MAN FROM CHEYENNE

Roy Rogers

MAN FROM CHEYENNE (1942). Director: Joseph Kane. 

Roy Rogers (Roy Rogers) has been traveling far from home in Cheyenne, Wyoming when he returns after ten years to renew old acquaintances with the likes of surrogate father Gabby Whittaker (Gabby Hayes). his daughter Sally (Sally Payne), and old crush Judy Evans (Gale Storm). He learns that some mysterious rustlers have been causing problems, and he is asked by a Cattlemen's Association to investigate as he won't be seen as a suspicious stranger. Meanwhile Roy meets up with fellow rancher Marian Hardy (Lynne Carver of Everybody Sing), who is keeping secrets, and Gabby's foreman Bob (Bob Nolan), who seems to have a hankering for Judy. 

Polite dislike: Gale Storm; Lynne Carver

Frankly, there's not much to this semi-musical modern-day cowboy film set in 1941 when it was made. However, it's pleasant enough, as are the actors and the songs. It probably won't be much of a surprise as to who's behind the gang of rustlers. Sally Payne is a homely Una Merkel lookalike, Lynne Carver needs a lot more meat on her bones, and Storm is as proficient and likable as ever. She and Carver have a catfight at one point, with Storm delivering a knock-out kayo to Carver's chin. James Seay plays Sheriff Jim, William Haade is the sinister Ed, and Jack Ingram is the rustler, Chuck. The Sons of the Pioneers play the ranch hands and do some singin'. Gabby Hayes is more bearable than usual in this. Rogers and Payne also appeared in Romance on the Range.  

Verdict: Okay time-passer with good-looking' Roy. **1/4. 

SAN FERNANDO VALLEY

SAN FERNANDO VALLEY (1944). Director: John English. 

At his ranch in the San Fernando Valley, crusty old Cyclone (Andrew Tombes of Meet the Boyfriend) finds his cowboys goofing off again to hang out and sing with his grand-daughter, Betty Lou (Jean Porter of Cry Danger). Disgusted, Betty Lou's older sister, Dale (Dale Evans), fires them all and replaces them with women, figuring Betty Lou will no longer hang around and distract the ranch hands. Dale nearly runs Roy Rogers (Roy Rogers) over with her car -- this take place in "modern" times -- and he tries to get a date to no avail. However, when Betty Lou, a mere child, gets a crush on Roy, Dale decides to have Roy romance her so that she will get over it. Naturally, the two fall in love. 

Meanwhile poor Oliver (Charles Smith) hopes to have Betty Lou fall in love with him, and the equally crusty Hattie (Dot Farley), sort of a den mother to the cowgirls, just might develop a yen for Cyclone. Roy and Dale, along with Bob Nolan and the Sons of the Pioneers, sing a few numbers, including the catchy title tune and "You're Too Good to be True." Oh yes, there's a plot of sorts when fired cowboy Matt (LeRoy Mason) and a buddy "borrow" some of Cyclone's valuable horses supposedly to get their jobs back but actually to get a lot of cash. Speaking of cash Roy's friend Keno (Edward Gargan of Behind the Mask) also wants to recover some money that was stolen from him, also by Matt. 

San Fernando Valley is amiable enough. It's more of a musical comedy than a western, although it does have some horse chases and gunplay and a couple of fistfights. It's funny that Roy and his horse Trigger are billed above the title but Dale Evans isn't. That would change in the future. As for Roy, his natural charm always helped carry his movies be they fair or foul. 

Verdict: Modestly entertaining Roy Rogers Movie. **3/4. 

EYES OF TEXAS

EYES OF TEXAS (1948). Director: William Witney. 

Thad Cameron (Francis Ford of Charlie Chan at the Circus), who has started a home for boys who lost their fathers in WW2, is overjoyed to discover that his long-lost nephew, Frank, has survived. Before the two are reunited, however, Thad is killed by a pack of bloodthirsty dogs. Roy Rogers, playing himself -- this time he's a Marshall and not an actor -- investigates with the help of the Sons of the Pioneers as well as Doc Cookie Bullfincher (Andy Devine) and his amorous nurse, Penny (Lynne Roberts of Dick Tracy Returns). This time Roy is up against the ruthless lawyer Hattie Waters (Nana Bryant), a tough and clever middle-aged lady, her chief gunsel Vic (Roy Barcroft) and his evil pals, and the ex-con (Danny Morton of The Royal Mounted Rides Again) who pretends to be Thad's real nephew. Then there's those deadly dogs ...    

