louisgodena

*Hopalong Cassidy Returns* is the seventh in the HC series, released in late 1936, and with William Janney (Buddy Cassidy) standing in for James Ellison (Johnny Nelson) as Hoppy's mischievous sidekick, in this case his own brother. William Boyd as Hoppy is back, this time as a new town Marshal bent on cleaning out corrupt saloon owner Lili Marsh. A number of the familiar early Cassidy 'heavies' are here; Joe Rickson, Ernie Adams, Morris Ankrum (appearing as Steven Morris), and Al St John. George 'Gabby' Hayes is back in yet another incarnation of the fuzzy headed 'Windy'. Practically all these early Hoppy films were tongue-in-cheek, and this one is no exception. Fast-paced action leading up to an exciting climax, with great fun having been had by all. Recommended!!

Not the greatest Hopalong Cassidy movie, but not a bad effort. After a hard roundup the men of the Bar 20 head into town for some fun. That is all except "Hoppy" (he tells the rest of the boys "I'll see you back here in two weeks, and be practically sober!") and "Pappy" (enjoyingly played by Frank Darien in his only appearance in the Cassidy series). Later joined by "Lucky" the trio have a series of adventures which commence with their being arrested by a crooked landowner. Also prominent is an unusual love story, a curmudgeonly storekeeper, and of course the usual romance involving "Lucky" (Charles Hayden) which ends in plenty of action. Light-hearted and fast-moving throughout.

"Face of a Fugitive" is one of those rare little gems that help define the American Western. It's theme of redemption through sacrifice is one harking back to the earliest days of the genre. A man calling himself Ray Kincaid arrives in town on his way to the Mexican border. His stay is marked by run-ins with both the law and a violent cattle baron, as well as by an affair with an engaging widow. The climax witnesses the transformation of the hero from fugitive to savior as he essentially gives up his freedom to save the life a friend. Craggy-faced Fred MacMurray is superb in the title role. And watch for good supporting performances by Ron Hayes and James Coburn. A thorougly enjoyable little oater.

Not a single shot is fired nor is one punch thrown in director Phil Green's "Four Faces West", starring Joel McCrea and Frances Dee. This is just one of the remarkable features of this absolutely first rate western. A down-and-out cowboy "borrows" $2000 from a reluctant banker in Santa Maria, New Mexico. During his escape he earns the attention of a lovely railroad nurse (played by real-life wife Frances Dee), who tries mightily to save our hero. His escape into the New Mexico badlands and his ultimate redemption (he stops to help a critically ill family at an isolated ranch, thereby insuring his capture) form the exciting climax to the story. Fine performances by Charles Bickford (as legendary lawman Pat Garrett) and Joseph Calleia are among those of a distinguished supporting cast, including William Conrad and John Parrish. An exciting and uplifting cinematic experience. Highly recommended!

Businessman Joseph Davies is sent to Stalin's Russia by FDR shortly before war breaks out. His assignment: assess the Soviet's war-making capabilities, the extent of their war-readiness and Stalin's reliability as a potential ally against Hitler. What he sees contradicts a good deal of the anti-Soviet reporting in the (Henry Luce) national press and elsewhere. The Soviets have organized a society of largely peasants and serfs into a first-class industrial power. The Stalin regime enjoys widespread popular support, and the Kremlin seems to be preparing for war with the Nazis. On the other hand, as Stalin warns half-way through the film, anti-Soviet feeling in the British and French governments may necessitate a temporary Soviet "truce" with Hitler to gain more time to prepare for war.

The film (by the director of "Casablanca" is frequently plodding and arcane. However, for war-time audiences, it offered an sure-footed defense of the Russian war effort at a time when the full capabilities of the Soviet Red Army were being dramatically made known (the film was released shortly after the seminal German surrender at Stalingrad, the most frightful battle of modern warfare). Too, much of the film suggests what recent historians have confirmed; Stalin's regime, while widely loathed in the West, precipitated an astonishing degree of devotion and loyalty at home, a point driven home by the outcome of a thousand battles from the Volga to Berlin.

It seems that just about every bit player in Hollywood appeared at least once in this movie. Watch especially for Glenn Strange in a three second appearance as a southern newspaper reporter. The fillm was a major part of the war effort half-way through that conflict, and appears to have succeeded admirably in its original purpose. Walter Huston, as Davies, is absolutely first rate as the droll, understated American capitalist who nevertheless comes to appreciate the war effort of a much maligned people and social system.

North Star is not merely the story of a group of anti-Nazi villagers engaged in a desperate rear-guard action against the Germans. It is an interesting allegory dealing with issues of courage, fortitude and honesty in dealing with the most frightful of adversaries. The peasants of North Star could be any of us, carrying on with quiet heroism the mundane, routinized humdrum of our own lives. Suddenly forced to face a seemingly indefatigable evil, they discover resources and skills they never knew they had. Along the way, important lessons are learned about love and duty and the importance of principle in defending one's homeland.

