Smoking Guns (1934)

Starring: Ken Maynard

Director: Alan James

Studio: Universal Pictures

PLOT SUMMARY:

Ken Masters (Ken Maynard) tracks down Silas Stone (William Gould) who allegedly had Ken's father committed to a sanitarium. Ken nearly gets the drop on Stone, when his son Hank (Harold Goodwin) accidentally kills his father. Hank frames Ken for the murder, but Ken escapes. Three years later, Ken is found in the jungle by Ranger Dick Evans (Walter Miller) and is promptly captured. Unfortunately, while paddling to Evans' cabin, both Evans and Ken are surrounded by crocodiles who devour Evans' leg. Not wanting to suffer from gangrene, Evans kills himself. Ken then assumes the identity of Evans and heads back to town to track down Hank Stone. As it turns out, Stone and his henchmen are holding Ken's father (Ed Coxen) hostage in his own home. This is because Silas Stone wanted the elder Masters' house for the rich gold mine contained underneath it. With the help of his faithful butler Cinders (Martin Turner) and Alice Adams (Gloria Shea), Ken plots to capture Stone and clear his name once and for all!

FILM REVIEW:

Many times during my viewing of Smoking Guns, I asked myself "What even is this movie?" Here you have one of the screen's best western stars fighting crocodiles with a blonde wig and beard on. Who thought this was a good idea? Apparently, Ken Maynard himself. Maynard is credited with the story and it makes one ponder as to why a cowboy would somehow wind up in the jungle of all places? The whole jungle sequence just feels out of place in what should be a conventional western. More unnerving is Ken's appearance during these scenes, complete with an obvious hairpiece and fake beard, it is all just mind-numbingly bad. By the time we get back to town and a somewhat more conventional western ensues, we are already exhausted with the movie and just wish for it to end. 

Indeed, the whole haunted mine section of the film, which is far more interesting, takes up even less screen time. The whole film is a jumbled mess and is one of those legendarily bad 1930's films in a class with such lowlights as Reefer Madness, Maniac and Down to Their Last Yacht! This turkey is possibly the worst "B" western released by a major studio, at least that I've seen. I'd really like to know what Maynard's thought process was here? What inspired this drivel? Did Maynard have a boyhood dream of fighting crocodiles in the jungle and saw this as an excuse to live out that dream? I'm still relatively knew to the genre, having discovered the cheapie western over five years ago, but I doubt very many of them ventured outside the typical western setting in such a way as this film does.

I can totally understand why old man Laemmle gave Maynard the boot after this film, it is absolutely atrocious and lives up to its reputation. It reminded me of the Billy Squier music video for "Rock Me Tonite." It's not inherently bad for what it is but because of who the participants are. The America of 1984 were not prepared to see rock idol Billy Squier prancing around a bedroom with silky sheets and I doubt the America of 1934 was prepared to see a blonde, bearded Ken Maynard fighting crocodiles. In anyone else's hands this may not have been so egregiously bad, but the fact that it's Ken Maynard of all people makes it so.

In my review of Wheels of Destiny, I said that if Maynard had been left to his own devices then he could churn out a great movie. This, I believe to still be true, but with the caveat that Maynard be reeled in whenever his ideas bordered on the ridiculous. Smoking Guns is yet another bad vanity project, much like Tommy Wiseau's The Room, but unlike the former feature, Wiseau's film is at least entertaining, albeit for all the wrong reasons.

Suffice it to say, I do not recommend Smoking Guns, a product of the insane category. Even the film's posters don't allude to how convoluted the proceedings are. 

Until next time, pardners!

Wheels of Destiny (1934)

Starring: Ken Maynard

Director: Alan James

Studio: Universal Pictures

PLOT SUMMARY:

Bill (Jay Wilsey a.k.a Buffalo Bill, Jr.) returns home from California to inform his fellow countrymen of the gold contained within those hills. Bill convinces the townsfolk to head west with him, so they can all strike it rich. Overhearing this conversation is shady Red (Fred MacKaye) who presents himself as friend to Bill and his sister Mary (Dorothy Dix). Unbeknownst to Bill and Mary, Red is in cahoots with outlaw Rocky (Philo McCullough) who wishes to steal Bill's claim. Rocky's gang attempt to steal Bill's claim map but are quickly thwarted by Ken Manning (Ken Maynard) and his sidekick Pinwheel (Frank Rice). Ken decides to go along with the townsfolk and leads them on the wagon trail out west. This trail leads through Indian territory, led by Chief War Eagle (Big Tree) who Ken approaches peacefully. After Rocky and his gang stampede War Eagle's herd of buffalo, the Indians declare Ken and the townspeople as traitors. A battle ensues between the Indians and Ken's wagon train, leading to Ken and his comrades burning brush to create a wall of fire to prevent any further attacks by War Eagle and his posse. The trail leads Ken and gang through watery terrain until the bright lights of California beckon to them!

