Tag Archives: Bud Osborne

Man’s Country (1938, directed by Robert F. Hill)

Posted on by Jedadiah Leland

When his innocent son, Ted (David Sharpe), is accused of committing a murder, Lex Crane (Walter Long) turns him over to Texas Ranger Jack Haile (Jack Randall) because he knows that Jack will make sure that Ted gets a fair trial.  Lex says that he and his men are accused of every crime that happens in the area, even though they’re always innocent.  Jack understand and respects Lex as a man and a father.  But when someone shoots and kills Ted, Lex and his men set out for revenge.  The twist?  Lex has a twin brother named Buck (also played by Walter Long) and the two brothers hate each other.

Most poverty row westerns blend into each other but Man’s Country stands out as an intelligent and well-acted western.  Even though the twin twist is undoubtedly an overdone one, Man’s Country does a good job with it and Walter Long gives such a good performance that both Lex and Buck emerge as individual, identifiable characters.  Jack Randall may not have been the greatest of the old western actors but he’s believable as the tough but fair Texas Ranger.  There’s enough western action for fans of the genre but, for once, the plot is interesting enough that it might hold the attention of other watchers as well.

Of course, this is a Poverty Row western so Charles King does appear as one of the bad guys.  He gets into a fist fight, like he almost always did.  I wonder how many onscreen punches Charles King actually threw over the course of his career in the westerns.  It had to have been a lot.

Boss Cowboy (1934, directed by Victor Adamson)

Posted on by Jedadiah Leland

Boss Cowboy takes place in the 30s but it’s very much a western.  One car shows up and telephone poles dot the countryside but almost everyone in the movie rides a horse.  The Nolans and the Rosses are two ranching families.  Both families are losing cattle.  Nolan foreman Dick Taylor (Buddy Roosevelt) suspects that the culprit is the Ross foreman, Jack Kearns (George Cheseboro) and he’s right.  Kearns is ripping off both families.  Complicating Taylor’s effort to stop Kearns are his romantic feelings towards Mary Ross (Frances Morris), who is visiting from “back east.”  Sally Nolan (Fay McKenzie) is also visiting and running joke is her handing off her small dog to a ranch hand named Slim (Alan Holbrook).

No apparent relation to either Teddy or FDR, Buddy Roosevelt was a respected stunt man who tried his hand at starring in a few westerns,  Unfortunately, Buddy Roosevelt wasn’t much of an actor, which is painfully apparent while watching him in Boss Cowboy.  He’s fine when he’s riding a horse and pulling a gun but when he has to speak, it’s difficult to watch.  As bad as Buddy Roosevelt’s acting was, he was not the worst actor in Boss Cowboy.  That honor was split between Frances Morris and Fay McKenzie.  Boss Cowboy is pretty dull.  Every scene drags and there are plenty of awkward silences while the cast tries to remember their lines.

Though he wasn’t much of an actor, Buddy Roosevelt remained in a demand as a stunt man throughout the 40s.  In the 50s and 60s, he was kept busy playing townsmen in shows like The Life and Legend of Wyatt Earp.  In 1962, he made his final film appearance in The Man Who Shot Liberty Valance.  He then retired to Colorado, where he did at age of 75 in 1973.  In all, his Hollywood career spanned 46 years, from 1916 to 1962.

 

The Apache Kid’s Escape (1930, directed by Robert J. Horner)

Posted on by Jedadiah Leland

In the old west, the Apache Kid (Jack Perrin) has decided to go straight because his own mother refuses to accept the stolen money that he sends home.  Unfortunately, other outlaws, like Buck Harris (Bud Osborne), continue to break the law while wearing the Apache Kid’s trademark checkered scarf so the Apache Kid still has a posse after him.