Pure evil: Barcroft, Morton, and Bryant

Eyes of Texas is a near-perfect "modern" Roy Rogers vehicle. The performances are all on target -- Bryant and Barcroft make especially nasty and effective villains in this -- the comedy relief isn't too pervasive -- Andy Devine is far more palatable than Gabby Hayes -- serial specialist William Witney keeps things moving at a thrilling pace, and Roy even sings a couple of pleasant tunes, "The Texas Trail" and "The Padre of Old San Antone." Then there's the amazing Trigger, who participates in fist fights by kicking out at the bad guys with his hooves and other amazing equine feats! 

Verdict: A prime example of why Roger Rogers movies were so damned popular! ***. 

BELLS OF ROSARITA

Roy Rogers and Dale Evans

BELLS OF ROSARITA (1945). Director: Frank McDonald. 

Sue Farnum (Dale Evans) appeals to her late father's good friend, Slim Phillips (Addison Richards), when she realizes that her father's slimy business partner, Ripley (Grant Withers) is trying to cheat her out of her circus. Slim and his daughter, Patty (Adele Mara) travel west to see what they can do. Almost immediately Slim is kidnapped! Filming nearby Sue's property, Roy Rogers, playing himself, gets involved and tries to find Slim with the help of Gabby Whittaker (Gabby Hayes) and Bob Nolan (also playing himself), head of the vocal group Sons of the Pioneers. 

Elliott, Livingstone, Sunset Carson, Allan Lane, Red Barry

Roy also comes through for Sue when he convinces her to put on a show in the nearby town and enlists the aid of the other Republic Studios western stars: Allan Lane [King of the Mounties], Sunset Carson, Wild Bill Elliot [Footsteps in the Night], Bob Livingstone and Don "Red" Barry. These fellows also help round up the ornery polecats who have kidnapped Slim. This must have been quite a thrill for Western movie fans back in the day. There's also a bunch of pleasant tunes, including Roy's "Build a Fence Around Texas" and the very talented Robert Mitchell Boy Choir. Gabby Hayes wears out his welcome rather quickly, however. 

Robert Mitchell Boy Choir

Bells of Rosarita is another "modern-day" Rogers western. The film-within-a-film that Roy is making is also entitled Bells of Rosarita and has something to do with a woman being forced to marry a man she does not love. Although there are some would-be exciting chases in the film, it can't quite escape being a little dull, although it is fun to see all of those handsome Western heroes in one movie. My mind wandered through the movie and I found myself wondering if the one black child in the choir was treated respectfully by the other white boys. It's good that he was included at all, of course. 

Verdict: A fairly typical Roy Rogers western musical with talented cast members. **1/4.    

KING OF THE COWBOYS

Roy Rogers behind bars

KING OF THE COWBOYS (1943). Director: Joseph Kane.

Rodeo star Roy Rogers, playing himself, is importuned to quit the show so he can go undercover to find some WW2 saboteurs. His sidekick, Frog Milhouse (Smiley Burnette),  goes along with him and they hook up with another show of which Judy Mason (Peggy Moran of Horror Island) and her pal Ruby (Dorothea Kent of Young Fugitives) are a part. The gals work with Maurice  (Gerald Mohr) -- the "Mental Marvel" -- who does a mind-reading act via which he communicates with his fellow spies. James Bush plays Dave Mason, the show manager, who may not be on the side of the angels. Lloyd Corrigan plays Karley, the governor's private secretary, who is definitely not on the side of the angels.

Kent, Moran and Mohr

King of the Cowboys is often mistaken as Roger's first starring role, but he starred in a great many films-- mostly for Republic Studios  --  before he made this one. The plot in this "modern" nominal western is negligible, but Rogers has a nice voice and the film's highlights are the musical numbers: "I'm an Old Cowhand;" "Ride, Ranger, Ride;" and especially "Prairie Moon." An odd moment occurs when the governor (Russell Hicks) tells Roy how his last agent was killed and that his final words were "following May." Rogers, who is not too swift, assumes that May was some hot tamale, says "sounds like nice work," and shows absolutely no concern for the agent who was murdered! Otherwise, Rogers is pleasant, handsome and bland, and Burnette is only mildly amusing. The two gals don't get much to do, but Mohr and Corrigan are as professional as ever. Irving Bacon, Ethel's dad on I Love Lucy, has a small role as well. In addition to other Roy Rogers features, as well as co-directing a couple of serials, Joseph Kane also helmed Jubilee Trail for Republic.

Verdict: Odd mixture of cowboys and spies with some good songs. **1/2. 

