Reviews

Apparently very few people today, especially products of government schools, know about Operation Keelhaul, one of the most shameful episodes of a shame-filled history of the U. S. central government.

"Leaders" of the U. S. and U. K. governments were so eager to lick the boots of the second-worst butcher in human history, Josef Stalin, they almost blithely sentenced to death millions of anti- or at least non-communists who had fled Soviet Russia.

Some of those fleeing willingly joined armed forces fighting the Soviet armies, and many others were drafted into labor units and then often into fighting units.

Of the millions who had fled communist tyranny, many were women and children, but nothing mattered: They were all sentenced to be forcibly repatriated.

Operation Keelhaul was so evil, even the "news" media as well as the politicians (including Anthony Eden) and government bureaucrats have tried, ever since 1945, to keep this horrendous act covered up.

Only in relatively recent years have the facts been disclosed, about the lies told the prisoners and about the Allied troops literally using bayonets to herd the victims onto trucks and -- interesting optics -- cattle cars for the return, with many thousands of the prisoners being murdered immediately upon reaching Soviet soil!

"Red Danube" only barely hints at the other vicious and barbarous acts known as Operation Keelhaul. What is on the "Red Danube" screen is a microcosm, some quite specific acts by the Soviet authorities in the divided city of Vienna to capture and imprison individuals sought by the communist tyrants and butchers in Moscow.

It is sickening and horrifying that some reviewers here are "offended" by an accurate history of communist tyranny. What is worse is that Hollywood would not make such a historically accurate movie today.

"Red Danube" is not perfect, but in the context of accurate history of communist butchery, it is a must-see movie.

Not exciting, not engrossing, but still interesting for its clear-cut characters involved in daily life.

That life is being lived, or at least survived, in the frozen wastes of Maine ... and in fact the very first scene is snowy wintertime, with a temperature of 12 below zero.

To those of us used to sunnier climes, perhaps it is a puzzle just why anyone would want to be in any place that suffered through those kinds of winters; and that anyone could enjoy such winters is, honestly, beyond me, and I spent some three winters in North (brrrrr) Dakota.

Even more puzzling to us erstwhile desert-dwellers is that anyone could actually FARM such an environment.

In truth, though, that is part of what makes this movie as interesting as it is.

There really is a ring of truth: So many of the people do not, in fact, want to be farmers in snowy Maine, and that is the basis of some of the conflict that makes up this drama.

Most of the players are almost unknown today, although IMDb listing shows Shirley Temple in an unbilled bit. I didn't see her, but I'll look harder next time.

Despite their lack of fame, they show acting ability, and are nearly all thoroughly believable in this worthwhile film.

Last I heard, "As the Earth Turns" is available on YouTube, but for some reason in two parts and you will have to search for both. I hope you do.

Absolutely plausible prediction, based entirely on facts, that is, the obvious trends of governmental actions -- possibly even worse in Canada, where this animated short was produced, than in these increasingly repressed United States.

For several decades now (writing in 2023) there have been strong and even court-backed protests and opposition to right-wing and/or conservative and/or Christian attempts, and successful efforts, to impose moral beliefs into law.

In more recent years, a lot of those belief-system impositions, such as anti-gay laws, have been -- properly -- thrown out.

Perhaps buoyed by those successes, however, now the advocates, those previous victims, have taken the next step and started imposing their beliefs onto everyone else.

Beliefs, often claiming to be "scientifically proven," are being given the strength of laws and, far worse, government regulations.

Governments and their component politicians and -- again, far worse -- bureaucrats are using armed agents to tell people essentially how they "may" lead their own lives.

Everything in this little film has already, to one degree or another, and depending somewhat on where one resides, been forcibly imposed on the people. Everything, from what pharmaceuticals one may ingest to what clothing one may wear to what vehicle one may drive to, perhaps worst of all, what one may say and what one may read.

This animated short is very well done, even using bits of humor, but it should scare, maybe even terrify, every viewer. We are not totally fascistized or communized yet. A wide distribution of this little film might well help prevent the approaching tyranny.

