The Strawberry Roan (1948) User Reviews (10)

"It's better to pull leather than meet your shadow on the ground!"

[classicsoncall · 6/10 · 4 December 2011]

For starters it would be a good idea to define a strawberry roan. It's a horse with chestnut reddish hair mixed with white, and if you want to explore further color variations, you have your bay roans that are somewhat redder, and blue roans that have black coats sprinkled with white hairs.

I guess you could consider this an origin story of sorts for Gene Autry's horse Champion, even though he'd been around for quite a while by this time. Roy Rogers had a similar story regarding his famed palomino in the 1946 flick "My Pal Trigger". Unlike Trigger however, Champ doesn't come on the scene as a newborn foal, he's captured as a wild horse and broken by young Joe Bailey (Dickie Jones), who's severely injured in the process when he's thrown to the ground by Champ and finds that he can't walk due to a spinal injury. Joe's father seeks revenge on Champ and wants to kill the animal, but Gene has other ideas.

I have to say, Champ earned his paycheck in this one. There's a fairly gruesome scene where Champ is shown after he tumbles down the side of a cliff following a chase by the elder Bailey's (Jack Holt) ranch hands. His entire face is covered in blood and it looks like Gene might have to do the honorable thing to put him out of his misery. Matinée fans would not have been happy with that outcome, so Gene nurses Champ back to health on the sly. In fact, Champ becomes so spry he winds up siring a foal with his Sweetheart. Serioulsy, that was the name of Connie Bailey's (Gloria Henry) horse who managed to find time for a moonlight tryst with the film's title character.

I've seen Pat Buttram in plenty enough Autry films, so I was surprised to learn that this was the first one he appeared in. In retrospect it makes sense, as his character here wasn't very well defined and he didn't really operate as a sidekick. Similarly, Dickie Jones was a mainstay in Gene's films and TV shows, and it must have killed him to portray a character who couldn't stay on Champ during the bucking bronc ride. I've mentioned it more than once in my reviews, Jones was probably the best all around stunt rider you're likely to see in a Western. His work in the Range Rider TV series is truly exceptional, working next to Jock Mahoney who was no slouch himself.

So as the story plays out, Gene and Champ spent so much quality time together that it would have seemed unfair for Jones' character to eventually wind up as owner. Not to worry though - remember that foal I mentioned earlier. You just know that was going to be Champ, Jr.

A good film because it's so different!

[planktonrules · 7/10 · 29 August 2020]

Recently, a bunch of fully restored Gene Autry westerns were uploaded onto the Shout Factory channel for the Roku and Amazon Fire devices. Most are gorgeous and feature the full movie...not the abbreviated versions chopped up to fit TV formats. However, "The Strawberry Roan" is, despite the restoration, a really ugly film. This is because they used an inferior color process in the original movie, Cinecolor. Cinecolor films in the early days looked about as good as the Two-Color Technicolor pictures. But both processes were primitive and used a red-orange as well as blue-green pallet...and they achieved a color-like stock. In other words, it wasn't true color and didn't display the full range of colors. However, when Three-Color Technicolor (or simply 'Technicolor') came out in the mid-1930s, it was vastly superior to the two-color processes. Shockingly, despite this, the obsolete Cinecolor process continued to be in use into the 1950s...mostly because it was cheaper and easier to use. But it was also pretty ugly...and over time, it gets uglier and uglier. See the film...you'll see what I mean. Everything looks orangy and greeny (is 'greeny' a word?) in the movie...with no true reds, blues or yellows.

When the story begins, Gene and some of the other hands on the ranch FINALLY catch the beautiful horse who has been running wild for some time. The ranch owner (Jack Holt) is thrilled and his son (Dickie Jones) is even more excited and begs his father to let him have the horse....which he does. Unfortunately, when the horse tosses the young man, he's badly hurt and the father wants to kill the horse. Gene intervenes an the horse escapes. But after the boss and his workers chase the roan, it falls off a cliff and everyone assumes that when Gene went down to investigate he shot the horse to put it out of its misery. But Gene is loathe to kill the pretty animal and later returns to tend to it until it's well enough to return to the wild. What's next? After all, Gene is bound to make his boss mad about saving the animal AND the poor kid...will he recover??

This film has a very impressive cast for a Gene Autry film. Jack Holt was a fine actor in the 1920s-30s and it's nice to see him here. Gloria Henry (the mom on TV's "Dennis the Menace"....and who is still going strong well into her 90s), Dickie Jones (who made tons of cowboy films and was the voice of DIsney's "Pinocchio") as well Pat Buttram are also on hand to lend their support. And, so is Rufe Davis...though his shtick is something you'll either love or hate.

