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 "B" 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!

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!