Under California Stars

Roy rogers plays himself in this western.(not too much of a stretch,i guess).i guess it's movie,but it felt more like an episode of a TV show to me.as far entertainment goes,this feature is moderately entertaining.there's a bit of singing by Roy,and by The sons of The Pioneers(of which Roy Rogers was an early member),a popular singing group of the era.i actually like the singing.the best actor of the bunch,in my opinion was Andy Devine as Cookie Bullfincher.he was the comic relief of the movie,and specialized in playing comedic characters.the movie itself was not quite in the awful range,but just above mediocre.for me,Under California Stars is a 4.5/10

Back at home after finishing his latest movie, Roy Rogers runs afoul of a nasty group of abusive wild horse-wranglers, who hatch a plot to kidnap Trigger and ransom him back to Roy for one-hundred-thousand dollars.

Roy celebrates his tenth anniversary as a feature attraction (onscreen as well as off) with this well-photographed color production. However, one wishes that he would have celebrated this milestone with a few more of his best loved co-stars, not just Andy Devine, Bob Nolan, and The Sons Of The Pioneers. Where's Dale Evans and Gabby Hayes?

Still, Under California Stars is pleasant, straight-forward, and has some great songs, with musical highlights that include the title song (not really written by Cookie Bullfincher!) and Roy joining The Sons Of The Pioneers in singing "Dust".

One unbelievable moment that has to be seen to be believed shows Trigger stomping a villains face in! For a few seconds you actually see in the background, a dummy with his face caved in!

UNDER CALIFORNIA STARS (1948) is a fairly typical postwar Roy Rogers vehicle with a routine B-western plot enlivened by some excellent Trucolor photography. Roy plays himself, the movie star dubbed `King of the Cowboys,' and is briefly glimpsed on the Republic Pictures soundstage before the action quickly shifts to Roy's rural property, the Double R Ranch, for the occasion of a radio broadcast celebrating the star's tenth anniversary in movies. The event is marred by the kidnapping of Roy's palomino, Trigger, by a group of henchmen working for Pop Jordan, a local horse trader. Ted, a boy who ran away to Roy's ranch after mistreatment by his stepfather, witnesses the kidnapping but is warned to keep quiet or they'll kill Ted, Trigger AND Roy.

Given the fame of Roy and his horse, it seems a mite foolhardy to go around kidnapping Trigger, especially since the event makes national headlines. But, in the insular alternate universe of the postwar B-western, the matter is left entirely up to the local sheriff of Saddleback, a town which offers no sign of a gas station, diner or paved road. Neither the FBI nor the state police nor any other pertinent law enforcement agency is called, nor do they show up on their own. (Had J. Edgar Hoover never heard of Trigger? Was he too busy chasing commies? Or did he simply not exist in this world?)

Eventually, Roy and his crew, which includes Cookie Bullfincher (Andy Devine) and Roy's backup singers, Bob Nolan and the Sons of the Pioneers, work with the sheriff to come up with a plan to trap the kidnappers when they show up for the ransom money. There is lots of outdoors action and furious horse-riding, before a violent confrontation or two ends the problem. The action is shot almost entirely on location, with none of the studio-shot closeups that one finds in a later Roy western like NORTH OF THE GREAT DIVIDE (1950).

There's a surprising amount of bad behavior and violent death on display. Even though these films were set in the modern era, they featured typical B-western type villains who were invariably local businessmen who are secretly corrupt and embark on capers which threaten Roy in one way or another. A somewhat alarming development in this film is the constant threatening of Ted, the runaway boy, first by his stepfather, Lige, Pop Jordan's chief assistant, and later by another henchman, Ed, who threatens to blow Ted's head off if he says a word about who kidnapped Trigger. These darker elements serve to counterbalance the song and comic interludes. The lead villains here are authentically crusty, hefty western types, well-played by George Lloyd and Wade Crosby.

Andy Devine provides the comedy relief, a role that would be taken by Gordon Jones and Pat Brady in future Rogers westerns. Singer-actress Jane Frazee is the female lead, playing a cousin of Cookie who comes to the ranch to train horses. The catchy title song is heard more than once, culminating in a lovely duet performed by Roy and Jane. The film is not as well-plotted or packed with incident as such later Rogers Trucolor westerns as THE GOLDEN STALLION and TRIGGER JR., but it remains a must for Roy's fans. Unfortunately, public domain videotapes in circulation don't serve the Trucolor process well. This one remains a prime candidate for restoration by Republic Pictures Home Video.

Roy, Trigger, a scruffy dog, and a boy like I used to be. Add some baddies, Trucolor, a pretty girl, and comic relief (Devine), and what else could this front row geezer ask for. And catch that surprise opening. As that scene shows, Roy plays a version of himself as cowboy hero. Seems some new West connivers want to steal Trigger for ransom and they've got a misguided youngster (Chapin) as part of their plan. Meanwhile, Roy's got his movie career to think about. And what would that career be without the world's smartest horse. Actually, a big part of the story is Roy and co. preventing cruelty to animals, whether horses or dogs. That means the bad guys are really bad. There's not much action til the end. The story, however, moves along nicely, with Director Witney even using close-ups astutely, especially with little Ted. But don't look for many tunes from the Sons of the Pioneers. They're mainly along for the ride. No, there's no Oscar bait here. Just the kind of afternoon entertainment that might hook some of today's youngsters if given half-a-chance.

This film is within Rogers' batting average for light Western fare. There's some black hats that kidnap Trigger-played with dastardly glee. There's a young kid who is star struck. There's comedy bits that mostly work. But the film's title song-and how it is worked into the film-is one of the better usages of the singing cowboy trope. I've been humming Under California Stars all day after watching the film for the first time.