El guardián enmascarado

It's a shame that this film is not more widely known and available, because it represents the pinnacle of the Lone Ranger, at least the on-screen version. In addition to being the Lone Ranger's zenith, it also ranks among the Greatest Super-Hero Films of All Time, and is very good Western in its own right.

The TV series (which, BTW, I loved) was always hampered by shooting schedule and budget, so location filming, riding scenes, fight scenes, etc., were always kept to a minimum. And usually the sets always looked as if they were constructed in 3 hours by the technicians at a local TV station in Cleveland, Ohio.

But in this film, besides being in color and having lots of outdoors scenes, there are plenty of great riding and fight scenes, including a full blown stampede. Best of all, both the Masked Man and Tonto each get to do a full-blown, knock-down, drag out fist fight. (Tonto's fight sequence is the more impressive one, since he ends up holding his own against an entire mob, until the sheer numbers inevitably overpower him. I won't spoil it how that situation resolves…) Additional treats include the Lone Ranger donning the Old Geezer disguise he often used in the TV series, and Silver doing some memorable work (similar to Lassie or Flipper, yet amazingly, this does not come off as corny).

Certainly there were no other actors, at least on screen, who ever did or ever could portray the Masked Man and Tonto as good as Clayton Moore and Jay Silverheels. Considering the material they had to work with, it would have been extremely easy for them to overdo it, or to be corny or campy. But no, they each had an almost magical ability to make these potentially ludicrous characters believable and likable.

I am especially impressed by Silverheels, whose dialog for some inexplicable reason was always written as Johnny Weismueller-style broken English, always delivered his lines with credibility. Tonto was never ridiculous, rather the opposite. In this film, unfortunately, all the Native Americans have to speak in this idiotic way, and you can see how hard it is to be take these guys seriously. Yet Silverheels' Tonto always projects intelligence and valor, despite horrible lines. I attribute this to Silverheels' ability as an actor.

It's undeniable that the Lone Ranger's target audience was mostly kids, and that his appeal to adults draws its strength from the well of our childhood. Yet it is a mistake to classify this film as being strictly for kids; there are in fact, many adult themes. For instance, in one very effective sequence, a racially-motivated mob attempts to lynch Tonto. I don't think there is anything on the Disney channel today, with our supposedly uncensored media, that deals with the American tradition of lynching (which was never formally outlawed until the 1960's).

The plot itself is concerned with a very adult theme, something that is perhaps more timely now even than in 1956. The main action is concerned with the activities of a wealthy white man and his vicious second-in-command who engineer a series of 'false flag' attacks and incidents so as to cause a group of darker-skinned persons to be blamed. (No, this is not the story of the Bush Administration, except as allegory.) The false flag attacks are intended to promote a war between whites, who have greater wealth and weaponry, and the Indians, so that the small group of whites can seize control of the natives' valuable mineral resources.

This film has a view of Pioneer/Indian conflicts that, besides being historically accurate, is surprising to find in 1956. The Lone Ranger himself says outright that in all the fights between Whites and Indians, it's the Whites who have always started the trouble. There are anti-war as well as anti-racism messages that seem ahead of their time.

The Masked Man and Tonto, as unequivocal representatives of Good, channel their energies into a desperate campaign to prevent a destructive war. These two heroes have no super-powers or abilities, but appear to draw their strength from a respect for human life and a sense of fairness. They remind us of what we knew to be right when we were children, and inspire us to believe in those things again.

The last time I saw a movie with a Caucasian and a Red Indian partner, was the French movie Brotherhood of the Wolf. Perhaps it's had its origins of such a pairing from The Lone Ranger, or so I'd like to believe. After having spent some time with old martial arts classics, I thought I'd set my sights on the western genre, and what more appropriate than the adventures of the legendary Lone Ranger astride his steed Silver, and his Red Indian sidekick Tonto.

For those not in the loop of this character, he's like the daytime vigilante of the Wild Wild West, in his mask concealing his true identity, and loads his guns with silver bullets. The silver bullet also functions as a calling card of sorts, and come to think of it, it's like a friendlier version of Batman, only in a different setting. And with that theme music - William Tell Overture - blaring in the background as they ride into the sunset, it's pure nostalgia. Not hard to imagine that I actually grew up on such stuff.

The movie begins by diving right into the story, with our heroes up against some mean and corrupt and greedy cattle ranchers who are after more land, and some bad hats amongst them trying to stir up war with the Native Americans. So it's up to our heroes to expose the truth, and to prevent bloodshed. That pretty much sums up the gist of the plot.

Although this is not an origin movie, the beginnings of how the Lone Ranger came about was mentioned in passing - His brother and himself, both Rangers, were ambushed by outlaws and left for dead. But Fate has Tonto rescuing the Ranger, and he decided to use the clothes of his dead brother to make a mask, to stay mysterious, to be feared by the villains he hunted down. The origins of Silver, his mighty loyal steed, is also mentioned, but more to the effect that it was nursed back to health by the Ranger himself.

