Reviews (4)

My Hero
Not only did Clayton Moore try to live up to his role as the Lone Ranger, so did I. Thank God I had role models like this when I was growing up. What a different country this would be if kids still tried to emulate the silver screen cowboys of yesteryear. As for the movie, it has everything. Rich color, beautiful scenery, some of the best fight scenes ever put on film, and a subtext about the evils of racism. Put aside your modern world cynicism and just enjoy this movie and every other film you can put your hands on about this great American hero.

The End of the Run!
Clayton Moore and Jay Silverheels established the definitive Lone Ranger and Tonto characterization for all ages. They started in 1949 and had a successful TV series running for many years ending sometime after the mid 1950's. John Hart's Lone Ranger was a filler when Clayton went into a hiatus from the series. The TV series was capped by the "Lone Ranger" movie in 1957, which epitomized what a Lone Ranger cinematic presentation should be, unequalled in production design and grandiose in presentation. However, "The Lone Ranger and the City of Gold" is a lesson on how not to follow-up a successful movie with a sequel, as this pales in comparison. This is like a TV movie transposed to the big scren. But this film is significant for it signalled the end of the Moore-Silverheels film rendition of these western heroes. And about time too. This movie shows both actors getting old as the wrinkles of age are markedly obvious in this excellent VCI refurbishing of the film. The colors and sharpness are outstanding. That is the main reason why this must be part of one's DVD collection. This is labelled as a Region 1 DVD but appears to be a Region 0 disc as I was able to open it up in my Region 3 player. Thank heavens for that. Now all other Lone Rangers fans anywhere in the world can truly enjoy this one. This is why I rate it 4 stars.

Who was that masked man?
The Lone Ranger and Tonto ride to the rescue when a gang of hooded-raiders spreads murder and terror searching for a legendary treasure on Indian land. As a nostalgic treat, this Western movie is perfect for those who remember those thrilling days of yesteryear. Clayton Moore's portrayal of the Lone Ranger is part of childhood memories for many loyal fans. Jay Silverheels will be forever identified as "his faithful Indian companion, Tonto." Amidst a plethora of cereal commercials, The Lone Ranger and Tonto chased the bad guys right off our B&W TV screens back in the baby-boomer '50s. This is the second of two feature length films produced after the TV series ended first-run episodes in 1956. The color photography enhances the excitement of larger-than-life heroes. The script and other production values are Grade B, at best, but, who cares? When The Lone Ranger, on his fiery horse, Silver, rides over the horizon outlaws are out of luck. The Lone Ranger's distinctive manner of dress (red neckerchief, white hat, and blue jump suit) identifies him as a real American hero. The trademark black mask, silver bullets, and gleaming six-guns effectively round out the mysterious and heroic image. As an interesting aside, the movie makes some thoughtful observations of the racial injustice suffered by Native Americans. As usual, good triumphs over evil, and traditional values are preserved. This is a great way to introduce today's high tech kids to the legned of The Lone Ranger. Simple pleasures are the best. Enjoy the ride, right down to the final "Heigh-Yo, Silver, away!" ;-)

A Great Lone Ranger Movie!
This Lone Ranger movie is action-packed from the beginning until the end, and it's even in color, too! This was the last Lone Ranger movie ever made, and it was the last film in which Clayton Moore was the Lone Ranger and Jay Silverheels was Tonto. A great finale to their careers! The whole plot centers on five silver medallions cut from the same plaque that, put together, lead to a long-lost city of gold. These medallions belong to Indians, three of whom have been killed by the Hooded Raiders who wish to obtain the riches for themselves. Can the Lone Ranger and Tonto stop the Hooded Raiders from killing the two remaining Indians? Buy the film and find out. Anyone who loves the Lone Ranger will love this movie! A must-have for any Lone Ranger fan!!! ... Read more

Reviews (8)

Jean Renoir's film about a Southern family living on a farm
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. This film is one of those films honoring the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky scene-stealing granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

A Southern family sets up a farm in this Jean Renoir film
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. The film is one of those films honorable the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

TOUCHING
A sincere film, real, poignant, believable, and excellently acted all around. It tells the story of the hardships lived by a poor family in the country. For sure in my top ten list! Unforgettable!

