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, 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 purschase this set which can be picked up here.

Bar 20 Rides Again was tremendously good fun. A fun western with a compelling villain and 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!

On Top Of Old Smoky (1953)

Starring: Gene Autry, Smiley Burnette

Director: George Archainbaud

Studio: Columbia Pictures Corporation

PLOT SUMMARY:

Gene Autry (Gene Autry) along with his travelling musical troupe "The Texas Rangers" are foisted into being real lawmen when pretty Jen Larrabee's (Gail Davis) toll house is in jeopardy. Autry, alongside his friend and U.S. Mail stagecoach driver Smiley (Smiley Burnette) must uncover the long, sordid account of who is behind the attacks on Larrabee and her place of business. Optometrist and rock enthusiast Doc Judson (Grandon Rhodes), McQuaid (Keene Duncan) and their beautiful accomplice Lila (Sheila Ryan) all want Larrabee's land for the rich rock and minerals to be mined from it. It is up to Gene, Smiley and Jen to put a stop to their evil plans.

FILM REVIEW:

My friend, the great Steve Latshaw who is the director of the Museum of Western Film History (Museum Website) in Lone Pine, California, recently posted about this late period Gene Autry Columbia and gave it a rave review. Naturally as a fan of Autry, I had to track this one down and give it a look and I'm glad I did. On Top of Old Smoky, is a great "B" western from the genre's dying days and is now one of my favorite Autrys. This was among Autry's last theatrical films and one of the few later films to reunite him with his Republic Pictures sidekick Smiley Burnette.

Though a later film, everyone is in top form. George Archainbaud's tight direction provides Autry and crew a chance to shine. Though the story is one we've seen many times over, it is Autry and Archainbaud's unique touch that make this one a classic. It was great seeing Gene and Smiley again, though I did miss Smiley breaking into his signature frog voice. Gail Davis, later to become TV's Annie Oakley, made for a fine western heroine and I especially loved the deviously villainous performance of sexy Sheila Ryan.

In truth, I have little experience with the Autry Columbia's, but if On Top of Old Smoky is indicative of the types of films he produced at the studio, I am really missing out. This movie was a lot of fun with some enjoyable songs including the long-parodied title track. Again, although it is a later film, this is as good place as any to get your spurs wet with Autry's film career.

Highly recommended!

Until next time, pardners!

Shootin' Square (1924)

Starring: Jack Perrin

Director: Robert J. Horner

Studio: Anchor Film Distributors

PLOT SUMMARY:

While out hunting, Dan Dawson (Jack Perrin) sees pretty Ruth Mason (Peggy O'Day) take a tumble down the hill and promptly rescues the damsel and returns her to the arms of her loving father (Horace B. Carpenter). Jealous ranch foreman Frank Macy (Bud Osborne) challenges Dawson to ride atop a bucking bronco and stay on the wild horse for five jumps. Dawson accepts and excels. This leads Dad Mason to fire the scoundrel and sends him packing. Months pass and Dawson and Ruth fall in love and arrange to be married. Unbeknownst to them Macy, now a wanted man, disguises himself as a phony parson and rides out to the ranch to wed the loving couple. Upon discovering Macy's ruse, Dawson and Macy fight it out and Macy is brought to justice.

FILM REVIEW:

In an article I wrote and published to Cinema Crazed (Click Here), I noted that the silent films of the notorious Robert J. Horner are well worth viewing and are markedly better than his later sound output. I still agree with most of what I originally said in that article however, Shootin' Square is a woefully misguided western from a modern sensibility.

The sequence at the ranch where it is discovered that the reverend Perrin has sent for is a black man and thus is judged to be unfit for the job of marrying Perrin and O'Day, makes for uncomfortable viewing in 2026. The many uncomfortable looks the players give each other when Reverend Snow, portrayed by Martin Turner, appears makes this sequence that more cringeworthy. Not helping matters is moments later when Perrin states to his lady love, "I didn't know he was black." The film was more or less enjoyable and one of the better silents I've seen in quite some time but this awkward sequence quickly averted those opinions. While it is sadly, a realistic depiction of what would have happened in the deep south at this time, Shootin' Square is a film aimed at the children's market and one should proceed with caution in these more enlightened times before allowing children to see this blatant racism on display. 

As I said before, aside from the atrocious racism, Shootin' Square is one of the better produced silent westerns I've seen from this time period. Horner is generally not remembered for producing quality work, but I still say his silent films are actually well made and can stand up to any of the low-budget westerns produced during this time. There are some great stunts performed by Perrin and some genuinely great fight scenes and Bud Osborne looks to be having the time of his life portraying the villain of the piece. It's quite a shame this film had to incorporate racism in an otherwise fun movie.

The print I viewed was missing its production information and the particular copy I have is a low-resolution, heavily pixilated one. However, the print was watchable and solid otherwise. 

