Utilizing a script from 1939's "She Married a Cop" with a 1946 Hit Parade song for the title, Gene Autry's screen return following his WW II Army Air Corps service, "Sioux City Sue" has ... See full summary »
Young Joe is paralyzed as he is bucked by a wild horse, a strawberry roan. Angered, his father, Walt, tries to shoot the horse but is stopped by his foreman, Gene Autry. The roan escapes ... See full summary »
Gene is hired to be foreman of the Big Sombrero ranch by Jim Garland, who is handling all the business affairs of the owner, Estrellita Estrada, who is more interested in going to America ... See full summary »
When asked about the Ghost Riders song he sings, Gene Autry (Gene Autry) tells this legend: Gene is about to resign as an investigator for the county attorney and go into the cattle ... See full summary »
When the bank is robbed, Gene and the boys are singing nearby and the Chief arrests them as gang members diverting attention but lets them go thinking they will lead them to the others. Duke Mantel double-crosses the rest of the gang and with the money, accidently heads for the dude ranch where Gene is. The rest of the gang eventually show up to retrieve the money just as Gene and the boys find themselves locked in a building. Written by
Maurice VanAuken <firstname.lastname@example.org>
When the detective thinks he catches Gene & gang with the stolen money, he holds the wad of stolen bills in his right hand with his gun. In the very next camera angle, he is holding the money in his left hand along with the list of stolen bill serial numbers. See more »
There's a slam-bang finale with-- surprise, surprise-- some good rear-projection. Usually, a matinée production's got the rear-projection going one speed while the horse or buckboard goes another. Not here. Anyhow, Gene and crew start up a dude ranch, even while the cops think they've robbed a bank. Meanwhile, the real baddies show up, except they're even meaner to each other than to Gene. It's a more complex screenplay than usual, playing more like a modern crime drama than an oater. Frankly, too much so for my liking, plus too much time is spent indoors rather than out. Nonetheless, the bad guys really are a convincing lot, while there're two eye-candy girls instead of just one. Holloway does comic relief, but in a less annoying way than usual. On the whole, it's a rather odd Autry oater, his last for Republic. His new studio, Columbia, would provide a big production boost. Good!
A "5" on the matinée scale.
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