BORDER PATROL (Sherman/UA, 1943)

What are the odds that the cast of a B-Western movie would include a future superstar, a future Cisco Kid, a future Superman, and a boss villain (the galoot wearing the suit and tie) portrayed by the former Pa Joad?  Well, as it turns out, the odds are great.  The film is BORDER PATROL. 

(L-R): William Boyd, Claudia Drake, Andy Clyde, Jay Kirby

DIRECTOR: Lesley Selander; PRODUCER: Harry Sherman; WRITERS: screenplay by Michael Wilson based on characters created by Clarence E. Muhlford; CINEMATOGRAPHER: Russell Harlan

CAST: William Boyd, Andy Clyde, Jay Kirby, Russell Simpson, Claudia Drake, George Reeves, Duncan Renaldo, Pierce Lyden, Bob Mitchum

Hoppy and Topper



HOPPY.
Producer Harry Sherman possessed the good luck, or great skill, that allowed him to receive financial backing from major studios for his independently produced Hopalong Cassidy B-Western series.  That backing was provided first by Paramount and later by United Artists.  The result was production values not usually found associated with B-Westerns.  The only series that came close were those produced and distributed by RKO, also one of the major studios.

Sherman's series also benefited from stellar casts headed by William Boyd as Hoppy; excellent photography (especially that provided by Russell Harlan, who at one point photographed forty-four in a row); and competent directors at the helm (Lesley Selander, for example, who directed twenty-eight of the sixty-six films in the series).

The Hoppy series, inaugurated in 1935, was the first so-called trio series.  It featured a strong down-to-earth figure (Hoppy), a younger sidekick to handle the romance angle and some of the more strenuous physical action, and an older sidekick to provide the humor. The partnership could be described as a stable big-brother; impetuous younger brother; and older, irascible uncle, who, unlike the other two with their fancy pistols, horses, and tack  was always armed with a plain old pistol and rode a plain old nag with a plain old saddle and bridle.  Such was the lot of the B-Western comedic sidekick. 

The success of the trio alignment would lead other producers and studios to attempt to repeat Sherman's success.  Some of the other series differed in that their trios had names: The Three Mesquiteers (Republic), The Range Busters (Monogram), The Rough Riders (Monogram), The Texas Rangers (PRC), The Frontier Marshals (PRC), and The Trail Blazers (Monogram).  In addition, there were numerous untitled trio series down through the years.

Only Republic's Mesquiteers and Monogram's Rough Riders came close to achieving Sherman's success in terms of quality or popularity.

The Three Mesquiteers underwent a number of cast changes over the years.  This combination starred Raymond Hatton on the left and Ray "Crash" Corrigan on the right along with the tall hombre in the middle who probably needs no introduction.

The Rough Riders (L-R): Buck Jones, Tim McCoy, Raymond Hatton

Like the other long-running trio series, The Three Mesquiteers (1936-43; fifty-one films), the Hoppy series (1935-48; sixty-six films) underwent many cast changes down through the years.  However, the Hoppy series differed from the other series in an important aspect.  While the other two trio members would change hands several times, William Boyd was always Hopalong Cassidy.

The original Hoppy trio (This is a poster for a re-release of an earlier film as indicated by the "presenter," that it is a "Goodwill Picture," and that George Hayes is billed as "Gabby."  He only became "Gabby"  after moving to Republic.

The early Hoppy films found Boyd supported by Jimmy Ellison, who, as Johnny Nelson, was perfect as the younger member of the trio.  Then after a couple of false starts, George Hayes settled in as a cantankerous old-timer named Windy Halliday.  It was in this role that Hayes perfected his "Gabby" persona that would serve him so well when he left the Hoppy films and rode over to Republic where he became the most popular sidekick in the business.

Another re-release

Over the years, others would follow Ellison in the sidekick role, beginning with Russell Hayden, which was okay.  Then things began to go downhill when Hayden was followed by Brad King, Jay Kirby, Jimmy Rogers (Will's son), and finally Rand Brooks.   

There was much less turnover in the casting of the old-timer.  When Hayes left for Republic, Andy Clyde took on the role after a few films and, as California Carlson, remained with the series until its conclusion.  He wasn't Gabby Hayes (who was?), but he was much better than many of the unfunny, buffoonish sidekicks that were foisted onto many a movie cowboy hero.

