Great Hollywood Westerns
Classic Pictures, Must-See Movies & “B” Films
by John Howard Reid
Hollywood Classics 22
2011
Smashwords Copyright 2011 by John Howard Reid
Smashwords Edition, License Notes
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All rights reserved. Inquiries: johnreid@mail.qango.com
Other Books in the “Hollywood Classics” series:
1. New Light on Movie Bests
2. “B” Movies, Bad Movies, Good Movies
3. Award-Winning Films of the 1930s
4. Movie Westerns: Hollywood Films the Wild, Wild West
5. Memorable Films of the Forties
6. Popular Pictures of the Hollywood 1940s
7. Your Colossal Main Feature Plus Full Supporting Program
8. Hollywood’s Miracles of Movie Entertainment
9. Hollywood Gold: Films of the Forties and Fifties
10. Hollywood “B” Movies: A Treasury of Spills, Chills & Thrills
11. Movies Magnificent: 150 Must-See Cinema Classics
12. These Great Movies Won No Hollywood Awards
13. Movie Mystery & Suspense
14. Movies International: America’s Best, Britain’s Finest
15. Films Famous, Fanciful, Frolicsome and Fantastic
16. Hollywood Movie Musicals
17. “Hollywood Classics” Title Index Books 1-16
18. More Movie Musicals
19. Success in the Cinema
20. Best Western Movies: Winning Pictures, Favorite Films and Hollywood “B” Entries
21. Great Cinema Detectives
22. Great Hollywood Westerns
23. Science-Fiction & Fantasy Cinema
24. Hollywood’s Classic Comedies
25. Hollywood Classics Title Index to All Movies Reviewed in Books 1-24
Additional Movie Books by John Howard Reid
CinemaScope One: Stupendous in ’Scope
CinemaScope Two: 20th Century-Fox
CinemaScope 3: Hollywood Takes the Plunge
CinemaScope 4: MGM Movies Lead the Way
Mystery, Suspense, Film Noir and Detective Movies on DVD: A Guide to the Best in Cinema Thrills
Silent Films & Early Talkies on DVD
WESTERNS: A Guide to the Best (and Worst) Western Movies on DVD
British Movie Entertainments on VHS and DVD
MUSICALS on DVD
Table of Contents
The Cowboy from Lonesome River
Old Mother Riley’s Jungle Treasure
They Passed This Way (Four Faces West)
The Wistful Widow of Wagon Gap
The Yodelin’ Kid from Pine Ridge
Abilene Trail
Whip Wilson (Kansas Kid), Andy Clyde (Sagebrush), Tommy Farrell (Ed Dawson), Steve Clark (Dawson, senior), Noel Neill (Mary Dawson), Dennis Moore (Brandon), Marshall Reed (Slavens), Lee Roberts (Red), Milburn Morante (Chuck), Ted Adams (sheriff), Bill Kennedy (Colter), Stanley Price (Sheriff Warner), Lyle Talbot (Doc), Clarke Stevens (deputy).
Director: LEWIS D. COLLINS. Screenplay: Harry Fraser. Photography: Gilbert Warrenton. Film editor: Richard Heermance. Art director: David Milton. Set decorator: Raymond Boltz. Music director: Edward J. Kay. Set continuity: Ilona Vas. Assistant director: Melville Shyer. Sound recording: Tom Lambert. Producer: Vincent M. Fennelly.
Copyright 4 February 1951 by Monogram Pictures Corporation. No recorded New York opening. U.S. release: 4 February 1951. Never theatrically released in Australia. 63 minutes.
SYNOPSIS: The Kansas Kid endeavors to lead a cattle drive to Abilene, despite the opposition of a rival ranch foreman.
COMMENT: This neatly directed Whip Wilson entry maintains the right balance between talk and action. There’s plenty to keep the pace cracking—cattle stampedes, gun fights and lynching parties. Wilson and Clyde make a first-rate team.
OTHER VIEWS: Moderately entertaining Monogram western. Although the film boasts a sizable human cast, there is not one single steer. The Monogram motto—thank heaven for stock shots—is much in evidence. But, boy, you think they could have hired at least one or two steers for close-ups instead of forcing the principals to idly flick their stock whips at dust swirls! And speaking of whips, aside from lethargic air-dusting, Mr Wilson doesn’t use his once. Still, for all that, action fans will find this little item offers passable enough entertainment.
Aces and Eights
Tim McCoy (Tim Madigan), Luana Walters (Juanita Hernandez), Rex Lease (“Spanish”), Wheeler Oakman (Ace Morgan), Frank Glendon (Amos Harden), Charles Stevens (Captain De Lopez), Earl Hodgins (marshal), Jimmy Aubrey (Lucky), Joseph Girard (Don Hernandez), John Merton (tinhorn), Karl Hackett (Wild Bill Hickok).
Director: SAM NEWFIELD. Screenplay: Joseph O’Donnell. Story and continuity; George Arthur Durlam. Photography: Jack Greenhalgh, James Diamond. Film editors: John English, Robert Jahns. Assistant director: William O’Connor. Sound recording: Hans Weeren. Producers: Sigmund Neufeld, Leslie Simmonds. [I would rate the Alpha DVD as 7 out of 10].
A Puritan Pictures Corp. Production, presented by Bernard Smith. U.S. release: 6 June 1936. 62 minutes.
SYNOPSIS: Gambler McCoy reforms when he meets up with square-shooting Marshal Hodgins and a courteous senorita, Luana Walters.
COMMENT: As is often the case in “B” westerns, all the action is saved for the climax. Despite this lack of action, however, the card-sharping plot promised by the title does maintain the interest, although sometimes it’s a little difficult to follow. A half-hearted murder mystery doesn’t help, nor does the similarity between the two villains, Wheeler Oakman and John Merton. Fortunately, Tim McCoy is his usual charismatic self and is given great support here from the likes of Earl Hodgins and Jimmy Aubrey.
Annie Oakley
Barbara Stanwyck (Annie Oakley), Preston Foster (Toby Walker), Melvyn Douglas (Jeff Hogarth), Moroni Olsen (Buffalo Bill), Pert Kelton (Vera Delmar), Andy Clyde (James MacIvor), Chief Thunder Bird (Sitting Bull), Margaret Armstrong (Mrs Oakley), Delmar Watson (Wes Oakley), Adeline Craig (Susan Oakley), Dick Elliott (Ned Buntine), Robert McKenzie (Sheriff Bixby), Theodore Lorch (announcer), Otto Hoffman (Lem Jordan), Si Jenks, Frank Austin (Lem’s friends), Stanley Blystone (shooting match judge).
Director: George Stevens. Screenplay: Joel Sayre, John Twist. Story: Joseph A. Anthony, Ewart Adamson. Photography: J. Roy Hunt, Harold Wenstrom. Film editor: Jack Hively. Art directors: Van Nest Polglase and Perry Ferguson. Music director: Alberto Colombo. Sound recording: P.J. Faulkner, John L. Cass. Associate producer: Cliff Reid. [Available on a superb Warner-Turner DVD].
Copyright 15 November 1935 by RKO-Radio Pictures. U.S. release: 28 November 1935. 91 minutes.
SYNOPSIS: A backwoods sharpshooter enters a contest against the world’s best. She would have beaten him too, except that…
COMMENT: This admirably glossy straight version of the Annie Oakley—Frank Butler story has both its admirers and detractors. As for me, I like it. True, it bears even less relationship to the real story than Annie Get Your Gun. Nonetheless, as pure entertainment this Annie is a winner. Aside from Melvyn Douglas who is forced to struggle valiantly as the other man, this version assembles a great cast, although, would you believe, it’s Chief Thunder Bird who actually walks away with the movie’s top acting honors?
