All posts by Alfred Eaker

Alfred Eaker is the director of Jesus and Her Gospel of Yes!, voted Best Experimental Film in the 2004 New York International Film and Video Festival (which can be downloaded from DownloadHorror.com here), and the feature W the Movie. He writes the column "Alfred Eaker's Fringe Cinema" for this site, covering the world of underground film, as well as regularly contributing essays on other subjects.

PASSING THE TORCH FROM MAYNARD TO AUTRY: TOMBSTONE CANYON (1932), IN OLD SANTA FE (1934) & RIDERS OF THE WHISTLING PINES (1949)

Before Hollywood beckoned, Indiana native Ken Maynard had been a champion rodeo rider in the Ringling Brothers Circus and the Buffalo Bill Wild West Show.  Maynard was, possibly, the most popular of the “B” Western stars from the late twenties through the mid thirties.  Audiences loved him, but virtually everyone who worked or dealt with Maynard thoroughly hated him.  Excessive drinking, foul-mouthed, ego-driven tirades, supreme arrogance, and prima donna ways eventually burned every single bridge Maynard ever crossed, despite being given numerous chances to straighten out his act.  Eventually his excesses, reckless spending, womanizing, and difficult personality all caught up with him.  His last few films, from the mid-forties, show a dissipated, grotesquely overweight star well past his prime.  Since Maynard’s popularity had severely waned, his antics were no longer tolerated, and he was forced into retirement.  After his film career ended, Maynard did a few rodeo circuit shows, a radio show, started a circus, lost it, went through several more marriages, and filed bankruptcy.  His last few years were spent living in drunken solitude at a run-down trailer park, being cared for by his brother and fellow “B” Westerner Kermit Maynard, hawking off memorabilia (fake and real) and (secretly) receiving financial assistance from Gene Autry (Maynard gave Autry his start In Old Santa Fe, below).  Ken Maynard died destitute and suffering from severe malnutrition in the early 1970s.

When he was in his prime, one can easily understand Maynard’s appeal.  Personality quirks and sad ending aside, Maynard had undeniable, amiable charisma and, with his famous palomino horse, Tarzan, he seems the quintessential idea of a period “B” Western star.

Tombstone Canyon (1932) is a grand-guignol western directed by Alan James. As Ken and Tarzan are riding along Tombstone Canyon (actually Red Rock Canyon) they encounter the masked, cloaked Phantom Killer villain Sheldon Lewis (a hold-out, villainous favorite from the silent era).  Some bad local hombres try to jump Ken and Tarzan, but cutie Cecilia Parker appears from nowhere to lend Ken a helping hand in driving away the thieves.  When Cecilia introduces herself, Ken amiably exclaims, “Well that’s a might purty name you have there.”  The Phantom Killer, having observed from the rocks above, gives off a banshee cry and Ken tells Cecilia, “I’d like to meet up with that Phantom fellar.”

Still from Tombstone Canyon (1932)Cecilia finds out that Ken is in search of his identity and long lost father.  Local baddie Frank Brownlee has reasons for not wanting Ken to find out and it was his men who tried to bushwhack Ken in the desert.  Plenty of intrigue is afoot and Ken finds himself in numerous predicaments, including a run-in with the hideously scarred Phantom Killer (shades of the Phantom of the Opera, and even of Darth Vader to come).  The Phantom has sworn revenge against Brownlee and his gang, since it was they who beat him, scarred Continue reading PASSING THE TORCH FROM MAYNARD TO AUTRY: TOMBSTONE CANYON (1932), IN OLD SANTA FE (1934) & RIDERS OF THE WHISTLING PINES (1949)

MYSTERY RANCH (1932) & MYSTERY RANCH (1934)

Two B westerns, two years apart with the same title.  Both are off the beaten path and good in their own way.

First is the 1932 Mystery Ranch, atmospherically directed by David Howard and starring George O’ Brien.  This Ranch might be aptly described as a Gothic western, often looking more like an early thirties horror film than a western.  Charles Middleton is a tyrannical land baron and a piano playing, manipulative sadist who is holding his dead partner’s daughter, Cecilia Parker, hostage in order to force her into marriage and seize control of the Arizona valley.  Middleton is so chilling, so slimy that he leaves a trail and, in the process, steals every scene he is in.  Joseph August’s expressionistic camerawork certainly helps when the villain is so moodily lit.  You know from that outset that any villain who would stoop to bullwhipping a deaf-mute native American henchman is going to mean trouble for O’Brien, and our hero has his hands full trying to save the fair maiden from her evil guardian.