As stated, if not for the racism, I would have recommended Shootin' Square, but it muddies the waters something fierce. 

Until next time, pardners!

Blazing Justice (1936)

Starring: Bill Cody

Director: Al Herman

Studio: Spectrum Pictures Corp.

PLOT SUMMARY:

Cattle rustler Max (Gordon Griffith) is caught at a local saloon and shoots the sheriff. Seeing that Max doesn't get away, Ray Healy (Bill Cody) engages in a brawl with him. However, Max escapes anyway but Healy is still rewarded for bringing Max's henchmen to justice. Healy takes the reward and plans to head off on vacation. Meanwhile, Max happens upon the Peterson Ranch where he overhears Bob Peterson (Budd Buster) and his daughter Virginia (Gertrude Messinger) discussing the massive money belt Bob has on his person. This is all Max needs to hear, so he sneaks up on Peterson and clobbers him over the head, steals the money belt and rides off. Along the way, Healy is washing up and preparing food at a nearby river. Max switches horses with Healy and rides off, leading the trailing Virginia to accuse Healy of injuring her father and stealing from him. Once Virginia and Healy get to town, they discover Max is in town and that he is the true culprit. Max flees and Healy devises a plan to trap him. At the pretend funeral of Bob Peterson, Max shows up to steal the insurance money. Upon discovering the ruse, Max tries to flee but is promptly caught by Healy, ending Max's reign of terror once and for all.

FILM REVIEW:

It was about time that I review this film, after all it shares its title with the name of this blog. Sadly, Blazing Justice is a work of mediocrity from Spectrum Pictures. The acting across the board is atrocious, with only Milburn Morante giving an earnest effort as a scruffy alcoholic in desperate search for drink. However, Morante's antics take up much of the film's running time and there is an extended sequence of Gordon Griffith and Morante playing a gambling game out in the middle of nowhere that serves no real purpose.

Bill Cody was a bottom rung cowboy hero in the silent days and was seemingly able to transplant himself into the talking era. He exhibits zero charisma, though is likeable enough as the hero of the piece. A big reason for Cody's success as a cowboy hero was his name, though he bore no relation to the famous Buffalo Bill Cody. Cody holds the distinction of appearing in what many believe to be the absolute worst "B" western of them all, the infamous The Border Menace for Aywon Pictures in 1934. By the time he made Blazing Justice for Ray Kirkwood and Spectrum Pictures, his best years were behind him. Indeed, Cody looks far too old and weathered to be a love interest for the twenty years younger Gertrude Messinger. One wonders how Cody was able to eke out an existence as a cowboy hero since he woefully lacks the charisma to be one. There is simply nothing charming about him, at least if one were to judge him solely from this picture.

However, there are some positives in Blazing Justice. There are multiple fights throughout the film and they look rather convincing and scrappy and are enjoyable to watch and it's great fun to see Cody tie up Gordon Griffith and drag him behind his horse.

Overall though, Blazing Justice is as mediocre as they come. Although I had seen other Cody pictures prior to starting this blog and thusly knew what to expect from him, Blazing Justice left me more than a little disappointed. I wanted to like this film better than I did, due mainly to its title, but it's just passable as entertainment. The actors wander aimlessly through Al Herman's sleepy direction. Not even Gordon Griffith, who was the screen's first Tarzan, as the villainous Max exudes any charisma that makes him a truly detestable villain. Not a satisfying film at all. Not recommended.

Until next time, pardners!

Fangs of Fate (1925)

Starring: Bill Patton

Director: Horace B. Carpenter

Studio: Chesterfield Pictures

PLOT SUMMARY:

After breaking up a brawl at a local saloon, Bob Haynes (Bill Patton) is deputized by Sheriff Dan "Dodo" Briggs (Ivor McFadden). While this thrill Haynes' longtime girlfriend Azalia Bolton (Dorothy Donald), Haynes is less than enthusiastic about taking on the job. Unbeknownst to the entire town as well as the sheriff and Azalia, Haynes is the leader of an outlaw gang known as "The Black Raiders," who are anxiously awaiting orders from Haynes as to their next job. One of Haynes gang, Red Mack (Merrill McCormick) grows tired of waiting and holds up a stage for $20,000 and murders the stage guard along the way. Knowing he was betrayed by his gang, Haynes accepts the deputy position and brings in Mack and the rest of the Raiders. Upon delivery of the criminals, Haynes confesses to everything, is arrested and must face the judge (William Bertram) and accept his fate.

FILM REVIEW:

Fangs of Fate is not a good movie, far from, it's quite bottom rung. The direction by Horace B. Carpenter, who would go on to star as the mad scientist in exploitation director Dwain Esper's infamous Maniac (1934, Roadshow Attractions), is quite sloppy and haphazard. One can rarely comprehend what is going on during the course of the picture, there will be close-ups when completely unnecessary and staging which is convoluted and incomprehensible. The actors aimlessly go through their paces and one can tell that the captain of the ship is asleep at the wheel.

