The greatest movie ever made..!

I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

ANYONE WHO GREW up during the period of 1930-60 in the USA, Canada, Timbuktu or anywhere that the Hollywood output is exhibited, would be familiar with "O. Henry's famous Robin Hood of the Old West…". The Cisco Kid and his sidekick, Pancho (sometimes referred to by the nickname of "Gordito" or "Little Fatty" in English) were a mainstay of the "B" Western Movie scene and later, as a Juvie TV Series. The role of the Kid had been passed from Baxter (the first talkie Cisco) to Caesar Romero to Gilbert Roland and then Duncan Renaldo; who essayed the role in both the last Monogram theatricals and the Ziv Television). Pancho/Gordito was perennially the job of Chris Pin-Martin; until Leo Carillo moved into the part with 'partner' Mr. Renaldo.RELATIVELY FEW PEOPLE of this very same period were acquainted with the portrayal of this character by Warner Baxter; whom we are told won an Oscar for his performance as 'Best Performance by an Actor for 1929', the first really full year of sound pictures. This may seem to be a rather strange occurrence for what was a 'Major Motion Picture' and there is no definitive answer for it. However we believe we can offer a plausible and most probable reason for the film's lack of familiarity.AS WE SEE it, the initiation of the CISCO KID Movie Series refined and softened the character; rendering Cisco more palatable for Family Viewing. Whereas we still saw wanted posters with a reward for his capture throughout the life of the series as it changed Studios from 20th Century-Fox to Monogram and passed the right to the Cisco Sombrero from Baxter to Romero, Roland and Renaldo; there was always plausible reasons to believe that poor Cisco was just a misunderstood ex-bandito, with the proverbial 'Heart of Gold.' FURTHERMORE it appears that there may be another reason. Once again this is only conjecture, but there appears to have been a conscious effort by Fox to hold back the release of many of their earliest Talkies from release to the 1950's Television market. This lack of interest by the Copyright Owner, the 20th Century-Fox Film Corporation, may also have contributed to a an apparent neglect of their earliest sound pictures.** WITH REGARD to the film, itself, IN OLD ARIZONA has all of those indicators that label it as being a very early talkie; even up to the point of possibly labeling it as being a primitive sound feature. All of the elements are present that reflect an overall lack of familiarity with the problems of coordinating the sound with the imagery of the movement of the players.THIS IS NOT a slam on the Director. Raoul Walsh was a veteran of the great Silent Films of D.W. Griffith; having portrayed John Wilkes Booth in BIRTH OF A NATION. Mr. Walsh brought the experience of what was probably close to 29 years when he took possession of 'the Chair' to do the picture in 1928.* His innate talents were definitely on display; although he was undoubtedly continuing to learn and grow. It is our amateur opinion that much of the excessive and often awkward insertion of musical numbers in this movie and in so many others of that period was the result of an overwhelming desire by the various Studios to render their products as being close as possible to "All Talking. All Singing and All Sound!" FOR WHAT WE expected from a 'Horse Opera', there certainly was an awful lot of dialogue. Of course, there was a story to tell and durn it if they weren't going to talk us through all of that exposition. In an incredibly short span of on screen time, we are introduced to Cisco, Army Sgt. Mickey Dunn (Edmund Lowe) and the lovely Tonia Maria(Dorothy Burgess); who places herself directly in the collision course path that the two were set on from the very start.THERE IS A decidedly "Adult" viewing rating here. We see the large numbers of Working Girls present in the Gin Mill that this town has all of the Thorns that go along with the Roses in any Bouquet. This town's appearance and reputation would certainly not put it in good standing as fit subjects for Walt Disney or Norman Rockwell to use in their projects.ALONG THE SAME line, Director Walsh leaves us with no doubt that the Senorita Tonia Maria was less than a girl next door type. In her very first appearance on the screen, we see her dispatching a 'John' from her house; cautioning him to high tail it, for Cisco is arriving presently. Her love of money is made explicit as she obviously seems interested in more and more of it. Cisco doesn't realize it; but he is being played as a chump. Her favors are bestowed to many others. Unknown to the Kid is the undeniable truth that to her, he is just another 'Trick'.THE HOLD-UP of the Stagecoach by Cisco at the beginning of the story and the comic relief situation of having our Anti-Hero meet up with the unsuspecting town Sheriff and equally clueless Sgt. Dunn in the town Barber Shop; while he was getting a shave and taking a bath, all were important preludes to a most surprising and gruesome a climax.UNTIL WE MEET again, Schultz and I want to say, "GOOD-BYE AMIGOS, SEE YOU SOON!" (Roll the Credits, Schultz!) See You Next Time!NOTE: * We read that Raoul Walsh was set to portray Cisco in this film; but just prior to the scheduled shooting time, he was badly injured in an auto accident, losing an eye.NOTE: ** A good example of an early sound movie held back by Fox is SOUP TO NUTS (Fox, 1930) which introduced the movie audiences to Ted Healy & The 3 Stooges. POODLE SCHNITZ!!

