Thursday, April 19, 2018
Thursday, April 12, 2018
For example, one stunt that Tom mastered early on was moving from his saddle on his horse to a crouching pose directly on the saddle, sideways, then launching himself off onto another rider who was usually the bad guy, taking him down. A lobby card from his silent film “The Wyoming Wildcat” 1925 depicts Tom in this exact pose. A similar stunt was executed in “The Texas Tornado” when Tom is in high-speed pursuit on horseback in rescuing the ranch lease from Latimer, so that he could get to the bank in time to renew it.
Another fairly difficult horseriding stunt Tom learned to perform is grabbing onto an overhead tree branch and swinging the body upwards, leaving the horse completely. Tom did this on “Cheyenne Rides Again”, and while up in the tree, waited until the bandits came riding by to drop onto them and impede their destination. Again, the physical body strength required for this was of no challenge for the world's champion weightlifter.
|Tom performing the rear mount in "Feud of the Trail"|
|From The Los Angeles Times, April 10, 1927|
One fascinating horseriding stunt is the ability remain in the saddle even when the horse is trying to buck its rider. This is what happened in “Ridin On” where Tom's horse was frightened by another man's horse drawn buggy, the two almost colliding into each other. Tom was able to get his horse under control without leaving his saddle – quite an achievement in itself. Most men would be tossed from the horse, resulting in serious injuries. Tom Tyler, however, made all of his stunts look easy though, with all of his hard work, to delight and thrill his audiences.
Sunday, April 1, 2018
Jerry McGill (Tom Tyler) arrives in the big city of Los Angeles from a ranch in Arizona but meets up with a robber by the name of Dago Jack (Pat Harmon) who pretends to get him a room at a hotel but ends up robbing him instead (think Jack Lemmon and Sandy Dennis in the 1970 Neil Simon comedy, “The Out of Towners”). Dejected, Jerry walks around the city until he sees a hungry newsboy (Frankie Darro) who doesn't have enough money to eat, and as a gesture of kindness, Jerry parts with his last few cents from his pocket and gives it to the boy to purchase a meal. Frankie is forever grateful and in turn, the two become fast friends.
A visiting count from an eastern European country by the name of Mirski is a guest at a social event at Virginia's house when he decides to send two hitmen to break into the safe and steal the valuable jewels. Even though Jerry is dressed in his finest dinner suit, he still engages in a fight with the crooks, chasing them first by car, then by motorcycle , finally capturing them. After Jerry finds he has been in the city long enough, he decides to return home to his ranch in Arizona. To his surprise, Jerry is persuaded by Virginia to stay with her on the family ranch in California and marry her.
Tom's onscreen pal Frankie is included in practically every scene, the latter dancing the Charleston, much to the delight of the viewers. He also accompanies Tom in all the fights, and is equally amazed at having gone from being a lowly newspaper boy to high society literally overnight. It may be that getting to see how the other half lived which prompted Tom and Frankie to eventually compromise and stay with Virginia on her California ranch.
Film stills from “The Cowboy Cop” (Motion Picture News, August 28, 1926) show Tom in a city police uniform walking his beat in the park, with little Frankie Darro as his partner, complete in a miniature police uniform. As in most big cities, Tom's police character rides horseback, along with Frankie on his pony. It is worth noting that the police uniform that Tom Tyler wore had to be custom made in order to properly fit his muscular build. Of course, Frankie's dog Sitting Bull, also appears in “The Cowboy Cop”. A picture of Tom from Exhibitors Herald, August 7, 1926 shows Tom in his police uniform and holding hands with Jean Arthur, erroneously listed as Dorothy Dunbar, who appeared in “The Masquerade Bandit”, “Lightning Lariats”, and “Red Hot Hoofs” with Tom.
Cinema owners who previewed “The Cowboy Cop” also critiqued the film, often saying this will appeal most to Tom Tyler and Frankie Darro fans, even though the story line is rather unusual for a standard western for its time period (Exhibitor's Herald, April 30, 1927). However it should be remembered that FBO purposefully gave Tom Tyler scripts that employed highly creative concepts, not just to deviate from the silent film western, but to imagine an actor like Tom Tyler in unlimited places and time periods (the same was also done with “The Sonora Kid” and King Arthur). Perhaps most importantly, “The Cowboy Cop” is one of the handful of Tom Tyler FBO silent films which survived and is archived at EYE Filmmuseum in Amsterdam. Hopefully “The Cowboy Cop”, given its unique plot and stars of Tom Tyler and Jean Arthur, can be restored and digitized for public viewing.
