Lash La Rue (himself), Al St John (Fuzzy Q. Jones), Michael Whalen (Doc Jarvis), Noel Neill (Vicki), Zon Murray (Leo), Frank Lackteen (Piute), Francis McDonald (Joe Crist), Jack Ingram (Rocky), John L. Cason (Bart, a henchman)), Steve Raines (Bart), Don Harvey (sheriff), Edna Holland (Mrs Burley), William Norton Bailey (Brad Burley), Sandy Sanders (Pete), Doye O'Dell (Tex James).
Director: RAY TAYLOR. Screenplay: Ron Ormond, Ira Webb. Photography: Ernest Miller. Film editor: Hugh Winn. Music composed and directed by Walter Greene. Art director: Fred Preble. Set decorator: Ted Offenbecker. Camera operator: Archie Dalzell. Grip: Noble Craig. Gaffer: Frank Jenkins. Stills: James Doolittle. Continuity girl: Moree Herring. Assistant director: Austen Jewell. Sound recording: Glen Glenn. Associate producer: Ira Webb. Producer: Ron Ormond.
Copyright 15 April 1949 by Western Adventure Productions, Inc. Released through Screen Guild: 16 April 1949. No recorded New York opening. Never theatrically released in Australia. 64 minutes.
SYNOPSIS: La Rue exposes the identity of El Sombre, a masked bandit who leads a gang of outlaws.
COMMENT: Another derivative Lash La Rue outing, this one combines the dentist plot gimmick of "Texas" (1941) with the masked Spanish bandit of "Old Los Angeles" (1948). Poor Michael Whalen no doubt had a hard time keeping a straight face, but nonetheless easily out-acts every other member of the cast.
The lovely Noel Niell also had reason to question her agent's sagacity. Her role, alas, is both piffling and small. Instead of a run-in between Whalen and Neill (or even Lash and Neill), the hapless audience is treated to a larger helping than usual of Mr. St John, who even brandishes some wildly unfunny anecdotes without even the slightest interruptions of a steadying dubiety from his more soberly upright partner.
Production values are decidedly limited, of course, but there is probably just enough chasing and fist-fighting to satisfy really indulgent fans.
True, the action is staged in a ruthlessly lackluster manner, complete with a wholly superfluous twenty minutes in which La Rue, St John and Ingram aimlessly wander around and around some familiar, tried-and- true locations.
But I guess you can't have everything. The presence of Michael Whalen is surely reason enough reason to watch Son of a Bad Man!
Director: RAY TAYLOR. Screenplay: Ron Ormond, Ira Webb. Photography: Ernest Miller. Film editor: Hugh Winn. Music composed and directed by Walter Greene. Art director: Fred Preble. Set decorator: Ted Offenbecker. Camera operator: Archie Dalzell. Grip: Noble Craig. Gaffer: Frank Jenkins. Stills: James Doolittle. Continuity girl: Moree Herring. Assistant director: Austen Jewell. Sound recording: Glen Glenn. Associate producer: Ira Webb. Producer: Ron Ormond.
Copyright 15 April 1949 by Western Adventure Productions, Inc. Released through Screen Guild: 16 April 1949. No recorded New York opening. Never theatrically released in Australia. 64 minutes.
SYNOPSIS: La Rue exposes the identity of El Sombre, a masked bandit who leads a gang of outlaws.
COMMENT: Another derivative Lash La Rue outing, this one combines the dentist plot gimmick of "Texas" (1941) with the masked Spanish bandit of "Old Los Angeles" (1948). Poor Michael Whalen no doubt had a hard time keeping a straight face, but nonetheless easily out-acts every other member of the cast.
The lovely Noel Niell also had reason to question her agent's sagacity. Her role, alas, is both piffling and small. Instead of a run-in between Whalen and Neill (or even Lash and Neill), the hapless audience is treated to a larger helping than usual of Mr. St John, who even brandishes some wildly unfunny anecdotes without even the slightest interruptions of a steadying dubiety from his more soberly upright partner.
Production values are decidedly limited, of course, but there is probably just enough chasing and fist-fighting to satisfy really indulgent fans.
True, the action is staged in a ruthlessly lackluster manner, complete with a wholly superfluous twenty minutes in which La Rue, St John and Ingram aimlessly wander around and around some familiar, tried-and- true locations.
But I guess you can't have everything. The presence of Michael Whalen is surely reason enough reason to watch Son of a Bad Man!