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!

Westward Bound (1930)

Starring Buffalo Bill Jr., Buddy Roosevelt

Director: Harry S. Webb

Studio: Syndicate Pictures, Corp.

PLOT SUMMARY:

After engaging in yet another barroom brawl, Senator Lansing (William Marion) sends his rambunctious son Bob (Buffalo Bill, Jr.) and his friend Ben (Ben Corbett) out west to start life anew. Unfortunately for Bob and Ben, they are not only robbed of their motor vehicle but also their clothes by local ruffians. As it turns out, those ruffians are in cahoots with a cattle rustling ring led by Jim (Yakima Canutt) and they've been stealing cattle from Marge Holt's (Allene Ray) Bar "O" ranch. Ben and Bob, along with Holt's loyal ranch foreman Frank (Buddy Roosevelt) take charge after the rustlers and seek justice.

FILM REVIEW:

Westward Bound, released in 1930 by bottom-rung Syndicate Pictures, is more interesting due to its cast than its overall story. This early talkie is just as creaky and statically-shot as others produced at this time but that just adds to the overall charm of the picture. This film gives two of the screen's lesser known cowboy heroes an opportunity to team up, those being Buffalo Bill, Jr. (real name Jay Wilsey) and Buddy Roosevelt. Along for the ride you have the great Ben Corbett as Bill's saddlepal and the legendary Yakima Canutt as a gang leader.

Sadly, the charismatic Roosevelt is all but wasted in this picture. Indeed, even though he is second billed on publicity materials, he seldom factors in to the story, which is a shame as this was a golden opportunity for both Buffalo Bill, Jr. and Roosevelt to exact justice western-style. As for Buffalo Bill, Jr. himself, he is just going through his paces, his heart clearly not into putting its all into the film's production. He gets a few opportunities to exude charm but is mostly sleep-walking through the picture. The other actors are just as wooden and lifeless with only Allene Ray giving any energy to the proceedings. I simply love her making Buffalo Bill, Jr's life miserable and she is seemingly enjoying herself while doing so.

Buffalo Bill, Jr. was an enigma having been bestowed that moniker by enterprising low-budget producer Lester F. Scott, Jr. It should be noted that this Buffalo Bill, Jr. bears no relation to the more well known Buffalo Bill, Jr. as portrayed by Dickie Jones on television in the 1950's. Buffalo Bill, Jr. started in silent westerns and later held a distinction of starring in several low-budget westerns for Victor Adamson and Superior Talking Pictures including the infamous Lightning Bill (1934), a film so remarkably poor that even its opening title card is misspelled "Lighting Bill."

Although a later film, the sequences of Bill and Corbett frolicking through the countryside in their underwear gave me eerie flashbacks to the Robert J. Horner magnum opus The Phantom Cowboy (1935, Aywon). However, Corbett is ten times the talent that the hackneyed Jimmy Aubrey ever was.

Overall, Westward Bound is only of interest to those who are knee-deep into the "B" western genre and enjoy the work of the stars presented. Otherwise, it's probably best to skip this one.

Until next time, pardners!

Unseen Enemies (1925)

Starring: Al Hoxie

Director: J.P. McGowan

Studio: Anchor Film Distributors

PLOT SUMMARY:

Bordertown ranger Steve Halliday (Al Hoxie) goes undercover to uncover a cocaine smuggling plot led by shifty Bingo Strook (Bob Kortman). It is up to Halliday to find the cache of illegal drugs before he is outed as a lawman. Halliday must combat Strook's gang, his female accomplice (Catherine Craig) and secure law and order to the Davenport ranch and restore power to its rightful heirs, the Davenport boys (Bud & Clayton Gilderbrand).

FILM REVIEW:

I should note upfront that the print I viewed of Unseen Enemies was quite splicy, washed out and blurry and only clocked in at thirty seven minutes and looked to be missing quite a bit of footage, making for rough viewing. 

However, from what I was able to see of the film, I enjoyed. Al Hoxie, half-brother of the far more successful Jack Hoxie, makes for a decent western star and is the spitting image of his brother. Al Hoxie made a handful of films for independent producer Morris R. Schlank, with Unseen Enemies being among those produced. These films were to be produced by John Ford's older brother Francis but wound up being helmed by noted "hack" J.P. McGowan. Given McGowan's reputation, Unseen Enemies isn't half bad, with a great fight at the end showing prune-faced Bob Kortman and Hoxie rolling down a treacherous hill and duking it out at the same time. The Gilderbrand boys portraying the Davenports are as bratty as they come but prove effective in the film's climax.