FILM REVIEW:

One can tell right away that a considerable amount of money was spent on Wheels of Destiny, one of Ken Maynard's productions made for Universal Pictures between 1933 and 1934. This series of films are noted for their better-than-average production values and exciting action sequences. Wheels of Destiny is considered the best of the bunch and it's not difficult to see why. The film contains enough action to satisfy the fan of the cheap western while integrating elements of the more polished and sophisticated "A" western. Indeed, this epic is a far cry from the impoverished productions Maynard had produced just a few years prior for studios like World Wide Pictures and Tiffany Productions which, while still fun films in their own right, are obviously "B" productions. 

Wheels of Destiny is among the best westerns of its type that I have seen. Ken Maynard, one of my personal favorite western stars, is at the height of his powers here. Old Carl Laemmle gave Maynard the keys to the mint and allowed Ken more creative freedom than Maynard had ever been given and this shows in the grand scale production. There are dozens of extras and bit players, hordes of horses and other wildlife, a far more intriguing story than usual and Ken takes center stage as the commanding leader of the wagon train. Modern viewers may take issue with the representation of the Indians in this film, but it does not detract from the overall fun and excitement of the picture which takes Ken and gang through numerous trials and tribulations. The sequence with the wagon train treading over water is quite impressive, even in this considerably darker print. This truly is an epic film, of the sort the great William S. Hart had been making just a decade prior.

This is truly a must-see if you are at all a fan of the genre. An impressive piece of work with one of the screen's greatest western attractions in fine form, with his equally impressive palomino Tarzan in tow. One need go no further than Wheels of Destiny to discover why Ken Maynard is on my Mount Rushmore of western stars. Ken's personal life aside, he was a great horseman who possessed great looks, an intense stare and was adept at stuntwork. I cannot adequately express how much I love Maynard and his body of work. Even his later, lesser films made for studios like Grand National and Colony Pictures are fun because he elevates the material.

I am truly of the opinion that, if he was left alone, Ken Maynard could produce a western epic with the best of them and could have easily competed with the likes of Gene Autry, Roy Rogers and even John Wayne. It is a grand shame that Maynard, after this series of films, never again was allowed full creative control and his later films suffer for it. Wheels of Destiny prove what a screen master Maynard was and what he could have continued being had it not been for his final, egregious Universal effort, the notorious Smoking Guns. But, more on that later. 

Wheels of Destiny is highly recommended and deserves a restoration!

Until next time, pardners!

The Adventures of Texas Jack (1934)

Starring: Wally Wales, Buffalo Bill Jr

Director: Denver Dixon (Victor Adamson)

Studio: Security Pictures, Ltd.

PLOT SUMMARY:

After bringing in another prisoner, Captain Bodie (Duke R. Lee) instructs Texas Jack (Wally Wales) and his sidekick Blister Sanderson (Al Mix a.k.a. Victor Adamson) to track down the ruthless Mayberry gang who've been terrorizing the countryside. Jack and Sanderson stumble upon two of the bandits (Buffalo Bill, Jr. and Jack Evans) trying to make a clean getaway. Sanderson and Jack steal their horses and head to the express office which the gang recently robbed. While there, they find pretty Lucy (Victoria Vinton) and her brother who were victimized by the gang. Slimy Parsons (Duke R. Lee) frames Lucy's brother for the robberies and has him jailed. Jack and Sanderson set about finding the true culprits of the crime.

FILM REVIEW:

Blisterin' bobcats, where to start with this one. First, the print I viewed of The Adventures of Texas Jack was near unwatchable and appeared to have been used to strain spaghetti, making this a rough watch. Secondly, according to my friend and fellow historian Ed Hulse, The Adventures of Texas Jack was originally planned as a feature to be directed by the notorious Victor Adamson, who also stars in the film as the sidekick to Wally Wales. Like many Adamson projects produced around this time, Adamson ran out of money and edited what was shot into a sixteen minute, incomprehensible mess. This was going to be the first in a series of such films produced by Adamson's Security Pictures, however the remaining films never materialized as the western short film was waning in popularity with exhibitors.

