User Reviews

Imagine if the only available film by Boris Karloff was THE TERROR? Or if the only available Bob Steele western was AMBUSH TRAIL? We probably wouldn't consider these men to be the greats in their respective genres that they are. While it's rumored that more than a dozen Art Acord films are owned by collectors, the same three from his waning days on the screen are the only ones in active circulation today, easily available to someone who would want to buy them. FIGHTERS OF THE SADDLE, from 1929, is one of those. Directed by Robert J. Horner (never a good sign, but this is actually a competently made cheap-jack silent western, so perhaps the photographer made the important decisions or maybe Horner, like Oscar Micheaux, is not as bad a silent director as he is a sound director?) as silent films were on their deathbed, FIGHTERS OF THE SADDLE stars Art Acord as the son of a ruthless land developer who is running small tenants off their land so he can sell the land to corporations building roads. Art is sent by his dad to force the Wayne family off their land, and when he sees how unjust this is, he sides with the family and takes a stand against his dad. The 1929 Art Acord actually reminded me of Lon Chaney Jr. somewhat (in the late 30s, for example), and he looked a bit puffy. He plays the "sensitive but tough" part well, but if his name was John Doe and this was the only film I ever saw with him, I don't know if I'd actively seek out others. Yet when I asked my father, a boy who loved westerns in the 1920's and saw them every weekend, about his favorite western stars from the 20's, he went into long descriptions of Ken Maynard, Tom Mix, and Art Acord. I assume he was talking about the Acord films made at Universal in the early 20's. Let's hope some of those have survived and find their way into circulation. As for the rest of this film, Tom Bay is quite impressive as the evil cousin of Art, who is trying to drive a wedge between Art and his dad so Tom can fill the position that Art does in the family. John Lowell is appropriately sleazy as "Bulldog" Weatherby, Art's dad, but the Bulldog's behavior in the film's finale is completely unrealistic (that kind of thing never happens in real life!), and what's going on when this old man tries to kiss the Wayne lady on the lips before Art embraces her in the final scene? Is that supposed to be funny? I found it sickening!! And the attempt at "cuteness" with the young Wayne children singing songs that are transcribed for us in title cards proves that silent films should not attempt to convey music elements. Overall, this is an interesting curio--OK as a z-grade late-silent western, and a rare view of Art Acord, but probably not typical of what made Art Acord a star. I have a few questions about elements in the film that seem elliptically presented, making me wonder if this is due to sloppy writing, budgetary unwillingness to film scenes that are more easily talked about, or poor continuity, but I don't think this film necessarily lends itself to such scrutiny. By the way, the FIGHTERS OF THE SADDLE that the title refers to are actually the hired thugs of Bulldog, not some heroic group led by Art Acord!

It's always interesting to begin watching a film, but then, just a few minutes into it, realize one of two things: (1) I've seen this before, or (2) I've seen another film that's basically the same thing. Last night I put in "Fighters in the Saddle" (aka "Fighters of the Saddle") (1929) with Art Acord, Peggy Montgomery (no, not 'Baby Peggy'), John Lowell, Tom Bay, Jack Ponder, Betty Carter, Lynn Sanderson, and others. At only around 47 minutes, this Western is obviously a cut-down version of the 5-reel, 62 minute (according to the IMDb) version. It seems to be missing its first reel altogether, and it begins with several title cards almost catching us up, though leaving the events in a slightly vague state. Tom Bay, cousin of Art Acord, and nephew of John Lowell (Art's father), has already stolen money from the family's company safe, and the blame for the theft has been put on Jack Ponder, brother of Peggy Montgomery, and Ponder and Montgomery and their two younger siblings lease a piece of property that has been bought up by John Lowell's very "progressive" company so that it can be re-sold to the government for a very good profit. The government wants the land to put roads through to open up the countryside for progressive travel and commerce. The girl's family still has a five month lease on the property, but Lowell buys it underhandedly anyway, much to the hardship of the family. Art Acord is sent by his father to get the family off of the property immediately - by any means - and his cousin is sent with him, along with several others. Meanwhile, the sheriff hasn't enough evidence to hold Montgomery's brother, Ponder, so now he's out of jail. Acord and Montgomery fall for each other, and Acord spurns his father's directive and eventually his father. His father begins to disown him. Meanwhile, the cousin, a nasty's nasty, kidnaps the girl.

At this juncture I was positive that I'd seen this story only recently, only it wasn't land being bought to sell to the government for road access, it was oil land speculation by a very greedy and ruthless oil man. Well, last November I'd watched a Pete Morrison Western film, "Black Gold" (1924) which co-starred - yes, unbelievably - Peggy Montgomery. Same premise and story, just a different reason for stealing the land. So, five years later the same film was basically re-made in the "B" Western genre.

Acord accords with his father in the end, and something happens about the cousin, but I'll let you watch to find out what. Do you think Acord gets Montgomery? I'd only seen one Acord film before, last October (reviewed here 25 October) and was very disappointed. Acord had been thought of very highly by his Western acting compatriots in the business, and considered a great horseman. In that film, "The White Outlaw" (1929) he'd barely been able to mount a horse, and his acting was terrible overall. I was confused. It turns out that he was a notorious alcoholic and his abilities had been severely stifled. The story wasn't bad, but its telling and the outcome of the performers was not good. "Fighters in/of the Saddle" is an okay, though pat, story, actually told well, and Acord acquits himself soberly. He frankly doesn't have much to do in this cut-down version, while the father, his nephew, and Peggy Montgomery and her little siblings have plenty to do. Acord never mounts a horse, though we see him riding in a short scene or two. This overall is a sad ending to a once-thriving career. Two years later, in 1931, depressed and in throes of severe alcoholism, Acord, once the revered Western star of legions of fans, committed suicide at the age of forty.

What's equally interesting is the choice of co-stars in this film. Tom Bay, who plays the nasty cousin, and who has a certain nasty leer in his face, was that man in real life, it would seem. In 1925 he and a drinking partner and fellow actor Yakima Jim Anson got into a heated argument in a Hollywood hotel. Anson pulled a knife out and was about to attack Bay, when Bay pulled out a gun and shot him to death. He was acquitted. In 1933 he got into an argument with a girlfriend named Alta Lassert over his having spent the night before with another woman. Lassert pulled out a pistol and shot Bay three times in the chest, killing him.

"Fighters in the Saddle" is an Alpha Video release, a cut-down version, missing a good amount of footage, and at the beginning making the viewer have to nearly guess at what is happening. The music accompaniment is from Dvorak's "New World" symphony, and isn't at all appropriate to the action much of the time. I guess we're fortunate to have this remaining footage of a long ago late silent Western, but one has to be a devoted oater fan to really appreciate any of this.