Ethan Laidlaw Movies

The general perception of the Technicolor costume adventure movies that Maria Montez and Jon Hall made for Universal in the early 1940's is that they were pure escapist entertainment, intended to make people forget for an hour or so about the Second World War and the general world situation. And generally that is true about them -- they were mostly no "about" much more than having fun for 90 minutes or so amid pretty sets with lots of action and some pretty women in exotic outfits. But watching Ali Baba and the Forty Thieves, one has to wonder if even here the screenwriter, Edmund L. Hartmann, was able to totally get away from the day-to-day reality around him. The opening Mongol invasion of Bagdad and the murder of the old Caliph (Moroni Olsen) while trying to set up a government-in-exile without thinking of the German and Japanese conquests and occupations of various nations that would have been going on at the time; additionally, the fact that the old Caliph is murdered with the help of a traitor in his own noble ranks -- a "quisling" in the term coined during World War II -- wouldn't have been missed by audiences at the time. Further, the screenplay very specifically paints the forty thieves as heroes who have gone from being criminals to an active resistance force against the occupying Mongols -- indeed, at the denouement, their invasion of the palace is greeted as a day of liberation by the people of Bagdad. The movie walks a strange tightrope, casting about veiled topical references of that sort, even as is otherwise sufficiently tongue-in-cheek to cast Andy Devine as a desert bandit. Obviously, Ali Baba And The Forty Thieves was sold as -- and mostly intended as -- light entertainment, but just below that glitzy Technicolor surface were some fascinating allusions to the real world. None of this stops Ali Baba And The Forty Thieves from being immense fun -- it is, even if the "fun" isn't totally escapist in nature -- and it's great to look at as well, even 60 years on; Universal has apparently kept preservation-quality source materials on this and Hall and Montez's other Technicolor costume romps. And this particular entry in that group of movies also contains one very instructive clue to the morays and censorship of the time in one scene, in which the hero meets the heroine bathing at an oasis -- the makers seem to have been forced to insert a particular shot that is there for no other reason then to make it clear that she is not totally naked when he sees her. ~ Bruce Eder, All Movie Guide

One of the eerier chillers of its period -- and one of the best ever to come out of Paramount -- Stuart Heisler's Among the Living is a strange and compelling mix of social drama, horror film, and suspense thriller. The story opens with the funeral of Maxim Raden, the patriarch who was pretty much responsible for building up the town that bears the family name, and which has been dominated for decades by the now-idle mill that he owned. Present at the funeral is Dr. Ben Saunders (Harry Carey Sr.), Raden's oldest friend, and the surviving Raden son John (Albert Dekker), who has been away for most of the last 25 years and recently married Elaine (Frances Farmer), a beautiful young woman from New York. John was one of a pair of twin boys; the other, Paul, died in an accident a quarter century ago, just after John was sent away to school. But Saunders and Maxim Raden had a secret between them -- that Paul Raden didn't die, but went dangerously insane, and has kept been alive all of this time, in a hidden room in the decaying Raden mansion, tended to by the doctor and the faithful family servant Pompey (Ernest Whitman). Paul was a victim of abuse by his overbearing father, and suffered brain damage from a beating he received while trying to protect his mother. He has never stopped "hearing" his father's threats or his mother's weeping, and they leave him prone to violent, potentially murderous outbursts of rage. Worse still, the death of his father has agitated him into a state where he is able to escape the mansion. Once freed and relieved of his quarter century of isolation, Paul is at once confused by and delighted with the company of people; he heads to the town and rents a room at a seedy boarding house, where he immediately attracts the attention of the landlady's frisky (and avaricious) daughter Millie (Susan Hayward) with his large bankroll, free-spending habits, and lost-puppy-dog demeanor. Meanwhile, the doctor reveals the truth about Paul to John, who wants to notify the authorities that his brother is loose and potentially dangerous -- but the doctor won't hear of it, fearing that news of the insane son will tarnish the Raden name and the reputation of the clinic that Maxim founded and funded on the doctor's behalf, in return for his covering up the son's existence.
The stakes get raised higher when the coroner reveals that a death the doctor tried to cover up was, in fact, a murder, and then a young woman is found strangled. While John is torn between sympathy for his brother, who never got the help or care he needed, and his feeling of responsibility to the town, the doctor tries to continue the cover-up by posting a 5,000-dollar reward for the capture of the killer. This sets off an orgy of assaults and destruction as the work-starved townspeople, led by Millie's ex-boyfriend Bill Oakley (Gordon Jones), begin rounding up anyone who looks even the least bit suspicious or out of place, trying to get the reward. Millie's greed is also brought to the fore and she persuades her new boyfriend, Paul, to go with her to the one place no one has searched yet -- the Raden mansion. Paul's veneer of calm unravels as he finds himself back in the location of his imprisonment, and in the course of the fight and the chase that ensues, John is caught and accused, by Millie and all of the other witnesses to Paul's outbursts, as the killer. Now it looks like a lynching is in the offing as hundreds of angry, drunken, greedy townspeople gather together to mete out justice -- and John must make them believe that he has a twin who is responsible for the murders. ~ Bruce Eder, All Movie Guide