5 stars for movie, 3 for DVD quality
Renoir's "The Southerner" captures the gripping poverty of southern share croppers. It has a good story line, beautiful black and white cinematography, and fine acting. In fact my only objection is that the actors did not have much of a southern accent and looked "too pretty" at times for their environment.

This is a film that cries out for restoration, as has been done with the wonderful Criterion Collection DVD of "Grand Illusion". As it is, I rated this 4 stars because of the 2 to 3 star poor condition of the print used...black lines, jumping images at times and poor soundtrack. Well, you can't have everything and would still recommend seeing this movie. Together with "Grapes of Wrath" and "Salt of the Earth", it draws a powerful portrait of the power of a family and human kindness in a struggle against grinding poverty.

The American South As Seen by a French Director
If you loved Grand Illusion and Rules of the Game, this movie is probably not for you. Directing in a language and culture not his own, Jean Renoir drifts toward the corny and stereotypical in this melodrama about a desperate Southern farmer and his beautiful wife. The dialog is especially artificial, spoken by handsome, well-groomed actors out of central casting. If you're interested in the authentic southern or Appalachian poor, see Walker Evans's 1930s photographs. Stick with the Renoir movies shot in France. ... Read more

Description

Jean Renoir's (Grand Illusion, Rules of the Game) most critically acclaimed American film, The Southerner is a moving, naturalistic portrayal of one family's struggle to start a farm in the South.Tied to the land for better or worse ... Read more

Reviews (8)

Jean Renoir's film about a Southern family living on a farm
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. This film is one of those films honoring the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky scene-stealing granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

A Southern family sets up a farm in this Jean Renoir film
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. The film is one of those films honorable the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

TOUCHING
A sincere film, real, poignant, believable, and excellently acted all around. It tells the story of the hardships lived by a poor family in the country. For sure in my top ten list! Unforgettable!

5 stars for movie, 3 for DVD quality
Renoir's "The Southerner" captures the gripping poverty of southern share croppers. It has a good story line, beautiful black and white cinematography, and fine acting. In fact my only objection is that the actors did not have much of a southern accent and looked "too pretty" at times for their environment.

This is a film that cries out for restoration, as has been done with the wonderful Criterion Collection DVD of "Grand Illusion". As it is, I rated this 4 stars because of the 2 to 3 star poor condition of the print used...black lines, jumping images at times and poor soundtrack. Well, you can't have everything and would still recommend seeing this movie. Together with "Grapes of Wrath" and "Salt of the Earth", it draws a powerful portrait of the power of a family and human kindness in a struggle against grinding poverty.

The American South As Seen by a French Director
If you loved Grand Illusion and Rules of the Game, this movie is probably not for you. Directing in a language and culture not his own, Jean Renoir drifts toward the corny and stereotypical in this melodrama about a desperate Southern farmer and his beautiful wife. The dialog is especially artificial, spoken by handsome, well-groomed actors out of central casting. If you're interested in the authentic southern or Appalachian poor, see Walker Evans's 1930s photographs. Stick with the Renoir movies shot in France. ... Read more

Reviews (2)

Not Bad for a Buck!
I have to preface this by saying, I bought this new in shrink wrap for $1.07 at the local video store. So I really liked the price. Actually, I said, "cool", when I saw the video sitting there. I've always liked the story lines in both movies. Sure this is really low-budget stuff. You can't expect much. But, the story concepts are intriguing. Phantom Planet has little people, living on little worlds in the asteroid belt. These little worlds have little wars. The good guys are saved by one of us normal people, who breathes their air, shrinks and falls in love with one of the tiny citizens. Whats hard to believe about that? Huh? : ) The battle scenes are pretty good, the bad guys fly flaming meteorites.

