Guy Madison

In 1944, Madison was visiting Hollywood on leave when his boyish good looks and physique caught the eye of Henry Willson, the head of talent at David O. Selznick's newly formed Vanguard Pictures. Willson was widely known for his stable of good-looking young actors with unusual names that he had bestowed upon them, and he immediately rechristened Moseley as Madison and cast him in a bit part as a sailor in Selznick's Since You Went Away (1944).

Although Madison was on the screen for only three minutes, the studio received thousands of letters from fans wanting to know more about him.[3] He received extensive coverage in the influential fan magazines of the time, including Photoplay where his agent Henry Willson had once worked.[4][5][6][7][8][9][10]

Madison returned to military service. When he got out, Selznick assigned his contract to RKO Pictures. RKO gave him a starring role in Till the End of Time, a drama about veterans returning after World War II (1946). The film was a big hit, even though it was overshadowed by The Best Years of Our Lives (1946), another film on a similar theme. However, Madison's acting was criticized as wooden.[3][11]

Madison's second starring role paired him with fellow Selznick contract player Shirley Temple in Honeymoon (1947), which was a huge flop.[12] His career began to suffer, in part because of his limited acting ability.[13][14][15]

Madison was borrowed by William Castle for Texas, Brooklyn & Heaven (1948). He also appeared in Massacre River (1949) and Drums in the Deep South (1951).

Guy Madison by Don Ornitz, 1954

Madison was eventually dropped by Selznick, along with most of Selznick's contract-players.[11] In 1951 he was cast as the title character in the television series The Adventures of Wild Bill Hickok (1951–58), co-starring Andy Devine as his pal, Pete "Jingles" Jones. The series ran for seven years. During the run of the show, between 1952 and 1955, sixteen feature films were released by Monogram Pictures consisting of episodes combined into a continuous story.[16]

During the series' run, Madison also continued to make features: Red Snow (1952), a war movie for Columbia; The Charge at Feather River (1953), a Warner Brothers Western for Fox in 3-D and a huge hit; The Command (1954), another popular Western for Warners; 5 Against the House (1955), for Columbia; The Last Frontier (1955), supporting Victor Mature; On the Threshold of Space (1955), a science fiction film for Fox; Hilda Crane (1956), a melodrama for Fox; The Beast of Hollow Mountain (1957), shot in Mexico; The Hard Man (1957), a Western; and Bullwhip (1958), another Western.

Madison went to Britain for Jet Over the Atlantic (1959) then went to Europe, where he found greater success in sword-and-sandal, spaghetti Western and macaroni combat films. He went to Italy for Slave of Rome (1961), Sword of the Conqueror (1961), Women of Devil's Island (1962), and The Executioner of Venice (1963).

Madison went to Germany for Old Shatterhand (1964) then made a spaghetti Western, Desafío en Río Bravo (1964). He did Kidnapped to Mystery Island (1964), Gentlemen of the Night (1964), The Adventurer of Tortuga (1964), Legacy of the Incas (1965), Renegade Riders (1967), and Son of Django (1967).

He made Bang Bang Kid (1967), The Devil's Man (1967), Superargo and the Faceless Giants (1968), Long Days of Hate (1968), Hell in Normandy (1968), Battle of the Last Panzer (1969), and Reverend's Colt (1970).