With less sumptuous production values perhaps, but with just as much savoir faire as in his earlier Fox Westerns, Tom Mix starred in this late-silent Wild West melodrama from poverty row company FBO as a ranch foreman assigned to escort his employer's daughter (Kathryn McGuire) from the big city back to the ranch. The girl, Ellen, is carrying the valuable Regent diamond, and the pair become the target of a gang of thieves led, it turns out, by Ellen's former fiancée Rodney (Ernest Hilliard). Still a name to be reckoned with, Mix was released from his contract later that year when FBO abandoned the outdoor units in preparation for a merger with RKO and sound films. ~ Hans J. Wollstein, All Movie Guide

Another low-budget entry in PRC's interminable Texas Ranger series, Border Buckaroos is perhaps the only B-Western to misprint its own name in the titles, which read "Border Buckaroo." (Supporting actor Ethan Laidlaw's name became "Laidlow," and so on.) The rangers -- Tex (Dave "Tex" O'Brien), Jim (James Newill), and Panhandle (Guy Wilkerson) -- are this time en route to Boulder City to investigate the murder of rancher Dan Clark when they happen upon Trigger Farley (Reed Howes), a gunslinger hired by Cole Melford (Jack Ingram), the chief suspects in Clark's murder. Tex assumes Trigger's identity and Jim impersonates Tom Bancroft (Kenne Duncan), the heir to Clark's estate. After a bit of confusion concerning Ellen Clark (Christine McIntyre), the other Clark heir, the rangers get their murderer and the two heirs discover that the ranch contains a secret mine. The blond McIntyre, fondly remembered for her work opposite the Three Stooges, always refused to discuss the Stooges but would happily answer questions about her participation in Westerns like Border Buckaroos. ~ Hans J. Wollstein, All Movie Guide

A prospector's unhappy wife (Alice Calhoun) takes in, cares for and later comes to love a man (LeRoy Mason) who is unjustly accused of a killing. The true killer, however, turns out to be her husband (Ethan Laidlaw), a fact the audience spotted long before the characters caught on. This basically silent western came augmented with a few sound effects and offered an early sympathetic portrayal by LeRoy Mason, a dapper-looking actor more at home playing smooth-talking villains. In fact, had the film been made only a few years later, Mason, whose darkly good looks were almost too sinister for heroics, would undoubtedly have played the murderous husband. ~ Hans J. Wollstein, All Movie Guide

In this western, a mining engineer vengefully seeks out the claim jumpers that murdered his brother. ~ Sandra Brennan, All Movie Guide

