The Palmers, an apparently wealthy family, move into the house next door to the Lazarres. However, the Palmers are actually a gang of thieves plotting to rob the Lazarres. What the Palmers ... See full summary »
Earp agrees to become marshal and establish order in Tombstone in this very romanticized version of the gunfight at the O.K. Corral (e.g., Doc is killed by Curley before the actual battle and Earp must do the job alone).
The Cisco Kid tells his pal Gordito that "From now on, Amigo, I am through with women" and then a few minutes later, after rescuing Joan Allen from an attempted stage holdup, tells her "...but you, senorita, you are different!" and therein lies the short summary of all of the films in the 20th Century-Fox Cisco Kid series. The padded plot, so exhibitors could tell the entries apart, finds Towash, Texas saloon owner Hank Gunther plotting with Jesse Allen, Joan's father, to rob the money missed on the aborted stage holdup from the express company safe rather than report empty-handed to the "Boss". Allen robs the express office, but is seen by Moses, an old hermit, who tells the boys in the saloon that he doesn't know the robber's name but recognized him as the man he had seen that day with Joan. The latter has convinced her father to return the money and they will go to Arizona. Cisco, also seen that day with Joan, gets blamed for the robbery as Gunther has killed ol' Mose who is no ... Written by
Les Adams <firstname.lastname@example.org>
Fox' Cisco Kid series continues, with the usual good chemistry between Cesar Romero and Chris-Pin Martin. This one takes a few minutes to get off to a start as Cisco is framed for a series of robberies and succored by Jean Rogers, who is the daughter of one of the gang members. This is not quite as good as others in this series: the energy levels of different players is distracting and at times it becomes a standard B western.
Fox' B unit, however, was, at this time, probably the best in the industry, and its strength was the high quality of cinematographer it got. Here's it's Charles Clarke, who takes advantage of the settings to shoot some beautiful scenery. Notice also the silhouette lighting during the interview with the witness and the almost Film Noir shadow shooting when Romero meets Fields -- or as close as they ever got to noir lighting at Fox. I don't think anyone ever turned out a light at that studio.
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