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Fangs of the Wild (1939)
Off-Beat Tale of Fox Thieves Enacted by Cast of Old Favorites
FANGS OF THE WILD ventures off the well-beaten path to tell of thieves who prey on fox-breeders, in the day when owning and wearing a fox stole was quite a luxurious status symbol for many ladies around the world. The screenplay tells of an inspector (Frank LaRue) sending his best agent (Dennis Moore) into the woods, to determine the identity of the fox thief, with the help of his highly intelligent dog, billed as the grandson of Rin Tin Tin.
Beautiful Luana Walters runs one of the fox farms suffering losses, and devotees of vintage westerns will be pleased to find Tom London overseeing the operation with her, and Bud Osborne as the guard who patrols the fox pens by day and night. To add to the delight of series western enthusiasts, the thieves are enacted by the quintessential heavy, George Chesebro, and prolific English-born Jimmy Aubrey, who sell their ill-gotten goods to a nefarious fur dealer, expertly played by Ted Adams. Add to the mix Mae Busch as an undercover agent purchasing a stolen fox piece to gain evidence to convict the gang and we have a cast which can do no wrong in the eyes of "B" action movie fans of the Depression years.
Rin Tin Tin is unjustly accused of fox-snatching at one point, but it's the delightful cast of favorites from the unpretentious low-budget features of the day who make FANGS OF THE WILD fun to view. North Dakota-born Raymond K. Johnson directs satisfactorily, although the Hawaiian-tinged incidental music used in early sequences seems strangely out of place for a story set entirely in the woods. Dennis Moore, a more versatile and skilled actor than his role as the stoic agent permits him to display, is fine as the protagonist who, with his dog, saves the day for the fox breeders.
Law of the Wolf (1939)
Unpretentious Forest Adventure with Grandson of Rin Tin Tin
LAW OF THE WOLF, which has absolutely nothing to do with wolves, is thoroughly enjoyable for those who fondly recall the unpretentious, economical filmed entertainment of a bygone era. Billed as the grandson of Rin Tin Tin, a noble dog has a key role in bringing to justice two villains, portrayed by illustrious veteran heavies George Chesebro and Jack Ingram. Dennis Moore, a versatile and accomplished actor not often given an opportunity to fully display his abilities, does a fine job as an escaped convict seeking to prove he was falsely accused of murder.
There seems to be no evidence of theatrical bookings for LAW OF THE WOLF in 1939, the year generally given as its release date. Film Daily reviewed it as a new film in May, 1941, at which time a two-page spread was also run to announce that two completed Rin Tin Tin features (this one and also FANGS OF THE WILD) would be joined shortly by two more, all distributed on a States Rights basis by Arthur Ziehm, Inc. Originally slated to be a 1939-40 release by Metropolitan Pictures, it is possible that LAW OF THE WOLF was produced in 1940 and held for eventual release in 1941. Newspaper ads indicate that the film played small theatres throughout the 1940s, almost up to the time it was in general release for television.
Lovely Luana Walters, always a pleasure to see in her many film appearances of the era, brightens the supporting cast in the role of Dennis Moore's loyal fiancé, and English-born Jimmy Aubrey, a fixture in low-budget westerns, has a significant role as a forest ranger. Fast-growing teenage actor Martin Spellman, who had received splendid notices for his co-starring roles in a trio of Monogram features, is cast as Aubrey's nephew and temporary guardian of Rin Tin Tin.
Vintage incidental music was wisely licensed and well employed in the action sequences, and North Dakota-born cinematographer/director Raymond K. Johnson's direction is entirely satisfactory for a production of this nature.
The Law Commands (1937)
Lively Entry in Crescent's Historical Drama Series
Set during the Civil War and involving the Homestead Act of 1862, E. B. Derr's historical drama, THE LAW COMMANDS, casts Tom Keene as the misunderstood protagonist. When a beloved, two-fisted settler (Carl Stockdale) is murdered while trying to follow the local physician's non-violent approach to dealing with land-grabbers, the community turns on the doctor (Mr. Keene), who must prove that his approach can work.
Budd Buster is excellent in the role of "Kentuck," the sidekick in most of the films in this series, well supported by Marie Stoddard as his robust wife. Robert Fiske again makes a splendid heavy, assisted in his treachery by John Merton this time around. Veteran screen actor Horace B. Carpenter has one of his most prominent roles in sound features as an irate settler struggling to find a way to protect his claim from being stolen by the unscrupulous land thieves.
Bennett Cohen's screenplay gives THE LAW COMMANDS some unusual components, and prolific William Nigh's direction takes full advantage of them. With Tom Keene as a likeable defender of justice and fair-play, and with a good and well-directed supporting cast, this and other films in Crescent's set of eight historical fiction dramas should be regarded as a cut above average.
Raw Timber (1937)
Briskly-Paced Story about Forest Conservation
RAW TIMBER, the last in Crescent Pictures' series of action pictures starring Tom Keene, differs from its companion films in that John Thomas Neville's story does not fictionalize a specific event in American history. It is the story of the Forest Rangers, patrolling the woodlands to prevent deforestation and to curb the excesses of unscrupulous lumber companies. Tom Keene is, of course, an honest Ranger - once again combatting Robert Fiske, as the dreadful co-owner of an outfit willing to resort to murder in order to strip the forest of its valuable wood. The other owner of the lumber firm is the lovely Peggy Keys, Keene's romantic interest in the screenplay.