Sound came to Hollywood via many paths. But the system that stuck grew out of Fox's MovieTone Newsreels when John Ford & Raoul Walsh reasoned that those mobile sound trucks would work just fine for shorts & features. ARIZONA is generally considered the first 100% Talkie shot on location and if it's predictably lumbering, the first third is quite watchable with tasty character bits (at a snail's pace) & stunning lensing from the great Arthur Edeson who'd also shoot Walsh's 1930 70mm Western THE BIG TRAIL. Walsh originally directed & starred in this, but because of a car accident that cost him his left eye he shares directing credit w/ Fox studio hack supreme Irving Cummings. Accent challenged Warner Baxter stepped into the lead & even got an Oscar for his cornball perf. This was the first Cisco Kid pic & it's worth hanging in there not only for historical merit points, but for the ultra-pragmatic/Nietzschean ending which still packs a bit of a shock.BROKEBACK ALERT!! Watch for a scene where Baxter's Cisco & Edmund Lowe's Sergeant first compare the size and then pat (!) each other's holstered guns.

Not only is this the first major sound western, it is the first done out of doors. The sound isn't all that great, booming and fading, but consider that this was made in the "dawn of sound" era, 1928, and at that time the great MGM had yet to make any talking pictures. The camera work, however, is excellent, even if limited as to action by the tyranny of the new microphone. Fox films were keeping up with pioneering Warner Brothers fairly well.Suggested by "The Caballero's Way", a story by William Sidney Porter (O. Henry), the main character, "The Cisco Kid", has been considerably upgraded. Porter's "Kid" was a ruthless bandit, who didn't like people who got in his way, especially sheriffs. In the film, the authority figure is not a sheriff, but an army Sergeant co-opted by the locals to run down the "Kid" and "terminate him with extreme prejudice". The movie has added what amounts to an extensive prologue to the original story elements, in which the "Kid" robs a stage carrying considerable gold, thus depriving a number of the locals of considerable cash.The Sergeant seduces, without too much trouble, the girl-friend of the "Kid". He persuades her to betray him, more or less Judas fashion, but the wily bandit overhears the plot and takes a cleverly sadistic revenge. In case you haven't read the story or seen the film, I'll say no more. When I first commented on IN OLD ARIZONA some years ago, I had not then seen the excellent DVD now available, and was depending on my memory of seeing the movie in 1928, when it was in general release. (Yeah, I'm that old!) As a result, I described an ending which either belonged to another "Cisco" movie, or was perhaps an alternate ending to this one. In any case, the DVD presents the same ending as the O. Henry story.Despite all the shortcomings, compared to modern films, this old museum piece has considerable pictorial charm. There is a brief sequence showing ham and eggs frying, with appropriate sound effects, that brought out a gasp from the audience in 1928. Sound and sight, Oh, boy! The outdoor sequences, possibly using some process photography, look to be depicting the Tonto Rim country of Arizona, but some of the rocks might just have been in Griffith Park! Now, the acting, beyond that of Warner Baxter, is about high school senior play level, if that good. Edmund Lowe is merely mediocre, but Dorothy Burgess, alas, is really pitiful. Baxter, himself, seems very mannered, probably going slow to be sure he didn't slip on his "mexican" accent. The best acting is found among the "bit" players. They seem more comfortable in their roles and project more naturally than the principals. One might be forgiven for suspecting that they got less attention from the directors. It does take some patience to "enjoy" this old film, but I can't say I was bored. For fullest enjoyment, you have to project yourself, if you can, back to 1928, and imagine that you can actually smell that ham frying in the skillet. And the "Kid" and the girl never ate it! They "retired" into another room.

A pioneering western, the first "talkie" shot outdoors, which makes its soundtrack rather crowded sometimes. Like all great westerns, this one builds on an archetypal theme—in this case, a love triangle. By far the most attractive element of the movie is the twinkly-eyed charm and humour of the Cisco Kid (Warner Baxter), who carries the entire story. He is courtly, smart, funny, and well-dressed. The movie's always better when he's on screen. As his fickle girlfriend Tonia Maria, Dorothy Burgess is less convincing. She is a Latina vamp in the flouncing mode, unable to move through a space without holding her arms akimbo and looking over her shoulder, and tossing her pretty head, and wiggling her hips, and sashaying where a less attractive woman might just walk. Her fake Mexican accent is off-putting, too, though not as off-putting as the fake Brooklyn accent of the cavalry sergeant Mickey Dunne (Edmund Lowe) sent to capture the bandit. He says "goils" for "girls," and "poifect," and stuff like that. Lowe is a big man in a uniform, sort of a film history stand-in waiting for John Wayne to come along and play that sort of part without the sneering humour and waggling eyebrows. The sergeant is a caricature of western manliness, full of contempt for women and the other half of the formula, eagerness to spend time with them. Ironically, as he lures the Cisco Kid's fickle girlfriend Tonia Maria to betray her lover for the $5000 reward, he seems to be falling for her in earnest. Aware of her betrayal, the Kid spends a little time with her pointedly speaking of constancy. He has replaced the note she's sent to the sergeant with one warning they're planning to switch clothes for the getaway, and the sergeant shoots her. The Cisco Kid pauses to light a cigarillo. Looking back toward the hacienda, he quotes two lines from a song he'd been singing earlier: "Her flirting days are over, and she's ready to settle down." He turns and rides away into the night.