Westward Ho

Westward Ho finds the Duke on the trail of as many outlaws as he can kill or capture in search of the gang that killed his parents and kidnapped his young brother.

A prologue to the main film finds the young Wyatt boys on the trail with their parents while they were driving their cattle herd to market. The young Duke is thrown clear from the wagon and thought killed and the brother is taken by outlaw leader Jack Curtis.

When the boy grows up to be John Wayne, he's got himself a mission. In a premise similar to the Lone Ranger, Wayne with official territorial permission organizes his own group of law enforcers called the Vigilantes. So they know each other in a fight with large outlaw bands, Wayne has them dress in black, but ride white horses. The get up isn't for style and Wayne instead of one lone Indian sidekick has forty or so men who have sustained similar family losses.

Of course as things go he does eventually meet up with his grown up brother and the gang that kidnapped him. For what happens you have to watch Westward Ho.

Hardly the best or the worst of Wayne's Poverty Row oaters. In fact Westward Ho has some nice production values because it is shot on location and not on the studio back lot. Unusual for a B western of the Thirties.

Not of course to be missed by the many fans of the legendary Duke.

Once they were pigeonholed in low-budgeted Grade-B films, actors found it difficult to get into major studios' higher priced productions. Even the now famous John Wayne discovered that painful fact early in his career as year after year passed by and no major offers came from the 'Big Eight' Hollywood studios. Appearing in as many as nine movies a year, Wayne was as busy as any actor on the screen. Typical of the many Westerns he appeared in during that time was August 1935's "Westward Ho." What sets this film apart from his others was it was the first movie produced by Hollywood's newest studio, Republic Pictures.

Ever since his ill-fated lead role in Raoul Walsh's big-budgeted 1930 epic "The Big Trail," Wayne was relegated to either tiny parts in major feature films or starred in Poverty Row films. Small studios such as Monogram Pictures loved his reasonable salary, his large physique and his Western-style mannerisms. In the stretch between 1930 and 1939 Wayne played in over 80 so-called 'horse operas.' The frequency appearing before the camera refined his acting skills, making him more polished with his every movie. Wayne also became adept at riding horses and in his stunt work, especially in his fist fighting. He was tutored by stuntman Yakima Canutt, a pioneer in making knuckle confrontations more realistic before the camera--yet insuring the safety of the actors. Wayne developed a style unique in cinema at the time; he's not only shown throwing punches with his patented wide swings, but he used every known tactic to fight the bad guys. "Before I came along, it was standard practice that the hero must always fight clean," Wayne said. "The heavy was allowed to hit the hero in the head with a chair or throw a kerosene lamp at him or kick him in the stomach, but the hero could only knock the villain down politely and then wait until he rose. I changed all that. I threw chairs and lamps. I fought hard and I fought dirty. I fought to win." In "Westward Ho," a gang of outlaws come across a small wagon train with a herd of cattle. The cow wrestlers kill its members and steal the livestock. One youngster, Jim (Frank McGlynn, Jr. As an adult) is kidnapped while his brother John (Wayne as an adult), is left for dead-but survives. As he grows into adulthood, John vows vengeance on those killers, while unbeknownst to him his brother Jim becomes part of the gang. The movie has been cited by some as cinema's earliest revisionist Western where the actions of John crosses the line employing dirty tactics in the name of seeking revenge.

Hollywood's landscape was dotted with a number of struggling independent film companies scratching out a living producing low-budget movies. Film lab owner Herbert Yates, an original investor in 20th Century Pictures, had a number of small studios in debt to his company from processing their film. Yates came up with the idea of merging six of these indebted studios into one larger company. He encouraged the consolidation by threatening them to immediately pay their bills. Most agreed, and the new studio became Republic Pictures. Those that merged included Monogram Pictures, which produced Wayne's westerns and possessed a nationwide distribution system Yates could use. Mascot Pictures Corp. Was the most sophisticated studio of the bunch, owning Mack Sennett's former facilities in Studio City as well as having Gene Autry under contract. Majestic Pictures, Liberty Pictures and Chesterfield Pictures rounded out the remaining studios joining Republic.

Through the years, Republic Pictures competed with the big boys, not only locking in contracts with the likes of Wayne, Autry and Roy Rogers, but produced bigger budgeted movies such as 1949's "Sands of Iwo Jima," 1952's "The Quiet Man," and 1954's "Johnny Guitar."

Newborn Republic Pictures utilizes the solid directoral ability of Robert Bradbury, and the presence of John Wayne along with Yakima Canutt and his troupe of stuntriders to produce this strongly scripted film of 1860s vigilante efforts to rid the Far West of outlaw bands that were involved in widespread robbery and cattle rustling. Bradbury, whose skill with Westerns dates back to the early silent period, directs and edits with a solid awareness of suspense, building his typically short scenes with sparse and, at times, stilted dialogue and an eye for proper cast placement which makes excellent use of defined personalities such as Wayne, Frank McGlynn Jr., and Glenn Strange, and gives particular value to the hard-riding stunt performers, who are splendid throughout this well-made (and musical) adventure filmed in California's Owens Valley, at the base of the Sierra Nevada.

An American Western; A story about a boy who saw his parents murdered and his younger brother kidnapped by a gang of cattle thieves and bandits. Years later, after forming a vigilante group, he sets out to find his long-lost brother. This is a low-budget B-movie with low production values that show. It has a simple, straightforward, and serviceable plot, but it keeps up the tension on a main note of mystery. John Wayne plays the grown-up crusader and leader of cowboys with a penchant for a singalong. The editing was clumsy, which made the verbal exchanges in many of the scenes awkward, but it is directed competently otherwise, and it has some good location photography.

Brother versus brother as the Duke leads a gang of white-horse-mounted vigilantes out to destroy every bad guy in the state. His parents murdered by a gang of cattle thieves, his brother taken and raised by the gang, John/the Duke sets out to locate the gang a decade after the event. Exciting action scenes which make up for stilted dialogue, especially from Mary MacLaren as John's Ma. As the row of good guys, black hats and black shirts on their white chargers, thunder across the screen, my thoughts hark back to the days of 17-inch black and white TV sets. In Australia this comes packaged on a cheap DVD with 'Flying Tigers' and 'Hell Town'. The DVD has excellent sound but generally below average picture quality!