The E. B. Derr production again casts versatile Budd Buster as "Kentuck," grizzled sidekick to the protagonist. Atypical casting provides Raphael Bennett with the opportunity to portray one of the good guys, an inspector with the Forestry Department, in lieu of the role of the heavy usually assigned to him. Robert Fiske always makes an excellent adversary, and the remainder of the cast - which incudes Slim Whittaker as a "slow-to-catch-on" sheriff - is effective.
Briskly directed by Ray Taylor, RAW TIMBER avoids extraneous plot ramifications which would slow down the unfolding of the melodrama, thus sustaining interest throughout the fast-moving hour. Tom Keene again makes a stalwart hero, and the environmental concerns highlighted in the screenplay keep the story timely all these decades after its release.
Under Strange Flags (1937)
Lively and Well-Enacted Historical Fiction
UNDER STRANGE FLAGS seems an unlikely title for this entry in E. B. Derr's series of fictionalized historical action pictures, but the film itself is well directed by I. V. Willat and nicely photographed by Arthur Martinelli. With a less complicated narrative than the other features in the series, John H. Auer contributing the original story this time around, UNDER STRANGE FLAGS deals with a pack train carrying silver wanted by both Pancho Villa and one of his adversaries. Tom Keene is cast as an American residing in Mexico with his mother, sweetheart, and the latter's brother - all of whom become involved in the struggle to keep the silver from getting into the wrong hands.
Budd Buster, 45-year-old character actor seen in a staggering variety of supporting roles in westerns of the 1930s and '40s, is virtually unrecognizable and quite remarkable as Keene's Mexican sidekick, providing moments of comic relief. Adopting a thoroughly acceptable accent and cavorting around the set with the limber limbs of a trained dancer, Buster's performance suggests more theatrical experience than most of his biographical sketches indicate. He was a great asset to this series, as well as to an earlier group of westerns produced by Ray Kirkwood and starring Bill Cody.
Luana Walters is excellent as the leading lady, Tom Keene's performance is above-par, and the rest of the cast is more than competent. UNDER STRANGE FLAGS is a straightforward action feature, with less emphasis on history than other entries in the series, with a well-directed cast making the finished product a cut above the norm.
The Glory Trail (1936)
First in Crescent Pictures' Series of Historical Action Pictures
Writer John Thomas Neville did his homework and was well acquainted with the history of Red Cloud's War, along the Bozeman Trail in 1866. His story and screenplay incorporate events and the names of both places and people involved in the fight near Fort Phil Kearny in Wyoming, but much of the script focuses not on history, but on the romance of protagonist Tom Keene and the leading lady, Joan Barclay. Various melodramatic sub-themes, including the tragic deaths of two characters, are likewise in the foreground.
Whether producer E. B. Derr of Crescent Pictures commissioned Mr. Neville to write fictionalized accounts of occurrences in American history, or whether he bought the first script, liked it, and then decided to produce a whole series of eight historical romances starring Tom Keene is uncertain.
Mr. Keene had successfully headlined western features and had been the romantic lead in other types of pictures. The Crescent series takes a midway approach between the two. THE GLORY TRAIL, directed by Lynn Shores, is not a Saturday matinee western, although the story is set in the West and involves a struggle between Red Cloud and the Cavalry. It is, rather, a complicated tale of a Confederate officer - still attired in uniform after the War - who leads a group of his men to a new life along the Bozeman Trail, becoming romantically involved with the Cavalry commander's lovely daughter and trying to stop a massacre stirred up by a treacherous individual.
Tom Keene, Joan Barclay, and James Bush perform well with the material offered. Mr. Derr and Mr. Neville set out to do a different sort of series, and in this they succeeded, THE GLORY TRAIL being their first release.
Battle of Greed (1937)
Entertaining Historical Fiction from Crescent Pictures
Although producer E. B. Derr used many of the same actors and much of the same crew for his series of eight Crescent historical fiction dramas starring Tom Keene, a variety of directors took the reins as the series progressed. BATTLE OF GREED is well directed by Howard Higgin, who succeeds in getting from Tom Keene one of his best performances, as an Indiana attorney who leads a group to Virginia City, Nevada, after the Comstock Lode has sparked a silver boom in 1859. John Thomas Neville's story ties in a number of events and characters from the pages of American history, and the screenplay brings in James Bush as a young Mark Twain, local newspaperman who becomes a friend of Keene's.
Gwynne Shipman is the romantic interest, Robert Fiske is again a splendid villain, and Raphael Bennett has one of his best screen roles as a despicable adversary of the protagonist. Juvenile actor Jimmy Butler, usually seen in major studio productions, delivers a fine performance as Keene's young brother. Henry Rocquemore does a nice job as an unscrupulous judge. Series regular Budd Buster portrays one of the old miners responsible for the discovery of silver.
The melodramatic events which unfold during the six reels take precedence over the historical narrative, sustaining interest until the evil-doers are finally vanquished and the virtuous figures are safe and contented.
