All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Exactly the movie you think it is, but not the movie you want it to be.

One of the worst ways to make a cult movie is to set out to make a cult movie.

This is a dark and sometimes deeply uncomfortable drama

In Alias: The Bad Man a really nasty villain played by Frank Mayo gets a range feud going between Ken Maynard's father and Virginia Brown Faire's daughter adjoining ranchowners. Each is having cattle rustled and each thinks the other might be responsible. But when Mayo shoots them both and makes it look like they shot it out with each other, that calls for intervention.Which is what Maynard had planned in any event. Maynard is a Texas Ranger and he gets a summons from his father, but arrives too late to prevent his father's demise. So not being known in the area, Maynard pretends to be a wanted desperado to find out who's behind it all.With Mayo's intentions on the girl as well as stealing cattle and Maynard getting interested as well, Mayo performs his villainy in the best Snidely Whiplash tradition.Long time character actor Irving Bacon plays the sidekick role and Roscoe Ates must not have been available because he's supposed to be a stutterer. Irving is called 'Repeater' by his fellow Ranges including Maynard.Nothing new here, but enjoyable enough for B western fans.

The 1930-33 westerns Ken Maynard made for Tiffany (in between stints with Universal) are a consistent lot, full of action and wit. Some incorporate off-the-wall comedy or horror elements (like Hoot Gibson, Maynard had a wild sense of humor!), but ALIAS THE BADMAN is a gritty, straightforward western with Ken as a ranger posing as an outlaw who is posing as a ranger! Ken has a politically incorrect stuttering sidekick named "Repeater" (Irving Bacon), and silent star Frank Mayo is impressive as the crooked town boss who turns the local ranchers against each other. Director Phil Rosen is better-known for his later mysteries and crime films, but he directed many westerns in the early sound period, and he handles the unique Maynard mix of comedy and action and mystery quite well. Maynard looks great here too, unlike in some of his later Columbia and Monogram films. An excellent entry in the Maynard series for Tiffany.