Familiar Faces #1: Hank Worden, Everyone’s Favorite Supporting Cowboy

(You know how, when watching a classic movie or TV episode, you’ll spot someone in a small part and say, “Hey, I know that guy (or gal)? This new series will shine the spotlight on those unsung heroes of the Golden Age, the supporting actors we all know and love!)

There’s no mistaking Hank Worden for anyone else in films. The tall, bald, lanky, soft spoken old codger with a face like a buzzard graced the screen with his presence in 170 features and numerous TV episodes, sometimes uncredited but always recognizable. He was a member in good standing of the John Ford/John Wayne Stock Company, worked with everyone from Howard Hawks and Clint Eastwood to Ma & Pa Kettle and Sonny & Cher, and even starred in a documentary about his life and career. Not bad for an old buzzard!

Hank (right) ties up Tex Ritter in 1938’s “Rollin’ Plains”

Hank didn’t just play cowboys onscreen; he was the real deal. Born in Iowa in 1901 and raised on a ranch in Montana, young Hank Worden learned to ride and rope with the best of them. He put his skills to good use on the rodeo circuit, and before long was playing New York’s famed Madison Square Garden, where he was spotted and signed to appear on Broadway in a new play titled GREEN GROW THE LILACS, along with another newcomer, a young singer named Tex Ritter.

Hank as a Southern soldier in John Ford’s “Fort Apache”

Hollywood soon beckoned, and Hank began appearing in his old costar Tex’s low-budget Westerns, sometimes as a sidekick, sometimes the villain’s henchman. He became a favorite of director Howard Hawks, acting in five of his films, but it’s his collaborations with John Ford and John Wayne for which he’s best remembered. Hank first joined the two in Wayne’s 1939 breakout film STAGECOACH as an extra, but came to the forefront in 1948’s FORT APACHE, showing off his riding skills to good advantage.

Hank’s most famous role – Old Mose in 1956’s “The Searchers”

His biggest and best loved role is undoubtably as Old Mose Harper in Ford’s 1956 classic THE SEARCHERS. Mose is an old tracker who’s a bit touched in the head, and serves as an annoyance to Wayne’s mean, prejudiced Ethan Edwards. Old Mose may be a fool, but he still knows his stuff, for he’s the one who finally locates the renegade Indian Scar (Henry Brandon). All the slightly crazy Mose wants in return is a rocking chair, “just like you promised, Ethan”. The old man gets his wish, sitting happy and content in front of the Jorgensen family’s fireplace. It’s a warm, lighthearted performance in a dark, brutal film, and Worden makes the most of the part.

Hank as The Old Waiter, his last role, on TV’s “Twin Peaks”

Hank Worden continued to work with Wayne in MCLINTOCK!, TRUE GRIT, CHISUM, BIG JAKE, and other movies. He was in demand on television too, making appearances on THE LONE RANGER (six times), BONANZA, WAGON TRAIN (with fellow Ford alumni Ward Bond), RAWHIDE, GUNSMOKE, and most of the Westerns of the day. Sometimes he pops up in the strangest places, like 1978’s SGT. PEPPER’S LONELY HEARTS CLUB BAND, as one of the original band members! He’s probably best known to modern audiences for his turn as the Old Waiter in David Lynch’s bizarre TV series TWIN PEAKS, his last acting job before passing away in 1992 at the grand old age of 91. But no matter where you find him, Hank Worden is always a welcome presence whenever he shows up, one of my truly favorite Familiar Faces.

(Do you Dear Readers have any suggestions for future Familiar Faces posts? As always, you’re comments and feedback is most welcome here at Cracked Rear Viewer! Let me know, and I’ll get Cracking!)  

Hell Bent for Vengeance: Randolph Scott in DECISION AT SUNDOWN (Columbia 1957)

I seem to have gained some new channels along with my new DirecTV receiver. I’m not sure why, but I won’t argue…  at least until I see the bill! One of them is Sony Movie Channel, featuring the Columbia Pictures catalog, and I recently viewed DECISION AT SUNDOWN, the third of seven Western collaborations between star Randolph Scott  and director Budd Boetticher. The plot and setting are simple, yet within that framework we get a tense psychological drama about a man consumed by vengeance and hatred.

