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Sutter's Californians repulse the Mexican attackers in a scene from Sutter's Gold (1936).
Indian battle, too long delayed, was exciting but marred by the excessive use of back projection.
Frank Lloyd's Wells Fargo was a grandiose production, but the epic theme of national progress was too often lost sight of by excessive attention to historical details and the business aspects of the Wells Fargo organization. An artificial love triangle further slowed the proceedings, which came to life only twice: in a brief attack by Indians on a stagecoach, and, more notably, in a spectacular action sequence showing a troop of Confederate rebels attacking a wagon convoy.
King Vidor's The Texas Rangers was livelier, making better use of the camera's potential. It, too, was disappointing since it represented little more than a series of incidents, most of them drawn from Texas Rangers records. It was at least superficially authentic. The action highlights, particularly an Indian attack, were directed by Vidor with all the sweep and flair for spectacle so much in evidence in his earlier films, The Big Parade and Billy the Kid. But it was a spotty film, marred by conventional characterization and incredibly banal dialogue. Its action highlights, a stirring musical score, and especially fine camera work all made it a Western that was worth studying if not a great one. With all its defects, however, it was a far better film than Paramount's anemic Technicolor remake, 77?^ Streets of Laredo, which omitted the spectacular Indian fighting scenes, replacing them with a sadistically brutal horsewhipping