|From Motion Picture News, August 28, 1926|
Wednesday, March 21, 2018
Jeanne Martel, who was also a B-film star. Although she was twelve years younger than Tom, the age difference did not keep them from getting to know one another and eventually marrying. At the age of 33, Tom probably felt it was time for him to settle down, despite the fact he did not lead a “swinging bachelor” lifestyle. In fact, his only other publicly known love interest was in Ethlyn Clair, who starred with Tom in “Gun Law” and “The Pride of Pawnee”, both in 1929. Yet nothing came of that relationship, so far as we know, which meant that Tom simply did not yet find the right woman for him.
Tom met his wife-to-be on the set of “Santa Fe Bound” in 1936. The newly met couple spent the usual amount of time getting to know each other, including time spent with their families, and married on September 3, 1937. Tom and Jean made two more movies together, “Lost Ranch” and “Orphan of the Pecos”, both in 1937 before they signed up to perform with the Wallace Brothers Circus for a year. In the 1930's, spending one's honeymoon while circus touring must have been uniquely romantic, not to mention the hard work involved with touring by train. Eventually, however, Tom and Jeanne divorced sometime around 1945. Below are photos of Tom getting into an airplane on the way to the wedding, plus an actual wedding day photo. He certainly looks handsome in a tuxedo, and Jean looks lovely in her bridal dress. It goes without saying they were one of the best looking couples in Hollywood in the 1930's.
|From The Atlanta Constitution, Atlanta, GA, August 29, 1937|
|From The Los Angeles Times, CA, September 4, 1937|
Monday, March 12, 2018
Note: This is the second part of a series of fan fiction. Please keep in mind that outside of the primary character, Tom Tyler, all others are fictional, and any resemblance to actual persons, living or dead, or actual events is purely coincidental. Screencaps are from Tom's movies and are used simply as visuals. With the usual disclaimer aside, if you would like to link back to this story and need help doing so, please contact me at email@example.com. Thank you and enjoy the story!
After the covered wagon arrived in Marshall, Missouri, its travelers decided to spend the night there. Twilight was starting to fall. The men outside set up camp and spent some time collecting dry wood nearby, while Julie started to prepare supper along with Joe, who rode the stallion all the way across the country. Joe had plenty of experience in long-distance travel on horseback, and preparing supper afforded him some time to speak to the only woman in the group. As he pared some root vegetables for dicing, Julie added some beef stock to drinking water in the cooking pot for stew. Joe glanced at her, thinking that she tried to be engrossed in what she was doing while at the same time thinking about Tom.
“Pretty long day, huh Julie. You seem worried about Tom. I know you care about him.” Joe leaned back and wiped the back of his right hand against the side of his jeans. His green eyes had a devilish twinkle in them, dirty blond hair disheveled across the top and back.
Julie hesitated before answering. “I do, Joe. Maybe too much.” Out of habit, the right corner of her mouth turned down while she thought. “What happens if we don't get Tom to our destination in time?” She uncrossed her legs, smoothing the skirt of her dress.
“Aw, we'll get him to Oklahoma in time, Miss Julie. It's just that – well I was wondering.” Joe picked up his knife and started to dice the parsnips and potatoes. Julie watched his slow, deliberate movements. The neat piles of chopped onions and carrots were joined by the other vegetables, forming a colorful row, ready to be added to the cast iron pot.
“Wondering what?” Julie caught a whiff of smoke from Joe's cigar which rested on a chunk of sedimentary rock next to the cooking utensils.
“I think there is something you should know about Tom and I don't rightly know how to put it to you.” Joe placed the diced vegetables so quietly into the pot, no splash of water could be heard. He looked at her and smiled, revealing his straight white teeth. As they spoke, Tom crawled to the rear of the covered wagon and leaned against a board, savoring the clean air. He was not supposed to move around too much, and was also afraid Julie might see him. Tom kept out of their direct line of sight and snuggled beneath a blanket. He thought he heard his name being spoken outside and did not wish for anyone to know he overheard any conversation about him.
“Why?” Julie curiously asked Joe. “It's not serious, is it? I mean outside of his being ill.” Her eyes cast down towards the cooking pot over the campfire.