HAPPY TRAILS: OUR LIFE STORY -- ROY ROGERS AND DALE EVANS

HAPPY TRAILS: OUR LIFE STORY. ROY ROGERS AND DALE EVANS. With Jane and Michael Stern. Simon and Schuster; 1994.

In alternating chapters, and with overviews provided by the co-authors, Roy Rogers [Wall Street Cowboy] and Dale Evans tell their love story and their life as entertainers and parents of several children, some of whom were adopted. Rogers' first wife died in childbirth, and the heart-broken cowboy made several films with Evans before finally falling in love with her and vice versa. Evans, whose first marriage ended in divorce, admits that in her younger days she cared about little else but her career and at first did not especially want to be one half of the Rogers-Evans combo. Despite toiling for low-budget Republic studios, Rogers caught on with the public and became a bonafide movie star, then garnered even more fans with his rodeo appearances with his beloved horse, Trigger (whom he later had mounted after the horse's death). Rogers, who somehow got out of WW2 military service, took advantage of the fact that rival cowboy Gene Autry went into the military and Republic promoted Rogers as "King of the Cowboys" during his absence. (Rogers' undeniable squinty-eyed sex appeal certainly didn't hurt.) When the film career petered out, Roy and Dale had their own successful TV series. Dale eventually found religion, and Rogers followed suit, although they seem unable to grasp that one can have positive values in life without necessarily having a personal relationship with God. On the other hand, they have helped a great many children, and the most affecting sections of the book deal with the tragic deaths of some of their adopted and biological youngsters. Roy and Dale clearly believed in corporal punishment, and despite the fact that their boys could often be naughty and rambunctious, there are passages that may raise eyebrows, particularly one in which Dale confesses she secretly fed a field mice to one of the boys because she'd heard it was a folk remedy for curing bed-wetting! Factoids in the book include the interesting news that sidekick Gaby Hayes [From Broadway to Cheyenne] was actually a well-educated man who could perform Shakespeare (!), and that Roy's favorite TV show was the soap opera, The Guiding Light!

Verdict: If you can get past the tiresome religiosity, this is more interesting than you might imagine, although it is primarily recommended for Roy Rogers addicts. ***. 

ROMANCE ON THE RANGE

Roy Rogers

ROMANCE ON THE RANGE (1942). Director: Joseph Kane.

Roy Rogers (Roy Rogers of Arkansas Judge) is the foreman of the Arrowhead ranch. One of his buddies is murdered by poachers who are out for furs. The owner of the ranch, Joan Stuart (Linda Hayes), at first wants to hire a private detective to investigate, but instead goes out west, incognito, with her maid, Sally (Sally Payne), who has been corresponding with Roy's pal, Pat (Pat Brady), through a lonely hearts club. Pat and Sally are happy to finally meet, but Roy, not realizing that Joan is his boss, makes some tactless remarks about spoiled city women with too much money and no common sense. But meanwhile, he and his buddies have to capture the bad guys.

Linda Hayes with Roy

The trouble with Romance on the Range, a Republic Roy Rogers programmer if ever there were one,  is that there isn't much romance and most of the picture consists of fairly dull horse chases and shoot-outs that are not done nearly as well as in the classic Republic serials. Rogers gets by, as usual, on his looks and charm, and he doesn't have a bad voice when he warbles some unmemorable country ditties with the Sons of the Pioneers.  Linda Hayes appeared in a couple of "Mexican Spitfire" movies and did a number of westerns; this was her penultimate feature. Sally Payne amassed 57 mostly minor credits.

Gabby Hayes 

Pat Brady basically played himself in 73 movies and TV shows, most if not all with Roy Rogers. Ditto for Bob Nolan. Edward Pawley [Thirteen Women] plays the head bad guy, Jerome Banning, in this, and serial specialist Roy Barcroft is also in the cast. And we mustn't forget -- although we should certainly try to -- Gabby Hayes [From Broadway to Cheyenne], Rogers' grizzled, old and somewhat misogynous sidekick whose antics have not worn well with time. He did manage to get one -- only one -- laugh out of me, however. Romance on the Range is a "modern-day" western -- it does not take place during the days of the Wild West.

Verdict: Not much to this cheap oater but Rogers is always pleasant. *1/2. 

ARKANSAS JUDGE

ARKANSAS JUDGE (1941). Director: Frank McDonald.

