Hal Price Movies

When the order of the Western frontier is threatened by bandits, cowboys are the only measure of justice in the area. ~ All Movie Guide

A Federal agent masquerades as a horse trader in order to bring outlaw terrorists to justice in this western. ~ Sandra Brennan, All Movie Guide

Billy the Kid is played by Bob Steele in this PRC sagebrusher, while his "fighting pals" are Al "Fuzzy" St. John and Carleton Young. Billy and his buddies arrive in the town of Paradise, which fails to live up to its name. The villain is a local banker (Edward Peil Sr.), who of course is also the secret mastermind behind all criminal activities. Billy sizes up the situation and settles matters with a combination of fists and shootin' irons. Before emerging on screen as Billy the Kid's Fighting Pals, the film was briefly titled Billy the Kid Trails West, then Trigger Pals. ~ Hal Erickson, All Movie Guide

This Frankie Darro-Kane Richmond vehicle benefits from the brisk direction of onetime serial star Charles Hutchison. Richmond plays Bomber Brown, a pugilist forced to go on the lam after he punches out crooked gambler Smoothy (Jack LaRue). Travelling incognito bomber befriends aspiring boxer Baby Face (Darro) and trains the boy for the Championship. Smoothy tries to sabotage Baby Face's career, but Bomber cleans the villain's clock once and for all. Produced independently by the parsimonious Maurice Conn, Born to Fight is at its best in the boxing scenes, photographed with all the slick efficiency of an "A" production. ~ Hal Erickson, All Movie Guide

In this episode of the western series, the Mesquitters try to stop a ring of silk thieves while dealing with a shady medicine show man and his kids. One of his offspring is a beautiful young woman. The Mesquiteers must hurry to find the thieves as they too are suspects. ~ Sandra Brennan, All Movie Guide

Bob Steele plays a Boy in Blue in the low-budget western Cavalry. The diminutive Steele leads his troopers against all manner of dangerous foes, all for the benefit of leading-lady Frances Grant. Naturally, Steele is also trying to avenge the murder of his father, just as he'd done in his previous 30 films. Steele's real-life father Robert Bradbury warmed the director's chair for Cavalry. Produced by A. W. Hackel's Spectrum Pictures, the film was distributed by Republic. ~ Hal Erickson, All Movie Guide

Film historian William K. Everson once observed that the secret to the success of Cecil B. DeMille's 1934 Cleopatra is that DeMille subtly reshaped the known historical events into a contemporary "gold-digger makes good" scenario. Exhibiting the same determination with which Barbara Stanwyck sleeps her way to the top in 1933's Baby Face, Queen Cleopatra (Claudette Colbert) uses her feminine wiles to become sole ruler of Egypt. By turns kittenish and cold-blooded, Cleopatra wraps such otherwise responsible Roman worthies as Julius Caesar (Warren William, who wittily plays his role like one of his standard ruthless business executives) and Marc Antony (Henry Wilcoxon) around her well-manicured little finger. To emphasize the "contemporary" nature of the film, DeMille adds little modernistic touches throughout: The architecture of Egypt and Rome has a distinctly art-deco look; a matron at a social gathering clucks "Poor Calpurnia...well, the wife is always the last to know"; and, after Caesar's funeral, Mark Anthony is chided by an associate for "all that 'Friends, Romans, Countrymen' business!" Cleopatra's barge scene and her suicide from the bite of a snake marked two of the most memorable sequences in DeMille's career. Remarkably, for all the enormous sets and elaborate costumes, Cleopatra came in at a budget of $750,000 -- almost $40 million less than the 1963 Elizabeth Taylor remake. ~ Hal Erickson, All Movie Guide