Arena
Gig Young (Hob Danvers), Polly Bergen (Ruth Danvers), Jean Hagen (Meg Hutchins), Henry “Harry” Morgan (Lew Hutchins), Barbara Lawrence (Sylvia Lorgan), Robert Horton (Jackie Roach), Lee Aaker (Teddy Hutchins), Lee Van Cleef (Smitty), Marilee Phelps (wife of Smitty), Jim Hayward (Cal Jamison), George Wallace (Buster Cole), Morris Ankrum (Bucky Hilberry), Murray Alper (medic), Billy Dix, Richard Farnsworth, Chuck Hayward, Archie Butler (cowboys), Stuart Randall (Eddie Elstead), Emmett Vogan, Jess Kirkpatrick, Jeanne Dante, Helen Spring (Eastern tourist spectators), Len Hendry (bartender), John Call (father), Chris Olsen (boy), John Hedloe (young man), Mary Lawrence (young woman), Marshall Reed (clerk), Dale Van Sickel (Johnny Backett).
Director: RICHARD FLEISCHER. Screenplay: Harold Jack Bloom. Story: Arthur M. Loew jr. Photographed in 3-D Ansco Color — print by Technicolor — by Paul C. Vogel. Film editor: Cotton Warburton. Music director: Rudolph G. Kopp. Art directors: Cedric Gibbons, Merrill Pye. Set decorators: Edwin B. Willis, Richard Pefferle. Make-up: William Tuttle. Hair styles: Sydney Guilaroff, Mary Keats. Wardrobe supervisor: Sam Kress. Special effects: A. Arnold Gillespie. Color consultant: Alvord Eiseman. Assistant director: Marvin Stuart. Sound supervisor: Douglas Shearer. Sound recording: Wesley C. Miller, Franklin Milton, William Steinkamp. Western Electric Sound System. Metrovision Tri-Dee technology: Jack Arnold. Producer: Arthur M. Loew, jr.
Copyright 24 June 1953 by Loew’s Inc. A Metro-Goldwyn-Mayer picture. New York opening at Loew’s State: 22 July 1953. U.S. release: 12 June 1954. London trade show in 3-D): mid-February 1954. U.K. release (presumably flat) on the lower half of a double bill. Australian release: 26 April 1954. Sydney opening (flat) as the main attraction at the suburban Metros. City moveover to the top half of a double bill at the Lyric. 70 minutes.
SYNOPSIS: An aging rodeo star (Gig Young) meets up with his estranged wife (Polly Bergen) at an engagement in Tucson, Arizona. Although she tries to appear indifferent, the wife has actually traveled to the Tucson arena in a last-ditch attempt to win back her husband. Unfortunately, he is now entangled with a blonde siren (Barbara Lawrence) who has no intention of letting her “meal ticket” wander back home. On the other hand, the wife’s bid is vigorously supported by a mutual friend, Lew Hutchins (Henry “Harry” Morgan). A former rodeo champion of champions, Hutchins is now reduced to playing a clown.
COMMENT: Way back when it was first released, I commented in my newspaper review that the best way to enjoy Arena was to come late. I was wrong. The best 3-D sequence is right at the very beginning of the movie, with two cars nosing into the camera as they race along the highway to Tucson. After this initial spurt of action, all we get is a lot of dreary rodeo footage with a few steers horning into the lens. The screenplay is likewise dull, though it does provide a few snappy lines for the lovely Barbara Lawrence. Her wonderfully sinuous femme fatale lifts the acting level of Arena considerably, even inspiring Robert Horton to lift his game. Gig Young as always is insufferably dull, whilst unattractively photographed Jean Hagen is wasted in a thankless role. Miss Bergen looks pretty but out of place. Interesting to see Lee Van Cleef in a rare sympathetic underdog role. Despite some bright stretches, color photography in the print under review is inclined to be too soft and diffuse — especially in the seemingly endless rodeo footage which looks like a blow-up from 16mm.
Arizona Days
Tex Ritter (Tex Mallinson), Syd Saylor (Grass Hopper), William Faversham (Professor McGill), Ethelin Terry (Ida), Eleanor Stewart (Marjorie Workman), Tommy Bupp (Billy Workman), Snub Pollard (Cookie), Horace Murphy (Sheriff Brown), Forrest Taylor (Price), Earl Dwire (Joe Workman), Salty Holmes (himself), Glenn Strange (Price’s chief henchman), Budd Buster (sheriff), and “White Flash”.
Director: JOHN ENGLISH. Screenplay: Sherman Lowe. Story: Lindsley Parsons. Photography: Gus Peterson. Film editor: Fred Bain. Music director: Frank Sanucci. Songs mostly by Tex Ritter. Production supervisor: Lindsley Parsons. Production manager and assistant director: Robert Emmett Tansey. Producer: Edward Finney. Executive producer: Edward L. Alperson.
Copyright 2 February 1937 by Grand National. U.S. release: 30 January 1937. 6 reels. 57 minutes. [Available on DVD through Critics’ Choice. My rating: 9 out of 10. I do not recommend the Rph DVD, which not only uses an inferior print, but one that’s missing a large stretch of important narrative material, including one of the movie’s most spectacular scenes].
SYNOPSIS: A complicated but easy-to-follow plot starts off when a cowboy and his sidekick join a traveling theater troupe. Would you believe, the cowboy ends up as the county tax collector? And this is where the real story starts. A leading citizen not only refuses to pay, but even resorts to murder!
NOTES: Final movie appearance of noted stage actor, William Faversham, who died in 1940 at the age of 72. Faversham made only 12 movies between 1915 and 1937.
COMMENT: This is the third of the forty-picture Tex Ritter series, and definitely one of the best. It’s also one of John English’s most well-paced and interesting movies. Mind you, Sherman Lowe’s fascinating script helps. Not only does the plot rivet the attention, but it contains at least three really surprising twists. Forrest Taylor handles the heavy with considerable aplomb, and it’s good to see Faversham in his element as the hammy old actor. Eleanor Stewart makes a super-attractive heroine.
Arizona Round-Up
Tom Keene (Tom Kenyon), Frank Yaconelli (Pierre), Sugar Dawn (Sugar), Jack Ingram (Duke Carlton), Hope Blackwood (Miss O’Day), I. Stanford Jolley (Spencer), Steve Clark (O’Day), Tom Seidel (Hank), Hal Price (Ted Greenway), Nick Moro (Pancake), Gene Alsace (Rocky), Horace B. Carpenter, Fred Hoose (ranchers), Ed Cassidy (sheriff).
Director: ROBERT EMMETT TANSEY. Screenplay: Robert Emmett Tansey and Frances Kavanaugh. Photography: Marcel Le Picard. Film editor: Fred Bain. Music director: Frank Sanucci. Production manager: Fred Hoose. Sound recording: Ferroll Redd. Producer: Robert Emmett Tansey. [Available on an Alpha DVD].
Copyright 10 March 1942 by Monogram Pictures Corporation. U.S. release: 6 March 1942. 56 minutes.
COMMENT: Below average Monogram western. On the credit side, there’s a fairly exciting race sequence. On the debit ledger, the script emerges as the usual ho-hum compendium of clichés, and acting here can only be described as sub-standard. In fact, it takes a strong stomach indeed to endure both Mr Yaconelli and Miss Dawn.
The Avenger
Buck Jones (Joaquin Murieta/Carter), Dorothy Revier (Miss Lake), Sidney Bracey (Windy), Paul Fix (Joaquin’s brother), Edward Peil Sr, Otto Hoffman, Frank Ellis, Edward Hearn, Walter Percival, Al Taylor, Slim Whitaker, and “Silver”.
Director: ROY WILLIAM NEILL. Screenplay: George Morgan. Original story: Jack Townley. Photography: Charles Van Enger OR Charles Van Enger and Ted Tetzlaff OR Charles Stumar. Film editor: Ray Snyder OR Edward Curtis. Producer: Sol Lesser. Beverly Productions.