Drums of Destiny (1937)
Diverting Historical Fiction from Crescent Pictures
A well-researched and beautifully written historical novel is often of far greater value than a textbook in bringing to life a period in history for the reader. Perhaps producer E. B. Derr had something of this sort in mind when he decided to do a series of program pictures with Tom Keene which placed the protagonist in the context of various events in American history. Pressbooks included suggestions for prompting teachers to endorse these historical dramas for young habitués of the Saturday matinee. Mr. Derr acquired stories written by John Thomas Neville, a Missourian whose filmed works apart from the Derr series did not fictionalize American history, and swiftly turned out DRUMS OF DESTINY and a batch of similar features.
DRUMS OF DESTINY and another entry in the series, OLD LOUISIANA, had very similar casts. Versatile Budd Buster is the rustic sidekick, "Kentuck," in both features. Carlos de Valdez portrays the stubborn, misguided Spanish official in both - and Robert Fiske is splendid as the knave who is deceiving the Spanish government for his own gain, ably assisted by Raphael Bennett, dependable heavy in scores of Westerns. Situations and players are identical in both titles. Whereas the beautiful Rita Hayworth is the leading lady in OLD LOUISIANA, however, a nearly identical role in DRUMS OF DESTINY is enacted by dancer/actress Edna Lawrence, whose very good performance causes one to wonder why her screen work was so limited.
David Sharpe is seen as Keene's brother, whom the hero must rescue from a firing squad in Florida - when the territory was yet under Spanish rule. The script makes reference to Andrew Jackson's struggles with the Seminoles and to earlier events at the Battle of New Orleans, but the focus is on vanquishing the evil-doers and permitting romance to blossom for the Spanish lady and the valiant soldier. In setting out to produce a different type of series, Mr. Derr met with success. DRUMS OF DESTINY provides the historical backdrop as well as its limited budget allows, and a good cast makes for a lively and diverting feature.
Old Louisiana (1937)
Excellent Low-Budget Historical Drama
Producer E. B. Derr's series starring Tom Keene was intended to be "something different," and it was. Tom had been associated with series Westerns, though not exclusively, but Mr. Derr's series for release through his independent Crescent Pictures banner was intended as something else. This was a series of program pictures intended as historical dramas, their pressbooks including such features as "Tom Keene's History Lessons," encouraging teacher endorsements. While series Westerns were often set in the 19th century, historical accuracy was not necessarily sought or always delivered. Mr. Derr's series hoped to use authentic historical events to generate audience-pleasing stories.
OLD LOUISIANA is often regarded today as simply an early film appearance of beautiful Rita Hayworth, a dancer/actress later to become a major screen attraction. It is, however, a fine film which may be judged on its own merits. Adhering fairly well to history, the screenplay - story credited to John Thomas Neville and script to Mary Ireland - reflects their research and intent to place their fictional characters in an authentic context. The budget did not permit elaborate settings to be used, but Arthur Martinelli's lensing judiciously captures what matters.
The characteristically valiant Mr. Keene and the lovely Miss Hayworth are ably supported by expert cowboy character man Budd Buster, splendid heavies Robert Fiske and Raphael Bennett (the latter outdoing himself as the despicable "Flint," who twice seeks to murder the man who saved his life) and an excellent cast of character people. Eugene Borden, unbilled (and seldom seen in independent productions), is fine as always in his role as proprietor of a rowdy inn/tavern, even singing a verse and chorus of the traditional "Drink Old England Dry."
Motion Picture Herald, at the time of its release, wrote about OLD LOUISIANA "Both entertainment and educational values have been incorporated in a dramatic romance told against a historical background, and with abundant action. The picture is capably produced, acted, and directed...." Parents' Magazine called it a "good historical Western, for adults, young people, and children." A Western..? Well, the Crescent Keenes were sold as a series, were not big budget productions, and Mr. Keene had been a leading cowboy actor. Perhaps that explains their being sometimes characterized as Westerns. Maybe the term "historical drama" makes a film such as OLD LOUISIANA sound pretentious. Whatever the category, this picture sustains interest, successfully captures the feel of the era its script depicts, and is well directed by Irvin Willat, with good performances from a sturdy cast of capable players.
Firebrands of Arizona (1944)
Smiley Burnette in a highly entertaining comic western
When Republic Pictures truncated the brief John Paul Revere series and re-designated it as Smiley Burnette Productions, no attempt was initially made to create out-and-out comedy westerns, despite Mr. Burnette's great success as a singing comic sidekick to Gene Autry and Roy Rogers...until British scenarist Randall Faye came up with the whimsical farce released by Republic as FIREBRANDS OF ARIZONA. The multi-talented Smiley Burnette, then voted by exhibitors as one of the foremost box office attractions in westerns, is cast in a dual role: that of Frog Millhouse, here presented as a pill-gobbling hypochondriac, and that of the despicable outlaw, Beefsteak Discoe - who looks exactly like Frog.
The outlandish adventure draws our hero into one hilarious situation after another, as a preposterous sheriff (Earle Hodgins) seeks to hang either Frog or Beefsteak, to advance his own political career and please the bloodthirsty townsfolk. Performances are uniformly excellent, with Tom London as a bewildered old codger who wanders into the proceedings; Roy Barcroft as a comic deputy; Peggy Stewart as Frog's exasperated young employer; Sunset Carson as Frog's pal and defender; LeRoy Mason as an irate rancher and Fred "Snowflake" Toones as a ranch cook sympathetic to the imaginary invalid.