Phantom from Space offers an invisible alien who, for some unknown reason, murders two guys. He is then tracked down by the police, scientists and the most fearsome members of the FCC. FCC? Yep, with there egg-beater antennas riding on top of there cars that track this poor alien down. The alien then dies from lack of methane (should have found a burping cow).

Where else could you see such things.

Despite what the experts say, these films are fun. At late on a Saturday night, when you're almost sober, these are good watching.

If you find it for $1.00, buy it (sorry Amazon.com, you're to expensive).

Oh yea, one last thing, don't watch this on a big screen TV, the picture quality is really bad. Dig that old 12inch B&W out from the back of the closet, you'll be much happier with what you see.

Perhaps not the greatest acting but....
...This was still a pretty good film forit's day & age. The special effects of the rocket ships and battle scenes weren't all that great but some (including the shrinking in the spacesuit) fx were no all that bad! As far as the acting...well, not award worthy but overall, I thought Phantom Planet had a good premise and hey.... my wife actually watched the entire movie. That says alot! ... Read more

Reviews (4)

My Hero
Not only did Clayton Moore try to live up to his role as the Lone Ranger, so did I. Thank God I had role models like this when I was growing up. What a different country this would be if kids still tried to emulate the silver screen cowboys of yesteryear. As for the movie, it has everything. Rich color, beautiful scenery, some of the best fight scenes ever put on film, and a subtext about the evils of racism. Put aside your modern world cynicism and just enjoy this movie and every other film you can put your hands on about this great American hero.

The End of the Run!
Clayton Moore and Jay Silverheels established the definitive Lone Ranger and Tonto characterization for all ages. They started in 1949 and had a successful TV series running for many years ending sometime after the mid 1950's. John Hart's Lone Ranger was a filler when Clayton went into a hiatus from the series. The TV series was capped by the "Lone Ranger" movie in 1957, which epitomized what a Lone Ranger cinematic presentation should be, unequalled in production design and grandiose in presentation. However, "The Lone Ranger and the City of Gold" is a lesson on how not to follow-up a successful movie with a sequel, as this pales in comparison. This is like a TV movie transposed to the big scren. But this film is significant for it signalled the end of the Moore-Silverheels film rendition of these western heroes. And about time too. This movie shows both actors getting old as the wrinkles of age are markedly obvious in this excellent VCI refurbishing of the film. The colors and sharpness are outstanding. That is the main reason why this must be part of one's DVD collection. This is labelled as a Region 1 DVD but appears to be a Region 0 disc as I was able to open it up in my Region 3 player. Thank heavens for that. Now all other Lone Rangers fans anywhere in the world can truly enjoy this one. This is why I rate it 4 stars.

Who was that masked man?
The Lone Ranger and Tonto ride to the rescue when a gang of hooded-raiders spreads murder and terror searching for a legendary treasure on Indian land. As a nostalgic treat, this Western movie is perfect for those who remember those thrilling days of yesteryear. Clayton Moore's portrayal of the Lone Ranger is part of childhood memories for many loyal fans. Jay Silverheels will be forever identified as "his faithful Indian companion, Tonto." Amidst a plethora of cereal commercials, The Lone Ranger and Tonto chased the bad guys right off our B&W TV screens back in the baby-boomer '50s. This is the second of two feature length films produced after the TV series ended first-run episodes in 1956. The color photography enhances the excitement of larger-than-life heroes. The script and other production values are Grade B, at best, but, who cares? When The Lone Ranger, on his fiery horse, Silver, rides over the horizon outlaws are out of luck. The Lone Ranger's distinctive manner of dress (red neckerchief, white hat, and blue jump suit) identifies him as a real American hero. The trademark black mask, silver bullets, and gleaming six-guns effectively round out the mysterious and heroic image. As an interesting aside, the movie makes some thoughtful observations of the racial injustice suffered by Native Americans. As usual, good triumphs over evil, and traditional values are preserved. This is a great way to introduce today's high tech kids to the legned of The Lone Ranger. Simple pleasures are the best. Enjoy the ride, right down to the final "Heigh-Yo, Silver, away!" ;-)

