If "The Old Barn Dance" seems somewhat lacking in sympathetic appeal to a modern-day audience, the same cannot be said for McConville's earlier script, "Ride, Ranger, Ride" (1936). In this one, an army martinet (Robert Homans) is the villain - a piece of putty in the hands of super-bad renegade, Monte Blue - while Gene Autry, Smiley Burnette and a remarkably personable Max Terhune (minus "Elmer", I'm glad to say) lead the good guys in this elaborately produced (although helped out with some obvious stock footage) Nat Levine production. Director Kane keeps the movie moving, but Gene himself often seems oddly subdued. It's the other players who have all the good lines and handle most of the action. Even the songs are sparse! (Echo Bridge used to handle DVD discs of the 16mm TV cutdown).

A good Western film is built around the Good Guy- Bad Guy conflict and their eventual Showdown. Here, that showdown is there, but it's not the major focus of the film.It's mainly about how we must fight against Indians. Gene and his Texas Rangers know about Indians; the cavalry does not. ("Make your peace sign with one hand, and keep a gun in the other.") We get that awful 'Tarzan talk' in the way the White Man speaks to the Indians. We get the cliché (it was used in John Ford's 'The Iron Horse' in 1924!) of a white man masquerading as a warlike Indian -- except this time he's a saloon owner.There is the throwaway of a love interest (surprisingly, Gene marries her and rides off into the off screen). There is Republic's 'comic relief' of Smiley Burnette and Mex Terhune (he is actually good in this film!); and the dreadful running gag of Chief Thundercloud, who was so evil in the serial 'Custer's Last Stand' (1934), trying to scalp Frog Millhouse; but there's really nothing of substance going on in this picture. It seems too have been made from the "let's crank out another one" mode as part of the new Republic formula of cheapie B pictures.There are much better Gene Autry films that seem more authentic, such as 'Yodelin' Kid From Pine Ridge' (1937) than this third rate formulaic cranked out film. Gene is genial, but overall this movie is worth only a 3.

Fairly tame Gene Autry vehicle (as if there were any hard-hitting, serious-minded ones) that deals with Autry and his pals getting jobs with the Texas Rangers, In this we realize a number of things.. we see that the rangers are trigger-happy when it comes to arresting Autry (and rehiring people on the spot), it shows how to to do the old flattened metal dish to block doorways from being locked, how people are around handily to turn tables over when there's a fight, and how the Indians, while using their "Man go that way" type of talk, also use sign language to get their point across. This is a rather curious movie, that teaches us that the Texas Rangers are not to be trusted, has an EXTREMELY lame love interest, and how they are able to get a song in our head by repeating it 3 times. Yikes!

Although made in 1936, this film has the stodgy, choppy, primitive look of a B western of 1930 or 1931. I'm not particularly an Autry fan, but I've seen far better examples of his work than this. The script is forced, the "humor" involving an Indian repeatedly trying to scalp Frog (Smiley Burnette) to collect on a bet is not only unfunny but insulting and degrading, even for the 1930s. The songs are uninspired and leaden, Autry's delivery of both dialogue and lyrics are even more wooden than usual, and the tinny, uneven sound quality is reminiscent of the worst of PRC. Republic's westerns are usually much more technically proficient and accomplished, and director Joseph Kane has done far, far better work both before and after this film came out, so I'm not quite sure what the problem was with this picture, but it had more than its share of them. On the other hand, there's a somewhat exciting horse race, and Kay Hughes, as the girl fought over by rivals Autry and George J. Lewis, is ravishingly beautiful, much more so than many of Autry's other Republic leading ladies, and that goes a long way toward making up for the film's deficiencies, both technically and otherwise. But it's not quite enough to cover the fact that this picture is definitely one of Autry's weakest efforts. Skip it; you won't be missing much.