Contemporary trade notices were very favorable, Motion Picture Herald's reviewer calling the film far superior to the average western, and adding that the audience at the screening chuckled all the way through the presentation. When filming ended on July 3, 1944, Smiley Burnette's agent, Mitch Hamilburg, obtained for him a heftier salary at Columbia. FIREBANDS OF ARIZONA thus became the final entry in the Smiley Burnette Productions series, and Smiley's last Republic film. The series ended on a highly entertaining note.
Beyond the Last Frontier (1943)
Excellent Republic Western, While Breaking No New Ground
It has often been said that Herbert J. Yates loved titles, and it was indeed customary for Republic to announce the titles of forthcoming releases long before the corresponding screenplays had been fashioned. It appears that names were also loved, and Republic in 1943 announced the debut of a new cowboy hero named John Paul Revere - conjuring up the images of two figures in early American history - before the part was cast. Because the earliest trade reviews and advertising materials for BEYOND THE LAST FRONTIER listed John Paul Revere and Smiley Burnette as the film's co-stars, it would seem that Republic's original intent was to have the genial Eddie Dew actually become John Paul Revere, just as the talented Len Slye had earlier become Roy Rogers. The problem is that the studio had focused on "who?" without considering "what?" and "why?" Why a new character named Revere? What would make him different from the other cowboy stars then in motion pictures?
Whether Mr. Dew had second thoughts about actually becoming Revere or whether Republic began to think along other lines, the actor and the studio parted company before the first two films in the proposed series were released. Eddie Dew was excellent in the role, but the screenplays had been devised in such a manner as to highlight others in the cast. One early trade review stated the obvious: that Smiley Burnette (as "Frog") and Bob Mitchum (as "Trigger Dolan") outshone "Revere" in BEYOND THE LAST FRONTIER. This was through no fault of the perfectly adequate Eddie Dew. The script did not provide the hero with a colorful personality, a gimmick, or any sort of attention-getting device.
The rather complex plot, well worked out, presents Revere and Frog as Rangers involved in an undercover operation designed to entrap the nefarious Harry Woods. Mitchum well enacts the role of a good badman. Howard Bretherton keeps things moving at a fast trot, and John K. Butler's screenplay provides interesting situations and characters, although there is little evidence to support Republic's decision to inaugurate a "John Paul Revere Productions" series, as it was billed.
BEYOND THE LAST FRONTIER is a splendid Republic western, although it breaks no new ground and does not look like the beginning of a different concept. Eddie Dew made one more film as Revere. After his departure, the following release had Bob Livingston in the role. No sooner had the first film with Livingston appeared when Republic opted to advertise subsequent titles in the series as "Smiley Burnette Productions," and the John Paul Revere character soon disappeared.
The Laramie Trail (1944)
Atypical and delightful Republic Western
Not very often do screenplay adaptations of novels adhere to the original story devised by the novelist, but in transferring to the screen Jackson Gregory's 1929 western, "Mystery at Spanish Hacienda," scenarist J. Benton Cheney does a commendable job. Most of Mr. Gregory's complex plot elements are included, the end result being that THE LARAMIE TRAIL is a charmingly atypical B western, its very complicated story unfolding in a swift, if at times slightly bewildering, manner.
Bob Livingston is cast as Rapidan, a Virginian who is a man of mystery, arriving in a California community and becoming involved in a series of related mysteries which even a film with twice the running time of this unpretentious feature would find it challenging to fully explain and unravel. An entry in Republic's "Smiley Burnette Productions" series, Mr. Cheney's script brings in the popular and always delightful Smiley, as Frog Millhouse - a character obviously not in the original novel - for an excellent comic performance. Mr. Livingston is splendid as the stalwart Rapidan, well supported by Emmett Lynn as a shyster attorney, and Martin Garralaga as proprietor of a large hacienda.
Republic edited a number of films in this series for release to television, and THE LARAMIE TRAIL (the film's title having absolutely no connection to the story) ended up being among the titles chopped to 53 ½ minutes. With its ultra-involved plot, this is one film which should not have been cut, even slightly. Jack English keeps the well-photographed proceedings moving and maintains the desired mood of the piece. Mr. Gregory's elaborate plot is not the sort of material Republic generally used for westerns, but Lou Gray's production, Mr. English's direction, and an excellent cast combine to make this a pleasing feature.
Four Star Playhouse (1952)
Well-Remembered Anthology Series Still Entertaining
"Four Star Playhouse" was regularly viewed and enjoyed in my home during the 1950s, at which time half-hour anthology series were in vogue. The long-time winner in the ratings race was Frank Wisbar's "Fireside Theatre" on NBC, skillfully produced and directed, with the emphasis on often suspenseful stories, well-cast with noted players who, for the most part, were not accustomed to seeing their names above a film's title to attract patrons to theaters. Dick Powell and his associates set about to produce a different sort of series, with the focus on rotating star players - their names, on the small screen, indeed appearing before the title of each half-hour play. All four stars had attracted fans to the box office over the years. We tuned in weekly to see Mr. Powell, Charles Boyer, David Niven, and often Ida Lupino in a variety of roles, ranging from melodrama to mild comedy. The shows were uniformly excellent.