Very few TV series began with such a talented cast and such a strong story, one by the still highly regarded Frank Gruber.

Rory Calhoun was an almost perfect choice for the title role: Tall, slender, darkly good-looking, and in good-enough shape physically to be able to jump off a roof himself.

His character is Bill Longley, a wandering character who, as the series promotions say, is not looking for trouble, but trouble finds him. In this first episode, trouble is represented by Kyle Richards, as played by Neville Brand, an actor who also had a long career. Here he is strong and forceful as the leader trying to stir up a lynch mob.

His target is Les Torbit, played by John Larch, another large talent. Torbit is in jail, locked up by the sheriff, excellently played by veteran, and talented, Karl Swenson.

Even a casual watching of this episode shows every player giving a solid performance. That means not only more-than-capable performers, but a good director, in this case Jerry Thorpe.

Though I barely remember seeing this series from my very young days, I felt lucky at finding Series 1, Episode 1 while looking for something else. This show is much more than nostalgic -- it is impressive. I do hope you will find and watch "Law of the Gun," the very first episode of "The Texan."

History as written by Hollywood is almost always wrong, to one extent or another. So it is exciting and gratifying to hear a movie character speak the accurate facts about the War Against Southern Independence.

That happens when the "Stoney" character, played by Fred MacMurray, explains to the returned neighbor, "Charlie," played by Madeleine Carroll, that the war was not about slavery. Amazing!

Schools and "news" media continue to parrot the lie to the contrary, never offering any documentation but continuing to spread the lie anyway.

The writers of this movie did a superlative job, not only getting the history right, but skillfully creating characters we viewers can care about, characters who might not be totally admirable but nearly all of whom are likable.

Those writers are Edward H. Griffith and Virginia Van Upp, Van Upp writing the screen play from their story. Griffith is also the director.

Two of my favorite character actors are here, Paul Hurst and Louise Beavers.

Yes, I am partial, but I believe Louise Beavers walks off with the acting honors. She simply steals every scene she is in.

Paul Hurst had a long career, starting in silent films, but this is one of his best roles. It and his character in the John Wayne "The Angel and the Badman" (about five years after this one) show him at his very capable best.

"Stirling" Hayden, as he is billed, is in one of his earliest roles and he is, simply, great. He looks good and is apparently comfortable in front of the camera. It doesn't hurt that his character is so well written.

Two of the other reviews here are by people who have, or had, a direct connection. Their commentary adds immensely to the enjoyment of this movie, which I discovered purely by accident: reading a post on a social medium.

"Virginia" is a charming movie, with story, acting, and general ambience all contributing to create a good motion picture. The only drawback is the terrible and too-old print at YouTube. I do hope there is a better one somewhere.

Don Barry was an excellent and, in my opinion, terribly under-rated actor. In his one directorial effort, of a movie with a budget of what looked to be about $57.00, he showed skill and inventiveness. He deserved more fame and respect.

In this episode, he has a brief scene, so different from the kind of strong characters he is best known for, and he steals the scene.

Also enriching the cast and the show is Regis Toomey, one of the busiest and most talented of character actors.

Irene Tuttle is another of those invaluable character actors without whom Hollywood could not have existed.

This episode had more humor than usual, but this show was not all funny. Malloy and Reed are also fired at by a deranged sniper.

Writers for "Adam 12" had an amazing and admirable ability to present many and different stories in just 30 minutes ... including commercials (made so much worse in the syndicated editions on the nostalgia TV channels). This episode is one of the best.

Several actors, good to great actors, give among their best performances in this very enjoyable motion picture.

Clarence Upson Young is author of the original story and was co-writer, with John Twist, of the screenplay. So he gets credit for much of the clever, often even downright funny, dialogue.

On 28 February 2023, TCM unintentionally gave me a birthday present of some great Western movies. I should have been working but took the day off to watch my favorite genre of movies.

It included "Powdersmoke Range," a classic I had feared I would never get a chance to see. The iconic Harry Carey was in it as well as "The Law West of Tombstone."

