dougdoepke Enjoyable Western that even non-Wayne fans should find entertaining. Film blends equal parts mystery, bravado, romance, and humor in fairly smooth fashion. Mystery plot comes from actor-writer Paul Fix, comic relief from incomparable Gabby Hayes, while convincing bravado is supplied by you-know-who. Still and all, this is a Gabby Hayes showcase, and I would think a high point of his career ( he had just left the Hopalong series). In fact, the first ten minutes are among the funniest and most satisfying of any Western on record: the chemistry between Hayes and Wayne is simply terrific and easily tops that between Wayne and his two leading ladies. This is a fine "buddy" picture, even if the participants are wildly unequal in age and skills. My one complaint -- special effects and art direction. Scenic shots from Sedona, AZ, simply do not blend well with pedestrian shots from the San Fernando Valley, while shoddy process photography and occasional cheapjack sets also mar final result. Apparently Wayne still did not command a class A budget. Too bad. Still and all, fans of the Duke and those of all tastes could do a lot worse.

utgard14 Cowboy John Wayne tries to help out pretty Audrey Long while figuring out who killed her uncle. He crosses paths with tough-as-nails Ella Raines, crooked judge Ward Bond, and assorted other characters. Wayne's great in one of his best non-Ford westerns. Lots of beautiful in this one, with Raines and Long as polar opposites yet both stunning. They also both give very good performances, though Raines gets the meatier part. Gabby Hayes is fun comic relief. Elisabeth Risdon is the film's one drawback. She's so insufferably obnoxious. I wish somebody had been able to knock her out just once! At its heart, it's a pretty formulaic western but the characters and performances are so good it elevates the material.

Robert J. Maxwell The chief reason for seeing this unremarkable oater is John Wayne after he left El Cheapo Studios behind him but before he became an icon. It's 1944, and Wayne was young -- well, his mid-30s -- and handsome and hadn't yet mastered the art of acting, only re-acting. This is a minimalist Wayne, his performance trundling along like a narrow-gage freight train, sometimes leaning this way -- an amused grin -- and sometimes creaking over to the other side -- a pair of raised eyebrows signalling disapproval. The plot has something to do with Wayne showing up as a stranger in town, looking for work, but secretly being the new owner of the Iron Buckaroo Ranch or whatever it is. When we parody John Wayne, this is the persona we're making fun of, not the later Wayne who was able to turn in some fine performances. This is a taciturn Wayne. He smiles a lot. He's polite but firm in his principles. He has a sense of humor although he never descends into laughter when a simple but earnest grin will do.You want to know how reserved he is? I'll tell you how reserved he is. He's at a table playing cards. There's a big pot. The callow youth across from him -- all youths are callow -- initiates an argument and grabs the pot illegally, or at any rate unethically. Wayne doesn't protest. He looks a little grim, stands away from the table and strides upstairs to his room. He comes down a minute later, wearing his pistol. At the table, he says serenely, "I came for my money." He gets it.The sidekick is George "Gabby" Hayes in excelsis. The girl is the smoothly beautiful Ella Raines with her mane of dark hair and her blue eyes. She can ride a horse too. That's an attractive trait in a woman. And she's a good shot with a pistol. That's not such a good trait in a woman.There are other characters in the movie, including a more than usually articulate Ward Bond as a slick scalawag, but, like the plot, they're not worth really going on about.

MARIO GAUCI This one got shown on late-night Italian TV unheralded, after a proposed screening of Allan Dwan’s THE RIVER’S EDGE (1957) got barred by Fox! I’ve watched a few of John Wayne’s vehicles made between STAGECOACH (1939) and FORT APACHE (1948): while he was officially a star during this period, he wasn’t yet the screen legend everyone remembers and loves – consequently, most of the films he made in the interim tend to be overlooked. This is one of them and, I have to say, quite an underrated effort it is too! Made at RKO, it features their customary shadowy lighting – and, while essentially modest in approach, the narrative is absolutely brimming with action, twists, romance (Wayne gets to choose between two gals) and even comedy (provided by The Duke’s frequent sidekick from his early years, George “Gabby” Hayes). Wayne is obviously in his element and, typically, his character has to go through a lot to fight for his rights (while he’s introduced as a ranch-hand, it transpires that he’s actually the heir to the property!), his own well-being (he’s not only provoked into several brawls or made the target of assassination, but is even framed for murder!) and, of course, true love (one girl is assertive and tempestuous, the other genteel and naive).Ella Raines, best-known for her noir roles, looks great in cowboy gear as the former; when it seems she may lose Wayne to the latter – played by Audrey Long – it’s revealed that Wayne and Long’s characters are blood-related, thus conveniently solving the star’s emotional dilemma! The supporting cast includes Ward Bond (as the judge who tries to deceive both Wayne and Long out of their inheritance, he eventually engages in a violent fist-fight with Wayne which virtually turns his office into a shambles), Elizabeth Risdon (an insufferable and scheming old lady who’s domineering of charge Long and contemptuous of both Wayne and Hayes), Russell Wade (the young second lead of THE BODY SNATCHER [1945] appearing as Raines’ gambler brother), Paul Fix (like Bond, a long-time buddy of Wayne’s who here plays the part of an antagonist) and Frank Puglia (as Raines’ devoted Indian protector which causes an ambivalence towards Wayne).Characterizations are well above-par for an ‘oater’; the end result is highly watchable and entertaining – if, ultimately, a notch below The Duke’s standards of a few years later. The film was nevertheless released on DVD by Warners as part of a 5-Disc John Wayne collection (of which I already own BLOOD ALLEY [1955], one I’ve yet to watch myself, and THE SEA CHASE [1955]) – and I wouldn’t mind adding it to my collection if the opportunity presented itself…