An interesting idea falls somewhat flat in this average Allan Lane Western, in which the young sister (Twinkle Watts) of a returning World War II veteran learns about the experiences of their grandfather just after the Civil War. Having served with Texas Cavalry, Jim Christie (Allan Lane) returns home to Corpus Christi only to be falsely accused of murdering a local commissioner. Escaping, our hero teams up with three desperadoes, Rocky (Tom London), Spade (Kenne Duncan), and Steve (Bob Wilke), and together they rob a stagecoach. But Jim takes umbrage to Spade's harassment of a female passenger and vows to go straight. That, however, is easier said than done and Jim's past is revealed by nasty saloon owner Wade Larkin (Roy Barcroft), whose reign of terror Jim has attempted to prevent. After beating Larkin at his own game, Jim is all set to give himself up to Marshal Dan Adams (Ed Cassidy) when the loyal Steve takes a shot at the lawman. The quick-thinking Jim takes the bullet instead and his heroism is awarded with a full pardon. After learning the story of Corpus Christi Jim, the modern day Captain James Christie (also Allan Lane) is made an honorary Captain of the Texas Rangers by the Governor of the State of Texas. Corpus Christi Bandits was the second to last entry in Allan Lane's initial Western series for Republic Pictures. ~ Hans J. Wollstein, All Movie Guide

Singing cowboy Jack Randall does his usual in Monogram's Danger Valley, Randall's second starring film. When someone discovers gold in them thar hills, several disreputable promoters try to take financial advantage of the ensuing rush. By producing a packet of forged papers, two of these crooks manage not only to fleece the prospectors, but to set up an "outlaw colony" in a rattletrap ghost town. Randall and his pal Lucky (Hal Price) do their best to protect the miners and rout the villains. Though a passable singer, Jack Randall is somewhat stiff as an actor; he was far more natural in a reel of Monogram outtakes, in which he constantly curses himself out after blowing his lines. ~ Hal Erickson, All Movie Guide

Eccentric professor Einfeld (Lee Kohlmar) is lecturing a select group of scientists at a darkened planetarium when one of the spectators is shot to death. Homicide detective Ted Mallory (Russell Hopton) can't get a straight story from the witnesses and refuses to allow reporter Kay Palmer (Lola Lane) to file her story until he can determine the direction from which the murderer fired the shots. Kay manages to phone in her story anyway, putting Mallory on the spot with the DA. Burying the hatchet, Mallory and Kay combine forces to nab the killer and expose his diabolically clever method of firing a gun without being present in the room! Though filmed on a tiny budget, Death from a Distance is an impressively spooky whodunit, benefitting immeasurably from the special-effects expertise of Jack Cosgrove. ~ Hal Erickson, All Movie Guide

In this comedy, a local citizen, miffed by the mayor's new milk tax, buys his own cow. ~ Sandra Brennan, All Movie Guide

Cited by film historian William K. Everson as one of the fastest-moving crime melodramas of the 1930s (if not the fastest) Fog Over Frisco still manages to leave viewers breathless. Top-billed Bette Davis plays giddy heiress Arlene Bradford, whose perverse fascination with gangsters gets her mixed up in a stolen-securities scheme. Arlene's more sensible sister Val (Margaret Lindsay) tries to keep her out of trouble, but this proves impossible. Entering into the fray are hotshot society reporter Tony (Donald Woods) and goofy photojournalist Izzy (Hugh Herbert), who like Val get in over their heads when they stumble upon the body of the murdered Arlene. The identity of the killer remains a well-concealed secret until Izzy, of all people, stumbles across a vital clue. Things really begin to accelerate when Val is kidnapped by Arlene's gangster cohorts (who, interestingly enough, are very reluctant to take her prisoner and do so only when there's no other option!), leading to a mile-a-minute rescue and hasty plot wrap-up. Among the many good guys, bad guys and red herrings are Alan Hale as an Irish cop, Robert H. Barrat as a butler who isn't a butler, and Henry O'Neill as a gosh-knows-what who may be the murderer. Though physical action is at a minimum, Fog Over Frisco is kept constantly on the move by director William Dieterle, using every cinematic trick and optical effect (wipe dissolves, iris-outs, swish-pans etc.) at his disposal. The film was less effectively remade as Spy Ship in 1942. ~ Hal Erickson, All Movie Guide