The best job on this film is the one performed by director/writer/producer Ande Lamb when he persuaded somebody at Columbia to put their logo on this indie production that looks a little ... See full summary »
The best job on this film is the one performed by director/writer/producer Ande Lamb when he persuaded somebody at Columbia to put their logo on this indie production that looks a little like what PRC might have made on a bad day, and once past the first five-billed players it is a game of "who dat?" This one finds Calamity Jane learning that her ownership of the "Prairie Queen" saloon, bequeathed to her by the late unseen Frank Mullen, is going to be disputed by Frank's niece, Cecelia Mullen and her lawyer, Gordon Hastings, brought to town by her rival saloon owner Matt Baker. Calamity and her aide, Colorado Charley try to run Gordon out of town but this fails, and he and the niece are soon on Calamity's side against Baker. Written by
Les Adams <firstname.lastname@example.org>
Yep, it is so bad that it is almost good. The acting, other than Ankers and Ellison and Ingram , is pathetic. Lee "Lasses" White almost drove me to drink. This movie has virtually no credibility and no saving graces, except that the Trucolor photography is excellent...as excellent, that is, as two-color photography will allow. Struss does an excellent job in the color photography department which is the real reason I stayed with the film. The Trucolor photography has an unreal look to it...almost like a pastel painting. I only wish Gene Autry had made at least one Trucolor film in addition to his two Cinecolor films. All in all, watch it late at night with a bottle of Jack Daniels and relax....after all, it's only a movie!
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