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!

Golden Trails (1925)

Starring: Dick Carter

Director: William Bertram

Studio: William Mix Productions

PLOT SUMMARY:

Down on his luck prospector and ranchman Jack Remsen (Dick Carter) owes wealthy shop owner Steve Prater (Frank Austin) a considerable sum of money. As it turns out, Remsen has placed his ranch and his horse up for collateral, however Remsen refuses to surrender his prized pinto. Nearby Remsen's ranch, fellow prospector and Remsen's friend Pop Curran (Harry Belmour), dies after a dynamite explosion at his claim. Curran instructs Remsen to look after his daughter before passing. The night stage arrives, bringing with it Della Prater (Dorothy Wood) and a man named Lacy. Lacy is, in fact, notorious outlaw Pete Lascalles (Lew Meehan) who kidnaps Prater's daughter and forces her to send her father a ransom note. To avenge himself, Remsen swoops in to save the woman whom he mistakenly thinks is his friend's daughter.

FILM REVIEW:

Golden Trails is one of those ultra-obscure silent westerns where little is known about any of the participants. Indeed, an internet search for Dick Carter doesn't reveal much other than he starred in a handful of oaters for William Bertram and "William Mix Productions," and that he also served as a stuntman in several pictures. The most recognizable star in the film is Lew Meehan who served as villain and general no-good ruffian in a great number of silent and early sound "B" westerns. 

Dick Carter is a mediocre hero. Indeed, he is quite a diminutive fellow and is woefully lacking in the good looks that so many other cowboy stars at the time possessed. Carter is an adept horseman and his riding is better than his fighting ability. This is one of those early silent westerns where many a haymaker is thrown but always misses the mark. Everyone in Golden Trails, aside from Meehan, look lost under William Bertram's sleepy direction. The film was quite a slog to get through and what was in actuality only fifty minutes of film felt like two hours. 

However, I am happy to report that, even though Golden Trails is as mediocre as they come, the film has been preserved by the Library of Congress and was a far better viewing experience than I've had for some time. Alpha Video released Golden Trails along with a Dick Hatton western The Lure of the Range, which I look forward to viewing some day.

All in all, if you are like me and love watching ultra obscure silent westerns with a cast of nobodies, than Golden Trails is the picture for you. Otherwise, best to skip this one.

Until next time, pardners!

Bar 20 Rides Again (1935)

Starring: William Boyd as Hopalong Cassidy

Director: Howard Bretherton

Studio: Paramount Pictures

PLOT SUMMARY:

Hopalong Cassidy (William Boyd) receives a letter from his friends, the Arnolds, that some no-good party is rustling cattle off their ranch. Hoppy goes undercover and masquerades as gambler Tex Riley in hopes of snuffing out the gang. As it turns out, the leader of the gang is Nevada (Harry Worth) who, himself, is passing himself off as a friend to the Arnolds. Nevada, a follower of Napoleon, instructs his men to continue rustling cattle from the Arnolds ranch so that he may trick Arnold family patriarch Jim Arnold (Howard Lang) into selling his land which is rich in gold! Hoppy along with Johnny Nelson (Jimmy Ellison), Red Connors (Frank McGlynn, Jr.) and their new friend Windy Halliday (George "Gabby" Hayes), must stop Nevada's gang before all the cattle are stolen!

FILM REVIEW:

Bar 20 Rides Again, the third film in the long-running "Hopalong Cassidy" franchise, was recommended to me by my friend Steve Latshaw, who serves as director for the Museum of Western Film History (Museum Website). The film is an entertaining western romp featuring fine direction by Howard Bretherton. Indeed, I quite enjoyed this outing for Hoppy and pals, who are firing on all cylinders. The only character in these early Cassidy films I do not care for is the overly-eager Johnny Nelson as played by Jimmy Ellison. Ellison is likeable enough in the role but as he often tended to do, he nearly fouls up Hoppy's plans and outright blows his cover. 

However, the reason to watch this movie, aside from Hoppy, is the sensational performance of Harry Worth as the Napoleon worshipping villain Nevada. Worth appears to be enjoying himself portraying such a scheming character. Worth's Nevada is smooth as silk and carries himself with an air of superiority. From his dignified and intellectual manner of speaking to his self assuredness, Worth is simply marvelous in the role. One of the best villains in "B" western history. He's cold, calculating and he is seldom seen angry. Even before he meets his end, he is seen scheming his way out of jailtime. 

