Bridge Movie Reviews
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"Hoppy is here to stay"
"Hoppy is here to stay"Hoppy and his trail buddies ~ Johnny Nelson (Jimmy Ellison) always hot tempered and ready for action before it gets here...Windy Halliday (George "Gabby" Hayes), with "Those Persnickordy Women"...and "Women are Pure Poyzen"...my favorite saying has to be "You're Dern Tootin'", Hayes was the comedy sidekick who always knew the answer before the question, taught Hoppy everything from gunplay to hardriding, many times stole scenes right from under the entire cast.
Always filmed in the natural setting of Lone Pine, California that was a plus for westerns at that time...Boyd became very skilled as a horsemen, his acting and eye contact was never surpassed when coming across clues or realizing the guilty party...this was due to his days on the silent screen.
This had to be the best western series around during the '30s, strong performances by Boyd, Hayes and Ellison...with producer Harry "Pop" Sherman at the helm, behind the scenes with quality the uppermost in mind for Paramount Pictures...the Bar-20 gang with Windy Halliday (George "Gabby" Hayes) backing Hoppy's play whenever trouble enters the picture...when good guys wore black, rode a white horse and assured all his fans ~ HOPPY IS HERE TO STAY!
Total Time: 76 Mins (Trail Dust-1936)
Total Time: 82 Mins (Borderland-1937)
"just how I remembered Hoppy on the Big Screen"With "Heart of the West" another Paramount release in 1936, based on "Mesquite Jenkins, Tumbleweed" (Clarence E. Mulford) with the guiding hand of director Howard Bretherton and our fine cast of William Boyd (Hopalong Cassidy), Jimmy Ellison (Johnny Nelson), Sidney Blackmer (Big John Trumbull), Lynn Gabriel (Sally), Charles Martin (Jim Jordan), but wait ~ enters one of our favorites in all of westerns George "Gabby" Hayes (Windy Halliday). Hoppy and Johnny save Windy from drowning...thus the adventure begins with rustlers, stampeding herds and outlaw take-over ranches for their own profit. Mixing dynamite with a cattle stampede does the trick for Hoppy and the rest of the good guys.
Must mention that it was sure good to see one of my all-time-favorite sidekicks George "Gabby" Hayes throw in with Hoppy. The added special features are simply great ~ Coming Attractions:"Hopalong Cassidy:Public Hero #1", plus a poster gallery, still gallery and my favorite is original materials from "Merchandising King of the Cowboys" museum exhibit. Hope "Image Entertainment" will keep releasing this outstanding series featuring Hopalong Cassidy in glorious black & white. I'll be standing in line for the next adventure with the Bar-20 wranglers ~ William Boyd (Hopalong Cassidy), they'll never be another like him ~ gotta love it.
Sir Tyrone Guthrie's famous production of "Oedipus Rex"The story is well known to most audience, but attention should still be paid because the key to the Sophocles version of the tale is that the prophecy from Delphi that was told to the king and queen of Thebes is not the same that was told to Oedipus years later. A plague has come to Thebes and Creon (Douglas Rain) has returned from Delphi with word from Apollo. Creon is the brother to Jocasta (Eleanor Stuart), wife of Oedipus the king as she had been the wife of king Laius before him. He reports that the gods are angry that the murderer of Laius has not been brought to justice. Oedipus vows to do so and utters a curse upon the unknown killer. But when Oedipus demands that Tiresias reveal the identity of the killer, the blind prophet of Thebes says the king is the very man he seeks. Thus the primal crime of the man who killed his father and married his mother is reveal step by tragic step.
The English translation is by the poet William Butler Yeats, which provides its own touch of the classical for the language of the play, which has been cut down to 90 minutes for this filmed version (which is essentially of the stage production); there is also so additional dialogue, primarily an introduction by the Chorus that provides an introduction to Oedipus as the hero who bested the Sphinx and saved Thebes. There is also an introduction by an actor before the play that explains the basic idea of Greek tragedy and also draws a connection between the story of Oedipus and the Christian sacrament of communion. I like a more naturalistic approach, even with Greek tragedies, but there is something compelling about this particular production. Because this is a streamlined version of "Oedipus Rex," viewers will get a good idea of the basic structure of a Greek play, and at 90-minutes in length you can show the film in two standard class periods.
Final Note: The part of the Priest in this Canadian production is played by a very young William Shatner, not that you can tell because he is wearing a mask. This is rather ironic given that the world would come full circle when a painted William Shatner/Captain Kirk mask was used by Michael Myers in the original "Halloween" film, which would sort of be a contemporary Greek tragedy in a lot of ways.