Copyright 11 March 1931 by Columbia Pictures Corp. No New York opening. U.S. release: 6 March 1931. 62 minutes.
NOTES: Re-made in 1942 as Vengeance of the West. Other Murieta movies include Robin Hood of El Dorado (1936) and The Firebrand (1962). The actual credits of the Gail Pictures re-release print under review list Stumar and Curtis for photography and film editing, respectively. All reference books, however, say otherwise.
COMMENT: This one was available years ago on VHS, but has not yet been issued on DVD. It’s one of Jones’ best movies in which he makes the most of a rare character role. Neill’s atmospheric direction, abetted by creative camerawork and inspired use of sound effects (including overlapping dialogue) can only be described as absolutely brilliant. And Sol Lesser has produced this one on an “A” budget. So if you find the VHS, pounce on it!
Big Calibre
Bob Steele (Bob O’Neill), Forrest Taylor (Bentley), Peggy Campbell (June Bowers), John Elliott (Rusty), Georgia O’Dell (Arabella), Bill Quinn (Bowers), Earl Dwire (sheriff), Frank Ball (O’Neill), Cy Jenks (dance caller), Perry Murdock (Zenz), Blackie Whiteford (deputy), Frank McCarroll.
Director: ROBERT NORTH BRADBURY. Original screenplay: Perry Murdock. Photography: William Hyer. Film editor: S. Roy Luby. Production supervisor: Sam Katzman. Production manager: Glenn Cook. Sound recording: Herbert Eicke. Producer: A. W. Hackel. An A.W. Hackel Production. A Supreme Picture, distributed by William Steiner.
Not copyright 1934 by Supreme Pictures Corp. U.S. release: 8 March 1935. 54 minutes. [Available on an Alpha DVD].
SYNOPSIS: A weird but cleverly integrated mixture of western, romance, horror, science fiction and mystery elements make Big Calibre MUST viewing for fans of all five genres.
COMMENT: Elliott’s make-up and his voice disguise is so perfect that it fooled even those professional “B” experts, George E. Turner and Michael H. Price, authors of Forgotten Horrors. True, director Bob Bradbury Sr masterfully focuses attention away from Eliott’s brilliant masquerade by allowing us to penetrate the supremely obvious disguise affected by screenwriter Perry Murdock in his role of the murdering chemist. But wonderful as Murdock’s impersonation is, it pales besides Elliott’s whose facial make-up is not only well-nigh impenetrable but seems totally convincing. In addition, Elliott has changed his voice, his gait, his stance so credibly, we’re not surprised Turner and Price were taken in by such a superb deception.
But in addition to allowing us to discover what a really outstanding actor John Elliott is, Big Calibre has many other virtues for both fans and connoisseurs. Including Battling Bob’s plucky hero, Forrest Taylor’s smooth-as-silk confederate, and Peggy Campbell’s absolutely disarming, radiantly charming heroine.
As usual in Steele vehicles, the pace is fast and full of action — except for one long, extremely odd interlude featuring Cy Jenks, would you believe, as a dancing dance-caller!
Black Patch
George Montgomery (Clay Morgan), Diane Brewster (Helen Danner), Tom Pittman (Flytrap), Leo Gordon (Hank Danner), House Peters jr (Holman), Lynn Cartwright (Kitty), Sebastian Cabot (Frenchy De Vere), John O’Malley (colonel), Stanley Adams (drummer), George Trevino (Pedoline), Peter Brocco (Harper), Ted Jacques (Maxton), Strother Martin (Petey), Gil Rankin (Judge Parnell).
Director: ALLEN H. MINER. Original screenplay: Leo Gordon. Photography: Edward Colman. Film editor: Jerry Young. Art director: Nicolai Remisoff. Costumes: Byron Munson. Music: Jerry Goldsmith. Assistant director: Jack Chulay. Sound recording; Hugh McDowell. Producer: Allen H. Miner. Executive producer: George Montgomery. A Montgomery Production, released through Warner Bros. [A Televista DVD].
Copyright 1957 by Montgomery Productions. U.S. release: 14 September 1957. New York opening on a double bill with Stakeout on Dope Street at RKO neighborhood cinemas: 23 April 1958. U.K. release: 13 April 1958. Australian release: 1 May 1958. 85 minutes.
SYNOPSIS: Montgomery plays a U.S. marshal, wrongly accused of shooting his best friend in the back in order to pinch his wife and his stolen loot. Facing the scorn of the town and the barrel of a gun-crazy avenger, Montgomery...
COMMENT: Let me say at once that action fans should give this one a miss. The script — by actor Leo Gordon himself — eschews action. Not only has all the excitement at the beginning of the story occurred before the film commences, but the movie actually comes to a finish before the final showdown. This said, there is much in the picture to interest connoisseurs — not the least of which is Miner’s clever direction.
The movie’s strongest quality, however, is its unusual atmosphere — a mood that is conveyed as much by its well-off-the-beaten-track storyline as by its ingenious music score, using a player piano and a spinet, plus skilfully attuned art direction (I love the marshal’s squeaky chair).
Acting is perfectly in accord with the mood of the script. Some wonderful character studies really impress, particularly from John O’Malley and Stanley Adams. The sparse black-and-white photography, the carefully judged film editing and excellent sound recording are also considerable assets.
In all, a most striking and off-beat western.
OTHER VIEWS: The trouble with this film is that it worships unusualness for its own sake. Why does the hero wear a black patch? Why do two out of three of the plot’s dramatic climaxes take place off-screen? The answer seems to me that the film’s producers just didn’t know when to stop and take stock. Whilst it’s commendable in principle to get well away from the familiar clichés and conventions of the standard “B” western yarn, this picture is allowed to run right off the rails. A pity, because there are many fascinating things in it.
— G.A.
An interesting, atmospheric western which achieves its individuality at the price of a rather slow pace and occasional self-conscious artiness.
— Monthly Film Bulletin .
Blazing Barriers
Frank Coghlan Jr (Tommy McGrath), Edward Arnold (Fats Moody), Florine McKinney (Joan Martin), Irene Franklin (Fleurette), Guy Bates Post (Reginald), Herbert Corthell (Sheriff Martin), Milburn Stone (Joe Waters), Addison Randall (Arthur Forsythe), and Dick Hogan, Dennis O'Keefe, Nestor Paiva, Mary Hayes, Frank Bishell, A. Taylor, C. Carpenter.
Director. AUBREY SCOTTO. Original screenplay: Edwin C. Parsons. Additional dialogue: Lee Freeman. Photography: Paul Ivano. Film editor: Russell Schoengarth. Music: Charles K. Duval. Songs by Charles K. Duval (music) and Bernie Grossman (lyrics). Sound recording: Hal Bambaugh. Associate producgr: Ken Goldsmith. Executive producer: Scott B. Dunlap.
Copyright 14 July 1937 by Monogram Pictures Corp. New York opening at the Central on a double bill with Million-Dollar Racket : 10 November 1937. U.S. release: 4 July 1937. No Australian theatrical release. 8 reels. 65 minutes. [An Alpha DVD].
SYNOPSIS: Love in a CCC camp.
NOTES: Produced with the co-operation of the U.S. Civilian Conservation Forest Service, U.S. Department of Agriculture.
COMMENT: Produced on a larger budget than usual, with surprisingly inventive direction by Aubrey Scotto, this is quite an acceptable Monogram “B” feature. The cast is good, the photography creditable. Unfortunately, the climax of the story itself is not well-judged, though it is certainly unusual for a Monogram entry not to have a completely happy fade-out.
Blazing Bullets
Johnny Mack Brown (himself), Lois Hall (Carol), House Peters Jr (Jim Grant), Forrest Taylor (Roberts), Stanley Price (Hawkins), Edmund Cobb (sheriff), and Dennis Moore, Milburn Morante, Edward Cassidy, George DeNormand, Carl Mathews.
