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!

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!

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!

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!

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!

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 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!

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 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!

The Unknown Ranger (1920)

 

Starring: Rex Ray

Director: Harris Gordon

Studio: Aywon Films Corporation

PLOT SUMMARY:

Local ranch-hand Buck Manning (Rex Ray) discovers author John Chandler (Ben Hill) stuck on a county road and decides to bring him and his vehicle back to his ranch close to the Mexican border. Manning knows he has seen Chandler's face before but cannot place the name. Chandler claims to be unfamiliar with this part of the country, however is strangely aware of the cliffside hideout of two Mexicans. As it turns out, Chandler is not an author at all and is the headman of an opium smuggling operation. One night while believing everyone is asleep, Chandler escapes to the hideout. Unbeknownst to him, Manning is on his trail. Manning gets the drop on the bandits and chases Chandler along the cliffs and trails him back to the ranch where he seeks medical attention from Jo (Marie Newell). Manning enters the scene and gives Jo the entire story of how he was an undercover ranger sent to track down Chandler. Chandler escapes and Manning is about to shoot before being convinced not to by Jo as Chandler swims across the border.

FILM REVIEW: 

I have never seen a western with a pacifistic bent and, though I'm a pacifist myself, I hope to never see another again. Manning is the first western "hero" I've ever seen who allows the culprit to escape just because his girlfriend told him to. This was the most unsatisfying ending I think I've ever seen, it was akin to watching this past Saturday Night's Main Event where the villainous Gunther overtook and defeated the heroic John Cena. That match did not "send the folks home happy" and I doubt The Unknown Ranger did either in 1920. 

The enigmatic Rex Ray certainly lives up to the film's title. There is virtually nothing known about the wide-mouthed western actor aside from the fact that he made at least three films for Nathan Hirsh's Aywon Film Corporation before seemingly falling off the face of the Earth. Indeed, my friend, the noted western film historian Ed Hulse, was stumped as to who Ray was when I told him of my plans to pen this review. Honestly, it is for the best that Ray dropped out of the movie scene as he certainly does not make for a convincing cowboy hero. Ending notwithstanding, Ray is a diminutive man who possesses the widest grin this side of Joe E. Brown. His face was built for comedy and I'm surprised he landed in westerns instead of appearing in one of the thousand or so comedy shorts being produced at this time. Not once during the film did I believe in Ray and, in all honesty, even the weakest amputee could likely defeat him in a heartbeat.

The other actors are fair to poor and, with all due respect, Marie Newell is the homeliest heroine I've ever seen in a film. She looks less like a woman and more like a twelve year old girl, which makes the "love" scenes more than cringeworthy. 

I was both amused and shocked to see this was a drug smuggling plot and of opium no less. One must wonder who the intended audience was. Imagine the child who went to the theatre, expecting to see some cheap western thrills, coming home to ask his parents at the dinner table, "Mom? Dad? What's 'opium?" I am unsure if this was a common plot element in these near impoverished productions, but it was certainly a new one on me.

One of the elements that made the film a slog to sit through were all of the incessant flashbacks that occur during the film's brief forty-four minute runtime. There were three altogether and it felt like unnecessary padding just to get the film to feature length. The story was weak, the direction uninspiring and the acting was middling to poor. Not recommended unless you are a hardcore western nut like I am.

Until next time, pardners!

  

Ridin' Wild (1925)

Starring: Kit Carson (William Barrymore)

Director: Leon De La Mothe

Studio: Aywon Film Corporation

PLOT SUMMARY:

Jim Warren (Kit Carson) is onboard a train, headed to Tucson, Arizona to escape a dreadful plague which has swept the nation. Meanwhile, Scar-Face Jordon (Jack Richardson), a cattle rustler posing as a cattle buyer, sends his henchmen led by Red Hanson (C.L. James), to make camp while Jordon rescues count sheriff's daughter Betty Blake (Pauline Corley) and her kitten from a tree, all the while getting an eyeful of Blake's shapely leg. 

Betty's father Sheriff Frank Blake (W.R. Maly), who also operates the Circle X Ranch,  receives warning about Jordon and his gang. Warren finally arrives in Tucson and is promptly thrown out of a hotel as "invalids are not welcome." Betty sees Jordon rough-up Warren and goes to comfort the sickly, young man. She tells Warren to go live alone in the hills. At sundown, Warren stumbles along Wild Cat Gulch and discovers Jordon's men camped out. Warren approaches the no-good ruffians and pleads with them to let him spend the night by their campfire. Jordon returns to the campsite, abuses Warren some more and orders his men to keep close watch of him. 

Later that week,  Betty heads out with the stage to deliver gold bullion, while Jordon and his gang prepare Warren for his first holdup. Unbeknownst to them, the sheriff is headed to follow his daughter on the journey, to see no harm becomes of her. In order to save the shipment, the coach driver kicks one of the horses to start the stage moving. An angry Jordon and his gang gallop after it, with Warren in tow. Betty is afraid for her life in the speeding, runaway stage as Warren pursues her and saves the day. The sheriff sees this and promptly deputizes Warren to carryout the delivery and also provides him with a job and lodging on his ranch.

