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Alias Billy the Kid (1946)

 -  Western  -  17 April 1946 (USA)
7.3
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Ratings: 7.3/10 from 71 users  
Reviews: 2 user

Texas Ranger Sunset Carson is given the mission of tracking down the notorious Marshall gang. Uncovering their hideout, he discovers the gang is led by Ann Marshall and is comprised of ... See full summary »

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(screenplay), (screenplay), 1 more credit »
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Title: Alias Billy the Kid (1946)

Alias Billy the Kid (1946) on IMDb 7.3/10

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Cast

Complete credited cast:
Sunset Carson ...
...
Tom London ...
Dakota
Roy Barcroft ...
Matt Conroy
Russ Whiteman ...
Peewee
Tom Chatterton ...
Ed Pearson
Tex Terry ...
Buckskin
Pierce Lyden ...
Henchman Sam
James Linn ...
Henchman Jack (as James R. Linn)
Stanley Price ...
Frank Pearson
Ed Cassidy ...
Sheriff (as Edward Cassidy)
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Storyline

Texas Ranger Sunset Carson is given the mission of tracking down the notorious Marshall gang. Uncovering their hideout, he discovers the gang is led by Ann Marshall and is comprised of three of her ranch-hands, Dakota, PeeWee and Buckskin. He soon learns that they are the innocent victims of a ring of swindlers and cattle rustlers led by the ruthless Matt Conroy. Written by Les Adams <longhorn1939@suddenlink.net>

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Plot Keywords:

outlaw | b western | See All (2) »

Genres:

Western

Certificate:

Approved
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Details

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Release Date:

17 April 1946 (USA)  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

| (RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Quotes

Sam: That Marshall girl and her gang jumped us again. They stampeded the herd and winged Jack.
Matt Conroy: Did you save anything?
Sam: No, you can't dodge bullets and chase cattle at the same time.
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Connections

Remake of The Renegade Ranger (1938) See more »

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User Reviews

 
An Uninspiring Sunset Carson Film, Next To Which Nearly Anything Seems Superior.
20 July 2006 | by (Mountain Mesa, California) – See all my reviews

It is obvious that producer Bennett Cohen is taken by his own storyline that is employed for this poorly-made film, since he utilizes it several times, notably in the 1932 RKO production COME ON, DANGER! that features Tom Keene as a Texas Ranger who feigns being a horse thief in order to ensnare the female leader (Julie Haydon) of an outlaw gang. The Keene work benefits from ably performed musical numbers, but here a viewer is stuck with only monotoned monolith Sunset Carson at the film's center. Carson is cast as Ranger Sunset Carson (easy for him to remember) who is determined to singlehandedly bring law and order to the region "West of the Pecos", and also to bring to justice the unknown murderer of a predecessor Ranger. He begins his crusade by tracking a jail escapee whereupon he comes into contact with a young woman, played by Peggy Stewart, who heads a band of renegades, and he eventually confronts the leader of the Forces of Evil, performed by Roy Barcroft. Screenwriter George Yates, nephew of Republic Studios head Herbert J., related to this reviewer his uncle's summation of Carson following a viewing by the senior Yates of one of his contract player's films, and while it is not printable in this forum, it remains a heartfelt reflection of despair over the failure of the 6' 6" cowboy to manage even the most basic dialogue. The handsome Carson ostensibly communicates some form of vulnerability to his primarily female fans who are willing to disregard his acting inability; additionally, it must be stated that he is an excellent horseman and, when in the saddle riding full tilt, he appears to be most capable, although perhaps not as entertaining as when he declaims his lines. One of these latter from this film is of interest: when asked what his name might be, Carson coyly rejoinders "Just call me Alias the Kid", and this is the nearest reference to the movie's title within a slapdash script, as unrelated to the action as are a majority of the names of Carson featured pictures. In reality, the entire effort is of inferior quality, including its poorly crafted and foolish scenario and, while considering a budgetary requirement for single takes, there are generally styleless performances turned in by many veteran players, as even Barcroft is dropping entire syllables, while the entire work is unfettered from any sort of pressure that might be applied by logic, or competent direction.


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