Scott, still cutting a dashing figure at age 59, plays Bart Allison, who along with his pal Sam, ride into the town of Sundown on the day of Tate Kimbrough’s wedding to Lucy Summerton. Bart’s not there to offer his congratulations though; he announces his intention to kill town boss Tate. The reason: Bart holds Tate responsible for his wife’s suicide three years ago. Bart and Sam then hole up in the livery stable while Tate’s hand-picked sheriff and his men force a stand-off.

To reveal any more of the narrative would be doing a disservice to those who haven’t seen this little gem. Suffice it to say, there’s more to the story than meets the eye. The film is expertly put together by Boetticher, DP Burnett Guffey (Oscar winner for FROM HERE TO ETERNITY and BONNIE & CLYDE), and editor Al Clark (ALL THE KING’S MEN, 3:10 TO YUMA ), keeping the suspense tight as possible. Boetticher was a talented director who marched to the beat of his own drum. A trained bullfighter, his breakthrough film was 1951’s THE BULLFIGHTER AND THE LADY. He directed the frequently overlooked noir THE KILLER IS LOOSE (1956) before embarking on his seven Scott Westerns, then spent over a decade filming and finding financing for his documentary on Mexican matador Carlos Arruza, finally getting a 1972 release. An most interesting man, Boetticher died in 2001.

Scott gives an outstanding performance as Allison, driven by his lust for vengeance. Bart Allison is both a man of principal and tragic figure, and Scott maintains his balance between the two using few words, showing not telling. It’s a difficult role, but Randolph Scott pulls it off in his own inimitable style. His chemistry with Noah Beery Jr, playing loyal friend Sam, is palpable; one can only wish they’d made more films together. Tate Kimbrough is played by John Carroll, who looked and sounded so much like Clark Gable that MGM once tried to promote him as The Next Big Thing. He never quite caught on, probably because the resemblance was too close, and one Gable in Hollywood was enough. Carroll could hold his own in the acting department though, his best known films are probably GO WEST (with the Marx Bros), FLYING TIGERS (with John Wayne), and the Republic serial ZORRO RIDES AGAIN.

Rounding out the cast are Karen Steel (MARTY) as Lucy, Valerie French (JUBAL) as Tate’s former lover Ruby, John Archer ( ROCK AROUND THE CLOCK ) as the sympathetic town doctor, and Andrew Duggan ( THE INCREDIBLE MR. LIMPET ) as the sheriff. Familiar Faces around town include veteran John Litel as Lucy’s father, Richard Deacon, Abel Fernandez, Bob Steele, Vaughn Taylor, Ray Teal, James Westerfield, and H.M. Wynant. If you haven’t watched any of the seven Scott/Boetticher Westerns, you’re missing out on some great filmmaking, and DECISION AT SUNDOWN makes a good  place to start.

 

Dark Western Sky: James Stewart in WINCHESTER ’73 (Universal-International 1950)

James Stewart  and Anthony Mann made the first of their eight collaborations together with the Western WINCHESTER ’73, a film that helped change both their careers. Nice guy Stewart, Hollywood’s Everyman in Frank Capra movies like MR. SMITH GOES TO WASHINGTON and IT’S A WONDERFUL LIFE, took on a more mature, harder-edged persona as Lin McAdam, hunting down the man who killed his father, Dutch Henry Brown (Stephen McNally ). As for Mann, after years of grinding out B-movie noir masterpieces (T-MEN, RAW DEAL ), WINCHESTER ’73 put him on the map as one of the 1950’s top-drawer directors.

The rifle of the title is the movie’s McGuffin, a tool to hold the story together. When McAdam and his friend High Spade (the always welcome character actor Millard Mitchell) track Dutch Henry to Dodge City, the two mortal enemies engage in a shooting contest judged by none other than Wyatt Earp (Will Geer). Lin wins the event, only to be jumped at his hotel by Dutch Henry, who steals the prized “One of a Thousand” Winchester and rides off with his gang to Riker’s Bar, a lonely outpost saloon. It’s there Dutch loses the rifle in a poker game to gun-runner Joe Lamont (a very good John McIntire ). Lamont sells his wares to renegade Indians, all riled up after the Sioux massacre Custer at Little Big Horn.

