| Pete Morrison | ... | Jode MacWilliams - the Foreman of Circle O, in Love with Peg | |
| Duke R. Lee | ... | Pa Owens - the Owner of the Ranch, Peg's Dad | |
| Magda Lane | ... | Peg Owens - the Ranch Owner's Daughter | |
| Edward Burns | (as Ed Burns) | ||
| Jack Woods | ... | Dutch | |
| Harley Chambers | ... | Fritz | |
| Hoot Gibson | ... | Chub -Jode's Helpful Cowboy Friend | |
| Jim Moore | ... | Two Horns - a Facetious Indian | |
| Jack Walters | ... | Andy | |
| Otto Meyer | ... | Swede (as Otto Myers) | |
| rest of cast listed alphabetically: | |||
| Ed Jones | ... | Stumpy aka Beany - a Poet of a Cook | |
Directed by | |||
| John Ford | (as Jack Ford) | ||
Writing credits(in alphabetical order) | ||
| William Wallace Cook | story "The Trail of the Billy-Doo" | |
| H. Tipton Steck | scenario | |
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| Mark of the Spur | Texas Tornado | Lawless Valley | Headin' North | Coyote Trails |
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| Full cast and crew | Company credits | External reviews |
| IMDb Short section | IMDb USA section |
This is the sort of rough comedy that Ford had been making at least since the previous year's BUCKING Broadway and would continue to make regularly through DONOVAN'S REEF. It is not a particularly distinguished member of the club -- which includes the Oscar-winning THE QUIET MAN. but any John Ford picture is worth looking at.
One thing worth noting is Ford's fine and, for the era, advanced sense of framing. True, he still uses irised shots as a substitute for a medium close in two-shot, but that is a common convention for the era. Of more interest is his strong use of framing lines to reduce the effective composition of shots in a fashion that most directors would not catch on to for another five years..... but then, he always said that was his sole strength as a director.
Did anyone believe him?