Cowboy Legends 50 Movie Pack [12 Discs]Cowboy Legends 50 Movie Pack [12 Discs]

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MOVIE DESCRIPTION:

    Prepare for some two-fisted cowboy action with this family-friendly 50-movie set. Roy Rogers, Gene Autry, Tex Ritter, Johnny Mack Brown, Marlon Brando and Buck Jones are just a handful of the Western heroes you can expect in this collection. Includes Under Nevada Skies (1946), Rawhide (1938), Rootin' Tootin' Rhythm (1937), Fuzzy Settles Down (1941), One-Eyed Jacks (1961) and more. 12 DVDs. 1933-61/color-b&w/49 hrs., 1 min/NR/fullscreen.

DVD FEATURES:
  • Number of Discs: 12
  • Audio: Dolby Digital Stereo
AWARDS
  • Academy of Motion Picture Arts and Sciences
  •     Nominated Best Color Cinematography - 1961 (Charles B. Lang)
  • Directors Guild of America
  •     Nominated Best Director - 1961 (Marlon Brando)
ADDITIONAL INFORMATION:
REVIEWS:
  • A good cast and Joseph Kane's solid direction elevate Bad Man of Deadwood from the merely routine, as indeed was the case with many of Roy Rogers's early westerns. The hayseed crooner later allowed music and production numbers to take center stage -- much to the chagrin, one would expect, of action fans everywhere -- but in 1941, guns were still blazing and fist were flying everywhere. George "Gabby" Hayes remains his old reliable self as well and is ably supported by peppy Sally Payne, B-Western history's sole female sidekick. ~ Hans J. Wollstein, Rovi
  • An extremely entertaining Gene Autry Western, Boots and Saddles goes a long way to explain the "Autry phenomenon, " a Depression-era quirk that tends to puzzle many a modern viewer. As opposed to the majority of low-budget oaters, this fast-paced Autry effort simply has everything -- good songs, including Autry's own "Give Me My Boots and Saddles"; eye-popping stunts, such as a branch-snapping "mistake" that turns out to be an indigenous method of disabling two henchmen in one fell swoop; and best of all, true comedy, not the usual sidekick routines that tended to bring a B-Western to a screeching halt. In one hilarious scene, Autry, William Elliott, and Guy Usher deliver their lines at the top of their lungs after Gene has been convinced by a duplicitous Judith Allen that her father, the colonel, is hard of hearing. Autry even takes a pratfall or two! Boy violinist Ra Hould later changed his name to Ronald Sinclair and became a film editor for low-budget producer/director Roger Corman. A Freddie Bartholomew type with a penchant for stuffiness, even Hould is fairly tolerable here. ~ Hans J. Wollstein, Rovi
  • Aside from the presence of Rita Hayworth, Hit the Saddle is hardly earthshaking, what with a plot told many times before -- a wild stallion falsely accused of murder -- and a villain, whose identity should be obvious to anyone who has ever seen a Hollywood sagebrush tale. But Republic Pictures' original Mesqueteers -- Robert Livingston, Ray "Crash" Corrigan and Max Terhune -- are so engaging and the production so well assembled that a good time should be had by all. Add to that a surprisingly serious discussion about the rights of animals and you have more interesting B-Westerns of its day. ~ Hans J. Wollstein, Rovi
  • For once in a Gene Autry oater, there is actually more rootin' and tootin' than rhythm. The film Rootin' Tootin' Rhythm commences with the obligatory songs in the introduction and then gets down to business. Business that is by no means unusual or in any way startling, but satisfying nonetheless. The highlight: Smiley Burnette incapacitating a whole gaggle of infuriated ranchers by blowing sneezing powder at them. This time, Burnette even gets a love interest of his very own, a statuesque blonde named Ann Pendleton. ~ Hans J. Wollstein, Rovi
  • "He's the meanest, stubbornnest, most conceited, high-hat dude tenderfoot I've ever seen," Irene Hervey says of George O'Brien in The Dude Ranger, "but how he can kiss!" And that's the kind of Western this Zane Grey adaptation is: more talk -- and some of it quite amusing -- than action. There is the Utah desert scenery of course but Hervey, who appeared "by arrangement with MGM," and most of the supporting cast seem more at home in drawing rooms. And that is where director Edward F. Cline keeps them most of the time, playing out a sort of prairie version of The Taming of the Shrew. With that kind of sophistication, there isn't much LeRoy Mason and his cutthroats can do, other than stay back and listen to the barbs fly. Sol Lesser used the Zane Grey connection and threw out the rest in the 1937 Smith Ballew opus Roll Along Cowboy, which is sometimes listed as a remake but isn't. ~ Hans J. Wollstein, Rovi
