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Orphan of the Pecos (1937)

Approved | | Western | 5 June 1937 (USA)
Shortly after Brand kills Gelbert, Tom Rayburn arrives on the scene and is accused of the murder. Escaping, he goes after Doc Mathews, the man that can prove his innocence. Brand is also ... See full summary »




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Cast overview:
Howard Bryant ...
Deputy Pete
Sheriff (as Slim Whittaker)
Prof. Jeremiah Mathews
Jess Brand
Mrs. Barnes
Hank Gelbert


Shortly after Brand kills Gelbert, Tom Rayburn arrives on the scene and is accused of the murder. Escaping, he goes after Doc Mathews, the man that can prove his innocence. Brand is also after Mathews and intends to keep him from testifying. But Mathews is a ventriloquist and this will lead to Brand's downfall. Written by Maurice VanAuken <mvanauken@a1access.net>

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Release Date:

5 June 1937 (USA)  »

Also Known As:

Banditen der Prärie  »

Box Office


$6,000 (estimated)

Company Credits

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Technical Specs


Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?


This film is one of over 200 titles in the list of independent feature films made available for television presentation by Advance Television Pictures announced in Motion Picture Herald 4 April 1942. At this time, television broadcasting was in its infancy, almost totally curtailed by the advent of World War II, and would not continue to develop until 1945-1946. Because of poor documentation (feature films were often not identified by title in conventional sources) no record has yet been found of its initial television broadcast. Its earliest documented Post-WWII telecasts took place in New York City Friday 14 January 1949 on WATV (Channel 13) and in Los Angeles Sunday 6 November 1949 on KFI (Channel 9). See more »

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User Reviews

exciting Tom Tyler b-western from Sam Katzman--some clever touches
14 November 2004 | by (south Texas USA) – See all my reviews

I used to watch 30s b-westerns by the dozen, but haven't watched that many in the last few years. I decided to get back into them by digging out this Tom Tyler entry from 1937, near the end of his above-the-title starring career, after which he became an excellent character actor. The title will tell you nothing about this film, as there are no orphans here and the locale of the film is not specifically mentioned--it could just as easily be the Brazos or the Rio Grande or the Red River! Tyler's starring vehicles in the 35-37 period are mostly fast-moving and occasionally have some clever touches that make the same old clichés (or, if you prefer, archetypes) go down more smoothly and that help create suspense. The trick with any established film genre is to make the audience feel suspense and worry about the plight of the hero, even though we "know" what will happen and can sometimes recite the dialogue in advance of the actors. Tyler moves well (a former athlete), is convincingly tough (he was a boxer at one time), and is a convincing actor. Although there is a certain sameness to elements of these films, watching one every few months (the way they would have been viewed by the audiences of the time) is still enjoyable and exciting. The murder mystery angle (we see it done, so we know who is guilty, but we don't know HOW Tyler will prove himself innocent) is well done, the bad guy is a sniveling coward wanting to put the moves on the heroine, and there's a wonderful snake-oil-doctor and ventriloquist in the Max Terhune tradition who is cleverly mad integral to the plot in many different ways. Also in a small role is one-time Mack Sennett comedienne Marjorie Beebe, near the end of her screen career. Beebe was a wonderful talent, reminiscent of Lucille Ball during her TV heyday, but unfortunately she is not used that much here, with a few scenes as a lady who the heroine stays with after her father is killed. Beebe's charm manages to come through somewhat, and her comedic skills are hinted at in the scene where she accidentally gives away confidential information in a conversation where an evil character is present. Another unique item about the film is the presence of producer Sam Katzman as director! He's actually quite competent, and I'm guessing that the only reason he directed this is that as producer he didn't want to pay the money to a director and saved bucks by doing it himself. He only directed five films total in his career, all in this period, so once he went from a thin shoestring at his own Victory Pictures to a thicker shoestring with his later Monogram productions for his own production company, he could HIRE someone to do the directing. Overall, an exciting, witty b-western that is a nice vehicle for the under-rated Tom Tyler.

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