Finding a deserted cattle ranch, Buck buys it and turns it into a dude ranch. But Buck is quickly in trouble with sheep men who want the ranch and then with outlaws who kidnap the daughter of the wealthy Mr. Grant.
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Malcolm St. Clair
Buck runs into trouble when he buys a deserted cattle ranch that he turns into a dude ranch. To put on a show for the dudes, he sends his men after a nearby sheep herd with blanks in their guns. They are met with real bullets and one man is wounded. Then he learns that Boots, who helped him start the ranch, has been kidnaped and he heads out after her. Written by
Maurice VanAuken <email@example.com>
Louise Brooks had earlier turned down an offer to appear in a Buck Jones Western. However, by 1936 she was evidently grateful for the work in what would be one of her last films. She told a reporter, "I am delighted with my role in "Empty Saddles." It gives me an opportunity to do something, not just stand around and look pretty. I wouldn't trade it for all the other roles I ever had because I am really acting now, not just being an ornament, and I feel that, a last, I am on the road toward getting some place in pictures." See more »
Welcome to the Empty Saddles Ranch
(uncredited) See more »
This enormously entertaining B western, combines sentimentality, mysticism, humor and interesting casting and acting as Buck buys a haunted ranch and turns it into a Dude ranch.
The strong story is supported by a likable cast, including silent comedian Gertrude Astor in a funny turn as a society lady who thinks the entire scene too too romantic, and a surprisingly strong Louise Brooks in a near-the-end role and some excellent musical backing.
Although her appearance in two late silent German movies made Miss Brooks an interesting star and her memoirs of the Hollywood scene made her important, in truth she rarely gave strong, animated performances. Although the camera loved her, she sleep-walked through most of her roles and was miscast in others. Her blank affect in most silent movies made it impossible for the audience to gain anything from her performances. Indeed, it was this blankness that the Europeans used to produce characters ruled by chaotic circumstances in a crazed world. However, in most of her movies, when called upon to act, she did not. This movie, surprisingly, is different. However, it was too late to save her career.
But here, everyone works. This what a Saturday afternoon oater should be and all too rarely was.
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