Arizona Bushwhackers

Actually, wearing a blindfold during a sitting for this movie seems like a pretty good idea given how lifeless it is. When you see it's produced by A.C. Lyles then realistic expectations are needed, his low budget Westerns grabbed the aged coat tails of a genre that had moved onto a different plain than the one Lyles now traversed. Lyles was astute enough to fill out these Oaters with names familiar to genre fans, regardless of the advent of time or box office appeal, so some interest in the said picture was there from the off.

Some of these Westerns rose above their budget limitations to be better than average, the likes of Johnny Reno, Waco and Stage to Thunder Rock, while not essential Western viewings, are good time wasters for the undemanding fan. The trouble with Arizona Bushwhackers is that it promises so much more than it can ever deliver. Proudly it tells us that it's in Technicolor and Techniscope, and it stars Howard Keel, Yvonne De Carlo, John Ireland, Marilyn Maxwell, Scott Brady, Brian Donlevy, Barton MacLane and James Craig. Hell! The opening narration is even by one James Cagney. And with a plot involving spies and gun runners in the town of Colton, where Union and Confederate operatives dwell, it's all in place for some solid "B" entertainment. Unfortunately it's a lame duck once Caggers has finished his narration.

Story limps on as the various citizens of Colton potter around wondering about who is trustworthy? Who will get caught out? Who will survive? And isn't it about time the Indians showed up? The actors, bless em', give it a good go, shuffling about in some sort of one- take wonderland, while director Lesley Selander tries hard to beef up the plot with the odd action scene; including a fight between two one armed men that I'm pretty sure isn't meant to be funny. It all builds to a hopelessly weak finale where the Indians do indeed turn up and they file in for cannon fodder duties. The colour photography is washed out, the scenic locations barely realised, and the musical score is 101 rank and file. Lifeless all told and only fans of the fading stars should seek this out so as to tick off of their completist lists. 3/10

When I see a name like Howard Keel listed for a film, I can't resist having a look, particularly as Keel was probably my first screen hero (perhaps alongside Roy Rogers) as a six year old when I was taken to see Annie Get Your Gun. I still have vivid memories of him in that although it was around 65 years ago. I find it rather sad that stars like Keel ended up having to take jobs in feeble B westerns like Arizona Bushwhackers when they have so much more to give. Rather sad also that he's remembered better for Dallas than Seven Brides for Seven Brothers by some people. However, on to this film, Arizona Bushwhackers is a very tired looking picture that looks like it was made for TV, rather like those Warner Bros series in the 50's like Bronco with sets where everything looks so clean. Everyone wears clean clothes with shirts perfectly pressed and dresses that look like they've just been hired from the fancy dress shop. The movie is packed with actors and actresses who have seen better days, quite big stars some of them in their day like Yvonne De Carlo, John Ireland and Brian Donlevy (who doesn't look at all well here, in fact he died a few years later as did Marilyn Maxwell). Barton McLane although only in his sixties, looks about 80. Actors seemed to age far more quickly back then (1968) than they do today. Too much alcohol and cigarettes I think. The script here is very tedious, nothing I've not seen in westerns hundreds of times before, the colour is washed out and the direction listless and lazy. The final Indian attack is comical as this group of so called renegades just roar into town riding up and down and get picked off by the towns folk waiting for them. Must have been the most stupid Indians ever in a western. The only reason for watching this is to see your favourite old time movie stars of B films which does give one a sort of peculiar warm feeling as their easily recognisable faces appear. I thought John Ireland as a one armed deputy came off best in the acting stakes. Bless them all.

During the Civil War , Lee Travis (Howard Keel) is hired by government authority to protect townspeople from revenge-seeking outlaws and avoid arms contraband . As a spy taking job as sheriff in small western town as a cover for his espionage activities . As Travis dons a damn Yankee uniform to pull the most daring plot of the war in the West , but he is actually a confederate spy . However, he soon finds out that a local businessman is selling weapons to a band of rampaging Indians . Once there , he has to straighten out a few bad guys who have been selling guns to the Apaches . As the confederate lawman up against gunfighters , and gunrunners as well as usual Indians . As the marshal on the trail of the smugglers is accompanied by a spy woman (Ivonne De Carlo) . Town boss (Scott Brady) is behind the crime and corruption of the little town called Colton but the townspeople are too scared to help sheriff out except for Saloon gal (Marilyn Maxwell) . In the Old west there are always the men who live breathe violence and the women who hold their breath.