Mystery Ranch (1932) is suspenseful to the nail-biting level, has a great action sequence, is aptly scored, and climaxes with a great end for the villain.  Many of O’ Brien’s westerns were a notch above (of course, quite a few were several notches below) and the star holds his own with Middleton.  The scene in which the two are riding side by side, playing a suave cat & mouse dialogue until Middleton lays it all down, has a quality similar to the best James Bond/villain scenes.

At the opposite end of the spectrum is Mystery Ranch (1934), directed by B.B. Ray and Starring perennial “B” favorite Tom Tyler (who also played a strange Mummy in Universal’s The Mummy’s Hand).

This Mystery Ranch opens with a bizarre scene in grotesque, high melodramatic, grand stand vaudeville style.  The added-on, delivered dialogue is just as flowery and absurdly theatrical.  It turns out that it’s just a scene from the latest book of pulp novelist Tom Tyler.  Tom’s daddy lectures his son for trivializing the west.  Soon, an opportunity comes, in the form of a invitation by letter, for Tom to get a glimpse of the real west.  Tom goes to visit The Mystery Ranch.  Only, it’s a scam to get some publicity for the ranchers, who, at first see Tom merely as a hack dime western novelist.  They stage a fake lynching, hold-ups, and a duel.  Tom gets wise and decides to turn the tables on his pranksters.  Of course, a real hold-up takes place and it’s a case of “the boy who cried wolf.”  The real hold-up scenario gets mixed up with Tom’s fake hold-up, which in turn gets another “one good gag deserves another good gag” gag.  One halfway expects Tom to shout out, “Let’s go play hide and seek!”

This film plays, at time, like an unintentionally surreal sitcom comedy filtered through B-western sensibilities. Of course there is a pretty girl and the obligatory fight between the real bad guys and Tom, in tight jeans,over some stolen gold bullion. There is even a spanking and, of course, a happy ending, with Tom proudly proclaiming “Now I have a great idea for new story,” getting the pretty girl and a last line of comedy relief.  A real curio.

Opening to Mystery Ranch (1934)

BIG CALIBRE (1935)

Robert North Bradbury often seemed to add a pinch of the offbeat into his westerns, but when it came to directing his son, star Bob Steele, there was a downright oedipal underpinning because, quite often, Bob was thrust into an onscreen situation in which he lost his father.

Big Calibre utilizes this plot situation yet again, but regardless what Sigmund would have to say about it, it is of little consequence to this enjoyably odd oater. Bob’s father is killed and robbed of his cattle cash by a local chemist, played by screenwriter and Steele friend Perry Murdock. Bob pursues him, but the chemist escapes. Some time later, Bob, still in pursuit of his father’s murderer, is accused of holding up a stagecoach and murdering Peggy Campbell’s father, who also was robbed and killed with corrosive gas while en route to save his ranch from foreclosure.

The local banker wants Peggy for himself and is behind her father’s supposed killing (the body is missing).  He has a hunchbacked, fanged, bespectacled assistant/henchman. Peggy knows Steele is innocent since it was she who held up the coach in order to prevent the delivery of a letter, from the banker, seizing her ranch.

Still from Big Calibre (1935)The local mob is itching to hang Bob, and so an anonymous benefactor breaks Bob and his comedy relief sidekick out of jail, using corrosive gas! There is an unintentionally surreal, misplaced barnyard dance with Bob and the sidekick dancing with Peggy while masked! The dance ends in a planned brawl and Bob barely escapes with his life. Unsurprisingly, the hunchbacked assistant is none other than the low-life chemist who butchered Bob’s pa. When Bob knocks him to the ground his fake fangs and glasses come off to reveal his true identity.

An exciting and atmospheric desert chase follows with the assistant making his getaway in an automobile. All ends well, of course, with the bad guys reaping what they sow, the hero and his girl hooking up after she finds out her daddy is still alive, and Bob’s sidekick being chased off by an ugly childhood sweetheart who won’t leave him alone.

Big Calibre has more loopholes than plot. The loopholes hardly matter because it has an admirable low budget, authentic western weirdness. It’s strangeness is organic and subtle, rather than on-the sleeve. The lack of a musical score, which is the norm in early 1930’s B westerns, actually adds to the unique flavor.

