Copyright 11 December 1946 by Republic Pictures Corp. No recorded New York opening. U.S. release: 15 December 1946. Australian release through British Empire Films: 26 February 1948 (sic). 6,503 feet. 72 minutes.
SYNOPSIS: Although the actual credit title and all advertising material uses the name Heldorado, the picture is actually centered around "Helldorado Day" at Las Vegas, Nevada. A perfect opportunity for black marketeers to unload some of their hard-earned cash is thwarted by Ranger Rogers (with more than a slight assist from Deputy Sheriff Evans).
NOTES: Frank McDonald directed the Hoover Dam sequences, part of the Treasure Hunt episode and some studio scenes involving Rogers, Evans and Hayes before being replaced by William Witney. This film bears no relationship whatever to the 1934 film, "Helldorado", directed by James Cruze, starring Richard Arlen, Madge Evans and Ralph Bellamy.
PRINCIPAL MIRACLE: Two directors, but thanks to the skill of Republic's behind-the- camera team, no seams show in the finished product.
COMMENT: Director William Witney really put his stamp on this one by using a camera crane in the Helldorado sequences to present a brilliant series of sweepingly effective photographic shots that are really most unusual for Republic. Witney's laudable attempts to spice up a somewhat routine, even lackluster plot also pay off in the all-action climax. Though the dull inserts with Gabby Hayes were directed by Frank McDonald, Witney handled the hell-for-leather riding, the fast car chase and especially the slug-fest climax in the baggage room.
In fact, I'd venture to say that all of Hayes' scenes were directed by McDonald. Certainly Hayes and Witney did not hit it off. Witney took over all the Rogers' output at this point, while Hayes left the series, never to return. "Heldorado" was the last of the black-and- whites for Rogers in the 1940s. Thereafter all his pictures until 1951 were filmed in Trucolor.
One pleasing aspect of the otherwise ho-hum script is that it does provide for some splendid run-ins between Roy Rogers and Dale Evans, whose spirited rivalry gives an entertainment boost even to the three obligatory but so-so songs. Bob Nolan, on the other hand, despite his single-frame credit, is handed what can only be described as a raw deal. He's hardly in the movie at all.
SYNOPSIS: Although the actual credit title and all advertising material uses the name Heldorado, the picture is actually centered around "Helldorado Day" at Las Vegas, Nevada. A perfect opportunity for black marketeers to unload some of their hard-earned cash is thwarted by Ranger Rogers (with more than a slight assist from Deputy Sheriff Evans).
NOTES: Frank McDonald directed the Hoover Dam sequences, part of the Treasure Hunt episode and some studio scenes involving Rogers, Evans and Hayes before being replaced by William Witney. This film bears no relationship whatever to the 1934 film, "Helldorado", directed by James Cruze, starring Richard Arlen, Madge Evans and Ralph Bellamy.
PRINCIPAL MIRACLE: Two directors, but thanks to the skill of Republic's behind-the- camera team, no seams show in the finished product.
COMMENT: Director William Witney really put his stamp on this one by using a camera crane in the Helldorado sequences to present a brilliant series of sweepingly effective photographic shots that are really most unusual for Republic. Witney's laudable attempts to spice up a somewhat routine, even lackluster plot also pay off in the all-action climax. Though the dull inserts with Gabby Hayes were directed by Frank McDonald, Witney handled the hell-for-leather riding, the fast car chase and especially the slug-fest climax in the baggage room.
In fact, I'd venture to say that all of Hayes' scenes were directed by McDonald. Certainly Hayes and Witney did not hit it off. Witney took over all the Rogers' output at this point, while Hayes left the series, never to return. "Heldorado" was the last of the black-and- whites for Rogers in the 1940s. Thereafter all his pictures until 1951 were filmed in Trucolor.
One pleasing aspect of the otherwise ho-hum script is that it does provide for some splendid run-ins between Roy Rogers and Dale Evans, whose spirited rivalry gives an entertainment boost even to the three obligatory but so-so songs. Bob Nolan, on the other hand, despite his single-frame credit, is handed what can only be described as a raw deal. He's hardly in the movie at all.