Phantom of the Range 1928: Two film releases?

One of Tom Tyler’s silent films from FBO which underwent additional filming for its final release was “Phantom of the Range” (1928). While additional filming may seem common for most feature-length silent films produced by major studios, it was relatively rare for “oaters” made by B-film producers. At one point, “Phantom of the Range” was available on Youtube for viewing, this particular copy having originated from Spain, complete with intertitles in Castilian.

Of note on the original release of “Phantom of the Range” was its viewing length of 46 minutes, according to a review in Variety dated February 8, 1928, barely an hour long like the majority of Tom’s silent films made for FBO. Oliver Drake is credited as being the writer of the screenplay, with James Dugan as director. One main difference in the location of where this silent film was reviewed is given as “the projection room”, probably referring to the one located on the FBO studio lot.

Variety, February 8, 1928

In the second review of this silent film in the May 2, 1928 issue of Variety, however, there are a number of differences, perhaps most surprisingly in the writer’s credit: Frank Howard Clark. This may be the case of the story extension added to lengthen the film to 60 minutes. Variety also reports “Phantom of the Range” as having premiered at Stanley Theatre in New York City.

Variety, May 2, 1928

Having been lucky enough to view “Phantom of the Range” when it was on Youtube, I can only make a guess that the additional footage appeared in the final third of this silent film where the story consists of “filler material”. Hopefully the year 2024 will see a more widely available release of “Phantom of the Range” when it enters public domain.

Tom Tyler and his birth family

In observance of Tom Tyler’s 119th birthday, August 9, 2022, I’d like to share some birth (and death) information about his family and where his birth ranking is among his other four siblings. First, some information about his parents.

Frank Markowski was born on August 15, 1873 in Lithuania; his wife Helen Mantivila was born three days after, on August 18 of the same year. Rare is it for a married couple to share such close birthdates, perhaps even rarer if they share the same exact birthdate. Together, they had five children which they raised upon settling in Port Henry, New York. One interesting thing to note is that Frank and Helen’s first child, Frank Michael, was born in Lithuania prior to the small family immigrating to America.

The five Markowski children were born in the following order:

Frank Michael Tyler (born September 21, 1900; died July 21, 1975)

Tom Tyler (Vincent Markowski) (born August 9, 1903; died May 1, 1954)

Molly Redge (born December 24, 1906; died October 28, 1987)

Joseph John Marko (born November 18, 1907; died May 6, 1972)

Katherine Slepski (born February 17, 1911; died August 1, 1972)

Katherine being the youngest, was also the closest to Tom, eventually becoming his caregiver during the last years of his life due to scleroderma’s effects on his body. Sadly, Tom’s father Frank died in 1935 at the age of 61, before getting a chance to see his second-born son become the first superhero on film, Captain Marvel. Eight years later, his mother Helen died, at the age of 70. The family plot is located at Mount Olivet Cemetery in Detroit, Michigan.

Filmed on location! The Desert Pirate 1927

One of Tom Tyler’s silent films, “The Desert Pirate” (1927), was filmed on location at Keen Camp in the San Jacinto Mountains. Located east of Los Angeles in Riverside County, the San Jacinto mountain range was named after Saint Hyacinth, a 13^th century Polish Dominican priest. This mountain range extends thirty miles in length, southeast of the San Bernardino Mountain range. The rugged beauty of the San Jacinto mountain range culminate in several noteworthy peaks: San Jacinto Peak, at 10,834 feet high; Jean Peak, at 10,656 feet high, and Miller Peak, at 10,417 feet high. Geologically, the entire mountain range is a fault block of granite compressed between the San Jacinto fault which lies to the west, and the San Andreas fault, which lies to the east.

When the camp was built in 1892 at 5,000 feet in the San Jacinto mountains, John and Mary Keen already had experience in the hospitality business, owning a hotel in Valle Vista, located in San Jacinto Valley of Riverside County, California. Convenient to many South Californians seeking relief from the hot summers, Keen Camp soon became an ideal spot for filmmakers in the 1920’s. The layout of the camp was appropriate enough for filmmaking, cast and crew members: small cabins were often rented, and primitive camping was also accessible. Mary Keen had one building reserved for the kitchen and dining room for campground guests.

