Edmund Cobb Movies

Bill Elliot took time out from his "Wild Bill Hickok" westerns series to essay the title role in Son of Davy Crockett. During the Reconstruction era, Davy Jr. (Elliot) is hired by President Grant (Harrison Greene) to convince the residents of a small territory on the Texas border to align themselves with the United States. Opposing this move is local outlaw leader King Canfield (Kenneth MacDonald), who wants nothing to interfere with his dictatorial hold over the territory. For a while, it looks as though young Crockett has cast his lot with Canfield, but his true loyalties are revealed at a crucial plot juncture. Despite its potential, Son of Davy Crockett falls short due to his overabundance of dialogue and its paucity of action. ~ Hal Erickson, Rovi

Charles Starrett is once more cast as frontier doctor Steve Monroe in Columbia's Prairie Stranger. In the company of his comic sidekick, mail-order intern Bones (Cliff Edwards), Dr. Monroe sets up his shingle in a small Nevada town. When business is slow, Monroe and Bones take jobs as ranch-hands on a cattle spread, and while thus employed try to solve a series of mysterious livestock poisonings. Rather disappointingly, the much-awaited action climax is dispense with in a throwaway scene. Prairie Stranger was the third and final entry in the "Dr. Steven Monroe" western series, which came to an end due to contractual difference between Columbia and series creator James L. Rubel. ~ Hal Erickson, Rovi

Orson Welles first feature film -- which he directed, produced, and co-wrote, as well as playing the title role -- proved to be his most important and influential work, a ground-breaking drama loosely based on the life of William Randolph Hearst which is frequently cited as the finest American film ever made. Aging newspaper magnate Charles Foster Kane (Orson Welles) dies in his sprawling Florida estate after uttering a single, enigmatic final word -- "Rosebud" -- and newsreel producer Rawlston (Phil Van Zandt) sends reporter Jerry Thompson (William Alland) out with the assignment of uncovering the meaning behind the great man's dying thought. As Thompson interviews Kane's friends, family, and associates, we learn the facts of Kane's eventful and ultimately tragic life: his abandonment by his parents (Agnes Moorehead and Harry Shannon) after he becomes the heir to a silver mine; his angry conflicts with his guardian, master financier Walter Parks Thatcher (George Coulouris); his impulsive decision that "it would be fun to run a newspaper" with the help of school chum Jedediah Leland (Joseph Cotten) and loyal assistant Mr. Bernstein (Everett Sloane); his rise from scandal sheet publisher to the owner of America's largest and most influential newspaper chain; his marriage to socially prominent Emily Norton (Ruth Warrick), whose uncle is the President of the United States; Kane's ambitious bid for public office, which is dashed along with his marriage when his opponent, corrupt political boss Jim Gettys (Ray Collins), reveals that Kane is having an affair with aspiring vocalist Susan Alexander (Dorothy Comingore); Kane's vain attempts to promote second wife Alexander as an opera star; and his final, self-imposed exile to a massive and never-completed pleasure palace called Xanadu. While Citizen Kane was a film full of distinguished debuts -- along with Welles, it was the first feature for Joseph Cotten, Everett Sloane, Ray Collins, Agnes Moorehead, and Ruth Warrick -- the only Academy Award it received was for Best Original Screenplay, for which Welles shared credit with veteran screenwriter Herman Mankiewicz. ~ Mark Deming, Rovi

The Range Busters returned to bust a few more ranges in Tonto Basin Outlaws. As ever, the three protagonists are played by Ray "Crash" Corrigan, John "Dusty" King and Max "Alibi" Terhune. The story takes off when Corrigan takes a job as manager of the Tonto Basin hotel. From here, he intends to observe the comings and goings of the local cowpokes, thereby hoping to uncover a gang of rustlers who've terrorizing the countryside. Making life miserable for Corrigan and his fellow Range Busters is the unwelcome snoopery of Jane (Jan Wiley), a big-city reporter assigned to cover the rustling story for her paper. The fact that the film takes place in 1898, when girl reporters were as scarce as hen's teeth (and almost as pretty), didn't seem to phase the screenwriters a bit; if the viewer wanted logic, the viewer was in the wrong theatre. ~ Hal Erickson, Rovi

The taciturn William Elliott stars in this above-average entry in Columbia's "Wild Bill Hickock" B-Western series. Returning to town with Larry Armstrong (Richard Fiske), an old friend he has just saved from a lynch mob, Hickock learns that Mitch Carew (Dick Curtis), a prison parolee, has killed Dan Woodworth (John Dilson), and is now attempting to buy Woodworth's store as a front for his nefarious schemes. Larry, who is embittered about the low wages being paid by the area's ranchers, opts to join Carew's gang of thugs. Wild Bill, meanwhile, is courting Woodworth's Eastern-bred niece Ann (Luana Walters), but the girl scoffs at his old-fashioned western ways. Alarmed that Larry has been involved in a stage robbery, Bill arranges to meet his old friend. Their rendezvous turns hostile and as Wild Bill is about to leave, Stringer (Leroy Mason), one of Mitch's stooges, takes a shot at him. Returning fire, Bill accidentally shoots and kills Larry. Blaming himself for the death of his friend, Bill vows to bring Mitch to justice. But when Ann once again denounces her suitor's western code of ethics, Bill offers to give up his guns and become "a peaceful man." When he learns that Mitch is waiting for him, our hero straps on his guns once again and goes to meet his destiny. A shootout in the street finally ends Mitch's reign of terror. Realizing that he will never be able to forsake the code of the west, Bill bids Ann a fond farewell and leaves town. ~ Hans J. Wollstein, Rovi

