Grenzpolizei Texas

I'm sure in casting The Texas Rangers Paramount had it in mind to broaden Fred MacMurray's appeal by putting him in a western. MacMurray had been a star at Paramount for two years and had appeared in mostly light comic parts as he did throughout his career. I mean Paramount could have cast Gary Cooper or Joel McCrea, both of whom were available at the studio. MacMurray did the film and gave a creditable performance, but as he remarked, "the horse and I were never as one." He never really did feel comfortable in westerns and ones he later appeared in were long after his Paramount studio days were over.

The Texas Rangers film is based on stories derived from Walter Presscott Webb's authoritative history of the legendary law enforcement outfit which was only published a few years back. Fred MacMurray, Jack Oakie and Lloyd Nolan play three outlaws who drift into Texas and become separated. MacMurray and Oakie join the Texas Rangers and Nolan continues his outlaw ways.

Lots of good action here folks. A really great Comanche Indian attack sequence is well staged by Director King Vidor. Lots of familiar western faces support the leads like Fred Kohler and Gabby Hayes. Edward Ellis as the commandant of the Texas Rangers comes off a lot like Lewis Stone and had MGM instead of Paramount had made this film, Lewis Stone definitely would have been cast in Ellis's role.

Despite MacMurray's misgivings about westerns, The Texas Rangers is a pretty good action western with great character development for the three leads.

The Texas Rangers (1936)

Routine. There are elements here of Westerns earlier (there were hundreds of obscure ones) and Westerns later (including some well known ones), with stagecoach holdups and cowboy and Indian battles (the Indians lose again) and with pioneer justice. All of the above, plus a man reluctant to see the love of a lonely and lovely woman out on the edge of nowhere.

In a sense, it isn't worth watching if you have other Westerns up your sleeve. But--there has to be a but--the plot is interesting because it turns upside down more times than a tumbleweed, the filming (with Cronjager behind the camera) is straight up and strong, and we get an early look at unlikely Wild West hero, Fred MacMurray. For those who like Westerns, this is a decent mid-30s example, before the explosion of greater examples in 1939.

The title is exactly what the movie is about on the surface--the ragtag but well supported Texas lawmen known as the Texas Rangers (legendary enough to not only have a more recent widely panned movie about them made starring Ashton Kushner but also a Baseball Team). It almost is a promo piece for the group, with a voice-over in the beginning like those FBI films of the 1950s. MacMurray is actually a bandit, teamed up with a kind of goofy second lead, Jack Oakey. In fact, it seems like a comedy at first, and the lightweight air never quite lets up.

It does get more serious, though, not only about love (briefly) but about the honor and ability of the Rangers to fight not only Indians but outlaws. MacMurray gets in the middle of a major mess because he plays both sides of the game, as outlaw and newbie Texas Ranger. Lloyd Nolan enters the plot after awhile and is a great outlaw of his own. It's hard to take MacMurray seriously in this rough rough world, but the music pumps it up and the scenery is dramatic and he holds his own well enough for a middling movie.

And it's a bit long. Even if the plot seems to demand two hours with more and more twists, it loses something of velocity as it goes. King Vidor directed a number of notable silents in the 20s, and a few great 30s films (including the black and white parts of the Wizard of Oz). This one shows the solidity of a great director, and the wobbly backbone of a so-so script.

The copy I watched courtesy of YouTube was clean and crisp, and the film itself was good by the standards of the mid-1930s.

Unlike some other reviewers here on IMDb, I've always thought Fred MacMurray an acceptable Western actor, and I found Jack Okie irritating in the first part of the film - especially as he rode along with MacMurray anticipating a romantic encounter with a señorita. The back projection was reasonable enough, certainly compared with that in "The Plainsman", issued in the same year.

With much of the film being set before Texas became a state (which happened in 1845), there were lots of anachronisms - relating to the Rangers' kit and weapons for example. And the telegraph system was very much in its infancy - I wonder if it had reached Texas?

One might also mention the unrealistic death following the shot under the table.

On the plus side, the fight between the Rangers and the Indians was excellent and Lloyd Nolan in his early scenes radiated charisma - before reverting to the sort of nasty character he was to portray in later films.

This Paramount studio effort stars Fred MacMurray, who many folks today only remember as the Dad in My Three Songs or the Flubber films. But MacMurry could do almost anything and do it well, from his cunning performance as the weak insurance foil in the classic noir Double Indemnity to his brilliant turn as the amoral business executive in The Apartment.

Here early MacMurray is pared with Jack Oakie, the latter an endearing studio performer who brings some genuine warmth and humor to what in many ways is a typical studio Western, but much richer than the usual B oaters churned out by Republic or Monogram; this is essentially a tale of cowboy reformation, as three thieving get separated by circumstance and two of them choose community and goodness, while one--the notorious polka dot bandit (!), played by Lloyd Nolan, stays outside the law. Nolan, who usually played good second leads or endearing detectives, effortlessly engages in a wee bit of method acting, convincing in his greasy charm, oozing villainy and malice.

While not a landmark film in any way, this is a casual, amiable entertainment, good for a lazy afternoon (coupled with a bowl of popcorn and perhaps a Charlie Chan mystery).

On a whim, bandits Fred MacMurray and Jack Oakie enlist in the Texas Rangers. The two partner up with old pal Lloyd Nolan for some crooked schemes, but soon hear the call of duty, putting them at odds with their criminal lifestyle.

Like his most famous film, The Champ, director King Vidor imbues this with depression-era sensibilities and sentimentality, having lovable bums MacMurray and Oakie find self-respect, romance, and a sense of selflessness, all with a young orphan in tow.

Photography, direction, and action sequences are all first rate. The performances were a little dated, but adequate. Unlike others, I didn't find Oakie's good-old-boy character annoying or unrealistic.

Cameo appearances by George "Gabby" Hayes and Charles Middleton (Ming the Merciless) were a lot of fun too.