By 1911, Keen Camp was sold to Percy and Anita Walker, and by the 1920’s, was run by Anita, and her second husband Robert Elliott, after Percy died in 1912 from a drowning accident. Anita renamed the main building Tahquitz Lodge. The name Tahquitz comes from the deity of the same name in Soboba Indian tribe mythology. By 1922, Tahquitz Lodge included the following amenities: dancing, bowling, billiards, tennis court, horseback riding, hiking, lawn croquet, and musical entertainment at night, all in the style of a western town. Keen Camp even had its own post office. In September 1926, Keen Camp was saved from a major brush fire which originated on a stretch of land between Keen Camp and Idyllwild Camp, which lies directly north of Keen Camp. In 1932, six years after the filming of "The Desert Pirate", a new highway opened with grandeur: Pines-to-Palms Highway, which forms part of California state route 74. This 67-mile long road was designed to work with the layout of the San Jacinto mountains and at the same time provide an easy-to-navigate for cars with its grades and curves.

In addition to “The Desert Pirate”, the following silent films were also filmed in part at Keen Camp: "The Little Shepherd of Kingdom Come" (1920) with Jack Pickford, and "The Ghost City" (1923), a Universal serial starring Margaret Morris and Pete Morrison.

Keen Camp no longer exists, its original buildings are long gone, although there is a Keen Camp Summit located to the southeast of the original camp, on the Pines-to-Palms Highway above Garner Valley. Today, Mount San Jacinto is a state park, and the San Jacinto Wilderness is also protected park land for the native flora and fauna.

Sadly, “The Desert Pirate” remains a lost silent film, but should it be rediscovered, viewers would get the privilege of seeing Keen Camp in all its glory nestled in the San Jacinto mountains.

Tom Tyler in shadows and light

Many famous directors such as Alfred Hitchcock and Orson Welles used shadows and different lighting techniques to add depth in a scene of a feature film. This allows the viewer to see the movie as a realistic, three-dimensional image, complete with the layers of light and shading. Also known as Chiaroscuro Lighting in Hollywood, probably the best example in a film Tom Tyler appeared in is “Blood on the Moon” (1948) where he plays a supporting role. As with other film noirs from the 1940’s, low-key lighting is used to achieve the dramatic, somber mood of the story. There are other examples of such lighting taking place in a number of Tom’s westerns, including ones where he has starring roles. Continue reading below to find out which of these movies have scenes with the distinct contrast of lighting and shadows.

Rider of the Plains 1931

A precursor to Tom Tyler’s roles as an outlaw in “Powdersmoke Range” (1935) and “Stagecoach” (1939), “Rider of the Plains” places him in a similar character although one who is on the verge of becoming reformed. Like the other Trem Carr B-westerns Tom appeared in, there is a strong element of human interest in this film. Rare for a low-budget western, the characters are surprisingly well developed. There is also a distinct onscreen chemistry between Tom and child actor Andy Shuford, who plays Tom’s impetuous young pal.

To enhance Tom’s role of Blackie Saunders, he is wears a black shirt with white trim plus a black cowboy hat. Most scenes in “A Rider of the Plains” are filmed either at dusk, at night or dawn. Even indoors scenes at night show the bare minimum of light upon the faces of the actors in an attempt to stimulate the dark personality of Blackie when the local church pastor Jim Wallace (Ted Adams) and former member of Blackie’s gang comes up against him in order to give Sandy (Shuford), Tom’s partner, a chance at a better life. It is when Jim starts explaining the reasons to Blackie when the latter starts to growl “Stop preaching to me!” several times when shadows are cast over his face, as if he were possessed (in Poland, this movie was released under the title “Szatanski Cowboy”, or “The Satanic Cowboy”). Blackie even attempts to strangle Jim to death, with his big, strong hands wrapped firmly around his neck as the clergyman is pushed backward onto a table, surrounded by darkness in the room. Still talking to Blackie as if to discourage him from doing evil, Jim is back on his feet, and with the darkness fading away from the background, the shadows from Blackie’s face gone, only a severe expression remaining in his face. His steely eyes dart about like those of a serpent, as he continues to face the camera. Such a dramatic scene would not be repeated until 1939 when Tom Tyler turned in a critically acclaimed performance in “Stagecoach” (1939). Archie Stout’s cinematography is above-average here, with direction from John P. McCarthy.

Terror of the Plains 1934

Somewhat similar in plot to “West of Cheyenne” (1931) which marks Tom Tyler’s first feature-length synchronized sound film, “Terror of the Plains” contains one scene which distinctly plays off light against shadows. 

Tom Lansing leads a relatively happy life as a cowpuncher for an outfit when he receives a letter from his father who is being held in a jail up in Cheyenne. His father (Ralph Lewis) is being framed for a murder he did not commit, and with this news in hand, Tom acts quickly. He explains to his boss at work that he must leave to take care of an important matter, not disclosing what it is, while at the same time, his pal Banty (Frank Rice) gives the boss a number of complaints, primarily health issues. Leaving on horseback, Tom and Banty travel to their destination.

