Al Haskell Movies

Next to Slightly Scarlet, Silver Lode is the best of the many 1950s collaborations between producer Benedict Bogaeus and director Allan Dwan. Clearly inspired by High Noon, the story covers three hours in the lives of a group of westerners. As the townsfolk prepare for the Fourth of July celebration, stranger Dan Duryea rides into view, followed by three tough-looking hombres. Duryea claims to be as US marshal, and further claims that he has a warrant for the arrest of the town popular sheriff, John Payne. A few hours away from his marriage to Lizabeth Scott, Payne assumes that no one will believe the troublemaking Duryea, and that his spotless record will speak for itself. But since it is impossible to confirm or deny Duryea's allegations, the seeds of doubt are planted in the minds of the townspeople, and before long virtually all of Payne's "friends" have turned against him. It soon becomes clear to the movie audience that Duryea is lying, especially after he guns down one of his own men. But Duryea is able to pin the blame of the killing on Payne, and in a twinkling the sheriff is a hunted man. The only person willing to give Payne the benefit of the doubt is town trollop Dolores Moran (Mrs. Benedict Bogeaus), who hides the sheriff while telegrapher Frank Sully tries to find out if Duryea is telling the truth. Building slowly and methodically to a slam-bang climax, Silver Lode is an above-average psychological western--and, like many "guilt by supsicion" films of the 1950s, a thinly veiled attack on McCarthyism. Best line: when Duryea bursts into Dolores' boudoir to see if Payne is hiding under the bed, she moans "Oh, what is this? A French farce?" ~ Hal Erickson, All Movie Guide

Vigilante Terror was one of the last of the "Wild Bill" Elliot westerns for Columbia. This time, Elliot comes to rescue an imperiled storekeeper. A band of masked vigilantes is laying waste to the countryside, and the storekeeper is blamed. Wild Bill saves the day by going undercover -- or under hood, as it were. Lewis Collins directed ably, as he did on most of the valedictory entries in the Wild Bill Elliot series. ~ Hal Erickson, All Movie Guide

In his second-to-last Monogram Western, country & western singer Jimmy Wakely does hardly any singing at all as he and sidekick Cannonball (Dub Taylor) attempt to catch the villain who caused the death of 16-year-old Perry Andrews (Buddy Swan), a student at the Sheriff's Association School. Perry was shot by Marshal Jim Braden (Jack Ingram), who mistook him for a murderous claim jumper. Due to young Perry's suspected involvement in a crime, the foundation supporting his school is threatening to withdraw all funding. To save the school, Wakely and Cannonball tracks down the claim jumper (Nolan Leary) by pretending to be outlaws themselves. A clean-cut veteran of Gene Autry's radio show, Wakely became Monogram's best bid in the Singing Cowboy sweepstakes. His series ran from 1944 to 1949, almost exclusively in the hinterlands. By that late date, B-Westerns were facing stiff competition from television and Wakely left to form his own record label. ~ Hans J. Wollstein, All Movie Guide

In this "Billy the Kid" series western, Billy (Buster Crabbe) is framed by an outlaw gang. Fortunately, state governor Arnold (Karl Hackett) is in Billy's corner, and surreptitiously helps Our Hero prove his innocence and bring the crooks to heel. But he'd better hurry: part of the bad guys' frame involves the kidnapping of Mary (Marjorie Manners), the governor's daughter. Al St. John as usual provides genuine laughs as Billy's sidekick Fuzzy Q. Jones. Though Buster Crabbe's PRC westerns were as a group pretty threadbare, Western Cyclone is definitely better than usual. ~ Hal Erickson, All Movie Guide

Cowboy star Johnny Mack Brown launched his third season at Universal with the above-average entry The Masked Rider. Moseying into a sleepy South American town in search of jobs, Larry (Brown) and his pal Patches (Fuzzy Knight) are hired by a local mining concern. Our heroes soon discover that the mine's silver shipments are being plundered by a mysterious Masked Rider, who has recently added murder to his itinerary. Larry and Patches vow to expose the Rider's true identity and to stem his crime spree once and for all. Plot and action in The Masked Rider come to an abrupt half at the film's halway point, the better to spotlight the musical contributions of the Guadalajara Trio and the Jose Cansino Dancers; fortunately, this scene is entertaining enough to keep the fans happy while awaiting the next burst of action. ~ Hal Erickson, All Movie Guide

In this western, Rogers and his sidekick Gabby get into all kinds of trouble when they ride into Tombstone and find themselves mistaken for the hired gun and his assistant. The gunslinger was engaged to work for the mayor and for a time Rogers goes along with it. When he discovers that the mayor is a bonafide crook, the "gunslinger" becomes the new sheriff. When the real gunman finally moseys into town, a showdown ensues. ~ Sandra Brennan, All Movie Guide

Wrangler's Roost is another of Monogram's "Range Busters" epics, said Busters portrayed herein by Ray "Crash" Corrigan, John "Dusty" King and Max "Alibi" Terhune. The plot is predicated on the legend of "gentleman bandit" Black Bart, long thought dead but now apparently back in business. On behalf of the original Bart, now a respectable citizen living under an alias, the Range Busters go after the impostor, revealing his identity during a climactic poker game. George Cheseboro is at his best as a chronic drunk who is cured by kindly pastor Forrest Taylor (who, of course, is the original Black Bart). Range Buster John King gets to sing two songs on this occasion. ~ Hal Erickson, All Movie Guide