Great movie, great acting
Suberbly Great
Love, Humor, and Beauty
I have dreamed of it for 30 years.
Hot Voodoo!Actually, having just watched the film again for the first time in a while, I was struck by Dietrich's presence in the film. I've always considered Dietrich one of the most under-rated actresses of Hollywoods golden era. She seemed very involved and into her role here. Her scenes with little Dicky Moore, her son in the movie, were very touching and sincere. I'm no acting expert by any stretch, but I feel she was wonderful in this role. Perhaps it was the going against type role of mother that turned off many critics of the day. She was, after all, one of the most glamorous and seductive creatures to ever hit Hollywood, so perhaps thinking of her as a loving mother and housewife could perhaps seem to be a stretch. However, Dietrich carried off the role, and carried the movie totally without effort. Watch the film yourself, and see how under-rated this fine actress really was.
A Sumptuous and Charming Recipe for Magic!"Blonde Venus," like so many of Sternberg's films, has been frequently called an excercise in style over substance. I would have to disagee, though the style is of course sumptuous, I would say rather it was a triumph in substance over story, if that can be. In spite of an undeniably soap opera style plot, it can also not be denied its empathy and emotion, generated in no small part by Marlene Dietrich. It is impossible to say just how, but Dietrich in this film has done something truly unique. She has managed to be at one time smolderingly sexy, and yet tender and warm, maternally comforting. These traits should be a natural contradiction, but somehow she subtly blends them, making one seem unthinkable without the other.
It is not a great film, yet it is wonderful. Coupled remarkably well with "Suzy," "Blond Venus" gave me a light and wonderful morning of escapist magic. If you give in at the right time, I should certainly think it would do the same for you.
diva of the early films
With one daughter who wants to become an actress in New York, another who chooses the "wrong" kind of man to marry, and a son who quits school to join the Air Force during World War II, Mr. Bridge finds that his control over his family is slipping. Spanning the 1930s and '40s, the film presents nuances in how both the dramatic and the smaller moments are woven together. Weddings and arguments are no more important to capturing the essence of the Bridge family then are their moments of daily reverie.
A quiet film that succeeds in establishing its characters' intimacy, with themselves and each other, Mr. and Mrs. Bridge owes much of that success to Woodward. While Newman doesn't always seem comfortable as the stern ruler of the Bridge household, Woodward steals the film as the long-suffering woman whose identity is precariously built on her ascribed roles as mother and wife, taken for granted and often overlooked by the family she truly loves. --Natasha Senjanovic
A movie with memorable momentsIt's about two traditional people thrust into a new world filled with free thinkers and sexual awakenings and the honest, but humerous reactions as they try to deal with it all. Everytime I watch this film I'm suprised at what I didn't catch before, and even the scenes I remember always seem to catch me off guard.
The humor comes from the humanity within the two main characters, and it's often more funny than the best comedies you will ever watch.
Highly recommended!
Oh my God it's my Aunt Marjorie!There were more scenes than I can count that just made me cringe, because I recognized my dippy Aunt Marjorie, again & again, in Mrs. Bridge. The spirit of Mrs. Bridge remains alive and well, even today.
This was a great character study of the two Bridges. The other members of the family, and some of the friends of the Bridges, are a bit fuzzier in their definition, but that is not all that important. This is a very engrossing movie in many respects.
2 thumbs up
With one daughter who wants to become an actress in New York, another who chooses the "wrong" kind of man to marry, and a son who quits school to join the Air Force during World War II, Mr. Bridge finds that his control over his family is slipping. Spanning the 1930s and '40s, the film presents nuances in how both the dramatic and the smaller moments are woven together. Weddings and arguments are no more important to capturing the essence of the Bridge family then are their moments of daily reverie.
A quiet film that succeeds in establishing its characters' intimacy, with themselves and each other, Mr. and Mrs. Bridge owes much of that success to Woodward. While Newman doesn't always seem comfortable as the stern ruler of the Bridge household, Woodward steals the film as the long-suffering woman whose identity is precariously built on her ascribed roles as mother and wife, taken for granted and often overlooked by the family she truly loves. --Natasha Senjanovic
A movie with memorable momentsIt's about two traditional people thrust into a new world filled with free thinkers and sexual awakenings and the honest, but humerous reactions as they try to deal with it all. Everytime I watch this film I'm suprised at what I didn't catch before, and even the scenes I remember always seem to catch me off guard.
