob through the hills because he ran off
with an underage girl. Audie felt some kinship to this hillbilly and wanted Natalie Wood to
star opposite him. Unable to finance this project, he sold the rights, but later made The Wild
and the Innocent with Sandra Dee, an inferior version of the minor classic novel. The
Williamson story was never made into a movie with anyone else.
* SKIN DIVER WITH A HEART. Legal entanglements caused him to abandon this
project. Having spent tens of thousands of dollars on equipment and investing much time in
his skin diving hobby, he expected to do an undersea adventure story. Squabbles with the
producer further damaged Audie’s reputation in Hollywood, and another proposed film
never found itself developed beyond the script treatment stage.
* REFLECTIONS IN A GOLDEN EYE. One of the biggest supporters of Audie was
director John Huston. Every ten years or so, Huston seemed to offer Audie a grade-A film
role. Their two previous collaborations were The Red Badge of Courage and The Unforgiven.
Audie received some of his best critical notices with these roles. In 1967, with Huston’s latest
major project about to start, the star, Montgomery Cliff, died. The part of the Southern
Army officer with a cheating wife and an obsession with becoming an enlisted man again
was open: unfortunately, star Elizabeth Taylor insisted that Marlon Brando be cast in the
part as her husband — and Audie, who might have been rediscovered, never had the chance
to work with John Huston again.
* IMPULSE. Press reports and interviews by Audie announced that he would play
himself in a film wherein escaped Nazi war criminals would put out a contract on the hero.
Audie would need to fight off snipers who pursued him. Allegedly this was based on a true
incident in his life. Though he sounded excited by the project, he never made the picture. A
revamped version came out several years later. Peter Bogdanovich’s first film starred Boris
Karloff cast as himself, battling a crazed fan who tried to assassinate him

* SAYONARA Rumor has it that Audie Murphy was offered a part in Marlon Brando’s
post World War II story about interracial love in Japan. Less than a starring role, the role
was offered to Audie was that of an enlisted man whose ill-fated romance with a Japanese
girl results in their suicides. For whatever reason, Audie declined the role — and Red Buttons
went on to win an Oscar as

Best Supporting Actor in 1957 for the part.
* NIGHT RIDERS. Audie wanted badly to work with Robert Mitchum. His studio put the
kibosh on the opportunity, and instead of a partnership as proposed by Audie for several
films with Mitchum, he played in Night Passage with James Stewart. As far as is known,
Night Riders never made it to the screen with any replacement for Audie.
* A HORSE FOR MR. BARNUM. Scheduled to begin filming in the summer of 1971, this
was another film that Audie was to produce and star in for Budd Boetticher. They had just
completed Audie’s reprisal as Jesse James in “A Time For Dying.” Boetticher didn’t make
another film after Audie’s death until the summer of 1995 when this project went before the
cameras with character actor Henry Silva cast in the role originally slated for Audie twentyfive years earlier.

KANSAS RAIDERS – Audie takes on this Western, set in the 1860’s, portraying a young
Jesse James. He and his brother Frank become new members of Quantrill’s Raiders, who
consider themselves Confederate sympathizers, but are best known for the bloody attack
and looting of Lawrence, Kansas. In the film, the Raiders include other famous outlaw gang
members, Cole Younger and two Dalton brothers. Although Jesse James joins to help the
Confederate cause, he soon realizes that others in the group are simply bandits and killers
out to line their own pockets.
Jesse is drawn to the strong leadership of Quantrill but is bothered by the often senseless
killings. He considers quitting the Raiders, but stays because of Quantrill’s beliefs. Also,
Jesse feels increasingly emotional towards Quantrill’s girl friend, Kate.
Eventually, Quantrill is tracked down by Union troops. He decides to fight and sacrifice his
life so Jesse, Kate and the others can escape. Kate and Jesse are in love but she considers
herself too old for the young fighter. She rides away alone as the young desperado hastens to
rejoin his small band of followers.

This picture was filmed between May 22, 1950 and June 24, 1950 in the Idyllwild, California
area. The running time was 80 minutes and it was released in November of 1950.
In this, the third Universal western, Audie played a real-life Wild West badman for the
second time. The film claimed to be an account of Jesse James’ career as a member of the
notorious guerrilla gang led by Colonel Quantrill in post-Civil War Kansas. It traces his
recruitment, hero-worship of Quantrill, romance with Quantrill’s girlfriend, Kate and
ultimate disillusionment after the infamous massacre in Lawrence, Kansas.
Other members of the cast included Brian Donlevy as Quantrill, Marguerite Chapman as
Kate, Tony Curtis as Kit Dalton, Richard Long as Frank James, James Best as Cole
Younger and Dewey Martin as Jim Younger.
This movie proved that Murphy had greatly improved as an actor. Critics said that “Audie
delivers strongly as Jesse James” and that his performance was “topnotch.” Incidentally,
this was the movie in which Audie had his first on screen kiss.
As usual, Audie showed to advantage in the action scenes, handling gun and horse like a
veteran and even took part in a savage knife-fight, something not too many western stars
would have done because of the risk of damaging their straight-shooting hero image. But the
knife scene was vital to the film, as an indication of the brutal level on which Quantrill and
his guerrillas operated, and the entire film was notable for the uncompromising realism of its
action scenes. (Submitted by Sue Gossett)

proc. BY MOVIES