Director: WALLACE W. FOX. Original screenplay: George Daniels. Photography: Gilbert Warrenton. Film editor: Fred Maguire. Art director: Fred Preble. Music director: Ozzie Caswell. Assistant director: Melville Shyer. Producer: Vincent M. Fennelly.
Copyright 6 May 1951 by Monogram Pictures Corp. No New York opening. U.S. release: 6 May 1951. No Australian theatrical release. 51 minutes.
SYNOPSIS: An unscrupulous sheriff and his henchmen are responsible for a kidnapping and the theft of gold bullion.
COMMENT: Blaze is exactly what bullets do not do in this very tame Monogram western. Filmed on the cheap in very long takes, with lots of talk and piddling dribbles of action, the movie has virtually nothing to recommend it save Brown’s pleasing personality! (And even that is lessened by the fact that he is obviously getting too old for these roles).
Blazing Sixes
Dick Foran (Red Barton), Helen Valkis (Barbara Morgan), John Merton (Jim Hess), Glenn Strange (Pee Wee), Mira McKinney (Aunt Sarah), Kenneth Harlan (Major Taylor), Milton Kibbee (Mort), Harry Otho (Hank), Gordon Hart (Frank), Wilfred Lucas (One-Eye), and Bud Osborne, Ben Corbett, Jack Mower, Artie Ortego, Gene Alsace {Rocky Camron}, Frank Ellis,
Cactus Mack, Tom Burns, and “Smoke”, the Wonder Horse.
Director: NOEL SMITH. Screenplay: John T. Neville. Based on the story Miracle Mountain by Anthony Coldeway. Photography: Ted McCord. Film editor: Frederick B. Richards. Art director: Ted Smith. Dialogue director. Frank Kowalski. Songs by M.K. Jerome and Jack Scholl: “In a Little County Town” (Foran) and “Ridin' On To Monterey” (Foran). Producer: Bryan Foy.
Copyright 26 April 1937 by Warner Bros Pictures, Inc. No recorded New York opening. U.S. release: 12 June 1937. 6 reels. 55 minutes.
SYNOPSIS: Government agent joins a gang that’s robbing gold shipments.
COMMENT: Perfunctorily directed, low-budget western, with only two major claims on an indulgent viewer’s attention: Personable singing hero, Dick Foran; and Ted McCord’s admirably glossy photography.
The Boiling Point
Hoot Gibson (Jimmy Duncan), Helen Foster (Laura Kirk), George “Gabby” Hayes (George Duncan), Lafe McKee (Tom Kirk), Skeeter Bill Robbins (“High”), Wheeler Oakman (the chief), Billy Bletcher (Stubby), Tom London Pete), Merrill McCormick (Nick), Hattie McDaniels (Caroline), Charles Bailey, Bill Nye, Frank Ellis, Lew Meehan, Robert Burns, Art Mix.
Director: GEORGE MELFORD. Screenplay: Not credited. Story: Donald W. Lee Photography: Harry Neumann, Tom Galligan. Film editor: Mildred Johnston. Production manager: Sidney Algier. Assistant director: Wilbur McGaugh. Sound recording: L.E. Tope. RCA Sound System. Producer: M.H. Hoffman jr. Recorded at Tec-Art Studio. [Available with Frontier Justice on an Alpha DVD].
Not copyrighted 1932 by Allied Pictures Corp. No New York opening. U.S. release: 12 November 1932. 64 minutes.
COMMENT: I read some garbage somewhere that Hoot Gibson’s Allied pictures lacked both the entertainment and production values that fans expected of a major cowboy star. I’ve yet to find any truth in this crazy assertion. The Boiling Point is a wonderful picture. True, the script does shuffle Skeeter Bill Robbins into a minor role, partnering Hoot instead with Billy Bletcher. But much as I enjoy Skeeter Bill’s jinks, a change is always welcome. And Bletcher does a superb job. The rest of the players are likewise top-grade, with Helen Foster making a snappy heroine (and performing a daring stunt on camera too), Wheeler Oakman up to his usual sneaky villainy — assisted by a gloriously brusque Tom London — plus a surprise appearance by Hattie McDaniels! Not to mention George Hayes, Lafe McKee, Merrill McCormick and other familiar but always welcome friends.
Melford has directed in his usual classy style, taking full advantage of the fine production values — both studio and location — and hordes of extras. Despite the early date, the film has none of the usual museum air of the contemporary independent western. In fact, the skilful use of music and sound effects makes the film seem quite “modern” in technique.
Gibson is his usual ultra-personable self in a difficult role that was obviously carefully crafted to take full advantage of all his charisma and talents.
Border Guns
Bill Cody (Bill Harris), Janet Morgan (Jane Wilson), George Chesebro (Don Salina), William Desmond (Dr Jim Wilson), Fred Church (Buck Morgan), Jimmie Aubrey (Tulsa Pete),Franklyn Farnum (Fred Palmer). [An Alpha DVD].
Director: ROBERT J. HORNER. Story: Ollie Milliken. Photography: Jimmie Diamond. Film editor: William Austin. Art director: Mel Harwood. Technical advisor: Sam Hasvold. International Sound Recording System. A Robert J. Horner Production. Executive producer: Nathan Hirsch.
Not copyrighted 1934 by Aywon Films, New York. No New York opening. No recorded U.S. release date. 55 minutes.
COMMENT: The story is a little difficult to follow. The fact that there is no screenplay leads us to believe that the script was made up on the run. But briefly what we have here is an entry in the odd alliances cycle. Bill Cody, an emaciated, extremely quirky, but rather personable “lunger” drifts into an Arizona town where he allies himself with rough-house Farnum, the town bully, of all people. He fights Farnum for the favors of Rita, a saloon girl [uncredited, though she has a large role which she plays most creditably], but both men ditch Rita to engage in another struggle for the hand of Blanche Mehaffey [here re-named Janet Morgan], the daughter of the town doctor. The doctor is also a large rancher. George Chesebro, a snarling heavy, is in cahoots with Farnum to rustle the doctor’s herd and drive the cattle across the border to sell to the revolutionists. But Farnum’s involvement with the girl and his friendship with Cody causes his allegiance to waver…The film doesn’t quite live up to the promise of its splendidly quirky opening scenes. But it’s a treat, nonetheless, especially for Cody fans who like their Bill unsaddled with a juvenile.
Boss of Lonely Valley
Buck Jones (Steve Hanson), Muriel Evans (Rena Lowrey), Harvey Clark (Jim Lynch), Walter Miller (Jake Wagner), Lee Phelps (Peter Starr), Ted Adams (Slim), and Dickie Holland, Ezra Paulette, Matty Fain, Grace Goodall, Virginia Dabney, and “Silver”.
Director: RAY TAYLOR. Screenplay: Frances Guihan. Based on a novel by Forrest Brown. Photography: Allen Thompson, John Hickson. Producer: Buck Jones.
Copyright 26 October 1937 by Universal Pictures Co., Inc. New York opening at the Central: December 1937. U.S. release: 14 November 1937. 59 minutes.
SYNOPSIS: Through forgery, land-grabbers pick up deemed estates.
COMMENT: Although produced by (and starring) Buck Jones, this western is not as highly inventive as some of his other pictures. Nevetheless, it does have some unusual features. For example, a church figures largely in the plot, whilst organ music is played over the climax. In addition, an occasionally fluid camera betrays a degree of imaginativeness from usually stolid director, Ray Taylor, that is not at all characteristic. Doubtless this sort of liberation was inspired by producer Jones. Also much in evidence is the low-key photography Jones seems to revel in. This said, however, it must be stated that the direction on the whole is still a bit below par. Acting is also not particularly distinguished – even from Jones himself! As for the story, it’s strictly kiddies’ matinee cornball.