The next scene cuts to Tom speaking with his father who is in jail. Well lit from both inside the cell as well as outside, his father explains what happened and what Tom must do in order to exonerate him. With his father’s faith in him, Tom will have to meet face to face with Butcher Wells (William Gould), the real murderer, who is hiding out in Twin Rocks Canyon. As if to break the fourth wall, Tom is facing the camera, speaking his dialogue, before bidding his father farewell. Here the light seems to fade away as Tom walks down the hallway of the jail, his face grim and obscured every second step of the way by the dark shadows. For Tom Lansing, this walk through darkness is only a precursor of what he come up against once he reaches the canyon where he must find the man who framed his father. J. Henry Kruse photographs this scene artfully in this western directed by Harry S. Webb.

Stagecoach 1939

Considered one of the best western movies ever made and directed by John Ford, what makes “Stagecoach” so unique for Tom Tyler is that even though his role is of a supporting nature, his performance has been critically acclaimed over the decades if only for the reason that while his dialogue is minimal, he executes his performance as if it were a silent film, not a synchronized sound movie. Bert Glennon is the cinematographer for “Stagecoach”, and with John Wayne in his first leading man role as the Ringo Kid, he joins seven other passengers upon a stagecoach headed to Lordsburg across the rugged southwest, often passing through Indian territory.

Ringo has some unfinished business with Luke Plummer (Tom Tyler) which he intends to put to rest once and for all. When the stage reaches Lordsburg and Luke receives word from a family member, he is sitting at a table playing poker with a group of men in a saloon, with one of the establishment’s dancers at his side. Stacks of poker chips are on the table in front of him, as he holds four cards in his left hand. Luke’s eyes shift from side to side before he stands up, his face and upper body darkened by a shadow, before he casts his four playing cards upon the table: two aces, and two eights, a series known as “Dead Man’s Hand”, so called because that was the same hand held by Wild Bill Hickock when he was shot dead on August 2, 1876. Luke knows the jig is up, and his nervousness is obvious from when he leaves the poker game to when he swaggers up to the bar for a shot of whisky. Looking every inch the lean, mean fighting machine that he is onscreen, Tom Tyler literally dominates the saloon scene until he leaves, forced to leave his rifle behind, when he and two other Plummer men enter the night streets to do battle with Ringo, eventually shot by his enemy in the darkness of late night. 

Blood on the Moon 1948

Long considered a movie of the western-noir subgenre, Robert Mitchum has the starring role in “Blood on the Moon” with Robert Wise as the director. Tom Tyler appears in a supporting role as Frank Reardon, one of John Lufton’s (Tom Tully) men who happens to be a cattle owner. Lufton is engaged in a conflict with a group of homesteaders. Jim Garry (Mitchum) is asked to help an old friend by the name of Tate Riling (Robert Preston) to take part in a business scheme to influence Lufton to sell his herd of cattle to them. Tate double crosses his friend, and from there things go downhill.

Tate’s plan unravels when Jim finds out what is really taking place, and in a saloon late one night, the two men start brawling on the floor in a grueling fistfight. What takes place next is perhaps one of the most significant and memorable scenes in the movie. Reardon is hiding just behind the door to the saloon, waiting to walk in and deliver a final blow to Jim in the form of a bullet. Minimal lighting is present, and with Jim exhausted from the fight, lies on top of Tate upon the floor. Reardon finally enters the saloon, walking at a slow, even pace. His physical frame is obscured by total darkness on one step, until he is in font of Jim and stands over him, ready to plug him. Here Tom Tyler is truly intimidating in appearance, with the camera angled upwards at him as he walks, coming closer to the two beaten men on the floor, before the camera levels again to show Tom getting shot by Walter Brennan.

It is worth noting that the cinematographer for “Blood on the Moon” is Nick Musuraca, who also worked on many of Tom Tyler’s silent films for FBO. For the brief few minutes Tom Tyler has on film in all, it is this scene which builds up the suspense at a point in the movie which determines the winner between the cattle owner and the homesteaders.

Reading silent films: “The Tyrant of Red Gulch” 1928 starring Tom Tyler

“Tyrant of Red Gulch” is the third installment of the Tom Tyler lost silent film reconstruction series. Unlike the previous two projects, “When the Law Rides” (1928) and “Red Hot Hoofs” (1926), this silent film is a benchmark in the history of the Aventuras de Tom Tyler website. Details are included in the Introduction to the translation. Please read the Terms of Use before reading the actual story.