With all the wonderful Westerns shown on this one day, the best of the day's presentations was "The Law West of Tombstone" -- and it's only coincidence that I live west of Tombstone, in Sierra Vista, Cochise County, Arizona.

We have a lot of Western history here, and I invite everyone to come visit. And at some time, I do hope you get to watch this excellent movie.

All governments are evil. Some are worse than others.

Governments are evil because of the harm they do to individual human beings. There are naïve people who try to claim that "we need governments to protect our rights"!

In fact, the number one enemy of human rights and individual liberty is government.

This generally well done movie is about a man whose "crime" is merely trying to live, to live as a free human being.

Peter, excellently played by Vittorio Gassman, is a refugee from communist-conquered Hungary. At age 25, he has spent 10 years in one camp or another, including the Nazi extermination camp at Auschwitz, and, after the war, in various displaced persons camps.

The usual disclaimer at the end of the movie says it is fiction. All the people and events, it says, are fictional -- but this is a real story in that such incidents happened again and again and again.

Following the end of the war, the evil governments of the United Kingdom and the United States conspired in one of the most foul and vicious acts of the era, not much less rotten than what the Nazis and communists did to people. It was called Operation Keelhaul, and it entailed forcing tens of thousands of former residents of Soviet-occupied countries to return -- even though many of them were marked for death as "enemies of the state."

Even a superficial Internet search can find the story of Operation Keelhaul, which is not, of course, taught in the government schools or mentioned by the U. S. "news" media.

"The Glass Wall" very much parallels Operation Keelhaul. The refugee, Peter, because of lack of paperwork, is about to be forced back to Hungary, and the inevitable death sentence. The immigration officer -- so beautifully played by great character actor Douglas Spencer, perhaps more famous for his role in the original "The Thing" -- seems heartless, married to and bound by "the law."

"The Glass Wall" is a moving story, dealing with sub-stories and tangential characters in addition to the saddening and infuriating central story, and all are plausible and well presented.

The movie is marred by far too many process shots, and by people supposedly driving cars but turning around to talk to other people instead of watching the road, something that silly Hollywood people, including directors and actors, fouled up often.

Try to ignore such stupidities, and concentrate on the real, or at least realistic, story of a single human being having to fight the soul-less bureaucracy. If you still have a soul, you will be moved to anger, to tears, and you will hope and hope until the end.

Obviously I recommend and hope you get a chance to view "The Glass Wall."

Maybe it requires an open mind, about the performers here and about B movies generally, but I thoroughly enjoyed "Night Spot," plus I thoroughly admire it.

For reasons I do not know, Allan Lane seems to get a bad rap, usually. His funeral, for example, was very sparsely attended. I'm guessing that was not because of his acting. In this non-Western, he was likable and believable. Maybe more, in fact than in his Westerns roles.

He plays a musician who becomes a police officer and who gets assigned, despite being a rookie, to an undercover role at a night club, the theme at TCM on 25 January 2023.

Some call her "the Queen of the Bs," but she had the looks and, more important, the talent to have been a star of the As. She's been one of my favorites since I first saw her: Joan Woodbury seemed to be able to play almost any female role.

Here, the story has her character, Marge Dexter, wanting to escape from her humdrum daily life in an insurance office and becoming a night club singer. Marge arrives at the club just in time to be mistaken for an ex-con the club owners were expecting so she gets hired immediately.

Even the villains show some personality in "Night Spot," and all the players are believable, even Parkyakarkus, who is not too silly -- in fact, his low-key approach to this role was just right.

Lee Patrick had a smaller role, but a strong one, and the directing and photography all added more layers of quality.

With no hesitation, I urge you to surprise yourself and give a look at "Night Spot."

"Stage Struck" is an excellent B crime story, with good script and great cast. It even attempts to provide a moral, especially to naïve young women. But it's in the very last words and I won't give it away here.

On 25 January 2023, TCM took a break from being "woke" and PC -- meaning preachy and racist -- and presented several movies about night clubs and singers and gangsters. All were generally unknown and might not actually be considered "classics," but all were much better than might have been expected.