Don "Red" Barry, the "Wyoming Outlaw" and "Tulsa Kid" in other Republic westerns, does not play any one of the title characters in Texas Terrors. That honor goes to the film's villains, headed by the murderous mine-jumper who killed the father of hero Bob Millbourne (Barry). Growing up to become a lawyer, Bob tries to use legal methods to catch the bad guys. Should this fail, of course, he can always rely on his fists and his six-shooters, which he does from time to time. Former Ziegfeld Follies headliner Ann Pennington shows up for a brief dance number, indicating sadly that her best years were behind her. ~ Hal Erickson, All Movie Guide

When both John Wayne and Ray "Crash" Corrigan defected from Republic's "Three Mesquiteers" series, the studio hastily replaced them with Robert Livingston (whom Wayne had originally replaced) and future "Cisco Kid" Duncan Renaldo. In Kansas Terrors, Stoney (Livingston) and his saddle pal Rusty (Raymond Hatton) take a job delivering horses to a flyspeck Caribbean island. Here they join forces with Rico (Renaldo) to topple the regime of a despotic commandante (George Douglas). Despite the fact that Rico was introduced as a horse thief, he becomes fast friends with Stoney and Rusty, and by film's end has agreed to return with them to the US, so that there'll be three Mesquiteers once more. After two years' worth of the Livingston-Renaldo-Hatton team, Republic would come up with yet another winning combination, consisting of Livingston, Bob Steele and Rufe Davis. ~ Hal Erickson, All Movie Guide

Gene Autry goes up against a crooked oil company in this delightful music Western restored in 2001 by Gene Autry Entertainment. Carruthers (William Royle) of the so-called Alta Vista Oil Company is selling worthless stock from a non-existent well located on a Spanish land grant occupied by Padre Dominic (William Farnum) and his orphanage. At first, the padre's niece, Anita Loredo (Luana Walters), accuses radio entertainer Gene Autry of being in cahoots with Carruthers, but the crooner instead unmasks the oil company for the phony outfit it is. A defecting engineer, Blythe (LeRoy Mason), suspects that there really is oil in them thar hills and with the help of Mexican outlaw turned Robin Hood Valdez (Noah Beery), Gene tricks Carruthers and his equally crooked salesman McElroy (Roy Barcroft) into abandoning the well. A heroic Valdez is killed during the rescue of a couple of wayward orphans (Wally Albright and Kathy Frye) but the discovery of oil saves the orphanage from bankruptcy. In addition to the hit title song, Gene Autry performs "You're the Only Star in My Blue Heaven," "El Rancho Grande," and "Robin Hood" while comic sidekick Smiley Burnette takes care of "My Orchestra's Driving Me Crazy." ~ Hans J. Wollstein, All Movie Guide

Stuffed dummies on horseback manage to fool a gang of munitions smugglers in this farfetched low-budget Western from the Reliable company. Tom Tyler stars as a Texas ranger going undercover to infiltrate the aforementioned gang, which is lead by nasty Travis (Al Bridge). The outlaw, however, learns of the ranger's subterfuge and orders him killed. Luckily, Tom's associate, Jimmy (Rex Lease), manages to get help from the ranger captain (William Gould) and the stuffed dummies are send in ahead of the rescue team. Using subterfuge, Travis escapes with Jimmy's blond sister, Joan (Margaret Nearing), but is eventually tracked down by Tom. ~ Hans J. Wollstein, All Movie Guide

If Columbia could make an acceptable movie star out of opera-diva Grace Moore, then RKO Radio could do the same with Lily Pons. At least that was producer Pandro S. Berman's reasoning when he cast Pons in the 1935 musical romance I Dream too Much. The actress plays Annette, a rural French musical student who marries struggling American composer Jonathan (Henry Fonda). Possessed of a splendid singing voice, our heroine rises to fame on the opera stage, while poor Jonathan continues struggling, supporting himself as a tour guide. Annette eventually saves her marriage by transforming her husband's "masterpiece," a rather turgid modernistic opera, into a light-hearted musical comedy. Lucille Ball, who'd later co-star with Henry Fonda in The Big Street and Yours, Mine and Ours, has a funny minor role as a gum-snapping tourist. Though Lily Pons was at least 10 years older than Fonda, they make an attractive and believable screen couple, adding credibility to this somewhat contrived yarn. And of course, Lily Pons is seen and heard to excellent advantage in a variety of solos, both brand-new (courtesy of Jerome Kern) and classical: In the closing production number, the svelte Ms. Pons is alluringly garbed in a revealing oriental costume, proving once and for all that women did have belly-buttons back in 1935! ~ Hal Erickson, All Movie Guide

Although dismissed in its day as just another cheap Western, God's Country and the Man proves to be a surprisingly well-made sagebrush thriller, whose fiddling master villain, Al Bridge, is a revelation. Bridge, who co-wrote the scenario with director J.P. McCarthy and Wellyn Totman, plays Livermore, the gun-running boss of De Vina, a border town inhabited by cutthroats. Strapping Tom Tyler, as Texas lawman Tex Malone, arrives in Da Vina with his latest bounty, Irish-brogued Stingaree Kelly (George Hayes, long before he earned the nickname "Gabby"), there to infiltrate Livermore's gang of smugglers. Malone, using the alias of Steve Rollins, falls for the villain's French mistress, Rose (Betty Mack), and together they set a trap for the bandits. Rose proves to be yet another investigator in disguise -- and not French at all -- and in the final shootout, Stingaree Kelly sacrifices himself so that she and Malone can plan a future together. The surprising demise of the comic relief, and a boss villain who initiates every one of his crimes by playing a sad dirge on his fiddle, are just a few of this strange Western's many breaks with tradition. Produced by Trem Carr for the low-rent Syndicate Pictures Corp., God's Country and the Man remains a startling, well-acted example of a near-Gothic B-Western. ~ Hans J. Wollstein, All Movie Guide