After "Four Star Playhouse," several anthology series were built around star players, although this program initiated the pattern of using rotating leads. The show's dramatic entries have held up extremely well over the years, and considerably better than the whimsical stories and light comedies. Syndicated under the title "Star Performance," the series has enjoyed a long life on the small screen, and the majority of the episodes may be found in circulation today for home video or online enjoyment. In the late 1950s, Official Films syndicated a package of 153 episodes of "Star Performance," and only a small number are inaccessible today. Mr. Boyer, Ms. Lupino, Mr. Niven, and Mr. Powell were excellent actors - and, although each specialized in a certain type of role, the series permitted all four to occasionally step into less familiar territory, to display versatility. Each of us has favorites from the anthology, but the series as a whole was produced for the purpose of entertaining an audience - and the fact that we continue to enjoy the programs some seventy years after they were filmed is a tribute to those who created, produced, wrote and performed in them.
Texas Pioneers (1932)
Vigorous Bill Cody Western with a Time-Honored Plotline
The first western ever released by Monogram Pictures co-starred Bill Cody and young Andy Shuford, whose "Bill and Andy" series was eventually concluded with "Texas Pioneers." Monogram's first two series of program westerns (those of Cody, and another group starring Tom Tyler) were released in 1931-32, but replaced the following season by "B" features with Rex Bell and Bob Steele. Ironically, the last of the "Bill and Andy" westerns was among the better received of the group, although director Harry Fraser's story adheres very closely to one of the genre's time-honored and often-utilized plotlines.
Cody is the much-admired Army officer who, in order to get the goods on treasonous scout Collins (LeRoy Mason) and his reprehensible cohort (Frank Lackteen), feigns defying military orders and being ejected from the service. It is, of course, a ruse designed to gain the confidence of the scout, who is providing guns to renegades from a tribe residing near the fort.
Colonel Thomas (John Elliott) has a charming daughter, Nancy (Sheila Bromley), who is in love with Bill. The latter also has a blood brother (Iron Eyes Cody) who risks his life to promote peace. The efforts of Bill, with assistance from Andy, to protect both the fort and a wagon train from a fearful attack and to stop the dastardly Collins from his nefarious plot, occupy most of the footage.
Mr. Fraser does an above-average job in incorporating appropriate stock footage from silent pictures, giving the film - in the estimate of several reviewers of the day - a more impressive appearance than one expects in a series western. Imaginative photography, plus the vigorous action footage from past productions, give the last "Bill and Andy" western a more lavish look than its budget might otherwise permit. Cody and Mason make good adversaries, and Sheila Bromley - who enjoyed a lengthy career as both leading lady and fine character actress - is effective in one of her earlier performances. Harry Allen has a pleasing bit as a sergeant of Scottish descent, who teaches red-headed Andy a new tap-dance routine. As Cody and Shuford save the day for their final Monogram fade-out, they conclude the studio's initial cowboy series on an entirely positive note.
Rescue Squad (1935)
Rather Unusual Romantic Melodrama
"Rescue Squad" is an odd title for this unusual B picture. Directed by Spencer Gordon Bennett and with dialogue by Betty Burbridge, both of whom were frequently involved in making westerns, the title suggests an action-packed thriller - but this is more of a romantic melodrama. A beautiful, wealthy society girl (the modest budget does not provide a glimpse of the luxurious surroundings suggested by the screenplay) is pursued by a philanderer. Wealthy Norma (Verna Hillie) does not quite perceive the knavery of Lester Vaughn (Leon Ames), although her artist friend (Kathryn Stokes) is suspicious, and hopes to interest Norma, instead, in suave art collector DeWitt Porter (Ralph Forbes).
An interesting sub-plot involves Porter's efforts to buy a scarce art treasure from mysterious antique dealer Azoor (Frank Leigh), against the wishes of Azoor's daughter, Jennie (Catherine Cotter). The treacherous antique shop proprietor plans to murder Porter, with Jennie's assistance, at the conclusion of the purchase - but the film reaches its happy fadeout with no further development of this sub-plot.
The rescue to which the title alludes occurs when firefighters extricate two of the principals from being trapped in the elevator of an apartment building. A more subtle interpretation could be the efforts of her friends to keep the lovely Norma from being defrauded by a fortune-hunter. Verna Hillie, Ralph Forbes, Leon Ames, Frank Leigh, and Catherine Cotter give good performances, and devotees of low-budget Depression-era independent productions will probably find the proceedings to be diverting.
The Great Jasper (1933)
Entertaining, faithful adaptation of off-beat Fulton Oursler novel
Fulton Oursler (1893-1952) is best remembered today for his widely-read book, "The Greatest Story Ever Told," but he was a prolific author whose stories occasionally became screenplays. In his novel, "The Great Jasper," Mr. Oursler devised an interesting story based on elements and settings well-known to him. He grew up in Baltimore, as did protagonist Jasper Horn, and his father was in charge of a streetcar line - as was Jasper. The author and his lead character were skeptical of pseudo-spiritualism, but both had involvement in that field. Young authors are often exhorted to write about things they know best, and the off-beat, entertaining "Great Jasper" follows that advice.
Richard Dix is splendid in the title role, assuming a slight Irish-American brogue not indicated in the novel. He portrays the philandering motorman with charm and is splendidly supported by stage actress Florence Eldridge in the role of "Jenny," the faithful, long-suffering wife who disapproves of all the vices which Jasper beguilingly embodies. When the irresponsible motorman finally goes too far and has an affair with his boss' young and beautiful wife (Wera Engels), he loses both his employment and his deeply hurt wife. Jasper decides to get a new start in Atlantic City, where fun is the perennial byword, and takes along his young son (well portrayed by David Durand) so that he may learn to be uninhibited and to live for the moment as does his father.
