Leonard Slye (Roy Rogers), Dale Evans (Betty Weston), Grant Withers (Lukas, the express agent), Harry Shannon (Sam Weston), George Cleveland (Captain Joe of "The Yellow Rose of Texas"), William Haade (Buster), Weldon Heyburn (Charlie Gorse), Hal Taliaferro (Ferguson), Tom London (Sheriff Allen), Dick Botiller (Indian Pete), Janet Martin (singer), Bob Wilke (deputy, "sucker move"), Emmett Vogan (John Ellis), Bob Nolan (himself), the Sons of the Pioneers (themselves).
Director: Joseph KANE. Original screenplay: Jack Townley. Photography: Jack Marta. Film editor: Tony Martinelli. Art director: Fred A. Ritter. Set decorator: Charles Thompson. Music director: Morton Scott. Dance director: Larry Ceballos. Sound recording: Ted Borschell. Associate producer: Harry Grey. Executive producer: Herbert J. Yates.
Copyright 2 May 1944 by Republic Pictures. No New York showcase. U.S. release: 24 June. Australian release through British Empire Films: 17 May 1945. 6,577 feet. 73 minutes. (Alpha DVD is the cut TV version).
SYNOPSIS: Insurance investigator Roy Rogers sets out to clear a man who alleges he was framed for a payroll robbery five years before.
COMMENT: What we have here is not so much a western but a darned good mystery thriller instead. There's a bit of action, including a slap- up ruckus in a local cafe, a chase after a runaway buckboard and an ambush in the hills. But the producers have also seen to it that musical tastes are likewise well catered for. Plus a welcome bit of comedy. In all, a solidly entertaining mixture of thrills and spills, songs and sleuths.
Rogers is adequate enough, his performance considerably bolstered by William Haade who makes an admirable sidekick, and Dale Evans as the distraught heroine. In fact by "B" western standards, the support cast is unusually strong. Withers, Heyburn, Shannon and Taliaferro are especially convincing, whilst Bob Nolan is in great voice — as are the rest of his boys.
Marta's moody cinematography is also a tremendous asset. Most of the picture is set at night, giving the plot just the right spooky atmosphere.
Director Joseph Kane, anxious to impress the Republic brass that he was capable of handling more prestigious product (this turned out to be his second last with Rogers), has handled proceedings with remarkable finesse — and even on a couple of occasions, style.
Director: Joseph KANE. Original screenplay: Jack Townley. Photography: Jack Marta. Film editor: Tony Martinelli. Art director: Fred A. Ritter. Set decorator: Charles Thompson. Music director: Morton Scott. Dance director: Larry Ceballos. Sound recording: Ted Borschell. Associate producer: Harry Grey. Executive producer: Herbert J. Yates.
Copyright 2 May 1944 by Republic Pictures. No New York showcase. U.S. release: 24 June. Australian release through British Empire Films: 17 May 1945. 6,577 feet. 73 minutes. (Alpha DVD is the cut TV version).
SYNOPSIS: Insurance investigator Roy Rogers sets out to clear a man who alleges he was framed for a payroll robbery five years before.
COMMENT: What we have here is not so much a western but a darned good mystery thriller instead. There's a bit of action, including a slap- up ruckus in a local cafe, a chase after a runaway buckboard and an ambush in the hills. But the producers have also seen to it that musical tastes are likewise well catered for. Plus a welcome bit of comedy. In all, a solidly entertaining mixture of thrills and spills, songs and sleuths.
Rogers is adequate enough, his performance considerably bolstered by William Haade who makes an admirable sidekick, and Dale Evans as the distraught heroine. In fact by "B" western standards, the support cast is unusually strong. Withers, Heyburn, Shannon and Taliaferro are especially convincing, whilst Bob Nolan is in great voice — as are the rest of his boys.
Marta's moody cinematography is also a tremendous asset. Most of the picture is set at night, giving the plot just the right spooky atmosphere.
Director Joseph Kane, anxious to impress the Republic brass that he was capable of handling more prestigious product (this turned out to be his second last with Rogers), has handled proceedings with remarkable finesse — and even on a couple of occasions, style.