The three gents in the middle (L-R) are Andy Clyde, Jay Kirby, William Boyd.  The gentleman in the suit is Russell Simpson.  The fellow standing on the far right pointing a pistol is Bob Mitchum. 

   
THE MOVIE.
BORDER PATROL is a typical Hoppy film, meaning that it is an entertaining B-Western that could be enjoyed by the juvenile crowd and yet have some qualities that could be enjoyed by an adult audience.  As always, the black-and-white location photography was easy on the eye and as was also typical there wasn't a lot of action until the last reel and then all hell broke loose in a flurry of gunfire and fisticuffs.

Boyd, Kirby, and Clyde are three Texas Rangers who are disarmed and taken hostage by a young Mexican senorita named Inez, (Claudia Drake) who accuses them of murder. (I know, I know.  How could that happen?  These are three Texas Rangers; she is one woman.)  She then takes them across the border into Mexico and brings them before the local commandant, LaBarca (Duncan Renaldo).  It is there that the Rangers learn that Mexican laborers are being recruited to cross the Rio Grande in order to work in the Silver Bullet Mine.  But there's a big problem; they are never heard from again.

One of the missing is Don Enrique Perez (George Reeves), the young woman's sweetheart.  He went to investigate the situation, but had never returned.  Neither Cassidy nor the commandant is able to convince her that the Rangers are innocent.  Nevertheless, they are released and make their way back across the border to see if they can discover the mysterious disappearance of the laborers.  She trails them to Silver Bullet City.

When the Rangers arrive, they are once again disarmed and taken hostage.  This time it is by the henchmen of one Orestes Krebs (Russell Simpson).  He is a Judge Roy Beanish fellow who is the mayor, sheriff, and judge of Silver Bullet City as well as the owner of the Silver Bullet Mine.  With the aid of a gang of cutthroats, he rules with an iron hand over his little kingdom.

One of the orneriest of the cutthroats is a fellow named Quinn, who is portrayed by a young actor billed as Bob Mitchum.  Mitchum was in a number of the Hoppy films, always a bad guy at the beginning, but by his fourth appearance appearing in more sympathetic roles.

Bad Bob

Of course, the Rangers eventually prevail.  In the climactic scenes, Hoppy plugs Quinn and rides down Krebs who is attempting to escape and, in a scene that no self-respecting B-Western would fail to include, jumps off the galloping Topper onto the back of Krebs' horse and then the two tumble down a slight, sandy, slope .  At the bottom of the slope, Hoppy knocks Krebs cold with a roundhouse haymaker.  It is amazing how many times such a soft landing is available for our heroes when they need it.

Everything is well that ends well and it always does when the Hoppy trio takes charge. The miners are liberated and Inez is reunited with Don Enrique

Russell Simpson was cast against type and he seemed to have a good time in this film.  Viewers were accustomed to seeing him in films such as THE GRAPES OF WRATH, in which he portrayed Pa Joad, a broken, brooding man who did not have much to say, or as a disapproving Mormon elder in WAGON MASTER.  In BORDER PATROL, he had a lot to say and in some ways his character was the best thing the film had going.

Duncan Renaldo, the future Cisco Kid, had a fairly long scene early in the film, but was not seen again.  George Reeves, like Mitchum, appeared in a number of the Hoppy films during this period.  Unlike Mitchum, he always played a sympathetic role.  In fact, when Kirby left the series, Reeves substituted as the young sidekick in a couple of films, before being replaced by Jimmy Rogers.  In BORDER PATROL, however, he doesn't show up on the screen until the final reel and only has a couple of lines, which he speaks with a bad Mexican accent. It would be almost another decade before his casting as Superman would make him a TV star.



Good George, Hoppy sidekick





Another Three Mesquiteers combo (L-R): Raymond Hatton, Robert Livingston, Duncan Renaldo. Sometimes the old timer didn't even get to ride a horse.

BOB STEELE -- Part 3: Billy the Kid and Two Trigger Trios, 1940-44

You can read Part 1 here and Part 2 here.

As the '30's ended, however, the indestructible little cowpoke began to claw his way out of the abyss.  In 1939, he was given the opportunity in a prestige picture to prove that he could act.  The following year, he was hired to star in a new Western series at PRC and before the end of the year, he left that studio and signed up for a series at Republic.

