Western Wednesdays: Three on the Trail (1936)

     Three on the Trail was released on April 24th, 1936. It is the 5th film in Harry Sherman's Hopalong Cassidy series and is directed by Howard Bretherton and written by Doris Schroeder and Vernon Smith. In this installment Hoppy and Johnny Nelson (played by William Boyd and James Ellison respectively) come to the aid of the new schoolmarm Mary Stevens (Muriel Evans), rescuing her from the clutches of saloon owner Pecos Kane (Onslow Stevens) who tries to coerce her into working for him. It turns out that Kane is up to all sorts of mischief, from robbing the local stage to rustling cattle, and it's up to Cassidy, Nelson, Windy and the rest of the Bar-20 gang to bring him to justice. 

     Johnny, of course, falls for Mary and becomes jealous when he sees her dancing with Hoppy. This is a bit tedious but, thankfully, the film doesn't focus on it too much. On a similar note the main problem with the film is that it is generally lacking in focus. Johnny's romance with Mary is not really connected in any way with Kane's schemes except for the fact that they happened to witness his men holding up the stage. As with many villains in the series, Pecos is unable to effectively combat Cassidy. The only reason he is successful at all is because he has paid up the corrupt Sheriff Sam Corwin (John St. Polis) and the gullible rancher J. P. Ridley (Claude King) who, for some unexplained reason, has the authority to issue arrest warrants!

     All of the cast acquit themselves well. Onslow Stevens is a thoroughly despicable villain even if his goals are a bit vague. Muriel Evans is a fine ingenue and has decent chemistry with Boyd and Ellison. John St. Polis is a good choice to play the crooked sheriff as is Claude King for the well-intentioned but naive European rancher. Gabby Hayes is featured once again, here for the first time playing the woman-hating Windy Halliday (he played another character named Windy in the Bar 20 Rides Again, the third film in the series). His constant complaining about "dern persnickety woman" would become something of a trademark for the actor after this. William Duncan and Clara Kimball Young do a good job as Buck and Muriel Peters, the the latter has some fun moments with Windy.

     The film moves at a decent clip and features a really top-notch climax, where the Bar 20 gang faces off with Pecos men in an awesome gunfight around his saloon but it's not enough to save the film from its flimsy plot.

 Score: 6/10

Westember II: Day 28 - William Boyd in False Paradise (1948)

 

     This episode looks at the 1948 film False Paradise, which was the penultimate picture in the Hopalong Cassidy series. 

      Tomorrow's episode will look at one of Roy Roger's Trucolor pictures, which also features a cadre of other western stars.

Westember II: Day 21 - William Boyd in The Showdown (1940)

     Today's episode goes over another Hopalong Cassidy movie. 

     Tomorrow we will look at one of the last films of Buck Jones (which also features fellow western star Tim McCoy!)

Westember II: Day 14 - William Boyd in Hop-a-Long Cassidy (1935)

     Today's episode takes a look at the first picture in the Hopalong Cassidy series. Earlier in the year I wrote reviews of some of the later installments. (The Eagle's Brood, Bar 20 Rides Again, and Law of the Pampas). 

     Tomorrow we will look at Gene Autry and the singing cowboy craze.

Westember II: Day 13 - William Boyd Biography

     

     Today's episode is about the career of William Boyd, focusing on his time as Hopalong Cassidy. Tomorrow we will look at the film which introduced Boyd as the character.

Western Wednesdays: The Eagle's Brood (1935)

     The Eagle's Brood is the second Hopalong Cassidy film. It was released on October 25th, 1935. Directed by Howard Bretherton and written by Doris Schroeder and Harrison Jacobs it is an adaptation of Clarence E. Mulford's novel Hopalong Cassidy and the Eagle's Brood. In it Hoppy and Johnny Nelson help a Mexican bandit to rescue his kidnapped grandson Pablo (George Mari).

     This film starts out a little slow, with the first act focusing on the murder of El Toro's wife and family and the rescue of his youngest son by Dolores (played by Nana Martinez, better known as Joan Woodbury). Hoppy doesn't even appear until more then 10 minutes in, but it picks up pretty quickly after this. El Toro (played by silent star William Farnum) saves Cassidy, whose a sheriff when this film starts, and on the outlaw's trail, from being drowned in quicksand so Hoppy feels honor bound to help him find his son. In a scene perfectly illustrating the integrity of the character as portrayed by Boyd he turns in his star declaring, "When you pinned that on me I took an oath. Today I broke it." (There's another scene later on where Hoppy goes to a bar and orders a drink: sarsaparilla!)

      Johnny Nelson, of course, insists on aiding Hoppy in his task and the two set out to retrieve young Pablo. The usual intrigue ensues culminating in a thrilling climax, with a wounded Nelson holding off the baddies after finding Pablo hiding in the mountains and Hoppy riding to his rescue. Gabby Hayes' character is killed once again and so is the ingenue this time around, continuing the tendency toward dark, violent content the series showed in its early days. Because of this there is little room for romance in this installment. Johnny does not even meet Dolores before she is killed, though he does, nonetheless, display some righteous fury over her murder. 

     Returning director Howard Bretherton does a fine job once again and cinematographer Archie Stout stunningly captures the Sierra Mountains, where much of the film was shot. The real draw here is the script by Doris Schroeder and Harrison Jacobs which gives all the character more depth then is usual for a film of this kind. The once high and mighty El Toro sets out, on his own, to rescue his orphaned grandson, but is selfless enough to save Hoppy at the risk of his capture. Because of this Hoppy himself is forced to give up his badge, a difficult decision for the stalwart hero, and is dismayed when Johnny follows his example without a second thought. Dolores, who is in bed with the main villain (Addison Richards' Big Henry), takes a tremendous risk in hiding Pablo from him, and gets a bullet for her efforts. Gabby Hayes' oblivious bartender is also allowed a dignified death, defying his boss to put in with Cassidy and Nelson, after they protect him from John Merton's hot-tempered henchman, Ed. Even Dorothy Revier's saloon girl, Dolly, is given a sense of vulnerability and pathos one wouldn't generally expect from such a stock supporting character.

     It may lack the polish of later installments and it does suffer from pacing problems but, thanks to a an unusually sensitive script and some exciting action in an awesome location, The Eagle's Brood is still a solid entry in the series. 

 Score: 8/10