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Tag Archives: Edward J. White

Bells of San Angelo (April 15, 1947)

Bells of San Angelo
Bells of San Angelo (1947)
Directed by William Witney
Republic Pictures

Bells of San Angelo was Roy Rogers’s second western filmed in “Trucolor,” a two-color film process. (The first was Apache Rose, released earlier in 1947.) It was also the fifth film he made with director William Witney, who I’ve been a big fan of since high school. Witney directed my favorite Republic serials (often with John English), such as Adventures of Captain Marvel (1941), Jungle Girl (1941), and Spy Smasher (1942). Witney had a sure hand with pulpy material, and never made a picture that was less than entertaining. The stunt work in his films was always a high point. His action scenes — especially the fights — were incredibly well-staged, and still hold up pretty well.

There are currently a few ways to see Bells of San Angelo online. It’s available on YouTube, at Internet Archive, and on Netflix instant watch. The version on Netflix is the version that was edited for TV. It’s in black and white, not color, and shaves more than 20 minutes off the running time. Among the scenes that are lost is a really good fistfight between Roy and one of the bad guys. So if you want to see this movie, I recommend downloading the version from Internet Archive or watching it on YouTube. (You can click the links above to go directly to this movie.)

In Bells of San Angelo, Roy plays — as usual — a character named “Roy Rogers.” In this one, Roy is a border investigator. There are nefarious goings-on down at the old Monarch mines, which are run by a man named Rex Gridley (John McGuire), a handsome, dark-haired gentleman with a pet bird named “Cinderella.” In the first of many exciting action scenes, Gridley’s right-hand man, Ulrich (David Sharpe), shoots a man fleeing by stagecoach, then plants some silver ore in his pocket. Ulrich’s official story is that he was shooting down a thief, but Roy smells something rotten.

Roy’s comical sidekick in Bells of San Angelo is a big fat guy named Cookie Bullfincher (Andy Devine), who’s San Angelo’s mayor, sheriff, and official dog catcher (but the soft-hearted Cookie is really more of a “dog keeper”). Cookie may have a passel of titles, but Roy is the real authority, and his reach extends down into Mexico.

When Roy learns that western pulp writer Lee Madison is coming to town, and will be observing him work, he exclaims, “I don’t mind chasin’ thieves and murderers, but this is too much.” Madison is the author of numerous western potboilers, including one called Murder on the Border, and Roy thinks Madison will just twist reality to suit the tastes of a bloodthirsty readership.

It should come as absolutely no surprise to anyone when it’s revealed that Madison is actually a woman, or that she will hide her identity from Roy as long as she can, creating all manner of humorous misunderstandings.

Madison is played by Dale Evans, Roy’s real-life wife, and they’re really cute together. They always seem to be having fun in their scenes, which softens things when he’s being a chauvinist and threatening to spank her, or calling her “the nosiest girl I’ve ever met.”

Director Witney is more concerned with packing the film full of entertainment than with narrative coherence. But who cares? There are songs aplenty, subplots galore, and lots of action, some of it pretty rough for a Saturday matinée picture aimed at kids.

Bells of San Angelo was filmed in Valley of Fire State Park in Nevada, and the scenery is spectacular. Of course, it looks nothing like San Angelo, Texas, which — by the way — is in the heart of Texas, not anywhere near the Mexican border. But whatever. If you like Roy Rogers, Dale Evans, and Trigger, you’ll love this movie.

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Along the Navajo Trail (Sept. 15, 1945)

AlongTheNavajoTrailThere are no Navajos to be found in this run-of-the-mill Roy Rogers picture, or American Indians of any tribe, for that matter. The title comes from a popular song that was written by Dick Charles (a.k.a. Richard Charles Krieg), Larry Markes, and Edgar De Lange in 1945, and is sung by Rogers, Dale Evans, and the rest of the gang to close the picture. No, the only people of color in Along the Navajo Trail are Spanish-speaking Gypsies, who are portrayed in much the same way Mexicans were in Hollywood westerns except that they wear funny clothes, travel in wagons, and the men wear gold hoop earrings. They also provide George “Gabby” Hayes’s character with a series of comic interludes in which he attempts to cheat the Gypsies, and is in turn cheated himself. These horse trades don’t add much to the plot, but they do result in Hayes sputtering the memorable line, “I sure have gypped that gyppin’ Gypsy!”

In Along the Navajo Trail, Rogers plays a character named “Roy Rogers” who at first appears to be an itinerant cowpoke, but whom we later discover is a Deputy U.S. Marshal. Dale Evans plays a ranch owner named Lorry Alastair, and Hayes plays her foreman, Gabby Whittaker. Lorry is skittish about Rogers when he drifts onto her property, the Ladder A Ranch, and orders Gabby to run him off. She changes her tune, however, when she walks to his relocated campsite herself to kick him off her land, but he ends up singing to her under his tarp in the rain, making up a song as he goes, and asking her if she knows a girl’s name that rhymes with “Saskatoon.”

Lorry eventually finds the Deputy U.S. Marshal badge in his boot and realizes beyond a doubt that he’s one of the white hats. The black hats in Along the Navajo Trail are the representatives of the Santa Fe Drilling Company. There isn’t any oil on Lorry’s land, but the company needs to lay a pipeline through her property, and they’ll stop at nothing to do so.

Along the Navajo Trail is heavier on action than some of Rogers’s efforts, and it should please most fans of old B westerns. As usual, Rogers solves problems with haymakers and gunplay, but stops short of ever getting too bloodthirsty, since plot contrivances take care of the worst of the bad guys. The climax of the picture occurs when the final black hat loses control of his buckboard, and it flies over a cliff and he falls to his death (in the form of an especially noticeable dummy). Rogers rides to the edge of the cliff and surveys the destruction with the same look of mild disapproval one reserves for drunks puking in Dumpsters in the middle of the afternoon.

At the end of the picture, Rogers, Evans, and the rest of the cast gather to sing “Along the Navajo Trail,” and then they all live happily ever after. Or at least, their characters do. Rogers, Hayes, Evans, and Trigger would all be back exactly two Saturdays later, when Sunset in El Dorado was released into theaters.