It is ironic that in the middle of the lowest point in his B-Western career, Steele was chosen for an important role as the sadistic Curley in the film version of John Steinbeck's OF MICE AND MEN (UA, 1939, directed by Lewis Milestone).  The role called for a little man with curly hair who was extremely jealous of his wife.  I don't know about the jealously part, but Steele fit the bill insofar as the physical characteristics were concerned.  Despite being cast against type, he gave a very good account of himself and more than held his own in a cast that included such talented performers as Burgess Meredith, Betty Field, and Charles Bickford.

To this point in his career, Steele had always played the good guy, the hero, who always saved the day.  Why then did he choose to take on such an unsympathetic role?  Could it have been because he wanted to work with a distinguished director in an important film and prove that he could act?  On the other hand, maybe it was because his career was on a downhill skid and going nowhere fast and he believed that he had nothing to lose, that he could only go up.

At any rate, beginning with OF MICE AND MEN, he was occasionally cast in non-Western character roles, usually cast against type, and admirably acquitted himself by proving that he could do more than shoot, ride, and fight.  The following year, he had an uncredited role as a mean-tempered prizefighter named (well, of course) Kid Callahan in CITY FOR CONQUEST (WB, starring James Cagney).  In 1946, he made a lasting impression in THE BIG SLEEP (WB, directed by Howard Hawks) as the gangster who disposed of Elisha Cook, Jr., before being bumped off by Humphrey Bogart.

from cowboy hero to killer Canino in THE BIG SLEEP

Also in 1940, Steele, in support of Roy Rogers and Gabby Hayes, played the chief villain in Republic's THE CARSON CITY KID (only this time Rogers, and not Steele, was the "kid").  It would be the type of role that he would later fill in effective fashion in his character actor days. 

In the same year, PRC launched its long-running Billy the Kid series.  Who better than Bob Steele, with his small physique and history of portraying "kids," was more suited among B-Western stars to portray Billy the Kid?  Unless I have miscounted, including the six Billy the Kid films at PRC, he played some sort of kid in at least fifteen films.

PRC wasn't Republic by any stretch of the imagination, but it wasn't Metropolitan either, and the Billy the Kid series helped re-establish Steele as a popular cowboy with mass appeal.  The studio's stated policy was a maximization of action and a minimization of dialogue.  For the most part, the dual goals were attained.  Steele, in his early thirties, was certainly able to deliver the action (and the dialogue the rare times he was asked to) and he found himself supported by an old friend.

Al St. John, a nephew of Fatty Arbuckle and a former member of Mack Sennett's Keystone Kops, had been in films since 1913 and, in fact, the veteran comedian had often, as previously noted, supported Steele in many films in the '30's.  He was also the first actor to portray William Colt MacDonald's Stony character (THE LAW OF THE .45'S, Normandy, 1935).  (This film is not considered to be the first Three Mesquiteers film since it did not include the Lullaby character.  Furthermore, Stony's last name in this film was Martin and not Brooke as it was in MacDonald's stories and in the later Three Mesquiteers films.)

However, he did not develop into an established performer until he was teamed with Steele at PRC.  In that series, he continued the Fuzzy Q. Jones characterization that he had developed in the Fred Scott series at Spectrum during the late '30's.  He became "Fuzzy" because Scott's sidekick role had been slated for Fuzzy Knight, who instead signed with Universal to co-star with Bob Baker.  Consequently, the Fuzzy tag was retained for the sidekick role and St. John adopted it permanently.

Fuzzy Q. Jones

When Steele left PRC, he was replaced by Buster Crabbe, but St. John continued as his sidekick for the duration of the series.  While working in that series, St. John simultaneously supported George Houston (and later Robert Livingston) in PRC's Lone Rider series, as well as portraying Don "Red" Barry's pard at Republic in several films.  After these three series ended, St. John co-starred with Al "Lash" LaRue in another PRC series that concluded in 1951.  In all, with the exception of the Barry films, he portrayed the same character -- Fuzzy Q. Jones.
 
All one had to do to understand why Steele jumped at the chance to leave PRC and join Republic is to view his last film in the PRC series,  BILLY THE KID IN SANTA FE (filmed in 1940, but not released until 1941), followed by his first for Republic, UNDER TEXAS SKIES (1940).  Although Steele gave it his best in the PRC film, it wasn't enough.  The whole thing was filmed around Newhall, California which didn't look a bit like the desert southwest.  The plot has Billy fighting to bring truth and justice to the wide-open town of Santa Fe, but all that fighting takes place in the countryside with the town nowhere in sight.  The film is simply a cobbled together series of action scenes, with a minimum of dialogue, and a seriously flawed plot.  Oh well, it was PRC.