Most importantly, enjoy my translation, and hopefully this will be an incentive to rediscover “Tyrant of Red Gulch”.

Click here to read my translation!

Tom Tyler, the dog, and the fence

Tom on a Ross Verlag postcard

One particular image of Tom Tyler appearing on a variety of movie cards from different manufacturers between the late 1920’s to early 1930’s depicts him standing by a fence, hands on his hips, feet crossed, with a small dog seated at his left. Few movie cards bearing this image appeared in full color, usually hand painted then reproduced for mass distribution; most of them were either in black and white or sepia tone. This particular photo of Tom dates back to 1925 when he made his second starring-role for FBO in “The Wyoming Wildcat”.

It is unknown if this particular shot of Tom Tyler appears on any ESCO arcade or exhibit cards; the image was licensed to the popular German postcard manufacturer, Ross Verlag. This company issued multiple series of both American and European film stars on these postcards between 1919 and 1944. The earliest images from the 1920’s were in sepia, with later ones dating into the 1940’s in black and white. Only selected images were hand tinted and issued that way, and this particular photo of Tom was one of them. The same image also in sepia appeared on three different German tobacco cards from the following manufacturers: Mercedes A. Batschari, Manoli Gold, Hansom Jasmatzi. Smaller movie cards licensed the same image, and it was not long before these cards became popular collectibles among young patrons of Tom’s silent films. It is worth pointing out that most of these movie cards seem to have originated in Europe, although 8” x 10” stills of Tom in this pose have come from The United States.

Tom Tyler on a Dutch gum card

As a marketing tool for “The Wyoming Wildcat” and Tom Tyler in general, the image of him standing against that fence with the dog, whose name is Beans and considered one of Tom’s pals along with Frankie Darro, popped up from time to time over the decades in books on early Hollywood, ephemera shows, and the rare batch of movie cards or stills at an antique shop. This image of Tom Tyler certainly remains one of the most popular from his silent film years, and in movie card format, desirable to be sought after.

Friends on and off the set: Tom Tyler and Oliver Drake

A review of “Written Directed and Produced by Oliver Drake”, by Oliver Drake (The Outlaw Press, Inc., Baldwyn Mississippi, 1990. 154 pages.)

Early Hollywood often held the promise of fame and fortune for many a young man and woman seeking stardom, but also drew more than its share of talented hopefuls wanting to work behind the scenes: want-to-be writers, directors, and producers. Even more rarely was a single individual gifted with these three skills essential in filmmaking. Such a person was Clarence Oliver Drake, who was born and raised in Boise, Idaho on May 28, 1903.

Drake’s background made him a natural for working in westerns during the early years of Hollywood. His father owned a ranch in Idaho, a doctor who was a traveling eye specialist all over the state. At the age of 11, Drake was sent by his parents to stay with an aunt in Los Angeles, in preparation of moving to California due to his father’s job. Drake’s first experience with a motion picture production company is recounted in the opening chapter: he was only fourteen years old at the time, yet had the physique of a fully grown man, six feet tall, dressed like he just finished rustling a herd of cattle. He soon learned that it takes perseverance when it comes to making it in the field of motion pictures as a writer, much in the same way actors had their eye on stardom. Perseverance especially during worst case scenarios, such as a studio folding overnight due to funding, during one’s first years in Hollywood seeking steady work. It was not long before Drake realized that in order to work in Hollywood, he would have to be open to playing a different role when it came to filmmaking. This led to his solo acting role which was in “Red Blood & Blue” (1925) for Robertson Cole Pictures. This western starred Guinn “Big Boy” Williams and Peggy O’Day. By 1925 it was at Emile Greivelle Pictures Inc where Oliver’s star began to rise and his writing talents got noticed. Hollywood trade publications would describe how his stories were creative and engaging to the audience. Of note was Drake’s work as writer and directing on “Trail of No Return” (1925) which starred John Pringle, the father of silent star John Gilbert, and Betty Baker. Unfortunately for Drake, Greivelle Pictures folded, leaving the budding film writer looking for his next job.