“Well sort of. Maybe I should not have said anything.” Joe picked up the wood spoon and stirred the slow-cooking stew. Julie was hungry, as were the other men who sat on the other side of the wagon tending to the horses. “No. I was wrong to say anything, Julie. I know how you feel about him. I have to respect that.” Joe took a drag on his cigar, holding it in his weathered hand. Tom heard every word quite clearly, jolted into an awareness he never felt before. 'Did I do something wrong?' Tom thought to himself. He crawled back towards the middle of the wagon and pretended to sleep while supper cooked. 'I wonder what Joe was going to tell Julie?' Tom became a little scared but told himself not to reveal any feeling as such nor act as if he heard the conversation, for fear of alienating Julie or one of the men. He pulled the blanket up to his face and thought he heard the two men on the other side of the wagon. Tom shut his eyes and concentrated on the slowly fading sunlight on the western horizon. He breathed deeply, developing a natural rhythm, an exercise Julie taught him to help ease his physical pains. Supper will be ready by the time he awoke from his nap, and Tom was already starting to forget the conversation that transpired between Julie and Joe not more than ten minutes ago.
To be continued...
Sunday, March 11, 2018
Of the different vintage film poster sizes, one of the rarest is the banner. Usually made of canvas weight fabric with bright colored painted designs and lettering, these banners were displayed in the front of a cinema near the box office. Meant to be eye-catching to the movie patron, these banners were often manufactured in limited quantities which means that very few of them survive today, particularly those from the 1930's to early 1940's. Banners from these two decades on average measured from 119” x 36” to 117” x 35” in size, with some variation in size. These movie banners had a total of eight grommets along the top and bottom edges, which were then tied to a bar and displayed so that it hung flat without sagging. When a cinema was lucky enough to acquire a banner, it would arrive rolled up, and would be stored the same way after the movie it was advertised for ended its run.
There are three Tom Tyler movie banners that are confirmed to exist: “Phantom of the West”, “Battling with Buffalo Bill”, and “Adventure of Captain Marvel”. In very good to excellent condition, these banners can command up to $1000.00 upwards in price.
Wednesday, March 7, 2018
"Jungle Mystery" from De Noord Ooster,
Wildervank, Netherlands, March 13, 1934
Red Hot Hoofs (1925) – Een geboren Vechtersbaas
Tom's Gang (1927) – De verspeelde Hoeve
The Desert Pirate (1927) – De woestijnpiraat
When the Law Rides (1928) – Buiten bereik der wet
Tyrant of Red Gulch (1928) – De Verborgen buit
The Pride of Pawnee (1929) – Dappere Tom
The Law of the Plains (1929) – 'T recht zegeviert
The Phantom of the West (1931) – Het spook van het westen
A Rider of the Plains (1931) – De ruiter zonder vrees
The Man from Death Valley (1931) – De Geheimzinnige Pachter
Jungle Mystery (1932) – De geheimen van het oerwoud
Deadwood Pass (1933) – De pas in het Doodenwoud
War of the Range (1933) – De verspeelde hoeve
Ridin' Thru (1934) – Een verijdeld complot
Unconquered Bandit (1935) – Zijn Vader gewroken
Coyote Trails (1935) – De Spookhengst
Born to Battle (1935) – Op 't kantje af
The silver bullet (1935) – De zilveren kogel
Rio Rattler (1935) – De bende van Rio
The Last Outlaw (1936) – Op Vrije Voeten
Phantom of the Range (1936) – De spookruiter
Brothers of the West (1937) – De Geheime speurder
Lost Ranch (1937) – De plicht voor alles
Orphan of the Pecos (1937) – Het witte gevaar
Tuesday, February 20, 2018
|"A Rider of the Plains" cinema ad|
The Wyoming Wildcat (1925) – Król cowboy'ów i maly bohater
'Neath Western Skies (1929) – Walka o diamenty
The Phantom Rider (1929) – Jeździec widmo
Pioneers of the West (1929) – Pionierzy zachodu
A Rider of the Plains (1931) – Szatański cowboy
Two Fisted Justice (1931) – Pod szubienicą
The Man from New Mexico (1932) – Postrach Meksyku
Vanishing Men (1932) – Przyjaźń w obliczu śmierci
Honor of the Mounted (1932) – Tajemnica zamkniętego kufra
Stagecoach (1939) – Dyliƶans
The Night Riders (1939) – Nocni jeźdźcy
Drums Along the Mohawk (1939) – Bębny nad Mohawkiem
Frontier Marshal (1939) – Szeryf z pogranicza
Brother Orchid (1940) – Orchid, brat gangstera
The Westerner (1940) – Człowiek z zachodu
The Talk of the Town (1942) – Głosy miasta
The Princess and the Pirate (1944) –Księżniczka i Pirat
Never Say Goodbye (1946) – Nigdy nie mów do widzenia
Blood on the Moon (1948) – Krwawy księżyc
Red River (1948) – Rzeka Czerwona
I Shot Jesse James (1949) – Zabiłem Jessego Jamesa
She Wore a Yellow Ribbon (1949) – Nosiła żółtą wstążkę
Best of the Badmen (1951) –Najlepszy z najgorszych
Saturday, February 17, 2018
In “The Mummy's Hand” (1940), Tom's eyes were “blacked out” using a camera technique in some scenes to make him seem even more frightening. On film, this technique made his eyes seem to “gel” and shine unnaturally, just like a real monster brought back to life after being dead for many centuries.
