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Broncho Billy and the Rustler's Child

David Morgan, a cowpuncher, is informed by Doctor Harding that the former's wife is in a serious condition and must be taken from the high altitude. An Indian horse thief shows David a way to make some money easy. That night, the Indian and the cowpuncher steal two horses. The Indian is captured by Broncho Billy, the sheriff, and squeals on Morgan. Dorothy, the cowpuncher's child, informs her father that a posse is coming up the road. Morgan instructs his child to say nothing to the men concerning his whereabouts. The cowpuncher crawls into the loft and pulls the ladder up after him. Broncho Billy enters, sees Morgan's wife is in a critical condition and asks the child where her father is. She tells him she does not know. The sheriff, hearing a sound above him, is about to fire his revolver into the loft, when the girl confesses that her father is above.

Broncho Billy and the Rustler's Child

6.0 1913
Whispering Smith Speaks

O'Brien is "Whispering" Smith, so named because he speaks softly but knows how to fend for himself. The son of a railroad president, Smith is determined to learn the business from the ground up, so he gets a job as a track walker for his dad's rail line. While going about his duties, he meets Nan Roberts (Irene Ware), who is about to sell her Colorado ranch. Smith finds out that there are valuable tungsten deposits on her land and makes certain she won't be cheated by the villains

Whispering Smith Speaks

10.0 1935
West of Sonora

Western star Charles Starrett was amazing; he kept making the same film over and over, but always made it seem as if it was for the first time. In West of Sonora, Starrett once again plays a frontier good-guy named Steve (Steve Rollins, to be exact), who, when the need arises, disguises himself as The Durango Kid, masked righter of wrongs. This time, Steve/Durango champions the cause of 10-year-old Penelope Clinton (Anita Castle), who has spent her short life as the focus of a feud between her grandfathers, suspected outlaw Black Murphy (Steve Darrell) and Sheriff Jack Clinton (George Cheseboro).

West of Sonora

7.0 1948
The Tavern of Tragedy

Maximillo Corto, a Mexican crook, keeps a tavern on the Mexican border and has a daughter whom he abuses and who has to do all the hard work around the place. One day, Bob Jamison, really an American spy in the service, comes to the inn and stops overnight. He falls in love with the daughter of the innkeeper. She is infatuated with him, as he is the first human being who has ever been kind to her. He goes away but promises to return. While he is away a large reward is offered for his capture, dead or alive. The innkeeper tells the messenger of the news that if Bob ever comes back, he will put him into room seven and hold him. The daughter overhears this, and when Bob returns, unable to warn him, she changes the number on the door of room seven to that of six. When Bob is sent up to his room by Corto, he goes in what he thinks is seven but the daughter afterwards shifts the door numbers back to their original positions. Corto decides to kill Bob in his sleep and steals upstairs.

The Tavern of Tragedy

NR 1914
Rio Grande

As Bruce Lanning posts a "no trespassing" sign at a watering hole on his Circle A ranch, his sister Jane rides up with news that Wes Caven, the hired gun of the Elwood brothers, is looking for him. Soon after, Wes appears and kicks over the sign. Later, Sunset Carson, Wes's boyhood friend, rides into town to invite Wes to become a partner in his new ranch. Just as Wes declines the offer and offers Sunset a job working for the Elwoods instead, Bruce bursts into the saloon, demanding to see Frank Elwood. Not to be confused with the 1950 John Wayne film of the same name

Rio Grande

9.0 1949
The Women's Happy Time Commune

The first all-women Western. Set in a fictional 1850, the movie is about one woman's attempt to recruit others for an all-women commune. "..a Warholesque frolic" -- Daphne Davis, Women's Wear Daily " Some great comments about women, men and the pros and cons of living with either." -- Women & Film: International Festival, 1973 "A group of wonderfully idiosyncratic women improvise characters close to their real lives and fantasy lives. Funny, ambling, off-handedly lyrical, the film....is above all excellent for sharing warm feelings in a group." -- Ms. magazine

The Women's Happy Time Commune

NR 1972