There is also something disconcerting about a misunderstood and mistreated Billy the Kid nevertheless giving it his all to tame a Western town.  Buster Crabbe replaced Steele in the role in 1941, but in 1943, the character's name was changed to Billy Carson for the remaining films in the series that concluded in 1946.

At Republic, Bob Steele joined Robert Livingston and Rufe Davis to form yet another Three Mesquiteers combo.  Steele would go on to appear in the last twenty features in the series.

The Three Mesquiteers, based on characters created by Western novelist William Colt MacDonald, was launched as a Republic B-Western series in 1936 and was discontinued in 1943.  Fifty-one films were produced during those years, utilizing twelve actors (including John Wayne) in nine different combinations.  In the three years Steele co-starred in the series, he was a member of three of those combinations.

(top down) -- the last Mesquiteers: Tom Tyler (Stony Brooke), Jimmie Dodd (Lullaby Joslin), Bob Steele (Tucson Smith)

  

Tom Tyler was taller, wore a taller hat, rode a taller horse, which was also white, but it never seemed to bother Bob Steele.  Why should it?  He never lost a fight and he received top billing.  Dodd would go from third Mesquiteer to Chief Mouseketeer on Disney's The Mickey Mouse Club in the '50's.

A year after Steele was cast in the role of Tucson Smith, he was joined by Tom Tyler, also on the comeback trail, who replaced Livingston in the Stony Brooke role.  In 1943, Jimmie Dodd replaced Rufe Davis as Lullaby Joslin in the final six entries in the series.  Steele received second billing in the films with Livingston, but moved up to number one after Tyler replaced Livingston.  It was the last B-Western series for Tyler and it is only fitting that it was while co-starring with Steele, since the two cowboys had crossed trails so many times in the past.

The Mesquiteers series was still popular in its final season and, in fact, ranked in the top ten of the Motion Picture Herald's popularity poll of B-Western stars during the three years of Steele's tenure.   However, Republic evidently believed that there wasn't much more that could be done with the series.  Instead the studio chose to concentrate on its two established series with Roy Rogers and Don Barry, and was also in the process of inaugurating new ones with Bill Elliott (Red Ryder) and Eddie Dew (John Paul Revere), and had Sunset Carson and Allan Lane waiting in the wings.

Bob Steele starred in two more series, though each was of short duration.  At Monogram, a step down from Republic (but still higher on the B-Western ladder than PRC), he teamed with veteran cowboys Ken Maynard and Hoot Gibson in the Trail Blazers series.  Originally, the series starred Maynard and Gibson as a duo and it represented an effort by the studio to duplicate its earlier success with its Rough Riders films that had starred three other elderly luminaries: Buck Jones, Tim McCoy, and Raymond Hatton.  Unfortunately, Maynard and Gibson, both around the half-century mark in age, looked older than their ages while Jones and McCoy, who were actually older, looked younger than their ages.

Gibson's wrinkle-lined visage reflected many years of hard, fast living and Maynard's waist was expanding at an accelerating rate.  Consequently, Steele, who was much younger (mid-thirties) and in much better physical condition, was added after the first three films in order to handle the more strenuous action and the romantic angle.

The ornery and cantankerous Ken Maynard had earlier forced former Universal cowboy Bob Baker out of the series and reportedly was unhappy about the addition of Bob Steele.  That probably explains the billing in the poster.  However, it wasn't long before Maynard was out, while Steele was still in.

 
After the trio had completed three films the cantankerous and unpredictable Maynard, who was said to be angered by the addition of Steele, dropped out or was forced out, and was replaced in the next two entries by the screen's original Tonto, Chief Thundercloud (Victor Daniels).  After one more film, this time without Thundercloud, the Trail Blazers appellation was dropped and Steele (the last Tucson Smith) and Gibson (the first Stony Brooke) rode as a duo in two final films.

   

BOB STEELE -- Part 2: Ridin' Down Poverty Row, 1930-40

You can read Part 1 here.

 

In this scene from THE OKLAHOMA CYCLONE (Tiffany, 1930), Bob Steele serenades Rita Rey with three songs, with hardly a break in between.  Rita then returns the favor with a song of her own.

