Copyright 3 December 1950 by Western Adventure Productions, Inc. U.S. release: 25 February 1950. No recorded New York opening. U.K. release through Grand National: 20 September 1952 (sic). Never theatrically released in Australia. Copyright length: 77 minutes. U.K. release length: 74 minutes.
SYNOPSIS: Lash and Fuzzy unmask a scheme by the Daltons to rob a local bank.
COMMENT: Back in those halcyon days in the 1950s and 1960s when I was reviewing films for a weekly newspaper, it was sometimes physically impossible to see all the films that debuted that particular week. As my editor rightly insisted on completeness, it became necessary on occasion to write up a review, sight unseen. A Press Book not only often served as a handy guide but even supplied a choice of reviews.
Alas, however, there were times, when my only guides were the cinemas' advertisements. And we all know that advertising copy either exaggerates virtues at best, or completely misleads at worst. In the week that The Daltons' Women first saw the light of a British projector lamp, the other first releases were the famous French film La Ronde, Lure of the Wilderness in Technicolor from 20th Century- Fox, The Brigand in Technicolor from Columbia, The Pride of St Louis from Fox with Dan Dailey, Lovely To Look At in Technicolor from Metro-Goldwyn-Mayer with Kathryn Grayson and Howard Keel, a New Zealand feature Broken Barrier, My Death Is a Mockery with Donald Houston and the super-talented Kathleen Byron. So, guess which movie missed out?
I had no cast list or press sheet. All I had to illuminate my review was an advertising mat. Nevertheless, my copy on The Daltons' Women not only mentioned the women of the title at length, but described (in vague terms, of course) how Lash and Fuzzy brought them to justice.
Now, more than 50 years later, I've actually seen the movie. No women! The title is a complete misnomer. There are no Dalton women in the movie at all. In fact, the Daltons don't even come into the movie by name until the climax. Admittedly, their leader is on hand all the time, masquerading as someone else. It's possible that one of his brothers is also hovering around. The movie is directed in such an eclectic fashion, it's difficult to tell.
In fact the script seems to have been put together on the run. Or rather, two runs. All the songs, for example, were obviously filmed by a different unit, possibly at a different studio. And there are lots of them, including two numbers by Miss Fontaine (who also figures in an unwholesome fight scene with an unknown member of the cast.
Oddly, Miss Fontaine is the only player in what I'll dub the stage sequences to receive any credit, even though there are many other candidates. Perhaps the stage scenes were filmed later and then cut into the main movie to augment its running time, using one or two of the credited cast members like Cliff Taylor to butt the scenes together).
Anyway, aside from the musical interludes (and the Destry- inspired fight), this is pretty much a standard "B" western fare, whose chief joys come from watching familiar players like Jack Holt, Raymond Hatton and Tom Tyler (whose part is small, alas) go through their paces. Miss Blake, as usual, makes a lithe heroine, and it's nice to see Bud Osborne in a sizable role for once.
SYNOPSIS: Lash and Fuzzy unmask a scheme by the Daltons to rob a local bank.
COMMENT: Back in those halcyon days in the 1950s and 1960s when I was reviewing films for a weekly newspaper, it was sometimes physically impossible to see all the films that debuted that particular week. As my editor rightly insisted on completeness, it became necessary on occasion to write up a review, sight unseen. A Press Book not only often served as a handy guide but even supplied a choice of reviews.
Alas, however, there were times, when my only guides were the cinemas' advertisements. And we all know that advertising copy either exaggerates virtues at best, or completely misleads at worst. In the week that The Daltons' Women first saw the light of a British projector lamp, the other first releases were the famous French film La Ronde, Lure of the Wilderness in Technicolor from 20th Century- Fox, The Brigand in Technicolor from Columbia, The Pride of St Louis from Fox with Dan Dailey, Lovely To Look At in Technicolor from Metro-Goldwyn-Mayer with Kathryn Grayson and Howard Keel, a New Zealand feature Broken Barrier, My Death Is a Mockery with Donald Houston and the super-talented Kathleen Byron. So, guess which movie missed out?
I had no cast list or press sheet. All I had to illuminate my review was an advertising mat. Nevertheless, my copy on The Daltons' Women not only mentioned the women of the title at length, but described (in vague terms, of course) how Lash and Fuzzy brought them to justice.
Now, more than 50 years later, I've actually seen the movie. No women! The title is a complete misnomer. There are no Dalton women in the movie at all. In fact, the Daltons don't even come into the movie by name until the climax. Admittedly, their leader is on hand all the time, masquerading as someone else. It's possible that one of his brothers is also hovering around. The movie is directed in such an eclectic fashion, it's difficult to tell.
In fact the script seems to have been put together on the run. Or rather, two runs. All the songs, for example, were obviously filmed by a different unit, possibly at a different studio. And there are lots of them, including two numbers by Miss Fontaine (who also figures in an unwholesome fight scene with an unknown member of the cast.
Oddly, Miss Fontaine is the only player in what I'll dub the stage sequences to receive any credit, even though there are many other candidates. Perhaps the stage scenes were filmed later and then cut into the main movie to augment its running time, using one or two of the credited cast members like Cliff Taylor to butt the scenes together).
Anyway, aside from the musical interludes (and the Destry- inspired fight), this is pretty much a standard "B" western fare, whose chief joys come from watching familiar players like Jack Holt, Raymond Hatton and Tom Tyler (whose part is small, alas) go through their paces. Miss Blake, as usual, makes a lithe heroine, and it's nice to see Bud Osborne in a sizable role for once.