The humor comes from the humanity within the two main characters, and it's often more funny than the best comedies you will ever watch.
Highly recommended!
Oh my God it's my Aunt Marjorie!There were more scenes than I can count that just made me cringe, because I recognized my dippy Aunt Marjorie, again & again, in Mrs. Bridge. The spirit of Mrs. Bridge remains alive and well, even today.
This was a great character study of the two Bridges. The other members of the family, and some of the friends of the Bridges, are a bit fuzzier in their definition, but that is not all that important. This is a very engrossing movie in many respects.
2 thumbs up
The story centers on a Japanese prison camp isolated deep in the jungles of Southeast Asia, where the remorseless Colonel Saito (Sessue Hayakawa) has been charged with building a vitally important railway bridge. His clash of wills with a British prisoner, the charismatic Colonel Nicholson (Alec Guinness), escalates into a duel of honor, Nicholson defying his captor's demands to win concessions for his troops. How the two officers reach a compromise, and Nicholson becomes obsessed with building that bridge, provides the story's thematic spine; the parallel movement of a team of commandos dispatched to stop the project, led by a British major (Jack Hawkins) and guided by an American escapee (William Holden), supplies the story's suspense and forward momentum.
Shot on location in Sri Lanka, Kwai moves with a careful, even deliberate pace that survivors of latter-day, high-concept blockbusters might find lulling--Lean doesn't pander to attention deficit disorders with an explosion every 15 minutes. Instead, he guides us toward the intersection of the two plots, accruing remarkable character details through extraordinary performances. Hayakawa's cruel camp commander is gradually revealed as a victim of his own sense of honor, Holden's callow opportunist proves heroic without softening his nihilistic edge, and Guinness (who won a Best Actor Oscar, one of the production's seven wins) disappears as only he can into Nicholson's brittle, duty-driven, delusional psychosis. His final glimpse of self-knowledge remains an astonishing moment--story, character, and image coalescing with explosive impact.
Like Lean's Lawrence of Arabia, The Bridge on the River Kwai has been beautifully restored and released in a highly recommended widescreen version that preserves its original aspect ratio. --Sam Sutherland
DVD Bonus MaterialThe longer documentary (about 40 minutes - much of it in widescreen and color) is enough in itself. The other featurettes are mostly a b/w review of what you've already seen. The tid-bits are fascinating: the SHEERS character (William Holden) is not in the novel and was added simply to get an American male star attached to the picture for box office appeal. The same thing is true of the various women who appear, from SHEER's brief love interest in Ceylon to the women bearers who carry equipment through the jungle - all added to inhance international appeal. Most interesting was the story of Lean's harassment of Japanese star Hayakawa (COL. SIATO). He has to cry in one sequence and just couldn't get it. Lean yelled at him constantly, saying he was a bad actor. When Hayakawa did the scene again, he was actually crying! Also, when Guiness is in the "hot box" or "sweat box", he begged Lean for something cool to sit on; Lean refused and Guiness sweated real sweat! The train wreck that actually wrecked the train BEFORE they blew up the bridge, etc. I kind-of liked the Bonus Disk more than the feature. But that is the true beauty of DVD.
an absolute classicThe Bridge on the River Kwai is based on the fantastic novel by Pierre Boulle. The movie won 7 out of the 8 Academy Awards it was nominated for, including: Best Picture, Best Director, and Best Actor (Alec Guinness). Watching the movie for the first time 45 years later, I'm happy to say that the film still holds up well over time.
It is a simple story. Set during World War II, the Japanese have a prison camp in Southeast Asia. They have an entire command of British prisoners of war, as well as a couple of Americans. The commander of the prison, Colonel Saito (Sessue Hayakawa, in an Oscar nominated performance) needs to have a bridge built across the River Kwai. The prisoners are to build it. This sets up a clash of will between Saito and Colonel Nicholson (Alec Guinness), the officer in charge of the British. Nicholson still wants to lead his command, despite being in prison. He allows that the soldiers should work (to build morale, discipline, and to keep in shape), but absolutely forbids his officers to do manual labor. Saito demands that everyone works. Both men hold to their own personal code of honor and it is an intense emotional stand off between the two. While this is happening, the British soldiers are building Saito's bridge. Nicholson requires that take pride in their work and build the best possible bridge that they can.
