Jim Mason Movies

Although there were Westerns before it, Stagecoach quickly became a template for all movie Westerns to come. Director John Ford combined action, drama, humor, and a set of well-drawn characters in the story of a stagecoach set to leave Tonto, New Mexico for a distant settlement in Lordsburg, with a diverse set of passengers on board. Dallas (Claire Trevor) is a woman with a scandalous past who has been driven out of town by the high-minded ladies of the community. Lucy Mallory (Louise Platt) is the wife of a cavalry officer stationed in Lordsburg, and she's determined to be with him. Hatfield (John Carradine) is a smooth-talking cardsharp who claims to be along to "protect" Lucy, although he seems to have romantic intentions. Dr. Boone (Thomas Mitchell) is a self-styled philosopher, a drunkard, and a physician who's been stripped of his license. Mr. Peacock (Donald Meek) is a slightly nervous whiskey salesman (and, not surprisingly, Dr. Boone's new best friend). Gatewood (Berton Churchill) is a crooked banker who needs to get out of town. Buck (Andy Devine) is the hayseed stage driver, and Sheriff Wilcox (George Bancroft) is along to offer protection and keep an eye peeled for the Ringo Kid (John Wayne), a well-known outlaw who has just broken out of jail. While Wilcox does find Ringo, a principled man who gives himself up without a fight, the real danger lies farther down the trail, where a band of Apaches, led by Geronimo, could attack at any time. Stagecoach offers plenty of cowboys, Indians, shootouts, and chases, aided by Yakima Canutt's remarkable stunt work and Bert Glennon's majestic photography of Ford's beloved Monument Valley. It also offers a strong screenplay by Dudley Nichols with plenty of room for the cast to show its stuff. John Wayne's performance made him a star after years as a B-Western leading man, and Thomas Mitchell won an Oscar for what could have been just another comic relief role. Thousands of films have followed Stagecoach's path, but no has ever improved on its formula. ~ Mark Deming, All Movie Guide

Its somewhat risible title aside (how can a saddle have rhythm?), this is one of the better Gene Autry westerns of the late 1930s. The story is built around a Frontier Week rodeo, owned by pretty Maureen (Peggy Moran). Despite doing land-office buisness, Maureen is in danger of losing the rodeo thanks to the chicanery of villain Pomeroy (Leroy Mason). But trick rider Autry and his saddle pal Frog (Smiley Burnette) can be counted upon to come to the rescue, even though he finds himself at the mercy of Pomeroy's minions somewhere during the fourth reel. One of the minor characters is played by Archie Hall, the legendary wheeler-dealer later immortalized in the 1961 Jack Webb picture The Last Time I Saw Archie. ~ Hal Erickson, All Movie Guide

The old west collides with the new in this fine remake of RKO's 1932 Come On, Danger!. Or, rather, veteran RKO star George O'Brien is at odds with his eventual successor at the studio, Tim Holt -- at least part of the way. They play Texas Rangers assigned to bring in suspected murderess Judith Alvarez (Rita Hayworth). But young Holt, who gets himself fired for an altercation in the local cantina, defies his older colleague and instead joins Judith's band of renegades. O'Brien is sympathetic to Judith's claim that local political boss Ben Sanderson (William Royle) is usurping the local ranches by means of phony taxes, but maintains that the girl must make her argument in court. In the end, the greedy Sanderson shows his true face and Judith and her vigilantes are found innocent of all charges. In between the action -- which is fast and plentiful -- resident RKO balladeer Ray Whitley yodels "Move Slow, Little Doggie" by Willia Phelps, and Cecilia Callejo, as Holt's love interest, performs a Mexican dance. Borrowed from Columbia Pictures, a ravishing Rita Hayworth is not the usual placid prairie flower but takes an active part in all the ridin' and shootin'. After all, as her character explains, "I wouldn't have my men do anything I wouldn't do." Renegade Ranger was filmed a third time by RKO in 1943, under its original title, Come On, Danger!, and starring Tim Holt, now a full-fledged B-Western star. ~ Hans J. Wollstein, All Movie Guide

In this 20th-century western, hero Gene Autry uses his old-fashioned horse and six-shooter to foil the plans of cattle rustlers who ply their trade via airplanes, refrigerated trucks and shortwave radios. Songs include: "The West Ain't What It Used to Be?", "I Picked up the Trail When I Found You", "Heebie, Jeebie Blues" (sung by Smiley Burnette) and "Defective Detective from Brooklyn" (also by Burnette). ~ Sandra Brennan, All Movie Guide

