Director and film editor: S. ROY LUBY. Original story, "Black Bart's Fall" by Eric Howard. Photography: James S. Brown. Title song, "Reb and His Old Pal, Rebel", composed and sung by Smiley Burnette. Stunts: Jack Jones. Assistant director: William O'Connor. Sound recording: Dave Stoner. Recording facilities: California Studios. Producer: Willis Kent.
Not copyrighted by Willis Kent Productions. U.S. release through various independent state's rights exchanges: 1935. 58 minutes.
SYNOPSIS: Girl unwillingly aids her stepfather in his cattle rustling activities in order to prevent him ill-treating her crippled young brother.
COMMENT: Lois January hardly comes across as an ideal Hollywood heroine, but that is one of the charms of this gritty, realistic little western, starkly photographed against unattractive scenery and set in particularly drab interiors. Hero and villain do all their own fighting and though a few punches are obviously pulled, enough hit home to hurt.
Considering the film's sparse budget, Luby's direction is uncommonly effective. True, he wastes a lot of time on the introductory square dance, but once Edmund Cobb enters the picture, interest perks up considerably. In fact, Cobb's ingratiating portrait of the good badman undoubtedly ranks as one of his best performances in talkies. Whitaker too makes the most of his opportunities. As for our hero, he definitely rates as personable, though we see very little (thank goodness) of "his pal, Rebel."
Not copyrighted by Willis Kent Productions. U.S. release through various independent state's rights exchanges: 1935. 58 minutes.
SYNOPSIS: Girl unwillingly aids her stepfather in his cattle rustling activities in order to prevent him ill-treating her crippled young brother.
COMMENT: Lois January hardly comes across as an ideal Hollywood heroine, but that is one of the charms of this gritty, realistic little western, starkly photographed against unattractive scenery and set in particularly drab interiors. Hero and villain do all their own fighting and though a few punches are obviously pulled, enough hit home to hurt.
Considering the film's sparse budget, Luby's direction is uncommonly effective. True, he wastes a lot of time on the introductory square dance, but once Edmund Cobb enters the picture, interest perks up considerably. In fact, Cobb's ingratiating portrait of the good badman undoubtedly ranks as one of his best performances in talkies. Whitaker too makes the most of his opportunities. As for our hero, he definitely rates as personable, though we see very little (thank goodness) of "his pal, Rebel."
