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Tag Archives: Stuart E. McGowan

Twilight on the Rio Grande (April 1, 1947)

Frank McDonald’s Twilight on the Rio Grande features Gene Autry and his co-stars being put through their B-movie paces south of the border.

Crime melodramas (we call them film noirs nowadays) were very popular Hollywood products in 1947, and Twilight on the Rio Grande incorporates several elements from them, such as the hero investigating the murder of his partner, lots of nighttime photography, a plot about jewel smuggling, and a beautiful knife-throwing señorita. (They showed up in noirs every now and then, didn’t they?)

Gene Autry (played by Gene Autry) and his ranch hands, Dusty Morgan (Bob Steele), Pokie (Sterling Holloway), and the singing trio The Cass County Boys, are all down in Mexico, singing in Spanglish and ogling the ladies. (If there was a deeper purpose to their visit, I missed it.)

The diminutive Bob Steele was a western actor whose star had faded by the mid-’40s, and he picks up a pretty easy paycheck in Twilight on the Rio Grande, since his character is murdered in the first reel, which I thought was a shame. I like Steele, and would have enjoyed seeing him and Autry solve the murder of Sterling Holloway’s character, Pokie, since the loose-limbed, rubber-faced Holloway is more annoying than a barrel of Jim Carreys.

The femme fatale of the film is the beautiful and hot-blooded Elena Del Rio (Adele Mara), who throws knives at Gene while he’s singing “I Tipped My Hat and Slowly Rode Away.” She throws one after the other into the wall behind him, in order to show him how angry she is. She has a steady hand, so she doesn’t hurt him. But then Gene shows her his steady hand when he finishes his song, throws her over his knee, and spanks the bejeezus out of her with the flat of a big knife blade.

Dusty is murdered with a knife in the back, and a smuggler Gene and his boys rope out on the prairie winds up with a knife in his back that could only have been thrown, not thrust at close range, so suspicions fall on Elena.

The title song is a good one, and was never released as a record by Autry, so if you’re a fan of his music, it’s a reason to see this picture. He sings two versions, a slow, mournful version at Dusty’s funeral, and a more upbeat version to close the picture.

If you’re not a fan of Autry’s music, there is really no reason to see this picture. It’s not terrible, but there are plenty of better B westerns out there.

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Don’t Fence Me In (Oct. 20, 1945)

Don’t Fence Me In is a particularly good Roy Rogers picture. Directed by John English (who with William Witney directed some of the best Republic serials of the late ’30s and early ’40s), it’s a well-paced, exciting, and thoroughly enjoyable B western.

The film opens with a western montage, accompanied by the Cole Porter song from which the film gets its title. After the credits roll, we’re treated to a cheap-looking Boot Hill set with a matte painting background that looks as if it’s about two feet away. A narrator tells us that “Once upon a time, as a matter of fact nearly forty years ago, there was a notorious western outlaw named Wildcat Kelly. He didn’t want to be fenced in either. But they stuffed him into a pine box and buried him six feet under the sod, on Boot Hill.” A masked man rises from behind Kelly’s tombstone, carrying a gun and a Wells Fargo case. The narrator, sounding surprised, says, “Wait a minute, that looks like Wildcat Kelly. It is Wildcat Kelly. There’s something mighty strange about this. I think we’d better investigate the story of Mr. Wildcat Kelly.”

And investigate we shall, but the job will fall on the pretty shoulders of a girl reporter named Toni Ames (Dale Evans). Toni has enough moxie to make an 800-pound gorilla stop dead in his tracks. When we first meet her, she’s performing the song “A Kiss Goodnight” while dancing on the table at a hot party in a big city, displaying her shapely gams to maximum effect. She’s doing it all for a story, though. A reporter for a tabloid called Spread magazine, Toni is undercover, secretly snapping shots of the party’s guest of honor, a dirty old cad named Cartwright (Andrew Tombes) who’s running for mayor as an incumbent.

The plot eventually takes Toni out west to the R Barr Dude Ranch to investigate the legend of Wildcat Kelly, who it turns out faked his own death nearly 40 years ago and has been living as a regular western Joe named “Gabby Whittaker.” He’s played by George “Gabby” Hayes, and it’s a good part for him. In a lot of these pictures, Hayes was able to just coast on his ornery persona, but Don’t Fence Me In actually gives him something to do.

Rogers plays that charming and laconic singing cowpoke character called “Roy Rogers” that he played in dozens of movies. Roy is Gabby’s friend, and the only person who knows his secret. He tries to convince Toni not to publish what she knows about Wildcat Kelly, but she goes ahead with her story, and that’s when things get interesting.

There are a group of gangsters whose motives are shadowy, but who clearly want Kelly dead once it’s revealed he is still alive. One of them is played by the great character actor Marc Lawrence, who had a very long career as a sinister-looking hood.

This is a fine showcase for all of the regulars from the ’40s Roy Rogers pictures. Bob Nolan and the Sons of the Pioneers back Rogers up both musically and when it’s time for fisticuffs. And the wonder horse Trigger does a high-stepping dance, with Rogers astride him, to an instrumental version of “Don’t Fence Me In,” and even takes a bow when he’s finished.

Roy and Dale’s relationship is more antagonistic than in many of their other pictures, but it’s still fun to watch. When she first shows up and tries to stow away in the boot of a coach, Roy tosses a hunk of stinky Limburger cheese in the back with her and takes her on a bumpy ride. She later pays him back by pushing him into a swimming pool.

Don’t Fence Me In ends with a delightful rendition of the title song performed by Roy, Dale, and the Sons of the Pioneers, with a few lines added at the beginning about Wildcat Kelly to tie the whole thing together.