The Trusted Outlaw

Plenty of action from Bob Steele and well directed by dad Bradbury with two great leading ladies, Lois January and Joan Barclay. It would appear at the beginning that Bob's girlfriend is playing for the bad guys. Mr. Pember (Hal Price), against the wishes of the sheriff (Frank Ball) has to go with the 'trusted outlaw' to get payroll through. Who best to play bandito numero uno than Earl Dwire with the best henchman in the business Charles King. Richard Cramer also does a great job as a double agent. Bradbury does superbly with a limited budget but the cream of the crop of western actors and stunt men.

Bob Steele plays Dan Ward, a man from an outlaw family and a guy who reputation precedes him. But Dan doesn't want to live the life of an outlaw...he wants to settle down and live an ordinary life. Unfortunately, he's also a bad judge of character and after arriving back in his old hometown, he asks Molly to marry him...not realizing she's a nasty dirt-bag. She, in fact, tries to set him up to be killed...but Dan is quick on the trigger and stops the guy. The local sheriff believes Dan....probably because the would-be killer works for a local crook and all around jerk, Swain.

Soon Dan is offered a most unusual job considering his checkered background. Mr. Pember wants Dan to take the payroll to his men....and Pember himself is worried about doing it himself because of Swain and his gang. Dan manages to outsmart Swain...but even when he manages to bring the payroll, he still isn't out of the woods. What about Swain and what about Pember's REALLY foolish sister?

The plot is very unusual because in 99.5% of all B-westerns, women are there to be rescued by the heroes. Here, however, one is clearly a villain and the other is an idiot...perhaps too dumb to make the plot seem believable. Add to that the rather wooden acting, and the film has a few strikes against it. Of course, being a Bob Steele film, it still features some dynamite action and stunts. Overall, far from one of Steele's better westerns but still pretty good and worth seeing if you are a huge fan of the genre. Otherwise, you might want to skip this one and see some other western.

A diminutive runtime. An opening scene spotlighting a woman dancing, forthright dialogue (with mostly forthright delivery), the introduction of the protagonist, and an immediate fistfight before five minutes have passed. A very simple and straightforward plot. Yes, make no mistake, this is a western of the 30s, a western from the time when westerns were the Genre Du Jour just as superheroes are the Genre Du Jour today, with nearly equal simplicity and common traits. Mind you, I'm not badmouthing westerns at large any more than I am superhero flicks, and no, they're not all the same. In every genre, however, features exist on a spectrum from superb to awful, and another from unique to unremarkable. Mark 'The trusted outlaw' quite definitively as the sort that's rather middling and unremarkable.

There are fairly few traces of dynamics or nuance in the acting, and only irregularly (if not also infrequently) does an actor modulate their tone, inflection, expression, or posture in any especial fashion. In general the performances are flat and almost droning, and Robert N. Bradbury's direction is decidedly plainspoken - functional, but lacking vitality, style, or a personal touch. Even the sets and costume design, customarily a couple reliable facets of any western (or genre fare at large), come off as kind of modest. This isn't to say that there's no excitement at all, or that there's nothing to appreciate. The filming locations are beautiful, of course. We get fights, stunts, and practical effects, and they're swell, including the horse riding broadly and the climax, too. Sometimes Bradbury arranges a particularly splendid shot, or Bert Longenecker has a moment to shine as cinematographer. Johnston McCulley's story is light but has plentiful potential as a lone man rides out with a gang on his trail; between McCulley's foundation and George H. Plympton and Fred Myton's screenplay, there are some welcome little details in the narrative, and in some scenes.

I do actually like this picture. It's suitably enjoyable, and good enough to provide that enjoyment, through to the cheesy but delightful ending. It's just that for all that it does well, and all the worthwhile ideas it has, it doesn't specifically stand out in any way, and it doesn't try too hard to stand out, either. For something uninvolved on a quiet day, this is decent enough to check out if you have the chance. Just keep your expectations in check, and don't go out of your way for it, and maybe that's the best way to get the most out of 'The trusted outlaw.'

Love that opening- a crowded cantina, a lively band, a sexy costumed dancer, and a display of Steele fisticuffs. One thing for sure, the oater's got enough hard riding through the boulders and grasslands of greater LA to outfit ten oaters. I sure hope Steele got double pay. Here he plays Dan Ward, a reformed outlaw looking to go straight with his girl Molly tagging along. But can he keep on the straight and narrow, and, surprisingly, can Molly be trusted. His reform spirit is put to the test when a mine owner Pember hires him to get ten thousand smackers to his mine and the restless, unpaid miners. That wouldn't be a problem except for bad guy Swain who, surprise, surprise, wants the dough for himself. Plus he's got a big gang to sic on lone payroll rider Ward. Anyway, there's plenty of action and scenery that includes Steele's nimble acrobatics, all to keep eyes glued. Yes indeed,, this is just the type oater that keeps this geezer tuned in to yesterday's making of today's nifty entertainment.

Bob Steele has a reputation as an outlaw. However, with his father dead, he wants to return home, settle down, and marry old sweetheart Lois January. But when he goes to meet her, he is bushwhacked and kills the guy in self defense. The sheriff is skeptical, but Earl Dwire shows up to threaten Steele, and a local mine owner thinks Steele is the man to get his payroll past the road agents.

Robert Bradbury's last time directing his son shows his usual strengths -- he know how to handle the action sequences, particularly when Steele lets loose -- and his weaknesses: tired line readings, scripts with poorly motivated action, and watching horses run forever. Still, DP Bert Longenecker shoots the Iverson ranch well, Joan Barclay is charming, and all ends well. Bradbury would finish off the year mostly directing Tom Keene oaters, do some uncredited scriptwork, and last through 1949 and age 63. Steele would have some success at Republic, and was still a TV regular when I was a kid.