This one has not only a good story, with many characters, all of whom have at least a moment to shine, but it has a cast of great talent if not a lot of fame.

Kane Richmond is usually considered a hero of thrillers and serials so perhaps that's why his performance here is, to me, extraordinary. It shows, again, just how little justice there ever was in Hollywood, when actors with far less talent got more acclaim and money.

I do recommend "Stage Struck."

At least one reviewer here states the film is not totally accurate in its presentation of the Barbara Graham story. (As if Hollywood ever got history correct.)

Though the reviewer did not mention this particular example, in the movie Graham categorically tells jailers that she never used drugs, but the reviewer claims she was, or had been, addicted to heroin.

Even heroin addiction, though, is not conclusive evidence, or evidence of any kind, that Graham was involved in the murder.

Worse, Graham is conned by her cell-mate into hiring the services of a man who, she says, will testify Graham was with him the night of the killing. He comes to the jail, insists on knowing where she really was, and also cons her into saying, reluctantly, that she actually did the murder.

Most likely today that would be thrown out, simply because case after case has shown such "confessions" in jail are just not true.

"I Want To Live" is, of course, told from the viewpoint of Graham and her insistence on her innocence. Apparently in real life there was enough doubt that the horror, the sheer barbarism of capital punishment should not have been inflicted.

I know two people sentenced to life without parole, on "evidence" that is purely circumstantial, with not one shred of solid evidence.

The so-called "evidence" was a lot of gossip, some just plain lies. In fact, some of the "witnesses" actually received the household goods -- such as the expensive refrigerator -- and even the children of the accused woman. No conflict of interest there!

At least they are still alive, although living in a cage would not be "alive" to me. Last I heard, they are not being allowed any more appeals, despite new evidence.

Our whole alleged "justice" system is badly flawed. Badly. And the killing of fellow human beings by government should be completely ended immediately.

For now, try to watch this excellent production. Susan Hayward gave one of her best performances. She was surrounded by some of the best actors in Hollywood, even if they seldom got the raves they deserve.

When the "Martin" character manages to cross the border, one of his former friends and colleagues enviously says Martin was then free to think his own thoughts.

What a wonderful concept!

On 6 January 2023, TCM presented "The Mortal Storm" and I found it ironic: TCM has become so "woke" and PC, I'm actually surprised it was willing to show this movie, with its pro-freedom, pro-individual message.

So far, it is highly unlikely these United States will ever build and use extermination camps, as Nazi Germany, Soviet Russia, and Red China did. But, unfortunately, not impossible. Every tyranny begins with, among other limitations on individual rights, censorship, which is rife now in our society, from our governments and in our social media.

"The Mortal Storm" gives a good illustration how a vicious and bloody tyranny starts, even among a good and civilized people.

There are too many parallels between 1920s and 1930s Germany and these United States, with widespread censorship, boycotts against people of different belief systems, actual physical threats against individuals of different races and belief systems.

In addition to the powerful and important story, "The Mortal Storm" is beautifully acted. Other than a few process shots, the cinematography and direction are also first rate.

Obviously I do recommend "The Mortal Storm."

According to the aphorism, "No one in Hollywood sets out to make a bad movie."

It wants to be true, even though thousands of bad movies HAVE been made.

"Marshal of Heldorado" has a lot going for it: very talented cast members, good scenery, good photography, and a good print at YouTube.

Alas, like all the rest of the world, the script needed a much better editor!

In fact, the final print also needed a better editor.

Things happen that just plain shouldn't. That, in fact, couldn't.

For example, in one chase scene, the chaser suddenly is not only ahead of the chasee, but he's managed to climb a tree and somehow just happens to be right where the chasee will ride exactly underneath!

As I understand, this stock company -- of, again, excellent performers -- produced several movies at one time.

Surely it would have been easy for actors, directors, and the rest of the crews to get confused as to which script they were supposed to be following. Maybe the writers, if such there were, got confused also.

