Ginger and Dixie are process servers for goofy lawyer Homer Bronson. The two friends want to quit, but they're offered a thousand dollars to serve four subpoenas in a breach of promise suit... See full summary »
During the 1900 Boxer Rebellion against foreigners in China, U.S. Marine Major Matt Lewis, aided by British Consul Sir Arthur Robertson, devises a strategy to keep the rebels at bay until an international military relief force arrives.
Gunman Bob McAdams arrives in Sunrise, turns in his gun and promises to avoid trouble. He even chooses not to fight a gambler who cheats him. But when robbers shoot his good friend, he straps on his gun again and takes off in pursuit.
The Fallon lumber company is after California's redwood trees but logger Bill Cardigan who wants to save the trees is in the way. Cardigan has a note due at the bank and needs to get a large supply of logs to the mill. He sends his logs down the river so Fallon builds a dam to stop him. As Cardigan sets dynamite to blow up the dam, Fallon arrives to stop him. Written by
Maurice VanAuken <firstname.lastname@example.org>
Guinn 'Big Boy' Williams, who is not in this film but was in Valley of the Giants, from which much footage is used, can be clearly seen fighting in the saloon brawl and with Fallon atop the dam. In the saloon brawl the character "MacIntosh", played by Ralph Dunn, is dressed like Williams to match the footage, and in the fight scene atop the dam Robert Shayne is dressed like Williams, to match the footage from the original film. See more »
Serial-like use of old footage and new starring "Inspector Henderson".
Akin to the Republic movie serials of the 1940's in its use of new footage shot to match older, stock footage from 1938's "God's Country and the Woman", this fast-moving, entertaining logger epic (starring young Robert Shayne, seven years later to gain classic TV fame as Inspector Henderson in the George Reeves "Adventures of Superman" series) only misses the mark when the new footage (shot in post 1940, clearer black and white) is edited against the older (1938, three-strip color) footage. Shayne's dark hair vs. the stuntman's light-colored hair (a situation that can likely be blamed on the 'bleaching' that happens when color film is duped in B&W) make every carefully-planned re-staging of the action and every calculated match-edit into a distracting jumpcut. More's the pity, because the logging sequences and especially the runaway train climax are first-rate.
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