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As Good As It Gets

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Tom Mix brings a lot of the Mix persona to this picture, which is at once a tough no holds barred old west yarn, and with real tears and good humor sprinkled in until Tom and the party with him are stranded in Death Valley. Then it turns tough as nails and the drama is cutting, using Mix's silent film expressions to it's best use. His face is much more full of expression and the minimal dialog is perfect. He IS an actor, not just a cowboy star, famous or otherwise. Fred Kohler is the perfect bad man in the desert, much like his role in "Hell's Heros" (1930) with Charles Bickford, but without the heroic self sacrifice. This could have been a graphic, much more violent film, but owing to the Mix following (children) it isn't, to it's credit. Tony, the horse is the improbable hero of this picture and we are cheering him at the end to. It's a keeper. Glad I bought it fully restored.

If every other film that Tom Mix made were somehow lost, and only this remained, it would suffice to maintain his reputation as the best of the early film cowboys. Mix often gets criticized for the athleticism and tricks of his silent films, but the small body of his sound films entirely refutes that. In his rather grim talking films, Mix means business, and there is realism in both the drama and the comedy that only Buck Jones, in my opinion can compete with in his Columbia films of 1930-33. Unlike Jack Hoxie's six talking films, where the star in question looks like something from the 1910's dragged forward into the talkies and left to sink or swim, Mix is not a relict in his 1932-33 films. His age, demeanour, and carriage, as well as those jingling spurs, make us think of a man who has consistently been a star for twenty years, earned it, and deserves our attention. Tom Mix is the Old West personified and his experience and weariness only adds to his stature.That being said, I think the other reviewers more than adequately covered the plot. Let me say, at seventy-eight minutes, this is NOT a B-western. Its subtlety and small cast might not make it seem to make the A-grade, but the story, acting, subplots, and attention to detail to say the least do not merit a grade B entry. This is just as much an A film as other early talkies like Hell's Heroes, The Virginian, and Law and Order.That being said, I will focus on the realism. There is nothing flashy about this film. To be sure, Tom Mix's introduction to us is something heroic, but doesn't Tom Mix deserve that after twenty years on the screen? The plot is subdued, even standard, but it is arrayed with multiple layers of characterization and interaction that are portrayed far better than in a B film. Even the humor is subdued: it is awkward, as in the embarrassing "secret" that a previous reviewer noted. To the non-PC minded person, we can appreciate Tom's bashfulness about bathing a girl. The fact that this is not a knee-slapper in the film itself is proof of how realistically it is handled.. Would we really all start laughing about it, or just go along in embarrassed silence, not making Tom feel bad. That's what the film does: it portrays normal actions. I might also mention the difficulty that Kohler's character causes to the villain by being overly chummy with him when meeting Lois Wilson. Surely, the ill-concealed contempt is what we would feel as well.Lastly, the desert scenes are harrowing and awful in their stark beauty. I have never felt so haunted by a desert film and its effects on the characters as this one. The setting reduces all: Mix, Wilson, and Kohler to mere putty in its hands. Amidst it all, we have a heart-wrenching scene involving Tom and Tony. Any person who knows the connection between the star and the horse, or even any animal lover will bleed in the heart at what is referenced. I can think of no other western where such multiple layering occurs in a scene between man and horse. I think I've written too much already, but I will close by referring obliquely to the ending. Again the starkness dominates, but lets in a ray of hope. Mix's films are not sentimental, and neither is the final scene. But, it doesn't have to be, and Mix and Wilson portray perfect restraint, and yet quite a bit of vulnerability given what they have been through. As the film ends, and you see "A Good Cast Is Worth Repeating," I can only hope that you will agree with me that rarely has that Universal end credit line been more relevant than for this film. Savor this film for what it is: one of the best westerns ever made; and worthy of full restoration so that Tom Mix can be given his due for this true gem that he gave to us seventy-five years ago.

A top-notch early western. A gold rush hits a western town, now booming - and soon cowboy Tom Mix arrives on his wonderful horse Tony. When a man is murdered for his gold mine at the hands of two bad men - Tom takes charge of the dead man's now orphaned little girl (Edith Fellows) and she's soon all dolled up in a fancy dress and telling him how much she enjoys being "washed and dressed" by him - then Tom proceeds to tell her "remember, that's our little secret" (okay, what's that all about?! - I believe these lines didn't have the intention or meaning they seem to have today, but this caused a big reaction from the audience at a live screening at Cinecon 43 in Hollywood). Well, the child's young, attractive aunt (Lois Wilson) arrives in town to take over and and is none too happy to find the little girl in a saloon ("mixed drinks - 2 bits") at the bar, alongside a beer-drinking saloon gal (Mae Busch in much too small a part). The dead father has left a map to his gold mine (intended for his family), which the two bad men have got ahold of. But smart Tom gets it and divides the map into three pieces, one for each of them. They trek out into the Death Valley desert to find the mine - but a wagon accident leaves the three men, plus the aunt, stranded in the blazing hot desert with close to no water. Of course, while Tom and the woman are "strong and brave", the two bad men keep trying to steal water - the only one who can really help them out is Tony the horse, sent back out across the desert to the rescue!A riveting, gripping, suspenseful film that really held my interest, especially memorable are the later scenes in the desert - the extreme thirst, the debilitating heat, the parched throats, the madness, all expertly and realistically brought to life. Tom Mix is an engaging star who gives a nice performance here, young Edith Fellows is an adorable child, but I must say, it is really Tony the horse who completely steals this film - what a neat horse, and he's the real hero here too! A very entertaining watch.

I agree with the comments of the person from Arkansas. I saw the movie on television during the late fifties and I have never really forgotten it. I was only 14 years old at the time and a Gene Autry fan but seeing both Tom Mix and the film The Rider of Death Valley made an immense impression on me. I can understand how Tom Mix can truly claim the title as the real King of the Cowboys. I will never forget the scenes in Death Valley and during a recent visit to the Lone Pine California area I made a point to visit the outer areas of Death Valley all because of my memories of this great film. Truly a gritty, austere film well worth seeing. I only wish the powers to be at Universal would restore the film and release it again.