After visiting a local doctor, Warren, now cured of his bronchitis, returns to the loving embrace of Betty. Unfortunately for them, Jordon shows up and spies on them. Betty convinces Warren to enter a local rodeo contest. Jordon pulls Betty aside and attempts to assault her until Warren stops him and the two fight it out. Warren knocks the tar out of Jordon and Jordon seeks vengeance!

It's the day of the rodeo and as Warren prepares for the contest, Jordon and his men conspire to falsely arrest Warren and beat him to a pulp. One of Jordon's henchmen "arrests" Warren and leads him out of town, to be captured by Jordon. Meanwhile, Betty and her father anxiously await to see Warren enter the contest. Warren escapes his captors and races back to the contest. 

Meanwhile, Sheriff Waddell, from neighboring Canyon County, arrives to watch the rodeo. Waddell sees Jordon return to town and captures the marauder and his posse, while Warren wins the contest and marries Betty.

FILM REVIEW: 

Ridin' Wild was a surprisingly average silent western, released through impoverished Aywon films. I say "Surprisingly" given the producer and writer for this film was the notorious, bottom-of-the-barrel producer Robert J. Horner. Horner was the lowest of the low when it came to producing "B" westerns, his films were usually produced on the cheap (very cheap!) and usually weren't much good. Horner's films were marred by weak scripts, actors and editing and there are certainly hints of all three in Ridin' Wild. There are decent to middling performances, odd editing choices and misspelled intertitles. To contemporary audiences, it is best to compare Horner to prolific schlockmeister Ed Wood, however it is an unfair comparison to make as Wood, at least, had some artistic aspirations whereas the legless Robert J. Horner had none. The film was actually somewhat competently made and featured some decent performances, especially from hero Jim Warren portrayed by a man billed as famous frontiersman Kit Carson.

Carson was, in reality, Elia Bulakh, a Russian born actor who also went by the name of William Barrymore though he held no relation to the famous Barrymore acting dynasty. Bulakh was a Cossack soldier, who  escaped execution by using the lid of a can of beef to slit the throat of his executioner. He eventually found his way to the United States He acted in many silent and sound productions, perhaps his most infamous being Victor Adamson's serial-turned-feature The Rawhide Terror, in which he portrays the title role Bulakh, also known as Boris Bullock, passed away in 1973.

Horner was as tragic as he was sleazy. He was nearly killed at the age of six while he and his brother played on a train track. Horner made it safely across the track as an oncoming train sped towards his direction, but not before the vessel took his legs with it. From there, Horner was placed in a home for crippled children where he was abused so terribly, he lost his legs to the point where he had mere stumps. Horner was a conman of the highest rank, he would take out classified advertisements in trade papers promising young actors and actresses the opportunity to become movie stars if they would help fund the production of his movies. Horner would then steal their money and flee town. He also, allegedly, propositioned his female stars. Horner would die from cirrhosis in 1942 and left behind a legacy of films which range from mediocre to piss-poor. Ridin' Wild is in the former camp.

This film received a high definition cleanup by the Library of Congress and the resulting copy I viewed was immaculate and shows how good these films could look if treated properly. Even though this isn't a landmark film by any stretch of the imagination, it still deserved the beautiful treatment it received from the LOC and I applaud them for doing so given no big names are attached to the film.

This film is so obscure, I couldn't locate an original poster or lobby card for it, so you'll have to settle for the film's title card.

Until next time, pardners.

 

The White Outlaw (1925)

Starring: Jack Hoxie, Marceline Day

Director: Clifford Smith

Studio: Universal Pictures Corporation

PLOT SUMMARY:

High atop the Sierra Mountains Scout, the white Appaloosa horse, is on the run from his abusers and finds sanctuary amidst the Sierra's glowing peaks, where many other horses have also taken root. In the valley stands a shack, home of Jack Lupton (Jack Hoxie), a once thriving cattleman whom was driven to his impoverished locale as a result of a plague which drained him of his fortune. 

Lupton is alerted by his faithful canine Bunk (Rex The Dog) to the presence of Scout atop the mountains. Lupton calls out to the animal, but Scout ignores his commands and gallops off. As it turns out, Lupton was Scout's former owner, until one of his ranch-hands brutally abused Scout, forcing the horse to flee the ranch, never to return. This causes great distress for Lupton.

Later that day, ranch foreman James Hill (Duke R. Lee), arrives to evict Lupton from the premises unless he is able to completely pay the lease on the ranch. Hill is also attempting to rid the ranch of Lupton due to their competing attentions for Mary Gale (Marceline Day). Hill and Lupton engage in a brawl, with Bunk also battling Hill and his henchmen. The hero and his loyal hound are defeated and the baddies invade the ranch house to remove Lupton's belongings. Hill and his gang lock Lupton out of his home as Mary rides like the wind to warn the man she loves. 

