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Tag Archives: Hank Patterson

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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Santa Fe Uprising (Nov. 15, 1946)

R.G. Springsteen’s Santa Fe Uprising was a bittersweet viewing experience for yours truly. On the one hand, I really enjoy this series, based on Fred Harman’s comic-strip cowboy. It’s solid, fun, Saturday matinée entertainment. On the other hand, a big part of my enjoyment came from the wooden, straight-shooting acting style of “Wild” Bill Elliott as Red. Elliott’s persona was so stolid that it seemed tongue-in-cheek, and he had great chemistry with the child star who played his Indian sidekick Little Beaver (Bobby Blake, who later in life would be known as “defendant Robert Blake [9/18/33], aka Michael Gubitosi”).

After starring in 16 Red Ryder pictures from 1944 to 1946, Elliott bowed out and was replaced by square-jawed matinée idol Allan Lane. In the title sequence of Santa Fe Uprising, in which Red Ryder and Little Beaver appear in motion on the cover of a storybook, Lane bears a striking resemblance to Elliott. Up close, however, he’s more traditionally handsome and less interesting a performer.

Still, director Springsteen is a professional, and he keeps things fast-moving and exciting despite a modest budget and familiar shooting locations.

The film takes place in Bitter Springs, New Mexico, in 1894. The action kicks off when the U.S. Marshal for the territory is murdered by stagecoach robbers. The editor of the Territorial Gazette, a man named Crawford (Barton MacLane), demands that his killers be found. There is a toll road that’s safer to travel on than the main road, but the man who owns the property through which the toll road runs demands $3 a head of cattle to use it, which few ranchers can afford. When old rancher Lafe Dibble (Tom London) is killed by bandits, his son, Sonny Dibble (Pat Michaels), vows revenge.

Red takes over as U.S. Marshal of the territory, but he finds himself in hot water when it turns out that Crawford’s motives might not be as pure as they seem. When a man is murdered, and it looks as if Sonny killed him, Crawford and his boys demand that Sonny be strung up despite the fact that he professes his innocence. Things go from bad to worse when Little Beaver is kidnapped, held as a possible exchange for Sonny, after Crawford’s crew fails to bust Sonny out of jail to lynch him.

During the last part of the picture, Red is sleep-deprived after searching for Little Beaver night and day, which leads to a lot of strange acting from Lane, who keeps opening his eyes wide and half-yawning.

But if you’ve ever seen a western programmer before, you know that neither rain, nor snow, nor sleet, nor sleep deprivation shall keep the heroes from their appointed shoot-outs, from which they will always emerge victorious.