That is half of the movie. The other half involves an American POW named Shears (William Holden). Shears seems to be fairly opportunistic and only out for himself. He manages to escape from the POW camp and eventually makes his way to freedom. While free and living at a British military base (waiting until he can return home), he is recruited into a mission to destroy the bridge that Nicholson is building. The bridge is strategically important and reluctantly Shears agrees. The storylines are separate for a while, but they do all come together near the end when the bridge is being completed and Shears (with British forces) are arriving to destroy the bridge.
This movie is a classic, and there is a very good reason for that. 45 years later (or so), The Bridge on the River Kwai is still a very good movie. This isn't your typical action movie with explosions every 10 minutes, but David Lean does a good job of building the tension throughout the movie. It may have some deliberate pacing at times, but if you're a fan of the classic movies, this is one you have to watch.
Classic "Lean" epic about true WW2 exploitBridge focuses on the Japanese attempt to build a bridge linking their railroad through a perilous jungle in Southeast Asia. The prisoners of war are used essentially as slave labor to reach this goal. Colonel Nicholson(Alec Guinness who won an Oscar)are captured with his British troops. Nicholson's can-do attitude creates a myopic outlook which prevents him from seeing that he is collaborating with the enemy when he agrees to help complete the bridge. It's the infusion that Japanese Prison Commander Saito needs; his prisoner worker population is shrinking rapidly. Dysintery, Malaria, heatstroke and other inhabitants of the jungle have killed most of the workers. The bridge is behind schedule and the Colonel Saito is very displeased.
One of the last remaining prisoners is Shears (played with marvelous cynicism by William Holden). He just wants to do as little as possible and return home alive and well from the war. He has an escape plan. When he informs Nicholson of this, he's told that the British will not attempt to escape as there "is no place to escape to". Nicholson feels they'll be better treated in the camp and doesn't want his troops to face the harsh jungle. He orders his troops not to escape given the circumstances.
Shears and two other prisoners make a break for it. Of the three only Shears survives, is shot and eventually found within Allied territory. He's taken to a British stronghold to recover. Shears provides info on the bridge. He doesn't want become involved in an effort to go back and blow it up. Blackmailed by Major Warden (Jack Hawkins)he ends up volunteering for the mission with Warden and one other American.
Lean's direction captures the atmosphere of the jungle perfectly. While amazon.com rates the image as a 4 out of 5, I'd give it a 3. While a restoration effort was attempted, it's nowhere near as complete as that done for Lawrence of Arabia (another Lean film)or Hitchcock's Vertigo and Rear Window. Bridge has a much more brutal look which captures the essence of the jungle and the odds facing Shears and Warden. On the other hand, the film has a lot of analog artifacts and, although I can't be certain, looks like the negative has faded a bit. While it isn't in as bad a condition as Lawrence (or Vertigo)was, it certainly could use a face lift to improve the appearence.
The sound is pretty good overall. Columbia has expanded the original soundtrack into a Dolby 5.1 master and, while it doesn't take advantage of the full range, it coulds much better than the earlier VHS edition.
There are two editions of this classic film. The first has a second disc full of worthwhile extras that includes behind the scenes footage, a documentary on the film, appreciation by director John Millius many more items. The two disc set is certainly worthwhile for fans of the film.
The single disc edition is a dual layer like the first disc of the two disc set. It looks like it came from the same master. It features the full film, trailers and a brief talent biography on Holden, Guinness, Hawkins and Lean. It hasn't been updated since Guinness' death a couple of years ago. It's not bare bones but for the price difference it should suffice for most fans. It features the same interactive menu (a clever use of actual scenes from the movie)and a motion scene selection.
Bridge is a great film and it's certainly worthwhile in either edition. Which one you purchase depends on how much of a fan you are of the film and whether or not you'll watch the background material more than one time. The picture and sound are very good but it's also clear that Columbia sound undertake a more complete restoration of the this classic film.
Oh, a bit of trivia--the main titles have been changed. When the film was released screenwriters Michael Wilson (Lawrence of Arabia, Planet of the Apes) and Carl Foreman (The Guns of Navarone)were still blacklisted writers in Hollywood. Novelist Piere Boulle (who spoke no English)fronted for them receiving screenplay credit and received the Oscar for screenplay. It's only fitting that their names have finally been added to the opening credits. This happened shortly before Foreman's death (if I'm not mistaken)so at least one of them lived to see a wrong righted. Both (or their heirs)also finally received their Oscars with their names engraved. It was fitting given the film's themes and the price the main character (a stand in, no doubt, for both Wilson and Foreman)pays in the film.
