The Law West of Tombstone

Oftentimes conventional western that regularly heads off in unconventional directions. Harry Carey (senior, not junior) is delightful as very odd character Bill Barker. Head of dancehall girls/prostitutes is named Mrs Mustache! Just read that Harry Carey, Jr is 82 and made more than 40 westerns in his career. Catch his old man in this one for a treat and movie history.

In the usual world of the "B" Western, character and plot are usually fairly straightforward, and one knows after the first ten minutes not only how it will end, but who is going to end up with the girl--if anyone does. In this endearing oddity, your appreciation may depend on your tolerance for eccentricity, whethere it is enjoying that brilliant veteran of so many silent western Harry Carey appearing as the town's benevolent liar, a jolly man who can also lead a crowd, but who is a master of social manipulation. Tim Holt, ostensibly the star and hero, is a sort of moody but well-scrubbed hero, capable of two expressions--one petulant and pouty, and the other agreeable and smiley...there seems to be no room for any kind of thoughtful expression. He and the judge share a love-hate relationship, and into it are thrown all sorts of beloved character actors, whether Ward Bond, bare-chested and speaking with a Mexican-Italian accent, or Charles "Ming" Middleton, lurking at a poker table, sulking. The treatment of the native American tribe is totally insensitive and ludicrous, especially when Carey convinces them to leave the land next to a river for the seashore of sunny California. In short, if you want some reliable old-fashioned Cowboy Action, a la Roy Rogers or Hoppy, this ain't it. But if you want a fast-paced curiosity from the "B" movie that can be a lot of fun in so many ways, this can be a delight!

THE LAW WEST OF TOMBSTONE (1938) doesn't play like a standard Hollywood western, either A or B. It's more like what you'd get if you took two short stories based on a colorful, larger-than-life western character and merged them together and made a film out of it. It's much more character-driven than plot-driven. A handful of lively, eccentric characters with wildly varying agendas are thrown on screen together and let loose in a tiny Texas town hoping to see some growth from a new railroad station.

Harry Carey Sr. plays Bill Barker, a tall-tale-spinning westerner with big dreams but little capital. In the opening scene, set in New York in 1881, he rides a carriage at high speed down Broadway and tries to con a Wall Street tycoon who's a little too smart for him. Back in Texas, he finds himself elected mayor of Martinez, thanks to his ability to dazzle a crowd with extemporaneous big talk. He takes a local outlaw under his wing, the Tonto Kid (Tim Holt), and tries to get him to straighten out, especially after the boy takes a liking to a newly arrived young lady who happens to be Barker's daughter, a relationship she has no knowledge of, having been raised to think her father died a hero at Gettysburg. Which is exactly how Barker wants it.

There are Indians, whose movements are manipulated to benefit different factions, and corrupt ranchers seeking to deprive rivals of available water resources. There are dance hall girls whose function is never spelled out but is quite evident nonetheless. Everything happens at its own pace and if you come into this expecting—or demanding—the usual western formula you will allow the film's considerable virtues to fly right over your head.

In the few writings I've seen on this film, much is made of the central characters' resemblance to certain western historical figures, e.g. Judge Roy Bean, Billy the Kid and the Clanton Gang. As someone who's read quite a bit of western history, I find the characters presented here unique enough to stand on their own as memorable fictional figures and the tale, as spun here, more in keeping with folklore than with history.

Harry Carey in one of his last starring westerns takes center stage in The Law West Of Tombstone where after the failure of a big con he tried on Gilded Age millionaire Clarence Kolb in New York City returns west to more familiar surroundings. Carey is a fast draw in a pinch, but like a pair of TV brothers named Maverick prefers to talk his way out of a situation.

He's also got a daughter who knows not that he's her father in Jean Rouverol and a protege of sorts in Tim Holt who prefers more traditional type outlawry than con games. Holt and Carey are at loggerheads most of the film, but they like each other. There's a bunch of outlaws, the McQuinn brothers that nobody has any use for hanging around as well.

A lot of the film seems not to make any sense. I think it's because RKO butchered it in the editing department. Holt and Carey are the show, they have some great scenes together.

I'd like to think that after all is settled in this film Carey took Evelyn Brent back from Clarence Kolb, married her and raised a pair of fine sons named Bret and Bart. He sure could have been their old pappy.

This is a nice old school western. Made back in the day like I used to watch as a child. Thanks for showing it TCM. No super heroes, no special effects, no in your face sex, just a darn good western. Thanks again!