But Indian warrior Young Bull (played by a young Rock Hudson !) covets the new repeater, and Lamont pays a heavy price, losing his scalp in the process. The renegades chase Lola Manners (pretty Shelley Winters ), a “dance hall girl” run out of Dodge by Earp, and her fiancé Steve Miller (Charles Drake) into an encampment of soldiers led by Sgt. Wilkes (Jay C. Flippen ), then Lin and High Spade are also corralled, and a battle at dawn between the soldiers and renegades ensues, with marksman Lin picking off Young Bull. The two men ride off, and a young recruit (young Tony Curtis!) finds the rifle. The sergeant hands it over to Miller, who rides away with Lola to meet Waco Johnnie Dean.

Waco Johnnie is played by Dan Duryea at his psychotic best, a thoroughly nasty character if there ever was one. Waco kills Miller and steals both his rifle and Lola, sends his men out to their doom in a fierce gunfight with the local marshal and his posse, then rides away with Lola as a shield to meet up with… you guessed it, Dutch Henry, who takes possession of the Winchester. Waco and Dutch plot to rob a gold shipment in Tascosa. But Lin and High Spade are still tracking Dutch (who, it turns out, is Lin’s brother), and manage to foil the robbery, leading up to a memorable mano y mano shootout between Lin and Dutch among the high rocks.

The screenplay by Borden Chase and Robert L. Richards is filled with tension, keeping the viewer on the edge of his (or her) seat. William H. Daniels’ B&W cinematography beautifully captures the Arizona locations, and matches them well with the studio-shot footage. The other cast members are all Familiar Faces on the sagebrush trail: John Alexander, James Best Abner Biberman Steve Brodie John Doucette , Chuck Roberson, Ray Teal, Chief Yowlachie, and John War Eagle.

James Stewart gives a us a brooding, deeply shaded performance, guided through the darkness by film noir vet Anthony Mann. Out of all the Stewart/Mann Western collaborations, WINCHESTER ’73 remains my favorite, a gritty saga of revenge that gave new screen life to both the actor and director, aided and abetted by a superb cast of character actors. It’s a must-see oater for film fans in general, and Western buffs in particular.

 

Experience Matters: THE PROFESSIONALS (Columbia 1966)

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A quartet of macho mercenaries – Lee Marvin Burt Lancaster Robert Ryan , and Woody Strode  – cross the dangerous Mexican desert and attempt to rescue a rich man’s wife kidnapped by a violent revolutionary in writer/director Richard Brooks’ THE PROFESSIONALS, an action-packed Western set in 1917.  The film’s tone is closer to Sergio Leone’s Spaghetti Westerns than the usual Hollywood oater, though Leone’s trilogy wouldn’t hit American shores until a year later.

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Rich rancher J.W.Grant (screen vet Ralph Bellamy ) hires the quartet to retrieve wife Maria (Claudia Cardinale) from Jesus Raza (Jack Palance ), formerly a captain in Pancho Villa’s army, now a wanted bandito. Marvin is the stoic leader, a weapons expert who once rode with Raza for Villa, as did Lancaster’s explosives whiz. Ryan plays a sympathetic part (for a change) as the horse wrangling expert, while Strode is a former scout and bounty hunter adept with the bow and arrow. The four men face huge odds but successfully pull off the job and rescue Maria, only to discover she hadn’t been kidnapped at all – she’s Raza’s long-time love, and it’s Grant who stole her from Raza! But Marvin, ever the professional, gave his word to Grant the job would be completed, and they trek back to Texas with Maria in tow, pursued by Raza and his minions. There’s a twist ending and a classic final line delivered by Marvin with style.

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Richard Brooks doesn’t get a lot of attention these days, but he’s a seminal figure in classic films. He wrote the screenplays for the noir gems BRUTE FORCE and KEY LARGO before becoming writer/director on films like the juvenile delinquent drama THE BLACKBOARD JUNGLE, the psychological Western THE LAST HUNT, the film adaptations of Tennessee Williams’ CAT ON A HOT TIN ROOF and SWEET BIRD OF YOUTH, the Oscar-winning ELMER GANTRY, the groundbreaking true-crime IN COLD BLOOD, and the dark 70’s masterpiece LOOKING FOR MR. GOODBAR, among many others. Brooks is one of the few filmmakers who bridged the gap from studio contractee to independent auteur, and has earned his place in the conversation on great directors.