Using the alias Jim, the Kid gets a job working at a local ranch.  Ranch hand Ted Conway (Fred Church) is looking forward to marrying Jane Wilson (Josephine Hill), the daughter of the ranch’s owner.  Ted’s father, Frank (Henry Roquemore), wants Jane for himself so he reveals that Ted is actually adopted and no one knows who his real parents are.  Jane’s father (Horace B. Carpenter) announces that the wedding is canceled.  So, Ted decides to take on the identity of the Apache Kid and rob a stagecoach.  After Ted is arrested, Jim has to return to his old ways to help Ted get out of jail.

The Apache Kid’s Escape is a 47-minute poverty row western that is remembered for being one of the first westerns to feature recorded sound.  Unfortunately, the movie sounds terrible, with a steady hum in the background and all of the actors speaking slowly, loudly, and very precisely while awkwardly trying not to look straight at the camera.  Everyone noticeably hesitates before speaking, as if waiting for the director to give them the signal to go.  With all of the humans struggling to speak, the film’s best performance comes from Starlight the Horse, who is a natural star.  Jack Perrin went on to have an active career in B-westerns so maybe he learned how to handle acting with sound.

This was the only film to feature Perrin as the Apache Kid and it’s easy to see why.  The plot doesn’t even try to make sense.  If Jim wants to escape being the Apache Kid, he should be happy that so many other people are willing to take over the role for him.  Perrin is also stuck wearing a really big hat, which makes him look more like a Blazing Saddles extra than a cowboy star.

There were a lot of bad westerns made during the early days of the sound era.  The Apache Kid’s Escape might be the worst.

Six Gun Gospel (1943, directed by Lambert Hillyer)

Posted on by Jedadiah Leland

Marshals Nevada Jack McKenzie (Johnny Mack Brown) and Sandy Hopkins (Raymond Hatton) are sent to the frontier mining community of Goldville to determine who is responsible for hijacking all of the gold that should be coming out of the town.  Not surprisingly, it’s all the work of another dastardly saloon owner (Kenneth MacDonald) who is planning on stealing all the gold, chasing off all the settlers, and then selling their land to the railroad company.  While Sandy goes undercover as the town’s new preacher, Jack agrees to ride shotgun on a gold shipment, along with with Dan Baxter (Eddie Drew).  Dan is in love with Jane Simms (Inna Gest), the daughter of honest miner Bill Simms (Kernan Cripps).

Johnny Mack Brown made a countless number of westerns for several different production companies but it seems like they always featured a crooked saloon owner and a plan to sell the land to a railroad company.  Luckily, nobody watches these movies for the plots and that was probably true even when they were first released.  People watch these movies for the nostalgia value of watching a movie where it’s good vs evil and good always triumphs without leaving any sort of lingering doubt about whether or not the heroes did the right thing.  Johnny Mack Brown is as authentic on a horse and carrying a gun as he ever was and there’s a scene where he manages to get a gun despite being tied up that’s pretty cool.  The appeal of Johnny Mack Brown was that he always seemed like he could do the things that he did in the movies in real life as well.  Raymond Hatton provides comic relief, pretending to know the hymns being sung by his congregation and providing some songs of his own.  There’s enough gun fights and horse chases to provide nostalgic happiness for fans of the genre and that’s the important thing.

Dead Or Alive (1944, directed by Elmer Cifton)

Posted on by Jedadiah Leland

In this Poverty Row western, the Texas Rangers, a trio of western do-gooders who appeared in a handful of films, are sent to a small town to stop the Yackey Gang, led by the town’s saloon keeper (Ray Bennett).

The Texas Rangers are led by Tex Haines (Tex Ritter), who is known as the Idaho Kid despite apparently being from Texas.  Tex goes undercover as a lawyer and tries to rally the community to stand up the Yackey Gang.  Tex also sings some songs because he’s a singing cowboy along with being a cowboy who can hold his own in bar brawl.  Maybe if he didn’t sing so much, there wouldn’t be as many brawls.  Dave Wyatt (Dave O’Brien) is the younger Ranger who goes undercover and joins that Yackey Gang.  Panhandle Perkins (Guy Wilkinson) is the comic relief, who loses a lot of money at Yackey’s casino but only to help Dave maintain his cover.  The film was an obvious rush job and the plot is far more difficult to follow than any 54-minute film should be.  The kids at the matinee probably enjoyed it, though.  It delivers exactly what fans of the old B-westerns expect, including Charles King as yet another villain.

