West of the Divide

Along with the usual cast of characters , that the Duke usually performs with this movie attracted my attention more so than some of his other "b" westerns save for a few,, maybe because in the beginning of this one he plays or rather I should say pretends to be a killer to get deep inside of a gang to find out who killed his dad and kidnapped his brother,, he is very good at this and has the criminals totally convinced well except for one,, and eventually they find out he is not who he says that he really is... Yakima Cannut , and George "Gabby" Hayes also star with John Wayne,, rather enjoyable western LoneStar. I would definitely recommend this to anyone being a fan of the early John Wayne movies before he became a star.

John Wayne and George Hayes come back to the place where Wayne spent his childhood in order to find out who killed his father and what became of his baby brother twelve years earlier. Wayne and Hayes then go undercover to stop a group of ranch thieves.

There's a few good scenes and a decent climax in this entry in Wayne's Lone Star western series but mostly this is middle of the road entertainment with a bit too much talking and not enough action this time around.

However, this does have some better-than-usual acting for the series. Duke and Gabby's performances are also quite likable, as is the actor that played Wayne's young friend.

West of the Divide finds the Duke as a man searching for his younger brother and at the same time the people who kidnapped him and murdered their father.

The film opens with a piece of good luck coming their way in the person of the dying gunman Gatt Ganns who's been hired by Lloyd Whitlock to kill rancher Lafe McKee. Of course Whitlock is once again a villain in the Snidely Whiplash tradition who not only wants the ranch, but also has evil designs on McKee's daughter Virginia Brown Faire.

In reviewing B westerns, sometimes I have a tendency to reach back to those 19th century morality plays so popular in that era. Whitlock in fact even laughs like a villain in one of those plays. For reference you should see the Irene Dunne-Allan Jones version of Showboat to see just the kind of drama they used to put on then. It survived in the B western, John Wayne's as well as other's.

Wayne of course by the end solves all the problems concerned and the villain gets his just desserts. We can't say how though.

The Duke pretends to be the recently deceased Mr. Ganns to get the goods on the bad guys along with sidekick Gabby Hayes. He discovers a young kid being raised by one of the outlaws. Interesting in this B western set firmly in the 19th century morality play tradition, we also have a topic so very gingerly touched on as child abuse. A rather adult theme for a western or any kind of picture at that time.

Wayne was just beginning his stay at Monogram Pictures Lone Star westerns, this was his third. Monogram had a stock company to rival the much better one of John Ford. Note how for the next three or four years, the casts are just about the same in every Wayne western at that studio. It gets hard to keep these in chronological order, I wouldn't be surprised if a few of these weren't shot simultaneously.

The best you can say about the Monogram films is that they kept John Wayne employed, not something easily said during the Depression. And they beat those serials he did for Mascot. West of the Divide will never be on any John Wayne fans top 10 list.

I was a TV addict at a very early age. I lived with my grandparents, and my grandfather and I used to fight over what to watch on his television. He loved westerns; we watched "Cheyenne," and "Wyatt Earp," and "Rifleman," and numerous others during the fifties. I didn't quite share his enthusiasm for these shows, but it was a way to pass the time with him. But after seeing "The West Divide," I know why he loved westerns so. Some may refer to it as a B movie, but I think the B stands for basic. There's something thrilling about its lack of artifice. The sound of fists connecting to flesh doesn't have that ungodly amplification that later, more technically sophisticated examples of the genre had. The sentiment is rarefied like the open air. When the heroine is shot, it's played out plainly and purely; sometimes you can get a stronger emotional effect without a musical score. And the sequence with the runaway team is bracing; I figure the legendary Yakima Canutt stunted in this scene.

And then there is the young John Wayne. I think it is during this period in his career that he proved himself to be the giant star he became. When he dons white buckskin in "The Telegraph Trail," he becomes almost otherworldly. Here he plays a man posing as an outlaw to find the killer of his father. By the time he has set things right, lying supine in his long-lost brother's arms, you understand why so many moviegoers couldn't get enough of him. His entire body in that moment gives way to the scene, and you cherish how tenderly and passionately he's willing to play his part. This movie taps into that well of memories some of us have with family and loved ones, and as Father's Day is tomorrow, it helps remind me what deep, elemental emotion men often feel that these days goes unacknowledged. I certainly wasn't aware of it in those days with my grandfather; but I've gained a new consciousness that has come with my being about his age at the time and watching things I know he'd have loved. Like "The West Divide." It makes you wish they made more westerns like this one.

Frequently used story gets a good presentation here in "West of the Divide," and the excellent cast helps ensure high quality.

Young John Wayne and grizzled George Hayes start with what I learned in college theater-history classes was called a "feather-duster" scene, where characters -- such as a maid, with a feather-duster -- tell the background of the story, today called "the back story."

It's kinda corny, but isn't too damaging.

Probably even in 1934 what was about to happen was predictable, but, before that predictable ending, enough happens in between it should hold the viewer's interest. It held mine.

When the hero meets the leading lady, there is no poor-writing instant romance. In fact, there is no real contact. It's an unusual boy-meets-girl.

That girl is Virginia Faire Brown, who is shown with 74 credits, although she never rose to be a major player and certainly not a star. But she is very attractive, even elegant, with an unusual dark-haired beauty.

Her character's father is played by the veteran Lafe McKee. The sheriff is by that veteran, and very talented actor, who didn't, alas, often enough get to show just how good an actor he was, Earl Dwire.

Chief bad guy is played by "Loyd Whitlock," who is usually known as Lloyd Whitlock, a very busy man with more than 200 credits!

OK, good story, great cast ably performing, lots of riding scenes, and a no-music-track realism that should keep you pinned to your seat. And if you want to see it, there's a good print at YouTube.