Smoking Guns (1934)

Starring: Ken Maynard

Director: Alan James

Studio: Universal Pictures

PLOT SUMMARY:

Ken Masters (Ken Maynard) tracks down Silas Stone (William Gould) who allegedly had Ken's father committed to a sanitarium. Ken nearly gets the drop on Stone, when his son Hank (Harold Goodwin) accidentally kills his father. Hank frames Ken for the murder, but Ken escapes. Three years later, Ken is found in the jungle by Ranger Dick Evans (Walter Miller) and is promptly captured. Unfortunately, while paddling to Evans' cabin, both Evans and Ken are surrounded by crocodiles who devour Evans' leg. Not wanting to suffer from gangrene, Evans kills himself. Ken then assumes the identity of Evans and heads back to town to track down Hank Stone. As it turns out, Stone and his henchmen are holding Ken's father (Ed Coxen) hostage in his own home. This is because Silas Stone wanted the elder Masters' house for the rich gold mine contained underneath it. With the help of his faithful butler Cinders (Martin Turner) and Alice Adams (Gloria Shea), Ken plots to capture Stone and clear his name once and for all!

FILM REVIEW:

Many times during my viewing of Smoking Guns, I asked myself "What even is this movie?" Here you have one of the screen's best western stars fighting crocodiles with a blonde wig and beard on. Who thought this was a good idea? Apparently, Ken Maynard himself. Maynard is credited with the story and it makes one ponder as to why a cowboy would somehow wind up in the jungle of all places? The whole jungle sequence just feels out of place in what should be a conventional western. More unnerving is Ken's appearance during these scenes, complete with an obvious hairpiece and fake beard, it is all just mind-numbingly bad. By the time we get back to town and a somewhat more conventional western ensues, we are already exhausted with the movie and just wish for it to end. 

Indeed, the whole haunted mine section of the film, which is far more interesting, takes up even less screen time. The whole film is a jumbled mess and is one of those legendarily bad 1930's films in a class with such lowlights as Reefer Madness, Maniac and Down to Their Last Yacht! This turkey is possibly the worst "B" western released by a major studio, at least that I've seen. I'd really like to know what Maynard's thought process was here? What inspired this drivel? Did Maynard have a boyhood dream of fighting crocodiles in the jungle and saw this as an excuse to live out that dream? I'm still relatively new to the genre, having discovered the cheapie western over five years ago, but I doubt very many of them ventured outside the typical western setting in such a way as this film does.

I can totally understand why old man Laemmle gave Maynard the boot after this film, it is absolutely atrocious and lives up to its reputation. It reminded me of the Billy Squier music video for "Rock Me Tonite." It's not inherently bad for what it is but because of who the participants are. The America of 1984 was not prepared to see rock idol Billy Squier prancing around a bedroom with silky sheets and I doubt the America of 1934 was prepared to see a blonde, bearded Ken Maynard fighting crocodiles. In anyone else's hands this may not have been so egregiously bad, but the fact that it's Ken Maynard of all people makes it so.

In my review of Wheels of Destiny, I said that if Maynard had been left to his own devices then he could churn out a great movie. This, I believe to still be true, but with the caveat that Maynard be reeled in whenever his ideas bordered on the ridiculous. Smoking Guns is yet another bad vanity project, much like Tommy Wiseau's The Room, but unlike the former feature, Wiseau's film is at least entertaining, albeit for all the wrong reasons.

Suffice it to say, I do not recommend Smoking Guns, a product of the insane category. Even the film's posters don't allude to how convoluted the proceedings are. 

Until next time, pardners!

Wheels of Destiny (1934)

Starring: Ken Maynard

Director: Alan James

Studio: Universal Pictures

PLOT SUMMARY:

Bill (Jay Wilsey a.k.a Buffalo Bill, Jr.) returns home from California to inform his fellow countrymen of the gold contained within those hills. Bill convinces the townsfolk to head west with him, so they can all strike it rich. Overhearing this conversation is shady Red (Fred MacKaye) who presents himself as friend to Bill and his sister Mary (Dorothy Dix). Unbeknownst to Bill and Mary, Red is in cahoots with outlaw Rocky (Philo McCullough) who wishes to steal Bill's claim. Rocky's gang attempt to steal Bill's claim map but are quickly thwarted by Ken Manning (Ken Maynard) and his sidekick Pinwheel (Frank Rice). Ken decides to go along with the townsfolk and leads them on the wagon trail out west. This trail leads through Indian territory, led by Chief War Eagle (Big Tree) who Ken approaches peacefully. After Rocky and his gang stampede War Eagle's herd of buffalo, the Indians declare Ken and the townspeople as traitors. A battle ensues between the Indians and Ken's wagon train, leading to Ken and his comrades burning brush to create a wall of fire to prevent any further attacks by War Eagle and his posse. The trail leads Ken and gang through watery terrain until the bright lights of California beckon to them!

FILM REVIEW:

One can tell right away that a considerable amount of money was spent on Wheels of Destiny, one of Ken Maynard's productions made for Universal Pictures between 1933 and 1934. This series of films are noted for their better-than-average production values and exciting action sequences. Wheels of Destiny is considered the best of the bunch and it's not difficult to see why. The film contains enough action to satisfy the fan of the cheap western while integrating elements of the more polished and sophisticated "A" western. Indeed, this epic is a far cry from the impoverished productions Maynard had produced just a few years prior for studios like World Wide Pictures and Tiffany Productions which, while still fun films in their own right, are obviously "B" productions. 

Wheels of Destiny is among the best westerns of its type that I have seen. Ken Maynard, one of my personal favorite western stars, is at the height of his powers here. Old Carl Laemmle gave Maynard the keys to the mint and allowed Ken more creative freedom than Maynard had ever been given and this shows in the grand scale production. There are dozens of extras and bit players, hordes of horses and other wildlife, a far more intriguing story than usual and Ken takes center stage as the commanding leader of the wagon train. Modern viewers may take issue with the representation of the Indians in this film, but it does not detract from the overall fun and excitement of the picture which takes Ken and gang through numerous trials and tribulations. The sequence with the wagon train treading over water is quite impressive, even in this considerably darker print. This truly is an epic film, of the sort the great William S. Hart had been making just a decade prior.

This is truly a must-see if you are at all a fan of the genre. An impressive piece of work with one of the screen's greatest western attractions in fine form, with his equally impressive palomino Tarzan in tow. One need go no further than Wheels of Destiny to discover why Ken Maynard is on my Mount Rushmore of western stars. Ken's personal life aside, he was a great horseman who possessed great looks, an intense stare and was adept at stuntwork. I cannot adequately express how much I love Maynard and his body of work. Even his later, lesser films made for studios like Grand National and Colony Pictures are fun because he elevates the material.

I am truly of the opinion that, if he was left alone, Ken Maynard could produce a western epic with the best of them and could have easily competed with the likes of Gene Autry, Roy Rogers and even John Wayne. It is a grand shame that Maynard, after this series of films, never again was allowed full creative control and his later films suffer for it. Wheels of Destiny prove what a screen master Maynard was and what he could have continued being had it not been for his final, egregious Universal effort, the notorious Smoking Guns. But, more on that later. 

Wheels of Destiny is highly recommended and deserves a restoration!

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!

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.