Navajo Kid (1945) Poster

(1945)

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6/10
Bob Steele meets the Celebrated Jumping Frog of Calaveras Co.
Silents Fan1 January 2003
This is an enjoyable oater that borrows Mark Twain's short story about a bull frog full of buckshot as a sub-plot.

Bob Steele is in top form and shows off his athletic build in a shirtless wrestling match at the beginning of the movie.

If you like B Westerns, this one is enjoyable, standard fare as Steele (the Navajo Kid) looks for the varmints that robbed and murdered his paw and finds romance along the way.
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6/10
"I want that Kid, dead or alive!"
classicsoncall4 November 2015
Warning: Spoilers
If you're a B Western movie fan, no doubt you're willing to overlook the inconsistencies in stories like the one presented here. For example, early on the doctor at the Indian Agency explains to Tom Kirk (Bob Steele) how his father died, and then proceeds to tell him that Joe Kirk wasn't his real father. Tom was left an orphan during an Apache attack that killed both his parents and was later adopted by Joe Kirk and raised as his own son. But later on when it's revealed that Sheriff Landon (Ed Cassidy) is Tom's real father, no attempt is made to explain how he survived the Apache attack or any other circumstances leading to the loss of his son. It just makes you scratch your head.

But as I say, no need to get worked up over it. Probably more so than in most of his oaters, Bob Steele gets to show off his physique and athletic ability here with an opening scene wrestling contest against an Indian warrior. He also makes a running mount on his horse Coco, one of many steeds Steele rode during his acting career. In the story, Steele's character buys the horse from his new friend Happy (Syd Saylor). In an early scene he even rides another horse bareback, something you don't usually see with a cowboy leading man, although I've seen Autry do it aboard Champ once as well.

With Syd Saylor you never quite know what you're going to come up with. Here he's a café owner charging for pies by the inch while honing up his pet bullfrog Hopalong for a jumping contest. Happy saves the day for Tom Kirk late in the story when outlaw Bo Talley (Edward Howard) gets the drop on him, and he does it with a well aimed pie throw!

Well keeping in mind that these stories were originally written for a juvenile matinée movie crowd, I guess the stories didn't need to make much sense as long as there was plenty of action. But the topper here came at the very end when good old Happy managed to defy all laws of science and zoology when he presented Hopalong with his new family of baby frogs. How they bypassed the tadpole stage no one will ever know.
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Solid Steele Western
dougdoepke24 March 2010
He may be small (5'5"), but Bob Steele is a human dynamo. Catch his acrobatics mounting a horse or his many adroit brawling moves. Then too, that hard-eyed stare is as good as Eastwood's. No doubt about it, he's a high-energy performer, never boring. Here, he's a white man who's learned Indian ways that he's using to track down his real father after baddies killed his adoptive dad. If that sounds complicated—yeah, I had trouble too. But it doesn't matter. There's some hard riding, a good surprising brawl, and even Saylor's comic relief works pretty well.

One reason to watch is a chance to see two classic Western bad guys in action. I. Stanford Jolley is the long-faced cardsharp, familiar from a hundred of these oaters. He's got a lot of lines and screen time here, but goes uncredited in the cast credits. You wonder why. Then there's rotund Charles King, taking time off from his usual gang boss, as a gang henchman with few lines and not much screen time. So why is he credited, but not Jolley! But pity poor Caren Marsh who doesn't show up until the movie's almost over.

Nothing special here, just a good solid Bob Steele programmer.
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4/10
Another Harry Fraser Mess-terpiece
boblipton23 February 2023
When the local Indian agent is murdered, his foster son, Bob Steele, aka The Navajo Kid goes looking for the killer.

Like the other B Westerns that Steele did for PRC, it's a dull affair with Steele giving his all. He gets on his horse in strange manners, he explodes into action during fights, and his line reading is interesting, but director Harry Fraser has no idea of how to fill up the movie (which he also wrote), forcing cameraman Jack Greenhalgh to longer takes and editor Roy Livingston to slower cuts. He's got Syd Saylor for comic relief, but doesn't use him. He's got Caren Marsh for romantic interest, but doesn't use her.

Of course PRC was the dead end of Poverty Row and their budget for this movie was probably measured in the hundreds of dollars. Which is an excuse more than an explanation.
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