The Rawhide Terror (1934, directed by Jack Nelson and Bruce Mitchell)


There are some Poverty Row westerns that even I can’t defend.

A group of bandits, disguised as Indians, attack a pioneer family.  The father and the mother are killed but their twin boys survive.  One wanders into the wilderness while the other stays with the remains of his family and waits for help.  Years later, the town of Red Dog is thriving, with the former bandits as its leading citizens.  Someone has been gunning down the former bandits.  The townspeople demand that Sheriff Luke (Edmund Cobb) do something about the man that they’ve nicknamed the Rawhide Killer.  First, however, Luke has to deal with Jim Briggs (William Barrymore), who has been abusing his son (Tommy Bupp).  It also turns out that Jim Briggs is the Rawhide  Killer and he’s looking for vengeance against those who killed his parents.  Jim’s brother also lives in the town.  Guess who!

The Rawhide Terror gets off to a good start with the bandit attack but it falls apart soon afterwards.  I don’t know if it was just because I was watching a bad print but the sound quality was terrible and the lack of an original score really highlighted just how boring it is to watch men silently ride their horses from one side of the screen to the other.  This movie was only 47 minutes long and half of it was made up of shots of people riding horses.  Add some really bad acting and you’ve got a western that was bad even by the standards of a 1934 second feature.

Two men are credited with directing the film, though the production was actually supervised by Victor Adamson, the father of the notorious schlock filmmaker, Al Adamson.

Boothill Brigade (1937, directed by Sam Newfield)


Rancher Jeff Reynolds (Frank LaRue) used to be one of the good guys on the frontier but he’s recently changed.  He fired all of his loyal ranch hands and instead hired a motely crew of outlaws.  He’s buying up land and evicting the squatters who have been living there.  About the only good thing he does is hire Lon Cardigan (Johnny Mack Brown) to be his new herd boss.  Lon is engaged to Reynolds’s daughter, Bobbie (Claire Rochelle).  With the help of Bobbie and comic relief cook Calico Haynes (Horace Murphy), Lon tries to figure out why Reynolds is now doing the bidding of the evil John Porter (Ed Cassidy).

The title is the most exciting thing about this movie, which is one of those old B-movies that puts the “creak” in creaky.  There’s surprisingly little gunplay but there is a lot of horse riding.  For a film that runs less than an hour, a surprising amount of it is just shots of people riding from one location to another.  The horses’ hooves sound impressive on the soundtrack but it’s not exactly exciting.  As always, Johnny Mack Brown is a convincing cowboy.  It’s a good thing he looks like he knows what he’s doing when he’s riding a horse!  The plot was standard B-western fluff.  Johnny Mack Brown appeared in a ton of westerns and almost all of them seemed to feature the same range war.  There are better Johnny Mack Brown movies out there.  This one is for completists only.

Bar-Z Bad Men (1937, directed by Sam Newfield)


After getting kicked out of town for shooting the place up during a night of friendly fun, cowboy Jim Waters (Johnny Mack Brown) drops in on his old friend, rancher Ed Parks (Jack Rothwell).  Ed has got a strange problem.  There are cattle rustlers about but instead of stealing Ed’s cattle, they’re adding cattle to Ed’s herd.  It’s an obvious scheme to try to create a feud between Ed and his neighbor, rancher Hamp Harvey (Frank LaRue).  Before Jim and Ed can solve the problem, Ed is gunned down.  Harvey is the number one suspect but Jim figures out the truth, that Harvey has been betrayed by one of his own employees and that all of this is a part of a scheme by Sig Bostell (Tom London) to take control of both ranches.

Bar-Z Bad Man is a B-western with a notably twisty plot as Bostell plays both sides against each other for his own benefit.  As usual, Johnny Mack Brown makes for a good and convincing western hero.  Whether he’s chasing someone on his horse or drawing his guns, Brown is always a convincing cowboy.  What makes this film interesting is that it opens with Johnny Mack Brown engaging in the type of behavior that most B-western heroes would never think of doing.  Shooting up the town and then getting exiled for his actions adds an element of redemption to Jim’s efforts to get to the bottom of Bostell’s schemes.  Or it would if Jim ever really seemed to feel bad about shooting the town up.  His excuse is that he was just having a good time.  Try to get away with that in the real old west, Jim!

Bar-Z Bad Men is a good B-western for those who like the genre.  The story is solid and Johnny Mack Brown is as convincing saving the west as he was shooting it up.