This ordinary western is plenty of thrills , go riding , shootouts and suspense as the dreaded final showdown approaches and the protagonist realizes he must stand alone against impossible odds , as his fellow town people for help , nobody is willing to help him ; meanwhile he attempts to clear an issue about weapon gunrunning . This routine Western has the customary story of a sheriff-for-hire who takes the law on his own hands and based on a story and screenplay by Steve Fisher. It begins as a slow-moving Western but follows to surprise us with dark characters and passable plot . This short runtime tale is almost ordinary , a pacifier comes to a town just in time to make sure its citizenry but later the events get worse . Although made in low budget by the producer A.C. Lyles , it has its good moments here and there . Acceptable acting by Howard Keel as a Confederate spy who takes a job as marshal . Notable for the presence of old Western-movie veteran such as John Ireland , Marilyn Maxwell , Scott Brady , Brian Donlevy , Barton MacLane and James Craig . Atmospheric and colorful cinematography in Technicolor , though is necessary a remastering.

This horse opera was realized in low-budget by producer A.C. Lyles and distributed by Paramount Pictures . Lyles produced a lot of Western in short or average budget such as ¨Black spurs¨(1965) , ¨Apache uprising¨(1966); ¨Johnny Reno¨ , ¨Waco¨ , ¨Red Tomahawk ¨and ¨Hostile guns¨(67) , among others ; many of them directed by R.G. Springsteen or Lesley Selander and starred by old glories such as Dana Andrews , Rory Calhoun , George Montgomery and Howard Keel . This quickie was middlingly directed by Lesley Selander , a craftsman working from the 30s . Selander is generally considered to be the most prolific director of feature Westerns of all time, with at least 107 to his credit between 1935 and 1967 . He realized his first feature in 1936, a horse opera , genre in which he would not only excel but one where he would spent much of the rest of his career . He began in this genre with series starred by Buck Jones and ¨Hopalong Cassidy¨ series starred by William Boyd such as ¨Silver on the sage¨ , ¨Three men from Texas¨ and ¨Wide open town¨. In Republic production he directed his better movies such as ¨Panhandle¨and ¨Stampede¨ starred by Rod Cameron and in RKO he directed Tim Holt in 20 films such as ¨Rio Grande patrol¨ and ¨Overland telegraph¨. He subsequently shot B-movies such as ¨Fort Vengeance¨, ¨Arrow in the desert¨, Shotgun¨, ¨Town tamer¨ and his last picture ¨Texas Kid¨. Although Selander couldn't be deemed an "A"-list director, his movies had a professionalism and a verve that many of those made by his fellow B directors lacked . He also filmed detective thrillers , action/adventure motion pictures and even a horror film or two . Rating : 5,5 . Acceptable and passable

Despite several reviews, that state, that Richard Arlen is not, in this movie, he appears, unbilled, in a quick scene, as a banker exiting his bank. This was archive footage, from another A.C. Lyles western, that was used, to fulfill a promise, that Lyles made, to Arlen, about 40 years, previously. In the late 1920's, Lyles was an office boy, at Paramount, where Arlen was a star, who befriended him. He told Arlen, that if he ever became a producer, he would put Arlen, in every one, of his films. This was a promise, that he fulfilled, even if it was only a picture, of him, on a mantlepiece, of a brief clip, such as, in this film.

Arizona Bushwackers was the last of three B westerns that Howard Keel made during the Sixties. He also did Waco and Red Tomahawk. He also appeared in support of John Wayne and Kirk Douglas in the acclaimed War Wagon. This film ain't no war wagon.

It's not horribly bad film, Arizona Bushwackers, it's just a very tired one. A lot of hackneyed clichés jammed into the 90+ minutes of the running time. Howard Keel plays a former Confederate who earns a pardon from the Union Army and an out from a federal prison by agreeing to join the Union Army, but serve in the western frontier as opposed to the war in the east.

Keel even rates a special job as sheriff of a lawless Arizona town called Colton after mayor Brian Donlevy calls for help. Saloon owner Scott Brady and partner Marilyn Maxwell like the wide open town that Colton is and don't cotton to no law and order.

In fact Keel himself has never really forgotten his rebel roots and has been biding for time to pull something off.

All these plot strands get themselves resolved in one of the dumbest Indian attacks I've ever seen staged on film. The once popular players set themselves all around with various weaponry on either side of the main street and the Indians ride by and just keep getting picked off.

Others in Arizona Bushwackers include Barton MacLane, Yvonne DeCarlo, James Craig, and John Ireland. It's a regular convention of movie names who hit their peaks during the forties and fifties. It's also the farewell film of director Lesley Selander who did just about a gazillion B westerns in his day.

No matter how dumb the film, it's nice to see all these stars together in one film. And the opening narration is given by a bigger movie name than all of these who did the off camera speech as a favor to his friend, producer A.C. Lyles.

For nostalgia fans only.