A fortune-teller named Madame Talma (Edna May Oliver) leads Jasper into a new life as spiritualist "The Great Jasper," and the film closely follows Mr. Oursler's novel from that point forth - with unlikely but enjoyable plot twists and delightful coincidences abounding. As he did more than once on-screen, Mr. Dix ages as the story takes him from a fun-loving young adult to a repentant old man. Performances are uniformly excellent - with Bruce Cabot, Betty Furness, Walter Walker and others providing fine support. The story is far off the beaten path, yet unfolds convincingly, very well-directed by J. Walter Ruben.
Six Gun Justice (1935)
Good Bill Cody Western With Oliver Drake Screenplay
When Spectrum Pictures released the first Bill Cody western, "Frontier Days," it attracted the most enthusiastic reviews and audience response of Cody's career. When Ray Kirkwood produced the second Cody picture (Kirkwood was not credited by name on the first entry), released just a couple of months later, it did not resemble its predecessor in any way. Bob Hill's direction is less sprightly, the usually smiling and cheery Cody is cast in the more serious role of a "good bad-man," and the hero's loyal steed - featured as Chico in the series opener - loses his name and prominence. "Six-Gun Justice," produced with a somewhat smaller budget, looks like part of a different series.
Oliver Drake sticks closer to the conventional western storyline than is customary for the wonderfully imaginative writer. Cody plays the son of a member of the bandit gang headed by the nefarious Nevada Joe (Wally Wales). The elder outlaw, portrayed by director Bob Hill - who, like Hitchcock and others, often gave himself a small role in films he directed - expires with a desire to reform. His son, Cody, saves the life of a deputy marshal (Donald Reed) on the trail of the gang, and takes him to the trading post of former surgeon Frenchy Duval (Budd Buster) for treatment. There he meets beautiful Marie Duval (Ethel Jackson), and romance blossoms.
Mr. Drake gives us some colorful characters, including Speed Hawkins (Ace Cain), villainous saloon proprietor, and a dance hall woman, Yvonne (played by producer Kirkwood's wife, Jean, billed as "Zara Tazil"), who repays the treacherous Hawkins for his two-timing by telling the local sheriff of his unlawful plans. Photography is very good, and the picture looks considerably better than most independent westerns of the day, but Mr. Hill's pacing does not match the livelier job he did with the previous Cody feature.
The likable Cody comes across nicely, as does the lovely Miss Jackson. This is an enjoyable entry in the series, suffering only when compared to the unusually entertaining Cody film which came shortly before.
Jungle Jim (1955)
Classic Adventure Series, Among the Best of its Kind
When Screen Gems' "Jungle Jim" television series made its initial appearance in 1955, I found it as enjoyable as other adventure programs of its era, but it otherwise made no strong impression. Today, I regard it as a thoroughly delightful, exceptionally entertaining package - and I am astonished that, although some industry publications in the 1950s alluded to a full 39-episode set of "Jungle Jim" half-hour programs being available, only 26 were released. It is remarkable that the series had a lively and profitable syndicated run, reintroduced several times, with such a small number of episodes - yet excellent episodes they indeed are.
Upon re-discovering "Jungle Jim," many years after its first run, I was immediately charmed by the performance of Johnny Weissmuller, so understated as to appear refreshingly artless. As a guide in the African jungle (and everywhere else on the globe where a script may take him), he is capable of surmounting all obstacles - as do all protagonists in 1950s adventure programs - but he does so in such a quiet, offhanded, poker-faced manner as to render even the most far-fetched plot development acceptable. As the jungle-savvy guide and advocate for fair play and integrity, Weissmuller is outstanding.
Norman Fredric (later performing as Dean Fredericks) is Jungle Jim's loyal friend and assistant, Kaseem, playing the role with quiet dignity and resolve. Martin Huston, formerly the title character in NBC's short-lived radio series, "My Son Jeep," is excellent as Jungle Jim's teenage son, and Paul Cavanagh is splendid as the British commissioner. Supporting casts are uniformly good and feature some fine character players.
What makes this such a satisfying series for those who either remember or have learned to love the Saturday Matinee-style entertainment of long ago? Good triumphs over evil, and even unacceptable plotlines are made believable through the earnest enactment of the well-directed cast. Jungle Jim - firm friend to the people of the jungle, compassionate handler of wild animals, loving and strict parent, and nemesis of all lawbreakers and mountebanks - is a memorable "good guy" from a time when people aspired to incarnate goodness and to heed their better angels. Unfortunate it is that only 26 episodes of this classic series were produced!
Thunderbolt (1935)
Off-beat Melodrama Starring Lobo the Marvel Dog
Lobo the Marvel Dog, a German shepherd similar in appearance to Rin Tin Tin, receives top billing in this unusual and off-beat western melodrama, directed by Scottish-born Stuart Paton. The screenplay is credited to Jack Jevne, who authored or co-authored screenplays for "Topper," "Topper Takes a Trip," "Way Out West," and numerous Our Gang comedies, yet he stays clear of all comic relief in this melancholy work, telling an unhappy story in a bleak framework, some of his characters surviving only through stoic resignation to the terrible situations in which they are placed.
