Old Los Angeles finds Bill Stockton leaving Missouri to join his brother Larry, and prospect for gold in California. Bill and his pal, Sam Bowie, arrive in the picturesque town of old Los ...
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Old Los Angeles finds Bill Stockton leaving Missouri to join his brother Larry, and prospect for gold in California. Bill and his pal, Sam Bowie, arrive in the picturesque town of old Los Angeles in 1848, but find that the outlaws rule... attacking mines and trains, burning ranches, looting stores and killing those who oppose them. Bill learns that Larry has been murdered for the gold claim he had staked for them. He sets out to avenge his brother's death but runs into difficulty when Estelita Del Rey misleads him to protect her lawless lover, Johnny Morrell. Bill also suspects Luis Savarin, gambling house proprietor, and Marie Marlowe, an entertainer at Savarin's place. Written by
Les Adams <email@example.com>
My brother Larry had written from Los Angeles - which was just a dusty pueblo in those days. He said that California was a land of vivid contrasts; great snow-capped mountains and broad fertile valleys, where Mexican and newly arrived American settlers lived in peace and friendship. This seemed mighty good to me - I wanted to see it all from those mountains clear down to the broad blue waters of the Pacific. Then Larry's next letter arrived. It wasn't a very ...
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The opening sequence amounts to an act of surprisingly cold-blooded treachery unusual for even a 1930's gangster movie, let alone a Saturday afternoon horse opera. After that the story settles into more familiar territory for a Republic Western, along with more than the usual number of musical interludes. Actually, the storyline is more convoluted than most, I guess to accommodate the extra-large cast of principals and supporting players. Then too, John Carroll's baddie gets at least as much screen time as good guy Elliot gets. In fact Carroll's role may be the most interesting since he's not only treacherous but unusually charming for a cowboy movie, even breaking into song rather absurdly at one point. Had the screenplay cut out some of the subplots and concentrated more on the Carroll-Elliot rivalry, we might have gotten something along the lines of the renowned Boetticher-Randolph Scott cycle of Westerns of the late 1950's. Certainly as an actor, Elliot was capable of acting out Scott's version of the hard-bitten revenge seeker, while Carroll's good-bad guy remains really effective in Boetticher's memorable Decision at Sundown (1957). Anyway, this is an entertaining oater if you can get past Estrelita's cartoonish accent and McLeod's relentlessly big smile. Still, you might need a scorecard to keep up with all the featured players, including the classically trained and very unWestern Joseph Schildkraut.
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