So is this film any good? Yes....in fact, it's among Gene's better films. This is because it's really nothing like any of his films and offers some plot that you won't see in other B-westerns. This is important, as about 90% of all these films feature about 3-4 different plots...but not "The Strawberry Roan". The only deficiency in the film is that there aren't any memorable songs like you'd find in some of Autry's other pictures. Still, I liked how different this one was...a major plus for fans who love the genre.

*If you are curious, this is from the American Roan Horse Association's website: "Roan" refers to a horse coat color pattern characterized by an even mixture of colored and white hairs on the body, while the head and "points"-lower legs, mane and tail-are mostly solid-colored. Horses with roan coats have white hairs evenly intermingled throughout any other color. The head, legs, mane and tail have fewer scattered white hairs or none at all. The roan pattern is dominantly-inherited, and is found in many horse breeds. While the specific mutation responsible for roan has not been exactly identified, a DNA test can determine zygosity for roan in several breeds. True roan is always present at birth, though it may be hard to see until after the foal coat sheds out. The coat may lighten or darken from winter to summer, but unlike the gray coat color, which also begins with intermixed white and colored hairs, roans do not become progressively lighter in color as they age.

Not one of Gene's best!

[JohnHowardReid · 6/10 · 29 January 2018]

Copyright 4 March 1948 by Gene Autry Productions. U.S. release through Columbia: 1 August 1948.

Although Columbia re-titled the movie AS "Fools Awake" in the U.K., it received no circuit release. In less than ten years, Gene's popularity in England and Ireland had gone from one of the top five to the bottom hundred. 79 minutes. (Available on an Image DVD).

COMMENT: Although beautifully photographed against gorgeous scenery, "The Strawberry Roan" was destined to lose money from the start. The story is not only weak to start off with, but ends on a most unconvincing note when the bad guy (menacingly played by Jack Holt) suddenly reforms. True, this change of heart is moderately believable (I stress moderately) but he is not brought to book! In fact there's not even so much as a hint that he's going to be arrested. Instead, to the chimes of happy music, this evil, hot-tempered, self-willed monster is going to get off Scot free! I guess that's obviously part of Gene Autry's celebrated Cowboy Code: If a man has money, he can get away with attempted murder. No problems at all!

Superior Autry Weatern

[dougdoepke · 26 October 2007]

I doubt that any western, big budget or small, has photographed the superbly scenic locations of Sedona, Ariizona more beautifully than this overlooked Autry western. (Even the few outdoor sets are well done.) Columbia popped for more than usual amount of financing and definitely got their money's worth. This is an easy-going horse story, of the type so popular in the late forties, with just enough action and suspense to entertain both kids and adults. Gene has to protect Champ from a vengeful father, after Champ has disabled his son. Dick Jones does a spirited job as the likable son, showing why Autry kept up their association over the years. There are no typical bad guys or gunplay, but lots of scenic chases across the majestic spires and red-rock formations. I like the way the plot grows out of believable characters instead of the usual stereotypes. Also, the comedy relief is low-key and works nicely into the story line. Except for the lilting title tune, however, the usual musical numbers remain pretty forgettable. Too bad in our age of special-effects spectaculars that this kind of innocent Saturday afternoon fare has ridden off into the sunset. There is still a lot to be said for those gentler values.

Stay Away from Them Horse Lovin Cowboys Mrs. Mitchell

[aimless-46 · 5/10 · 14 June 2006]

Longer (78 minutes) than the usual Autry western, 1948's "The Strawberry Roan" tells a story about Gene's horse Champion (World's Wonder Horse) who appeared in his films from 1935 until 1953. Actually there were three film horses called Champion, all were sorrel-colored with three or four white stockings. The original died while Gene was in the service so the one in "The Strawberry Roan" is probably Champion Jr. (born in 1942) who appeared with Gene until 1950.

In this color film Champion looks more chestnut than strawberry, and the roan part is hard to tell (a roan is a horse with white hairs mixed in equally with its main color).

Gene plays a ranch foreman who captures a wild strawberry roan which then throws the son of the ranch owner. The young man Joe (Dickie Jones) breaks his leg and the horse starts to attack him. The enraged father Walt (Jack Holt) goes on a shooting rampage and believes he has killed the rogue horse, but Gene finds the wounded animal and secretly nurses it back to health. Meanwhile Joe has gone into a severe depression over his riding mistake and won't even attempt to walk again.