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This was Brooks’ first film with cinematographer Conrad Hall, who perfectly captures the action in Nevada’s oppressively hot Death Valley and Valley of Fire State Park. They would team again for the black and white IN COLD BLOOD, and Hall quickly became one of the era’s top DP’s, with films like COOL HAND LUKE , BUTCH CASSIDY & THE SUNDANCE KID, John Huston’s FAT CITY, ELECTRA GLIDE IN BLUE, and MARATHON MAN to his credit. Hall took a decade-plus break to work with Haskell Wexler in a television commercial production company, but returned to Hollywood in the 80’s with TEQUILA SUNRISE, SEARCHING FOR BOBBY FISCHER, AMERICAN BEAUTY, and ROAD TO PERDITION. In all, Hall was nominated for ten Academy Awards, winning three.

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THE PROFESSIONALS is a fun adventure with plenty of action, humor, and star power, made by professionals who knew their stuff when it came to putting together an entertaining film that audiences would enjoy. If you’re not familiar with Richard Brooks’ or Conrad Hall’s work, go seek out some of the films I’ve cited. You won’t be disappointed.

Hittin’ the Dusty Trail with THE DESPERADOES (Columbia 1943)

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There’s a lot to like about THE DESPERADOES. Not that it’s anything groundbreaking; it’s your standard Western outing with all the standard clichés. you’ve got your two pals, one the sheriff (Randolph Scott ), the other an outlaw (Glenn Ford ). You’ve got your gambling hall dame (Claire Trevor ) and sweet young thing (Evelyn Keyes) vying for the good/bad guy’s attention. You’ve got your goofy comical sidekick (Guinn ‘Big Boy’ Williams). You’ve got your  supposedly respectable heavy (Porter Hall ), a mean heavy (Bernard Nedell), and a heavy who has a change of heart (Edgar Buchanan). What makes this one different is the movie seems to know it’s clichéd, giving a nod and a wink to its audience as it merrily makes its way down that familiar dusty trail.

Based on a novel by pulp writer Max Brand (who also created the Dr. Kildare series), this was one of Columbia’s big releases of the year, and their first in Technicolor. Charles Vidor, not usually associated with the sagebrush genre, directs with a light touch, even having some of his characters break the Fourth Wall on a couple of occasions. Robert Carson’s screenplay has a sense of humor and a definite touch of playfulness to . But don’t misunderstand, THE DESPERADOES is not a parody, the story’s taken seriously, and there’s plenty of action including a barroom brawl and a wild horse stampede. It just doesn’t take itself too seriously, and that’s the key to its success.

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Randolph Scott is stalwart as always as the hero sheriff. By this time, he was already well-established as a Western star. This was his first film for producer Harry Joe Brown, and the pair would collaborate on a series of oaters in the late 1950’s that are among the genre’s best (THE TALL T, RIDE LONESOME, COMANCHE STATION). Most of those were directed by Budd Boetticher, who worked as an assistant director on this film.

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A still-wet-behind-the-ears Glenn Ford plays the good/bad guy Cheyenne, alias ‘Bill Smith’. Ford was definitely on his way up in movies and, after serving in World War II, hit the jackpot with his role in another Vidor directed film, GILDA. Claire Trevor as The Countess does her patented bad-girl-with-a-heart-of-gold routine as Ford’s ex-gal, while Evelyn Keyes is her rival for his affections. Keyes would also win her man in real life, marrying director Vidor later that year. Edgar Buchanan had his loveable scoundrel part down pat by this time, a role he later perfected on TV’s PETTICOAT JUNCTION. Williams is goofy as ever, Hall as weaselly as ever, and there are fine bits by Raymond Walburn as a ‘hanging judge’ who loves his work so much he builds his own gallows, and Irving Bacon as the local bartender whose saloon gets wrecked more than his patrons.

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The movie features some gorgeous Technicolor shots of Kanab, Utah’s beautiful landscapes by DP George Meehan, though most of it was filmed at the famed Corriganville Western Ranch. Familiar Faces like Joan Woodbury, Glenn Strange , Chester Clute, Francis Ford , Charles King, and a host of others dot the landscape as well. The cast of pros in gorgeous Technicolor and good-natured humor make THE DESPERADOES a must for classic movie lovers, even those non-Western fans among you. Just sit back and enjoy the ride, pardners.