Columbia's King of Dodge City was the first of several westerns costarring "Wild Bill" Elliot and singing cowboy Tex Ritter. Though Elliot is billed first, the plot and action are evenly divided between the two B-picture favorites. The story takes place in Kansas, just after the Civil War. Wild Bill Hickok (Elliot) is summoned from Dodge City to Abilene, there to neutralize a crooked political machine. Hickok is aided every step of the way by Tex Rawlings (Ritter), a seemingly harmless drifter who is appointed sheriff after proving his prowess with his six-guns. The film's most memorable scene finds Rawlings calmly plugging a bad guy while coming to the end of a soulful western ballad. Elliot's perennial comedy relief Dub Taylor also starred in King of Dodge City, though for the rest of the Elliot-Ritter series he'd be replaced by the likes of Frank Mitchell and George "Slim" Summerville. ~ Hal Erickson, Rovi

Gene Autry battles a crooked mine owner in this his signature western from Republic Pictures. Years earlier, Gene promised to take watch over his employer's son Tom (Edward Norris), a young hothead who enjoys the so-called finer things in life. Tom has to be corralled out of the wicked city after finally inheriting the old homestead but life in the supposedly pastoral Arizona hamlet of Solitude proves less than idyllic when greedy copper miner E.G. Blaine (Arthur Loft) begins poisoning the water supply. Not patient enough to let law abiding Gene handle things, Tom takes matters into his own hands and is promptly slapped with a murder charge. Since the local authorities are controlled by Blaine, Gene has Judge Bent (Edmund Elson secure a change of venue for the upcoming trial but the enemy may have an ace up his sleeve. When not shooting it out with Blaine and his henchmen, Gene, Smiley Burnette, leading lady Jacqueline Wells and girl singer Mary Lee perform "Good Old-Fashioned Hoedown", "Swingin' Sam, the Cowboy Man", "When the Cactus is in Bloom", "I'm an Old Cowhand", "Where the River Meets the Range", "I'm in the Jailhouse Now", "You Are My Sunshine", "Ninety-Nine Bullfrogs" and Ray Whitley's title tune. Back in the Saddle has been restored to its original length by the Westerns Channel and Gene Autry Entertainment. ~ Hans J. Wollstein, Rovi

Blazing Six Shooters is a by-the-numbers Charles Starrett western, with the same sets, supporting actors and plot devices already seen in so many earlier Starretts. The story revolves around a valuable silver deposit, located between two ranches. Villain Lash Bender (Dick Curtis) cooks up a scheme to gain control of both ranches so that he may have a clear field to the silver lode. He is foiled by hero Jeff Douglas (Starrett), who settles Bender's hash in a climactic fist-fight (one of dozens performed by Charles Starrett and Dick Curtis over a twelve-year period). Lifting Blazing Six Shooters out of the ordinary is the inventive direction of Joseph H. Lewis, of Gun Crazy and Terror in a Texas Town fame. ~ Hal Erickson, Rovi

Set in the years leading up to the Civil War and its outbreak, Dark Command tells a fictionalized version of the story of William Clarke Quantrill, the schoolteacher-turned-renegade, whose raids -- ostensibly on behalf of the Confederacy -- turned Kansas into a charnel house. John Wayne plays Bob Setton, a young Texan who arrives in Lawrence, KS, in 1859 on his way west, partnered with George "Gabby" Hayes. He meets Marie McCloud (Claire Trevor) and her younger brother, Fletch (Roy Rogers), and takes a liking to them, especially Marie. His only competition for her is William Cantrell (Walter Pidgeon), the local schoolteacher, who has big ambitions in life. He is nominated for town marshal and seems a shoo-in, especially as his only rival is Bob Setton, who admits he knows nothing about the law and can't even read, but Setton wins with his honest, unpretentious speech. At the time, Kansas is riven by strife, as settlers from the North opposed to slavery and those from the South supporting it pour into the territory, and Setton has his hands full. His most difficult personal moment comes when he must arrest Fletch for shooting an anti-slavery farmer (Trevor Bardette) to death. Cantrell leads a campaign of terror against the jury, however, which finds the young man not guilty just as the Civil War breaks out. In the months that follow, Setton and his posse go after the raiders who are stealing and destroying huge amounts of property in Kansas on behalf of the Confederacy. He suspects Cantrell is their leader, but can't prove it, and has to tread carefully. As the raids worsen, and the war drags on -- even Marie's pro-Confederacy banker father is murdered during a run on his bank -- their conflict comes to a violent end as Cantrell launches an attack on Lawrence, vowing to destroy the town, with only Bob Setton and Cantrell's own mother (Marjorie Main) standing in his way. ~ Bruce Eder, Rovi