Given that this was made in the 50s, you'd come to expect some very stilted and stiff dialogues, as heroes in those days, are expected to be squeaky clean. You probably can't find a speck of dirt on the Ranger's character, as he embodies everything that is good, with that All American feeling. Called the "trusty scout' (Kemo Sabe) by his Red Indian ally Tonto, the movie also takes a look at the prejudices faced by the Native Americans amongst groups of white men, and the strong partnership between our leads, is testament to the fact that ignorance and the lack of understanding, isn't the way to go.

The visual transfer isn't all that great, and it looks like it's VHS based, with little remastering done to remove the cacks and pops. The colours were inconsistent at times, and although it comes in both full screened and wide screened versions on the same disc, it isn't anamorphic.

The DVD extras are on a second disc, and has two sections. The first section contains interviews, while the rest goes into "Special Features".

There are two interviews included, and the first is with Michael Ansara, who plays Angry Horse. Interviewed by Michael Druxman (writer/director of The Doorway 1999), this interview fell short in quality as Ansana wasn't too chatty, and Druxman was chatting most of the time like a fanboy. Nothing much comes out of this interview, although a trivia was shared that the Lone Ranger actually never kills anybody on screen. Running at 17mins and 15 secs, I would recommend going straight for the second interview instead.

The second interview has more substantial material discussed, and it's natural given that it's conducted by Leonard Maltin of Entertainment Tonight, with the guest Dawn Moore, daughter of the Lone Ranger himself Clayton Moore. Conducted and recorded on 9 Feb 2001 and clocking in at 39 minutes, it is a heartfelt session with recollection of memories of Clayton Moore, about her childhood and growing up with the legend, many behind the scenes discussion at the production, anecdotes shared that only a child will know, and even talk about Silver the horse. Given her account, you'll be amazed at how hard Clayton Moore actually worked for the character, in character, in publicity that the company wanted him to do. This is a gem that all fans should give a listen to.

The Special Features section contains the following, though nothing in particular stands out: a. Text biographies of main cast and director Stuart Heisler b. A photo gallery with colour and black and white movie stills c. Trailers for The Lone Ranger, The Lone Ranger and the Lost City of Gold, and trailers for two non Lone Ranger, but Western, films - Ride in the Whirlwind and The Shooting (both starring Jack Nicholson) d. A text writeup on The Lone Ranger Creed, which is also available on the insert.

I found this film at our local library while searching for the old TV series. I never knew Clayton Moore had done a feature length movie as the Lone Ranger, so this was a pleasant surprise on many counts. It's a strong performance for a "B" movie, better in fact than many contemporary westerns with bigger stars. It has an excellent supporting cast (though Lyle Bettger as Reece Kilgore is just as weak here as he is as Ike Clanton in Gunfight at the O.K. Corral). Strong moral themes, lots of action and an interesting, even rather complex, plot for a piece like this. Michael Ansara is great as Angry Horse, the volatile Indian who is at odds with the Lone Ranger. A very re-watchable family favorite!

Although its script is strictly utilitarian and a bit dull at times, this movie is a worthy companion to the beloved TV series, with Clayton Moore and Jay Silverheels in their most familiar roles. This time the virtuous duo is out to stop a war from starting between ranchers and Indians. There are a couple good action sequences and some admirable horsemanship to help out the rather formulaic script.

If that really is Moore playing the Ranger in disguise as an old prospector, then it's a treat to see him in something other than his one-note performance as the masked man. Also, it sure looked to me like, contrary to legend, the Lone Ranger shot and killed a man! Rest assured, it was necessary to keep from being killed himself. And if you're a fan of Bill Cosby's classic comedy routines, you'll love it when Tonto goes into town to get information and is set upon by the bad guys.

Clayton Moore and Jay Silverheels reprise their television roles in this western classic that has the Lone Ranger and Tonto defusing a war between ranchers and Indians. A greedy cattle baron wants to seize a silver-rich mountain on an Indian reservation and devises plans to have the Indians relocated or exterminated to achieve his ends. The picture was filmed in beautiful color with excellent sound, and has a solid cast and a very good music score, including the signature William Tell Overture. There are several fine action scenes, daring rescues and the familiar disguises used by the Masked Man to close in on the killer of a young cowboy. The grand mountain vistas of southern Utah provide the backdrop for this film and the Ranger and Tonto never looked better as they ride the trail for justice and bring peace to a young territory hoping for statehood. Moore and Silverheels get great support from Lyle Bettger as the scheming rancher, Robert Wilke, John Pickard, Michael Ansara, Frank de Kova and Perry Lopez.