Bob Steele possibly made more B westerns than anyone and few of them were good, but he had an amiable and hip personality that audiences responded to. He is probably best known as the low-life Curley in Lewis Milestone’s 1939 version of Of Mice and Men. Big Calibre, released by Sinister Cinema, is available on Amazon and the Sinister Cinema website.

GEORGES MELIES ENCORE

The films of Georges Méliès are testosterone for surrealists. In 2008 Flicker Alley and the esteemed Blackhawk films released The First Wizard of Cinema, a mammoth 5 disc, thirteen hour collection of Méliès’ surviving films. It was the DVD event release of several years. In 2010, the same forces have released a supplemental collection of 26 newly discovered shorts, aptly entitled “Encore”.

Understandably, this is not the event from two years ago, but it is an essential, released addition in the appreciation of Méliès’ unique art.  Contemporary viewers with preconceived notions of the term “film” may be thrown off by the aesthetic mindset from a turn of the century experimental filmmaker. Get over it and don’t look for narrative in the post-Edwin S. Porter sense of the word. There is much to savor here when transported into Méliès’ very different world.

First, there are two films here that were at one time mistakenly attributed to Méliès, but were in fact directed by the Spanish filmmaker Segundo de Chomon in the Méliès style (he was often compared to Méliès). Chomon, who worked for the smae company as Méliès (Pathe), specialized in color tinting and “The Rose Magician” (1906), with its washy blues, yellows, streams of flowers and painted backdrops, including a giant seashell, exudes a heady, exotic nouveau flavor. “Excursion to the Moon” (1908) is clearly a homage to Méliès’ famous “A Trip to the Moon” (1902). Sublime golds, oranges, pinks, greens and blues permeate “Excursion”. Chomon beautifully utilizes snowy imagery, sleep, mushrooms, space rockets, explosions and a snow covered face in the moon, which has to be seen to be believed. Taking nothing from Méliès, the two Chomon shorts may be the most significant discoveries in this collection.

Still from Melies Encore (2010 DVD)As for the actual Méliès pictures, “The Haunted Castle” (1896), which is not related to Poe, begins in a castle set with a bat (on strings, of course) that transforms into the Devil himself (complete with horns and costume which looks like it was bough from L.S. Ayres). Old Nick waves his hand and a giant cauldron appears. He follows this with some black magic business, summoning forth a servant and a maiden, who emerges form the cauldron, then quickly disappears. The servant, then the cauldron, then the Devil himself all disappear.  Two Continue reading GEORGES MELIES ENCORE

NO MAN’S LAW (1927)

No Man’s Law is about as odd and obscure as it gets. Produced by Hal Roach, it stars Rex, King of the Wild Horses, Oliver Hardy (as a vile villain), James Finlayson,and Barbara Kent. Directed by some guy named Fred Jackman.

Oliver Hardy is one-eyed, grizzled, no good fugitive cuss Sharkey Nye, prospecting for gold with good guy partner Spider O’ Day, played by Theodore Von Eltz.  James Finlayson, of many Laurel & Hardy shorts, has cute Barbara Kent for a daughter and he is prospecting too but he’s not very good at it.  Rex, the horse, surveying his territory, does not take a liking to Ollie.  When Ollie gets a wee bit too close to a skinny-dipping Barbara, Rex steps in, chasing off Ollie.

Rex knows trouble is afoot and Ollie proves Rex right by plotting to kill Finlayson.  It’s murderous slapstick business as Ollie tries first to kill Finlayson, then tries to rape Barbara repeatedly, then kill Theodore.  Every time, Rex steps in just in time to save the day, finally in time to kill off Ollie.

That’s about all there is to the plot, and No Man’s Law would not be remarkable at all if it weren’t for Roach’s trademark slapstick style being channeled into Oliver Hardy attempting to kill and rape his co-stars.  Top-billed Rex is barely in it, showing up only when necessary.  Kent is certainly doing her best Mabel Normand.  For once, Finlayson has a  somewhat sympathetic part, and Ollie gets no sympathy whatsoever.

The slapstick business comes when Ollie tries to kill Finlayson by causing a cave-in at a mine and then by pushing him off a cliff.  More slapstick follows when Ollie gets into a fight with Eltz, plays cards with him (while Finlayson crawls under the table in his PJs), fights him again over a gun, shoots him (just a wound), and chases Barbara around the house trying to rape her.  It all wraps up nicely when then Ollie is in in hot flight from the rampaging Rex, who finally kills him.  All is supposedly good. but after seeing sweet childhood hero Ollie slime it up for an hour, I just wanted to go take a shower.