When Walt finds out about Gene's subterfuge they have a falling out. Walt's daughter Connie (Gloria Henry-a young Mrs. Mitchell from "Dennis the Menace") tries to patch things up between the two men because you just know that the best thing for Joe would be to get back up on the saddle and ride the same horse that threw him.

Gene still finds the time for singing. In addition to the title song there is "Texas Lullaby" and "When the White Roses Bloom in Red River Valley".

This was not just Pat Buttrum's first Autry film but the first film of his career. He looks very young but has already developed several of his comic bits.

Gene was an old looking 40 by this time but they still tried to sort of pair him up with teenage looking starlets like Gloria Henry. The code of the west wouldn't permit him to be attracted to someone his daughter's age, so like on his later television show these girls are made to seem vaguely in love with his character while he seems more attracted to horses.

Dickie Jones' Joe is the most interesting character. If you ever wondered about the term "borderline personality" you may want to closely observe this guy. Such people are characterized as having a tendency to react more intensely to lower levels of stress than others and to take longer to recover; peaking emotionally on less provocation and taking longer coming down. Such is poor Joe. It is interesting that this clinical condition should get its most accurate screen portrayal in a film that is mostly about horses. I think at one point Gene even remarks that horses and people are a lot alike.

Then again, what do I know? I'm only a child.

This one has it all....story, scenery and music.

[glover16mm · 10/10 · 26 November 2002]

I am a longtime collector of Gene Autry memorabilia, especially his films. The "Strawberry Roan" has always been my favorite Autry film. I can remember seeing this movie in 1948 as an eight year old boy. I'm sure that seeing this movie in Cinecolor added to my enjoyment of the film. As a boy I was not really into the music but the "horse story" intrigued me and kept my attention.

I searched for over thirty years as a film collector for a 16mm print of this title in color. This past summer my search ended as I purchased a print that was listed on Ebay. So far as I know, this is the only color print in existence.

As a Gene Autry western I rate this film at 4 stars because of the story, scenery, and music. Gene sings some beautiful songs in this one.

Gene Autry accused of rustling...it can't be so.

[michaelRokeefe · 5/10 · 11 June 2006]

Walt Bailey(Jack Holt)with the help of Gene Autry captures a wild strawberry roan and tempt to break him. Bailey's young son Joe(Dickie Jones)tries to ride the horse and is thrown leaving him seriously injured. The horse makes a breakaway and is forced to plunge down a steep cliff to possible death. Gene finding the roan nurses it back to health in hopes of giving it to Joe. Bailey finds out and accuses Gene of rustling. Now the angered ranch owner puts up a reward for the capture and return for both the horse and Autry. Bailey's daughter Connie(Gloria Henry)urges Gene to turn himself in; but he holds out until Joe can ride the roan. Gene sings several songs with the best being: "Texas Lullaby", "When the White Roses Bloom in Red River Valley" and the title tune..."The Strawberry Roan".

John English directs this Columbia Pictures feature filmed in Cinecolor. Also in the cast: Pat Buttrum, John McGuire and Eddy Walker.

Champ plays a different -- and central -- role

[corporalko · 10/10 · 23 August 2016]

No, Gene Autry's horse Champion wasn't actually a strawberry roan. But that's a minor point in this first-rate Western -- certainly one of the three or four best that Gene ever made.

Champ, as a wild stallion which the title identifies, leads his herd into a trap set up by rancher Walt Bailey (Jack Holt) and his ranch hands (with Gene Autry as foreman). Champ, later named by Bailey's son Joe (Dick Jones), is lassoed and taken back to the ranch, where Joe talks his father into letting him "break" the stallion. Unfortunately Champ throws Joe, injuring him, then tramples him into the bargain. The ranch hands, Gene, and Bailey carry Joe into the house and a doctor is summoned.

Fortunately Joe is capable of a full recovery -- except that some psychological damage has caused him to not be able to walk.

Walt Bailey, enraged at what happened to his son, seizes his rifle and starts out to the corral to kill Champ. Autry sees what he intends to do, opens the gate, and chases Champ out. The horse heads for the high timber. Bailey gathers his ranch hands and sets out to kill the horse. They finally chase Champ to the edge of a precipice, which he falls over. Bailey assumes that the horse was killed, but Autry tells him he will climb down to make sure. He finds Champ alive, but badly injured, nickering and whinnying in pain. Gene fires his six-shooter into the air, to make Bailey think he has "put the horse out of his misery." Gene sneaks back to the area repeatedly, tending to Champ and nursing him back to health. When the horse appears able to function on his own again, Autry turns him loose to go back into the wild.

