ShangLuda Admirable film.

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Catangro After playing with our expectations, this turns out to be a very different sort of film.

Geraldine The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

corporalko This Gene Autry Western, made during the period of his best pictures, is a stunner, not only for the title song which was the biggest tune of 1949, but for the plot, which adds elements of the supernatural seldom seen in a "B-Western." As a matter of fact, a good friend of mine who is like me a fan of the old-time Western movies has said that this one is a "B-plus" -- almost an "A."The plot involves Gene and his sidekick Pat Buttram with an old drover, Tom Ford, who witnesses a murder in front of his town's saloon, but is intimidated by the bad guys into denying having seen anything other than "self-defense." Ford dies later in a run-away wagon accident, and as Gene sings the title song, this is where the "supernatural" aspect begins to manifest itself.In a list of the "100 best movie Westerns" selected by film critics, that I once found on line, this movie was one of those 100. It's obvious that several of the previous reviewers not only didn't think much of this one, but they don't seem to like ANY Autry movies very much. I wonder why they keep watching them and writing reviews?

morninglory2504 Being a twenty two year old female, westerns from before my Mom was born aren't what you'd expect me to be watching... but here I am. I have to confess, I love Gene Autry and I love cheesy old westerns. Cheesiness is part of their charm! The Singing Cowboy- how much more Americana can you get? I adore Pat Buttram, too, and I have to admit that he's half the reason I had this movie ordered special from FYE. Anyway, I'm a huge sucker for this song and for old-timey westerns, and if this sounds like your cup of tea go for it- and if it doesn't, give it a shot anyway. It's adorable, funny, stirring, and it's got some cool fight scenes too. One minute you're laughing at Pat Buttram getting throwed off Gene's horse Champ, and the next minute you're biting your fingernails going "oh no he's going for his gun!" or something like that. Go on, watch it, it's fun.

Mike Newton I was never a Gene Autry fan, being a Roy Rogers fan from age 5, but of all the Autry movies, I recall this one. Tom London who plays the dying prospector tells Gene that the "Ghost Riders" are coming after him. Autry goes to the window and looks out to see the image of shadowy riders coming through the clouds. At this point, Gene sings the song. It is introduced more logically into the plot than any of his other songs. There is also a reprisal at the end of the movie. Even today, when I look up into a stormy sky, the song comes immediately to mind. It was written by Stan Jones, an ex-park ranger, who appeared in Autry's films and who also wrote another Autry hit, "Whirlwind." Tom London, who had appeared in several Republic films as Sunset Carson's sidekick, has said that this particular scene got him other parts in movies and television.

FilmFlaneur For the most part this is a movie only of interest to Autry enthusiasts and those who like the superb title song (around which the script was presumably cobbled together). Sure enough, the song pops up twice and is easily the film's highlight on each occasion. The way that it is sung here, with emotion and zeal, and the mythic quality of its lyrics means that it transcends the B-material in which it is embedded.The exception to boredom is the sequence in the film where the song plays out over the stark mono images of the old timer's grizzled face (as a character he dies shortly afterwards.) For an all too brief few minutes the power of the music asserts itself and the cinematography comes alive in high contrast black and white photography. The old timers' face becomes epic, stark, and deeply moving. In fact, at the risk of sounding ridiculous, I was reminded of Eisenstein's framing of facial 'types' in his Alexander Nevsky or October. So poetically powerful is this scene that it seems to have wondered in from another, more prestigious, movie (a good Western candidate being perhaps Anthony Mann's The Furies, where such stylisation abounds).Then like a pan handler's lucky strike, the moment of glory fades and we are back to cinematic mediocrity, and a negligible, undramatic oater of most interest to hard core fans and completists.