Branded a Coward
Johnny Mack Brown (Johnny Hume), Billie Seward (Ethel Carson), Syd Saylor (Oscar), Lloyd Ingraham (Joe Carson), Lee Shumway (Hume), Mickey Rentschler (young Johnny), Rex Downing (young Billy), Yakima Canutt (the original “Cat”), Roger Williams (Tex), Frank McCarroll (Dick), Bob Kortman (barfly bad man), Charles K. French (mayor), Ed Peil Sr, Joseph W. Girard.
Director: SAM NEWFIELD. Screenplay: Earle Snell. Story: Richard Martinson. Photography: William Nobles. Film editor: Carl Turner. Production manager: Sam Diege. Sound recording: Erwin Jowett. Producer: A.W. Hackel.
Not copyrighted by Supreme Pictures Corporation. U.S. release through William Steiner: July, 1935. 57 minutes. [Available on an Alpha DVD on a double bill with Courageous Avenger ].
SYNOPSIS: Due to a traumatic experience as a youngster, a prize-winning sharpshooter is afraid of guns.
COMMENT: I’ve often said that even the most confirmed Hollywood hack has the makings of at least one good picture in his lifetime. Witness Edward L. Cahn’s Law and Order and William Beaudine’s Says O’Reilly to McNab. This picture, on a much lesser scale of course, is Sam Newfield’s contribution.
The first requirement for any successful picture is a halfway decent script. Snell has woven four or five traditional western themes into this one (the crack shot who is afraid of guns; the murdering outlaws who capture one of two boys and raise him to follow in their footsteps; the heroine’s father who has a grudge against the hero because of something his father did in the past; the outlaw who guns down one of the combatants in a street duel from a hiding place and blames the killing on the innocent aggressor; the mysterious outlaw leader who is actually revealed to be the person you least suspect; the nice heroine’s trusted dad whose liking for the bottle sometimes gets the better of his discretion) but used them in an unusual way. Instead of emphasizing these clichés, he tends to brush over them, quickly moving from incident to incident and building to a splendid series of climaxes. Branded a Coward could justly lay claim to being the first “psychological western”.
One standard ingredient of the series western that we feel (at least initially) could have been dispensed with is the hero’s obligatory sidekick, especially as played here by Syd Saylor. Mr Saylor is normally a hard act to swallow, but when he puts on his stuttering turn, he’s almost impossible. Nonetheless, this “comic” act does give rise to at least one really funny comeback plus one running gag that certainly rates as mildly amusing. And when the unexpected happens, it comes as a bit of a shock.
Doubtless realizing that the script provided a golden opportunity to make something of the “C”-grade western, Newfield has pulled out all the stops. Admittedly, half his efforts don’t wholly succeed, but he certainly gets full marks for trying. The chasing-the-runaway-stage-sequence, for instance, is largely camera-captured with running inserts (normally a way-way too expensive proposition for Poverty Row). True, the inserts are some of the bumpiest we’ve ever encountered, but the very fact that they wobble all over the place actually adds to the excitement. And I love that thrilling moment when the stage shoots through a shallow creek! I’ve never seen a dramatically picturesque shot like that before in over a thousand westerns.
Newfield’s new-found prowess is also helped along by a fine group of support players led by legendary stuntman Yakima Canutt who performs his famous falling-off-the-lead-horse-and-passing-under-the-coach act right here. More thrills are provided by cult-favorite heavy, Bob Kortman, who (though uncredited) has a sizable part as one of the Cat’s lead henchmen. As for the heroine, Billie Seward, she’s a real sweetie, and we like Lloyd Ingraham as her surly, boozy dad. Johhny Mack Brown himself is in fine form. In addition to his usual acrobatic leaps into the saddle, he actually has a chance to act in this one—and he brings it off well.
Breed of the Border
Tom Steele (Speed Brent), Marion Byron (Trina), Ernie Adams (Killer Joe), John Elliott (Judge Stafford), George “Gabby” Hayes (Chuck — although Elliott absentmindedly calls him George), Henry Roquemore (Dutch), Fred Cavens (Mike), Horace B. Carpenter (doctor), Robert Card (Spud), Perry Murdock (Red), Hal Price (border inspector), Blackie Whiteford, Ray Jones (saloon brawlers), Herman Hack, Fred Parker, Jack Evans, William McCall, George Morrell (barflies).
Director: ROBERT NORTH BRADBURY. Story and screenplay: Harry L. Fraser. Photography: Archie Stout, Faxon Dean. Stunts: Jack Jones. Film editor: Carl Pierson. Art director: E.R. Hickson. Sound technician: Dean Dailey. Producer: Paul Malvern. Executive producer: Trem Carr. A Trem Carr Production.
Copyright 25 April 1933 by Monogram Pictures Corporation. No New York opening. U.S. release: 10 May 1933. 6 reels. 60 minutes. U.K. release title: SPEED BRENT WINS. [An Alpha DVD].
SYNOPSIS: A cowboy who is also a race driver is induced to take a thug to the border where he makes off with valuable bonds.
COMMENT: Fred Cavens, the man who taught Flynn, Rathbone, Power and company how to swash has a major role in this entry. Needless to say the climax — or rather one of the climaxes — features a sword duel between villain Cavens and our plucky hero Steele. Despite a bit of obvious camera speeding, this is a thrill-a-second encounter. With no doubles! In fact, Breed of the Border turns out as one of the most action-crammed westerns ever made. And all the actors perform their own stunts including little Ernie Adams whom at one stage Bob tosses right over his head to the floor. The editor has a grand time cross-cutting all the action including the hair-raising final car chase. All the players are great. We love the spunky heroine, Marion Byron from Steamboat Bill, Jr (though her song seems to be dubbed), and George Hayes doing a variant of his “Gabby”, while Henry Roquemore similarly impresses as a caddish heavy. Bradbury’s smooth direction makes the most of all the big-budget sets and locations.
The Broken Star
Howard Duff (Frank Smead), Lita Baron (Conchita), Bill Williams (Bill Gentry), Henry Calvin (Thornton Wills), Douglas Fowley (Hiram Charlton), Addison Richards (Wayne Forrester), Joel Ashley (Messendyke), John Pickard (Van Horn), William “Bill” Phillips (Doc Mott), Dorothy Adams (Mrs Trail), Joe Dominguez (captain).
Director: LESLEY SELANDER. Original story and screenplay. John C. Higgins. Photographed in black-and-white by William Margulies. Film editor: John F. Schreyer. Music: Paul Dunlap. Song, “I Hate You, I Want You” (Baron) by John C. Higgins (lyrics) and Paul Dunlap (music). Square dance called by Lloyd Shaw. Music editor: Lester Morris. Properties master: Arden Cripe. Hair styles: Mary Westmoreland. Special effects: Jack Rabin, Louis DeWitt. Camera operator: Ben Colman. Lighting technician: Joe Edesa. Casting director: Nina Vine. Assistant director: Paul Wurtzel. Sound recording. Joe Edmondson. Producer: Howard W. Koch. Executive producer. Aubrey Schenck. A Bel-Air Production, released through United Artists.
Copyright 1956 by Bel-Air Productions. No New York opening. U.S. release: 25 April 1956. U.K. release: 3 September 1956. Australian release: 23 November 1956. 82 minutes. Cut to 75 minutes in the U.K. [Available on an excellent MGM DVD].
SYNOPSIS: A marshal is unconvinced that his deputy killed a man in self-defense. He asks another deputy to investigate.
COMMENT: Excellent. Full credit to the taut, well-characterized script provided by John C. Higgins (author of T-Men ). True, Lesley Selander’s direction is a cut or two above his usual capable (though hardly major league) standard, whilst William Margulies has lensed some striking location photography. Paul Dunlap too has risen to the occasion with a powerful background score. What will interest the fans is that the action sequences are vigorously staged. Bill Williams even seems to be slugging and fighting without use of a double. The rest of the players, led by Howard Duff are nothing if not thoroughly convincing.