The editing of this film is absolutely abysmal, there are random needle-drops inserted into the soundtrack at various points throughout the film for little reason other than to cover-up much of the footage which was likely shot without sound. Even without knowing the backstory of the production, one could tell this was an unfinished product. There is a massive plot twist which occurs at the end of the film which comes from nowhere and the capture of the main villain, as played by Duke R. Lee in a dual role, only takes up two seconds worth of screentime. I referred to the film as a mess in my previous paragraph, but to call The Adventures of Texas Jack a mess would be an insult to the bedrooms of hoarders everywhere! The acting is simply awful from everyone involved, even the great Wally Wales feels tired in his role of hero. Also, why was it that Buffalo Bill, Jr. (Jay Wilsey) was so schizophrenic in his roles on film? One minute, he's the dashing hero in one film and in the next he's a grisly villain!

I feel so sorry for poor old Vic Adamson, he tried his darndest to prolong his life as a filmmaker but the powers that be ensured that his journey would be paved with rocky terrain. Earlier in the history of this blog, I reviewed his 1928 silent western The Old Oregon Trail, an underwhelming film on the surface but when one takes into consideration the minimal budget (and I mean minimal, only $900), the film is nothing short of impressive. Fast forward to 1934 and 1935 and Adamson's best days were clearly behind him. He constantly ran out of money and either clumsily edited footage from unfinished projects together to create a short film (The Adventures of Texas Jack), or a gruelingly long feature (The Rawhide Terror). Adamson would soon hang up his hat for good and stick to playing small character parts and would go on to assist his son Al in his quest to be a filmmaker like dear old dad.

There is no heart and absolutely no soul to be found in this woefully misguided misfire. Unless you are a glutton for punishment and curious to see how bad a western could be, by all means check out The Adventures of Texas Jack, but remember: curiosity killed the cat!

Until next time, pardners!

Twisted Triggers (1926)

Starring: Wally Wales

Director: Richard Thorpe

Studio: Action Pictures

PLOT SUMMARY:

Hiram Weston (J.P. Lockney) is a devout Christian, yet is judgmental of everyone around him including his carefree and more down-to-earth son Wally (Wally Wales). Wally is in love with Ruth Regan (Jean Arthur) whose father Jim (William Bertram) has been recently released from prison for a crime he did not commit. As it turns out, Jim Regan was framed by Norris (Al Richmond) who keeps Regan under constant surveillance as soon as he returns home. After engaging in a barroom brawl to save Regan from Norris and his men, Wally's father disowns him. Later, when Regan pays the enraged elder Weston a visit, he is shot by Norris' men with Weston being framed for murder. It is up to Wally and his new friend "Angel-Face" (Art Winkler) to capture Norris and free Wally's framed father.

FILM REVIEW:

I absolutely loved Twisted Triggers, an absolute smash from start to finish. The action, while not the best choreographed, is frenetic and fun. The highlight of the film being Wales and Richmond duking it out in a fast moving river at the film's climax. It's all thrilling and exciting to watch. Wales performs some sensational stunts in the film, one of my favorites being when he swings on a chandelier to advance to the second floor of Norris' bar. Wales has to be among the most athletic of the silent screen cowboys and is an absolute pleasure to watch. 

Wales, born Floyd Taliaferro Alderson, was one of the better of the lower lever silent screen western stars. He was not only athletic as mentioned before, he also possessed good looks, was a great horseman and possesses great charisma. He is immediately likable as the champion of the downtrodden Regan in Twisted Triggers and is absolutely cheer-worthy when he snaps back at his judgmental father. Wales made his greatest films during the silent era but emigrated nicely to sound working for such diverse individuals as John Freuler and his Big 4 Film Corporation and William Pizor's Imperial Distributing Corporation. Unfortunately, like many of the silent screen cowboys, Wales' popularity eventually waned. However, unlike his colleagues, he had a second life as a character player under the name of Hal Taliaferro and retired under that name in the 1950s.

It should be noted that Twisted Triggers contains an early film appearance by the legendary Jean Arthur as Wally Wales' love interest. Arthur would go on to bigger and better things, eventually being nominated for an Oscar in 1944. Arthur starred alongside many of Hollywood's greatest stars including Jimmy Stewart (Mr. Smith Goes To Washington) as well as Gary Cooper, Edward G. Robinson and Marlene Dietrich. Her role in Twisted Triggers is quite thankless, but it's fun to see her star very much on the rise.

All said, Twisted Triggers is a lot of fun. Packed to the brim with action, great photography by Ray Ries and tight direction by Richard Thorpe. The film, running at a breezy 46 minutes, never wears out its welcome and is absolutely recommended, not just for Wally Wales fans or western fans but also Jean Arthur's adoring fans. By the way, the only reason we can still see this film today is due its preservation by the Library of Congress and my friend Joseph Blough who has posted it on his YouTube channel and can be viewed here. 

Until next time, pardners!