Tom Martel (Roy Rogers, who is not the star but heads the supporting cast) comes back to Peaceful Valley, Arkansas where two women are waiting for him: "Nice girl" Maggie (Pauline Moore), daughter of the judge, and the much sexier Hettie (Veda Ann Borg of Jungle Raiders). However, there's bigger trouble when old Widow Smithers (Elly Malyon) insists that $50 was stolen from her flour barrel by Mary Shoemaker (Spring Byington of On Their Own), who does cleaning for all the ladies in town. Before long the whole community is torn apart, and Hettie's father, August (Frank M. Thomas), who heads the church council, wants everyone to shun Mary but has suspicions about his own daughter. In the meantime Tom and Hettie grow closer, much to Maggie's consternation. The members of Maggie's family are played by Leon, Frank and June Weaver, who had formed a hillbilly singing group called "The Weaver Brothers and Elviry." As Cicero, Frank just whistles a la Harpo Marx. Minerva Urecal has a small role as one of the town biddies. Arkansas Judge is a good comedy-drama with pleasant songs, good performances, and an unpredictable story line. And Roy! Pauline Moore appeared in three Charlie Chan movies, the best of which is Charlie Chan at Treasure Island.

Verdict: Nice picture. ***.

WALL STREET COWBOY

WALL STREET COWBOY (1939). Director: Joseph Kane.

Roy Rogers, playing himself in this "modern" western, never actually gets to Wall Street, so banish those images of the cowboy walking into the boardroom and busting ass. Instead Roy learns that there's gold on his property, and there are nefarious forces who want to acquire the land and cheat him out of it. Gabby Hayes -- as "Gabby," naturally -- is along for the ride as Rogers' pal, and we've got the perennial Pierre Watkin as the no-nonsense, blustering John Hammond, who always seems ready to be furious with Roy and his pals until his daughter, Peggy (Ann Baldwin), intercedes. Craig Reynolds [The Perils of Pauline] plays a lawyer-type helping the bad guys who gets socked by Roy, Adrian Morris [Fighting Marines] is another creep, and Louisiana Lou, a singer in a bar, is played by, well, Louisiana Lou. Roy [Son of Paleface] substitutes for a downed jockey at one point and rides in a steeple race.

Verdict: About standard Roy Rogers movie. **.

NIGHT TIME IN NEVADA

NIGHT TIME IN NEVADA (1948). Director: William Witney.

Farrell (Grant Withers) doesn't want to share the booty with his mining partner Andrews (James Nolan), so he murders him and hides his body. Many years later Andrews' daughter, Joan (Adele Mara), shows up hoping to get her hands on some of the money in her father's trust fund -- of course there isn't any. Sheriff Roy Rogers (Roy Rogers, of course) suspects that Farrell is a bad 'un, and his suspicions prove correct when he and his hench men try to rustle some cattle off a train, leading to an exciting climax with Roy and Farrell having a battle on a speeding truck. If this sequence reminds you of a cliffhanger serial, it's because the movie was directed by serial specialist William Witney. Aside from the climax and Withers' good performance as the nasty, murderous Farrell, Night Time has little to recommend it. Rogers made over one hundred similar features in addition to his TV show. Andy Devine [A Star is Born/1937] and Trigger the horse [who had a notable part in Son of Paleface, along with Rogers] are Rogers' co-stars and they are both about as usual. Adele Mara later wound up in Curse of the Faceless Man.

Verdict: A good-looking hero never hurts. **.

SON OF PALEFACE

SON OF PALEFACE (1952). Director: Frank Tashlin.

One of Bob Hope's best comedy vehicles, the sequel to his equally successful The Paleface, has “Paleface” Potter traveling from Harvard (where he took fourteen years to graduate) to the Wild West in his horseless carriage to claim his late father's fortune. Lying in wait for him are all of his father's creditors, angry Indians, and Jane Russell, a saloon owner who doubles as a highway robber known as “The Torch.” Roy Rogers amiably plays a Federal agent who just happens to act and sing like Roy Rogers. His horse Trigger, truly “the smartest horse in the West,” turns in one of the best performances as a wonder horse who can open doors, climb stairs, outfox Hope, and even steal the covers from him in a classic scene when the two wind up sharing a bed! Busty Russell is as hard and “butch” as ever in her own bizarrely feminine way and Hope is in top form throughout (he seems to go in and out of character at times but in a farce like this it hardly matters). Clever, inventive, and funny, Son of Paleface is full of director Tashlin's trademark cartoon-like humor. At the time of the film's release there were protests from Native Americans at the scenes of the rampaging Indians being shot down like tenpins even though the whole tone throughout is outlandish and not to be taken seriously. Still, you can see how it would bother them that the Indians are barely depicted as being human. NOTE: For a lengthy analysis of this film and of the career and life of Bob Hope, check out Lawrence Quirk's biography Bob Hope: The Road Well Traveled.

Verdict: Funny stuff. ***.