Anyway, I don't tell anyone "Don't see this film" because I like the people in it. But they sure hit a clinker this time.

My guess is George Plympton didn't have the last word among the writers of this exciting and violent Western, though this film has such an excellent title, he must have had lots of input.

But there is one big silly spot that just made and makes so little sense, it's hard to understand why everyone involved didn't complain. Watch and you'll see it. It is downright ridiculous, but doesn't really detract terribly from the overall plot. In fact, it does show one aspect of Wild West life that does not get emphasized enough. Call it chivalry.

Essentially the plot is another version of "Romeo and Juliet," but the enmity between the lovers' families is artificial and stirred up by a "shyster lawyer," excellently played by the under-valued Karl Hackett.

Bob Steele, whose acting just got better and better as he worked his way through nearly 250 roles, is this film's "Romeo." His "Juliet" is played by the very lovely, bright, and capable Louise Stanley, another terribly under-used actress who should have had, based on her looks and talent, many years of performances.

There is a too-dark version at YouTube. If you can find a better version, I hope you grab the chance to view it. If not, catch the one at YouTube. I hope you don't get all the commercial interruptions I did, but the film is a good one. Do see it.

Excellent cast and director create and perform this excellent script, written by the director, Robert N. Bradbury, Bob Steele's father.

Like so many Bob Steele movies, especially written and directed by his father, it begins with a seemingly innocuous and/or pleasant scene, this time a horse race.

Soon, though, the meat of the story is reached, though with plenty of twists and turns, including a run of luck in a gambling hall (with Horace Murphy playing the house dealer), all perfectly plausible, and well played by some of the best among veteran Western performers.

Perhaps "Sundown Saunders" was intended only to be a program filler, a minor film for the Saturday matinee kids, but it holds up well, even after 87 years.

Bob Steele just got better and better as an actor, obviously serious about his craft. His leading lady, Marie Burton but called here Catherine Cotter, was a lovely and very expressive actress who should have been cast in at least a hundred more roles; her mini-bio here has almost no information but a reviewer says she had been a radio star.

The sheriff is played by the great Earl Dwire, a remarkably versatile actor who could be villain, comic relief, or lawman.

The print of "Sundown Saunders" at YouTube is too dark, but very well worth the effort to watch. I hope you do.

Randolph Scott? You don't need much more.

But we get much more anyway.

In the late 1960s, Billy Lee was one of the celebrities who participated in a telethon sponsored by a local TV station in Knoxville, Tennessee. I'm embarrassed to admit that at the time I had no idea who he was. In fact, quite a few people attending didn't know his name. One of the girls from "Petticoat Junction" was apparently the big attraction -- and she was awfully cute.

But watching Billy Lee in "Wagon Wheels" and reading the reviews, one should realize that when Billy was a young boy, he was an excellent child actor and deserved to be remembered even into his adulthood. Any flaws in this movie are due to the writing and directing, not to his performance. And I'm glad to get a more accurate impression of his place in motion picture history.

Another actor in this excellent ensemble is Olin Howland. He has long been one of my favorites. He could portray a wide range of characters, from the hapless braggart in "Angel and the Bad Man" to the scout with strength and courage and leadership ability in "Wagon Wheels." I find it odd he's listed so far down in the cast since his role is more a leader than even Scott's.

Raymond Hatton is another great character actor. He got relegated to silly sidekick in too many films, but his star potential is evident as far back as the silent days.

Even if one wants to compare this film to more expensive ones, it rates very high. Great acting, generally good photography, including the stock footage, and an exciting if standard story. The print I saw was pretty bad, but I strongly recommend "Wagon Wheels."

Wallingford and his friend and cell mate Schenectady Jones are languishing in jail, Jones (Mantan Moreland) lamenting he's hungry.

Wallingford (F. E. Miller) tells him it's all in his mind, and he should consider Mahatma Gandhi, who had fasted 100 days.

Jones, though, says, "Fasting slows me down."

