John Carpenter Movies

Night of the Ghouls (which was also known as Revenge of the Dead) was Edward D. Wood Jr.'s first attempt at making a horror film without any contribution, either in a true performance or through the presence of archival footage, from Bela Lugosi, who had died three years earlier. The plot, which was as confusing as most of Wood's scripts, seems to make it a sequel to Bride of the Monster and, to a lesser degree, Plan 9 From Outer Space, incorporating events and characters from both, including Paul Marco's portrayal of the ubiquitous Officer Kelton. (Indeed, some Wood scholars have referred to the three movies as a group as "the Kelton trilogy," since he is the only character to turn up essentially the same in all three films.) Duke Moore, who portrayed the detective lieutenant in Plan 9 From Outer Space, is back in this film, and now he seems to be identified as a specialist in bizarre and unusual cases, making him sort of Ed Wood's distant precursor to The X Files' agent Fox Mulder and The Night Stalker's Carl Kolchak. This time there are strange goings-on, including disappearances and ghostly apparitions, at a mysterious house in a remote part of town. It turns out that this is the same house (rebuilt) and the same locale where Bela Lugosi's mad scientist was creating zombies in Bride of the Monster, and that Tor Johnson's Lobo is still there, somewhat the worse for wear. Instead of a mad scientist, however, the man behind the mayhem is a phony mystic named Dr. Acula, played by ex-cowboy actor Kenne Duncan. None of it makes too much sense, as though anyone needs to be told that, knowing that this was an Ed Wood movie, but parts of it are fun in that unique way that Wood's movies can be -- the strange word usages and dialogue patterns, as well as odd characterizations, mismatched shots, and incomprehensible plot elements all weave their eerie spell on the viewer willing to absorb them. ~ Bruce Eder, All Movie Guide

This romantic melodrama centers on a love triangle shaped by the restless, dissatisfied girl friend of a crop-duster who refuses to marry her. ~ Sandra Brennan, All Movie Guide

The redoubtable John Carpenter strikes again with the ultra-low-budget I Killed Wild Bill Hickok. Carpenter serves as the film's producer and screenwriter, and also heads the cast, pseudonymously billed as John Forbes. Everybody knows that Wild Bill Hickok (here played by Tom Brown) was shot in the back while playing poker, but Carpenter/Forbes boldly forges ahead with a wholly fictional scenario, wherein Wild Bill meets his Waterloo in a High Noon-style gun battle with one "Johnny Rebel" (played, naturally, by Carpenter). Though the film's cast (Helen Westcott, Virginia Gibson, Denver Pyle) is more impressive than usual for a John Carpenter production, the film betrays its cheapness through its heavy reliance upon mismatched stock footage. Warming the director's chair is ace stuntman Richard Talmadge, who despite his vast experience isn't quite in the John Ford or Lesley Selander league. ~ Hal Erickson, All Movie Guide

The redoubtable Johnny Carpenter is producer, author and star of the low-budget western Lawless Rider. Exploiting his slight resemblance to Montgomery Clift to the hilt, Carpenter plays a taciturn sheriff who disguises himself as a notorious gunslinger. His mission: to stem a series of violent raids on local cattle ranchers. As always, Carpenter surrounds himself with such rodeo-circuit cronies as trick roper Texas Rose Bascom and such moderately talented relatives as his brother Frank Carpenter. There are also quite a few seasoned cowboy-flick veterans on hand, including director Yakima Canutt, leading lady Noel Neill, and supporting players Douglass Dumbrille, Frankie Darro, Kenne Duncan and Bud Osborne. ~ Hal Erickson, All Movie Guide

Son of the Renegade was the first of a short series of westerns produced and written by John Carpenter (not the horror-film specialist), who also starred. The villain, a chap named Three Fingers (Jack Ingram) frames Red River Johnny (John Carpenter) for a series of bank holdups. While trying to clear himself, Our Hero crosses the path of characters with the names Valley, Dusty, Wild Bill, Cherokee, Baby Face Bill and the Long Haired Kid, the Australian Kid, the Texas Kid. Evidently Carpenter isn't taking any chances: he wants the world to know he's making a western. John Carpenter made one more of these low-budgeters before he began billing himself as John Forbes. ~ Hal Erickson, All Movie Guide

With a female protagonist as its only selling point, Cattle Queen trots out a farfetched Western story of Queenie Hart (Maria Hart), a rather glamorous bleached blonde cattle driver in 1866 Wyoming. After conning a potential buyer (Robert Robinson) into believing that Queenie's herd is diseased, nasty would-be empire builder Duke Drake (Robert Gardett) is confronted by the girl's new tough foreman, Bill Foster (Drake Smith). In retaliation, Drake frames Bill for a stage robbery, actually committed by his own henchmen, and arranges a phony trial presided over by the saloon's bartender, Judge Whipple (Douglas Wood). Queenie, however, interrupts the "trial" with the news that the townswomen have all elected Jim marshal. To uphold the decision, Bill has secured the release of three convicted outlaws: Blackie Malone (Joe Bailey), Bad Bill Smith (James Pierce), and Shotgun Thompson (Emile Meyer), two of whom join in the fight against Drake and his gang. With all this muscle -- and the power of prayer! -- Queenie finally bests Drake in a climactic shootout. ~ Hans J. Wollstein, All Movie Guide

