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r >8 Picture Show Annual The Western hero is nothing if not up-to- date, and exchanges his trusty broncho for an aeroplane when occa- sion demands. Hoot Gibson and Sally Eilers ready flight. that we always knew where we stood. The slinking hireling of the villain who shot from behind a rock when the hero was riding along the trail was never made out to be anything but a skunk. We would not have stood for any death-bed repentance in A/5 case. That fellow had got to die the ignoble death to match his miserable life. We lovers of Westerns would put up with a crude story, but we wouldn't allow our code to be interfered with. We would tolerate (and secretly admire) the K Rustling Kid," the young boy who had been led astray by the lure of " easy money," but he had to die a man's death or redeem himself by some won- derful act of bravery and sacrifice if he wanted our sympathy. He couldn t fool us by any hypocritical act of repentance. A change of heart had to be accompanied by taking a des- perate gamble with life. The only passport to a better world we would give him had to be signed in his own blood. Of course, if he happened to be the hero (as he generally was) we knew he would live, even though he had • faced single-handed a hundr bandits each of whom was a dead shot. Many of the stories were crude but they were clean, and if the Western photo-play seldom rose above melodrama, it never descended to the depths of the gutter drama of the Underworld, which, so far as feuds and shoot- ings were concerned, succeeded it. At least (to quote that much- quoted caption of the old silent Westerns) the stories were laid Rod La Rocque starred in Beau Bandit," and Doris Kenyon's return to the screen Was marked by her ap- pearance as leading lady. Right : A scene from one of the old films, " Taming the Fourflusher," when men were men and villains were whiskery. W. S. Hart in " Taming the Fourflusher."