He has dreams. And goals. And suddenly Wallingford notices an article in the paper indicating Jones has inherited a hotel. And suddenly they both have dreams. And goals.

Next we see them both trying to operate the hotel, with the added stress that a large payment is due very soon on the mortgage.

The mortgage holder is, of course, a villain (aren't they all?). He checks into the hotel, demanding a free room, but his plan is to find a cache of money Jones's ancestor, the one who bequeathed Jones the hotel, supposedly left in the building.

Meanwhile our two heroes have to contend with a very odd assortment of guests, not one of whom makes any sense, but who do provide some fun, including a lot of silly fun.

Some of the would-be special effects flop, but at least one works extremely well.

It's not Shakespeare, but it is very worth watching, partly to see a black ensemble performing a comedy, doing so marvelously, and skin color having not one thing to do with the story.

In many ways, "Harlem on the Prairie" is just a standard B Western. However, it has more music, and real music, than other Westerns.

With Mantan Moreland's presence, well, we know there will be comedy. He is partnered with F. E. Miller, billed here as Flournoy Miller, who apparently was better known at that time, 1937.

Jeffries, billed as "Jeffrey," made a series of "Bronze Buckaroo" movies, mostly very low budget, and showing it, but his singing made them all worth watching.

Most of the other players aren't well known today, but the actor playing the villain in this entry, Maceo Bruce Sheffield, would be a scene-stealer in any A picture from a bigger studio. He gives an excellent performance.

By no means a great movie, it is still much more than just watchable. The singers are among the best I've ever heard on film, the direction is good, as in fact are the production values generally.

The script gives the players some clever dialogue, too.

I couldn't help shaking my head while watching, thinking about the stupidity of racial separation. So many show biz and sports performers never given the chance to show just how talented they were, depriving them of their rightful place, and depriving everyone else of the chance to see and admire quality, skill, and professionalism.

"Harlem on the Prairie" played on TCM Wednesday evening, 5 October 2022, and naturally there were the usual divisive comments. I've learned that often, maybe usually, these days it's best to ignore the TCM host comments and just watch the movie.

"Harlem on the Prairie" is iconic. It gives us a taste of what could have been. I hope you get a chance to see it.

This is my second attempt to watch this totally worthless excuse of a movie. I cannot see any value in it, except maybe as a bad example of a silent movie about The Great War, a movie that is supposed to be funny.

Syd Chaplin, Charlie's older brother, does a lot of mugging the camera, including from inside a costume horse, but none of it was funny.

The other people in the cast of "The Better 'Ole" try as hard as they can, but without any funny material, it's all a waste.

Considering this is rather late in the history of silent movies, it's really hard to understand why there is a lot of knockabout, a lot of falling down, but almost nothing funny.

Apparently Syd Chaplin had some success, was considered a comedic character, but judging by "The Better 'Hole," I cannot see why.

Tonight, 25 Sept 2022, is at least the second time TCM has shown it, There are so many good movies, including good silent movies, I just do not understand why it's being shown again.

Al "Lash" LaRue really deserves much more credit than he usually gets.

He played his character very believably, despite the handicap of looking a lot like Humphrey Bogart. He was athletic enough he usually performed his own stunts, and he handled that dangerous whip as if he had been doing so since childhood.

In fact, the story is he told his producers a bit of an exaggeration, that in fact he had been handling whips since childhood, and immediately after his interview rushed out to find instruction.

A whip-wielding hero was a novelty at the time, and proved a good gimmick, good enough that Lash LaRue became both a popular movie character and even a series of comic books.

"The Fighting Vigilantes" had an interesting story and some clever dialogue, not to mention a really good cast. Fuzzy St. John played a rather schizophrenic character, sometimes funny, sometimes dour, but always equal to Lash.

Jennifer Holt is, in my not-at-all-humble opinion, terribly under-rated: She is, yes, beautiful, but she is also a darn good actress and, even more important, a really good cowgirl.

Watching her handle a pistol or mount her horse, or just ride, or just look at her other cast members, is a genuine pleasure. Maybe she was content with her career, but I believe she deserved a lot more.