Under Texas Skies (1930)

Starring: Bob Custer, Bill Cody, Lane Chandler

Director: J.P. McGowan

Studio: Syndicate Pictures

PLOT SUMMARY:

The American Army is interested in purchasing Joan Prescott's (Natalie Kingston) horses from her Circle "A" Ranch. In gallops Captain Jack Hartford (Bill Cody), who is promptly captured by a band of horse thieves wanting to make it across the border with Miss Prescott's horses. Hartford is brought to a shack, where he is kept under the surveillance of an ape-like man, simply known as "The Dummy" (Bob Roper). The head of the horse thieves (Tom London) poses as Hartford in order to acquire Prescott's horses. It is up to the combined forces of the real Jack Hartford, Bob Bainbridge (Bob Custer) and "Singer" Martin (Lane Chandler) to stop the sale before it is too late.

FILM REVIEW:

As you will note above, I just summarized the plot of Under Texas Skies, a "B" western produced for Syndicate Pictures by the notorious J.P. McGowan. This was no easy task considering how convoluted the film's story is. You have characters posing as other characters and the barely discernible soundtrack makes following along that much more difficult. This is easily the worst "B" western I've ever seen. Not even the notorious The Border Menace (1935, Aywon) is as dreadful as this sorry excuse for a movie.

While not containing any politically incorrect elements, the film is still an awkward watch. The direction choices by McGowan are strange, with bizarre camera movements, close-ups and the all-together roughshod photography by Otto Himm compounds matters that much more. The most bizarre element of the whole film is Bob Roper's ape-like "Dummy" character who is certainly the most gruesome henchman this side of Jaws in the James Bond franchise. Roper constantly lumbers into the camera's lens as if he's never seen one before. The more I think about him, the more I'm thinking that professional wrestler George "The Animal" Steele stole his gimmick from this guy. Roper doesn't speak at all during the film, not even a grunt, which makes his character quite disturbing. 

Equally disturbing is the absolutely atrocious acting from everyone involved. Even a high school play comprised of inexperienced teenagers could pull off something better than this. Awkward line deliveries abound and why was the decision made to have Lane Chandler sing? He is obviously dubbed from a mystery performer ala John Wayne's later attempt at being a singing cowboy. The whole film feels off. Like something is not right here, whoever made this had no idea as to how to create even basic cinema. 

I can usually forgive acting and directorial decisions but Under Texas Skies is so absolutely bonkers in its ineptitude that I cannot just sweep it under the rug. Robert J. Horner has directed better sound films than this and, while I usually find the ineptitudes of these films to be charming, there is nothing at all charming about Under Texas Skies. On paper, a "B" western with the combined talents of Bob Custer, Bill Cody and Lane Chandler seems interesting to those of us rabid fans of these creaky, musty antiques, the execution is so bad that the brief fifty one minute runtime feels like an eternity. This is during that brief era, as described in Don Miller's Hollywood Corral, of the independent studios trying to throw all of their second-third tier cowboy stars into one movie. These were interesting experiments, I reviewed one awhile back (Westward Bound, also 1930, Syndicate), but when the actors have no chemistry as evident in Under Texas Skies, the experiment fails.

If the sound films of Robert J. Horner are considered trash, then Under Texas Skies must be the absolute stinkiest of cow droppings. Indeed, if one ever needed soil for their garden, they should just use a 16MM print of Under Texas Skies to help their flowers bloom. The absolute poorest excuse of a movie I've ever seen. Definitely not recommended.

Until next time, pardners!

Sky High Corral (1926)

Starring: Art Acord

Director: Clifford Smith

Studio: Universal Pictures

PLOT SUMMARY:

At the Sky High ranch, "Wild" Bill Hayden (Thomas G. Lingham) has grown tired of interference of his livelihood by the U.S. Forest Rangers, in particular Ranger Burns (Jack Mower) who is after Hayden to clear out after a herd of Hayden's cattle go missing. Hayden blames the rustling on Burns and wields bitterness towards the Rangers. He sends for a gunman named Jack McCabe (Art Acord) who, unbeknownst to Hayden, is a Ranger himself. Unbeknownst to Hayden and his beautiful niece Shasta (Marguerite Clayton), the real rustlers are comprised of grisly Whitey Durke (Duke R. Lee) and his gang. It is up to McCabe to smooth things over between Hayden and the Rangers and bring Durke to justice.

FILM REVIEW:

Sky High Corral is an absolute underrated, and sadly little known, gem. This was a wildly entertaining, captivating and even suspenseful slice of western thrills. It is such a shame that this appears to be the only extant feature length western Art Acord produced for Universal as, if Sky High Corral is any indication, we western fans are missing out on some phenomenal action thrillers from the man who once rode notorious bucking bronco "Steamboat." 

