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Original Title: The Texas Rangers
Two down-on-their-luck former outlaws volunteer to be Texas Rangers and find themselves assigned to bring in an old friend, now a notorious outlaw.
Jim Hawkins and Wahoo Jones are stagecoach robbers who head to Texas to find Sam McGee, their partner. Once there, low on funds, they join the Texas Rangers, come across Sam, and decide to run their game by sending Sam inside information. Meanwhile, though, in pacifying rebellious Indians, Jim and Wahoo start to take on the code of the Rangers, and the daughter of the Ranger's major sets her sights on Jim. Can there be honor among thieves, or are Jim, Wahoo, and Sam on a collision course? As a lawless frontier becomes a civilized land, which side will the boys chose?
I'm sure in casting The Texas Rangers Paramount had it in mind to broaden Fred MacMurray's appeal by putting him in a western. MacMurray had been a star at Paramount for two years and had appeared in mostly light comic parts as he did throughout his career. I mean Paramount could have cast Gary Cooper or Joel McCrea, both of whom were available at the studio. MacMurray did the film and gave a creditable performance, but as he remarked, "the horse and I were never as one." He never really did feel comfortable in westerns and ones he later appeared in were long after his Paramount studio days were over.
The Texas Rangers film is based on stories derived from Walter Presscott Webb's authoritative history of the legendary law enforcement outfit which was only published a few years back. Fred MacMurray, Jack Oakie and Lloyd Nolan play three outlaws who drift into Texas and become separated. MacMurray and Oakie join the Texas Rangers and Nolan continues his outlaw ways.
Lots of good action here folks. A really great Comanche Indian attack sequence is well staged by Director King Vidor. Lots of familiar western faces support the leads like Fred Kohler and Gabby Hayes. Edward Ellis as the commandant of the Texas Rangers comes off a lot like Lewis Stone and had MGM instead of Paramount had made this film, Lewis Stone definitely would have been cast in Ellis's role.
Despite MacMurray's misgivings about westerns, The Texas Rangers is a pretty good action western with great character development for the three leads.
The Texas Rangers (1936)
Routine. There are elements here of Westerns earlier (there were hundreds of obscure ones) and Westerns later (including some well known ones), with stagecoach holdups and cowboy and Indian battles (the Indians lose again) and with pioneer justice. All of the above, plus a man reluctant to see the love of a lonely and lovely woman out on the edge of nowhere.
In a sense, it isn't worth watching if you have other Westerns up your sleeve. But--there has to be a but--the plot is interesting because it turns upside down more times than a tumbleweed, the filming (with Cronjager behind the camera) is straight up and strong, and we get an early look at unlikely Wild West hero, Fred MacMurray. For those who like Westerns, this is a decent mid-30s example, before the explosion of greater examples in 1939.
The title is exactly what the movie is about on the surface--the ragtag but well supported Texas lawmen known as the Texas Rangers (legendary enough to not only have a more recent widely panned movie about them made starring Ashton Kushner but also a Baseball Team). It almost is a promo piece for the group, with a voice-over in the beginning like those FBI films of the 1950s. MacMurray is actually a bandit, teamed up with a kind of goofy second lead, Jack Oakey. In fact, it seems like a comedy at first, and the lightweight air never quite lets up.
It does get more serious, though, not only about love (briefly) but about the honor and ability of the Rangers to fight not only Indians but outlaws. MacMurray gets in the middle of a major mess because he plays both sides of the game, as outlaw and newbie Texas Ranger. Lloyd Nolan enters the plot after awhile and is a great outlaw of his own. It's hard to take MacMurray seriously in this rough rough world, but the music pumps it up and the scenery is dramatic and he holds his own well enough for a middling movie.
And it's a bit long. Even if the plot seems to demand two hours with more and more twists, it loses something of velocity as it goes. King Vidor directed a number of notable silents in the 20s, and a few great 30s films (including the black and white parts of the Wizard of Oz). This one shows the solidity of a great director, and the wobbly backbone of a so-so script.
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