A Lei do Gatilho

Enjoyed this old time Western from 1934 with John Wayne, (John Carruthers) who sneaks into a hotel during a very bad thunder and lightning storm. The Sheriff, Jake Withers, (Gabby Hayes) gets a room and keeps his eye on a large sum of money deposited in the hotel safe. There is a man named Malgrove, (Edward Peil,Sr.) who owns the town and is a crook and he is trying to tell the town folk about selling their homes, because he knows that a gold mine is under all their homes and he wants to cash in on all the benefits. Betty Mason, (Eleanor Hunt) adds some female charm to the film and John Carruthers falls madly in love with her big brown eyes. If you like classic western films, this is the film for you, the film locations are outstanding for 1934. Enjoy.

The 5th of John Wayne's 14 Lone Star Westerns is nothing if not a lively piece. True, it gets off to a remarkably slow start, but once the bandits arrive on the scene the pace picks up no end. Although the heroine is somewhat lacking in thespian talent, she's pretty enough and has little to do or say anyway. It's Wayne and Hayes who set the action rolling and keep it up—interspersed with some spectacular Canutt stunt-work—right to the finish line. And it's good to see Yakima Canutt in a sizable role on camera as well as doubling Wayne in the action spots.

Director Robert North Bradbury has a grand time once the action switches to the wide open spaces. You can virtually see him riding the camera car as it swoops along with galloping-hell-for-leather riders in super-fast tracking shots. And I love those whip pans!

Photographer Archie Stout, a specialist in location work, is also most at home with awesome vistas of wide open plains, ringed by rugged mountains and fleecy clouds in the Alabama Hills, Ca.

What a wacky opening scene. The thunderstorm's got to be the loudest on record-- and why is Wayne sneaking into the hotel lobby. I guess he doesn't want to pay for a room. Then there are the newly-weds right out of the aw' shucks school of acting. And most curiously of all-- how did they get the groom's"I couldn't find it" snippet past the public watchdogs. This amounts to an astonishing innuendo, and no doubt one for the boys-- in the movie, that is. Probably there are more than a few audience 10-year old's still puzzling over that one. In all likelihood, it was someone's private joke that made it to the screen on a bet.

Lone Star popped for some great location photography. The boys get to ride around the Alabama Hills with the scenic Southern Sierras in the background. The story doesn't make a lot of sense, but who cares, especially when the canyon explodes in a really great effect worthy of an A production. Also, some good crowd scenes of ordinary looking people. When they talk about getting forced off their homesteads, I expect more than a few folks in 1934 wished they had a Wayne on their side.

As others point out, this looks like an early stage in the evolution of Hayes' unforgettable "Gabby" character. He's not called that, still the crusty old coot is definitely coming out. How delightful the Gabby-Wayne pairing proved over the years, especially in their masterpiece Tall in the Saddle. Wayne always seems genuinely amused by the ornery Gabby. Watch some of his reactions here. Those broad grins are not acting.

Great final shot that still brings a tear to the eye.

If you like John Wayne as I do then he must watch blue steel also known as stolen goods on tubi. Its a short but effective film 8n the early days of John Wayne

A fairly involving 'Lone Star' film (even though it lacks enough dialog to provide any character) because of: 1) The opening sequence, with great silences, where we are caught up in John Wayne's mysterious and sudden presence in a hotel during a rain storm,

2) the registering 'bride' and 'bridegroom' at the hotel, shy and secretly excited; later the bridegroom, George Nash in his last film, comes back from the bridal suite saying 'I can't find it.'

3) Yakima Canutt's amazing stunt work-- pulling up a fallen Eleanor Hunt thru the coach horse team, and then helping her onto John Wayne's horse,

4) the extensive final chase sequence, excitingly paced and edited as the bad guys (at least 9 of them) chase our heroes across the vast prairies -- whew!

This time, without any preamble of romantic intentions anywhere else in the film, John Wayne and the girl do ride off into the sunset holding hands!