Besides, as a student of history I learned several things about France after Napoleon's defeat. Day and night switched back and forth unpredictably. As one was pursued by horsemen this might happen several times during a single pursuit. Small orchestras accompanied these horsemen but never interfered with the pursuit. (This, of course, was also true in the Old West, but Restoration France's orchestras were slightly larger.) Clothing never got dirty, even though one wore it day after day. Expensive seeming scarlet (a.k.a. scarlett) cloaks were so readily available that at least six of them could be lent to local villagers who sought to imitate our hero. As is still sadly true, men (well, one man our hero) pursued women who never would become properly submissive wives and whose conversation would cease to be interesting after a very few years. Men who had pistols usually forwent their use in order to fight each other with dueling swords. (For some reason this wise practice didn't continue in the Old West, despite that one almost never hit anyone no matter how many shots one fired at them from Old West pistols, whereas with a trusty sword )
Internet Archive offers this film free. As a still-loyal member of ABCDEFGHI, I recommend it for late-evening viewing. ("What's this alphabet stuff?" American Boys Concerned to Defend Errol Flynn's Good Honorable Intentions, that's what!)
Despite what other reviewers have written, the actor who portrays the visiting scientist and who is transformed into a ... well, to avoid any spoiler, make it "a different sort of person" does a lovely job. I mean that seriously. The brunette who dances seductively does so well --- though even in my long-vanished youth she'd have terrified me, and the (admittedly repetitive)loud guitar music is generally superior to the dialog. The blonde who serves as Heroine is perhaps the nastiest person in the film, though this doesn't seem to be intentional. And actually the admittedly inexpensive monster was pretty good in its brief, brief appearances. So, in their brief appearances, were the dwarfs, midgets and poor scantily-attired young ladies.
Logic? Sensible behavior in dangerous situations? Competent acting by all but one of the cast? Of course not: that's part of the fun.
But hereafter I part company with other IMDb reviewers. The style and atmosphere of Alien 3 differ greatly from that of the first two: it's much bleaker emotionally, and that works. At first there's only one really sympathetic character besides Ripley, and Ripley is doomed from the start; these things work, too. Several of the initially unsympathetic characters became more and more interesting to me as the movie progressed. However that may have been because I've had a fair amount of direct and indirect experience working with convicts. Sigourney Weaver was, of course, superb and convincing. The main thing is that Alien 3 is a DIFFERENT movie, but in its way also a great one. Marvelous sets. Gloomy, gloomy, gloomy. Marvelous dry, dead-pan humor in places. Marvelous scenes where you know that something awful is going to happen. Even fine music. I give it 9 out of 10.
Positives: The movie's sound quality is excellent, as is its Black and White screen resolution. The choreography of the fist fights is good. Of course, just as in Westerns' innumerable bullets being fired without hitting anything, here innumerable punches do little harm. The musical background is acceptable and not too obtrusive. The plot holds together and is somewhat interesting. The Awful Danger to which the heroine is exposed as the trailer rolls quickly checks no, this is not a Plot Spoiler: IMDb has already disclosed it down the hill into the lake is quite well done, though one wonders how it managed to remain on that somewhat curvy dirt road all the way down. The destruction of an automobile is well rendered. The heroine is a convincing liar.
Negatives: The plot is incessantly interrupted by the Obligatory Comedy Relief, in this case Benny Rubin, Master of Many Dialects. In this case his dialect is a puzzling mixture of Swedish, Quebecois, and Bronx. He's by far the best actor in the movie, with the horse whom he gradually learns to ride coming in second. However, Benny does get in the way. IMDb labels this movie Action; a more appropriate label would be Spasmodic Comedy.
The film begins with Renfrew leading a substantial troop of Mounties as they ride slowly through the conifers and the movie's titles. Renfrew is singing. His tenor voice is pleasant. However, his songs are standard Roy Rogers / Gene Autry dreck. He sings three or four of these, repeating one at the end as the heroine gazes at him adoringly.
Regarding conifers: I'd hoped that this would an Artic Mounties movie, and that Renfrew would have a loyal sled dog named Werfner who would, of course, go Werf, Werf! Instead, though, he has a loyal sidekick who resembles him sufficiently that once in a while I got the two confused. Both are handsome and boring.
Overall: This film was produced by Criterion Pictures Corp.. A criterion is a standard by which to judge something. Here, my criterion is, Would It Have Been Possible To Watch All 54 Minutes Of This If I Hadn't Been Taking Notes? On that I give it a 5. Final irrelevant observation: the title couldn't have been Fighting Mothers Against Dyslexia, because they abbreviate their name as DAM.
Another thing about the Old West: as usual, the scheming villain (black hat, thin black moustache, cigar) was a banker. This wasn't surprising in a 1932 movie --- bankers weren't popular back then. Still, it would be nice to see a movie in which the hero or heroes came to the rescue of the banker who was being cheated by all the local deadbeat ranchers, store owners, hotel owners, and saloon, dance-hall, gambling hall, and Even Worse proprietors.
Another thing about the Old West that I wish I'd known as a kid: how to knock somebody down by a punch to the jaw that clearly missed by a couple of inches: Hoot accomplished this with Henchman Joe.
The movie begins promisingly with Skeeter admiring a Bathing Beauty postcard of Tootsie Wootsie, a young woman with whom he's been corresponding. This went straight to my heart, since my wife and I met on the contemporary equivalent, the Internet. Tootsie Wootsie wanted $500 to come to Skeeter. This would be somewhere between $5,000 and $10,000 in today's money, so that portended all sorts of interesting plot possibilities. Sad to say, though, the only woman besides Ethel Wales who showed up was the one whom Hoot eventually married. As a nasty old man, I have nothing against his being old enough, easily old enough, to be her father. However well, let's say that she was unlikely to become a godly, submissive wife. Ever.
I've long known that in detective movies drivers rarely look back when they're being followed or notice when they're being watched from a parked car. Similarly Hoot was unable to hear the bad guys riding off, even though they were only a few yards away. Given the young lady whom he was going to marry, let's hope that this was because he was deaf. However, it may simply have been because of my copy's continuously scratchy background noises that accompanied its constantly blurry screen resolution.
One could go on the rustlers panicking and riding away from Hoot and Skeeter, even though they greatly outnumbered them, the bad guy unsuccessfully shooting twice at Hoot then throwing his gun away before he got into the saddle and chased him. All in all, IMDb might consider adding Comedy to its Western caption. On the positive side, nobody sang. So, I give the movie 6 out of 10.
The movie's photography and special effects are super-fine. The actors are all quite competent, though and this also is splendid the only really charismatic performance comes from Eugene A. Clark, as Big Daddy the zombie leader. I was rooting for him all the way. Close to charismatic was Asia Argento, whom I first dismissed as an Obligatory Sex Interest with gymnastic abilities, but respected more and more as the film progressed. Overall, I almost never watch movies twice, but I'll sure watch this one again.