The story centers on a Japanese prison camp isolated deep in the jungles of Southeast Asia, where the remorseless Colonel Saito (Sessue Hayakawa) has been charged with building a vitally important railway bridge. His clash of wills with a British prisoner, the charismatic Colonel Nicholson (Alec Guinness), escalates into a duel of honor, Nicholson defying his captor's demands to win concessions for his troops. How the two officers reach a compromise, and Nicholson becomes obsessed with building that bridge, provides the story's thematic spine; the parallel movement of a team of commandos dispatched to stop the project, led by a British major (Jack Hawkins) and guided by an American escapee (William Holden), supplies the story's suspense and forward momentum.
Shot on location in Sri Lanka, Kwai moves with a careful, even deliberate pace that survivors of latter-day, high-concept blockbusters might find lulling--Lean doesn't pander to attention deficit disorders with an explosion every 15 minutes. Instead, he guides us toward the intersection of the two plots, accruing remarkable character details through extraordinary performances. Hayakawa's cruel camp commander is gradually revealed as a victim of his own sense of honor, Holden's callow opportunist proves heroic without softening his nihilistic edge, and Guinness (who won a Best Actor Oscar, one of the production's seven wins) disappears as only he can into Nicholson's brittle, duty-driven, delusional psychosis. His final glimpse of self-knowledge remains an astonishing moment--story, character, and image coalescing with explosive impact.
Like Lean's Lawrence of Arabia, The Bridge on the River Kwai has been beautifully restored and released in a highly recommended widescreen version that preserves its original aspect ratio. --Sam Sutherland
DVD Bonus MaterialThe longer documentary (about 40 minutes - much of it in widescreen and color) is enough in itself. The other featurettes are mostly a b/w review of what you've already seen. The tid-bits are fascinating: the SHEERS character (William Holden) is not in the novel and was added simply to get an American male star attached to the picture for box office appeal. The same thing is true of the various women who appear, from SHEER's brief love interest in Ceylon to the women bearers who carry equipment through the jungle - all added to inhance international appeal. Most interesting was the story of Lean's harassment of Japanese star Hayakawa (COL. SIATO). He has to cry in one sequence and just couldn't get it. Lean yelled at him constantly, saying he was a bad actor. When Hayakawa did the scene again, he was actually crying! Also, when Guiness is in the "hot box" or "sweat box", he begged Lean for something cool to sit on; Lean refused and Guiness sweated real sweat! The train wreck that actually wrecked the train BEFORE they blew up the bridge, etc. I kind-of liked the Bonus Disk more than the feature. But that is the true beauty of DVD.
an absolute classicThe Bridge on the River Kwai is based on the fantastic novel by Pierre Boulle. The movie won 7 out of the 8 Academy Awards it was nominated for, including: Best Picture, Best Director, and Best Actor (Alec Guinness). Watching the movie for the first time 45 years later, I'm happy to say that the film still holds up well over time.
It is a simple story. Set during World War II, the Japanese have a prison camp in Southeast Asia. They have an entire command of British prisoners of war, as well as a couple of Americans. The commander of the prison, Colonel Saito (Sessue Hayakawa, in an Oscar nominated performance) needs to have a bridge built across the River Kwai. The prisoners are to build it. This sets up a clash of will between Saito and Colonel Nicholson (Alec Guinness), the officer in charge of the British. Nicholson still wants to lead his command, despite being in prison. He allows that the soldiers should work (to build morale, discipline, and to keep in shape), but absolutely forbids his officers to do manual labor. Saito demands that everyone works. Both men hold to their own personal code of honor and it is an intense emotional stand off between the two. While this is happening, the British soldiers are building Saito's bridge. Nicholson requires that take pride in their work and build the best possible bridge that they can.
That is half of the movie. The other half involves an American POW named Shears (William Holden). Shears seems to be fairly opportunistic and only out for himself. He manages to escape from the POW camp and eventually makes his way to freedom. While free and living at a British military base (waiting until he can return home), he is recruited into a mission to destroy the bridge that Nicholson is building. The bridge is strategically important and reluctantly Shears agrees. The storylines are separate for a while, but they do all come together near the end when the bridge is being completed and Shears (with British forces) are arriving to destroy the bridge.
This movie is a classic, and there is a very good reason for that. 45 years later (or so), The Bridge on the River Kwai is still a very good movie. This isn't your typical action movie with explosions every 10 minutes, but David Lean does a good job of building the tension throughout the movie. It may have some deliberate pacing at times, but if you're a fan of the classic movies, this is one you have to watch.