Tom Tyler's brown eyes were perfect for silent film, to be sure, and even better for the talkies he made during the 1930's, and the color films he made in the 1940's before he fell ill with scleroderma. More than one publicity photo show Tom's eyes sparkling, full of life and light, eyes that could tell the story of his journey to Hollywood from Hamtramck, Michigan. Eyes that not only acted well, but also could hold the beholder spellbound, speak of an era long gone yet cherished and held close to the heart.
Born in the dust and cradled in the dark,
It feels the fire of an immortal spark,
And learns to read, with patient, searching eyes,
The splendid secret of the unconscious skies.
- H. Van Dyke
Friday, February 9, 2018
It was in Tom's debut starring role of “Let's Go Gallagher” in 1925 where he completes his first rescue mission, releasing Frankie Darro and his dog Beans who were tied to a train track by a gang of outlaws. In this case, it was Tom's horseback riding skills of a speedy pace that made this rescue possible. Yet this was just a precursor to a greater rescue later on in the film, where Tom also had to rescue the heroine (Barbara Starr) who was stuck on a runaway carriage, headed down the steep grade of a mountainside. Once again speed and precision played an important role, and Tom in all his grandeur rescues the frightened girl from getting killed, and establishes him as a major film star of athletic capability.
The Wyoming Wildcat” (1925), Tom makes a daring rescue while on horseback, leaping off the top of a cliff while remaining on his horse, plunging into a whirlpool of water below, to save Virginia Southern from drowning. It is not difficult to imagine the audience's reaction when viewing this silent film for the first time in movie theatres. But Tom's early silent films were meant to be fun, entertaining, adventurous, and hold the viewer spellbound all at once. Since 1925 was the year Tom became a star, a leading man for FBO, it was only natural for his publicists to market him as being one of the most exciting actors that year – and he was!
The Cowboy Musketeer” (1925). In this silent film, Tom is ambling along on horseback when he happens to glance off to the side of the trail and sees Frances Dare stuck in her car, tangled up in a collapsing rickety wood bridge, and races to catch her before she falls into the water. While they are suspended from Tom's lariat, tied to his horse's saddle, somehow the rope comes loose, and the couple end up going over the falls, holding on to each other tightly. Tom and Frances survive the ordeal, and while the scene was shot over to prevent any similar mistakes, provides an example of how dangerous it can be for the starring actor to perform stunts of this nature. It could be just luck that Tom managed to survive so many dangerous stunts while filming, although the cliff-water-falling combination must have proven to be too risky, for FBO certainly could not afford to lose its brand new star to a potentially fatal accident.
Born to Battle” (1926) and “Wild to Go” (1926), the stunts Tom performed were not as dangerous yet they remained exciting. In these two movies he had to jump from a ship and swim to safety to escape his captors. Tom is an expert swimmer, however, as can be attested to his physical training in addition to weightlifting.
Another exciting stunt typically performed by Tom involved his rescuing a girl on a runaway horse while he too is on horseback, gently and safely scooping her up in his right arm. Such a stunt is risky in itself, yet Tom makes it look incredibly easy. On the positive side, such a stunt is thrilling to view on film while not quite as dangerous as those stunts that Tom performed during his first few starring roles.
It was not until the filming of “Idaho Red” in 1929 when Tom became victim to a different type of accident, one that almost killed him, and most likely caused him to develop scleroderma during his mid-40's. During the filming of a scene where Tom has been captured by a group of bandits and left in a cellar, a demijohn of chemicals spilled and temporarily asphyxiated him until the rest of the crew discovered him and had to revive him. This must have been terribly frightening for Tom, not knowing what happened to him even though it was just another close brush with death.