I should also mention that, while not his first appearance in the series, this is George "Gabby" Hayes' first time portraying Hoppy's saddle-pal Windy Halliday, a character who would continue throughout four more films in the series. One can definitely see the precursor to the Gabby Whitaker character here and it's fun watching Boyd and Hayes play off each other. It's hilariously ridiculous how the Halliday character presents himself as a friend of Cassidy's though the two had never actually crossed paths before. Hayes is simply wonderful in the role and a joy to watch.

Bar 20 Rides Again is one of the few films I've reviewed on this blog which is available in high-definition. The first volume of ClassicFlix's Hopalong Cassidy - Legacy Collection Blu-Ray, contains this film along with the first two films in the series. Bar 20 Rides Again features a wonderfully informative audio commentary by historian Toby Roan. I insist everyone purchase this set which can be picked up here.

Bar 20 Rides Again was tremendously good fun. A fun western with a compelling villain, an enjoyable sidekick and even a song or two. Highly recommended.

Until next time, pardners!

Fighters Of The Saddle (1929)

Starring: Art Acord

Director: Robert J. Horner

Studio: Davis Distributing Division

PLOT SUMMARY:

The Wayne family, consisting of Nesta (Peggy Montgomery), Tom (Jack Ponder), Art (Lynn Sanderson) and Patty (Betty Carter), are being forced off their ranch by scheming "Bulldog" Weatherby (John Lowell) and the entire Weatherby clan. The reason for this is the elder Weatherby, the owner of a construction company, needs the Waynes to flee their land so that he may build a road through it. Weatherby enlists his son Dick (Art Acord) with the task of rushing the Waynes off their property but refuses leading Weatherby to disown his son. Weatherby's evil henchman, Dick's cousin Pete (Tom Bay) kidnaps Nesta and it is up to Dick to not only rescue his lady love, but save the Wayne ranch and repair his relationship with his father.

FILM REVIEW:

I should note upfront that my viewing copy of Fighters of the Saddle is significantly shorter in length than is listed on the Internet Movie Database and the print itself is just passably watchable. This coming from an Alpha Video DVD which pairs up Fighters of the Saddle with another late period Art Acord feature The Arizona Kid (1929, Davis) under its reissue title Pursued. In a dose of good news that one so desperately needs in this day and age, a more pristine print of Fighters of the Saddle exists in the collection of the Library of Congress.

As it stands, Fighters of the Saddle is an average late period silent western produced by the notorious Robert J. Horner and featuring involvement from Horace B. Carpenter and Ralph M. Like. There is nothing exceptional about the film, but it must be said that Art Acord emotes quite well. There is much sadness behind his eyes as he is dressed down by John Lowell's vicious and aptly named "Bulldog" Weatherby. The fights aren't exceptional but not terrible either. What may annoy some viewers is the ongoing antics of the younger Waynes as portrayed by Lynn Sanderson and Betty Carter. A recurring bit of business in the film shows Sanderson breaking out into song which elicits scolding from Peggy Montgomery, an actress not to be confused with "Baby Peggy" Montgomery. 

Of the two surviving Horner directed Art Acord westerns, The White Outlaw (1929, Davis), is the superior film and one I will likely review in depth here someday. As for Fighters of the Saddle, it is an okay film, nothing special, however I do like the interplay between Acord and Lowell. Acord, having seen better days at Universal, is on his way down in terms of popularity here. Acord's alcoholism likely contributed to his ultimate downfall. Acord, who was a steer wrestling champion and famed bucking bronco rider, looks beaten and weathered in Fighters of the Saddle, but he does display a certain level of charm which makes him likeable enough. It is unfortunate that most of Acord's earlier pictures no longer survive as these later pictures are undoubtedly unrepresentative of his abilities and body of work.

However, given all of this, I am fortunate that films like The White Outlaw, Fighters of the Saddle and The Arizona Kid survive and are available to view at all. Otherwise, Acord's legacy would be completely erased from the history books.  My gripes about the picture quality of the print aside, I commend Alpha Video for releasing this rarity from the later career of Art Acord and hope more of his films surface someday.

Until next time, pardners!