After some side action involving Gene leaving Bailey's employ rather than help him to find Champ, then getting into a fight with two cowboys whose cabin he has temporarily appropriated, Gene manages to get Joe out into the country, riding in a buckboard, then surprises him by bringing Champ over to him. Joe is delighted to be re-united with the horse he loves. Then Gene tells him, "Well, I gotta go, Joe," and goes walking away. Joe panics at first, screaming for Gene to come back. But then, with Champ standing loyally right beside the buckboard, Joe finally works up the courage to painfully ease himself out of the seat, and, after a brief struggle, into Champ's saddle. Gene, who has been watching from afar, smiles with pleasure and gratitude.

The climax is yet to come, involving Joe riding Champ, his father and the ranch hands pursuing him in the belief that it's Gene on the horse, and with Autry actually pursuing them frantically, driving the buckboard. Walt fires at Champ, but hits and wounds his son instead. Autry arrives at the scene within seconds, causing Bailey a shock, grief, and shame at what he has done. Thankfully, Joe survives this second injury, too and Walt finally sees the error of his ways.

In a side story, Champ and a mare owned by Joe's sister, Connie (Gloria Henry) have a foal born near the end of the movie, and he becomes Champion Jr.

In the biography of Gene Autry titled "Public Cowboy No. 1," written by Holly George-Warren, among former leading ladies of Autry interviewed is Gloria Henry. She is virtually the only co-star to speak ill of the Singing Cowboy, depicting him as a boozing horn dog who tried, but failed, to seduce her during filming, as he reportedly did (successfully) with nearly all his leading ladies. My own guess is, he didn't TRY to bed her down, and she was enormously insulted at the fact.

In some of the scenes where Henry and Autry appear without any other character, Gene does seem a little strained with the delivery of his lines, as if things between them were not all hunkey-dorey.

But having said that, I'll add that Gene Autry demonstrates in this film, acting talents the critics who didn't like him anyway, would never admit that he had. And he seems totally comfortable in the scenes where he is treating Champ, turning him loose, and reacting with him in other ways. It appears that they were, indeed, good buddies.

Getting Back Up

[tedg · 10 July 2006]

I'll start by saying that this is the perfect western. Its absolutely perfect in how all the parts seamlessly fit together and those parts and the assembly fit with the world.

Westerns aren't unique to film; long before movies, pulp stories were weaving the abstractions that movies inherited. But its a specific type of mythology that movies perfected. From the midthirties until the Leone era, these were the slate on which Americans drew their character.

They're roughly in two types. One is the the narrative spun by John Ford and — for better or worse — appropriated by Republicans (as I write this). Simple men, drinkin', fightin', cussin' misogynists who "win" their women. These are men nestled into the land, free in spirit, loners. Quick to violence and often motivated by revenge-as-justice.

The unhappy fact is that John Ford was Jerry Bruckheimer before it became uncool.

There's a different western: cowboys with a higher sense of justice. Rather than being motivated by revenge, he'll drive a story often based on redemption. He's likely to sing. He always gets the girl, but somehow we feel that it is because the woman is seeking a husband rather than rough sex.

Gene Autry isn't the first player I think of in this context. (His first movie, a serial actually — "Phantom Empire" — is on my list of "must see.") But this movie is so well quilted, so naturally centered in all the things that westerns can be. It has place. It has clarity without simplicity. It has courage without punching. It has sex — yes it does and its not deeply hidden. But it runs away from the prurient.

I wonder. I wonder if something as American as this is possible to be exploited for political advantage. I suppose not, because if it could, it would have.

I was asked recently what I would put on a list that asked for the best western. It would have to be before Leone. And it couldn't be "Yellow Ribbon." It might even be this, The comedy is just perfect, not worn out. fresh.

Ted's Evaluation -- 3 of 3: Worth watching.

Outstanding Western! Outstanding Movie!

[frank4122 · 10/10 · 19 May 2020]

Anyone who has had a loved one with a spinal injury can really relate to this outstanding movie. Gene Autry does it all in this one. He is a foreman, horse trainer, therapist to a paralyzed Dickie Jones and performs some of his best songs. It's not hard to see why Jack Holt was Al Capp's favorite actor. He shows great passion in trying to avenge his sons injuries and tries to kill the wild stallion responsible. But he has to battle his foreman in the process. Champion well earned his second-billing status in this one. John McGuire added just the right suspense and Pat Buttram showed signs of the perfect sidekick making his film debut here.