Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

I'm not a big fan of 'classic' American westerns, usually preferring a little 'spaghetti' with my saddles, Stetsons and six-shooters, but I do have a fondness for the adventures of The Lone Ranger, which were a part of my childhood in the '70s (repeat showings aired during summer holidays and on Saturdays). Like an American Robin Hood, The Lone Ranger served up entertaining half hour slices of wholesome escapism and acts of derring do in which good always triumphed over evil.This, the first of two full length features to star Clayton Moore as the legendary masked vigilante, sees our dashing hero and his faithful sidekick Tonto (Jay Silverheels) coming to blows with dastardly rancher Reece Kilgore (Lyle Bettger) and his men, who have been stirring up trouble with the natives on a nearby reservation in an attempt to lay their hands on the silver lode within the Indians' sacred mountain.Plot-wise, it's a fairly routine and rather predictable escapade for the ranger, but one enlivened by strong performances from heroes and villains alike, enjoyable action (there are several impressive fist-fights featuring great stunt-work), glorious colour cinematography, a rousing score (including, of course, the show's signature theme, the William Tell Overture), and some welcome humour (as Moore dons the guise of an old prospector in order to investigate)—all of which adds up to a very enjoyable time.7.5 out of 10, rounded up to 8 for the sake of nostalgia.

If anyone had told me I'd look at, let alone write a review for a 'Lone Ranger' film I'd have laughed at them Big Time! Here is a film from 1956, based on a TV series that I fully expected to look and sound as bad as they could come....was I surprised to find this had elements you might usually expect to find in a major work.Technically, it doesn't get too much better than this curious show. If you can get your head around a masked vigilante leading a two man fight against all forms of corruption, then you could be on you way to an exciting ride, and ride they do! Some of the horse work is of the more spectacular type with several scenes where the horses actually run off with the honors.It's all odd, and at odds with an America of the 50s where Afro Americans and Native Indians were treated as second (and third) class citizens ~ then along comes a hero of the highest degree, who with his trusted 'Red Indian' confident and 'friend', takes on the whole American political system! The production values were the biggest surprise for me. Firstly, an above average script credited to 'Have Gun Will Travel' creator: Herb Meadow (based on the original characters created by Francis Striker and George Trendle in 1932) this kicks things off to a good start, then you notice the great cinematography by special effects man Edwin B. Du Par. The action sequences are so well staged that you almost feel the pain being inflicted on the characters, who by the way, put up with unexpected levels of violence for this era and genre.Strong direction is given by Stuart Heisler who keeps the thrills flowing. The music score by Vienese David Buttolph blends in well with the strange choice of an Italian opera for the main and end titles! Those with a trained ear for 50s/60s TV themes will pick up the 'Sugarfoot' theme within the incidental music (I had wondered where that theme came from, now we know) The two main leads work very well together turning in sincere performances for their curious characters - I can't help but feel they had a genuine fondness for them, this all helps carry it thorough the shaky bits. The bulk of the supporting cast supply strong performances and lift this near unbelievable story to a quite believable level. This was to be award nominated Bonita Granville's final major screen role, she married the films producer Jack Wrather and retired. I'm now looking forward to the follow up theatrical feature: 'The Lost City of Gold' Hope it's as well done. If you enjoy this type of 50s western movie you may have fun with this, give it a go....Footnote Up-Date: Have since caught up with the 'Lost City of Gold', somewhat of a let down. Review posted also.

The Masked Man and his faithful Indian companion Tonto struggle to thwart a greedy cattle baron from igniting a full-scale war with Native Americans on a nearby reservation. Compared to the Spartan production values on the ABC-TV series, "The Lone Ranger" movie looks like a million-dollar spectacle. Lensed in vibrant Warnercolor with a sturdy cast, featuring villainous Lyle Bettger and Robert Wilkie, Jr., this fast-moving, 80-minute horse opera never wears out its welcome. The Lone Ranger investigates trumped-up claims that the Indians have been straying off the reservation and committing havoc. The man arousing all the ill-will toward the Indians is the same dastard that hungers their land. As it turns out, the last surprise in this western is the revelation about the mineral rich ground on which the reservation lies. "The Glass Key" director Stuart Heisler maintains a sense of urgency throughout this tightly knit western and scenarist Herb Meadow provides a good line of dialogue occasionally. Clayton Moore and Jay Silverheels reprised their roles, and they have no trouble stirring up action. When you think about it, westerns during the post-war years constituted pictures about race-relations. Although the dastardly Reece Kilgore sets things in motion for a showdown, the outcome isn't what he expected. The Lone Ranger swaps blows with a potential Indian chieftain and gets clipped by a bullet to the head. Nevertheless, our hero re-emerges and resolved to capture the felons. This well-made western is worth watching at least once.

One of the things that amazes me about this film is its surprisingly modern attitude towards Native Americans (no, seriously!) The Indians in this movie are portrayed with dignity and respect, similar to the way "Dances With Wolves" would portray the Lakota years later. Naturally, the Lone Ranger and Tonto are good friends and partners (Clayton Moore always said he loved Jay Silverheels like a brother), but the way the Ranger in which treats the Indian chief, Red Hawk, is touching. No wonder this man is a hero.In an era when Hollywood more often than not used Indians as stereotypical savages and moving targets, "The Lone Ranger" makes a surprising plea for mutual respect and tolerance.