Out of the first three Tom Tyler starring role silent films mentioned above where he performs life-threatening stunts, only one of them exists as a 35mm print in a film archive: “The Wyoming Wildcat”. Even though this silent film is not restored, it remains a valuable piece of film history with regards to Tom's film career. Hopefully one day it will see restoration as well as digitization. Until then, however, we can appreciate the thrilling stunts Tom performs in his existing talkies, not to mention “The Texas Tornado” (1928).
Thursday, February 1, 2018
One of the most unique turning points of Tom Tyler's film career was playing a heavy in “Powdersmoke Range” in 1935, during a time when he was portraying cowboy heroes for Reliable in the mid- to late 1930's. For Tom, it was simply a matter of making the most of his versatile acting talent which would come in handy three years later in “Stagecoach” (1939). It was one movie in between those two, however, that would see Tom portray a heavy as well as be paired up with Harry Carey once again: “The Last Outlaw” (1936) from RKO. In this movie, Tom portrays a gangster who succeeds the recently paroled Dean Payton (Carey) in the story, his fate ending up in a very similar manner to the man he meets on the city bus while trying to maintain the appearance of an ordinary city man.
From the time Dean is paroled from jail and returns to him hometown by bus, he is hoping for a new lease on life without having any reminders of his past brought up again. That all changes, however, as soon as he meets his modern-time replacement on the bus, a gangster by the name Al Goss (Tom Tyler). Compared to Dean Payton's manner of dress, a throwback to an earlier time out west, Al is wearing the finest threads available, plus a white hat with a wide black band around it. To Dean, Al looks like a well-dressed businessman, unaware that he is in fact a gangster who is in the same business that Dean once was. Once Dean boards the bus he finds a seat next to Al. Al dozes off in his bus seat when Dean nudges him and asks if he could sit there. Al abruptly wakes up and admonishes Dean: “What do you mean poking a guy in the ribs?” Al relents at Dean's request, and moves over to the seat next to the window on the bus. Dean has trouble with his belongings, but once he gets settled in, he grins at Al, who in return glowers at him, as if he is someone who needs to be kept an eye on.
Independent Exhibitors Film Bulletin, June 3, 1936 states the following: “Tom Tyler is seen in the strange role of one of the gangsters and he risks audience sympathy by playing the part for all it's worth.” It is only when Tom, his gang and Sally are hiding out at a deserted ranch house that he utilises his voice to perfection: the monotone gravelly dictates such as “We need water”, eventually grabbing Sally and hiding behind her as he escapes from Dean Payton out the cabin's front door. This iconic scene, which became a promotional item for “The Last Outlaw” in both lobby cards and one-sheet posters, a characterization of Tom Tyler never before seen in any films he previously made. Who could imagine Tom making a getaway while using a woman as bait? Yet he pulled off the scene beautifully in the movie, including his escape, which permits the viewer to imagine that is exactly how Harry Carey's Dean Payton was captured two decades earlier. While “Powdersmoke Range” places Tom Tyler not only in close proximity with Harrey Carey near the end – but also an emotional closeness, “The Last Outlaw” places him at a considerable distance – even placing Sally between them – while the closeness remains one at heart: being the true successor of a mastermind criminal from twenty years earlier, and just like Dean Payton, is caught, although not by Dean himself but by his friend Cal. Not surprisingly, Tom's performance ranks high as usual, playing off Harry Carey's portrayal of an aged criminal nicely without obvious rivalry. Written by E. Murray Campbell and John Ford, and directed by Christy Cabanne who would later direct Tom in “The Mummy's Hand”, “The Last Outlaw” is a B-western that ranks up there with “Powdersmoke Range” in having big-named stars playing major roles. Most importantly, “The Last Outlaw” offers Tom Tyler fans a glimpse into a very different type of character played onscreen, apart from his typical hero-type starring roles.
Saturday, January 27, 2018
|Born to Battle 1926|
Der Cowboykönig der kalifornischen Berge, Born to Battle 1926
Rätsel der Dschungel, Jungle Mystery 1932
Das Phantom der Ranch , Phantom of the Range 1936
Boxer und Cowboy, Rip Roaring Buckaroo 1936
Das Land des Renegaten, Frontier Marshal, 1939
In die Falle gelockt, The Westerner 1940
|Jungle Mystery 1932|
|Phantom of the Range 1936|
Saturday, January 13, 2018
The average Tom Tyler western often conjures up visions of fistfights, physically demanding stuntwork performed by the star, and a gripping story line that involves cattle rustling and ranch ownership, but one concept not often thought about is a group of pretty girls: in plot terms, a bevy of beauties. Sometimes having one member of the fairer gender was not enough to complement Tom Tyler and pals Frankie Darro with Beans the dog in the early FBO silent films. At first glance, it does not seem like a bevy of beauties might fit into the story of one of Tom's movies, yet it has, not just once but four times. Only one of these four movies exists on DVD, “Ridin' Thru” although plot descriptions of these other films exist.