Santa Fe Trail, Errol Flynn's third western, has precisely nothing to do with the titular trail. Instead, the film is a simplistic retelling of the John Brown legend, with Raymond Massey playing the famed abolitionist. The events leading up to the bloody confrontation between Brown and the US Army at Harper's Ferry, Virginia, are treated in a painstakingly even-handed fashion: Brown's desire to free the slaves is "right" but his methods are "wrong." Whenever the leading characters are asked about their own feelings towards slavery, the response is along the noncommittal lines of "A lot of people are asking those questions," "I don't have the answer to that," and so forth. Before we get to the meat of the story, we are treated to a great deal of byplay between West Point graduates Jeb Stuart (Flynn) and George Armstrong Custer (Ronald Reagan), who carry on a friendly rivalry over the affections of one Kit Carson Halliday (Olivia DeHavilland). Just so we know that the picture is meant to be a follow-up to Warners' Dodge City and Virginia City, Flynn is saddled with Alan Hale and "Big Boy" Williams, his comic sidekicks from those earlier films. Despite its muddled point of view, Santa Fe Trail is often breathtaking entertainment, excitingly staged by director Michael Curtiz. The film's public domain status has made Santa Fe Trail one of the most easily accessible of Errol Flynn's Warner Bros. vehicles. ~ Hal Erickson, Rovi

This Three Stooges comedy has no story to speak of, but it's loaded with great gags. The boys are fix-it men who are sleeping under their car. A flood of water from a fire hydrant sends them floating down the street and they wake up in front of an oncoming car. They try to get back to work, but pause to help Curly remove his sweater which he can't seem to get out of. Crowbars don't seem to work, but scissors finally do. To create work for themselves, the Stooges punch holes in the lunch boxes belonging to a group of workmen, but their scam is quickly discovered and they're on the run. To escape their pursuers, the boys claim to be "three of the best riveters that ever riveted," and are sent to work on the 97th floor of a high rise that's under construction. About the only thing Curly knows to do with a rivet is eat it, and the boys' craftsmanship is horrifying at best -- their labor results in a mess of crooked beams. The supervisor is steamed, and the boys fall off the building. Luckily, Curly has a parachute which he figures out how to open just in time. The Stooges land in their car and take off at high speed. ~ Janiss Garza, Rovi

Beautifully restored to its original theatrical length of 84 minutes by the Gene Autry Foundation, Melody Ranch is a bright, tuneful, and at times quite action-packed piece of B-Western extravaganza, Republic style. The victim of both a drop in ratings and a tardy leading lady, radio star Gene Autry is only too happy to oblige when old friend Pop Laramie (George "Gabby" Hayes) proposes that he return to his hometown of Torpedo as honorary sheriff during the upcoming Frontier Day celebration. With leading lady Julie Shelton (Ann Miller), city slicker announcer Cornelius Courtney (Jimmy Durante), and bemused sponsor Tommy Summerville (Jerome Cowan) in tow, Gene takes Torpedo by storm. That is, everyone except the Wildhack brothers (Barton MacLane, Joe Sawyer, and Horace MacMahon), old enemies who take umbrage to Gene's lampooning them on his daily broadcast. Julie, meanwhile, falls in love with the Wild and Woolly West in general and Gene in particular, and when the crooner proposes to leave show business and run for the office of sheriff for real, she decides to stay as well. The Wildhack brothers, meanwhile, attempt to sabotage the election, but Gene and his pals persevere against the odds. Produced at a cost of 500,000 dollars, Melody Ranch was the first Autry Western to be booked into first-run theaters, which had been Republic Pictures' goal all along. Autry, Ann Miller, Jimmy Durante, Mary Lee, and Bob Wills and His Playboys perform "Melody Ranch," "We Never Dream the Same Dream Twice," "Call of the Canyon," My Gal Sal," "Torpedo Joe," What Cowboys Are Made Of," and "Rodeo Rose," all by Jule Styne and Eddie Cherkose, and a good time is had by all. ~ Hans J. Wollstein, Rovi

The second of Columbia Pictures' four "Wild Bill Saunders" westerns, Pioneers of the Frontier features William Elliott as the title character who discovers that his uncle Mort (Lafe McKee) has been murdered by an unscrupulous ranch foreman, Matt Brawley (Dick Curtis). But before he can right Brawley's wrongs, Wild Bill is arrested for a murder he didn't commit. Sidekick Cannonball Sims (Dub Taylor) and disgruntled girl rancher Joan Darcy (Dorothy Comingore) plot to break Wild Bill out of jail but Brawley is wise to their plan. Wild Bill nevertheless manages to escape and concocts a plan to trap Brawley and his men. The scheme succeeds but before he can settle down, Wild Bill heeds the call of a friend in trouble and rides off to bring law and order to another violent part of the Old West. Preceded by Taming of the West (1939), Pioneers of the Frontier was followed by two additional "Wild Bill Saunders" westerns: The Man from Tumbleweeds and The Return of Wild Bill (both 1940). ~ Hans J. Wollstein, Rovi