OTHER VIEWS: A generally exciting western, with realistic gun battles, competent portrayals, and reliable backgrounds of Tucson in the 1880s.
The Cactus Kid
Jack Perrin (Jack), Jayne Regan (Beth), Tom London (sheriff), Slim Whitaker (Plug Perkins), Kit Guard (Smiley), Lew Meehan (saloon owner), Fred Humes (Jimmie), Philo McCullough (Duncan), Joe De La Cruz (Cheyenne), Tina Menard (Maisie), Wally Wales (Sandy), George Chesebro (a Plug henchman), and “Starlight”.
Director: HARRY S. WEBB. Screenplay: Rose Gordon. Additional dialogue: Carl Krusada. Original story: William Nolte. Photography: J. Henry Cruse. Film editor: Fred Bain. Art technician: Charles Stevens. Assistant director: Gene George. Song, “Swanee River” by Stephen Foster. Sound recording: Oscar Lagerstrom. Associate producer: Harry S. Webb. Producer: Bernard B. Ray. Executive producer: William Steiner. A Reliable picture.
Not copyrighted by Reliable Pictures Corp. U.S. release: 1934. 52 minutes. [Available on a good Alpha DVD].
SYNOPSIS: Jack is accused of murdering his partner. The real killers are Plug Perkins and his half-breed henchman.
COMMENT: This is a rare one. It’s not even listed in The Film Daily Yearbook. But — by the humble standards of the Jack Perrin cycle — it’s quite entertaining. Superb photography and Webb’s skilful use of locations make up for a few languid moments in the plot when the players seem to be marking time. Actually the story too has its interesting moments, plus some novel aspects. One of the most intriguing is the use of a mouth organ as a vital clue. The cast line-up is one of the best Perrin ever assembled. Joe de la Cruz as the viciously superstitious Cheyenne walks away with the acting honors, but Whitaker is in there pitching too. And the girls are attractive.
Canyon Raiders
Whip Wilson, Jim Bannon (themselves), Fuzzy Knight (Texas), Phyllis Coates (Alice), Barbara Woodell (Ruth), I. Stanford Jolley (Wellman), Marshall Reed, Riley Hill, Bill Kennedy.
Director: LEWIS D. COLLINS. Screenplay: Jay Gilgore. Photography: Ernest Miller. Film editor: Richard Heermance. Art director: David Milton. Set decorator: Raymond Boltz Jr. Music director: Ossie Caswell. Dialogue director: Stanley Price. Set continuity: Mary Chaffee. Assistant director: Melville Shyer. Sound recording: John Keen. Producer: Vincent M. Fennelly.
Copyright 8 April 1951 by Monogram Pictures Corp. No New York opening. U.S. release: 8 April 1951. No U.K. or Australian theatrical release. 54 minutes.
SYNOPSIS: Rustlers try to sell stolen horses to the U.S.A. government.
VIEWERS’ GUIDE: Okay for all.
COMMENT: Far from lively “C”-grade western, passably photographed (Ernest Miller), but of no distinction directorially (Lewis D. Collins).
There is not much action, and what there is is poorly staged.
Chad Hanna
Henry Fonda (Chad Hanna), Dorothy Lamour (Albany Yates), Linda Darnell (Caroline), Guy Kibbee (Huguenine), Jane Darwell (Mrs Huguenine), John Carradine (Bisbee), Ted North (Fred), Roscoe Ates (Ike Wayfish), Ben Carter (bellboy), Frank Thomas (Burke), Olin Howlin (Cisco Tridd), Frank Conlan (Proudfoot), Edward Conrad (Fiero), Edward McWade (Elias), Edward Mundy (Joe Duddy), George Davis (Pete Bostock), Paul Burns (Budlong), Sara Padden (Mrs Tridd), Leonard St Leo (Pamplon), Elizabeth Abbott (Mrs Pamplon), Tully Marshall (Mott), Almira Sessions (Mrs Mott), Virginia Brissac (landlady), Si Jenks (farmer), Victor Kilian (potato man), Louis Mason (constable), Charles Middleton (sheriff), Rondo Hatton (canvas man), Nelson McDowell (bit), Dick Rich, Herbert Ashley, Paul Sutton, Jim Pierce (men), Clarence Muse (man), Maxine Tucker (servant girl), Betty Miles (stunt double for both Linda Darnell and Dorothy Lamour).
Director: HENRY KING. Screenplay: Nunnally Johnson. Based on the novel Red Wheels Rolling by Walter D. Edmonds. Photographed in Color by Technicolor by Ernest Palmer and Ray Rennahan. Film editor: Barbara McLean. Art directors: Richard Day, George Dudley. Set decorator: Thomas Little. Costumes designed by Travis Banton. Technicolor color consultant: Natalie Kalmus. Associate Technicolor consultant: Morgan Padelford. Music: David Buttolph. Assistant director: Robert D. Webb. Sound recording: Arthur von Kirbach, Roger Heman. Associate producer: Nunnally Johnson. Producer: Darryl F. Zanuck.
Copyright 26 December 1940 by 20th Century-Fox Film Corporation. New York opening at the Roxy: 25 December 1940. 86 minutes.
SYNOPSIS: A circus picture from the pen of Walter D. Edmonds ( Drums Along the Mohawk), Chad Hanna turns out to be the name of the title character, a small town, small-time American rustic. (Unfortunately, Henry Fonda transforms this lovable loon into a melodramatically overblown figure of unrequited love).
COMMENT: Alas, Chad Hanna is at its best when Hanna himself is not on the screen. It’s a role requiring a light, amiable touch, but Fonda gives his Hanna a brooding, pseudo-tragic intensity quite out of keeping with the overall tone of the picture. In other respects, the movie emerges as a colorful slice of mid-19th century Americana. Most of the scenes with Guy Kibbee are flavorsome as circus candy. Kibbee gets great support from people like Roscoe Ates and Linda Darnell. There’s a marvelous sequence in which Linda receives training as a bareback rider, half of it filmed in one long, dizzying take.
Superbly photographed in color by Technicolor, sequences like the circus parade come across like midnight joy. Miss Darnell also looks very attractive indeed. On the other hand, Dorothy Lamour is not favored at all. Nor does her insipid performance impress.
Producer/writer Nunnally Johnson belatedly realized that the picture needed more accent on circus lore and less on the title character. Chad Hanna finishes up not with a close-up of nominal star Henry Fonda (and/or Dorothy Lamour) but with a shot of Guy Kibbee realizing his lifelong dream of owning “a circus with a elephant.” Wonderful!
Chisum
John Wayne (John Simpson Chisum), Forrest Tucker (Lawrence Murphy), Christopher George (Dan Nodeen), Ben Johnson (James Pepper), Glenn Corbett (Pat Garrett), Andrew Prine (Alex McSween), Bruce Cabot (Sheriff Brady), Patric Knowles (Henry Tunstall), Richard Jaeckel (Jess Evans), Lynda Day George (Sue McSween), Geoffrey Deuel (Billy the Kid), Pamela McMyler (Sallie Chisum), John Agar (Amos Patton), Lloyd Battista (Neemo), Robert Donner (Morton, the deputy sheriff), Ray Teal (Justice J.B. Wilson), Edward Faulkner (James J. Dolan), Ron Soble (Bowdre), John Mitchum (Baker, the deputy sheriff), Glenn Langan (Dudley), Alan Baxter (Governor Sam Axtell), Alberto Morin (Juan Delgado), William Bryant (Jeff), Pedro Armendáriz Jr (Ben), Christopher Mitchum (O’Folliard), John Pickard (aggressive sergeant), Abraham Sofaer (Chief White Buffalo), Gregg Palmer (Karl Riker), Hank Worden (stationmaster), Pedro Gonzales-Gonzales (Mexican rancher), Chuck Roberson (trail herder), Ralph Volkie (blacksmith), and Jim Burk, Eddy Donno, Bob Morgan, José Ángel, Espinosa, “Ferrusquilla”, Cliff Lyons.