A Great Lone Ranger Movie!
This Lone Ranger movie is action-packed from the beginning until the end, and it's even in color, too! This was the last Lone Ranger movie ever made, and it was the last film in which Clayton Moore was the Lone Ranger and Jay Silverheels was Tonto. A great finale to their careers! The whole plot centers on five silver medallions cut from the same plaque that, put together, lead to a long-lost city of gold. These medallions belong to Indians, three of whom have been killed by the Hooded Raiders who wish to obtain the riches for themselves. Can the Lone Ranger and Tonto stop the Hooded Raiders from killing the two remaining Indians? Buy the film and find out. Anyone who loves the Lone Ranger will love this movie! A must-have for any Lone Ranger fan!!! ... Read more

Reviews (8)

Jean Renoir's film about a Southern family living on a farm
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. This film is one of those films honoring the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky scene-stealing granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

A Southern family sets up a farm in this Jean Renoir film
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. The film is one of those films honorable the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

TOUCHING
A sincere film, real, poignant, believable, and excellently acted all around. It tells the story of the hardships lived by a poor family in the country. For sure in my top ten list! Unforgettable!

5 stars for movie, 3 for DVD quality
Renoir's "The Southerner" captures the gripping poverty of southern share croppers. It has a good story line, beautiful black and white cinematography, and fine acting. In fact my only objection is that the actors did not have much of a southern accent and looked "too pretty" at times for their environment.

This is a film that cries out for restoration, as has been done with the wonderful Criterion Collection DVD of "Grand Illusion". As it is, I rated this 4 stars because of the 2 to 3 star poor condition of the print used...black lines, jumping images at times and poor soundtrack. Well, you can't have everything and would still recommend seeing this movie. Together with "Grapes of Wrath" and "Salt of the Earth", it draws a powerful portrait of the power of a family and human kindness in a struggle against grinding poverty.

The American South As Seen by a French Director
If you loved Grand Illusion and Rules of the Game, this movie is probably not for you. Directing in a language and culture not his own, Jean Renoir drifts toward the corny and stereotypical in this melodrama about a desperate Southern farmer and his beautiful wife. The dialog is especially artificial, spoken by handsome, well-groomed actors out of central casting. If you're interested in the authentic southern or Appalachian poor, see Walker Evans's 1930s photographs. Stick with the Renoir movies shot in France. ... Read more

Reviews (5)

Worth a look
Whereas W. L. Wilder's following film, 'Killers From Space' (1954), offers an original twist on the time-honored invasion theme (see my review), this movie plays it a lot straighter. Its progression closely follows that of similarly themed films: an unknown presence (the Other) disrupts order, is eventually identified, tracked, and found. Yet despite this predictable structure, some key points make the film worth watching. Previous reviewers have mentioned the movie's reliance on overly talky scenes; I personally did not mind it, since the discussions are interestingly written and acted. The Phantom himself is an intriguing character. As in most sci-fi films of the 1950s, the invader is considered an enemy, but his role is quite ambiguous: the havoc he creates is linked to his own precarious situation, and the humans do not become pure killing machines eager to get rid of the Other. Not that they mind much when he dies, though... in that regard, the final scene is a little disappointing. As a whole, this film is very modest and far from exceptional, but fans of 1950s sci-fi should be pleased with its redeeming facets.

Half "Invisible Man", Half "Radar Secret Service"
"The Phantom From Space" is a sci-fi cheapie from 1953. The first half is pretty boring, as most of the action involves driving around in ridiculous old cars with ludicrous antennae on their roofs looking for disturbances. This takes place in California, so there are some other wacky things going on, but just to make sure we understand, the bulk of the first half hour or so is narrated. As the narrator drones on over the scenes of stock footage, and the cars drive around endlessly, something finally happens! A murder by a guy in a diving suit happens, to be specific, but unfortunately for the audience, all that results for our entertainment is some really tough (not!) interrogation of the prime suspect. Ultimately a couple of people get killed and a refinery gets set on fire.

