Separated during an attack on their family's covered wagon, one boy is taken and raised by the murderous bandits, while the other becomes a man (John Wayne) and leads a group of vigilantes against the outlaws and his own brother.In 1935, the Lone Star unit was sold by Monogram to the fledgling Republic Pictures, who gave producer Paul Malvern a bigger budget to work with and it really shows.While this has basically the same formula as Wayne's earlier work for Lone Star, the production values are far greater, with some really nice photography, excellent locations, and a nice little stunt-filled finale. It's always good to see Glenn Strange play a good guy too.Thrown in are some decent songs, including another odd lip-sync performance from the Duke. Also pretty goofy is the dedication at the beginning of the movie, a salute to the vigilantes of the old west!

When new Republic Pictures was formed in 1935, they brought over a lot of talent from Lone Star Productions, including producers Trem Carr and Paul Malvern, director Robert North Bradbury, and box office draw John Wayne. All were involved in "Westward Ho", their first picture featuring 'The Duke'. Curiously, whether by accident or design, John Wayne's character goes by the name of John Wyatt, the same name he had in "Paradise Canyon", the final release from Lone Star.You can notice the improved production values and generally better story quality with Republic, even if the picture offers one of your standard brothers separated during youth tales. In this case, John Wyatt's family is ambushed by cattle rustlers in an opening scene, and younger brother Jim is taken by the gang, who's leader Whit Ballard (Jack Curtis) considers him feisty. Jim grows up an outlaw, while John, with the passing of years, is determined to find and get revenge on the bad guys who killed his parents. The young Jim was played by Dickie Jones, who grew up playing a whole host of cowboy and sidekick roles, and was probably the best stunt rider I've ever seen while backing up Jock Mahoney's 'Range Rider' in the 1950's.Probably the most unique feature of "Westward Ho" has to do with the idea of identifying John Wyatt's band of Vigilantes decked out in black shirts, white scarves and all riding white horses. My first thought was where did they ever get all those white horses from. They're an impressive sight, particularly when all lined up and ready to confront the bad guys. I had to stop and consider also how the term 'Vigilantes' seemed to carry a positive connotation in this story, unlike the more accepted definition one is used to. These vigilantes operated right out in the open and under the umbrella of the law, and most of the time made it look just a little bit too easy capturing the bad guys.One scene that will jump right out at you is when John Wayne's character serenades Sheila Mannors, more than obviously dubbed in a much deeper voice than Wayne's. It's not the first time Wayne is shown performing a song, it happened way back in his very first Lone Star picture, "Riders of Destiny". In fact, his character in that one was 'Singin' Sandy Saunders. Wayne was dubbed by a small handful of extras on the set, but you have to take your pick by film, as the guys weren't credited back then. In this one, the most probable suspect would have been Jack Kirk, who's in the cast as an uncredited Singing Rider. Director Bradbury's son Bill was the voice in 'Riders', who used the money he earned to help put himself through medical school.Oh yes, and I can't forget to mention Yakima Canutt, a regular in John Wayne's pictures, sometimes as a sidekick and sometimes as a heavy. In this one, he's one of Ballard's henchmen simply named Red, and I believe it's the only time I've ever seen him with a mustache. Probably to underscore the passing of years from the movie's opening scene to a span of some seventeen years later. Canutt's polished stunt work is evident throughout the story, especially in the old rope across the trail trick that takes out four of the bad guy posse. I still wince whenever I see one of those stunts, never knowing if any of the horses (or men) ever came out of the scene with a permanent injury.Here's something curious - why was it that when Ballard's gang held up the bank, the ruckus didn't start until they started riding away with guns blazing? They didn't shoot things up while robbing the bank, so why draw attention for the getaway? Something to think about.Anyway, if you're a fan of John Wayne, this one's not bad, offering a somewhat more mature and solidly built looking actor, even if it's only a couple of years beyond his starring roles for Lone Star. The finale of course by now is pretty standard, Wayne gets to hook up with his female co-star, and with Republic, he even gets to kiss her to close out the story!

Brother versus brother as the Duke leads a gang of white-horse-mounted vigilantes out to destroy every bad guy in the state. His parents murdered by a gang of cattle thieves, his brother taken and raised by the gang, John/the Duke sets out to locate the gang a decade after the event. Exciting action scenes which make up for stilted dialogue, especially from Mary MacLaren as John's Ma. As the row of good guys, black hats and black shirts on their white chargers, thunder across the screen, my thoughts hark back to the days of 17-inch black and white TV sets. In Australia this comes packaged on a cheap DVD with 'Flying Tigers' and 'Hell Town'. The DVD has excellent sound but generally below average picture quality!

Newborn Republic Pictures utilizes the solid directoral ability of Robert Bradbury, and the presence of John Wayne along with Yakima Canutt and his troupe of stuntriders to produce this strongly scripted film of 1860s vigilante efforts to rid the Far West of outlaw bands that were involved in widespread robbery and cattle rustling. Bradbury, whose skill with Westerns dates back to the early silent period, directs and edits with a solid awareness of suspense, building his typically short scenes with sparse and, at times, stilted dialogue and an eye for proper cast placement which makes excellent use of defined personalities such as Wayne, Frank McGlynn Jr., and Glenn Strange, and gives particular value to the hard-riding stunt performers, who are splendid throughout this well-made (and musical) adventure filmed in California's Owens Valley, at the base of the Sierra Nevada.