Bill Esser This was a fun old time western that was well plotted and fast moving.John Wayne enters a "deserted" bar that is host to dead men. It is eerily empty except for a player piano running through its program and a set of eyes peering through a picture. This was pretty cool stuff for a 1934 early talkie. Shortly we find that the set of eyes belong to an attractive young female, Alberta Vaughn, who is sole owner of the tavern now that her father has been murdered. We are introduced to other major players. . The most interesting is Matt the Mute. He is played by Gabby Hayes who doesn't resemble the Gabby Hayes that we are used to. He has no beard. There are a few other differences that would give too much plot away. We shortly find out that John is on the side of the good guys. Good triumphs over bad as it should in all good old westerns. Throw in the great stunt rider, Yakima Canutt and Earl Dwire, who looked like his character of the old time sheriff. And you've got a fun old time western.

weezeralfalfa This is one of the few Lone Star Wayne westerns in which George(later "Gabby") Hayes was the chief villain rather than working with Wayne in bringing the baddies to justice. As in the other film in this series I have seen where Hayes was the chief villain, he is barely recognizable as the same person who played an oldtimer during this period as well as later. After he left Lone Star, he would(to my knowledge) be seen exclusively in his oldtimer role. As the villain, he was usually clean- shaven and lacked his distinctive oldtimer toothless manner of speech and improvised vocabulary. In the present film, he is seen in two incarnations: Matt the Mute, a bespectacled hunchbacked old man about town with a generous mustache, looking rather like TR, who can hear but not talk, and clean-shaven 20-20 visioned Marvin Black, a notorious outlaw leader who lives in a hideout behind a waterfall, some miles out of town. Black usually lives up to his name, dressed in all black, including his hat, in contrast to the rest of his gang and to Matt the Mute. As Matt, he often learns information relevant to his outlaw schemes.Wayne rides into town as a government special investigator, with the goal of infiltrating the Black gang. No one knows of his real status except for Sally, the niece of the recently murdered proprietor of the Half Way House. Black's present goal is to steal a large stash of cash believed somewhere in the Half Way House and to arm twist Sally, as the heir, into selling this establishment to him. Wayne is suspected by the town folk of the murder of Sally's uncle and others, although Sally knows this is false. She facilitates his escape from jail; however, he has a tough job not being gunned down by either the posse or the outlaws.Having seen quite a few of Wayne's Lone Star "B" westerns, I would rate this as one of the better ones, in terms of plot, although it lacked the comic element sometimes present. The beginning and end were particularly memorable. Newcomer Wayne walks into a watering hole in the middle of nowhere to find everyone dead, the player piano still making music and a pair of eyes moving behind a portrait with the eyes cut out. However, the ending would have been much more effective if the audience didn't know beforehand that Wayne had replaced the contested Half Way House money with dynamite.(Today, we would probably categorize Wayne as a bomb-rigging terrorist). Also, Sally seems unusually calm in seeing her Half Way House blown to smithereens, possibly including her fortune in cash. I've noticed that, whereas the male actors are mostly the same in this series of westerns, the female lead usually changes each time, giving Wayne quite a collection of film wives. Most of them are portrayed as basically helpless damsels in distress in the setting of the Wild West, and many look like they could have just stepped out of the Zeigfield Follies.

John W Chance There were many 'spooky' westerns made in the 30s and early 40s, and although this has a strong beginning, it isn't one. Randy Bowers (John Wayne) stopping at a 'Halfway House' saloon, finds it to be full of dead bodies, the bartender's corpse draped over the bar holding a gun, eyes watching Randy from behind holes cut through eyes in a picture, and a player piano playing "The Loveliest Night of the Year." It was the result of a robbery by the Marvin Black gang, to get Ed Rogers' $30,000. Randy is an investigator who "works alone," who wastes little time in getting arrested, escaping (with Ed's daughter Sally's help) and literally landing in the midst of the Black gang's hideout behind a waterfall. It all moves along fairly quickly. Only one too many chases after Randy slow it down.We even get George Hayes, clean shaven and playing two parts-- Marvin Black, the vilest villain, as well as the Good Citizen, Matt the Mute, who communicates via handwritten messages. Having him play two opposite roles was a good idea, but the writing down of messages thing gets old real fast, even for him, as he finally gives up doing it near the end saying to Sally, "Ah, I'm fed up with this!" You can find George playing a vile, vile, double crossing villain in the serial "The Lost City" (1934).I think this is the only 'Lone Star' film in which the title relates to, or is mentioned in the film! Sally offers her hand to Randy and says, "He's not alone anymore!" Then cut to their arms around each other as they look out facing a lake. Sally's running off with Randy seems too abrupt and not sufficiently prepared for. Too much time spent on horseback escaping the sheriff.Not that bad considering everything, but not that great either. I'd really give it a 4 and a half.

BrianG John Wayne made a slew of B Westerns for major and minor studios in the '30s before he hit it big with "Stagecoach" in 1939 for RKO. This was made for Monogram, a minor studio, and directed by Harry Fraser, a quirky director who spent his entire career grinding out B (and D, and Z . . . ) movies for long-forgotten studios like Resolute, Atlantic, PRC and Screen Guild. Working at a cheapo studio like Monogram would be considered the start of a downward slide for most directors; for Fraser it was a step up the career ladder, and he was ready for it. This could well be called one of, if the first, gothic Westerns; such things simply did not exist in 1934. It's eerie, atmospheric and has an especially shocking (for the time) opening scene. Randy (Wayne) rides into town after a long, dry trip and stops by the local saloon to wet his whistle. As he approaches it, he hears the tinkle of a piano coming from inside. Entering the establishment, however, he's greeted by a grisly sight: the piano is a player piano running by itself, and there are dead bodies lying everywhere. This film shows what can be done with almost no money but a lot of imagination and talent. This kind of movie wouldn't have been made at any of the big studios, but the independents could get away with a lot of things the majors couldn't (and wouldn't) do. This is an extremely offbeat, well done little film, not at all like Wayne's other westerns of the period. It's too bad Harry Fraser was never able to capitalize on the success of this movie (reportedly it made quite a bit of money and Wayne got along especially well with him); it would have been interesting to see what he would have been capable of with a bit more money and some major studio backing. Instead, he stayed pretty much where he was and ended his career making trash like "The White Gorilla" and "Chained for Life", about a murder committed by Siamese twins (!). Sorry, Harry.