Texas Gun Fighter (1932)

So much average

Good story, Not enough for a whole film

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Ken Maynard made eight films with director Phil Rosen, of which this is the second last. The team finished off an extremely high note with Whistlin' Dan (1932). In this one, Ken plays an outlaw named Bill Dane who decides to reform and takes a job as sheriff in a small western mining town. Needless to say, feathers fly when his old gang learns of this appointment. Matters are complicated by Ken's old outlaw buddy – well played by Lloyd Ingraham – and the simple fact that Ken falls for the banker's attractive daughter, enacted here by Sheila Mannors or Sheila Bromley. (The actress used both these names in her career). Although this film is neither as fast-paced nor as interesting as Whistlin' Dan, it does hold the viewer's attention. It has an unusual, downbeat mood as well as touches of comedy, yet presents enough rugged action to satisfy the most ardent western fans. It also gives Maynard's horse, "Tarzan", a chance to do some amazing tricks. Maynard himself, however, often affects a rather puzzled air, as if he was not quite sure how to interpret the character. Even his stance often lacks his usual impression of confidence. He often seems puzzled and unsure. Fortunately, this is all in character here, but it's still rather unusual and may put off some fans who are used to a far more confident and dashing Maynard hero. Available on a quite good Grapevine DVD coupled with Maynard's The Lone Avenger.

Ken Maynard makes his hesitant move from the bad side to the good side of the law in this superior B Western.Maynard and sidekick Lloyd Ingraham -- whose long movie career had already included being a director for D.W. Griffith in the Teens -- are clearly good actors. Leading lady Sheila Bromley is not so good as she might be. Director Phil Rosen, who started as a cinematographer in the silent era and would keep his head down directing B pictures for most of the sound era, directs well, but he always remained a visual director and some of supporting cast are pretty poor in their line readings. However, the sturdy plot of the Good Bad Man, introduced and honed over the decades and Maynard's fine screen presence make this one worth watching.