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26 user 8 critic

Riders of Destiny (1933)

Bad guy Kincaid controls the local water supply and plans to do in the other ranchers. Government agent Saunders shows up undercover to do in Kincaid and win the heart of one of his victims Fay Denton.

Director:

Robert N. Bradbury

Writer:

Robert N. Bradbury (story) (as R.N. Bradbury)
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Cast

Complete credited cast:
John Wayne ... Singin' Sandy Saunders
Cecilia Parker ... Fay Denton
Forrest Taylor ... James Kincaid
George 'Gabby' Hayes ... Charlie Denton (as George Hayes)
Al St. John ... Bert - Henchman
Heinie Conklin ... Elmer - Henchman
Yakima Canutt ... Henchman
Earl Dwire ... Slip Morgan
Lafe McKee ... Sheriff Bill Baxter
Addie Foster Addie Foster ... Mrs. Mason
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Storyline

Kincade controls the area's water supply and is about to force the ranchers into contracts at exorbitant rates. Government Agent Saunders has a plan that will open up the lost river and dry up Kincade's supply. So he gets the ranchers to insist on a clause that Kincade's land will revert to the public if he fails to deliver water. Written by Maurice VanAuken <mvanauken@a1access.net>

Plot Summary | Add Synopsis

Taglines:

A Great Western Star in a WHIRLWIND of ACTION! (1947 poster) See more »

Genres:

Music | Romance | Western

Certificate:

Passed | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

10 October 1933 (USA) See more »

Also Known As:

Die Wasserrechte von Lost Creek See more »

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Box Office

Budget:

$15,000 (estimated)
See more on IMDbPro »

Company Credits

Production Co:

Paul Malvern Productions See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Balsley & Phillips Recording System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

John Wayne could not sing. The songs were dubbed by the son of director Robert N. Bradbury. See more »

Goofs

At 50 minutes, as Singin'Sandy chases the evil Kincaid, a modern power line/telephone pole, double poled high tension line, and even a radio tower can be clearly seen in the background. The power pole is to modern to even try to pass itself off as a telegraph pole, as does the one which can be seen by the side of the road behind Sandy as he gallops past. See more »

Quotes

Singin' Sandy Saunders: Howdy, folks. Could you tell me where the Sheriff is?
James Kincaid: Oh, I take charge when he isn't here. Can I do anything I can you do for you?
Singin' Sandy Saunders: Thanks, I'll wait for him.
James Kincaid: The Sheriff didn't care especially for this job - he might not come back.
Singin' Sandy Saunders: I'll take that chance. I have an idea he *will* come back.
[Singin' Sandy leaves the jailhouse]
James Kincaid: I don't like the way that fellow talks. We'll watch him.
See more »

Connections

Featured in Hooray for Hollywood (1982) See more »

Soundtracks

A Cowboy's Song of Fate
(uncredited)
Composer unknown
Performed by John Wayne
See more »

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User Reviews

Strangely addictive
24 February 2004 | by alan-mortonSee all my reviews

At the risk of sounding like a complete anorak, I have to confess to a deep affection for John Wayne's Lone Star westerns. Every one has a mighty fine title, usually nothing much to do with the story being told. They have that addictive quality that other people find in today's soap operas. In both types, the plots are familiar and preposterous, the characters are off-the-peg, the acting is poor, the heroines are pretty, and the leading man looks good (especially on a horse in J.W.'s case).

Of all J.W.'s Lone Star films, this one is my favourite. It has all the virtues listed above, maybe not as developed as in some of the later films, but there nevertheless. I particularly enjoy the way a character is introduced in the first reel, made to disappear for most of the film, and reintroduced at the end. The heroine is delightful in jodhpurs, and the bad guy simply looks dastardly in them. Then there are the pistols that seemingly are deadly at several hundred yards. And an important prop is what I take to be a genuine stagecoach.

But this film has notable extras: "interesting" singing, some truly exciting stunt work, and a remarkably lyrical climax that I don't think Robert N Banbury ever came close to emulating again. It's so good that you'd almost believe that Ingmar Bergman had seen this film and been inspired by it as he started on Virgin Spring.

Note to students of film: it's probably a bad idea to try that suggestion on your teacher!


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