Unseen Enemies is available from Alpha Video on a double bill with Hoxie's The Rustler's End (1928, Collwyn) which was helmed by Robert J. Horner and not McGowan as Alpha's back cover incorrectly states. It should be noted that Alpha's "score" for Unseen Enemies is comprised of selections from the 1939 Astor Pictures reissue of William S. Hart's Tumbleweeds, right down to the sound effects. However, I must applaud Alpha for releasing such obscurities on home video as these minor, "B" grade silent oaters would most certainly not sell under a larger label.

Unseen Enemies is a fun timewaster, with the great Bob Kortman given some time to shine.

Until nest time, pardners!

The Brand of Hate (1934)

Starring: Bob Steele

Director: Lewis D. Collins

Studio: Supreme Pictures Corporation

PLOT SUMMARY:

Young Rod Camp (Bob Steele) intends to marry pretty Margie Larkins (Lucile Browne) with the approval of both sets of parents. All goes well until Larkins' (William Farnum) sleazy half brother Bill (George "Gabby" Hayes) and his two sons show up to commence with cattle rustling. Unfortunately for Larkins, his half brother threatens to have him sent back to Kansas to serve a prison sentence for a prior arrest, in order to stay on the ranch and engage in the criminal activities. One day while attending to his cattle, Rod's father (Charles K. French) spots Bill Larkins' sons branding his cattle and is promptly shot for his trouble. Rod decides to leave the Larkins alone until his loyal dog Pardner is shot. Rod seeks justice as well as revenge. 

FILM REVIEW:

During the first quarter of the film, I was admittedly more than a little disinterested. However this all changed once Holt, played wonderfully by James Flavin, shoots French. Thereafter, I was hooked. This sequence is handled wonderfully with an enraged Bob Steele standing over his father's wounded body with that famously intense stare he was known for. The Brand of Hate was also quite a shocking film in that Bob Steele's dog is shot, a sequence that will likely still elicit gasps from audiences today. Steele sells this wonderfully when he clutches his four-legged friend's head to his chest and gives yet another intense look, letting the audience know that playtime is over.

George Hayes, years before he would portray Gabby in the Roy Rogers films and even before his days of playing Hopalong Cassidy's saddlepal Windy Halliday, deserves special mention as the film's grisly villain. Hayes is perfectly detestable as Bill Larkins, so much so that one is satisfied to see Steele nearly choke him to death near the close of the picture. We are not dealing with the kindly old codger of the later films, this is a terrible person with no redeemable qualities being completely nasty for his own amusement. 

Steele is quite good during the fighting scenes at the end of the picture and takes some hard decks to his chin, but still shows Flavin, Hayes and crew who's boss. Steele, born Robert Adrian Bradbury, was the son of prolific western producer Robert N. Bradbury and even worked alongside his father in some of his greatest pictures. Steele, with his wonderfully intense scowl and physicality, made him one of the premier heroes of the "B" western. Indeed, Steele's career was a long one and spans from the silent era to the early television era. He was simply one of the greats and it shows in this film. He handles the saccharine romantic scenes with Browne quite well, but it's his no-nonsense approach to heroism that makes him a memorable screen presence. All Steele had to do was give that look and you knew someone was going to get it!

This was one of the 32 films Steele made for A.W. Hackel's Supreme Pictures Corporation, one of the many small independents that produced these "B" grade oaters, and the picture is just okay. The dog shooting and Flavin's sexual harassment of Lucile Browne are the most startling aspects of the picture but other than that, it's just an average film only of note to those of us who love them. A middle of the road picture with some shocking elements that keep audience interest. Bob Steele has made better films, but this is far from his worst.

Until nest time, Pardners!

The Old Oregon Trail (1928)

Starring: Art Mix

Director: Victor Adamson

Studio: Art Mix Productions

PLOT SUMMARY:

After helping the Mercer family retrieve their horses from a horde of villains, drunken cowboy Calamity Joe (Art Mix) decides to stop his drinking so that he may get closer to Mercer's beautiful daughter (Delores Booth). Years pass, but the two never forgot each other. When Joe competes at a local rodeo, he is spotted by Mercer (F.C. Rose) and his daughter who kindly invite him to dinner. While at Mercer's ranch, Joe intervenes when a dispute occurs between Mercer and his workers. Joe wrangles his friends from Condon City to help finish the work but they are troubled by the embittered teamster (Sid Seals) who Joe scared off. Joe, having enough of these men, wrangles them all together and fights it out with the teamster once and for all.

