I liked this movie. I was a little surprised by the "good-bad" leading role by Buck Jones. I had not seen this film before, but found it a lot in the tone of "Hell's Heroes". It is gritty and well acted. The fight scene in the end is spectacular, with horses and riders circling and shooting. The photography is well shot and defined. And, which has nothing really to do with the plot, I found the tack on our heroes horse to be wonderful! If you like westerns with a more unforgiving nature, this one might be for you. It has a large cast and realistic scenery. There is no music background--just the silence of the desert. I really felt the suffering displayed by the actors.
2 Reviews
There is More to this Film than Just "Desert Vengeance" (1931)
glennstenb15 November 2021
Warning: Spoilers
"Desert Vengeance" is one early western that I can't help but take a moment to drop a few words about. I haven't seen this one for more than 50 years since I was but a teenager, but I remember that I found it starkly and indelibly memorable, similar in a way that I did "The Drifter" (1932) with William Farnum and "Toll of the Desert" (1935) with Fred Kohler Jr.
Although this is a B-western, the film is superior to 99% of its brethren in production and acting, particularly for 1931. Columbia must have considered Buck Jones to be a capable actor for he was chosen for roles in westerns and even in some other contemporary dramas that offered a chance for him to actually show a variety of considered and intense emotions. As I have mentioned before, Buck is perhaps the most seriously countenanced cowboy hero of the B-westerns and his role in this one is the ultimate in that regard. Except that the question arises as to whether he really is a hero? In fact, one may wonder what he actually is here. Not only does he have the weight of the world on his shoulders but the fate of many people in his hands, too. In the end it could argued that he led dozens of people to their doom, all for the chance of resurrecting himself and the girl who wronged him. It seems as though he has taken responsibility for redeeming this girl, and perhaps himself, through a stark and grim tough-love training regimen. You can see in his portrayal that he is conflicted by the complex route to redemption that he is coursing for himself and the girl. Is it a stretch to presume that Buck's relationship and conduicity with the local pastor, whose appearance arguably has a God-like aura, may mirror another more famous one-two relationship in the world of religion.
The cinematography, direction, continuity, editing, and acting are all first-rate. The many closeups of Buck and leading lady Barbara Bedford (with her expressive eyes) couldn't have been handled with more care; the many eyes-focused passages are consistently timed perfectly. This film harkens a bit back to the silent era, when filmed stories were made fluid by the viewer being able to actually watch the players realize and think about their predicaments.
Mention was made in other commentary about the lack of musical scoring in this picture; well, we can only be thankful, for I believe stories are usually more effectively told through good acting art alone, not through musicians guiding us and telling us how to feel. Of course, by about 1937, music washed over the B-western world and things were never the same. Keep in mind, however, that there are some group cowboy sing performances in the film, and they sound great with some well done Appalachian-style harmonies!
In closing, "Desert Vengeance" is one special film with a story well told, offering a special viewing experience; it can stand proudly with other, more expensively produced films from the year 1931.
Although this is a B-western, the film is superior to 99% of its brethren in production and acting, particularly for 1931. Columbia must have considered Buck Jones to be a capable actor for he was chosen for roles in westerns and even in some other contemporary dramas that offered a chance for him to actually show a variety of considered and intense emotions. As I have mentioned before, Buck is perhaps the most seriously countenanced cowboy hero of the B-westerns and his role in this one is the ultimate in that regard. Except that the question arises as to whether he really is a hero? In fact, one may wonder what he actually is here. Not only does he have the weight of the world on his shoulders but the fate of many people in his hands, too. In the end it could argued that he led dozens of people to their doom, all for the chance of resurrecting himself and the girl who wronged him. It seems as though he has taken responsibility for redeeming this girl, and perhaps himself, through a stark and grim tough-love training regimen. You can see in his portrayal that he is conflicted by the complex route to redemption that he is coursing for himself and the girl. Is it a stretch to presume that Buck's relationship and conduicity with the local pastor, whose appearance arguably has a God-like aura, may mirror another more famous one-two relationship in the world of religion.
The cinematography, direction, continuity, editing, and acting are all first-rate. The many closeups of Buck and leading lady Barbara Bedford (with her expressive eyes) couldn't have been handled with more care; the many eyes-focused passages are consistently timed perfectly. This film harkens a bit back to the silent era, when filmed stories were made fluid by the viewer being able to actually watch the players realize and think about their predicaments.
Mention was made in other commentary about the lack of musical scoring in this picture; well, we can only be thankful, for I believe stories are usually more effectively told through good acting art alone, not through musicians guiding us and telling us how to feel. Of course, by about 1937, music washed over the B-western world and things were never the same. Keep in mind, however, that there are some group cowboy sing performances in the film, and they sound great with some well done Appalachian-style harmonies!
In closing, "Desert Vengeance" is one special film with a story well told, offering a special viewing experience; it can stand proudly with other, more expensively produced films from the year 1931.
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