Clever, believable, and super fun to watch. It totally has replay value.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

John Wayne's extremely low budget features of the mid 1930's are an entertaining mix of various western themes that are often repetitive, yet never boring. In the case of "Winds of the Wasteland", he is the sucker who buys a stagecoach of the practically vacant ghost town of Crescent City. But when Duke's the hero, he's bound to get revenge in the most clever way, and here, it is the rebuilding of that community and the race to get a government grant to deliver the mail through their stagecoach. Lane Chandler is his "Gabby" Hayes like sidekick who humorously finds an interesting intruder into the stagecoach when they first come across the decrepit vehicle. Of course, there's a young lady involved, and she's Phyllis Fraser, the big-city raised daughter of Crescent City's doctor who has lied to her in the mail over the city's population. Lots of humor (especially the delight of the town's mayor/sheriff/drug store operator at doubling the town's population from 2 to 4!) fills up the short running time as Wayne cleverly goes up against the bad guys who commit a lot of nefarious actions in order to keep Wayne from winning the race. The result is an entertaining programmer that Duke fans will want to watch again and again.

An end of the era is coming. The Pony Express is nearing an end as the telegraph line is about to be put up, making the way the mail was delivered for years obsolete.Two Pony Express riders (John Wayne, Lane Chandler) decide to go into the stagecoach business, with the Pony Express horses that were given to them and other riders as a gift of thanks for their service. The two ask the owner of the local stagecoach service (Douglas Cosgrove) if they could purchase one of his older stagecoaches. However, he offers them their own franchise to a city almost an hour away, Crescent City.The two travel to the small city, only to realize they were tricked. Turns out that the city is rundown, and has only two residents."John Blair" (Wayne) decides it's not worth accepting the offer for the franchise, but the mayor of the city (Lew Kelly), who has a lot of other jobs in the city, informs him that the United States government is offering a contract to deliver the mail in the area via stage coach. As long as they win a race with other stage coach services in the area.At one point, "Blair" comes across the team putting up the telegraph wires for the area, and gets them to agree to bring the telegraph to Crescent City, and a much needed boost to the population.Word gets to "Cal Drake" (Cosgrove), who makes plans to sabotage the Crescent City line's chances in winning that contract.Now, "Blair" has to win the contract -- and try to keep the new residence of Crescent City there.The first problem with this movie is the length. It's almost 56 minutes long, and doesn't feel like a movie at all. However, it's got some pretty good performances that make it interesting enough to keep your attention.I can't remember how many early Wayne movies I've seen lately, but, as with all the previous ones, I think Wayne has the strongest performance in the film. The others are pretty memorable as well, with Phyllis Fraser with the weakest performance as the daughter of one of the original two Crescent City residents.One of the biggest problems this movie has, most likely due to the length of it, is character development. Many supporting characters had very little development. You get to meet them, and how they play in the story, but not much more. The movie basically focuses on Wayne's character, which doesn't give the supporting cast any screen time to advance any subplots they are a part of.One of those subplots that was completely missed was the romantic subplot between "Barbara Forsythe" (Fraser) and both of the lead actors. There is no story that describes how she appears to go after one of them, but ends up with the other.The soundtrack to the movie sounded to me like a early TV Western. Nothing when it came to music stood out at all. Even the music during the only fist fight in the entire film was pretty bad. This soundtrack will not go down as one of the greatest scores in movie history.Due to the time this film was made, the special effects are not done by a computer, and are, at best, OK. In scenes where the two characters are riding on the stagecoach, it is obvious that they are in front of a movie screen. But, this simplistic effect works real well.The movie is mainly shot outdoors. But, none of the scenes are memorable. There are a few horse chases, and the stage coach race that are shot fairly nicely. And the shots during the race where they go from the race to close-ups on stagecoach mock ups in front of a movie screen are edited together smoothly.Despite the flaws of this movie, this is not a bad movie. I would not put it in your must-see list, but you should check it out if you see it on Encore Westerns, and there is nothing better to do. In fact, it's currently on Hulu right now, which is how I watched it.I would also check it out if you are a fan of John Wayne. It will show you that he was destined for his legendary status in Hollywood.

Wow, I've watched a ton of John Wayne's B-westerns from the 1930s, but I have never seen one that featured such obscure actors throughout the film. Familiar faces like Gabby Hayes and Yakima Canut are no where to be seen, so it's obvious that this is an even lower budget film than usual for Wayne--an actor who made a bazillion B-westerns. Fortunately, despite the no-name cast, the film itself was pretty dandy--mostly because it was so unlike all the rest of these films.The film begins with the closing of the Pony Express--a service that actually only operated for about a year. Wayne and another ex-rider decide to go in to the stage coach business--even though they know absolutely NOTHING about it. It's because of this that they are so easily swindled by a jerk who owns many of the stage lines. He sells them a broken-down stage and a route for a ghost town! But, instead of giving up, the two work their butts off and through some ingenuity the business and the dead town start to come to life. However, the evil rich jerk is determined to ruin the partners--even if it means killing one of them! Despite the no-names, the film was entertaining--more than I had expected. With a fresh plot and Wayne's usual effortless performance, it's among the best B-westerns I've seen. Well worth seeing...and within only a few short years, Wayne would go on to A-pictures and stardom.

Strong story line that benefits from Lone Star's alliance with Republic Pictures. Poverty row Lone Star usually emphasized action at the expense of story-line. This resulted in lots of exciting chases, but often with little understanding of why. Here, however, the plot is very well developed with believable characters and good action. It's an excellent sketch of how guts, risk, and ingenuity helped transform an abandoned ghost town into a vibrant new community. The screenplay also does a nice job of showing the challenges of rebuilding a frontier town without losing the conventions that entertained kids of the time. Wayne delivers a nicely appropriate turn as the driving force behind the redevelopment, along with Lane Chandler as his buddy. This film especially shows Wayne's charm before the big-money responsibility of super-stardom made him more serious. Final stage race is well conceived along with how reviving the town also restores self-confidence of its inhabitants. Very positive story-line unusual for a B-Western of the time.