Tex Ritter, who appeared in a lot of these films, was also the father of actor John Ritter.  In 1970, long after the days of the poverty row westerns, Tex Ritter ran for the Senate in Tennessee but he lost the primary.  If he had won, he would have been the Republican candidate against Al Gore’s father.  That would have been a battle for the ages.

Return of the Lash (1947, directed by Ray Taylor)

Posted on by Jedadiah Leland

There’s another range war brewing on the frontier.  Big Jim Kirby (George Chesebro) knows there’s plans for a new railroad so he wants to steal the land from the ranchers so he can make a fortune off a selling it.  Kirby calls in everyone’s mortgage, knowing they’ll never be able to pay.  Rancher Tom Grant (Buster Slaven) reaches out to Cheyenne Davis (Lash LaRue, a look alike for Humphrey Bogart)) and Fuzzy Q. Jones (Al St. John) for help.  Cheyenne raises the money but then he makes the mistake of trusting Fuzzy to deliver it.  Fuzzy takes a knock to the noggin and now, he’s got amnesia.  Where’s the money?

This is a standard B-western and you know the drill.  Big Jim’s henchmen don’t want that money to get paid.  Cheyenne is on the side of the angels.  Fuzzy provides comic relief.  Lash LaRue appeared in several B-westerns.  He never became as big a star as some of his contemporaries but he did have a gimmick that made him memorable.  Most westerns stars used guns.  LaRue had a bullwhip.  When LaRue was first offered the role of Cheyenne, he lied and said he could crack a whip.  After he struggled to teach himself, tiny production company PRC hired a professional trainer.  That was a huge expense for a poverty row studio but it paid off because LaRue became proficient with the whip and he had a surprisingly long career.  He was born Alfred LaRue.  The studio came up with the Lash nickname.  Many western stars, like Johnny Mack Brown, played characters who shared their name.  Lash almost always played Cheyenne Davis.

Lash LaRue’s movies were cheap and never that memorable.  In this one, Lash barely appears and most of the action is carried out by Al St. John as Fuzzy.  But Lash LaRue did play an important part in Hollywood history when he briefly came out of retirement to teach Harrison Ford how to crack a whip for a little film called Raiders of the Lost Ark.

Horror on the Lens: Night of the Ghouls (dir by Edward D. Wood, Jr.)

Posted on by Lisa Marie Bowman

GhoulsdvdToday we celebrate Ed Wood’s 100th birthday with his sequel to Bride of the Monsters.  In Night of the Ghouls, con man Dr. Alcula (Kenne Duncan) moves into Bela Lugosi’s old mansion and pretends to talk to the dead.  What Alcula doesn’t realize is that the house is actually haunted (by Tor Johnson’s Lobo, among others) and real ghosts don’t appreciate pretend ghosts.

What can you say about a film like of Night of the Ghouls?  It’s an Ed Wood film, with all that suggests.  However, how can you resist a film that starts with Criswell sitting up in his coffin and providing commentary?

The role of Dr. Alcula was originally written for Bela Lugosi.  After Lugosi’s death, veteran actor and longtime Wood friend Kenne Duncan got the role instead.  Also of note, Wood appears twice in this film.  Not only does his picture appear on a wanted poster in the police station but Wood also plays one of the ghouls.

Horror on the Lens: Bride of the Monster (dir by Edward D. Wood, Jr.)

Posted on by Lisa Marie Bowman

Bride of The Monster (1955, dir by Ed Wood)

Since tomorrow will be the great man’s birthday, it seems appropriate that today’s horror film on the lens is Edward D. Wood’s 1955 epic, Bride of the Monster.

(Much like Plan 9 From Outer Space, around here, it is a tradition to watch Bride of the Monster in October.)

