Wyoming Outlaw (1939)

This was one of John Wayne's final film roles before getting his big break-out in the same year's "Stagecoach" directed by John Ford. He appeared in eight 'Mesquiteers' flicks for Republic, six of them with Ray Corrigan and Max Terhune, followed by two more with Corrigan and Ray Hatton. What I found unusual about this story was how introspective the writing was, almost like a Warner Brothers film of the era in which they tackled a serious social problem. In this case it was the scheming villainy of a local town boss selling jobs for political favors and campaign contributions, in some cases driving poverty stricken ranchers even deeper into a hole.Throughout the story, the Mesquiteers acquitted themselves well as stand up guys, as evidenced by Stoney Brooke's (Wayne) covering for Irene Parker's (Pamela Blake) theft of twenty dollars from his own wallet, or when Rusty Joslin (Hatton) paid Will Parker (Red Barry) as a trail hand even though he wasn't allowed to join the drive by a dutiful forest ranger for alleged violation of game laws. As Parker, Don Barry evokes a genuine sympathy from the viewer for fighting against the odds and constantly coming up short, often through no fault of his own. In fact, when he expresses his concern to a newsman near the end of the story, the comeback from the reporter is stated as "Sort of radical, aren't you"? The political connotation in the reporter's reaction caught me somewhat by surprise.Say, here's something that caught my eye when the Mesquiteers stopped in town to have some lunch. The menu offered up hamburger steak for thirty cents, beef strip for twenty three cents, corned beef and cabbage for thirty cents, and pounded steak for forty cents. I was wondering what a pounded steak was and marveling at those prices when I really got blown away by a sign that announced that dessert was included in the meal!!! How's that for a bargain! Then there was this sign posted on the outside of a building that encouraged voters in the coming election to 'Keep Your Friends In Office"! That provided another telling moment in the story when Will Parker's father refused to participate in graft and corruption to keep Joe Balsinger (Leroy Mason) in office by collecting campaign contributions for him from neighboring ranchers. The story really made you sympathize for the little guy who faced loss of work and starvation if he didn't play along with the system.With the way the story was headed, the thing that surprised me most was the way in which it ended. With Will Parker hanging on to his dignity by a thread, he takes outlaw Balsinger hostage, and in the confrontation with the town folk, both Balsinger and Parker are shot dead. It wasn't your traditional satisfactory ending and left you with a tinge of melancholy that things didn't work out for the guy who tried and couldn't make it. For a B Western, this one could have been a feature with a little more effort.

Wyoming Outlaw (1939) ** 1/2 (out of 4) The Three Mesquiteers (w/John Wayne) are trying to save the life of a Robin Hood type (Donald Barry) who has taken it upon himself to try and bring down a town dictator who is forcing the poor to pay for jobs and has banned hunting so that they can't eat. This film in the series is really no better or worse than any other "B" Western but it does have a strong benefit of featuring a terrific performance by Barry who easily steals the show. He manages to be a very likable Robin Hood character and also gets mounds of sympathy due to Barry's performance. The rest is all pretty much standard stuff but having seen over one hundred Wayne films I must say his weakest fight is in this film, which includes him fighting a beanpole of a man who's probably two feet shorter than him.

Wyoming Outlaw is one of the most unusual entries in the Three Mesquiteers series of films. John Wayne, Ray Corrigan, and Raymond Hatton are not the center of the film. The center is Donald 'Red' Barry who plays young outlaw Will Parker who gets befriended by the Mesquiteers even though he tries to steal a steer from them.This Mesquiteer film is set in the modern west of the dustbowl and has some themes that John Wayne later used in McLintock. During the World War, the cattle country was converted to wheat and after the demand from Europe subsided after World War I a lot of farm land was left arid and abandoned. That is exactly what happened to American agriculture in the boom period of the Roaring Twenties where the farmers did not share the prosperity.Along comes the New Deal and a lot of local political bosses took advantage of government relief programs to entrench themselves in power. Such a boss is played by LeRoy Mason who was one of the shrewdest villains I've ever seen in a western. In fact during the course of the film, Mason really outsmarts our heroes at every turn as they try to bring him down legally.Anyway though the Mesquiteers are really subordinate to Red Barry who's tired of having his family exploited by Mason and his gang. Circumstances make him turn outlaw and the chase for him is reminiscent of High Sierra a year later. In fact the just as Humphrey Bogart is referred to as Mad Dog Earle, Barry is called Mad Dog Parker by the radio and print media of the time.High Sierra was an A film for Warner Brothers and this was just a quickie B western that probably didn't get too much notice. It's a pity that the production values were those of a B film because the story was very well done. This is one of the few John Wayne Three Mesquiteer films that is not available on VHS or DVD. When TCM shows it again, catch it by all means.

The 32 year old John Wayne was fortunate enough to have talented writers around him to write novels that could be adapted into vehicles for his career, as well as short stories and screenplays that would immortalise him as the American hero. This film is one such example. When you watch this film you're not watching it for the story (like you would do in 'Rio Grande' or 'The Man Who Shot Liberty Valance'), you're watching it to see John Wayne in action. He is the romantic embodiment of what it was like for the settling community to live in the post-civil war era. Despite the fact that most of these westerns distort history, what Wayne delivers gives you access to his humanity. That's what we like about him.