Wanted for a murder he didn't commit, Camp O'Neil escapes and assumes a different identity becoming foreman on Molly McCall's ranch. Banker Houseman is after the ranch for the oil he knows ...
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Wanted for a murder he didn't commit, Camp O'Neil escapes and assumes a different identity becoming foreman on Molly McCall's ranch. Banker Houseman is after the ranch for the oil he knows is there and is trying to keep her from paying off the note. To add to the trouble O'Neil has in fighting Houseman's men, Jim Hunter who is the real killer arrives to identify O'Neill and collect the reward. Written by
Maurice VanAuken <firstname.lastname@example.org>
One of over 100 Columbia features, mostly Westerns, sold to Hygo Television Films in the 1950s, which marketed them under the name of Gail Pictures; opening credits were redesigned, with some titles misspelled, the credit order of the players rearranged, some names misspelled, and new end titles attached, thus eliminating any evidence of their Columbia roots. Apparently, the original material was not retained in most of the cases, and the films have survived, even in the Sony library, only with these haphazardly created replacement opening and end credits. See more »
The opening reels mark this as a more ambitious than usual oater B, with effective staging and violence, like that of Hillyer's W.S. Hart films. The leader of the posse, who think our hero is a rustler, uses the hot iron on him. "There's a crooked brand on you now!"
The bar room scene, where Jones tracks down bad hat Wheeler Oakman who was responsible, while the saloon gambler watches, is worthy of a more ambitious production.
The girl rancher plot is less involving, though there is a good punch up between Buck and Ward Bond, where both actors do their own fighting.
The technicians do competent work to support star and director.
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