Copyright 28 September 1932 by Vitagraph Pictures, Inc. Released through Warner Bros. No New York showcase. U.S. release: 8 October 1932. U.K. release: March 1933. 54 minutes.
SYNOPSIS: A bandit (Alberni) aids a new deputy sheriff (Wayne) in cleaning up a gang of rustlers organised by a big land owner (Beery) in New Mexico.
NOTES: A re-make of The Land Beyond the Law (1927) starring Ken Maynard as Steele, Dorothy Dwan as Ginger, Tom Santschi as Crew, Noah Young as the bandit chief, Gibson Gowland as Crew's vicious henchman, Billy Butts as the youngster, and "Tarzan" the horse as himself. Directed by Harry J. Brown, photographed by Sol Polito for Charles R. Rogers Productions.
Re-made again in 1936 under the original title, this time with Dick Foran.
COMMENT: The original Ken Maynard effort must have been one spectacular movie. True, some of the stock footage was undoubtedly lifted from earlier films, but it's still mighty impressive. This Wayne re-make would certainly have knocked the socks off most spectators who must have a wondered how a little "B" western could afford such exceptionally lavish effects.
And it's not that The Big Stampede relies to all that great an extent on stock footage either! Impressively adding to the tautness and suspense of the script are a fine roster of players, led by the personable Wayne, the delightfully villainous Beery and the psycho-comic Hurst. (Love the way the cast is introduced in the credit titles: Wayne chatting to "Duke", Hurst glowering at a laughing Beery, Miss Madison looking uncomfortable whilst Master Bailey stares self-consciously at the camera).
Wright has directed with considerable flair and panache, making the most of the many action sequences (especially the saloon appointment) staged especially for this movie.
For the most part, the stock material is cleverly integrated. It's only the speed of the silent footage that gives the game away - though all the same it's still hard to tell where some Land Beyond shots stop and Big Stampede begins (the gunning down of Lafe McKee, for instance). Realistic sets and locations allow ace cinematographer Ted McCord to present a series of pictures that are always fascinating or appealing.
SYNOPSIS: A bandit (Alberni) aids a new deputy sheriff (Wayne) in cleaning up a gang of rustlers organised by a big land owner (Beery) in New Mexico.
NOTES: A re-make of The Land Beyond the Law (1927) starring Ken Maynard as Steele, Dorothy Dwan as Ginger, Tom Santschi as Crew, Noah Young as the bandit chief, Gibson Gowland as Crew's vicious henchman, Billy Butts as the youngster, and "Tarzan" the horse as himself. Directed by Harry J. Brown, photographed by Sol Polito for Charles R. Rogers Productions.
Re-made again in 1936 under the original title, this time with Dick Foran.
COMMENT: The original Ken Maynard effort must have been one spectacular movie. True, some of the stock footage was undoubtedly lifted from earlier films, but it's still mighty impressive. This Wayne re-make would certainly have knocked the socks off most spectators who must have a wondered how a little "B" western could afford such exceptionally lavish effects.
And it's not that The Big Stampede relies to all that great an extent on stock footage either! Impressively adding to the tautness and suspense of the script are a fine roster of players, led by the personable Wayne, the delightfully villainous Beery and the psycho-comic Hurst. (Love the way the cast is introduced in the credit titles: Wayne chatting to "Duke", Hurst glowering at a laughing Beery, Miss Madison looking uncomfortable whilst Master Bailey stares self-consciously at the camera).
Wright has directed with considerable flair and panache, making the most of the many action sequences (especially the saloon appointment) staged especially for this movie.
For the most part, the stock material is cleverly integrated. It's only the speed of the silent footage that gives the game away - though all the same it's still hard to tell where some Land Beyond shots stop and Big Stampede begins (the gunning down of Lafe McKee, for instance). Realistic sets and locations allow ace cinematographer Ted McCord to present a series of pictures that are always fascinating or appealing.