Oliver Drake first met Vincent Markowski - before he was known as Tom Tyler - while working on a two-reel comedy for Shell-Craft studios, "Means and Motors" with Baby Mary Rose who was the child star of this silent comedy short. Vincent – who was using the stage name Bill Burns at the time, having completed a few films that were based on Elinor Glyn’s novels for Goldwyn Pictures – most likely dropped in at Shell-Craft looking for work. Finding the 6’2”, dark haired, strapping young man amiable, Oliver quickly made friends with Tom, even renting the same room in Boyle Heights, Los Angeles. While the two men spent the bulk of their waking hours looking for work in Hollywood, or at gigs, they retained their friendship on both a personal and professional basis. By the time Tom signed a contract with FBO in 1925 and established himself as a star, Drake was out of work, married for one year to Maybelle Berringer, and a father-to-be. With his resources dwindling, he did what many unemployed filmmakers did: get a temporary job in another field. In this case, he went to work for a construction company as a builder on the Ninth Street Bridge. Out of touch with Tom Tyler, he finally called up his friend in early 1927, only to be surprised with the news: Tom was now a leading man with FBO. “Let’s Go Gallagher” had just finished production and was in the process of being promoted to movie houses all over the nation. Perhaps not so surprisingly to Drake was the fact the man he once knew as Bill Burns was now Tom Tyler, a euphonious sounding name that would resonate with a growing audience. Pleased with his friend’s newfound success, Drake was in for an even bigger surprise: Tom wanted him to arrive at FBO the next day and meet with a higher up to discuss contract writing for FBO. This meant that FBO would pay Oliver Drake per story, with the company retaining copyright of each story.  Drake earned $300.00 per story, plus an additional $300.00 for the screenplay, or about $4,900.00 in 2022 dollars for his first sold story. Upon signing a contract with FBO, earning $150.00 per week, Drake also had the option of working either at FBO offices, or at home. The time he signed that contract was right, for Drake’s wife Maybelle gave birth to a daughter in March 1927, Martha Jane, affectionately nicknamed Cricket. Tom Tyler soon became godfather to Cricket, a sign of the friendship he shared with Drake. Drake worked on a total of ten silent films starring Tom Tyler, which include: “Cyclone of the Range” (1927), “The Desert Pirate” (1927), “Flying U Ranch” (1927), “Phantom of the Range” (1928), “Tyrant of Red Gulch” (1928), “When the Law Rides” (1928), “The Texas Tornado” (1928), “The Avenging Rider” (1928) “Gun Law” (1929), “Trail of the Horse Thieves” (1929). Drake would continue to be available to work in westerns for Tom, most notably his first synchronized sound feature-length film, “West of Cheyenne” (1931).

Throughout the 1930’s and 1940’s Drake continued working as a writer and director for Monogram Pictures, Republic Pictures, RKO, and other B movie studios. Drake wrote stories and screenplays for the likes of Bob Steele, Buzz Barton, Johnny Mack Brown, Fuzzy Knight, Tex Ritter, and George O’Brien during this period. He wrote screenplays for the Monogram Pictures Charlie Chan series, “The Sky Dragon” (1949), and “The Feathered Serpent” (1948). Drake also co-wrote “The Mummy’s Curse” (1944), sharing writing credits with six other writers, and was associate producer for this Universal horror film.

Oliver Drake was the rare type of Hollywood writer, producer and director who spent time promoting his autobiography in person before he died in 1991 at the age of 88. Clearly a family man, Drake dedicated his autobiography to his family, and lovingly speaks of his first wife Maybelle, nicknamed Teddy, throughout his book. Teddy died in 1948 as the result of a stroke. Drake married June Crooks a year later in 1949, who went by the stage name Liz Marshall, a sometime actress. Drake also talks about his daughter Cricket and her accomplishments in school, being a straight A student in high school, then going on to UCLA.

There is no Table of Contents nor Index in Drake’s autobiography. Drake does include a partial Filmography plus a list of people he worked with during his career. There are some minor errors within the text, for example, Drake mentions the Tom Tyler western “West of Cheyenne”, Tom’s first synchronized sound feature-length film as being released in 1941; this was actually released in 1931.

Drake mentions working on the story for “Boss of Boomtown” and makes considerable mention of Rod Cameron, although lacks any mention of Tom Tyler in this 1944 western he was associate producer of. Many photos from his personal collection plus film stills contributed by Eddie Brandt are interspersed through the book. Clippings from Hollywood trade publications like Hollywood Filmograph, Box Office Digest, and Universal City Club News appear throughout this highly readable autobiography. Unlike many Hollywood autobiographies, “Written Directed and Produced by Oliver Drake” has the look and feel of a highly personal work which makes the reader think Drake is right there in the same room, describing one yarn after another from his earliest years in Hollywood. Oliver Drake had a natural talent for communicating real-life Hollywood incidents during his career in a manner that is entertaining without being exploitative, keeping the reader engaged at all times in this 154-page autobiography.