Rim of the Canyon (1949)

Although it has its amusing moments, in eneral the plot does not convince.

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

This story has more twists and turns than a second-rate soap opera.

The acting in this movie is really good.

First off, let me inform planktonrules, above, that the title, "Rim of the Canyon," DOES have something to do with the movie! It's the title song, which Gene sings early on; and there is mention made in dialogue of a particular place in the Western area where the film takes place, referred to locally as "the rim of the canyon." So there.Gene Autry's movies for Columbia, which were filmed starting in 1947, tended to include darker plots, less music, more action, and a more mature, better actor as the star. And "Rim of the Canyon" is one of the best.Autry is sabotaged out of winning a stagecoach race, and, with an injured leg, limps into a ghost town where he meets a rather plain, bespectacled young school teacher Ruth Lambert (Nan Leslie). She goes to the town to be alone and write when she has time, and as Gene discovers, she is friends with an older man who lives there secretly, and who faked his own death years before, Big Tim Hanlon (Thurston Hall).Meanwhile, three outlaws who were captured after a $30,000 robbery 20 years before have broken out of prison and are headed for the ghost town to reclaim the money one hid there before their capture. The connection? They were captured by Sheriff Steve Autry, Gene's father, also played by Gene in a flashback. While preparing to head for the ghost town, they steal Gene's horse Champ, who was waiting for his master to return from the stagecoach race. As a result, Champ plays a much larger part in this film than in most Autrys, including getting his own revenge on one of the three outlaws.Autry is informed by the elderly stranger in the ghost town that Ruth is in love with the cowboy. He also tells how he (Hanlon) has come to be known as the "ghost" in the "ghost town." Shortly after, the three crooks arrive, and the plot thickens and includes much more action than in the first half of the movie -- including two knock-down, drag-out fights between Gene and the towering Jack Mahoney, playing the youngest of the thugs. Some serious gun play and riding is also included before Gene finally wins out in the end -- and wins Ruth also. She has been transformed into a beautifully gowned, strikingly lovely young woman at a "magic moment" in the film.Gene Autry's riding, fighting and acting are outstanding in this movie. The others also turn in fine acting jobs, especially Thurston Hall as the "ghost." In fact, when he's walking away from the camera, chuckling, near the end, did it seem to anyone else that he just suddenly disappeared into the night? ...This is a very fine B-Western, one of Gene's best, never mind what some of the "nay-sayers" above think about it. I heartily recommend it.

Oddball Autry entry, from his limping into a ghost town, to a woman possessed by a ghost, to horse Champion doing everything but talking. Looks like Gene and Columbia were reaching for something different from the matinée formula. What they come up with is an uneven but interesting storyline that jumps around quite a bit. Nonetheless, prolific director English sneaks in some unusual camera shots adding to the movie's generally exotic flavor. And catch leading lady Leslie riding around in what looks like an overflowing prom gown, along with a wild horse herd numbering in the thousands. And note the general absence of the usual comedy relief. As a result, you can't be sure what will pop up next since Gene (the actor) also gets to play Gene's (the character) dad, Steve, and with a mustache, no less. Minimize a convoluted plot that plays around with three outlaws and a ghost trying to find a hidden thirty-thousand in gold. Nope, the real draw here is an exotically flavored programmer much less predictable than the usual matinée fare.

I have watched a ton of B-westerns lately--mostly those films by old reliable series stars like Roy Rogers, Tim McCoy, Hoot Gibson and Gene Autry. While they are fun and entertaining, a major problem about them is that all too often the plots are either VERY recycled and familiar or they just don't seem that important. Too often singing and formula seem THE most important thing about the films. However, sometimes these stars make a film that stands out because it's original--and "Rim of the Canyon" is such a movie.The first thing you need to know is that NOTHING about the title has anything to do with the film! Don't worry--it's still good. The film begins with Gene in a wagon race with a very young Alan Hale, Jr.--and Hale sabotages Gene's wagon to win! As a result of his wagon falling apart, Gene is left stranded--and the nearest town is a ghost town. However, when he arrives he finds the local school teacher. It seems she loves the old place AND likes to come and talk with a ghost!! Gene naturally suspects it's not a ghost--and perhaps the lady is wacky! At around the same time, three evil criminals escape from prison. Not only did Gene's father capture them (which you see in a flashback) but while Gene is racing, they steel his beloved horse, Champion! Eventually, this Einstein-like horse escapes and the three desperadoes end up in this ghost town. Considering they have a deep hatred of Gene's dad, they decide to do the next best thing and kill Gene...and his friends. I say friends because in addition to the teacher (Nan Leslie), there is a goofy old man named 'Loco John' (Clem Bevans) and the 'ghost' (Thurston Hall)! All four face certain death unless SOMETHING happens to stop these baddies.As you can see, the plot sure is different. But there were several things I liked about this in addition. Hall was simply great. You can't help but be charmed by his sweet character--and Bevans is his usual cantankerous character as well---and they both added a lot to the film. Leslie was also quite nice--playing a different sort of romantic lead--one who was odd but very likable and sexy. As for Gene, he was quite good because he was not so invulnerable as some cowboys--he takes a few licks but comes back swinging--and did a reasonable amount of his own stunts. My only complaint, and it's a minor one, is the cliché of having Gene play his father in a flashback scene. Identical family members almost never occurs in real life--but is a common staple in B-movies! Still, if that's my biggest complaint, then I have no serious qualms about recommending this genuinely fun film. If you like the genre, see this movie!By the way, if you do see this film, pay attention to what Champion does at the end of the movie. I have NEVER seen a horse do this sort of thing and it sure made for a dark but unique ending. See what I mean for yourself.

Shortly after Gene Autry returned to the world of Western film-making following his wartime service, he left Republic Pictures, moving with his production company to Columbia where he enjoyed the greater fiscal capabilities of the larger studio, as can plainly be observed in this well-made melodrama that is marked by strong contributions from all involved, and that offers a storyline having precedence over Autry's former bedrock singing scenes, of which there are but two examples in this piece. Gene plays a double role, incorporating flashbacks as his sheriff father Steve who, 20 years prior, had arrested a trio of stagecoach bandits that are now prison escapees and have returned to their former hunting grounds, in the area where Gene owns a spread, to regain their secreted loot, and before this briskly-paced film has come to its closing, we may enjoy a scenario featuring an exciting stage coach race, a ghost ( naturally residing in a ghost town), a rampaging herd of wild horses, excellent stunt work, a romance (for which a homely schoolteacher abruptly blossoms), along with gunplay and superb horsemanship. The original story penned by Joseph Chadwick and published in the long-running pulp magazine "Western Aces" is adapted to a script by John K. Butler that improves upon it, adding elements that match the skills of those involved, including director John English who further tightens the work, cinematographer William Bradford, notable cameraman of equine fare, editor Aaron Stell (TO KILL A MOCKINGBIRD) who works closely with English, George Montgomery, whose designs are moodily effective for the ghost town interiors, Russell Malmgren with noteworthy sound mixing, in addition to the duo of Paul Malcolm (makeup) and Beth Langston (coiffeurs) who successfully bring about a metamorphosis of Ruth (Nan Leslie) from a plain, lovelorn spinster into an actual beauty; Leslie is impressive, as are future cinema Tarzan Jock Mahoney and rugged Walter Sande as hold-up men, and there are fine turns from old hands Thurston Hall, Alan Hale Jr., Clem Bevans, John McKee, Francis McDonald and Denver Pyle, while Champion Jr. must not be ignored, the Tennessee Walker's actions being fundamental to plot development.