Western movies experienced much difficulty in making the transition from the silent era to talkies.  Bob Steele, however, experienced little trouble in making the transition.  

First, he was young, handsome, and possessed an acceptable, though somewhat thin, speaking voice; second, he was a good rider, stuntman, and an excellent brawler; and third, he was an adequate actor -- and he would get better -- much better.

Unfortunately, the young cowboy was unable to make the transition with a major studio, but had to do so by starring in independent productions, whose cost-cutting measures were plain for everyone to see on the screen. 

Most Western stars, however, had to make the transition to talkies with independents, for only Universal, among the major studios, continued two Western series with Ken Maynard and Hoot Gibson uninterruptedly into the sound era.  Eventually, however, even that studio terminated its Westerns and Maynard and Gibson joined the other cowboys making films for independents on Poverty Row.

In 1930, Steele entered into an association with independent producer Trem Car for a series distributed by Tiffany.  The eight picture series was filmed in 1930-31 and included the little cowpoke's all-talking debut, NEAR THE RAINBOW'S END.  The director was J.P. McGowan, who was frequently at the helm of Steele Westerns and had directed several of his silent features.  The next six in the series were directed by J.P. McCarthy.  Wallace Fox directed the final entry.  He had directed many of Steele's silent Westerns.  

Two of the screen's most prominent future Western comedy sidekicks, namely George (later 'Gabby') Hayes and Al (later 'Fuzzy') St. John appeared in a number of the Tiffanys.  

Si Jenks also appeared in several of the films.  He was an active performer in Westerns and non-Westerns, but never co-starred in a continuing series and is not as familiar a name as Hayes and St. John.  However, there is some evidence that both actors in developing their screen characterizations were influenced to some degree by the acting and comedic style of Jenks.

 

George "Gabby" Hayes

Si Jenks

Al "Fuzzy" St. John

It was in the Tiffanys that Steele made his debut, unfortunately, as a singing cowboy -- four full years before Gene Autry, usually credited as the first singing cowboy, made his motion picture debut in the Ken Maynard serial, IN OLD SANTA FE (Mascot).  

As most Western film buffs know, Maynard, Steele, and John Wayne, in that order, predated Autry as singing cowboys.  Wayne's voice, however, was dubbed and frankly ol' Ken's and Bob's should have been.  

Steele's inability to vocalize was demonstrably proved in the second entry of the Tiffany series.  In THE OKLAHOMA CYCLONE (1930), he warbled not one -- not two -- but three songs in rapid succession followed immediately by, without even a pause for a little action, a tune by the heroine.  J.P. McCarthy, who was not only responsible for directing the film, but also provided the story, should have known better.  

The film was made in 1930, however, so one must remember that the sound equipment of the day was still quite crude and had to remain stationary which discouraged action and led to many scenes of people standing around talking or, in this case, singing.

However, there was action in the opening scenes in which we see a lone rider fleeing from a sheriff's posse.  In making his escape, he takes a chance and rides his horse down a precipitous hill that the posse chooses not to try.  But the sheriff has a plan, he yells, I kid you not, "Go around!  Head him off at the pass!"

Of course, the rider making his escape is played by Steele.  In a nifty little scene, with his horse in a gallop, he removes the bit and bridle, loosens the cinch on the saddle, and with the horse still running he dismounts and hits the ground running while holding the saddle and bridle, allowing him to quickly gain a hiding place in the barn.  

It appears that the stunt was performed by Steele, though it may have been a double.  It isn't very realistic, but is still fun to watch.  Unfortunately, after such a rousing start everything soon comes to a screeching halt with over ten minutes of musical, if it can be called that, interlude.

On the other hand, the little guy did whip big old Slim Whitaker in one fight and Charlie King in another.  I don't know if it was the first time that he beat up Charlie, but I do know that it wasn't the last.  They fought many, many times over the years and as far as I know, Charlie lost every time.

Another interesting sidelight to this modest little film is the appearance of the Mexican actor Emilio Fernandez in a brief scene.  He portrays a Mexican bandito who is backed down by Charlie King and his henchmen.  It was his second film role and his first in an American production.  From that humble beginning, he went on to become Mexico's most famous actor, director, and screenwriter.  He is best known to American film audiences for his role as General Mapache in THE WILD BUNCH (WB, 1969).

General Mapache

In 1932, Steele and producer Carr terminated their affiliation with Tiffany, which was in dire financial straits and soon faded from the scene, and began to distribute their product through World Wide.  