 

Rally ‘Round The Flag: Errol Flynn in VIRGINIA CITY (Warner Brothers 1940)

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VIRGINIA CITY is a big, sprawling Western, filled with action, humor, and star quality. It’s the kind of movie they used to show around these parts every afternoon at 4 O’clock on DIALING FOR DOLLARS (George Allen was the local host), helping to spark my interest in classic films past, a flame which still burns bright today, two hours of pure entertainment, with square-jawed Errol Flynn going against square-jawed Randolph Scott backed by a Civil War setting and yet another sweepingly epic Max Steiner score.

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We’re told “only the characters are fictional… The story is true” as we watch Union Captain Kerry Bradford (Flynn) and his two buddies Moose and Marblehead (Errol’s frequent co-stars/offscreen drinking compadres Alan Hale Sr and Guinn ‘Big Boy’ Williams) attempt to tunnel their way out of Libby Prison, aka ‘The Devil’s Warehouse’, when they’re caught by commanding Captain Vance Irby (Scott). He tells them Confederate troops are ready to shoot to kill wherever they pop up, then leaves them to their fate, as he has a visitor, former flame Julia Hayne (Miriam Hopkins ). Miss Julia knows the South is losing the war and virtually bankrupt to boot, but has some exciting news: rich Southern sympathizers in Virginia City, Nevada, have put up five million in gold for the cause. Vance goes to see President Jefferson Davis himself with a plan to transport the loot to Texas and help save the Confederacy.

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Kerry and his crew keep digging, right below the munitions dump, which they blow up and escape (a little foreshadowing here). They make it to General Meade’s camp and tell him they suspect a plot in Virginia City, so he sends them west by stage, which coincidentally also carries Julia. Riding along is bandit John Murrell (Humphrey Bogart , sporting a pencil-thin moustache and terrible Mexican accent!), who tries to hold them up but is foiled by I’m-smarter-than-you Kerry. They all make it to Virginia City (except Bogie, who’ll pop up again later), and Kerry and Vance run into each other at the Sazerac Saloon, where Julia works as a dance-hall singer, and seems to be smitten with both of them.

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The players are all in place, and the stage is set for action, romance, and intrigue, as Vance tries to move the gold out of Nevada, Kerry tries to stop him, Julia is torn between two lovers, and Murrell has plans of his own. There’s danger and excitement at every turn, with Vance forming a wagon train full of gold across the desert, Kerry and company in hot pursuit. Director Michael Curtiz uses some interesting lighting and shot selection to tell the tale, and there’s some fine stuntwork by Yakima Canutt, including one that echoes the previous year’s STAGECOACH . Curtiz was a master film storyteller, not only visually but utilizing strong characterizations to get his story across to the viewer. I know I’ve said it before, but Michael Curtiz is one of the most underrated directors in the Golden Age of Hollywood films.

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The ever-gallant Errol Flynn is always the good guy no matter what side he’s on, whether as a Yankee captain here, or portraying Jeb Stuart in SANTA FE TRAIL. His gallantry is equally matched by Randolph Scott, my second-favorite Western star (you regular readers know my first by now!). This is the only film the two appeared in together, and their chemistry made me wish there were more. Most reviewers pan Miriam Hopkins’ performance as Julia, but I thought she was more than adequate, with just the right amounts of proper Southern belle and sexy dance-hall floozie, though her emoting can become a bit too much. It’s Bogart’s last Western, unless you count TREASURE OF SIERRA MADRE, and stardom was lurking just around the corner, so the less said about his role here, the better!

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Flynn, Hale, and Williams always seem to be having a grand old time onscreen together, probably because they were all buddies offscreen, or maybe they were passing a bottle of hootch around between takes! The two sidekicks add solid comic relief to the proceedings, as does Frank McHugh as a fellow stagecoach passenger. There’s more Familiar Faces than you can shake a stick at, including Ward Bond Douglass Dumbrille , Paul Fix, Thurston Hall, Charles Halton, Russell Hicks, William Hopper, Dickie Jones (later of TV’s THE RANGE RIDER and BUFFALO BILL JR), John Litel, Charles Middleton (as Jeff Davis), Moroni Olsen, George Reeves, Russell Simpson, and Frank Wilcox.

