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 ...
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The white gravestones at the military cemetery in English Brookwood display many Czech names. These were members of the British army of Czechoslovak origin who fought here and died for ... See full summary »
A western based on the story "Gunsight Whitman" by Silvia Richards. Vern Haskell, a nice rancher, seeks out to avenge his fiancé's death when she is killed during a robbery. His revenge ... See full summary »
Robert Culp plays Bracken, whose life seems perfect until his wife Ellen and their children are kidnapped by terrorists one day. After failed attempts to capture them back by the police, ... See full summary »
The Deputy is Clay McCord, a storekeeper in 1880's Silver City, Arizona Territories, who is an expert shot, but refuses to use his gun because he believes they are the major cause of ... See full summary »
When the government agency fails to deliver even the meager supplies due by treaty to the proud Cheyenne tribe in their barren desert reserve, the starving Indians have taken more abuse ... See full summary »
Eddie Haines is a radio reporter with Station KBC. He is always getting the scoop, which infuriates those at the New York Star, which happens to employ his ex-girlfriend Mary Bradley. But ... 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 business with his pal Chuckawalla Jones (Pat Buttram) but decides instead to help Anne Lawson (Gloria Henry) clear her father, rancher Ralph Lawson (Steve Darrell'), of a false murder charge. He looks for the three witnesses who can testify that Lawson shot only in self defense in killing a gambler, but the witnesses are terrorized by another gambler, town boss Rock McCleary (Robert Livingston), who shoots witness Pop Roberts (Tom London)Morgan. Fatally wounded, Pop gives Gene the information needed to clear Lawson, then dies crying the "Ghost Riders" are coming for him. Gene then heads for a showdown with McCleary. Written by
Les Adams <email@example.com>
Former Forest Ranger Stan Jones wrote "(Ghost) Riders in the Sky," a hit big enough that it crossed over from country-western charts to standard pop music. A chance meeting with Jones led Gene Autry to buy the rights to the song, and he gave Jones a part in the film. A nearly-complete Autry movie, Beyond the Purple Hills (1950), was quickly retooled to include the song. Jones himself appears as a cowboy riding herd with Autry in the opening and closing scenes, singing along with Gene's rendition of the spooky song. That same year Vaughn Monroe had topped the charts with his version (#1 US Pop for 22 weeks). Over the years many others have recorded it, including Peggy Lee, Willie Nelson, Frankie Laine, Johnny Cash, The Marshall Tucker Band and The Doors. Jones would later compose the title song to the classic TV western series Cheyenne (1955). See more »
When Gene puts McCleary in the stage at the end of their fight, it appears that McCleary still has a gun in his holster. See more »
Oh, ah, say Gene, you didn't have no trouble gettin' the, ah...
[makes money sign with thumb and forefinger]
Got the money right here in my pocket - a roll big enough to choke Champ on.
Oh, don't give him no ideas. He'd eat it, too, if it was green enough.
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Dull programmer, redeemed by the title song and 1 powerful sequence
For the most part this is a movie only of interest to Autry enthusiasts and those who like the superb title song (around which the script was presumably cobbled together). Sure enough, the song pops up twice and is easily the film's highlight on each occasion. The way that it is sung here, with emotion and zeal, and the mythic quality of its lyrics means that it transcends the B-material in which it is embedded.
The exception to boredom is the sequence in the film where the song plays out over the stark mono images of the old timer's grizzled face (as a character he dies shortly afterwards.) For an all too brief few minutes the power of the music asserts itself and the cinematography comes alive in high contrast black and white photography. The old timers' face becomes epic, stark, and deeply moving. In fact, at the risk of sounding ridiculous, I was reminded of Eisenstein's framing of facial 'types' in his Alexander Nevsky or October. So poetically powerful is this scene that it seems to have wondered in from another, more prestigious, movie (a good Western candidate being perhaps Anthony Mann's The Furies, where such stylisation abounds).
Then like a pan handler's lucky strike, the moment of glory fades and we are back to cinematic mediocrity, and a negligible, undramatic oater of most interest to hard core fans and completists.
6 of 17 people found this review helpful.
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