dougdoepke I love Chito's pick-up line to the wagon train cutie—"You know for a girl, you ain't bad looking". Now what gal could resist an endearment like that. Reviewer Fob's right: it's an average Holt entry. But an average entry's still fun for many of us front-row geezers. The question is what would these oaters do for plot if ranchers and settlers got along. Here, it's shenanigans around cattlemen wanting to drive off late-coming settlers. At the same time, real bad guy Regan (Wilcox) is looking to get rich by exploiting the situation. But guess who's working to put things right, that is, if Tim can keep Chito away from the girls long enough. There's some hard-riding, and some cold-blooded gunplay, but catch the lively barroom brawl where nobody loses his hat. I really don't know how they did it unless the Stetsons were glued on. Except for some opening stock shots, action never leaves greater LA locations, so scenery doesn't count for much. Anyway, it's a good supporting cast with several cuties instead of just one. So it's an entertaining way to pass an easy hour.

frankfob Tim Holt turns in a workmanlike job in this run-of-the-mill entry in his long-running series of "B" westerns for RKO. The story about cattlemen vs. homesteaders has been done countless times before, and there's nothing new to be found in the script. The action scenes are OK, the production values are good--as they usually were in this series--and there's a better-than- average supporting cast of veteran western players: John Pickard, Kenneth MacDonald, John Merton, Frank Wilcox. Pretty, but wooden, Linda Douglas is the female interest, and the picture moves along at a satisfactory pace. Tim Holt's westerns were always a bit too cut-and-dried for my tastes and Richard Martin's irritating Chito Rafferty has grated on me from the first time I saw him--the patently phony Mexican "accent" and the "devil-may-care" attitude that he was never able to quite pull off--but on the whole they were better than most of the series westerns at the time, especially the awful Whip Wilson ones from Monogram, and this is no better or no worse than others in Holt's series.

krorie Tim Holt, son of actor Jack Holt and brother to Jennifer Holt, played in such movie classics as "The Magnificent Ambersons" and "The Treasure of the Sierra Madre." He brought his acting talents to the B western beginning in the early 40's and then made a series for RKO with Richard Martin, another fine actor, as Chito Jose Gonzalez Bustamonte Rafferty, an Irish-Mexican role, as his womanizing comical sidekick. Martin had already played the role of Chito Rafferty for others before joining with Tim Holt. A Tim Holt western was always a good one to watch for action and adventure. "Trail Guide" is typical of the series. Tim and Chito are out to help homesteaders led by character actor Kenneth MacDonald against outlaws pretending to be protectors of the open range but really out for their own personal gain. The outlaws have suckered young Kenny Masters (Robert E. Sherwood) into helping them. His sister, Peg Masters (Mary Jo Tarola aka Linda Douglas) at first suspects Tim and Chito as being the outlaws but eventually learns the truth about what is really happening.By 1952, the singing cowboy was virtually history. There were a few hangers on such as Rex Allen, Eddie Dean, and Jimmy Wakely. Gene, Roy, and Hoppy were going into television production which is where the B western would shortly end up. The main Saturday matinée cowboys of the early 1950's were non-singers such as Tim Holt, The Durango Kid, Allan Rocky Lane, Whip Wilson, Lash LaRue, and Johnny Mack Brown. The only music usually provided was background for the action that took place. This meant that movies such as "Trail Guide" were action packed with no musical numbers to slow things down.If you are a Tim Holt fan, you should enjoy "Trail Guide." If you've never seen a Tim Holt western before and enjoy action and adventure, this is a good film to watch.

boblipton Tim Holt and Richard Martin starred in a long series of RKO B westerns from the early 1940s through the mid 1950s. Production values were good, stories generally were fine, but the directors were people like Lesley Selander, director of this effort, who knew how to shoot the scenes very well but wasn't much on directing the actors. Good actors like Holt and Martin could usually manage, although they occasionally made bad acting choices, but the leading ladies, usually up-and-coming starlets, often gave wooden readings of their lines, like Linda Douglas in this.This is a typical entry. It is, by all means, satisfactory except for one or two performances. It is well worth your time.