North of the Rio Grande

When the story begins, Lucky is testifying at a coroner's inquest. The man presiding is clearly behaving VERY inappropriately....and he guarantees that instead of the Deputy being arrested for murder, the whole thing is ruled an accident. But a guy is dead....and it's Hopalong Cassidy's brother, Buddy (who appeared in "Hopalong Cassidy Returns". You know that sooner or later, Hopalong is coming to town and there will be justice for his brother's murder.

When Hoppy arrives, it's not exactly with guns ablazing. Instead, he is undercover...posing as a badman, 'Dangerous Bill McGrew'. He does this in order to investigate the killing and find out who was behind the deputy's actions.

It's all very exciting and good until the end...when bad writing really ruins the final portion of the film. When Hoppy exposes the 'Long Wolf', Hoppy is shot from behind...at a distance of about four feet. Yet, inexplicably, he's barely hurt at all!! What is more inexplicable is now that the Lone Wolf has him, he instead ties up Hoppy....giving him ample chance to come for him when he expectedly gets free! It really made no sense at all...and made me irritated. What also was irritating was the final scene...with a train wreck that is cheaply done...very cheaply done!

Overall, a sub-par Hopalong Cassidy film because of the botched final 10-15 minutes of the film. Up until then, I really liked it...but boy did they end this film badly!

It all starts when Lucky (Russell Hayden) doesn't get the desired verdict after Hoppy's (William Boyd) brother is gunned down by Deputy Jim Plunkett (Al Ferguson). Man of many hats, Morris Ankrum instructs the jury to find it was an accidental death. High time for the greatest western trio to go undercover and Gabby Hayes becomes a pianist. Of course Bull O'Hara (Walter Long) only wants him to play Irish tunes. This leads to wonderful music, "The Wearing of the Green" and "When Irish Eyes are Smiling" sung by Bernadine Hayes, Long and everybody in the saloon. This was the only movie where Hayes played with her sister, Lorraine Randall. Hoppy and Ace (Jack Rutherford), who is running the salon are playing a deadly game of chicken but Hoppy's main concern is finding the Lone Wolf. Also, where does Lee J. Cobb fit into the Wolf's plan? A lot of great character development and solid acting in this well directed Hoppy film.

As a Hoppy western this story has some interesting moments. From the start when we see Lucky at a coroner's inquest being run by Henry Stoneham, we know who the bad guy is. Morris Ankrum (Stoneham) seemed to be born to play bad guys and he did a good job. But it was Hoppy's younger brother who was murdered so it's only time until the real villain is brought to justice.

Yet somehow a musical number is inserted with Windy (Gabby Hayes) on the piano belting out The Wearing of the Green at the behest of Bull O'Hara (Walter Long) that has everyone in the cast up dancing and singing.

This film has the first credit for Lee J. Cobb as the owner of the railroad. I was stunned to see a youngish Cobb in the cast and even more surprised to learn Lee J. Cobb was bald at 26. I always believed Lee J.Cobb to be one of our finest actors. In 1968 I took a small group of students to Lincoln Center to see Cobb as King Lear. It was electrifying and every one of my charges was captured by what they were seeing on stage.

You know how the film will end but that was what you wanted to see. I was such a fan that my parents indulged me with a black Hoppy outfit complete with two six guns and a black hat.

William 'Hopalong' Cassidy's brother is killed while on a posse and by the Deputy Sheriff Al Ferguson. Russell Hayden so testifies that it was pure murder, but the inquest rules accident. That's when Hayden sends for Hopalong Cassidy.

The posse was in pursuit of the notorious Lone Wolf outlaw and Bill Boyd goes undercover to flush him out.

I had a lot of problems with this story. Hoppy is one of the shrewdest western heroes going and he tips his hand way too early when he figures out who the Lone Wolf is. Definitely not typical Cassidy. Both Hoppy and Lucky Jenkins pursue the outlaws with bullets in them.

Of the regulars Gabby Hayes fares best. He goes undercover in the villain's saloon as a piano player. But spends a good deal of time learning the Wearing Of The Green for the Irish clientele. We hear that and we also hear saloon entertainer Bernadene Hayes sing When Irish Eyes Are Smiling. If I didn't know any better I would swear we were on The Quiet Man set.

A very inferior Hoppy film, the plot defects are covered by one incredible action scene involving the villain stealing a runaway train and forcing Gabby to drive it. It should satisfy fans.

Rather tame Hoppy western until the slam-bang finale. Until then, it's mostly indoors in a saloon while Hoppy tries to get the corrupt town's Deputy Plunkett who killed his brother. At the same time in the background lurks the mysterious Lone Wolf. Meanwhile, Windy and Lucky go undercover to help Hoppy track him down. On the whole, the storyline moves along at a rather leisurely pace for an oater. Then too, the plot line with its two main strands rather than one suggests a last-minute combining of separate scripts for whatever reason. I can't help thinking there's a backstory of some sort to this odd Hoppy production.

There are some noteworthy aspects, however. Surprisingly, it's not fists that fly as in standard Hoppy fare, instead it's Windy's fingers as they race over the piano keyboard in the town's saloon- wow- who knew! Perhaps stealing the show, however, is deglamorized actress Hayes as the saloon's Faro Annie. All in all, she delivers an unusually poignant turn instead of the usually winsome role of a western leading lady. And catch that very last close-up where she and the movie leave us on an unexpectedly somber note. Then too, I like the way Director Watt manages some unusual touches such as the horse charging over the sunken camera. I wish IMDB had more information on his much-too-short career. Also, catch New York actor Lee J. Cobb in a supporting role, before he turned A-lister in such theatrical hits as On The Waterfront (1954). All in all, the programmer amounts to a different Hoppy entry in many important respects. Whether viewers enjoy the departures from the usual depends, I guess, on personal taste. Frankly, I was disappointed.