Johnny Mack Brown robs a stage coach but is quickly caught and is sent to prison. He escapes and hooks up with a gang that has been plowing the same field more successfully, due to inside information on when big money shipments are coming through.
It's a handsomely directed movie starring the good-looking Alabaman. After being a college gridiron star, he went to Metro in 1926 and was moderately successful, but they let his contract lapse in 1934. He moved easily into well-received B westerns, where he prospered until 1952, with a couple of appearances in Geezer Westerns in the mid-1960s.
This one is well-shot by under-rated B cameraman Jack Greenhalgh -- there are a nice variety of high shots in the riding sequence that begins the movie, and the prison sequence has Germanic, early Noir lighting -- and director S. Roy Luby demonstrates that editors make very efficient directors. It's from producer A.W. Hackel, who also produced the Bob Steele westerns, and appears to be much more expensively done, befitting Brown's greater stardom.
The script by Earle Snell is a bit underwritten in the romantic subplot department, but on the plus side, fans of silent comedy will appreciate an uncredited bit by Max Davidson as a peddler.
It's a handsomely directed movie starring the good-looking Alabaman. After being a college gridiron star, he went to Metro in 1926 and was moderately successful, but they let his contract lapse in 1934. He moved easily into well-received B westerns, where he prospered until 1952, with a couple of appearances in Geezer Westerns in the mid-1960s.
This one is well-shot by under-rated B cameraman Jack Greenhalgh -- there are a nice variety of high shots in the riding sequence that begins the movie, and the prison sequence has Germanic, early Noir lighting -- and director S. Roy Luby demonstrates that editors make very efficient directors. It's from producer A.W. Hackel, who also produced the Bob Steele westerns, and appears to be much more expensively done, befitting Brown's greater stardom.
The script by Earle Snell is a bit underwritten in the romantic subplot department, but on the plus side, fans of silent comedy will appreciate an uncredited bit by Max Davidson as a peddler.