Weird.  Take this one to your next party.

JUST TONY (1922) & SKY HIGH (1922)


It all began with the legendary Tom Mix, the yardstick by which all B-Western stars are measured.

Born in 1880, Mix had worked with the Texas Rangers, had been a bartender, a sheriff, and a champion rodeo rider in his Wild West Show. Hollywood had a bona fide true blue western legend.  After becoming THE cowboy movie star at the age of 30, the extremely prolific Mix worked and played equally hard, developing a love for fast cars, fast women (married five times) , and reckless spending. Most of his 20’s westerns were adapted from Zane Grey novels and were high quality entertainment for the masses.   Mix often wrote, produced and directed in addition to acting.  He was the polar opposite to William S. Hart’s dusty realism.  Mix combined humor, increased action which featured his own stunt work, a star horse named Tony, flashy showmanship and enthusiastic energy in his films.   When his stardom naturally began to dim in the 1930’s, mainly due to age, he toured with his beloved Tom Mix Circus before an untimely high speed auto accident and a flying metal suitcase to the back of the head on an Arizona highway put an end to all the Circus in 1940, but not to the legend.   For ten years after his death, the Tom Mix Radio Show continued on with immense popularity.   Tom Mix comic books were also extremely popular for several decades, as was the touring Tom Mix festival which finally ran down (but not entirely out) in the mid 90’s.  Since most of his films are silent, few today have even seen a Tom Mix film, and his reputation by far exceeds the actual films.  Here are two Mixs from Sinister Cinema’s Sinister Six-Gun collection.

Just Tony (1922)Just Tony begins, aptly enough, with a trailer.  “Hit the Trail!  The Gun Ranger is out to clean up the town!  Bob Steel, two-gun deputy whose twitching fingers itch for fights!  Outlaws Rustlers Cowboys Posses and Bob Steel as the Gun Ranger!  A Republic Release.”  This trailer promises white hat cow dude Steel kicking black hat bad guy butt, a mix of masked bandits, pencil-thin mustached villains and a pretty girl exclaiming “Oh, Dan!”

Tom has his eyes on the beautiful black wild stallion, Tony, that he wants to tame, but first things first as he has Continue reading JUST TONY (1922) & SKY HIGH (1922)

REV. DONALD WILDMON: MIGHTY MOUSE IS BACK TO SAVE THE DAY (FROM THE LIKES OF YOU)

Rev. Donald Wildmon is, thankfully a dinosaur, a dying breed of self-appointed “moral crusader” bullies who blasphemously oppresses in the name of a peasant Jew who hung out with hookers and derelicts, talked a theology of love, understanding, and peace, and was brutally butchered by Wildmon’s own type some two thousand years ago.  Wildmon bullies in the name of this Jew to masquerade his own ignorance.  Each year that passes it becomes increasingly apparent that the world will be better off when he and his type are extinct.

In 1988, Rev. Wildmon saw an episode of Ralph Bakshi’s “The New Adventures of Mighty Mouse.”  The show was imaginative, colorful, and witty.  Wildmon’s Methodist toupee did a double take and he screamed “The Devil” when he saw something he could not understand, let alone appreciate.  (Specifically, Wildmon saw Mighty Mouse happily sniffing a crushed flower, and presumed the scene promoted cocaine use).  So Wildmon cocked up his triple chin and let out a Tarzan styled yell to his fellow Neo-Nazi thugs.  Wildmon and the brown shirts started their march, taking it all the way to the faceless sponsors of “Mighty Mouse.”  It’s not surprising that Wildmon bedded with money to attack an imaginative kids show.  After all, that peasant Jew was killed because he messed with the money system.

The New Adventures of Mighty Mouse Flower SceneSo Wildmon and his silly cult bedded with the Pharisees and killed Bakshi’s child.  This was one of many offenses they perpetrated.  I am sure the good Reverend has several trophies on that triple chinned ego of his mantle.  With too few exceptions,”Mighty Mouse” was one of the last times in which television has shown any inclination for imagination, creativity and style.  In its place we have reality TV and trash TV that dumb down to the lowest common denominator.  Thank you, Rev.Wildmon, for your gift.  Yes, there might be a few clever television programs among the dreck, some worthwhile dramas, but aesthetically ground-breaking television, especially aesthetically ground-breaking children’s television, damn near died away when Bakshi’s “Mighty Mouse” went the way of Lenny Bernstein’s “Young People’s Concerts.”