As the movie gets over the hump and starts picking up steam, we see some silly police foot chases of the diving-suit being that go on a bit too long, but ultimately corner the guy in a lab with a pretty female scientist. To evade capture the being takes off his suit and turns out to be invisible unless exposed to ultraviolet light. They chase him around until he needs to put his helmet back on while he practices Morse code with the lady scientist. She figures out that he needs to breathe methane (hence his attraction to the refinery...see how it all makes sense) but thanks to the comic relief newspaper reporter who is forever screwing everything up (at least they got that part right) he drops and breaks his helmet. Eventually we see him shriek and burn up in what I believe may be the Griffith Park Observatory, his mission having utterly failed.

This film is a borderline two or three star movie, but I decided to go with three as it was quite well made considering that it was from 1953. I liked that the film didn't attempt to make the invader from space into a killing machine, and that in the end actually made the audience feel sympathy for him. The special effects are not so special by the standards of today, but remember this was made 51 years ago, and I think was a pretty credible effort for the time. The acting is average, and the script is too. The biggest weaknesses were pacing and the whole silliness with the cars with ridiculous antennae. The second half is entertaining, and the creature actually looks good when we finally get to see him. If you can get past the first half, this is better than average for mid 1950s sci-fi.

Nothing special, but I enjoyed it
W. Lee Wilder had a penchant for making enjoyably average yet largely forgettable science fiction films. In Phantom From Space (1953), he introduces us to a much more agreeable alien than that found in his more familiar Killers From Space of the following year. Okay, so the phantom does kill a few people and cause some serious oil fires, but it's not all his fault. He's just not a people person, you see, what with being invisible and all. He's also not that bright, choosing to ditch his spacesuit and helmet rather than fall into the clutches of the humans on his tail. He needs something akin to a methane gas atmosphere in order to breathe, and a helmet-less jaunt on earth with its oxygen-based atmosphere threatens to cut short his visit in a most significant way.

The film starts out with an unidentified object hurtling from Alaska to the California coast, where the object seems to disappear. Mobile communications folks are sent out to determine the source of interference suddenly wreaking havoc in the area, and these guys keep bumping into cops investigating murders and other acts of destruction. Soon, these different forces team up with an army man and a scientist, and everyone eventually comes to the amazing conclusion that the source of all the trouble is actually a humanoid not of this world. The ending is not exactly a bright and chipper one, but it is just about the only plausible ending possible and, in its own way, it works pretty effectively.

I actually enjoyed Phantom From Space, despite a number of slow scenes in the first half of the film. The actors are reasonably good albeit colorless, and I was amused at the way the lead scientist seemed to become more and more German as the action progressed. There are certain limited parallels between this movie and Monster a Go-Go, and I feel compelled to state that the conclusion of Phantom From Space is far, far better than what you will find in its B-movie cousin. There's nothing here to make this film stand out, but it is a relatively painless and occasionally interesting cinematic diversion.

re-write would have helped
i liked the movie over-all. i liked the old-time mannerisms , these old flics are like windows into the past.
the story tho could have wrapped up better.
the alien kept trying to communicatem but the earthlings just didn't seem too excited about trying to figure out what he was saying. He dies because they are stupider than the crew of a star trek ship who can always find something to modify to solve a mewrely technical problem.
The foot chases are almost like the Keystone cops chases in the old silent movies.
a good movie to watch with friends when you need an opportunity to feel superior and have a laugh at some long dead movie people.