Mary arrives to find Lupton and his dog lying down after the brawl, where Lupton tells her of how deeply he misses his noble steed. Evicted and homeless Lupton, his new horse and Bunk settle under the stars. At the same time, Scout and a group of his friends are attempting to rescue a foal which fell into a nearby ditch while a grizzly bear attacks the animal. Scout rides off and finds his former owner and attempts to waken him. Lupton follows his old friend and helps rescue the foal. Once all is well, Scout flees his old owner yet again.

Meanwhile, back at the Gale ranch, Hill abuses the ranch's cook George Washington, Jr. (Floyd Shackelford). Mary catches this and scolds him and Hill pleads with Mary, who rejects the brutish man. Lupton returns to the ranch, with the foal and its mother in tow and hypothesizes that Scout may be the culprit for the recent brush of horse rustling which has disturbed operations at the Gale ranch. 

Hill riles the sheriff (Charles Brinley) and tells him that he believes Lupton is the one rustling horses. The sheriff confronts Lupton and tells him to bring in Scout to prove his innocence. Lupton and Mary ride out in search of Scout and find him at the water hole. Lupton attempts to rope him but Mary screams at the sight of a coyote, causing Scout to run off. Lupton finds Mary at the edge of a cliff and rescues her.

Many days later, Lupton finally captures Scout and brings him back to the sheriff and reveals to him the location of the other mares. Lupton recounts his accounts of witnessing Scout breaking down the gates and releasing the mares out into the wild. Hill, of course, attempts to discredit Lupton's story until Washington confirms Lupton's story as true and tells of his experience seeing the "White Outlaw" Scout rustle horses from the ranch.

Hill convinces his fellow ranchmen that Scout ought to be slaughtered for his actions. Lupton, distressed by this, elects himself the job of doing away with his old friend, with Hill and his henchmen trailing him. Lupton rides to a nearby cliff and double crosses Hill and his gang by sending a warning shot to Scout to run off, he then aims his gun at Hill and rides off.

Hill's henchmen discuss plans to round up the mares, which Washington overhears. Hill and his men venture off, while Washington informs Mary of Hill's plans. Washington heads off, finds the sheriff and they all head out on Hill's trail. Hill finds Lupton and the two engage in another scuffle in which Lupton dispatches Hill. With Hill kept at bay by Bunk, Lupton goes forth to find the herd of mares

While Washington finds and apprehends Hill, Lupton rescues Mary from the stampeding horses. The sheriff and Mary's father Malcolm (William Welsh) are reunited with Lupton and Mary, while Washington leads Hill to the sheriff where he is promptly arrested. 

FILM REVIEW: 

The White Outlaw was a fun and at times, emotionally gripping, silent western that deserves a restoration. Indeed the print I viewed, originating from Grapevine Video, is splicy in spots and is missing its main and end titles. The particular copy I viewed also lacked a score. However, none of this detracted from my overall enjoyment of the film. What did, though, was the gratuitous racial content of the film concerning Floyd Shackelmore's character, showing him being abused and the on-screen titles of his lines are stereotypical of the period. However, Shacklemore is provided the opportunity to exact revenge upon his oppressor, which is quite progressive given the time period. 

Jack Hoxie, born January 11, 1885 puts on a grand showing as the hero of the piece and you deeply sympathize with his plight to be reunited with his old friend. This is a real horse lovers western, with the focus being on the relationship between Hoxie and Scout, later to be renamed "Dynamite" during Hoxie's talkies. Hoxie, like many of the screen cowboys of the time, was a rodeo performer who became a popular western hero in the silent era. Hoxie, who was married a grand total of six times, thrived while at Universal but became dissatisfied with his contract and left the studio whereafter his career went into decline. Hoxie made his final film in 1933 and for the remainder of his life performed on the rodeo circuit as well as operating his own dude ranch. Jack Hoxie passed away of leukemia on March 28, 1965 at the age of 80.  

Hoxie is admittedly not the handsomest western star but he does emote wonderfully and you believe he truly loves Scout and the relationship between the two is not only charming but endearing. Marceline Day is the heroine of the piece, a former Mack Sennett bathing beauty and is possibly more well known for her appearances opposite Lon Chaney (London After Midnight) and Buster Keaton (The Cameraman), she is acceptable as the heroine and allegedly became something of a recluse after her star had faded, refusing to grant fans and interviewers access to her.

The rest of the performers are decent to middling with Shackelmore being the worst of all and a cringeworthy stereotype to boot. 

Overall, The White Outlaw is a decent showing for Hoxie, who had become one of Universal's most popular western stars alongside Art Acord and Hoot Gibson. I look forward to furthering my education on Hoxie and his body of work.