Carrie is based on Sister Carrie, a novel by Theodore Dreiser. Dreiser's clumsy, unwieldy prose is streamlined into a neat and precise screenplay by Ruth and Augustus Goetz. Jennifer Jones stars as Carrie, who leaves her go-nowhere small town for the wicked metropolis of Chicago. Here she becomes the mistress of brash traveling salesman Charles Drouet (Eddie Albert), then throws him over in favor of erudite restaurant manager George Hurstwood (Laurence Olivier). Obsessed by Carrie, George steals money from his boss to support her in the manner to which he thinks she is accustomed. Left broke and disgraced by the ensuing scandal, Carrie deserts George to become an actress. Years later, the conscience-stricken Carrie tries to regenerate George, who has fallen into bum-hood. If Laurence Olivier seems a surprising casting choice in Carrie, try to imagine what the film would have been like had Cary Grant, Paramount's first choice, accepted the role. ~ Hal Erickson, All Movie Guide

Never one to hide his talent under a bushel basket, director Rouben Mamoulien proudly proclaimed that, while there were ten killings in his 1931 gangster drama City Streets, the audience never sees any of them. This was not the only innovation in this fascinating early talkie, in which straight-arrow movie hero Gary Cooper is cast as a racketeer known only as The Kid. He has chosen a life of crime out of love for Nan (Sylvia Sidney), the daughter of mob henchman Pop Cooley (Guy Kibbee). Eventually railroaded into prison by her crooked cohorts, Nan implores The Kid to give up the rackets, but he refuses. Things go downhill very rapidly after that, culminating with The Kid and Nan being taken "for a ride" by rival thugs. Cast in a role originally intended for Clara Bow, Sylvia Sidney does a magnificent job and was soon typecast as a downtrodden Depression victim, born with two strikes against her. Conversely, Gary Cooper never again played anything quite like "The Kid." ~ Hal Erickson, All Movie Guide

Set just after the close of the Civil War, a former Confederate officer (Ray Milland) joins a vaudeville target-shooting show to avoid detection by the Union army. Working his way West, he falls in league with a group of Southern copper-miners being harassed as they try to make a living. ~ John Bush, All Movie Guide

In this episode of the Three Mesquiteers series of westerns the trio must help two rival sides involved in a range war settle their differences. The story is set in 1906, and the rivals are homesteaders trying to take advantage of Roosevelt's Reclamation Act and the landowners who oppose the act and want to see the Act repealed. ~ Sandra Brennan, All Movie Guide

This silent gangster film plays like a B-Western and was actually made by specialists of that genre. There is even a thrilling transfer stunt where young Francis X. Bushman, Jr. (or his stunt double) switches from speeding motorcycle to runaway automobile much like a Western hero would from horse to carriage. Bushman plays a small-town cub reporter who comes to the assistance of a couple of revenue agents (Jack Perrin and Hal Walters) tracking a gang of hi-jackers. Half-way through, unfortunately, the story moves indoors to a swank hotel and the film begins to drag a bit, its makers obviously out of their natural element. Western villains Ethan Laidlaw and Tom London are the leaders of the gang, while Mildred Harris, the first Mrs. Charles Chaplin, does the ingenue bit as the sister of one of the agents. The son of the matinee-idol, Francis X. Bushman, Jr. later worked under his real name, Ralph Bushman. The penultimate entry in a series of eight crime melodramas, Dangerous Traffic was produced independently by Otto K. Streyer for release by poverty row company Goodwill. ~ Hans J. Wollstein, All Movie Guide

Though not quite as good as his previous The Montana Kid, Bill Cody's 1931 western Dugan of the Bad Lands was still better than the usual run of low-budget westerns. The white-Stetsoned, Canadian-born Cody stars as Bill Duggan, who after the death of his prospector friend promises to look after the friend's young son Andy (Andy Shuford). In the course of their travels, Bill and Andy try to solve the murder of Sheriff Manning (John Elliot). The culprit turns out to be Manning's own deputy Dan Kirk (Ethan Laidlaw), who of course proves to be no match for the brawny Bill. Blanche Mehaffey, one of Hollywood's most prolific "B"-pic leading ladies, plays the heroine. ~ Hal Erickson, All Movie Guide