FILM REVIEW:

I went into The Old Oregon Trail with hesitation considering it was directed by and stars the notorious Victor Adamson, whose output in the sound era ranges from mediocre to poor. I was actually pleasantly surprised to find a film that is actually well made and beautifully photographed. My friend, the great western film historian Ed Hulse who was involved in preserving The Old Oregon Trail for modern day reappraisal, considers the film to be a remarkable achievement considering how impoverished Adamson and his wife, who portrays the heroine in the film, were at this time. Add to this, the most recent lawsuit launched by Tom Mix against Adamson for copyright infringement in using the "Art Mix" name. The character of Art Mix was actually portrayed by three different people, Adamson, most famously George Kesterson and rodeo cowboy Bob Roberts after Kesterson and Adamson were in a salary dispute. Art Mix was clearly meant to capitalize on Tom Mix's popularity. 

There was no real "crew" to speak of on the movie and it was shot for $900 and 5,000 feet of film and shot on location at the actual John Day River which looked much the same as it did during the pioneer days. Paul Allen, the cameraman, utilized his own camera for the film. The only "interior" set, the bar where the brawl breaks out, was actually filmed outdoors using the sun as natural lighting and with a few tables and chairs. Given the limitations of the production of the movie, The Old Oregon Trail is nothing short of impressive. Indeed, the movie features excellent photography, elaborate authentic settings and decent performances. 

The Old Oregon Trail shows how shrewd and cunning of a filmmaker Adamson was, he managed to create a feature-length western for less than $1,000 which, even by the standards of the day, was ultra low budget. It is an impressive piece of work and, I believe, more representative of what Adamson was capable of than his later sound output, which were far more costly to produce due to the conditions of early sound filmmaking. Adamson also doesn't make for a bad screen presence, he portrays the hero quite well and you can tell he believed in this project. It's even amazing the film exists at all. The only reason it is extant today is due to piracy by David Horsely, who donated the 5,000ft of film to the project.

I highly recommend The Old Oregon Trail to anyone who enjoys silent films, especially silent westerns and I absolutely recommend it to film students to show them how to create something on a grand scale for an exceptionally low budget. 

Until next time, pardners!

Range Riders (1934)

 

Starring: Buddy Roosevelt

Director: Victor Adamson

Studio: Superior Talking Pictures

PLOT SUMMARY:

Gold mine owners Sutton (Horace B. Carpenter) and Waldron (Fred Parker) are being terrorized by a local gang of ruffians led by Bull Crawford (Lew Meehan). Sutton, tired of all of the harassment, sends for his son Dick (Buddy Roosevelt) to take care of the gang. When Dick arrives, he poses as a Mexican caballero to not only humiliate the gang but stay one step ahead of them. Dick, along with his sidekick Pedro (Merrill McCormick), round up the claim jumping gang and put an end to their reign of terror.

FILM REVIEW:

Range Riders is one of those great examples of when the star outshines the drab material he's been given. Indeed, Buddy Roosevelt appears to be genuinely enjoying himself as he constantly taunts and humiliates Meehan's gang. The story is as compelling as paint drying, but Roosevelt makes the proceedings enjoyable with his natural charisma. 

Roosevelt is a great example of someone who should have been a bigger star. He had a great look, was quite athletic and had an overall good screen presence. Indeed Roosevelt, who came from the silent era, was an almost who never was, losing out on the opportunity to portray the Cisco Kid in the all-talking 1928 western In Old Arizona due to a leg injury. Warner Baxter ultimately took over the role and won the Best Actor Oscar for his trouble.

Further compounding Roosevelt's plight was when his wife demanded he be given a better salary when he was selected as the star of a series of Monogram Pictures westerns that ultimately went to a young John Wayne. After these two missed opportunities, Roosevelt was relegated to working with ultra bottom-of-the-barrel producer and director Victor Adamson in a series of dirt cheap and poorly produced talking westerns for Superior. Range Riders is so low-budget that during one of the early scenes, one can clearly hear Adamson giving Roosevelt and his co-stars direction to "keep going." 

As stated, Roosevelt really outshines the material and mediocre direction. I quite liked his cocky attitude towards dealing with Meehan's gang and the sequence where he forces Meehan to eat soap is earnestly entertaining. Roosevelt deserved better than these productions but they did offer him one last chance at stardom. After this series of films for Adamson, Roosevelt would go on to play character parts, heavies and even provided stuntwork for a multitude of stars. Roosevelt would pass away in 1973, long forgotten. 

Range Riders is only worth seeking out if you are a Roosevelt fan, a fan of Victor Adamson's or just a fan of the ultra cheap low budget oaters being produced during the 1930s of which I am all three. 

Until next time, pardners!