Finding a deserted cattle ranch, Buck buys it and turns it into a dude ranch. But Buck is quickly in trouble with sheep men who want the ranch and then with outlaws who kidnap the daughter of the wealthy Mr. Grant.
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Buck runs into trouble when he buys a deserted cattle ranch that he turns into a dude ranch. To put on a show for the dudes, he sends his men after a nearby sheep herd with blanks in their guns. They are met with real bullets and one man is wounded. Then he learns that Boots, who helped him start the ranch, has been kidnaped and he heads out after her.Written by
Maurice VanAuken <firstname.lastname@example.org>
Louise Brooks had earlier turned down an offer to appear in a Buck Jones western. However, by 1936 she was evidently grateful for the work in what would be one of her last films. She told a reporter, "I am delighted with my role in 'Empty Saddles'. It gives me an opportunity to do something, not just stand around and look pretty. I wouldn't trade it for all the other roles I ever had because I am really acting now, not just being an ornament, and I feel that, at last, I am on the road toward getting someplace in pictures." See more »
Welcome to the Empty Saddles Ranch
(uncredited) See more »
Only reason to watch this dreary grade-B Western is to see Louise Brooks, the difficult but fascinating star of the late silent period. Brooks was a rising starlet in silent films, landed a few starring roles (the excellent Beggars of Life) but was too difficult for Hollywood to bother with. Brooks made 2 silent films in Germany (not France as the other review states), and it's on these 2 films--Pandora's Box and Diary of a Lost Girl--that her reputation has rested. Her refusal to refilm parts of The Canary Murder Case as a talkie sealed her fate. She sporadically attempted to get back into Hollywood films, but she never made much headway. She was relegated to supporting parts and B films. Toward the end of the 30s, she was cast only in Westerns, so at age 32, she left films forever. Brooks is not very good in this film, but it's interesting to see this fabled star playing an unexotic character. She's still a beauty and has a fine voice. But like Frances Farmer and Clara Bow and a rafter of other stars who crossed the studio system, none of that mattered. Her book of essays--Lulu in Hollywood--is still a great read. Buck Jones and Gertrude Astor, who has a small part, had also been in silent films. But beyond Brooks, Empty Saddles is boring claptrap.
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