Directed by ANDREW W. McLAGLEN. Screenplay: Andrew J. Fenady. Based on his story Chisum and the Lincoln County Cattle War. Original music composed by Dominic Frontiere. Songs: Andrew J. Fenady (lyrics), Dominic Frontiere (music). Cinematography: William H. Clothier. Photographed in Technicolor and Panavision. Film editor: Robert L. Simpson. Art direction: Carl Anderson. Set decorations: Ray Moyer. Make-up: Dave Grayson. Unit production manager: Joseph C. Behm. Second unit director: Emilio Fernández. Assistant director: Fred R. Simpson. Property master: Ray Thompson. Artist: Russ Vickers (paintings). Music scoring mixer: Dan Wallin. Special effects: Howard Jensen. Stunts: Chuck Hayward, Gary McLarty, Chuck Roberson, Henry Wills. Wardrobe: Michael J. Harte and Luster Bayless. Title designers: Larry Bees and Art Shinbo. Music supervisor: Sonny Burke. Executive in charge of production: Joel Chernoff. Transportation co-ordinator: George Coleman. Lyricist: Norman Gimbel (“Turn Me Around”). Livestock co-ordinator: “Chema” Hernandez. Still photographer: Dave Sutton. Script supervisor: Marshall J. Wolins. Producer: Andrew J. Fenady. Executive producer: Michael Wayne.
Copyright 25 June 1970 by John Wayne’s Batjac Productions. Released through Warner Bros Pictures. New York opening at 24 June 1970. U.S. release: 24 June 1970. U.K. release: 30 August 1970. London opening: 23 July 1970. 9,904 feet. 110 minutes.
SYNOPSIS: Chisum, the owner of a huge New Mexico cattle ranch, enlists the aid of his neighbour, J.H. Tunstall, in his battle against rustlers and land jumpers. [Available on an excellent Warner DVD].
COMMENT: By any standards, John Wayne’s Batjac Productions line up as a curious lot, but this weighs in as one of the more amiable entries. Fine pictorial values come uppermost in this pretty interesting re-working of the early days of the Billy the Kid/Henry Tunstall/Pat Garrett legend. Filmed on grand locations, it builds to a terrific shoot-out climax. As usual, McLaglen’s pace tends to be a little over-leisurely. Where the script is dull, his lethargic treatment tends to make it even duller. This is especially true in many of Wayne’s domestic scenes with the heroine which could stand considerable cutting and even get in the way after the great action climax. The bland and uninteresting Pamela McMyler compounds this error. Nonetheless she cannot be blamed too much for her part is not only superficial and familiar, it’s not developed and her scenes are handled by McLaglen in an unflatteringly close-up style which doesn’t suit Wayne either.
On a broader plain, McLaglen is obviously aiming for John Ford effects and if ever a film was a homage to Ford, this is it. Hank Worden from the Ford stock company is even in the cast and there are two wonderful villains, Forrest Tucker giving the performance of his career and Chris George packing his role with surprising malevolence. Jaeckel is a most effective and amusing henchman and Cabot is delightful as always as the villain to Wayne’s hero once more (cf. The Angel and the Badman ). Ben Johnson as usual is excellent in his faithful sidekick role, transforming a familiar piece into one that is genuinely interesting. John Agar has a small bit as the dispossessed storekeeper at the beginning of the film.
The use of music and song, the set-pieces in the film like Tunstall’s funeral with artfully framed backgrounds, extras and period props recall the best of Ford. Only Wayne’s somewhat stiff (both physically and histrionically) portrayal and the too-slow pacing of his ranch-house scenes and the mundane TV-style close-ups of same put the film firmly into the 70s, the start of the tail end of the screen western.
Deuel impresses as Bonney, but Glenn Corbett seems too immature for Garrett despite hiding beneath a moustache and Clothier’s adroit shadowy lighting. Nice to see Patric Knowles effete as ever as Tunstall.
Copper Canyon
Ray Milland (Johnny Carter), Hedy Lamarr (Lisa Roselle), Macdonald Carey (Lane Travis), Mona Freeman (Caroline Desmond), Harry Carey Jr (Lieutenant Ord), Frank Faylen (Mullins), Hope Emerson (Ma Tarbet), Taylor Holmes (Theodosius Roberts), Peggy Knudsen (Cora), James Burke (Jeb Bassett), Percy Helton (Scamper), Philip Van Zandt (Sheriff Wattling), Francis Pierlot (Moss Balfour), Erno Verebes (Professor), Paul Lees (Bat Laverne), Robert Watson (Bixby), Georgia Backus (Martha Bassett), Ian Wolfe (Henderson), Maxine Gates (blonde dancer), Len Hendry (bartender), Buddy Roosevelt (Lew Partridge), Bob Kortman (Bill Newton), Nina Mae McKinney (Theresa), Earl Hodgins (Joseph Sand — 1st miner at pay-out), Robert Stephenson (2nd miner at pay-out), Joe Whitehead (proprietor), Julia Faye (proprietor’s wife), Rex Lease (Southerner), Stanley Andrews (Joe — bartender), Kit Guard (shopkeeper/miner), Stuart Holmes (barber/townsman), Hank Bell (square dancer), Ethan Laidlaw, Russell Kaplan (deputies), Alan Dinehart III (youngest Bassett boy), Erville Alderson (man with Roberts and Scamper at dance), Eddie Dunn (bartender), Trevor Bardette (reb with $1600).
Director: JOHN FARROW. Screenplay: Jonathan Latimer. Original screen story: Richard English. Photography: Charles B. Lang, Jr. Color by Technicolor. Film editor: Eda Warren. Art directors: Hans Dreier and Franz Bachelin. Set decorators: Sam Comer and Ross Dowd. Women’s costumes: Edith Head. Men’s costumes: Gile Steele. Music: Daniele Amfitheatrof. Title song by Jay Livingston and Ray Evans. Dances staged by Josephine Earl. Make-up: Wally Westmore. Technicolor color consultant: Monroe W. Burbank. Assistant director: Herbert Coleman. Sound recording: Harold Lewis and Gene Garvin. Western Electric Sound System. Producer: Mel Epstein.
Copyright 6 October 1950 by Paramount Pictures Corp. (In notice: 1949). New York release at the Paramount: 15 November 1950. U.S. release: October 1950. U.K. release: 6 March 1950. Sydney release at the Prince Edward (for 3 weeks): 22 September 1950. Australian release: 22 September 1950. Australian length: 7,621 feet. 84½ minutes. U.K. running time: 88 minutes. U.S. running time: 83 minutes. [Available on an excellent Universal DVD].
SYNOPSIS: Fugitive Southern colonel aids ex-rebs in Coppertown.
COMMENT: Originally, Farrow and Latimer were to continue their association with Ray Milland in Jack of Diamonds. Latimer had already written the screenplay (based on a story by Berne Giler), a contemporary thriller casting Milland as a thief who steals from the Manhattan gem center, when the actor was called to MGM for A Life of Her Own. Paramount lost interest in the project and when Milland returned, it was decided to showcase him in a western instead. The idea of making him a trick-shooter was doubtless inspired by Milland’s real-life ability, but unfortunately the script shows many signs of being prepared in considerable haste. Milland’s last film with Farrow is also his least interesting. Yet oddly it was the movie that Universal chose to showcase in their first Farow-Milland DVD release. We’re still waiting for all the good stuff, including of course Farrow’s masterpiece, The Big Clock — a movie that figures on everyone’s list of the top noir motion pictures ever made!
