The Marshal's Daughter

I have found this movie to be one of the most entertaining westerns I have ever seen. It is funny even when it is not trying to be. An all star cast, last of the B westerns and it is, in a way, a parody of High Noon with the clocks and Tex singing about sorry starry midnight. The poker game is brilliant ! Every western theme is here except for a mining scene. Talk about flash-backs. Try to figure where you are at any time during the movie. The dance scene with Laurie and Frenchie is something I have never seen before or since. The theme song by Tex would be considered politically incorrect now days. The dual identity of Laurie is over the top. How could one not like this jewel ?

One of the great losses in Hollywood was Laurie Anders' making only this one movie.

She was beyond adorable. Another reviewer called her "innocently sexy," which is the perfect description.

She was very capable and with a better director, or at least better directing (William Berke has done better work other times), she could have shown herself a good actress.

She was capable in so much, including ventriloquism, jiu-jitsu, and riding, plus she attempted singing and dancing, which did not come across so well in this film.

But, seriously, just to see her makes watching this movie worthwhile.

Her romantic lead was the generally over-looked Harry Lauter, and it was a welcome change to see him in such a role.

Hoot Gibson is still the great Hoot, even in his relatively advanced age. He still showed he was a real cowboy, and still had that charm.

A mess of other people, including Ken Murray (who has to take the blame for most of what is wrong here), and including some great cowboys and a listenable band, fill out the cast, even if with just cameo and supposedly funny roles.

It's not a world-class movie -- except maybe for Laurie Anders.

Again, I have to repeat, what a sad loss not to have much more of her on film.

Willliam Berke was a prolific "B" director capable of turning out tight, entertaining, well-made little pictures.

This is not one of them.

Everything about it is sub-par--the writing (laughable), the cinematography (dark and muddy), the editing (done with a dull chainsaw, apparently), the songs (the title song is especially sappy and juvenile) and lead actress Laurie Anders (for whom this as a vehicle) isn't up to it. She's cute, blonde and perky, but that only goes so far, and in this instance it doesn't go far enough.

It's not all her fault, though. Everything about this film is substandard. If Miss Anders was looking for a project to make her a star, she should have kept looking.

Ken Murray comedian and now more famous as the guy who takes all those home movies of Hollywood in its golden era turned producer for The Marshal's Daughter. This film was created to showcase Laurie Anders from Murray's TV show. Anders was cowgirl trick roping artist who goes Victor/Victoria here.

Her day job is with Murray's medicine show. But by night she goes Zorro as a masked fighter for law and order in the old west helping her dad Marshal Hoot Gibson catch the one that got away.

I'm betting Murray cashed in a few favors to get this produced. Some friends did some cameos, Hoot Gibson was certainly way past his prime and wasn't getting movie offers. Tex Ritter sang some songs on the sound track.

The poker game with guests Preston Foster, Jimmy Wakely, Johnny Mack Brown, and Buddy Baer was the only bright spot in one dismal attempt at satire.

Am trying to find clear words telling why I liked Ken Murray's 1950s version of an ultra low budget 1940s poverty row western.

First, I liked the cast. Bob Duncan, an enigmatic b-western actor in real life, plays the bad guy, plus he wrote the script. Hoot Gibson had enough left to phone it in. Lauri Anders, another enigmatic figure, is Murray's protégé here instead of Marie Wilson, Murray's primary "Blackout" revue star. Harry Lauter plays his gratuitous role well enough, pretty much like he played all his roles.

Second, Texas Ridder sings some of the soundtrack as background instead of too far out front like it was in that Cooper/Kelly western High Noon. Third, an improbable poker game is inserted only because Murray wanted it, featuring "name" b-western players and Preston Foster, all friends of Ken Murray.

Last but not least, the cast plays it straight. No actor hambones it up, there are zero pretensions, everyone seems to be hitting their marks, and the sometimes erratic editing is not much of a distraction.

This is the third time I've watched it since i found it on the internet years ago. It reminds me a little bit of a Judy Canova movie made around then that is similarly low regarded but that I like. I.