But, that is not the end of the story, Now, finally, “Mighty Mouse” has re-emerged onto a DVD collection to save the day.  Hopefully, Wildmon and his worthless kin, who serve no purpose in life except as societal cancer, will go crawl into a hole and die away.  The rest of us can celebrate the resurrection of our fearless mouse.

Now, “The New Adventures of Mighty Mouse” is, admittedly, a somewhat mixed bag, Continue reading REV. DONALD WILDMON: MIGHTY MOUSE IS BACK TO SAVE THE DAY (FROM THE LIKES OF YOU)

BETWEEN MEN (1935)

Another B-Western from Sinister Cinema’s “Sinister Six Gun Collection”.

Between Men is a strongly composed “B” directed by Robert North Bradbury (Courageous Avenger and several of John Wayne’s Lone Star Westerns).  Bradbury was also the father of B-Western star Bob Steele, and his expertise in the genre is delightfully natural.  Between Men has a strong cast in Johnny Mack Brown as the stalwart hero, and this may well be his best role.  Beth Marion excels as the love interest, as does William Farnum in his scene-stealing role as Brown’s tormented father and Earl Dwire as the standard slimy villain.

Between Men has a richly melodramatic plot.  Farnum (great wide- eyed acting) believes he has killed his young son (Brown) and flees west.  Actually, the boy was only injured and is adopted by Lloyd Ingram.  Twenty years pass and the visuals shift from the upper-scale Virginia countryside to the stark New Mexico desert as Johnny embarks on a journey to find his adopted father’s long lost granddaughter (Marion).  Farnum has assumed a new name and is now Marion’s guardian after his hired hand (Dwire) rustles her cattle, kills her father, and attempts to raper her.  Marion is saved by a “drifter” whom Farnum hires for protection, not realizing that Brown is his son, whom he believes to be dead.

Soon however, Farnum believes Brown is putting the make on Beth.  Drifter Brown is not worthy of her.  The film does not state, but seems to imply, that Farnum himself lusts after her.  After Johnny fails to heed Farnum’s warning to stay away from Marion, a brawl between father and son breaks out, during which our dimpled hero obligingly loses most of his shirt.  Farnum sees an identifying scar on Brown’s chest and belatedly realizes this is his son.  Oddly, the film ends with Farnum sacrificing his life for the young lovers without ever revealing to Johnny that he is his father.  Needless to say, the dastardly bad guys are killed off, with Johnny and Beth walking arm in arm into the New Mexico sunset.  There is as much plot as action in this oater, which is a rarity in the genre of the thirties.  This, along with assured direction, photography by Bert Longenecker and aptly over-the-top acting make Between Men one of the better B Westerns from the period.

THE WOLF MAN (1941) & THE WOLFMAN (2010)

“Even a Man who is pure in heart and says his prayers by night may become a wolf when the wolf-bane blooms and the autumn moon is bright”.

The best thing about the 1941 film is the tone-setting poem above, which was repeated at least one too many times in the original, yet it is absent from the 2010 remake except in the title. The Wolf Man seemed ripe for a remake since, of the original “horror classics,” it really wasn’t that good to begin with (the same goes for Creature from the Black Lagoon).

The 1941 film has several strikes against it, the first and foremost of which is writer Curt Siodmak, who, frankly, was a hack. The second is director George Waggner, who wasn’t really a hack but merely a competent, unimaginative commission director with no personal vision. Finally, there is “star” Lon  Chaney, Jr. The younger Chaney gets picked on a lot these days and always has. He deserves it. He was an idiotic, drunken bully who had an obsessive hang-up about outdoing his father. Since Lon Sr. probably ranks with Chaplin in the silent acting department, Lon Jr., the pale, watered-down copy, did not have a chance. It’s amazing that Jr. even thought he would be able to compete. That said, Lon Jr. did have a few good character roles in his career. Damn few out of literally hundreds of films. He was quite good as the arthritic sheriff in Fred Zinnemann’s High Noon, as Big Sam in Stanley Kramer’s The Defiant Ones, as Spurge in Raoul Walsh’s Lion is in the Streets and Bruno in Jack Hill’s cult classic Spider Baby. Like Bela Lugosi, he was only good when he was actually being “directed.” Unlike Lugosi, however, Jr.’s signature horror role is not one of his best. That honor goes to his immortal Lenny in Lewis Milestone’s Of Mice and Men.
Still from The Wolf Man (1941)
Even considering his success with Lenny, Larry Talbot is out of Lon’s range. Never once does Talbot’s amorous nature register. Evelyn Anker’s repeated flirtations with the hulking, rubbery Chaney only evoke numbing disbelief. If Jr. the romantic lead is ludicrous (that side seen at its mustached worst in the execrable Inner Sanctum series), then seeing Lon’s Talbot crying on the bed inspires cringe-inducing embarrassment.  Chaney’s performance as Talbot was marginally Continue reading THE WOLF MAN (1941) & THE WOLFMAN (2010)

