Two-Fisted Law

Born and raised on a ranch that he eventually inherits from his dad, "Tim Clark" (Tim McCoy) is despondent over the fact that he has to turn it over to a man named "Bob Russell" (Wheeler Oakman) who reneged on a promise concerning the payment of a loan given to him. So with only a horse and a little bit of money left he leaves the ranch and sets out for an old silver mine in the hope of possibly striking it rich there. Two years pass and being a corrupt and greedy person Bob Russell has now set his sights on a ranch owned by Tim's sweetheart "Betty Owen" (Alice Day). So using the same dirty tactics as before he makes it as difficult as possible for Betty to make ends meet and when she is struggling financially he offers her a loan-and then demands payment. However, it's at this time that Tim shows up with some money and an incriminating story which Bob Russell simply cannot allow to be told. Now rather than reveal any more I will just say that this was a solid, old-fashioned Western which manages to stand the test of time for the most part. To that extent, although John Wayne (as Tim's ranch hand "Duke") is featured his role is definitely secondary to that of both Tim McCoy and Wheeler Oakman. Be that as it may, as stated earlier this was a decent film all things considered and for that reason I have rated it accordingly. Average.

Plenty of reviews of "Two-Fisted Law" show up here and they cover the film well. I normally don't submit reviews for run-of-the-mill, much reviewed B-westerns, but I herewith wish to recognize and emphasize the skilled directing and camera work performed by director D. Ross Lederman. The framing, angling, and camera racking is a marvel to witness, and I will be watching the film again merely to enjoy a return visit to this component. Right from the opening scene, where the film's skullduggery is established, the viewer is signalled that he or she can anticipate a well-composed and directed film.

The movie's second scene is truly remarkable for a B-Western, as it captures and portrays straightforwardly, and with unaffected poignancy, the predicament that Tim McCoy and his two friends find themselves in. This happens not only because of the well-delivered scripted words and the portrayals by McCoy, Wallace MacDonald, and John Wayne, but very much also because of the camera's measured, gentle, and involved recording of the action. The scene goes on for several minutes, with dramatic and reflective emotions on display. This scene then segues to a scene where McCoy further discusses his predicament with actress Alice Day's character. Although Miss Day is not the most polished of actresses, the weighty pathos portrayed by the four characters in scenes two and three is so deftly established that the viewer totally becomes eager for wanting to witness all the action to come, whatever it may be.

The film then moves into the anticipated action and resolution mode, and does it well, too, as might be expected. The cinematic treats are not over, however, as one more beautifully performed extended dramatic scene towards the end unspools, this one involving Wheeler Oakman and Walter Brennan. Retreating to a bench in front of the saloon, the two men have a weighty discussion bearing on their actual survival, acted well and captured magnificently.

Very much enjoyed, this little two-fisted western film has a lot to enjoy for the film buff. Please have a look!

This is actually quite a fast-paced little story - thing is, though, the plot has been more crochéd together rather than knitted; and the holes can be a bit annoying at times. The plot is pretty old hat; grasping landowner sets up the hero (Tim McCoy) who has to clear his name to get the ranch and the gal. It has been made on a shoestring, with lots of film run at double speed to accelerate the effects of the frequent horse chases. There are a few, limited, appearances from John Wayne as his amiable sidekick but Alice Day is just plain annoying as the feisty dame and McCoy has all the charisma of a beermat. I love all these 1930s Westerns, and this is no better/worse than many. Kills an hour.

Though there seem to be some script holes, generally this is well written with some very good dialog.

Tim McCoy was one of the best cowboys and was also a pretty good actor.

As noted elsewhere, John Wayne was second billed, but had only a small part. Wallace MacDonald, as his buddy, does more, but his constant use of "y'all" to one person is one of the script's major flaws.

As sheriff, Tully Marshall has one of his best roles. It is well written and very well played.

Alice Day -- billed as "Alice Fay" on the DVD I own, from Canadian Disc Plaza, on a "Classic Westerns" collection of supposedly John Wayne movies -- is the least capable of the cast, but even she brightens up as the story progresses.

Bad guys Wheeler Oakman and Richard Alexander also shone and Walter Brennan, as usual, stood out in one of his early appearances.

Director D. Ross Lederman showed a lot of skill in his framing and camera angles. He was held in high-enough esteem to have stayed busy nearly his entire life with dozens of movies and dozens more TV shows.

I highly recommend "Two-Fisted Law," despite the pointless generic title.

All in all, it's a decent oater, more plot-heavy than most, but nothing special. Seems Clark's (McCoy) lost his ranch to swindler Russell (Oakman) and now bad guy Russell wants to finagle good girl Betty's (Day) ranch away from her. And if that's not enough, he's also trying to frame Clark for robbery and murder. Plus he's got help from crooked deputy Bendix (Brennan). Good thing Clark's a pretty good sneaky prospector. There's some good hard riding, mostly through familiar LA terrain, but not much fast shooting or flying fists. Mc Coy, of course, makes a good hard-eyed hero, and get a load of that 50-gallon hat that tops anything in movies! And where did they get his absolutely stunning white horse that's the equal of Trigger or Silver in sheer looks. On the other hand, Wayne fans will be disappointed since his screen time is sparse, but already he shows the youthful charisma that Lone Star and Mascot would wisely feature. Still, I could have done with less talk and more scenery and action, but the mix is still enough to keep this now Front Row Geezer happy.