The Boiling Point

Not surprisingly, I went into looking at "The Boiling Point" expecting to like it and I indeed did. It is rare that a Hoot Gibson film doesn't please, for he is pleasant and unique in his approach to being a cowboy hero. I have long recognized that he has "amiable grit." It seems like he finds something distinctive to characterize each of his roles, and he played of them over the years.

In this clever little story, which just happens to be set in the old West, Hoot is sent away to a relative's ranch to prove he can hold his volatile temper under lock and key, for if he doesn't he would be forfeiting his right to inherit the most magnificent family ranch in the Pecos. Unfortunately for him, he finds more to irritate him in his new surroundings than he did back home.

The story is cleverly told and done with even a stronger undercurrent of comedic expression than we have come to expect. Deftly done, for sure. And although there are some outdoor escapades and daring-do's on display, this picture is really more cerebral than outdoorsy. But with what is going outside and with all the indoor proceedings, the picture is quite rustic and austerely authentic.

The cast is full of comfortable stalwarts and familiar faces, including Tom London, old-school Lafe McKee, two-faced Wheeler Oakman, and an appearance by setup man George Hayes.

"The Boiling Point" is one of those pictures where the story envelops the viewer and absorbs him or her into the story, meaning the show is escapist fare at its old West best and should not be avoided by anyone who likes or appreciates the lineage of classic western film.

Hoot Gibson has a bad temper and keeps getting into fights. Finally, uncle George Hayes (with his teeth in) tells him he's had enough. He's shipping him to Lafe McKee's ranch, and if Gibson gets into a fight within the month, he's through. Hoot doesn't mind. McKee has a pretty daughter in Helen Foster. But she's almost engaged to Wheeler Oakman. Besides being the chief teller of the bank, he's the head of the local gang of bad men, and he doesn't want any competition to marry into McKee's ranch.

Most of the humor here is pretty low key, and consists of various issues with Hoot keeping his temper; with only McKee knowing the situation, he gets a sissified reputation. Director George Melford, near his post-silent trough, works cameramen Tom Galligan and Harry Neumann, and the pacing is very good for a B western from the year.