Bad sci-fi film is no "Killers from Space"!
W. Lee Wilder, brother of Billy Wilder, directed this exciting tale of people sitting around and talking while an invisible space alien flees all who come into his invisible path. Unfortunately, this 1953 clunker is not as beautifully campy and tacky as Wilder's "Killers from Space" or "Snow Creature," though it does feature some hilarious film-noir method acting in the person of a needlessly abusive cop who simply won't take anyone's word for anything. When the lead characters aren't sitting around discussing the obvious, they are running around outside and shouting the obvious. Perhaps this is some primal reaction to the unseen. ... Read more

Reviews (4)

My Hero
Not only did Clayton Moore try to live up to his role as the Lone Ranger, so did I. Thank God I had role models like this when I was growing up. What a different country this would be if kids still tried to emulate the silver screen cowboys of yesteryear. As for the movie, it has everything. Rich color, beautiful scenery, some of the best fight scenes ever put on film, and a subtext about the evils of racism. Put aside your modern world cynicism and just enjoy this movie and every other film you can put your hands on about this great American hero.

The End of the Run!
Clayton Moore and Jay Silverheels established the definitive Lone Ranger and Tonto characterization for all ages. They started in 1949 and had a successful TV series running for many years ending sometime after the mid 1950's. John Hart's Lone Ranger was a filler when Clayton went into a hiatus from the series. The TV series was capped by the "Lone Ranger" movie in 1957, which epitomized what a Lone Ranger cinematic presentation should be, unequalled in production design and grandiose in presentation. However, "The Lone Ranger and the City of Gold" is a lesson on how not to follow-up a successful movie with a sequel, as this pales in comparison. This is like a TV movie transposed to the big scren. But this film is significant for it signalled the end of the Moore-Silverheels film rendition of these western heroes. And about time too. This movie shows both actors getting old as the wrinkles of age are markedly obvious in this excellent VCI refurbishing of the film. The colors and sharpness are outstanding. That is the main reason why this must be part of one's DVD collection. This is labelled as a Region 1 DVD but appears to be a Region 0 disc as I was able to open it up in my Region 3 player. Thank heavens for that. Now all other Lone Rangers fans anywhere in the world can truly enjoy this one. This is why I rate it 4 stars.

Who was that masked man?
The Lone Ranger and Tonto ride to the rescue when a gang of hooded-raiders spreads murder and terror searching for a legendary treasure on Indian land. As a nostalgic treat, this Western movie is perfect for those who remember those thrilling days of yesteryear. Clayton Moore's portrayal of the Lone Ranger is part of childhood memories for many loyal fans. Jay Silverheels will be forever identified as "his faithful Indian companion, Tonto." Amidst a plethora of cereal commercials, The Lone Ranger and Tonto chased the bad guys right off our B&W TV screens back in the baby-boomer '50s. This is the second of two feature length films produced after the TV series ended first-run episodes in 1956. The color photography enhances the excitement of larger-than-life heroes. The script and other production values are Grade B, at best, but, who cares? When The Lone Ranger, on his fiery horse, Silver, rides over the horizon outlaws are out of luck. The Lone Ranger's distinctive manner of dress (red neckerchief, white hat, and blue jump suit) identifies him as a real American hero. The trademark black mask, silver bullets, and gleaming six-guns effectively round out the mysterious and heroic image. As an interesting aside, the movie makes some thoughtful observations of the racial injustice suffered by Native Americans. As usual, good triumphs over evil, and traditional values are preserved. This is a great way to introduce today's high tech kids to the legned of The Lone Ranger. Simple pleasures are the best. Enjoy the ride, right down to the final "Heigh-Yo, Silver, away!" ;-)

A Great Lone Ranger Movie!
This Lone Ranger movie is action-packed from the beginning until the end, and it's even in color, too! This was the last Lone Ranger movie ever made, and it was the last film in which Clayton Moore was the Lone Ranger and Jay Silverheels was Tonto. A great finale to their careers! The whole plot centers on five silver medallions cut from the same plaque that, put together, lead to a long-lost city of gold. These medallions belong to Indians, three of whom have been killed by the Hooded Raiders who wish to obtain the riches for themselves. Can the Lone Ranger and Tonto stop the Hooded Raiders from killing the two remaining Indians? Buy the film and find out. Anyone who loves the Lone Ranger will love this movie! A must-have for any Lone Ranger fan!!! ... Read more