Clifford Smith's expert direction creates a movie that never wears out its welcome and the film is beautifully photographed by Edward Linden, capturing vast vistas and rolling countryside hills. Acord, not yet beaten and relegated to working with lower echelon producers like Robert J. Horner, is in top form as the charismatic McCabe and displays sublime horsemanship as he gallops his way to victory atop his noble horse Raven. Even the fighting between Acord and the absolutely repulsive looking Duke R. Lee, as primitive as it is, still makes for rousing entertainment with the two engaging in an outright professional wrestling match in Lee's cabin, complete with monkey-flips. There is even some level of progressivism with Marguerite Clayton's Shasta taking charge of the operation to bring Lee down. She even has a standoff with the brute before being disarmed by the bandit.

If there is anything negative to say about the film, it's the unfortunate politically incorrect humor at the expense of Floyd Shackleford's character. Indeed, it appears that Acord's horse is a racist devil who tries at every opportunity to kick the life out of Shackleford, leading the black man to don whiteface to get around the creature. However, this is only a minor subplot and shouldn't detract too much from the overall fun of the picture. In fact, it was quite refreshing in a film of this vintage to see Acord be chummy with Shackleford.

Overall, Sky High Corral is an absolute corker from start to finish and a prime example of how good silent westerns could be if placed in the right hands. Everyone involved gives their absolute best, with Acord in his prime. If you've only seen his later westerns directed by Horner, you'll be pleasantly surprised at how beautiful a film Sky High Corral is. The film has been wonderfully preserved by the fine folks at the Indiana University Moving Image Archive, from the collection of David Bradley and is well worth the time to check out. I cannot recommend it highly enough. As far as silent westerns go, you can't go wrong with Sky High Corral. I've uploaded the film, which looks to be sadly missing some footage, to my YouTube channel and it can be viewed here.

Until next time, pardners!

Whistling Hills (1951)

Starring: Johnny Mack Brown

Director: Derwin Abrahams 

Studio: Monogram Pictures

PLOT SUMMARY:

A western town is besieged by a gang of outlaws who continuously target stages carrying payroll. These men are seemingly notified by a female ghost, clad in black and on horseback, who signals the band with an intense, loud whistle. As it turns out, this dreadful series of events was inspired by an old Spanish tale of two lovers who died in the "whistling hills." A cowboy (Johnny Mack Brown) arrives in town, searching for a horse thief but is enlisted to assist Sheriff Dave Holland (Jimmy Ellison) snuff out the gang by insurance man Chet Norman (I. Stanford Jolley). Unbeknownst to Johnny, Holland and Norman, the culprit of these robberies are two individuals with close ties to Norman. It is up to Johnny and Holland to unmask the "ghost" haunting the "whistling hills."

FILM REVIEW:

This late period Johnny Mack Brown vehicle was yet another recommendation from my friend Steve Latshaw, director of the Museum of Western Film History (Museum Website) and I couldn't be happier with these selections. Each one of them has been exceptional and Whistling Hills is no different. 

Indeed, the film is loaded with exciting and exceptional action as well as a compelling plotline as penned by Jack Lewis, Fred Myton and Lew Hodgson. The film's twist ending is one of the most unexpected in the history of the "B" western and as someone well versed in these films, that's saying something. The cast is great with the brilliant I. Stanford Jolley playing against type as one of the film's protagonists. Noel Niell, not yet Lois Lane of The Adventures of Superman fame has a nice showing as Beth Fairchild and Jimmy Ellison, long gone from his days as Hoppy's pal, also performs nicely. 

Johnny Mack Brown, of Dothan, Alabama, was already a screen veteran by the time of the release of Whistling Hills, going back to the late 1920's when he appeared in Mary Pickford's first talkie Coquette (1929, MGM). He was also an established cowboy star, having worked for Supreme Pictures, Republic Pictures, Universal Pictures and finally Monogram Pictures. The one time football hero's days in the movies were numbered as Monogram became Allied Artists and dropped their western programmers. However, Johnny Mack Brown is still fondly remembered by front row kids and "B" western aficionados alike.

Whistling Hills is a brilliantly directed, written and acted "B" western from the genre's dying days. Filled with plot twists, great fights and exciting gunplay and showed how venerable the genre could have been had the studios continued producing them. From a different area of interest, I highly recommend director Derwin Abrahams' late period Charlie Chan entry Docks of New Orleans (1948, Monogram), one of the best later Chans starring Roland Winters.

Whistling Hills is highly recommended and one of the best films I've seen thusfar.

Until next time, pardners!