Bob McKenzie, in one of his best roles, is the honest sheriff and widowed father of Bobby Nelson, who also turns in one of his best performances. The incredibly evil Krouse (Barney Furey), trying to retrieve incriminating evidence from the sheriff's home, kills the youngster's beloved dog. While burying the dog, the boy is stunned to see another animal who looks exactly like his deceased pet - this dog owned, as it turns out, by a wandering prospector (Kane Richmond).
Jevne's tragic plot has enough twists and contrivances to keep it interesting. A teenage Fay McKenzie (Bob's daughter) plays a mistreated waif, and Eva McKenzie (Bob's wife) has a nice bit as a kind neighbor. Mr. Richmond hasn't much to work with and is given no opportunity for heroics, and stuntman/actor Frank Hagney does little with his assignment as a treacherous deputy.
Mr. Paton, veteran of silent films, allows no subtlety to detract from the struggle between unspeakable evil and laudable good. He hastens to tack on an artificially happy ending. At the time of its release, "Thunderbolt" received withering condemnation from Variety. Today, a lifetime or two later, devotees of 1930s B pictures, fans of the McKenzies and of Kane Richmond (and others in the cast), view this little melodrama from a vastly different perspective. Neither a typical western nor a typical dog story, "Thunderbolt" survives because cast and crew do their best to add life to a script filmed very swiftly and with no production niceties whatsoever, to serve as the bottom half of a double bill in the Depression years. Through that lens, its entertainment value is retained.
Law of the North (1932)
Bill Cody Rides Again, in Standard Western Melodrama
Harry Fraser wrote and directed this picture for Trem Carr's "Bill and Andy" series, the net result falling somewhat below the standard set by other releases in the group. An early talkie retaining characteristics of the silent era, this one opens very abruptly with Bill Cody bending over a fallen individual on the plains. He is immediately pursued by a group of townsfolk who believe him to be a murderer and, despite the protestations of his young friend (Andy Shuford), Bill is trapped and jailed. The story concerns his efforts to prove, in a very roundabout fashion, that he has been framed by an old nemesis (William L. Thorne).
Nadine Dore is the very pretty leading lady, and there is a bit of humor by Al St. John, with whom Trem Carr was associated in silent comedies. One does not find, however, the strong plot, suspense, brisk direction, lively stunt-work, or good character support which are present, to varying degrees, in other entries in the series. One must keep in mind that theater patrons who followed a series usually did so because they liked the basic premise, the characters, or the actors involved. Bill Cody fans no doubt cheered him on to the final fadeout in this one, and eagerly awaited the next Cody western from Monogram Pictures - which, alas, would also turn out to be the last.
Mason of the Mounted (1932)
Excellent Entry in the "Bill and Andy" Series
Bill Cody's series for Trem Carr occupies a spot between the silent era and the world of sound westerns, having characteristics of each. Screenplays at that time were often credited separately to "authors," "scenarists," and "dialoguers." Harry Fraser was hired to both write and direct the "Bill and Andy series," in which Cody co-starred with juvenile player Andy Shuford. Often participating in the writing was George Arthur Durlam, enterprising producer/director/author who worked at Monogram, and independently, during that period. This one, however, is credited to Fraser alone.
"Mason of the Mounted," this observer's pick as the best of the series, is a feather in the cap of Mr. Fraser, who did a good job in devising a screenplay which played well, moved swiftly, and enabled a straightforward story to unfold without extraneous footage and non-essential ramifications of the basic plot. Archie Stout's photography is characteristically excellent, the editing is splendid, and Fraser's direction is on-target.
Cody's role as a Mountie suits him well, and young Shuford turns in his best performance, in a believable role. Leroy Mason is fine, as usual, as the lead heavy, well supported by prolific character actor José Dominguez as a crafty accomplice. Very pretty Nancy Drexel, who appeared in few talkies, is the leading lady, and Jack Carlyle is fine as the no-nonsense rancher whose stock is rustled by the outlaws pursued across the border by Cody (without his Mountie uniform).
The film, which received favorable trade reviews at the time of its release, was produced with some care, the vigorous scenes in the saloon featuring a fair number of extras and a couple of nice stunts. The opening sequence was filmed in the high country, with snow being tossed about by the hooves of galloping horses. It is among the best sound features starring the amiable Cody.
Blazing Justice (1936)
Pleasant Bill Cody Western With a Little Music
Producer Ray Kirkwood's wife, Jean (billed as Zara Tazil), added a timely touch to her screenplay for this entry in the Bill Cody series by having a group of cowboys sing a chorus of "Red River Valley" in a saloon to open the picture, immediately after which Bill Cody enters and is also prompted to sing. He and Frank Yaconelli perform "She'll Be Comin' 'Round the Mountain," and quite pleasingly. Cody had some musical ability and proved to be a good whistler in a later scene, but one may only speculate as to whether there was a thought of bringing him into the circle of singing cowboys, soon to occupy the spotlight in the world of series westerns. The rest of the script goes quite overboard in feeble attempts at humor and inconsequential dialogue, impeding the movement of the narrative.
Peterson (the versatile Budd Buster) is attacked and robbed of his savings by the nefarious Max (former child actor Gordon Griffith). Peterson's daughter, Virginia (Gertrude Messinger), rides after the fleeing criminal - who switches horses with Cody while the latter cleans up beside a stream. The rancher's daughter believes Cody to be the guilty party, and he must prove his innocence.
