A pregnant pioneer woman and her family meet a supernatural fate after breaking from their wagon train to California and ignoring a series of ominous dreams.
Around the film hang fascinating questions about border politics, which I’ll touch on in an introduction before the screening. One of Eugene Buck’s motivations for making the film may have been his rough cross-examination during his kidnappers’ first trials, in October 1913, when defense attorneys cast him as a confused and unreliable witness against idealistic freedom fighters. On film he could reproduce the pursuit, the shootouts, his kidnapping, and his friend’s murder just as he had testified. Reenacting the crime on film may have been the best revenge—and a way to honor the sacrifice of Deputy Ortiz, a twenty-year police veteran and, for the era, a rare Mexican American lawman.
Jim Riley is to be arrested for horse stealing and when the sheriff knocks at the door of Jim's shack, he asks his little girl Nellie to go and tell the man he is not at home. Nellie tries to persuade the big sheriff that her father is out, but to no avail, for Jim is arrested and taken away, while he promises his little girl he will soon return.
A men is hired to find a stolen cache of $1,000,000 in gold coins while all the while he seems protected by a ghost.
Bandits kidnap an old prospector, threatening to let him starve if he refuses to reveal the location of his gold mine. The old man's partner, hoping to get a share of the loot, tells the place to the crooks.
"Hadley, owner of a nearby ranch, had fenced off a water hole belonging to Miss Dunlap, thus depriving her stock of water. Undaunted, the young Eastern woman and her two-fisted fighting foreman fought back...
A half Mexican, half Irish gunman called The Irish Gringo and his pals come across a little girl wandering in the desert. It turns out her grandfather was murdered by a gang looking for the Lost Dutchman mine, a map of which is drawn on the shirt she is wearing, and now the outlaws are after her.
The Bar-C Mystery is a 1926 American silent Western 10 film serial directed by Robert F. Hill. Chapters: 1. A Heritage of Danger; 2. Perilous Paths; 3. The Midnight Raid; 4. Wheels of Doom; 5. Thundering Hoofs; 6. Against Desperate Odds; 7. Back from the Missing; 8. Fight for a Fortune; 9. The Wolf's Cunning; 10. A Six-Gun Wedding.
Whitley and his singing group want to make time with young ladies at a finishing school...and vice-versa. However, the old matron in charge threatens to shoot Ray and his men so they come up with a plan to trick her.
The "Black Hound" band of desperadoes abduct a candidate for governor and demand a heavy ransom for him, but the hero and the girl lead a successful rescue party.
Out in the desert, a dopey wolf tries to catch an obnoxious rabbit.
Mexican feature film
This entry in Universal's series of "Musical Westerns" shorts has Tex Williams, assisted by Deuce Spriggins and Smokey Rogers, bringing his six guns, fists and singing abilities against a gang of stage-robbing bandits. This film was combined with another Tex Williams short, Coyote Canyon, and reissued as the feature-length "Tales of the West No.2.)
Johnny Carpenter plays a taciturn sheriff who disguises himself as a notorious gunslinger. His mission: to stem a series of violent raids on local cattle ranchers.
The Scarlet Fox confronts dark secrets and deadly enemies in a suspenseful adventure where danger lurks behind every shadow.
Jim Bannon is back as enduring cowboy hero Red Ryder in Eagle-Lion's Roll, Thunder, Roll. As ever, Ryder's cohorts are Little Beaver and the Duchess, here played by "Little Brown Jug" and Marin Sais. This time, Ryder tries to prove that a series of cattle raids and ranch fires were not the handiwork of masked Mexican do-gooder El Conejo.
The epic story of the opening of the Canadian West and the drought that brought the Depression in the thirties. This is the saga of a family who left eastern Canada to stake their future in the Prairies.
This short animation set to Lenny Bruce's live monologue tells how the Lone Ranger hooks up with Tonto. With Bruce doing all the voices, this animation begins with local folks upset at the Lone Ranger because he won't stay around to be thanked after a good deed. So, he stays and finds he likes hearing "Thank you mask man." When their attention starts to shift elsewhere, he shocks and disgusts the townspeople with a final request. According to the cartoon’s producer John Magnuson, at early showings of this, gay audiences were upset by its apparent “fag-bashing”. And it’s true, part of the fun of the piece is just crying out “Masked man’s a fag”, scandalising and defacing the image of this all-American hero. But it’s within the larger context of Bruce’s analysis of heroism, and that the towns people reject the Masked Man is because of their prejudices, not because Bruce is asking us to endorse them. (from: http://ukjarry.blogspot.de/2010/01/352-lenny-bruce-thank-you-mask-man.html)
Jack Bray is a wanderer in the wilderness of a Western town, governed principally by a band known as the 'six-o-one,' a gang of masked riders. While their original purpose was protection and not disturbance, they are temporarily under the direction of a degenerate, Jim Dougherty, keeper of the saloon.
In the village of Rockspring, the election of "little sheriff" is taking place, whereby a child is chosen to assist the local sheriff for a week. When a young girl is kidnapped, the sheriff sets off to rescue her, and the children organize their own search party to free their friend.
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