Rim of the Canyon (1949)

Undescribable Perfection

So much average

Slow pace in the most part of the movie.

It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

Oddball Autry entry, from his limping into a ghost town, to a woman possessed by a ghost, to horse Champion doing everything but talking. Looks like Gene and Columbia were reaching for something different from the matinée formula. What they come up with is an uneven but interesting storyline that jumps around quite a bit. Nonetheless, prolific director English sneaks in some unusual camera shots adding to the movie's generally exotic flavor. And catch leading lady Leslie riding around in what looks like an overflowing prom gown, along with a wild horse herd numbering in the thousands. And note the general absence of the usual comedy relief. As a result, you can't be sure what will pop up next since Gene (the actor) also gets to play Gene's (the character) dad, Steve, and with a mustache, no less. Minimize a convoluted plot that plays around with three outlaws and a ghost trying to find a hidden thirty-thousand in gold. Nope, the real draw here is an exotically flavored programmer much less predictable than the usual matinée fare.

I guess I would consider this a ghost themed Western, even if the title didn't use the words 'ghost' or 'haunted' to describe the picture. I find this to be a neat little sub-genre of the Western movie experience, and find particular delight in these kinds of stories. The only thing is, this wasn't much of a ghost story, as the 'ghost' turned out to be a character who faked his own death some twenty years earlier. On the face of it, I'm not buying that premise but what the heck, it's a Gene Autry picture.You know, if you keep an eye on Gene in the early going, it looked like he really might have hurt himself when his stagecoach crashed during the Frontier Days Celebration race. He grabs his right thigh as if in pain, and actually grimaces as the scene transitions to the next part of the story. Gene uses a makeshift cane for the ensuing scenes, so I'm curious now whether the story was written that way, or around the fact that he might have been slightly injured.Nan Leslie appeared in quite a few B Westerns but I have to say, she never looked more glamorous than she did here once she shed the bookworm image used when Gene first found her at The Bonanza. The story goes on to reveal how she became aware of Gene back in Canyon Junction and fell in love with him from afar, knowing that he had a thing going with saloon gal Lily Shannon. I was curious about a phrase Lily used when she showed Gene her new dress - "Isn't it pash"? I had to look that up - a slang expression for passionate, which I take would be the way she felt about Gene, even while Alan Hale was making his move on her. Interestingly, she didn't show up in the story again.So what we have here is a story about a trio of outlaws out to recover some stolen loot after serving a twenty year hitch for a stagecoach robbery. Well, two of them anyway, the third outlaw was shot and replaced by Jock Mahoney, appearing as he did in these early B Westerns as O'Mahoney. It's too bad he didn't get to show off his riding skills here, he was one of the best in my book. But this was Gene's picture.Now I've got to say, I was at a loss for words at the finale when Champion got in on the action and stomped one of the baddies to death. It was done off screen, but it still resonated with this viewer. You could say that villain Jake Fargo (Walter Sande) had it coming to him, but gee, that was tough way to go. As far as movie horses go, I'd say he was one up on Trigger.

I have watched a ton of B-westerns lately--mostly those films by old reliable series stars like Roy Rogers, Tim McCoy, Hoot Gibson and Gene Autry. While they are fun and entertaining, a major problem about them is that all too often the plots are either VERY recycled and familiar or they just don't seem that important. Too often singing and formula seem THE most important thing about the films. However, sometimes these stars make a film that stands out because it's original--and "Rim of the Canyon" is such a movie.The first thing you need to know is that NOTHING about the title has anything to do with the film! Don't worry--it's still good. The film begins with Gene in a wagon race with a very young Alan Hale, Jr.--and Hale sabotages Gene's wagon to win! As a result of his wagon falling apart, Gene is left stranded--and the nearest town is a ghost town. However, when he arrives he finds the local school teacher. It seems she loves the old place AND likes to come and talk with a ghost!! Gene naturally suspects it's not a ghost--and perhaps the lady is wacky! At around the same time, three evil criminals escape from prison. Not only did Gene's father capture them (which you see in a flashback) but while Gene is racing, they steel his beloved horse, Champion! Eventually, this Einstein-like horse escapes and the three desperadoes end up in this ghost town. Considering they have a deep hatred of Gene's dad, they decide to do the next best thing and kill Gene...and his friends. I say friends because in addition to the teacher (Nan Leslie), there is a goofy old man named 'Loco John' (Clem Bevans) and the 'ghost' (Thurston Hall)! All four face certain death unless SOMETHING happens to stop these baddies.As you can see, the plot sure is different. But there were several things I liked about this in addition. Hall was simply great. You can't help but be charmed by his sweet character--and Bevans is his usual cantankerous character as well---and they both added a lot to the film. Leslie was also quite nice--playing a different sort of romantic lead--one who was odd but very likable and sexy. As for Gene, he was quite good because he was not so invulnerable as some cowboys--he takes a few licks but comes back swinging--and did a reasonable amount of his own stunts. My only complaint, and it's a minor one, is the cliché of having Gene play his father in a flashback scene. Identical family members almost never occurs in real life--but is a common staple in B-movies! Still, if that's my biggest complaint, then I have no serious qualms about recommending this genuinely fun film. If you like the genre, see this movie!By the way, if you do see this film, pay attention to what Champion does at the end of the movie. I have NEVER seen a horse do this sort of thing and it sure made for a dark but unique ending. See what I mean for yourself.

Shortly after Gene Autry returned to the world of Western film-making following his wartime service, he left Republic Pictures, moving with his production company to Columbia where he enjoyed the greater fiscal capabilities of the larger studio, as can plainly be observed in this well-made melodrama that is marked by strong contributions from all involved, and that offers a storyline having precedence over Autry's former bedrock singing scenes, of which there are but two examples in this piece. Gene plays a double role, incorporating flashbacks as his sheriff father Steve who, 20 years prior, had arrested a trio of stagecoach bandits that are now prison escapees and have returned to their former hunting grounds, in the area where Gene owns a spread, to regain their secreted loot, and before this briskly-paced film has come to its closing, we may enjoy a scenario featuring an exciting stage coach race, a ghost ( naturally residing in a ghost town), a rampaging herd of wild horses, excellent stunt work, a romance (for which a homely schoolteacher abruptly blossoms), along with gunplay and superb horsemanship. The original story penned by Joseph Chadwick and published in the long-running pulp magazine "Western Aces" is adapted to a script by John K. Butler that improves upon it, adding elements that match the skills of those involved, including director John English who further tightens the work, cinematographer William Bradford, notable cameraman of equine fare, editor Aaron Stell (TO KILL A MOCKINGBIRD) who works closely with English, George Montgomery, whose designs are moodily effective for the ghost town interiors, Russell Malmgren with noteworthy sound mixing, in addition to the duo of Paul Malcolm (makeup) and Beth Langston (coiffeurs) who successfully bring about a metamorphosis of Ruth (Nan Leslie) from a plain, lovelorn spinster into an actual beauty; Leslie is impressive, as are future cinema Tarzan Jock Mahoney and rugged Walter Sande as hold-up men, and there are fine turns from old hands Thurston Hall, Alan Hale Jr., Clem Bevans, John McKee, Francis McDonald and Denver Pyle, while Champion Jr. must not be ignored, the Tennessee Walker's actions being fundamental to plot development.