The fault is mainly in the script. The leading characters are little more than stock figures — particularly heroine and villain — and some supporting lights are so shadowy, they barely exist at all (Mona Freeman). Other characters and situations are introduced and then not developed. What is worse is that there is very little tension. Not only does the plot have a foregone conclusion, but the characters are so superficially drawn they seem to have no real feeling — and engage no sympathetic response from the audience.
Fortunately, the film is not all stock characters in stock situations. There are pleasing incidentals. Milland’s trick-shooting gives the hero an interesting edge and his umbrella of a second-rate theatrical company makes for some amusing saloon-pieces which director Farrow handles with obvious relish. The action material too is vigorously staged (including one unforgettable stunt at the climax). But despite some characteristic long takes, dramatic compositions, arresting high angle shots and even a bit of fluid camerawork, you can sense that Farrow’s heart is not really involved in the superficial plot. Milland acts with his usual poise, Lamarr is coldly efficient and Carey is okay as a scruffy villain. The support players do their utmost to take advantage of their limited opportunities, but only Erno Verebes (“I’m the professor!”) and Maxine Gates as an overweight chorus girl are really allowed to shine.
Photographed in pleasantly-hued color on some rugged locations, Copper Canyon is a quite passable western on its own account — but a disappointing end to the Farrow-Milland-Latimer collaboration which produced such masterpies as The Big Clock and Alias Nick Beal.
The Country Beyond
Rochelle Hudson (Jean Alison), Paul Kelly (Sergeant Cassidy), Robert Kent (Corporal Robert King), Alan Hale (Jim Alison), Alan Dinehart (Ray Jennings), Andrew Tombes (Senator Rawlings), Claudia Coleman (Mrs Rawlings), Matt McHugh (Constable Weller), Paul McVey (Fred Donaldson), Holmes Herbert (Inspector Reed), “Buck”, the St Bernard dog (himself), “Prince” (“Wolf”).
Director: EUGENE FORDE. Screenplay: Lamar Trotti, Adele Comandini. Based on the 1922 novel by James Oliver Curwood. Photography: Barney McGill. Film editor: Fred Allen. Art director: Duncan Cramer. Set decorator: Thomas Little. Costumes: William Lambert. Music director: Samuel Kaylin. Assistant director: Aaron Rosenberg. Producer: Sol M. Wurtzel.
Copyright 24 April 1936 by 20th Century-Fox Film Corp. New York opening at the Center: 29 April 1936. U.S. release: 24 April 1936. Australian release: 1 July 1936. 6,887 feet. 76½ minutes.
SYNOPSIS: A Mountie falls for the winsome daughter of a fur smuggler.
NOTES: A re-make of the 1926 Fox film directed by Irving Cummings, starring Olive Borden, Ralph Graves, Gertrude Astor and J. Farrell MacDonald.
VIEWERS’ GUIDE: Okay for all.
COMMENT: A quick film whipped up while Rochelle Hudson was on location in Canada for Hearts in Reunion. Nonetheless there is no sign of haste and the film benefits from the enormous amount of actual location shooting. Forde’s direction is fast-paced and smooth. The plot has sufficient turns to keep audience interest at a high level and the dialogue studiously avoids the usual clichés. There is a light air of banter about much of it which is quite appealing. The characterisations are very likeable and the cast makes the most of the opportunities the film offers them to display their personalities. Miss Hudson is charming as the perky heroine and she is entrancingly photographed by Barney McGill. Robert Kent is just right as the debonair hero, whilst Alan Hale is delightful as the heroine’s crooked dad. Alan Dinehart contributes an absorbing study in villainy. Charles Stevens can be glimpsed briefly as a whisky-seller and Matt McHugh has a few lines at the beginning. Holmes Herbert is ideal as the Inspector. The photography is superlative and other production credits are extremely capable. The plot strands come together to provide an exciting climax.
Some of the flickering firelight effects have obviously been obtained by some mechanical device.
Fresh from his triumphs in Call of the Wild , “Buck” has less to do here, but he’s still one of our favorite canines.
The Cowboy and the Blonde
George Montgomery (Lank Garrett), Mary Beth Hughes (Crystal Wayne), Alan Mowbray (Phineas Johnson), Robert Conway (Don Courtney), John Miljan (Bob Roycroft), Richard Lane (Gil), Robert Emmett Keane (Greg), Minerva Urecal (Murphy), Fuzzy Knight (Skeeter), Robert Homans (studio cop at bunkhouse), Trevor Bardette (Garrett servant), Monica Bannister (Maybelle), William Halligan (Franklyn), George O’Hara (Melvyn).
Director: RAY McCAREY. Screenplay: Walter Bullock. Story: Walter Bullock, William Brent. Photography: Charles Clarke. Film editor: Harry Reynolds. Music director: Cyril J. Mockridge. Art directors: Richard Day, Lewis Creber. Set decorator: Thomas Little. Costumes: Madeleine Jeffreys. Sound recording: E. Clayton Ward, Harry M. Leonard. Western Electric Sound System. Producers: Ralph Dietrich, Walter Morosco.
Copyright 16 May 1941 by 20th Century-Fox Film Corp. No recorded New York opening. U.S. release: 16 May 1941. U.K. release: 13 September 1941. Australian release: 17 July 1941. 6,251 feet. 69 minutes.
SYNOPSIS: Rodeo champ is signed for a series of “B” westerns.
VIEWERS’ GUIDE: Okay for all.
COMMENT: Agreeably cast and beautifully photographed, yet this “B”-feature with a Hollywood background is basically very disappointing. One brief shot of the back lot is just about our sole glimpse behind the movie-making veil, though there are the usual manufactured scenes affording the customary unrealistic insight into the picture-shooting process. This talking down to the audience is doubly irritating, because it presents everything in such simplistic terms, we lose interest in the characters and the story. Not that the characters are much anyway, but when played by such lights as Montgomery, Mowbray and Miljan — and Miss Hughes — they come across quite appealingly. The story, however, is as thin as a Charity biscuit, as well as being as diluted as Fellowship tea, and it revolves on a series of mundane misunderstandings that would bore the pants off even the most unsophisticated hayseed. Still, the direction is smooth and other production credits are first-rate.
The Cowboy from Lonesome River
Charles Starrett (Steve Randall), Vi Athens (Mona), Dub Taylor (Cannonball), Ozie Waters (the Colorado Ranger), Jimmy Wakely and his Saddle Pals (themselves), Arthur A. Wenzel, Shelby D. Atchison, Foy Willingham, Al Sloey, Craig Woods, Ian Keith, John Tyrell, Bud Geary, Steve Clark, Jack Rockwell, Kenneth MacDonald.
Director: BENJAMIN KLINE. Screenplay: Luci Ward. Story: Luci Ward. Photography: David Ragin. Film editor: Aaron Stell. Art directors: Lionel Banks, Paul Murphy. Set decorator: George Montgomery. Producer: Jack Fier.
Copyright 25 November 1944 by Columbia Pictures Corp. No New York opening. U.S. release: 21 September 1944. Australian release: 26 July 1945. 5,055. 56 minutes.
U.K. release title: SIGNED JUDGEMENT (sic).
SYNOPSIS: A cowboy leads a group of Mesa Valley ranchers into breaking the grip of a local land baron.
VIEWERS’ GUIDE: Okay for all.
COMMENT: Starrett’s 64th of his 132 starring westerns contains some very pleasant singing and a great deal of action (not especially well staged). This and the fact that there's no real heroine to complicate the plot, makes the movie a natural for the Saturday matinee slot.
Actually Cowboy from Lonesome River turns out to be a so-called “modern” western with both rural and urban backgrounds. Although the year is 1944 and the villain rides around in a flashy car, the cowboys still pack pistols.
Former photographer Benjamin Kline’s direction, alas, is stolidly routine, though it must be stated he is more successful with his western scenes than the later episodes in Capitol City — even allowing for his feeble handling of the action spots.