Bill Cody, a native of St. Paul, Minnesota, had begun his screen career in silent features. Not always up on his lines when doing talkies, Bill nevertheless projected a likeable personality. Overlooking the imperfections brought about by a very modest budget, little rehearsal and few re-takes, this is a pleasant western - made near the end of the Cody series.
Border Guns (1934)
Low-Budget Bill Cody Feature from the Heart of the Depression
In our era of multi-million dollar productions, it is with interest and amusement that we may survey the work of a Depression-era filmmaker who, virtually without a budget, managed to put together some feature films derided today for their tackiness, yet shown to audiences in theaters and on television - and still being viewed by cinema historians who write about their deficiencies. Robert J. Horner turned out a number of very low-budget westerns, this one being part of an intended series of six Bill Cody features, only three of which were completed.
Cody, a native of St. Paul, Minnesota, who was not related to the famed Buffalo Bill, had begun starring in films a decade earlier and was available in 1933-34, when Mr. Horner approached him about doing a series. It is believed that the screenplay for "Border Guns" was written pseudonymously by the prolific, ever-creative Oliver Drake, though the latter claims no such credit in his autobiography. The supporting cast is very strong, including Franklyn Farnum, William Desmond, Wally Wales, Nelson McDowell, and George Chesebro. The plot has undercover agent Cody riding into town with a severe cough (turning out to be only a cold), and finding himself attracted to both the pretty daughter of the physician he visits and a lovely dance hall girl. He develops a friendship and a rivalry with Fred Palmer (Franklyn Farnum), whom Cody discovers to be involved in gun smuggling across the border, rustling, and other nefarious acts.
The story and the cast are more than adequate, but actor/director Jack Nelson had an uphill climb in hastening to do each scene on the first take, getting little support in the editing department. Some very feeble humor is injected, and the time required to turn out vigorous stunt sequences of real quality, so dear to the hearts of western devotees, was simply not available. No purpose would be served by seeking to compare this feature with more elaborate productions of the era. Accepted for what it is: a very low-budget cowboy picture from the heart of the Depression, it is not without its merits - and a viewer willing to take it on its own terms may even find some of the production shabbiness endearing,
Ghost City (1932)
Atmospheric Entry in Bill Cody's Monogram Series
Director Harry Fraser, also credited as co-writer of the story for this entry in Trem Carr's "Bill and Andy" series, focuses on atmosphere and characterization, rather than plot, and does not pace the proceedings too briskly. It is the tale of a newspaper editor, Bill Temple (Bill Cody), who arrives in Boomtown with his sidekick, Pete (Si Jenks), and a printing press - determined to get the goods on swindler Jim Blane (Walter Miller), with whom he had previously tangled. For reasons unknown, Blane has married a widow named Ruby (Kate Campbell), whose young son (Andy Shuford) dances for the raucous crowd in Blane's saloon. The nefarious Blane is also Boomtown's self-styled banker, whose large safe holds all the townsfolk's deeds and other legal records.
Cody, an agile and lively scuffler, has a fight with expert Charlie King, and devotees of series westerns are given some gunfire and chases, but the story unfolds at a rather leisurely trot, as compared with other "Bill and Andy" westerns. Bill's role suits him nicely, however, and Helen Foster provides him with a pretty young lady to rescue from the unscrupulous villain. Those who enjoy early western talkies should find "The Ghost City" diverting.
Oklahoma Jim (1931)
Frontier Melodrama Among the Better Bill Cody Monogram Features
This 1931 Monogram feature seems closer to a mid-week western melodrama than the typical Saturday matinee cowboy film to which most viewers are accustomed. Bill Cody is cast here as Oklahoma Jim Kirby, a gambler who has come to run the tables of chance at the Indian Range Trading Post and Saloon, operated by Lacey (William Desmond) - but in reality owned by Lacey's deceased partner's city-bred niece. In reviewing the film at the time of its release, Variety's critic opined as how "Bill Cody always looks more like a matinee idol than a western star, but he gets by with it more effectively in this try as a suave gambling shark from down Oklahomy way." All the trade reviews at the time were generally positive, and the film is, indeed, despite a complex plot, one of the better entries in Cody's Monogram series.
Director Harry Fraser is also credited as co-writer of the story, in which an Indian princess kills herself after an unnamed white man has compromised her honor. Oklahoma Jim, the gambler, seeks to protect the rights of a pretty lady from Boston (Marion Burns), legal owner of the trading post coveted by her unprincipled adversaries. In doing so, the identity of the villain who mistreated the chief's daughter is brought to light. The film is among Mr. Fraser's better efforts, both as director and writer. Cody, Desmond, John Elliott, and Ed Brady turn in good performances. Young Andy Shuford, co-star of the series, is cast as the child survivor of a massacre who is raised by the Indians, but the role is written and played as though he were a contemporary youngster.
Iron Eyes Cody and J. W. Cody are both cast as members of the outraged tribe. Decades after the film's release, Iron Eyes wrote "My late brother knew Bill Cody. I made a picture with him before he left here, with a boy named Andy Shuford." That 1931 melodrama still holds interest as an early talkie with a plot more akin to the silent films which preceded it than to the typical series westerns which followed.