Director: BOB HILL. Screenplay: "Roc" Hawkey. Photography: Gilbert Warrenton. Film editor: Holbrook Todd. Technical director: Fred Preble. Assistant director: Myron Marsh. Producer: Arthur Alexander. Executive producer: Max Alexander. An M. & A. Alexander presentation.
Not copyrighted 1935 by Beacon Productions, inc. No New York opening. U.S. release: 15 December 1934. 56 minutes.
SYNOPSIS: Buck's attempt to take a holiday is thwarted when he goes to the aid of ranchers terrorized by the Juarez Kid. It turns out, however, that the bandit is actually
NOTES: "Roc" Hawkey is a pseudonym for Bob Hill.
COMMENT: Great locations and a trio of particularly fine players (Chandler, Alexander and Elliott) held to ransom by a weak script, indifferent direction, a clumsy hero and a hammy Mexican.
Although the movie runs only 56 minutes, the action is eked out by many a pregnant pause and much B-grade shuffling. True, interspersed with the broom-closet studio sets, are spurts of fast but unconvincing action.
True too, that the principals do their own fist-fighting, but this is small compensation for a patent lack of realism in the staging.
A pity the heroine — who is both attractive and so wholly credible that she puts the nominal star of the movie right in the shade — arrives at such a late stage of the corny plot.
Alexander, as usual, makes a wonderfully burly heavy, but Rivero and Bejarano ham up their parts atrociously. No Holiday, this one.
Not copyrighted 1935 by Beacon Productions, inc. No New York opening. U.S. release: 15 December 1934. 56 minutes.
SYNOPSIS: Buck's attempt to take a holiday is thwarted when he goes to the aid of ranchers terrorized by the Juarez Kid. It turns out, however, that the bandit is actually
NOTES: "Roc" Hawkey is a pseudonym for Bob Hill.
COMMENT: Great locations and a trio of particularly fine players (Chandler, Alexander and Elliott) held to ransom by a weak script, indifferent direction, a clumsy hero and a hammy Mexican.
Although the movie runs only 56 minutes, the action is eked out by many a pregnant pause and much B-grade shuffling. True, interspersed with the broom-closet studio sets, are spurts of fast but unconvincing action.
True too, that the principals do their own fist-fighting, but this is small compensation for a patent lack of realism in the staging.
A pity the heroine — who is both attractive and so wholly credible that she puts the nominal star of the movie right in the shade — arrives at such a late stage of the corny plot.
Alexander, as usual, makes a wonderfully burly heavy, but Rivero and Bejarano ham up their parts atrociously. No Holiday, this one.
