Shine on Harvest Moon

Good oater mix, especially the hulking Andrews as baddie Jackson. Catch his rather surprising brawl with Roy, more unpredictable than usual. Seems Jackson's getting inside info on cattle drives so he can rustle them. But who's the snitch. The Cattlemen's Association thinks its Brower (Farnum) but Roy likes and respects him. So if it isn't Brower, who is it. Meanwhile, Jackson and his rustlers are having a field day while Roy tries to get things organized.

It's a youthful Roy, but without dominating screetime that would later come his way. Then too, Mary Hart's enough to turn any cowboy's head, including this geezer's. And that's along with Lulu Belle who's a dead-ringer for the late, great comedic actress Betty White (see what you think). Anyhow, there's plenty hard riding and fast shooting, but not much good scenery. My favorite part is the community's peaceful party in the woods, which also furnishes a good homespun backdrop for the musical array that follows.

No, the flick may not be anything special. Still, it's a solid example of what made the Rogers' series so popular in its time, especially with front-row kids like me. So give it an entertaining look-see.

Though certainly worth watching for the energy of the very likable Roy Rogers in one of his earliest starring roles, this is really just an average Western, at least by the standard of most of Rogers's movies. The story has enough to be worth watching, and there are some good moments, but not a lot more.

The plot in this one has Roy in old Wyoming, where a gang of nasty cattle rustlers has been causing havoc and suspicion. Roy has to protect his ranching partner, figure out how the rustlers are operating, and convince a rather dull-witted sheriff of the facts. The plot that follows has a few too many holes this time, but it does contain some decent action.

There is a bit more singing here than you usually find in the early Rogers features. Mary Hart (Lynne Roberts) also appears as the heroine, though there is not a lot of help from the rest of the cast. All of Rogers's movies are watchable if you like Westerns, and this early feature certainly should not be evaluated too harshly, but it really is just an average effort.

Shine On Harvest Moon, the popular standard made famous by Nora Bayes in vaudeville and the stage, serves as the title song for this early Roy Rogers western. In this film Roy and William Farnum are partners in a ranch in Wyomng that's been having hard times. They've got no cattle of their own, they're just renting out their land for other herds to feed on at the moment.

Farnum has a former partner played by Stanley Andrews who turned bad. Andrews plays Ed Jackson who has a pair of what look like inbred sons and has a valley hideout he calls the 'hole'.

Somebody's giving Andrews some inside information enabling his rustling operation to be always a step ahead of the law. Suspicion falls on Farnum. But you know Roy Rogers wouldn't partner with a crook, so he does some investigating on his home. Roy's spurred on by the fact that Farnum has pretty Lynne Roberts as a daughter who Roy kind of likes.

Shine On Harvest Moon is a pretty good B western, one of Roy's better early ones. And it was nice learning that Shine On Harvest Moon is also identified with another popular performer besides Nora Bayes.

And because I got curious I looked up Jackson Hole, Wyoming and no the area was not named for a famous outlaw hideout.

I appreciate the modest but visually fetching set design and decoration, and costume design. I appreciate the directness of the plot - certainly in terms of notably lacking subtlety, but more so by way of maintaining a brisk pace. I like the concept of the plot, though the antagonism of character Pa Jackson feels wholly contrived, more "plot device" than "authentic." In a way not too dissimilar, there's an unmistakable sense in the arrangement of each scene, the pacing and basic execution - most often and especially (though not always) when any degree of violence is involved - of how very staged the production is. 'Shine on, Harvest Moon' aims for rudimentary entertainment in the essence of the tale being told, not any feeling of realism. There's no questioning that this is purely intentional, and an affect of director Joseph Kane's style: he has a substantial list of credits to his name, after all, and the same rather stilted, almost wooden lack of genuineness also comes across in many of the performances, which I can only assume is a result of Kane's guidance and oversight. Truly, this is a movie of simpler amusement, for a simpler time.

There's absolutely nothing wrong with that, of course. However, to visit titles of this tenor, in this time frame, more than 80 years on, is an experience that's more than a little jarring. Then factor in the frequent inclusion of songs (if not also some dance), as was common to not just a lot of western films of the period but those of Roy Rogers specifically, and watching 'Shine on, Harvest Moon' becomes a slightly bewildering experience. It's not at all bad - it is enjoyable, truthfully - and I admire the work that all involved put into the feature. Moreover, while there's a lot of unconvincing acting on hand, this isn't to say that the cast is without any skill. Despite the ham-handed of the production, accentuating fundamental diversion over robust movie-going reward, at some points we do see some swell glimmers of range and nuance denoting the capabilities the actors would show in a less strictly regimented title. And, though I'd be lying if I said the music weren't a bit overbearing, there's also no denying the talents of the players in singing and playing instruments.

A rip-roaring tour de force and cinematic masterpiece this is not. But recognizing the approach here to film-making and storytelling, peculiar and idiosyncratic as it seems in 2022, I can't say the film isn't well-made for what it is. It's also well worth noting that the climax is really quite well done, unexpectedly invigorating as it presents. Now, any viewer who isn't greatly enamored of westerns, old Hollywood at large, or someone in the cast has no major reason to give this a try, and even for ardent cinephiles open-mindedness is a prerequisite. Yet if one is receptive to all the wide variety that decades of movie magic have to offer, then this is a fair way to pass one hour. Not the most absorbing and fulfilling picture, no - but 'Shine on, Harvest Moon' serves its intended purpose as a fun if kitschy slice of cinema, and that's good enough for me.

William Farnum and Roy Rogers' father were partners in the ranch. Now that his father is dead, Roy owns his share. He's also sweet on Farnum's daughter, Lynne Roberts. But last winter was bad, and the ranch is almost broke; only the knowledge that it's fine grazing land makes them stay. In walks Stanley Andrews, Farnum's old partner, who turned out to be crooked, who wants to run stolen cattle over the land. Farnum resists, but knowledge of their former association taints local sympathy; the fact that the head of the cattleman's association, Frank Jacquet, is backing Andrews' operation makes things even tougher.

Roy Rogers' fourth movie as a star is a decent oater with some nice songs and a decent plot, but it's just a pretty good B western. Perhaps it's because Miss Roberts is wasted, or the details of the story get in the way of the fun. Rogers seems callow in this one. Even in the big shoot-out at the end, he doesn't seem to carry much weight.