  • It is, of course, great fun to see Gene Autry and Roy Rogers square off against each other, but their early scenes together are not The Old Corral's only positives. Milburn Morante, a veteran silent screen comedian who was rarely very funny, is actually amusing this time around as a farmer with car troubles, and Lon Chaney Jr., never one of the most subtle of actors, is well cast as the villain's lumbering henchman. Better-than-average leading lady Hope Manning later signed with Warner Bros., changed her name to Irene Manning and starred as Fay Templeton opposite James Cagney's George M. Cohan in Yankee Doodle Dandy (1942). In addition to the little Western's other pleasures, The Old Corral is probably the only chance to see silent screen cowboy star Buddy Roosevelt playing a tuxedo-clad mobster. ~ Hans J. Wollstein, Rovi
  • Ken Maynard's famous horse Tarzan performs his usual tricks in The Lone Avenger -- including untying his master when Ken is in danger of being lynched -- and villain Al Bridge is his snarling self as well. The real surprise here is inveterate Bad Guys Charles King and Edward Brady, who, for once, are on the side of the angels as roughhewn but good-natured brothers Nip and Tuck Hawkes. Their names alone ought to have insured them future appearances in KBS Westerns but harried producer E.W. Hammons, who probably had his hands full handling the often temperamental Maynard, failed to follow up a promising bit of teamwork. ~ Hans J. Wollstein, Rovi
  • Often described by director Martin Scorsese as his favorite Western, Marlon Brando's only foray into directing resulted in one of the most interesting films in the genre. Brando plays an outlaw abandoned on a Mexican mountainside by his partner Karl Malden, while escaping from a posse. After doing a five-year hitch in a Mexican prison, Brando goes looking for revenge. A film whose troubled production history included contributions by Sam Peckinpah and Stanley Kubrick, in many ways it's a precursor to the operatic, slow-motion oaters of Sergio Leone. Basically a standard Western, it's raised a few notches by a great performance from Brando, who is given all he can handle by a memorably sadistic Malden. The pace of the scenes is undeniably slow, and one's enjoyment of the film probably depends on the extent to which viewers find Brando's myriad expressions of slow-burning rage compelling. Either Brando has an excellent eye or he was lucky in his choice of cinematographer Charles Lang, because the photography of Monterey, the Sierras, and the Mexican coastline is spectacular. Katy Jurado, Slim Pickens, Ben Johnson, and the always disturbed Timothy Carey round out the colorful cast. ~ Michael Costello, Rovi
  • "This is a free country," Tex Ritter explains in the morale-boosting Gangsters of the Frontier, "where nobody can set themselves up as absolute ruler and force other people to do their bidding." Ritter, of course, is not so much speaking to his fellow rangers or the resilient pioneers of 1880 as he is addressing a 1944 audience locked in mortal battle at the time with exactly such a ruler. "As our country grows more and more you'll find men and women working and fighting side by side," our hero goes on, not overlooking the important distaff side of the war effort. Presumably, Rosie the Riveter and her many sisters got the message. But the good intentions of films like Gangsters of the Frontier were unfortunately muddled by PRC's usual slapdash production methods and although it certainly is noisy, this entry in the studio's low budget answer to Republic's "Three Mesqueteers" series falls slightly short of what could reasonably be demanded of professional filmmaking. ~ Hans J. Wollstein, Rovi
  • Well-written by the veteran William Nolte, and acted by a generally competent cast, Big Boy Rides Again was soundly defeated by Gower Gulch entrepreneur Arthur Alexander's slipshod production methods and Al Herman's typically stoic direction. The film's title to the contrary, star Guinn "Big Boy" Williams is never referred to as "Big Boy" in the film but always as plain "Tom." Incidentally, there never was a "Big Boy Rides." ~ Hans J. Wollstein, Rovi

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