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Page Twenty-eight
April 16, 1938
a lot of superb riding. You probably will not see it, as it is not likely to be shown in the houses you fre¬ quent, but if you do run across it, you will find your time well spent. The story is about something — the havoc wrought by dust storms, which in Under Western Stars are blamed on water companies, which rob the soil of the moisture it needs to keep it green. Whether the picture correctly presents the situation I do not know; but I rooted for the cattlemen, hissed the water company people and had a thoroughly good time.
Roy Rogers Engaging Star . . .
rHE picture presents a new Western star in the per¬ son of Roy Rogers, a clean-cut, upstanding young fellow with a pleasing personality, good singing voice and as much grace in the saddle as Fred Astaire re¬ veals on the stage. Rogers does not mount his horse: he floats upwards and on to it. In one shot he leaps when his horse is in motion, his toe finds the stirrup before any other part of him touches the saddle, and he glides into his seat to the sound of audience ap¬ plause. But he gives no exhibition of horsemanship as such. It is part of the story, his way of doing things. Opposite him is Carol Hughes who demon¬ strates possibilities which Warners did not realize when she was under contract to it. Attractive look¬ ing, wearing clothes smartly, a good speaking voice and a sense of humor, she could go places if given half a chance. Smiley Burnette proves again that he is a splendid comedian, and, for a man of his mas¬ siveness, a remarkable rider. The screen play by Dorrell McGowan, Stuart McGowan and Betty Burbridge is a commendable bit of writing.
Is Given Good Direction . . .
yOE KANE, director, keeps the story running smoothly and rapidly and developes expertly its human qualities — a really creditable job. Jack Law¬ rence, Peter Tinturin, Eddie Cherkose and Charles Rosoff contribute some songs which are sung in a manner to meet the demands of the most ambitious production of any of the major organizations. The Maple City Four, a quartette popular with radio audiences, makes a big contribution to the entertain¬ ment quality of the picture. Alberto Colombo de¬ serves credit for the manner in which all the music is presented. Sol Siegel reveals competence in providing a broad-scale production with a visual sweep to which Jack Marta’s camera does full justice. But
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