In “Born to Battle” (1926), Tom encounters a group of young beauties in bathing suits after escaping from a boat where he was kidnapped. The young ladies are outside enjoying the beautiful weather in their bathing suits, next to the girls' school they attend when the unexpected “merman” emerges from the river, dripping wet, right before their eyes. Blushing, Tom politely excuses himself from their presence and gets back on the trail of tracking down a band of ranch property conspirators. The same girls' shool shows up again in “Wild to Go” (1926) where Tom once again swims in the river nearby, and sees a group of girls in bathing suits. Tom is there for a reason though, for he is to meet with his boss's daughter Eugenie Gilbert who attends the school but soon finds himself and Eugenie confronted by kidnappers.
Tom did not always discover a bunch of young lovelies on a riverbank, however. Sometimes the bevy of beauties would try to transform a cattle ranch into a girls' school, as they did in “The Avenging Rider” (1928). Instead of just bathing suits though, these ladies wear day dresses and evening dresses. They also wear exercise clothes when they work out in the ranch's barn which serves as their gym, plus they turn a small mountain lake into their swimming hole.
Finally, there is “Ridin' Thru” (1934) where Tom and his pal Ben Corbett arrive at a dude ranch for jobs and view a bunch of pretty girls sunbathing in their swimsuits, as well as dancers who vie for the attention of the two newly arrived cowboys on the ranch. Ben seems to take naturally to the presence of these beauties while Tom is a bit more shy, glancing at the ladies over his shoulder as he tends to ranch business, helping the owner track down a ring of horse thieves. These scenes are only a minor addition to the film, but gives the viewer an idea of Tom's general reaction to a group of young ladies in his early silent films.
|From "Ridin' Thru"|
Thursday, January 11, 2018
Adventures of Captain Marvel” (1941) for Republic Pictures, he joined the famous western film trio known as The Three Mesquiteers, characters that were created by William Colt MacDonald. Also filmed by Republic at the time, Tom made a total of thirteen black and white Three Mesquiteers films, portraying Stony Brooke. Of course, Tom was in two other Three Mesquiteers movies prior to his new tenure but as different characters: Sundown Saunders in “Powdersmoke Range” (RKO; 1935) and as Jackson in “The Night Riders” (Republic; 1939). It is worth noting that Tom's role as Stony Brooke marked a new chapter in his acting career, after completing what is presently considered the greatest film serial ever made.
Outlaws of Cherokee Trail” (1941) marked Tom's first starring role as Stony Brooke, and with twelve more films made over the next two years, culminated in “Riders of the Rio Grande” (1943), which was also the last Three Mesquiteers film made by Republic. Tom's co-stars in these westerns were Bob Steele (Tucson Smith), Jimmie Dodd and Rufe Davis (Lullaby Joslin). Their adventures were exciting and as a sign of the times – The United States entered World War 2 by the end of 1941 – two Three Mesquiteer films included Nazi references in the plot: “The Phantom Plainsmen” (1942) and “Valley of Hunted Men” (1942).
As Stony Brooke, Tom Tyler cut his usual heroic cowboy figure: physically strong and handsome, rider of the white stallion named Silver (Silver Chief), often ribbing along with pals Tucson Smith and Lullaby Joslin as the script demanded. It only seems natural that Tom Tyler portrayed one of the Three Mesquiteers; as Stony he is the most level-headed of the three, providing
Following is the list of Three Mesquiteer films where Tom Tyler starred as Stony Brooke:
Outlaws of Cherokee Trail (1941)
Gauchos of El Dorado (1941)
West of Cimarron (1941)
Code of the Outlaw (1942)
Raiders of the Range (1942)
Westward Ho (1942)
The Phantom Plainsmen (1942)
Shadows on the Sage (1942)
Valley of Hunted Men (1942)
Thundering Trails (1943)
The Blocked Trail (1943)
Santa Fe Scouts (1943)
Riders of the Rio Grande (1943)