In his second "Range Rider" music Western for poverty row newcomer Grand National, Tex Ritter played Tex Saunders, the troubadour brother of the sheriff (Forrest Taylor) of Rio Grande, Texas. When Tex and sidekick Chilo (Syd Saylor) on behalf of Laurie Hart (Eleanor Stewart) begin to look into what appears to be a gangster-style protection racket, saloon-owner Ike Travis (Warner Richmond) has the troubadour framed for killing bandit Red Dugan (James Mason). An angry populace demand an arrest and Tex is saved in the nick of time from being lynched. Outriding the posse, Tex manages the round up the racketeers, including the real killer.Headin' for the Rio Grande was filmed for around $8000 at Hollywood's Talisman studios and at the Monogram ranch near Placerita,, California. Ritter, who was under a personal contract to producer Edward Finney and not Grand National, earned a flat fee of $2000 for each of his Westerns. Reportedly, Ritter convinced Grand National to hire silent clown Snub Pollard for a small supporting role, having admired Pollard's silent slapstick comedies as a child in East Texas. Pollard would return in later films as Ritter's comic sidekick. In his first of 25 appearances opposite Ritter, veteran Bad Guy Charles King played one of the villain's henchmen. "I must have killed old Charlie King at least twenty times," Ritter would later reminisce. "Usually behind the same rock." ~ Hans J. Wollstein, All Movie Guide

It was standard operating procedure at MGM to cast their favorite singing team of Nelson Eddy and Jeanette MacDonald in new versions of old operettas, then retain only the music, drastically altering the plotlines to conform to popular tastes. This was the treatment afforded the Rudolf Friml-Herbert Stothart-Oscar Hammerstein-Otto Harbach musical Rose Marie--and thank heaven that MGM decided to jettison the original's creaky libretto about a woman who offers her body to the villain to save the hero from a trumped-up murder charge (this chestnut seemed old-fashioned even in 1928, when Joan Crawford starred in the silent version). In lieu of this wearisome storyline, the Eddy-MacDonald version casts MacDonald as a spoiled, temperamental Canadian opera star who learns that her uncontrollable brother (James Stewart), serving a prison sentence, has escaped to a cabin in the North Woods and needs someone to tend his wounds. MacDonald travels to northern Canada incognito, where in a hilarious sequence she tries and fails to pass muster as a dance-hall girl. Upon meeting likeable mountie Nelson Eddy, who unbeknownst to her has been assigned to locate her brother, MacDonald fabricates a story about needing an escort for a rendezvous with her lover. Such latter-day parodies as Dudley Do-Right notwithstanding, the Eddy-MacDonald sequences are often deliberately played for laughs, even when Nelson is uttering such lines as "Heavy? Why, I could carry you for hours!" Gradually, Nelson and MacDonald fall in love, only to fall out of love when Nelson tracks down and captures MacDonald's brother. Despite this rift, a happy--and logical--ending is not long in coming. It might be hard to watch such Eddy-MacDonald duets as "Rose Marie" and "Indian Love Call" with a completely straight face; it is reassuring, however, to find out that the filmmakers knew that "Rose Marie" was ripe for ridicule, and decided to laugh at themselves first in order to disarm the audience. To avoid confusion with the 1955 remake, the 1936 Rose Marie was retitled Indian Love Call for TV showings. ~ Hal Erickson, All Movie Guide

Harold Lloyd plays Ezekial Cobb, a missionary's son who has spent his entire life in China. Cobb is sent to his father's home church in California, where it is hoped he will find a wife. A true babe in the woods, Cobb is befriended by politician Jake Mayo (George Barbier). Mayo is a cog in a crooked political machine whose bosses plan to set up a "reform" candidate for mayor, so that they can continue their underhanded activities unmolested. The candidate drops dead, so Mayo sets up the innocent Cobb as the mayor-to-be--a "cat's paw" to deflect attention from the system's corruption. But once elected, Cobb takes his duties quite seriously and begins to clean up the town. The machine frames Cobb with planted evidence of wrongdoing, destroying the lad's political career. Undaunted, Cobb remembers the story of an ancient Chinese leader, who, similarly disgraced, took the law in his own hands and executed all known criminals in his last days of power. Cobb orders that every crook in town be rounded up and brought to a dark cellar. He insists that they confess their crimes or face instant death--and backs up his words by "beheading" two of the crooks on the spot! Actually, these executions are cleverly designed magical illusions, and no one is really killed; but the terrified criminals are so hoodwinked by Cobb's apparent cold-bloodedness that they literally climb over one another to confess. Cobb is exonerated, and honesty is restored to his administration. While not Harold Lloyd's best feature film, The Cat's Paw is definitely his most unorthodox. ~ Hal Erickson, All Movie Guide

