SYNOPSIS: A frontier clash between rustlers and cattleowners finds Hopalong Cassidy, the "Bar 20" foreman, at even more of a disadvantage than usual. One rustler chief is a cinch for Hoppy to handle, but this time the band is led by twin brothers, one a gambling hall owner, and the other foreman of a ranch.
From the ranch, raids are made for cattle, and an alibi is always available because one of the brothers is always seen by various people well away from the scene of the rustling. Hopalong Cassidy's feud with the rustlers starts when they take some of the "Bar 20" prize cattle. (This film is available on an excellent Platinum Disc DVD).
NOTES: In a remarkable change of tack (see Heart of Arizona), Paramount now insists that the script here was based on Mulford's characters, not on either an original Mulford screen story or on Mulford's novel, "On the Trail of the Tumbling T". Reading between the lines, it seems obvious that, through his lawyers, Mulford had complained about the ambivalent press releases surrounding Heart of Arizona and the claim made for Bar 20 Justice. I think we can take it for granted that Mulford had nothing to do with either story or script for Heart of Arizona and likewise Bar 20 Justice. Indeed Paramount's reckless claims obviously placed the author in an embarrassing situation with the IRS. And that's why the studio is now suddenly insisting that Mulford was not paid any additional money and rendered no services whatever.
COMMENT: Like most of the other Cassidy entries of the 1930s, this one saves all its action for the last reel - and a pretty tame shoot-out it is too! However, it does offer a dual role for one of our favorite character players, Stanley Ridges. Also, it must be admitted that the dialogue is tense enough. Russell Harlan's fine location camerawork is another major asset. As for heroine, Ruth Rogers, she must have been assigned to the movie over producer Harry Sherman's head. "Pop" Sherman doesn't like blonde ladies at all, so doubtless cut her role to the bone. I'd be surprised if she was on screen for much more than five minutes all told (which, considering her abysmal performance, is maybe just as well). However, "Pop" Sherman does indulge his more likable penchant for "employing more former Hollywood big shots as extras than any other producer in Hollywood." Sherman insists that the jury that tries Russell Hayden for murder includes "three former directors and five actors of erstwhile importance." I recognized the jury foreman as Frank O'Connor, who directed around twenty silent features including The Block Signal (starring Jean Arthur), Devil's Island (starring Pauline Frederick), Spangles (starring Marian Nixon), and The Silent Power.
NOTES: In a remarkable change of tack (see Heart of Arizona), Paramount now insists that the script here was based on Mulford's characters, not on either an original Mulford screen story or on Mulford's novel, "On the Trail of the Tumbling T". Reading between the lines, it seems obvious that, through his lawyers, Mulford had complained about the ambivalent press releases surrounding Heart of Arizona and the claim made for Bar 20 Justice. I think we can take it for granted that Mulford had nothing to do with either story or script for Heart of Arizona and likewise Bar 20 Justice. Indeed Paramount's reckless claims obviously placed the author in an embarrassing situation with the IRS. And that's why the studio is now suddenly insisting that Mulford was not paid any additional money and rendered no services whatever.
COMMENT: Like most of the other Cassidy entries of the 1930s, this one saves all its action for the last reel - and a pretty tame shoot-out it is too! However, it does offer a dual role for one of our favorite character players, Stanley Ridges. Also, it must be admitted that the dialogue is tense enough. Russell Harlan's fine location camerawork is another major asset. As for heroine, Ruth Rogers, she must have been assigned to the movie over producer Harry Sherman's head. "Pop" Sherman doesn't like blonde ladies at all, so doubtless cut her role to the bone. I'd be surprised if she was on screen for much more than five minutes all told (which, considering her abysmal performance, is maybe just as well). However, "Pop" Sherman does indulge his more likable penchant for "employing more former Hollywood big shots as extras than any other producer in Hollywood." Sherman insists that the jury that tries Russell Hayden for murder includes "three former directors and five actors of erstwhile importance." I recognized the jury foreman as Frank O'Connor, who directed around twenty silent features including The Block Signal (starring Jean Arthur), Devil's Island (starring Pauline Frederick), Spangles (starring Marian Nixon), and The Silent Power.