The film itself doesn’t feature a bride but it does feature a monster, a giant octopus who guards the mansion of the mysterious Dr. Vornoff (Bela Lugosi).  Vornoff and his hulking henchman Lobo (Tor Johnson) have been kidnapping men and using nuclear power to try to create a race of super soldiers.  Or something like that.  The plot has a make-it-up-as-you-go-along feel to it.  That’s actually a huge part of the film’s appeal.

Bride of the Monster is regularly described as being one of the worst films ever made but I think that’s rather unfair.   Appearing in his last speaking role, Lugosi actually gives a pretty good performance, bringing a wounded dignity to the role of Vornoff.  If judged solely against other movies directed by Ed Wood, this is actually one of the best films ever made.

(For a longer review, click here!)

Landrush (1946, directed by Vernon Keays)

Posted on by Jedadiah Leland

Steve Harmon (Charles Starrett) rides again!  This time, he’s investigating the murder of a Pony Express rider.  The murderer is outlaw leader Claw Hawkins (Bud Geary), who is working with rancher Kirby Garvey (Steve Barclay) to cheat the local homesteaders out of their land.

When local newspaper editor Jake Parker (Emmett Lynn) is attacked for trying to expose Claw Hawkins, Steve puts on a mask and dark clothing and, as the Durango Kid, he moves Jake to the carpentry shop owned by Durango’s old friend, Smiley Burnette.  While Jake continues to spread the word to the homesteaders, Durango works to prevent Claw and Kirby from taking all of the land for themselves.

This is a typical Durango Kid film.  This is not the first time that I’ve seen the Durango Kid protect the rights of homesteaders and, as usual, the main villain is not the outlaw that everyone fears but the respectable citizen who is controlling him.  Along with the usual gunfights and horse chases, Landrush has an exciting sequence where Durango and the homesteaders have to deal with a series of fires that have been set by Claw to keep the homesteaders from reaching their land.  Charles Starrett is as authentic a cowboy as ever.  Unfortunately, Bud Geary and Steve Barclay aren’t very interesting as the villains.  People who have watched several Durango Kid films will regret that series regulars Frank Fenton and Jock Mahoney weren’t cast in the roles.

As usual, Smiley Burnette provides comedy relief and sings two songs.  This time, he’s accompanied by Ozie Waters and His Colorado Rangers.

Six-Gun Law (1948, directed by Ray Nazarro)

Posted on by Jedadiah Leland

Steve Norris (Charles Starrett) has moved to a new frontier town and is making a good living as a cattle rancher.  The sheriff (Ethan Laidlaw) takes a dislike to Steve and even accuses him of being a cattle rustler.  Steve is so angered that he plays right into the hands of Decker (Hugh Prosser), a corrupt businessman who secretly puts blanks into Steve’s gun and then tricks Steve into thinking that he has shot and killed the sheriff.

Decker appoints Steve as the new sheriff but demands that Steve do exactly what Decker orders him to do.  If Steve actually enforced the law, Decker will turn him in as the first sheriff’s murderer.  Steve may not be able to do anything about Decker’s crimes but his alter ego, The Durango Kid, can!  As always, working with Steve is his loyal sidekick, Smiley Burnette.

The stand-out set piece of this Durango Kid film is an exciting stagecoach chase, which features the Durango Kid (in the form of legendary stuntman Jock Mahoney) making some thrilling moves.  The scene was so exciting and popular that it was used in a dozen other Durango Kid films.  These movies were never shy about reusing good scenes, effective stunts, and plot twists.  (It’s easy to lose track of how many times Steve has been appointed as sheriff of a town.)  This was also neither the first nor the last time that Hugh Prosser and Robert Wilke would play bad guys in a Durango Kid movie.  However, this is the only Durango Kid film to feature the Rodeo Rangers providing musical accompaniment  to Smiley Burnette’s songs.

Six-Gun Law will be best appreciated by fans of the western genre.  Charles Starrett is as tough and authentic a cowboy as always and the storyline has some nice twists and turns.  For once, with Steve being blackmailed by Decker, it makes sense that Steve would put on his disguise and solve his problems as the Durango Kid.