Filmed back-to-back with three other Sunset Carson vehicles in 1947, this Yucca Pictures Western starred the former Republic cowboy as a Texas Ranger chasing a gang of rustlers into the notorious outlaw territory of Three Corners. Attempting to sabotage the proposed annexation of the territory, desperado Bart Dawson (Stephen Keyes) and his men ambush Sunset and his young trainee Jed (Al Terry). The villains, who have been terrorizing pretty trading post operator Helen Bennett (Patricia Starling), are eventually defeated by the rangers in a violent gun battle and the planned annexation takes place on schedule. For all intents and purposes, the handsome but wooden Sunset Carson ended his screen career with this series of extremely low-budget Westerns, originally filmed in 16mm and released by that dumping ground of Poverty Row flotsam, Astor Pictures.
Jed Thomas
Helen Bennett (as Patricia Starling)
Rita Bennett
Tim Bennett
Aunt Therese (as Felese Richmond)
Kelly
Bart Dawson
Shorty
Captain J. C. McCloud (as Forrest Mathews)
Filmed back-to-back with three other Sunset Carson vehicles in 1947, this Yucca Pictures Western starred the former Republic cowboy as a Texas Ranger chasing a gang of rustlers into the notorious outlaw territory of Three Corners. Attempting to sabotage the proposed annexation of the territory, desperado Bart Dawson (Stephen Keyes) and his men ambush Sunset and his young trainee Jed (Al Terry). The villains, who have been terrorizing pretty trading post operator Helen Bennett (Patricia Starling), are eventually defeated by the rangers in a violent gun battle and the planned annexation takes place on schedule. For all intents and purposes, the handsome but wooden Sunset Carson ended his screen career with this series of extremely low-budget Westerns, originally filmed in 16mm and released by that dumping ground of Poverty Row flotsam, Astor Pictures.
1948-02-20
0
BLAZING SIX- GUNS SEEK REVENGE!
Fanning has his men rustle horses and then blame it on a wild horse named Wildfire. Happy and Alkali arrive and immediately get into trouble with Fanning and his men. When Alkali is shot, Happy catches the outlaws but the Judge not only releases them, he discharges the Sheriff and tries to arrest Happy for rustling. Happy escapes and he and the Sheriff then set out to prove who the real rustlers are.
A notorious Mexican bandit goes all soft and mushy when he falls for a beautiful senorita. Warner Bros.' Captain Thunder contains some of the darndest Mexican accents you've ever heard in your life. The star is Hungarian-born Victor Varconi, portraying a legendary south of the border outlaw who tries to force Canadian senorita Fay Wray to marry a rival rustler whom she despises. She pleads with the bandito so pathetically that he is moved to grant her a single wish. Without hesitation she chooses her poor but true love. The bandit king, being a somewhat honorable fellow grants the wish and without a twitch, guns down the wicked cattle thief. Fortunately the film was played for comedy, a wise decision since it probably would have garnered laughs as a straight drama anyway.
Red Ryder returns to Sioux City, Wyoming, at the close of the Spanish-American War, settling down at the ranch of his aunt, The Duchess, with his pals Little Beaver and "Blizzard". But Red soon discovers that the country is over-run by rustlers.
Bob Allen in his starring debut gets a job on Wright's ranch where he hopes to find the rustlers no one else has been able to locate. Everyone is looking for men when the actual rustler is a horse.
Ranger Bill Kennedy rescues Mildred from the clutches of wicked rancher 'Black' Muller.
Johnny Mack Brown stars in the formula oater Shadows on the Range. The film was made at a time when Monogram was experimenting with the notion of passing Brown off as a singing cowboy. While his voice is dubbed, he's definitely handling all the action sequences himself, and that's what the fans really wanted.
A fisherman, a banker and an actress are involved in a love triangle in the middle of the ocean.