Classic "Lean" epic about true WW2 exploitBridge focuses on the Japanese attempt to build a bridge linking their railroad through a perilous jungle in Southeast Asia. The prisoners of war are used essentially as slave labor to reach this goal. Colonel Nicholson(Alec Guinness who won an Oscar)are captured with his British troops. Nicholson's can-do attitude creates a myopic outlook which prevents him from seeing that he is collaborating with the enemy when he agrees to help complete the bridge. It's the infusion that Japanese Prison Commander Saito needs; his prisoner worker population is shrinking rapidly. Dysintery, Malaria, heatstroke and other inhabitants of the jungle have killed most of the workers. The bridge is behind schedule and the Colonel Saito is very displeased.
One of the last remaining prisoners is Shears (played with marvelous cynicism by William Holden). He just wants to do as little as possible and return home alive and well from the war. He has an escape plan. When he informs Nicholson of this, he's told that the British will not attempt to escape as there "is no place to escape to". Nicholson feels they'll be better treated in the camp and doesn't want his troops to face the harsh jungle. He orders his troops not to escape given the circumstances.
Shears and two other prisoners make a break for it. Of the three only Shears survives, is shot and eventually found within Allied territory. He's taken to a British stronghold to recover. Shears provides info on the bridge. He doesn't want become involved in an effort to go back and blow it up. Blackmailed by Major Warden (Jack Hawkins)he ends up volunteering for the mission with Warden and one other American.
Lean's direction captures the atmosphere of the jungle perfectly. While amazon.com rates the image as a 4 out of 5, I'd give it a 3. While a restoration effort was attempted, it's nowhere near as complete as that done for Lawrence of Arabia (another Lean film)or Hitchcock's Vertigo and Rear Window. Bridge has a much more brutal look which captures the essence of the jungle and the odds facing Shears and Warden. On the other hand, the film has a lot of analog artifacts and, although I can't be certain, looks like the negative has faded a bit. While it isn't in as bad a condition as Lawrence (or Vertigo)was, it certainly could use a face lift to improve the appearence.
The sound is pretty good overall. Columbia has expanded the original soundtrack into a Dolby 5.1 master and, while it doesn't take advantage of the full range, it coulds much better than the earlier VHS edition.
There are two editions of this classic film. The first has a second disc full of worthwhile extras that includes behind the scenes footage, a documentary on the film, appreciation by director John Millius many more items. The two disc set is certainly worthwhile for fans of the film.
The single disc edition is a dual layer like the first disc of the two disc set. It looks like it came from the same master. It features the full film, trailers and a brief talent biography on Holden, Guinness, Hawkins and Lean. It hasn't been updated since Guinness' death a couple of years ago. It's not bare bones but for the price difference it should suffice for most fans. It features the same interactive menu (a clever use of actual scenes from the movie)and a motion scene selection.
Bridge is a great film and it's certainly worthwhile in either edition. Which one you purchase depends on how much of a fan you are of the film and whether or not you'll watch the background material more than one time. The picture and sound are very good but it's also clear that Columbia sound undertake a more complete restoration of the this classic film.
Oh, a bit of trivia--the main titles have been changed. When the film was released screenwriters Michael Wilson (Lawrence of Arabia, Planet of the Apes) and Carl Foreman (The Guns of Navarone)were still blacklisted writers in Hollywood. Novelist Piere Boulle (who spoke no English)fronted for them receiving screenplay credit and received the Oscar for screenplay. It's only fitting that their names have finally been added to the opening credits. This happened shortly before Foreman's death (if I'm not mistaken)so at least one of them lived to see a wrong righted. Both (or their heirs)also finally received their Oscars with their names engraved. It was fitting given the film's themes and the price the main character (a stand in, no doubt, for both Wilson and Foreman)pays in the film.
"Trail Dust", Hoppy and the Bar-20 outfit (Johnny Nelson & Windy Halliday) want to combine herds to feed a starving country...but rustlers and greedy cowhands try to steal and give the Bar-20 a run for their money...but who should your money be on to see who comes out on top, never fear Hoppy's here.
"Borderland", this time Cassidy goes undercover to catch a bandit known as "The Fox", plenty of action and hard-riding ahead for Hoppy and his faithful steed Topper!
Outstanding direction by Nate Watt...and as always George "Gabby" Hayes (Windy Halliday), backing Hoppy's play whenever trouble enters the picture...it's plain to see...Hoppy Is Here To Stay!
Total Time: 76 Mins (Trail Dust-1936)
Total Time: 82 Mins (Borderland-1937)