The Fighting Stallion stars Bill Edwards as Lon Evans, an ex-GI who is slowly losing his eyesight. Lacking a seeing-eye dog, Lon opts for a seeing-eye horse, training one of his father's stallions for that purpose. Unfortunately, the horse is slated to be destroyed because of its alleged wildness. Lon thinks otherwise, and sets about to prove it--though he hasn't much time. The film slows down whenever the romantic subplot involving Lon and Jeanne Barton (Dorris Merrick) rears its silly head. Overall, The Fighting Stallion is a film in which the title character has all the best scenes. ~ Hal Erickson, All Movie Guide

Described by one critic as a western version of The 39 Steps, Relentless stars Robert Young as a cowboy on the lam. Framed for murder, Young must find the one man who can clear him, while a posse dogs his trail. He briefly becomes an outlaw, hoping to make contact with his quarry by befriending the dregs of the west, notably mercenary saloon keeper Akim Tamiroff. Marguerite Chapman plays the love interest, while Barton MacLaine does his usual as the main heavy. Directed at a rapid clip by George Sherman, Relentless does its best to live up to its title. ~ Hal Erickson, All Movie Guide

C&W singer Jimmy Wakely would never be Gene Autry or Roy Rogers, but he strove to please. In Song of the Wasteland, Jimmy tries to uphold law and order in a tough frontier town. The villainy was in the grimy hands of Holly Bane, Pierce Lyden, Ted Adams and George Cheseboro, so Wakely had his work cut out for him. On hand for laughs was Lee "Lasses" White, whom one western historian characterized as the unfunniest comic relief in screen history. Director Thomas Carr keeps the action flowing, even during the musical sequences. ~ Hal Erickson, All Movie Guide

Produced by Gower Gulch maverick Robert L. Lippert and filmed in not-so-glorious two-strip Cinecolor near Idyllwild, California, this Northwest Mounted melodrama starred the veteran Bob Steele as a rather surly mountie who, against his own better judgment, is persuaded to escort a patronizing Eastern girl (Joan Woodbury through the wilderness to her uncle's logging camp. Constantly bickering with her guide, the girl is carrying $20,000 in her purse, payroll money which is promptly stolen. At the logging camp, Steele runs into trouble with the local sergeant, Means (John Litel), who may not be all he appears to be, a wife-beating saloon-keeper (George Meeker, and sundry other more or less mysterious persons, most of whom were aware of Miss Woodbury's travel plans. Steele, who was nearing the end of his starring career (four Grade-Z Westerns were to come), also headlined Wildfire (1945), another Cinecolor "experiment" for Lippert's Action Pictures. Northwest Trail, however, was all but stolen by Miss Woodbury, whose feisty character made up for Steele's aging inertia. Troubled silent star Madge Bellamy made her final screen appearances as the mistreated wife of the saloon proprietor and real-life circus performer Poodles Hanneford played himself Like so many low-budget mountie melodramas, this one implied a non-existent connection to pulp writer James Oliver Curwood. ~ Hans J. Wollstein, All Movie Guide

Statehood for Wyoming became the weighty focal point in this very low-budget music Western from poverty row company PRC, which served to introduce Eddie Dean as the company's newest singing cowboy. Old Ma Conway (Sarah Padden) champions statehood for Wyoming, believing the measure would put an end to the territory's lawlessness; but the elderly woman is opposed by cattle buyer and tax assessor Lee Landow (Ian Keith and greedy banker Dixon (Robert Barron). When Ma offers her opinion in a newspaper article, Landow sends his henchman Ringo (Rocky Camron) to put the fear of God in the woman. Ranch foreman Eddie Reed (Dean) is outraged, and after warbling such Western ditties as "My Herdin' Song" and "Wild Prairie Rose" to Vicky (Jennifer Holt), Ma's foster-daughter, the cowboy takes matters into his own hand. At first he is aided by a mysterious stranger, "The Cheyenne Kid" (Lash LaRue making his Western debut), but this black-clad rider proves to be a wolf in wolf's clothing, who is in cahoots with Ringo. A former National Barn Dance crooner, the rather homely Dean had been bouncing around Hollywood since 1936, writing prairie ballads and supporting Western stars such as Ken Maynard and George Houston. ~ Hans J. Wollstein, All Movie Guide

The first of actor Sunset Carson and director Thomas Carr's collaborations, Santa Fe Saddlemates is about a U.S. marshal (Carson) attempting to break a diamond smuggling ring at the U.S./Mexican border. Accompanied by a female reporter (Linda Stirling), Carson has to pose as a bandit in order to infiltrate the criminals' inner-circle. ~ Stephen Thomas Erlewine, All Movie Guide