Border Patrol

After witnessing the murder of a Mexican national, border patrolman Hopalong Cassidy and pals are promptly abducted and taken to Mexico by a feisty senorita who believes them responsible. Set free by the federales, they investigate the disappearances of dozens of migrant workers seeking jobs in a silver mine and end up stepping into a madman's own private town.

A William Boyd/Hopalong Cassidy vehicle that comes real close to going over the top, there's a lot of fun and great stars here, with head villain Russell Simpson giving a spirited, amusing performance alongside henchman Robert Mitchum (billed here as Bob in a very early role!), as well as future Superman George Reeves and the Cisco Kid, Duncan Renaldo!

As offbeat as you're likely to get in a "Hoppy" movie, action and humor mix effortlessly, leading to a rousing climax, well directed by genre veteran Lesley Selander, who helmed low-budget westerns for major studios well into the 1960's, some of which are considered minor classics.

Hoppy, California, & Johnny are all Texas Rangers (I guess they had very loose hiring criteria if California got in!). Hoppy's dressed in all black throughout the film (this is important to those of us who know that his black outfit signifies "he means business" & his rancher's & other outfits signify "he's only fooling around & trying to act like someone other than "Hoppy"). The setting is Silver Bullet, Texas, & no, The Lone Ranger is not in this movie, although practically everyone else is! George Reeves (Superman) is here; he plays a Mexican & is on screen for only a few moments. Duncan Renaldo (The Cisco Kid) is here, & has a nice role as a Mexican police commandant. Robert Mitchum plays his usual (for his early days in the westerns) baddie. Claudia Drake actually has a more significant role in the film than anyone other than Hoppy himself. There's good action (4 gunfights), good humorous situations, & overall it's quite nicely done, with good production values. I rate it 8/10.

When the story begins, Hoppy and his partners come upon a dying man. Soon, he dies and Inez sees this and automatically assumes the trio killed him. Like the angry stereotypical women I've seen in a few of the Hopalong Cassidy films, her anger makes no sense...and she never gives them a chance to explain. She then, at gunpoint, forces them to go with her into Mexico. There, she turns them over to Mexican authorities...only to be told that she just kidnapped three Texas Rangers! And, like the angry stereotypical women trope, she STILL thinks the three are murderers!

One reason Inez is so angry is because her boyfriend went to work at a mine in the States...and he simply disappeared. The same has happened to other Mexicans....and Hoppy, California and Johnny all agree to go to the Silver Bullet Mine to look for clues. But, when they approach the mine, they are attacked and soon are before a kangaroo court bent on hanging them. Why? What's going on here?! And is there any chance for Inez to grow up and let go of her weird vendetta?!

This is a good but flawed installment. Flawed because Inez's character simply makes no sense at times. The rest of the story, however, is interesting and involves slavery...an unusual topic for a B-western. Worth seeing.

If you're a Jolly fan this is a very enjoyable film. It really needs to be restored and reblocked. It has big stars that give fine performances like Geroge Reeves and Robert Mitchum.

More plot-heavy than most. The trio are Texas Rangers trying to bust up a silver mine operation that's luring Mexican illegals (sound familiar?) across the border. On the way, they have to get past a cantankerous Mexican senorita (Drake) and a petty tyrant—hanging judge (Simpson). Some good scenery, especially the roaring Kern River, long a favorite of these oaters. Clever action climax does a neat twist on the old circle-the-wagons maneuver. I also like the charming dinner scene with the Commandant (Renaldo) that's well scripted and nicely played.

There's also a couple of interesting lesser-knowns to add to the stars-of-the-future list (Mitchum, Reeves, Renaldo). Claudia Drake managed a shot at immortality by landing a key role in the noir cult classic Detour (1945). Here, she gives a spirited performance as the willful senorita that really over-shadows everyone else. However, perhaps most notable and surprising is the screenplay. It's credited to Michael Wilson who later penned such A-list classics as A Place in the Sun (1951), Bridge on the River Kwai (1957), and Lawrence of Arabia (1962), among others. A victim of the early-50's blacklist, several of these were written undercover, but have since been restored to his credit list. Here, the plot deals with such potential political themes as exploited workers, a company town, and a rich man making up his own laws. So, perhaps Wilson's participation is not so surprising after all.