Bill Tracy is a Cattleman's Protective Association agent. Working undercover on his way to Sonora, a town dominated by rustlers, saves Betty Carter from a situation, but her rancher father, believing Blackie's suggestion that Bill is a rustler, forbids her to see him. Bill and his pal Heinie Schmaltz rescue each other from rustlers' various plots and ambushes and eventually discover that Blackie, Carter's foreman, is the leader of the rustlers.
Marshals Blackie and Joe, posing as two-gun men, hire on at Markham's ranch. They are after Tulliver and his gang of rustlers. But unknown to the two, Tulliver has planted Thorn on the ranch and he kills the foreman Riggs and puts the blame on Blackie.
Andy Fowler is made a member of a gang of rustlers after rescuing one of their number from a fire, but he finds his freedom threatened by the local sheriff, who is actually the gang's leader and wants Andy's girlfriend for his own.
Deputies Gene Autry and Frog go up against modern cattle rustlers. These rustlers use technology such as, airplanes, radios and refrigerated trucks to steal the cows, butcher them in the field and ship them out before getting caught. This causes the town to bring in a modern NYC detective to catch the crooks, but will Autry and Frog be permanently out of a job?
Red Ryder gets a telegram from his old friend Dan O'Connor asking for help in his fight against Faro Savage and his gang of rustlers. A gun dropped by Faro during a rustling raid makes Red and Sheila O'Connor, Dan's daughter, think they have ample proof against Faro but they are stymied by the law. Buckskin Blodgett and the Duchess, Red's aunt, find the body of O'Connor who was killed when Faro's men sent the sheriff out on a ruse. Sheila, discovered while rifling Faros office for evidence, escapes but not before she is recognized. Faro kills one of his own henchmen and then frames Sheila for the murder. Red and Little Beaver set out to clear Sheila and to try to find evidence against Faro and his gang. Written by Les Adams
A cowboy captures two rustlers and collects a $5000 reward. Using the money to take a vacation, he winds up getting accused of a murder he didn't commit.
A young railroad surveyor returns to his hometown to find the man who murdered his father and brother.
Scully has forced Joe Collins who works on the Garcia ranch to give him information so his men can steal the family jewels. But the Rough Riders are on the job. Buck poses as a wanted outlaw to get into the gang, Tim as a cattle buyer, and Sandy is collecting information as the saloon janitor. As usual they pretend not to know each other. Written by Maurice Van Auken
An exploration of the visual and psychological parallels between the American western frontier and the conflict in the Middle East.
Rephotographed pornographic playing cards rhythmically intrude upon a piercing 5-beat score of different-sized black parallel lines, creating an almost indiscernible complexity, until the lined background ruptures and the sounds and visuals become scattered and disordered. The "girlie" cards break out onto saturated color fields and eventually find their way into the real world, aggressively flickering by against backgrounds of earth, concrete and other surfaces. Preserved by the Academy Film Archive in 2016.
This film is a succession of visual and aural "notes" generated by the patterns in animals' hides, which are arranged and re-edited into a complex musical architecture, developing intricate rhythms not unlike the complex syncopations found in traditional African music. Elements of sand, dirt, light and shadow cross-reference the film's emulsion with evolutionary history and provide a second level of musical structuring through which the first layer is filtered. The animals' fur patterns, which evolved naturally as camouflage to hide them from predators, ironically now make the animals more visible to human predators who are attracted by their exotic uniqueness. This cinematic analogy underscores modern humanity's relationship to the natural world.
Displaying the faces and voices of transgender youth, the documentary short shows the authenticity of queer and trans people living in Toronto, while simultaneously discussing the struggles for self-acceptance that people who do not conform to cisgender and heteronormative ideals of gender face. Andy Nguyen, trans director and film student, captures his trans friends in their natural state on 16mm film shot on a Bolex h16 camera. Accompanied by narration written and recited by Salem Rao, this film represents that trans people exist and this is what we look like. Regardless of the obvious everyday transphobia, trans people find community and uniqueness within each other and themselves.