The six World Wide vehicles were a great improvement over the Tiffanys.  The sound had improved, so had the acting, and there was a lot more action and a lot less singing.  

Another explanation for the improvement is that Steele's father, Robert North Bradbury, directed five of them, and also provided three of the stories and screenplays.  George Hayes appeared in three and Earl Dwire, a familiar face in future Steele Westerns, had roles in two. 

The third entry, RIDERS OF THE DESERT (1932), directed by Bradbury, is notable for the presence of both Hayes and Al St. John in supporting roles.  However, in this one Hayes is Hashknife Brooks, the leader of an outlaw gang.  In addition, it is Hayes that Steele whips up on at the end of the film.  Poor Gabby, he didn't have any more luck than Charlie King.

Earl Dwire, always with the long face

The association with World Wide, which lasted but one year, might have lasted longer were it not for the company's declaration of bankruptcy that brought production to an abrupt halt.  

The problems of Tiffany and World Wide were indicative of what was occurring on Poverty Row.  There were just too many companies, operating on shoestring budgets, churning out too many Westerns.  The winnowing process eventually took its toll and conditions did become more stable as the major studios re-entered the Western sweepstakes.  In addition, two new studios, Monogram and Republic, came onto the scene to specialize in better quality B-Westerns.

After World Wide disintegrated, Trem Carr formed a partnership with W. Ray Johnston at Monogram, bringing Steele with him.  Actually, Steele's stint at Monogram represented a homecoming of sorts for him since, as earlier mentioned, the new Monogram was the old Syndicate where he had starred in his last silent films.

The eight Monogram Steeles represented his best series since his silent days at FBO.  To the benefit of the series, father Bradbury and son continued their off-and-on association that had resumed with the World Wide features.  Bradbury directed five of the eight Monograms

father and son

It was in this series that George Hayes, appearing in seven of the eight films, began to develop and refine the "Windy" and "Gabby" type characterizations that later made him immensely popular in the Hopalong Cassidy and Roy Rogers series, respectively.  

In the Steele films, Hayes alternated between villain and crusty codger roles, which he continued in the Monogram films of Steele's eventual replacement at the studio, John Wayne.  In the ensuing years, Bradbury would direct many of his son's films, but he also continued to work frequently at Monogram as Wayne's principal director.

In the midst of his Monogram series, Steele paused to make his sole appearance in a serial when he starred in Mascot's MYSTERY SQUADRON (1933).  Supporting Steele in the serial were three other cowboys, Guinn "Big Boy" Williams, Jack Perrin, and Wally Wales.

Guinn "Big Boy" Williams and Bob "Little Boy" Steele

When John Wayne, Steele's former high school classmate, rode onto the scene at Monogram, Steele signed with yet another independent producer. 

The association with A.W. Hackel was a beneficial and profitable relationship for both.  In 1934-38, they were responsible for thirty-two films -- the first sixteen produced and distributed by Hackel's Supreme Pictures -- and the last sixteen produced by Supreme, but released through and distributed by Republic Pictures, which had been created in 1935.  Concurrent with the Steele series, Hackel produced a good one with Johnny Mack Brown (his initial series) that was also first released through Supreme and then Republic.

 

Most of Steele's films during the Republic period were directed by his father, who also directed several of the Mack Browns, while at the same time being busily engaged in directing and supplying stories and screenplays for the Wayne vehicles at Monogram.

In 1935, Steele on vacation from the Supreme series was cast in a featured supporting role in POWDERSMOKE RANGE (RKO). which was billed, because of its truly all-star cast, as "the Barnum and Bailey of Westerns." The film, directed by Wallace Fox, was the first in which all three of William Colt MacDonald's Three Mesquiteers were brought to the screen.  It starred veterans Harry Carey as Tucson Smith and Hoot Gibson as Stony Brooke, with Big Boy Wiliams rounding out the trio as Lullaby Joslin.

Tom Tyler, in his best performance to that point in his career and one of his best ever, was featured in the role of a reformed gunman by the name of Sundown Saunders, while Steele portrayed yet another "kid" -- this time the Guadalupe Kid.  Ironically, later Republic would team Tyler and Steele in its Three Mesquiteers series as Stony Brooke and Tucson Smith, respectively. 

