Christopher Colt was apparently a gun salesman, but was, in fact, a government Agent tracking down notorious bad guys. His cousin Sam took the lead when the studio had contract disputes with the original star.
Agent Jim Hardie shifts over its history from being mostly an Agent helping Wells Fargo cope with bad guys, to being the owner of a ranch near San Francisco, California, who still does some... See full summary »
A late entry in the television Western boom of the late 1950s. Shotgun Slade was unlike other show heroes. He wasn't a Marshal, Sheriff, or gunfighter for hire, but Slade was a private ... See full summary »
Bart McClelland supervises rail construction for Union Pacific west of Omaha dealing with everything from marauders to land issues. He's aided by surveyor Billy Kincaid and Georgia who runs the mobile Golden Nugget saloon.
Marshal Earp keeps the law, first in Kansas and later in Arizona, using his over-sized pistols and a variety of sidekicks. Most of the saga is based loosely on fact, with historical badguys... See full summary »
Professional salvage divers Larry and Drake (later replaced by Mike) made their livings braving the dangers of the deep recovering sunken wrecks off the Southern California coast. ... See full summary »
two yanks and a johnny rebel travel west together following the civil war
Even as all TV westerns were beginning to look and sound pretty much the same in 1958, here was one that dared to be different - perhaps too different, as it lasted only one season on ABC, in a late evening spot that attracted little attention. The premise was simple enough: immediately following the Civil War, two yankees - a no-nonsense officer (Kent Taylor, formerly TV's Boston Blackie and still sporting the same abrupt mustache) and a large, mean-looking but easygoing sergeant (Peter Whitney) team up with an elegant looking southerner (Jan Merlin) and head west together, looking for a fresh start. Ordinarily, a series like this would begin with a pilot which set the stage for how the three came together in the first place, though that was not the case here. We were more or less thrown into the situation and asked to fend for ourselves. What most qualified the show as an original was that, other than the opening shot of the three riding over a hill together while a narrator spoke in voice-over about this being the beginning of the legend that would lead, half a century later and miles away, to the charge on San Juan Hill, most of the series took place not in easily identifiable western settings - prairies, mountains, towns, deserts, etc. - but in thick swamps, where the trio appeared to have bogged down. It wasn't until nearly halfway through the season that they ever even wandered into a town that looked at all like those seen in other western TV shows of the time. This lent ROUGH RIDERS a unique aura, for the trio almost seemed like that couple in Twilight Zone - you know, the one that kept trying to drive or travel by train out of a small town but always ended up right back where they had begun? Supposedly these three were headed west, but week after week, we'd seen them pass the same bog, ride under the same moss covered tree, as if they had somehow become disconnected from all the other similar western series then taking place. none of the scripts particularly stood out as strong - all the shows seemed variations on the same theme, with character - and the relationships of the three characters - taking precedence. Until cancellation time, of course. Not that this was a whole lot better than most oaters on the small screen at that time - but is sure was different!
12 of 14 people found this review helpful.
Was this review helpful to you?
| Report this