Silver Spurs (1936) Poster

(1936)

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5/10
Problems With The Writing
boblipton20 February 2023
Muriel Evans finishes finishing school and returns out west, just in time to see Robert Frazer and his gang shoot the station master and steal a chest of money. Buck Jones shows up to take her to her father's ranch, and she conceives a dislike for him because he takes the long way around rather than expose her to the bandits that have been infesting the area. George 'Gabby Hayes' shows up, ordered by the governor to clear out the bad guys, several of whom seem to be working for McGowan.

It's not among the best of Jones' B westerns of the period, with too many moving parts, and the loose ends tied up offscreen or by explication, rather than showing them, and not all of them are tied up. Characters like Beth Marion show up for specific plot points, then leave once they are taken care of, and others, like why Jones doesn't fire one recalcitrant cowboy, is disposed of, suddenly and oddly, as if the film makers had an attack of conscience about story writing.

Still, there's a noisy, exciting finale, and this being a Buck Jones western, you can be assured that everything will end well for the stalwart hero.
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7/10
"Silver Spurs" Isn't Quite Gold, But It is Good!
glennstenb18 July 2023
Warning: Spoilers
For a B-western "Silver Spurs" is a seriously and competently put-together film, with director Ray Taylor interweaving the expected cowboy hero action, plot revelations, somber passages, and even Buck's surprisingly long romantic interludes with Muriel Evans in a swiftly-moving package.

The film's most rewarding component is the acting, which is led by the ever-unique Buck Jones's style of pausing to process, but with excellent turns also by villain Robert Frazer and the two female leads, Evans and B-western princess Beth Marion. Marion's crying scene is expert, as she impressively employs facial muscles that are actually used in crying (many modern-day actresses still don't get crying done properly!). George Hayes is always welcome, but in this picture he really is window dressing and doesn't contribute much screen time.

Attention to sets and action detail is excellent, including, for example, how Buck is shown tying down the suitcases in the back of the carriage in preparation for the trip to the ranch. In many pictures such a process would be understood and not played out; either this is great caring for detail or maybe just a time expander? This might be a good debate topic! Another example is how past the foreground and through an open door we can see the train station manager preparing the office for his absence when he needs to go out to the platform and meet an incoming train. Scenes like these two mentioned just make it seem like the filmmakers care about their product.

The curious portrayal of Buck's and Muriel's developing romance is surprisingly embraced and they even seem to have an assigned sweet and lilting leitmotif. Buck demonstrates his longing and inner conflict about getting busy with her sweetly, but in a quite manly sort of way.

I for one am not a fan of musical scoring in movies, particularly B-westerns, as in so many cases it interferes with the dramatics and sometimes even seems inappropriate. In the mid 1930's the larger studios often sent their B-westerns to the scoring department and too often the films came out on the unfortunate side of the ledger. In "Silver Spurs" the opening credits music is really good, snazzy and modern for 1936, and the previously mentioned romantic leitmotif for the romance sections work nicely. But the music for the more exciting segments seem just a little too manipulative for my taste, even though I will admit it is synched well, albeit superfluous.

The most troubling moment for me concerned the train station robbery, and especially its aftermath. Even though subtle, it seemed to have been made clear that the station master, whom we had just begun to like and appreciate, came to a bad end during the robbery, but the immediate reaction to it by both Muriel and Buck seems just a little too cavalier and ho-hum. Maybe the stronger, more appropriate reactions ended up on the cutting room floor.

In the final analysis, however, "Silver Spurs" is a satisfying entry in the class and all fans of Buck Jones will be glad to have seen it, I am sure.
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