The Steele films of 1936-38 were technically not Republic productions, but did benefit from somewhat larger budgets and thus were superior to the previous sixteen released through Supreme.  They were also more popular as a result of Republic's more aggressive distribution process.  

The record indicates that Steele ranked number seven the first two years of the Motion Picture Herald's poll of top ten cowboy stars in '37 and '38 while starring in the Republic films.  It is no coincidence that his only other two years in the top ten were in later years when he was co-starring in Republic's Three Mesquiteers series.

In 1939-40, after reaching the peak of his popularity in the sound era during the two previous years, Steele's career hit the skids and he descended to the lowest depths of his film career.  

It was at this point that he was forced to go to work for an outfit that made Tiffany and World Wide look like MGM in comparison.  It was Metropolitan Pictures, which was headed by Bernard B. Ray and Harry S. Webb.  Webb and Ray, in association with John R. Freuler, had earlier created a company by the name of Big 4.  After it failed, Webb and Ray established Reliable Pictures.  Reliable's principal star was Tom Tyler; it almost destroyed his career.

Out of the ashes of Reliable, Webb and Ray created Metropolitan in 1939 -- and it lasted one year -- and its sole asset was Bob Steele.  

Don Miller wrote in Hollywood Corral,  "When even the most unassuming Western series was showing signs of improving, the Metropolitan Steeles were a regression to the past, and conceivably could have harmed the future of the most indestructible cowpoke."

Why was Steele forced into the ignominious position of working for Metropolitan during the closing years of the decade -- especially since they were peak years for B-Western production and a time when the A-Western came of age?  One explanation would be the singing cowboy phenomena initiated by Gene Autry and in full swing by the late '30's.  And Steele had already proved conclusively that he was no candidate in the singing sweepstakes.

Studios and independent producers, on the lookout for another Autry, began to cut loose non-singing cowboys such as Tom Tyler and Bob Steele.  As a result, they found themselves reduced to working for outfits headed by the likes of Webb and Ray.  It is to the credit of both Tyler and Steele that they were able to survive the experience.

REPUBLIC PICTURES: In the Beginning.....

Republic logo, 1935-38

Created in 1935, Republic Pictures dominated B-Western and serial production until both were killed off by television in the 50's.  The Republic product was so popular in the rural areas and small towns of the country that, in one theater at least, its logo was the only one to ever be cheered by the young Western film experts sitting in the front row.

Herbert Yates, founder of Republic Pictures

The studio was the brainchild of businessman Herbert Yates.  He was born in Brooklyn in 1880 and educated at Columbia University.  He then became an advertising executive with the American Tobacco Company.

He began investing in movies as early as 1912 and a few years later founded Consolidated Film Laboratories, which processed films for a number of small Hollywood studios.  

By the early 30's, several of the companies owed Consolidated large sums of money.  Yates seized the opportunity that the situation created for him and forced six of the debtor companies -- Mascot, Monogram, Liberty, Majestic, Chesterfield, and Invincible -- to merge with Consolidated, thus creating Republic Pictures in 1935.

It wasn't the first film to be produced by Republic, but it was the first to be distributed by the studio.

The main asset that Monogram contributed to the merger was to bring along a cowboy actor who had been starring in B-Westerns since 1932.

His name was John Wayne.

In 1932-33, he had starred in six Westerns at Warner Brothers.  They were exciting and well-done features primarily because they were remakes of Ken Maynard silent films.

Maynard, who couldn't act his way out of a paper bag and never looked realistic throwing a punch, was nevertheless one of the most accomplished horsemen to ride the Western celluloid range.  And his best efforts were during the silent era before his girth began to expand and he did not have to struggle with dialogue.

Therefore, the emphasis could be place on what he did best, which was action involving him and his horse Tarzan.

Wayne was a better actor than Maynard (and who wasn't) and he didn't have to much worry about the action because his films made much use of stock footage from the Maynard films, making it appear that Wayne was a much better horseman than he was.

After the Warner Brothers series ended Wayne began a series of films that were independently produced by Lone Star Productions and released and distributed by Monogram Pictures.  Most of them were produced by Paul Malvern.

In the middle of that series the merger that created Republic occurred.  Since the Lone Star film WESTWARD HO! was already in the hopper it became the first film to be released under the Republic logo.  Wayne went on to star in seven other Westerns which, after a couple of holdovers from his previous series, eventually became full-fledged Republic productions.  