As for the hero of the piece, Bill Patton, all one must know is what legendary stuntman and actor Yakima Canutt later said of the bottom rung cowboy star, "Bill Patton was afraid of three things: horses, guns and the great outdoors." Indeed, Patton does not make for a very convincing hero. The wiry, small frame of Patton's is not at all intimidating. The one positive I can give Patton is that he does possess an expressive set of eyes that compensate for his shortcomings as an actor. His fighting skills are dreadful. Indeed, Fangs of Fate may contain some of the worst fight choreography I've ever seen. The entire proceedings looks to have been shot in a few days. This is purely amateur hour material. 

I will say that the plot was slightly compelling, but handled poorly by Carpenter who incidentally wrote the film's story. If a better helmsman where in charge, not to mention a better lead selected, this had the potential to be a better-than-average oater, however Fangs of Fate woefully misses the mark. 

I do not recommend Fangs of Fate unless you are either a glutton for punishment or a "B" western zealot like me. Otherwise, best to skip this one. Incidentally, this film is only available from budget label Alpha Video, whose copy obviously comes from a worn VHS source. The image is difficult to discern at times but is overall just passably watchable. However, as I tend to do, I must credit Alpha for their bravery in presenting such obscure titles when higher echelon labels wouldn't dare touch it. 

Until next time, pardners!

The Arizona Ranger (1948)

Starring: Tim Holt, Jack Holt

Director: John Rawlins

Studio: RKO Radio Pictures

PLOT SUMMARY:

After returning home from serving with Teddy Roosevelt's Rough Riders, Bob Morgan (Tim Holt) is enlisted to the Arizona Rangers. Morgan's father Rawhide (Jack Holt) is against his son leaving his ranch and becoming a law officer, seeing how the only law required in the territory is a rope and a tree. Morgan's first task as a lawman is to bring fiendish cattle rustler and robber Quirt Butler (Steve Brodie) to justice. Rawhide nearly does away with the no-good Butler through a hanging party after the murder of family friend Ol' Ben (Paul Hurst) but is stopped by his son so that he may bring the real killer to justice. This drives a wedge between father and son and it is not until Butler's wife (Nan Leslie) pleads with Rawhide to save his son from a trap set by Butler that the old man has a change of heart.

FILM REVIEW:

The Arizona Ranger is an absolute masterclass in "B" western filmmaking. Considered by many to be the greatest "B" western ever made, I'd be hard-pressed to disagree. The story, written by Norman Houston, is one of the most compelling ever composed for a picture of this type. This is a story that pits husband against wife and father against son. The breezy direction by John Rawlins is equally excellent with the action moving at a brisk pace and there is seldom a dull moment in the picture.

This film marked the only time Tim Holt ever starred alongside his famous father Jack who was a veteran actor dating back to the silent era and having made his greatest pictures for Columbia until studio head Harry Cohn demoted him to a serial in the 1940s, Holt of the Secret Service. The elder Holt worked with the greats such as John Ford and Frank Capra but was most well known for his crime dramas. As for Tim, he arrived to film in 1937 and starred in several low-budget westerns for RKO alongside such actors as Cliff "Ukulele Ike" Edwards and was often paired with Richard Martin as his Mexican/Irish sidekick Chito. Holt's are among some of the best of their kind, with several of his westerns being recommended by "B" western scholars. 

Tim and Jack Holt play wonderfully off each other and gel so well that one wishes the two shared more screentime together. Sadly, this was among the elder Holt's last pictures as he would pass three years later at the age of sixty two. Steve Brodie is exquisitely sleazy and nasty as Quirt Butler, guffawing his way through the role with a smug expression that would make anyone's blood boil. The acting across the board is superb with Nan Leslie having a great showing as the emotionally conflicted wife of Brodie's Quirt Butler.

Overall, The Arizona Ranger is one of the greatest "B" westerns ever made. However, the biggest crime involving the picture concerns none of Quirt Butler's actions, it is the fact that the film has yet to receive an officially authorized DVD release from Warner Archive who has released all other Holt westerns as part of the RKO library. Indeed, the version I viewed was a television airing that was watchable enough but the film is begging for an upgrade. The film has shown up on Turner Classic Movies in a fine print, giving those of us that love these pictures more than a little curiosity as to why the film has yet to hit DVD or even Blu-Ray. A higher quality version would allow for greater appreciation of the film's great location photography as shot at famous Lone Pine, California. By the way, if you wish to visit Lone Pine, tell my friend Steve Latshaw that Geno "Sunset" Cuddy sent you and while there, please do visit the Museum of Western Film History (Museum Website).

I highly recommend The Arizona Ranger if you are able to secure yourself a copy of it. It is well worth your time and I can guarantee that you will love the picture. I stake my reputation on it. 

Until next time, pardners!