Those three were more than ably backed by veteran performers, including Marshall Reed, this time with a tougher role than the ones I've usually seen him in. (I met him at a Western Film Collectors Convention in the mid-1970s and he was a really nice person, good-looking and personable, and he was a great master of ceremonies.)

George Chesebro, as the brains villain, gave an excellent performance, one of his best.

But I have to mention again the script: It all fit, with no holes, and often the dialogue was clever and even funny.

We could wish for a much better print, one not so dark, but this is a good movie even so. I strongly recommend it.

Rocky Lane is someone I don't remember seeing since ... well, probably decades ago. It's great to find "The Denver Kid" in a really good print at YouTube, and to find Rocky Lane is as good as I remember from my childhood.

He was a good-looking guy, and seemed athletic, handling his fight scenes and his riding well, and he sounded good.

Another good voice in "The Denver Kid" is Bill Henry as a confused young man. He had a long and busy career, and deserved it.

For some strange reason, the YouTube movie says the star is Eddy Waller! I guess the uploading person was or is a knucklehead. Or something. In truth, Eddy Waller was an excellent actor, and a busy one. He has credits of 268 roles here at IMDb!

Some people might write him off as a silly sidekick, but in fact he was a character actor of quite some range.

Unlike in so many movies, even B-Westerns, there is no important female role in "The Denver Kid." A charming and attractive Peggy Wynne has a near-cameo as "Mitzie," but it's mostly males in this entertaining film.

Other than Lane and maybe Waller, there are no really famous actors but there are some very talented players. Rory Mallinson, for example, is really smooth as an ambitious villain, and shows himself to have been capable of and qualified for many more and bigger roles.

One surprise -- again, to me -- was the great Douglas Fowley as a bad-guy cowboy. I can't recall seeing him in any other Western and he nearly stole this entire film. From slimy thug to cowed and cowardly villain, he is simply magnificent in this role.

There are more excellent performers, and great directing and photography, and good scenery, and I strongly recommend "The Denver Kid."

Unlike most of his roles, almost any good male actor could have played the part John Wayne had in this rarely seen film.

Still new in the biz, John Wayne handled this melodrama very well, but he and the other top-billed performers were robbed by June Clyde.

She was sparkling, effervescent, cute, and just adorable. From this one role alone, I have the belief she should have been a big star.

Though other than John Wayne, none of the other players are well known today, but all were top-quality performers in what is probably considered a "woman's picture."

Despite being a strong fan of John Wayne, I didn't even know the name of this movie, only in part because it had had another name, but it is so unusual for him, so completely different from most of his films, and especially from the ones he's most famous for, it's seldom even mentioned when he is discussed.

Laura LaPlante is actually the star. And watching her, it's easy to understand: She had looks and talent and screen presence.

But even she is over-shadowed by June Clyde, in a lesser role. Still, over-shadowed though she might be, there is no doubt as to her ability and her deserving of all the fame she could have got.

This is well worth seeing, especially for John Wayne completists, but for anyone who wants a good story and high production values and an excellent cast, for whom there cannot be too much praise.

There is a good print at YouTube. I hope you see it.

Among other praiseworthy points, the heroine, well played by the lovely and sparkling Judy Clark, is feisty and spunky, and quick to jump into a fight to help the good guys, whether a physical battle or a gunfight. No shrinking violet she, and also not a love interest.

In fact, this exciting serial is rather different: The hero, played by Tom Keene in one of his several alternate names, and who was about 54 years old at time of filming, is quick-fisted, very athletic and always willing to tangle with the villains, and a good horseman -- but not a romance figure.

His partner, Rusty Steele (intentionally funny name?), is played by Lee Phelps, credited here at IMDb with 669 roles. Steele is not exactly the model hero either but Rusty has his share of fights, and is right there for the gun battles, too.

The "brains heavy" is played by one of the most under-rated actors in Hollywood, I. Stanford Jolley. Too often he was uncredited and didn't even have lines, but here he is the thinker, the leader of the gang, but also ready and willing to grab a gun to accomplish his ends.

