Desperate Trails (1939, directed by Albert Ray)


The frontier town of Denton has become lawless, plagued by murders, robberies, and cattle rustling.  The town’s sheriff (Russell Simpson) just cannot seem to bring peace to the streets.  That’s because the sheriff is secretly responsible for all the crime.  He’s working in cahoots with the town banker (Clarence Wilson) and he’s sets his sights on taking over a ranch owned by Frances Robinson.  As was so often the case with B-westerns, it all comes down to stealing someone else’s land.

The federal government sends Marshal Johnny Mack Brown to bring some order to the town.  Working undercover, Brown gets hired as Robinson’s ranch and he quickly chases off all of the bad ranchhands,  He brings his friend, singing cowboy Bob Baker, onboard to work as the ranch foreman.  With Fuzzy Knight providing comic relief, Brown sets out to thwart the next stagecoach robbery and to expose the evildoers of Denton.

This was the first western that Brown made with Universal Pictures.  Bob Baker, who had previously been the star of the studio’s B-westerns, was demoted to second lead and, eventually, he quit making films for Universal all together.  Unlike Baker, who was angry at being demoted, Fuzzy Knight was always happy to provide sidekick duty and would go on to co-star in all of Brown’s Universal westerns.  From the start, Brown and Knight had the chemistry that made them a good B-movie team.

Desperate Trails is a typical B-western but, as always, Brown elevates things with his performance.  From the minute that Brown rides into town, he screams authenticity.  He’s pretty tough in this film, which includes a scene where he coolly takes care of a gang of outlaws with just one rifle.  The best performance here comes from Russell Simpson, who gets angrier and angrier as the film goes on and all of his plans fall apart.

For fans of the B-western genre, Desperate Trails has a lot of entertainment to offer.

Everyman’s Law (1936, directed by Albert Ray)


Corrupt Sheriff Chris Bradley (Homer Murphy) sends letters to three outlaws, asking them to come to his town and to work for him.  Sheriff Bradley wants to use them to kick some homesteaders off their land.  What Sheriff Bradly didn’t count on was one of the outlaws being an undercover Texas Ranger!  Johnny Mack Brown plays Johnny, a.k.a. The Dog Town Kid.

The Kid takes a liking to homesteader Marian Henley (Beth Marion) and her infant son.  When the Kid and the other two outlaws don’t move out the homesteaders to the sheriff’s liking, Bradley hires fearsome outlaw Lobo Joe (Roger Gray).

This is a pretty typical Poverty Row western.  After you see enough of these, you realize that every plot is going to be about a corrupt sheriff and a businessman teaming up to try to steal the land away from the settlers.  What makes these film work (or not) is the quality of the stars and Johnny Mack Brown was one of the best, someone who seemed authentic when he was riding a horse or shooting a gun but who was also a good enough actor to bring some life to the familiar plots.  As usual, with this film, Johnny Mack Brown is better than his material.

Everyman’s Law is best-known for the scenes of Brown and the other two outlaws having to babysit Marian’s baby.  The “comedic” scene where the baby puts the barrel of Johnny’s six-shooter in his mouth probably had the audience rolling in 1936 but today, it would undoubtedly get the film banned.

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.

Guns In The Dark (1937, directed by Sam Newfield)


In Mexico, two American cowboys, Johnny Darrel (Johnny Mack Brown) and Dick Martin (Julian Madison) join a poker game to try to win some money and help out their buddy, Oscar (Sid Saylor).  When they discover that cantina owner Manuel Mendez (Ted Adams) has rigged the game, a fight breaks out.  The lights turn off.  In the darkness, several guns are fired.  When the lights come back up, Dick is dead.  Mendez convinces Johnny that he accidentally shot his friend in the fight.  Guilt-stricken, Johnny tosses aside his guns and returns to Texas.

Johnny has sworn that he will never shoot another gun but when he’s hired to work at a ranch owned by Joan Williams (Claire Rochelle), he finds himself in the middle of a range war between Joan and Brace Stevens (Dick Curtis), with Mendez also making an unwelcome return to Johnny’s life.  Even after Johnny discovers the truth about what happened that night at the cantina, he doesn’t pick up a gun.  Instead, Johnny fights the bad guys with lassos and plates.

Guns In The Dark is only 54 minutes long and it features actors who will be familiar to any fan of the old B-westerns.  Sidekcick Sid Saylor’s stuttering schtick gets old quickly but Johnny Mack Brown is as likable as always in Guns In The Dark and he comes across as being an authentic cowboy even when he’s not carrying a gun  Given that this film features even more horse chases than the typical Johnny Mack Brown b-western, it’s good that Brown is so convincing.  What isn’t convincing is how stupid Johnny Darrel is required to be in order for him to fall for Mendez’s lie in the first place.  I appreciated the change of pace from Brown just using a gun to stop the bad guys but I wish the reason behind it had been more convincing.  This isn’t one of Johnny Mack Brown’s more memorable westerns though, as always, it’s easy to see why he was one of the early stars of the genre.

 

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.