COURAGEOUS AVENGER (1935)

Time to dust off this collection of B-Westerns from Sinister Cinema’s Sinister Six-Gun Collection.  The packaging is ultra-cool, starting off with those priceless trailers:

Trailer # 1: “Ride at Full Gallop into a Thundering Texas Romance to the rescue of a girl haunted by killers!  Johnny Mack Brown as the fist-flashing GENTLEMAN FROM TEXAS” blazes across the screen as Johnny shoots and punches his way across bar tables.  Add in beer bottles over the head, a pretty dame named Claudia Drake and the TrailsMen singing “Texas Jubilee” on banjos.   It’s a “Violent Drama of Valorous Love and Texan Vengeance” from Monogram Pictures.

Trailer # 2 screams “It’s the Real McCoy” (as in Tim McCoy) “heading this way to tame the town that defied the law!”  More fisticuffs, six-guns blazing, horses, good guys in white hats, and fallen bad guys in black hats (who never bleed) are all promised.  “The Outlaw Deputy Tim McCoy made bad men check their guns while he checked up on romance!  Cow-Town became a mad-house of Thundering Action when the nerviest outlaw East of the Rockies turns OUTLAW DEPUTY!”  A Puritan Picture.

Trailer #3: ” Come Along Boys and Girls on a Thrilling Trip to MYSTERY MOUNTAIN where KEN MAYNARD the screen’s most popular Cowboy Actor and his famous horse TARZAN will ENTHRALL you!  will THRILL you!  will STARTLE you!  in their 1st SUPER SERIAL!  ACTION!  ROMANCE!  All the THRILLS of THE OLD WEST!  Don’t miss seeing Ken Maynard and his horse Tarzan in MASCOT’S MIGHTY EPIC  SERIAL MYSTERY MOUNTAIN! WATCH FOR IT!”  This one has all the elements of the previous two, but throws in locomotives and a star horse.

Time for the feature now, a SUPREME PICTURES CORPORATION starring JOHNNY MACK BROWN in COURAGEOUS AVENGER.  After heisting a bullion shipment some despicable thugs are hiding in the desert, kidnapping local drifters for slave labor for their mine!  Soon, hero agent Johnny enters, decked in ten-gallon white, white suit, white tie, beaming an All-American Football hero smile and dimpled square jaw (naturally, a few yeas later, that square jaw was a bit hard to see under an extra chin, which was still one less than the two extra ones that fellow cow-hero and middle-aged Ken Maynard acquired).  Johnny finds himself commissioned to round up bad guys who killed their latest gold heist victim with three silver bullets.  Shucks, Johnny was just getting ready to go on vacation too.  Duty calls especially when Johnny finds the victim was his girl’s brother and “we were chums too!”  Johnny embarks on the mystery and a quest for justice, western-style.

To complicate matters, the ring of bad guys is lead by none other than his girl’s evil step-dad.  It doesn’t take long for the obligatory desert fight between Johnny and the bad guy, rollicking between the rocks in ass-hugging tight jeans.  After some ass-kicking, Johnny infiltrates the ring, frees the slaves (a dose of grand guignol in that scene) , stops the next heist,  and after a couple of thrilling stunts, rounds up the baddies and literally rides off in the sunset with girl Helen Ericson (who is mere decor).

Courageous Avenger is a 16 mm print and so is as good as it can be (especially since it was probably shot for about $50.00).  There’s no soundtrack music to liven things (fairly common for 30’s B-Westerns), the sound itself seems to come and go, nor is it any great shakes, even for a period B-Western.  But, it is a helluva lot of fun in grand Sinister Cinema packaging and you can’t really go wrong with Brown (although he looked even better with Beth Marion at his side).

The B-Westerns never received much respect in their day, and certainly don’t now, but pass the big bucket of buttered  popcorn and give me this over Avatar any day. More to come.  Dedicated to Dad.