In an early California settlement, Juanita, a dance hall queen of Castilian ancestry, knifes her lover, Jim Brandt, the dance hall owner, when she catches him embracing a new dancer.
Officially a Charles Starrett western, Riders of the Badlands divides its running time fairly evenly between Starrett and second-billed Russell Hayden. The plot concerns a Texas Ranger named Collins and his lookalike, notorious outlaw Langdon. When his wife is killed by Langdon's minions, Barton vows to avenge her death.
Whip Wilson and Andy Clyde are back and Monogram's got 'em in Fence Riders. The Whipster comes to the aid of beautiful ranch owner Reno Browne, who is being victimized by rustlers Myron Healey and Riley Hill. To get Wilson out of the way, the villains frame him on a murder rap.
After he loses his money and horse in a poker game, Yak learns he was cheated. But then he learns that the men that cheated him are wanted and have a price on their heads. This gives him a chance to get his money back and more, so he sets out after them.
After claim jumper Sanders kills a miner, he changes clothes with Perry. In pursuit, the Marshal kills Perry claiming he was the murderer. Setting out to clear Perry's name, Jimmy works his way into the outlaw game. But Sanders overhears Jimmy's plans and he and his boss Morgan set a trap to kill Jimmy.
A late entry in Columbia's seemingly endless Durango Kid Western series, Cyclone Fury was augmented with a hefty dose of stock footage from an earlier Durango effort, Galloping Thunder (1946), footage that included sidekick Smiley Burnette warbling "Hear the Wind (Singing a Cowboy Song)" accompanied by Merle Travis and his Bronco Busters.
In the second of the "Billy the Kid" series from PRC that starred Bob Steele, Billy the Kid is being held on a trumped-up murder charge in a Mexico jail. He escapes and meets his pal, Fuzzy Jones, in Corral City, Texas, which is taking a holiday to allow the cowpunchers of the Lazy A Ranch their periodic spree. In the saloon, Billy is recognized by Dave Hendricks and Flash, two the Lazy A's bed men, as the rider who had held them up after they had robbed the express wagon a few hours earlier. Outside, Billy is ambushed and slightly wounded, and is taken to the express office by Jim Morgan where Mary Barton, the local agent, agrees to tend him until the doctor arrives. Billy turns over the loot he took from the outlaws and he is appointed sheriff, with Fuzzy as his deputy. The Lazy A gang brings in a noted gunfighter, Gil Cooper, who turns out to be Billy's brother. Billy, Gil and Fuzzy eventually rout the outlaw gang, and Gil remains behind with Mary as Billy and Fuzzy ride off.
A man roves the vastity of a deserted industrial plant ready to grasp his gun. Hat, boots, belt, the last pistolero is going to face the hardest of challenges...
Claire Adams as a girl forced to marry the man she suspects killed her father. When she refuses, she is virtually kept a prisoner along with kid-brother Frankie Lee until a handsome stranger (Jack Conway) rescues them.
European bad guy Baron Bendor leads some local townsmen in a plot to obtain horses through theft. Hoppy and his sidekicks Lucky and Speedy must find and expose the horse thieves.
György Szomjas’s first feature—made after a decade of short documentaries—is a bold attempt at a goulash western, set on the puszta, or Great Hungarian Plain, in 1837. Mixing Miklós Jancsó imagery and a Sergio Leone narrative, this ballad-like saga opens with image of a lone horseman on the empty plain, riding past a rude gallows. The film concerns the vengeful return of a legendary betyár (outlaw), briefly a hero to the local herdsmen who oppose the state building a canal across their grazing land. Although Szomjas works from ethnographic records and archival material, it is hardly surprising that this violent, primitivist film would be more popular with Hungarian audiences than critics. Replete with young guns, crooked sheriffs, tavern brawlers and hardbitten plug-uglies, this widescreen film is strikingly shot by Elémer Ragályi (cinematographer for most of Gyula Gazdag’s films)—a feast of loamy, autumnal colors.