Victor Kilian appears at the end as Abe Lincoln and gives an impassioned speech that seems appropriate in these tumultuous political times: “We’re not enemies but friends… there is no spirit of revenge in our victory, there must be no harboring of hatred in their defeat… We’re now one people, united by blood and fire, and at that from this day forward our destiny is indivisible, with malice toward none, with charity for all… let us now strive to bind up the nation’s wounds”.

Couldn’t have said it better myself, Mr. Lincoln. Now let’s all dust ourselves off, go forward together, and watch an exciting classic movie like VIRGINIA CITY!

Tall (Tales) in the Saddle: THE LAW WEST OF TOMBSTONE (RKO 1938)

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Cowboy star Harry Carey had been around since motion pictures were knee-high to a cactus. He made his first film in 1908, working with pioneer director D.W. Griffith. He was already one of silent film’s biggest sagebrush stars by the time he made 1918’s STRAIGHT SHOOTER, the directorial debut of John Ford. When the  talkies rolled around, Carey was over fifty and his leading man days were behind him. He transitioned into a fine character actor, and his talents are given a good showcase in the low-budget Western THE LAW WEST OF TOMBSTONE.

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Carey is champion liar Bill Barker, a charming rascal who spins tall tales of his bravery fighting bloodthirsty Indians. The old windbag gets himself thrown out of New York circa 1881 when he tries to run a con on Wall Street tycoon Sam Kent. Not even his ex, a former saloon girl now passing herself off as continental singing sensation Clary Martinez, can save him. Bill travels to El Paso and manages to get tossed out there too, but the judge, who’s been raising Bill and Clary’s daughter Nitta, will wipe the slate clean if Bill can bring in the daring highwayman known as The Tonto Kid.

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The Kid is played by Tim Holt, son of action star Jack Holt. Young Tim was just getting his career started, and THE LAW WEST OF TOMBSTONE gives him a chance to shine as well. Holt was noticed in this film by John Ford, who cast him in his classic STAGECOACH  . This led to an RKO contract, and a popular series of budget Westerns that made Tim one of the biggest box-office cowboys of the late 40’s/early 50’s. The actor displays a boyish charm here that served him well throughout the years, and he has great chemistry with the veteran Carey.

Bill, after bushwhacking Tonto and rescuing daughter Nitta (who believes her father was killed “carrying the Stars & Stripes at Gettysburgh”), gets elected mayor of Martinez, Arizona, where the railroad has gone through. The eloquent old scoundrel appoints himself judge, and opens The Texas Rose Café, where he dispenses whiskey and justice ala Judge Roy Bean. There’s a dispute over water rights with the low-down McQuinn brothers, who are old enemies of Bill. The events culminate in a shootout, with Bill and Tonto victorious. But some of the town elders have grown tired of Bill’s tall tales and frontier justice, and an election is held. Is this the end of the line for the boastful Bill? You’ll have to watch to find out.

Carey has a field day as the blowhard Bill, with his yarns about Indian fighting and being a personal friend of President Garfield. A particularly tense scene has Bill and Tonto at odds, with the older man taking a pistol with one bullet and goading the Kid into shooting at each other. With one last shot, The Tonto Kid backs out of the challenge, but we soon discover there was NO ammo after all. It’s a cool scene and works thanks to Carey and Holt.

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Jean Rouveral  is Nitta, and she’s a good match for Holt. Esther Muir plays Madame Moustache, leader of Bill’s dance hall girls. Silent siren Evelyn Brent gets a plum role as Clary Martinez. Clarence Kolb does his usual fine work as rich Sam Kent. The rest of the cast is a cowboy movie lover’s dream, with Allan “Rocky” Lane, Ward Bond, Bob Kortman, Bradley Page, Monte Montague, Martin Garralaga, Kermit Maynard, Charles Middleton, Bud Osbourne, and Chief Thundercloud all taking part in the action.

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Former actor Glenn Tryon keeps the comedy and the action equally balanced as director. THE LAW WEST OF TOMBSTONE attempts something different from the usual sagebrush saga, and succeeds largely due to Harry Carey’s charisma. I can see where John Wayne learned a lot of his screen tricks, including the way Carey pronounces “cat-ridges” for cartridges, and some of his small bits of business. The movie is a testament to the acting chops of one of Hollywood’s first cowboy stars, and an unpretentious, fun little ‘B’ that Western fans will certainly enjoy.