The Savage Horde

Well above average western from Republic Studios. Elliott is 'Ringo', on the run and Davis is his brother, in charge of a cavalry command chasing him. Ringo stops to visit old girl friend, and becomes embroiled in a range war. Withers portrayal of a psychopathic mogul is convincing. Great supporting cast-Noah Beery Noah Jr. is the 'Kid' and Hamblin provides some enjoyable tunes along the way. Supposedly the title "Savage Horde" was a tribute, by director Kane, to actor Grant Withers, who appeared in "the Fighting Marines", a serial, containing a chapter titled "The Savage Horde." Unexpected climax can leave you wondering. A good western.

Continuing to review movies and/or TV appearances of the original "Dallas" cast, regular or recurring, either previously or during or after the show, in chronological order, we're still in 1950 when Jim Davis is still at Republic once again teaming with leading man William Elliott from Hellfire and director Joseph Kane from Brimstone. Unlike in those last two pictures, here he's a good guy, a Lt. Mike Baker of the calvary, who's in pursuit of his outlaw brother, Elliott, who's killed a captain in his troop in self defense though only he knows it. I'll stop there and just say this was another rousing western from what would be referred to as the good ol' days that had plenty of great action and some good singing too from one of the supporting players, a Stuart Hamblen who later wrote "Open Up Your Heart (and Let the Sunshine In)" which I remember as a child hearing from some other kids not to mention Pebbles and Bamm-Bamm on "The Flintstones". And there's also a couple of fine lookin' ladies to also root for, too! Really, all I'll say is if you're in the mood for some old-fashioned oaters, The Savage Horde should be right up your alley!

Johnny Ringo appears in many westerns and there are many stories about him. No one knows which are true or false. Here he appears with a brother, who is an Army Lieutenant.

Ringo shot and supposedly murdered another lieutenant and the Army is after him. He holes up in a town where his old flame has a restaurant without his gun.

There is a range war going on and he gets drawn into the side of the good guys. He has to pick up his gun again to save the day. Off he rides into the sunset with his brother to face charges vowing to his girlfriend he will return.

Of course he will.

Bill Elliott does a good job. He has been in over 200 films by the time he made this, so he had a bit of experience. Another veteran (Noah Beery Jr.) was also here as Ringo's partner.

Superior Republic oater despite a title that suggests Ghengis Khan. Good screenplay, excellent cast, and occasionally good locations, lift this production beyond the routine. Most of all, there's the unsung Bill Elliot in the lead. He wasn't handsome and couldn't sing, but he was a good convincing actor who could make you believe his character was real. And best of all, no one, including Duke Wayne, was better at being plain ornery. Elliot's voice always had an edge to it that conveyed real authority. Unlike most cowboy heroes, he could have played the black hat as easily as the white one.

I like the way the screenplay makes the characters more complex than usual. In fact, notice how bad guy Grant Withers wins almost every argument with Elliott, the other ranchers and the judge. He's shrewd, knows the law and people, and is nicely underplayed by Withers. Too bad, steely-eyed Bob Steele never got the big break his talent deserved. Probably it was because of his bantam size; nonetheless, he's almost scary as the hired gunsel.

Adding his usual colorful character is that unmistakable motor-mouth Earle Hodgins as the gun huckster. Did Hollywood ever have a faster talker or a bigger snake oil salesman. Even the ladies are a cut above the cowgirl average. Booth comes across as the kind of gal any guy would like to hitch up with. Include in the mix, professional weasel Will Wright and professional nice guy Noah Beery Jr., and the movie amounts to an Oscar night among B-movie all-stars.

Joe Kane puts it all together, though a couple of seams do show-- how did Elliott get away from army custody and show up suddenly in town. Was that me, my video copy, or a lapse in the editing. Anyway he arrives just in time with a cut face and no explanation of how he got away. But that's okay. The effortless barn dance more than makes up for a possible editing lapse. So, if you've got a spare 90 minutes, give this classic 1940's face-off between a big land baron and the little guys a try.

If you're anything like me, movies with no regard to continuity are just too distracting to enjoy. This little gem caught me by surprise right from the first few scenes because its continuity is absolutely dead on perfect. There are probably very few people who are fooled by sound stages versus the real outdoors. Not much can be done to satisfactorily convince the viewer that the actors are in the desert when they are actually in a studio with sand on the floor. BUT! This movie uses continuity to make the transition from indoor sound stage to outdoor reality as seamless and believable as I've ever seen. Watch closely as Wild Bill Elliot goes into a crouching position at the campfire on the sound stage to the exact same crouching position at the outdoor campfire. Someone cared about details like this in a 1950 western when it seems like no one in today's movie making industry can keep the level in a water glass within two inches of the proper level from scene to scene.

Watch this movie for everything it has to offer, but while you're doing that PLEASE keep an eye on the near perfect job the continuity department did. I'm afraid this kind of pride in workmanship is a fading Hollywood legend.