An exciting story, and one that is quite uplifting. It's positive views of Russia's anti-Nazi resistance would later precipitate howls of disapproval from the McCarthy witch-hunters.

Businessman Joseph Davies is sent to Stalin's Russia by FDR shortly before war breaks out. His assignment: assess the Soviet's war-making capabilities, the extent of their war-readiness and Stalin's reliability as a potential ally against Hitler. What he sees contradicts a good deal of the anti-Soviet reporting in the (Henry Luce) national press and elsewhere. The Soviets have organized a society of largely peasants and serfs into a first-class industrial power. The Stalin regime enjoys widespread popular support, and the Kremlin seems to be preparing for war with the Nazis. On the other hand, as Stalin warns half-way through the film, anti-Soviet feeling in the British and French governments may necessitate a temporary Soviet "truce" with Hitler to gain more time to prepare for war.

The film (by the director of "Casablanca" is frequently plodding and arcane. However, for war-time audiences, it offered an sure-footed defense of the Russian war effort at a time when the full capabilities of the Soviet Red Army were being dramatically made known (the film was released shortly after the seminal German surrender at Stalingrad, the most frightful battle of modern warfare). Too, much of the film suggests what recent historians have confirmed; Stalin's regime, while widely loathed in the West, precipitated an astonishing degree of devotion and loyalty at home, a point driven home by the outcome of a thousand battles from the Volga to Berlin.

It seems that just about every bit player in Hollywood appeared at least once in this movie. Watch especially for Glenn Strange in a three second appearance as a southern newspaper reporter. The fillm was a major part of the war effort half-way through that conflict, and appears to have succeeded admirably in its original purpose. Walter Huston, as Davies, is absolutely first rate as the droll, understated American capitalist who nevertheless comes to appreciate the war effort of a much maligned people and social system.

A tense, well-acted little film, co-written by McCarthy-era blacklistee Dalton Trumbo. Presents an entirely plausible scenario around the 1963 assassination of JFK, complete with unsavory CIA types and villainous Right-Wing millionaires. Burt Lancaster plays the veteran government spook, who puts it all together under the circumspect but watchful eye of Robert Ryan. There is an excellent (and chilling) scene in which Ryan lays out the "future" of US government covert actions. "There'll be 20 billion people on the planet by the Year 2000," he intones: "Pouring out of Asia and Africa, all hungry, all determined to love. We have ways of reducing that population to less than 500,000; I've seen the figures." When his companion (Lancaster) demurs ("We sound like God reading from the Doomsday Book"), Ryan shrugs. "Well, someone's got to do it. And the methods and techniques we develop now will help us control our own troublesome populations - blacks, Puerto Ricans, Mexicans, poverty-prone Whites." It is a terrifying sequence, filmed nearly a decade before the scourge of the AIDS virus, which many believe was ultimately created to target "troublesome populations". An all-around compelling movie.

"Trail Dust" is a pleasing example of how a simple "formula" western can, with a bit of imagination and a good cast, can be turned into a first-rate adventure. Hopalong Cassidy, together with his usual sidekicks Windy and Johnny Nelson, volunteer to sell their herd at a reasonable price during a food shortage. This does not set well with some greedy cattlemen (led by Morris Ankrum, who was to become a familiar staple in later Hopalong adventures, usually as an unctuous villain). The bad guys set out to sabotage the cattle drive at every turn, and the action scenes are vintage Hopalong Cassidy. There are some pleasant diversions along the way - including an understated Beth Clark - and the climatic denouement seems a natural to the scenes which precede it. There is a little singing along the way, but - as in most of the early Cassidy movies - the music is pleasant, authentic to its genre, and does not interfere with the plot or action. Also, Trail Dust contains some good scenes of cattle-droving, using some real-life cowboys. Quite Enjoyable.

An enjoyable, well-acted little western "B". Very sympathetic to the plight of Mexicans in early California. Details in some depth the career of Joaquim Murietta, the famous outlaw and highwayman, and his legendary "death". Small budget, but good story.

Ford's performance as Warfield anticipated by nearly a decade the western anti-heroes of Sam Peckinpah. It is a gripping and surprisingly well-produced oater (considering its modest budget). It really succeeds in evoking the terror of man alone against the wilderness. The villains - of which there are a number - appear two-dimensional and even sympathetic; e.g., Captain Addis and his men, reduced by massacre and desertion, perform almost heroically in their desperation (watch for Harry Dean Stanton's understated role as a cavalry sergeant). The Apaches are seen as brutal, but no more so than their white enemies or the surrounding deserts and moutains, which are haughtingly evoked in this first-rate western. Highly recommended.