His action heavy is one of the highly recognized, even acclaimed, villains and character actors, the more-than-great Roy Barcroft.

One of the really good things about this serial is that even the bad guys have personalities. Many of them, as well as many of the good guys, get a chance to play center stage. We get to see Dennis Moore., Hank Patterson, and Bud Osborne twice, as well as some of the other greatest Western character players in movies.

John Cason, whom I just while watching this serial discovered to be left-handed, gets to play one of the strong supporters of the good guys, working the oil rig and fighting off the bad guys.

Some of the chapter endings cannot be called "cliff-hangers," but the action, the fights, the horse chases are continuous. The acting and the characterizations are excellent. The directing is right on, as is the camera work.

One definite flaw is that sometimes dead people are forgotten and are left lying on the ground or beside the road, a common-enough error in too many movies.

But I can and must highly recommend "Desperadoes of the West," and you can find a good print on YouTube.

Randolph Scott, all by himself, is enough to prop up any movie, but in "Abilene Town," he gets over-shadowed by Ann Dvorak.

She gives her best performance I have ever seen. She sings, dances, kicks, and is more feisty than in any role I have ever seen. She is wonderful.

Scott plays the town marshal, Dan Mitchell (NOT the sheriff). Mitchell is good-looking and charming enough to have two lovely ladies caring for him and wanting him to quit being marshal and find something safer.

One is Sherry Balder (Rhonda Fleming, very girl-next-door-ish in an early role), the other, Rita (wonderfully played by Ann Dvorak): Sherry is the church-going daughter of the town's chief merchant, Rita the singing and dancing, skimpily dressed attraction at the major saloon in town, which is run by Charlie Fair (very well performed by Richard Hale).

Really, there are too many superb performances to mention them all. This is a superior production from Guild Productions Inc. And Jules Levey presents. Watch for excellent camera work from the veteran Archie Stout. He also seems to have out-done himself. And director Edwin Marin has probably never done better, either.

There are at least three versions at YouTube, including a colorized version that some viewers call the best colorized, or "colourized," version they've seen. It is truly an excellent movie that I highly recommend. If only for the gorgeous and talented Ann Dvorak.

Reading the 10 reviews that were posted before this one, I wonder why some people don't watch the movie before writing. There are too many errors, along with some other reviews that are great.

John Ashley, played by John Wayne, betrayed his neighbors, including his intended, played by the adorable Ann Rutherford, and rode off to join the invading Yankees.

Ashley innocently returns to his ranch in Texas, not expecting the anger and hatred the victims of Northern aggression feel. But being an essentially decent person, he rather quickly learns the occupation forces are thieves and even, when given the opportunity, murderers They are led by General Holden, the excellent Cy Kendall, and it's Holden who makes and keeps most of the profit from the jacked-up taxes and other acts of theft..

Among the occupying forces is "Bull," the great Yakima Canutt, who beautifully and understatedly is hesitant when told to raise his right hand to be sworn in.

A sentry is portrayed by the favorite of so many of us, Charles King, looking svelte and youthful.

Ashley's sidekick is played by a relative unknown, Jim T.oney. Even IMDb has next to no information about him. But anyone watching "The Lonely Trail," a rather blah and generic title, will realize Mr. Toney should have had a long and busy career.

Among the others is Fred Toones, usually billed as and playing a character named "Snowflake." Toones ran the shoeshine stand at Republic Studios and it must be a really interesting story how he became an actor. He had a presence any seasoned actor could envy, and Toones did eventually play in about 225 movies!

Etta McDaniel, a wonderful actress, has a small bit here. Look for her in a scene-stealing role, again with John Wayne, in "The Lawless Nineties." She is marvelous!

John Wayne didn't have a lot to do here. The movie was not about him or his character, but has an involved plot, lots of characters, good production values, and it's a nice bit of Hollywood history: What did John Wayne do in his early appearances?

I recommend "The Lonely Trail," and you can find a copy at YouTube.