After the series concluded in 1936, he left Republic for what he thought would be greener pastures at Universal.  They weren't -- and he would return.

The Monogram component of the merger had made a major contribution with the John Wayne series and had greatly aided the fledgling Republic in getting off to a good start.  But bringing even more to the table was Mascot's Nat Levine, not just because he was an experienced film producer, which he was, but because coming along with him was a singer by the name of Gene Autry.

John Wayne would eventually win fame and fortune as the most famous and most popular Western actor in the business, but that fame, fortune, and popularity was not based on his B-Western tenure, nor was it a result of his years at Republic. Gene Autry, on the other hand, would be Republic's savior, ensuring that the studio would survive.  

He was a former radio country-western singer who ventured out to Hollywood in an attempt to break into moving pictures.  He made connections with Nat Levine at Mascot.  

In 1934, Ken Maynard, in-between studios at the time, agreed to make two films for Levine, one a feature and the other a serial.  It was in these two films that Autry made his first screen appearances though he was uncredited in the casts of both.

The feature came first.  It was IN OLD SANTA FE and Autry had a brief scene singing a song while being accompanied on the accordion by his buddy, Lester "Smiley" Burnette, who had come West with Autry. 

Mascot serial in which Gene Autry made his second screen appearance

In the serial, MYSTERY MOUNTAIN, Autry appeared in four of the twelve chapters (Burnette was in three).  

 

Then Levine, whose specialty was producing serials, which he had been doing since 1927, and who was not afraid of trying something different, cast Autry and Burnette in THE PHANTOM EMPIRE (1935).

It was different -- strange and different.  As far as I know, it is the only hybrid Western - musical - science fiction movie to ever be filmed (there couldn't be much demand!).  

In it Autry played a radio singer who finds himself involved in a struggle for survival with an evil underground empire, but each chapter he would have to hustle back to perform on his radio show which was broadcast from his ranch.  (I don't want to go into more detail because I don't want to spoil the plot.  Just kidding; that was the plot.)

This is the first film to feature Gene Autry in a starring role.  It has to be seen to be believed, and maybe not even then.

As absurd as it was as a film, it did serve to introduce the singing cowboy.  And that's where things stood when Levine agreed to the merger that created Republic Pictures.  

Part of the agreement between Levine and Yates was that Levine would be the production chief for the studios' serials and Westerns.  

As noted earlier, the independently produced Wayne film, WESTWARD HO!, which was released in August 1935, would be the first film to be distributed by Republic.  The second was TUMBLING TUMBLEWEEDS, the first true Republic film, which was released just a month later, starring Autry with support from Burnette, produced by Levine, and directed by Joseph Kane (directorial debut).

Gene Autry's first starring feature film and the first "true" Republic release

The combination of rookie studio, rookie star, and rookie director did not bode all that well for the film and the finished product does leave much to be desired.  

But the public, or at least that part of the public that went to theaters to view B-Westerns, ate it up. Why?  

The only answer has to be that like THE PHANTOM EMPIRE it was different.  For better or worse, it launched the singing cowboy as a dominant force in B-Westerns.

With the immediate popularity of Autry other studios quickly launched series starring singing cowboys, but none came close to the popularity of the Autrys.  

In fact, during the first full year (1936) of Autry films, he finished third, behind Buck Jones and George O'Brien, in the Motion Picture Herald's annual popularity poll of B-Western stars.  The next year he was number one and he would occupy that position through 1942 when he enlisted in the military.  

At that point, one of Republic's other singing cowboys, Roy Rogers, would take over the top spot and remain there until the end of the B-Western era.

As mentioned earlier, when John Wayne's contract came up for renewal in 1936 he decided not to sign.  He went off to Universal for a couple of years, but he would return.  

To supplement the Autry series, Republic contracted with A.W. Hackel's Supreme Pictures to distribute two Western series, starring Johnny Mack Brown and Bob Steele, respectively.  They started appearing in theaters under the Republic banner in the fall of 1936.

Republic now had three series in circulation, but only one was truly a Republic product, and the decision was made to create a second home grown series.

One of the writers on THE PHANTOM EMPIRE had been William Colt MacDonald, who had written four novels featuring a trio of cowboys known as the Three Mesquiteers.  

His characters would be the basis for the new series and it would debut at about the same time that the Mack Browns and Steeles went out stamped with the Republic logo.  

And much, much more on the Mesquiteers later.

THE END 

(For Now)