SUNSET IN THE WEST (1950)

In the fast evolving Hollywood of the late-‘40s (post-war/early television), Republic Pictures began using their proprietary TruColor system on Roy Rogers Westerns.  Less accurate than aspirational, TruColor’s two-tint system anything but true at the time.  Yet when handled properly, especially in parched/dusty territories out West, the tilt toward red/orange/blue of its available color spectrum (yellow/green inferred rather than registered) could produce unexpectedly satisfying results.  Or so fans assumed for decades since optimal viewing was impossible thanks to Republic chopping down product to fit one-hour time slots on tv; with a reel or two of footage tossed; murky color prints on incompatible stock; duped b&w copies.*  Miraculously, KINO-LORBER came out with a pair of fully restored 1950 films made from original negatives (TRIGGER, JR is the mate) proving what fans had long suspected/hoped for: the films are visual catnip.  Alas, this one’s just so-so as story: Roy re-ups with Sheriff Will Wright to catch a gang of gunrunners; but a fair share of catchy tunes (good); Gordon Jones’ corny comedy (bad), a fine old bloodhound dog (endearing); some nice action stunts (Trigger & Roy catch a train on the run) and a shocking amount of cold-blooded killing to go with the newly sharpened image.  No Dale Evans, but I think we’ll survive.

DOUBLE-BILL/LINK: As mentioned, TRIGGER, JR., just that bit better in story & picture.  OR: See and compare to TechiColor's two-strip system (with its slightly different color spectrum) at something near its best in the superb late-silent REDSKIN.’29.  https://maksquibs.blogspot.com/2018/06/trigger-jr-1950.html  https://maksquibs.blogspot.com/2009/03/redskin-1929.html

SCREWY THOUGHT OF THE DAY: *Old time Hollywood moguls rarely held on to junked footage.  Not so much to avoid upkeep costs, but to avoid the possibility of someone second-guessing them.  Prime examples include Columbia’s Harry Cohn on Frank Capra’s LOST HORIZON/’37 and Jack Warner with George Cukor’s version of A STAR IS BORN/’54.  Each now ‘restored’ with still photos to cover missing (really purposefully trashed) footage.