1947: The Shocking Miss Pilgrim; D: George Seaton 1947: Dangerous Years; D: Arthur Pierson 1948: You Were Meant for Me; D: Lloyd Bacon 1948: Scudda Hoo! Scudda Hay!; D: F. Hugh Herbert 1948: Green Grass of Wyoming; D: Louis King 1948: Ladies of the Chorus; D: Phil Karfson 1949: Love Happy; D: David Miller 1950: A Ticket to Tomahawk; D: Richard Sale 1950: The Asphalt Jungle; D: John Huston 1950: The Fireball; D: Tay Garnett 1950: All About Eve; D: Joseph L. Mankiewicz 1950: Right Cross; D: John Sturges 1951: Home Town Story; D: Arthur Pierson 1951: As Young as You Feel; D: Harman Jones 1951: Love Nest; D: Joseph Newman 1951: Let's Make It Legal; D: Richard Sale 1952: Clash by Night; D: Fritz Lang 1952: We're Not Married; D: Edmund Goulding 1952: Don't Bother to Knock; D: Roy Baker 1952: Monkey Business; D: Howard Hawks 1952: O. Henry's Full House; D: Henry Koster 1953: Niagara; D: Henry Hathaway 1953: Gentlemen Prefer Blondes; D: Howard Hawks
a moral error and rejoicing when Wayne's surrogate son finally stands up to him. T h e relationship with the Ally can be quite complex, sometimes becoming dramatic material in its own right. A vast body of story has been written and filmed about self-righteous Western lawman W y a t t Earp and his unruly, alcoholic, sickly, but very dangerous Ally, Doc Holliday. In some versions o f the tale, like director John Sturges' thundering Gunfight at the O.K. Corral, the two men are nearly equally matched, and while joining together to fight the external threat of the Clanton gang, they are also two horns of a great debate in American culture, between the rigid moral universe of the Puritans, represented by law-abiding W y a t t Earp, and the wilder rebel side represented by Holliday, a gambler from the old South. N O N - H U M A N ALLIES Allies need not be human
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