In Scarlet River, Tom Keene plays "himself," a cowboy movie star, on location in the Wide Open Spaces for his latest epic. The locals chortle and guffaw at these picture people posing as genuine Westerners, but Keene proves his worth by rescuing Dorothy Wilson from villainous ranch foreman Creighton Chaney (aka Lon Chaney Jr.). Edgar Kennedy plays the flustered director, forever tearing out what little hair he has. The film-within-a-film sequences are staged with reasonable accuracy (future consumer advocate Betty Furness shows up as Keene's on-camera ingenue), while a few shots at the RKO commissary offer glimpses of studio contractees Myrna Loy, Joel McCrea and Bruce Cabot. The basic premise of Scarlet River would be revived in several future westerns by such cowboy stars as Charles Starrett, Buck Jones and Gene Autry. ~ Hal Erickson, All Movie Guide

A pre-Hopalong Cassidy William Boyd is the robust star of this logging camp melodrama which also featured a very young Ginger Rogers -- who performs Bernard Grossman and Harold Lewis' "How Could I Love You" -- and Hollywood veteran Hobart Bosworth. The latter plays Jim Gannon, a lumberjack boss whose son Buck (Boyd) is neglecting his duties in favor of romancing riverboat entertainer Honey (Rogers). Father and son come to blows but their animosity ends after Buck rescues Jim from a runaway logging train. Feeling left out, Honey plans to leave with the carnival boat but decides to stick around after violence erupts at the hands of villainous lumberjack Hack Logan (Fred Kohler). Carnival Boat was filmed on location at Big Pine, CA. ~ Hans J. Wollstein, All Movie Guide

In this western based on a novel by Zane Grey, Buck Duane (George O'Brien) is a cowboy who is forced to kill a man in an act of self-defense; the same man also took the life of Buck's father. However, the law isn't so sure Buck's motivations were pure, and Buck is forced to leave town one step ahead of the peace officers. Buck gets a chance to prove his good intentions when he helps protect a rancher who is being harassed by a gang of thugs, and also rescues his lady love, Ruth (Lucille Brown), from the same outlaws. However, Buck's brave actions do not come without retaliation -- and they also attract the attention of Lola (Myrna Loy), one of the hombre's molls. The Last Of The Duanes was filmed before in 1924 (with Tom Mix in the lead), and the story would hit the screen again in 1941, starring George Montgomery. ~ Mark Deming, All Movie Guide

Cowboy hero Hoot Gibson made his talking-picture debut in the self-produced The Long Long Trail. The star is cast as The Ramblin' Kid, a rodeo rider whose chances of winning an important sweepstakes tournament are foiled by scurrilous Mike Wilson (played by the "original" James Mason). Slipping the Kid a Mickey, Wilson absconds with the sweepstakes money. The final scenes, filmed in the early widescreen Magnascope process, show the Kid pursuing and lassoing the fleeing villain. Walter Brennan, cast as Gibson's sidekick Skinny Rawlins, likewise made his talkie bow in this pleasing vehicle, while Sally Eilers, the future Mrs. Hoot Gibson, fulfilled the heroine duties. ~ Hal Erickson, All Movie Guide

Gary Cooper, as a lanky Wyoming ranch and foreman, places his gun on a poker table after being insulted by one of the gamblers and intones, "If you want to call me that . . . smile." That much quoted line's origin is in this early sound version of the Owen Wister novel, The Virginian, directed by Victor Fleming. When the Virginian meets his old friend Steve (Richard Arlen), he gives him a job on his crew at the Box H Ranch near Medicine Bow, Wyoming. Newly arrived in town is the new schoolmarm, Molly Wood (Mary Brian), and both men take notice. Afterwards, in a saloon, The Virginian encounters the evil Trampas (Walter Huston), and the two get into an argument over a dancer. The Virginian calls Trampas' bluff but, although Trampas backs down, he seethes inside. Afterwards, following a christening party, The Virginian walks Molly back home, and a friendship grows between the two that burgeons into love. But when Steve joins up with Trampas and his gang of rustlers and is captured by a posse, The Virginian is forced to supervise Steve's lynching. After that, Molly spurns The Virginian. However, when The Virginian is wounded, Molly forgets all that, and nurses him back to health. They decide to finally marry, but Trampas interferes with their plans --Trampas wants The Virginian to leave town, and he is out gunning for him. ~ Paul Brenner, All Movie Guide