The Texan

Catch this one if you can. It's short, satisfying, and as of March 2020 in an attractive restored print. The Texan is "From" the O. Henry story, "A Double-Dyed Deceiver", per the opening credits. The short story is now in the public domain, so it is easy to find and compare to the movie. The story starts out somewhat more brutal than the movie, and you are welcome to find out for yourself how it continues.

28 year old GARY COOPER and 22 year old Fay Wray are listed right under the opening title. The Players include several names familiar to fans of early 1930's movies. Oscar Apfel plays a hard-edged character, and Emma Dunn is her familiar self. Fay Wray is at least easy on the eyes in her scenes, and surely could have been given more to do. Although the movie's pace definitely looks like it's from 1930, there is enough movement to keep it interesting. Victor Milner's photography along with Paramount's lighting of the sets also make this easy on the eyes.

Gary Cooper is a bad man who hooks up with crooked lawyer Oscar Apfel to swindle Emma Dunn by convincing her that Coop is her long-lost son. Yet Cooper seems increasingly uncomfortable with the deception.

After a lifetime of looking at the previous year's Battered THE VIRGINIAN, the fact that this print is in pretty good shape allows longtime Paramount cameraman Victor Milner to strut his stuff. The dialogue direction tends to have everyone sound overly emphatic, but perhaps that's in reaction to the buzzy tone of the soundtrack. The story, based on O Henry's "The Double-Dyed Deceiver" has a good deal of humor in it, perhaps an attempt to emulate the Oscar-winning IN OLD ARIZONA. Oscar Apfel excels as the crooked lawyer, and Fay Wray is an adorable Consuelo.

"The Texan" is a most unusual film by Gary Cooper. It was presumed lost for decades but just recently the movie was restored and shown on Starz. And, since I love classic films, it is natural that I'd watch this movie. Thanks to Bruce Kogan for letting me know that this was finally available!

When the story begins, the Llano Kid (Gary Cooper) is a wanted criminal in the old west. After a dust up in a Texas town, he's on the run and makes the acquaintance of a man who offers him a chance to make big money. It seems a family he knows in South America has a long-lost son and he wants the Kid to pose as this lost son. It makes some sense, as the Kid speaks Spanish and is about the same age....so all he needs is a tattoo and some coaching and he should be able to fool Don Enrique's mother. And, the plan ends up working very well..perhaps too well. As now the Kid has come to love his new 'mother' and can't stand the notion of hurting her. But what about his partner in crime? Surely he won't sit still for the Kid changing their bargain.

I liked the slow and deliberate pace of this film...some might see it as being too slow. Also when you compare it to other westerns made in 1930, this one is superior to most...with some nice acting, production values and an interesting story. Sure, the story is a bit familiar...but it wasn't back in 1930. Well made, well worth your time.

The Texan as a title is so bland, that you'd think that John Wayne starred in this film in the early 30s before he became a big star.

But what you've got instead is a little self redemption story that can only happen before the Hayes Code, or decades after it's implemented. Our intrepid villain, discovers good and decency, and a little old woman he never wishes to hurt.

Gary Cooper plays his hilarious stone cold charm. Man of few words, has little to say, but his expressions as he acts both being uncomfortable with new surroundings, and gradually becoming accustomed, says all.

This early Gary Cooper film, is fun, well handled for a simple plot, is great for any fan of old movies, or Gary Cooper.

Worth the watch, 9/10

... because it sags dreadfully, especially in the middle portion after Cooper's character arrives in South America. That and the complete absence of any kind of score makes it tough going.

Gary Cooper plays the Llano Kid, wanted dead or alive for robbing a stagecoach. He stops off in a town to have his horse shoed, and the town blacksmith happens to be a Bible beating preacher type who also, strangely enough is the sheriff. Satisfied that the sheriff has no idea who he is, the Kid goes to the saloon for a drink and some cards. But the fellow he's playing is cheating, and when exposed draws his gun and tries to kill the Kid. The Kid returns fire and kills him in what sure looks like self defense.

The Kid fools the towns folk and their posse into believing "he went thataway", retrieves his horse from the sheriff who vows to get him someday, rides to the railway station, and gets onboard. On the train he meets Abner Thacker, who offers The Kid a deal - If he'll pose as a rich South American woman's long lost son who ran away 15 years ago at the age of ten, they'll soak her for all she's worth and split the proceeds. The Kid agrees.

But once in South America, The Kid has second thoughts. The old woman who thinks he's her son is very kind to him, and he falls in love with Consuelo (Fay Wray), the old woman's companion. But Thacker is not having this newfound sentimentality cutting into his bottom line and threatens to turn The Kid into the local American consulate as a wanted criminal if he doesn't continue the ruse.

Complications ensue. In fact the complications are what liven up the last third of the film. First off there is an unexpected twist at the end. Secondly, the Bible preaching sheriff shows up at the widow's hacienda looking to bring The Kid back to Texas. This last part is very strange. This guy is a sheriff, not a U. S. marshal. He has no police powers in a foreign country. And who is guarding the town while he's globetrotting? And why this resolve to capture a guy who killed in self-defense?

The high point of this film is seeing the subtle humor in Cooper's performance. He'd played westerners and cowboys all through the 20s in the silent era because of his roping and riding skills. But talking film added a layer to the authenticity of his performance as a genuine cowboy.