Enjoyable Entry In P.R.C.'s Billy The Kid Series

Will the real Billy stand up and take responsibility?

Corriganville, Ray Corrigan Ranch, Simi Valley, California, USA

Rex Bell in From Broadway to Cheyenne (1932)

Buster Crabbe, I. Stanford Jolley, Charles King, and Glenn Strange in The Kid Rides Again (1943)

Buster Crabbe and Al St. John in Sheriff of Sage Valley (1942)

Roy Rogers and Smiley Burnette in Billy the Kid Returns (1938)

Buster Crabbe in Billy the Kid Trapped (1942)

They'll be accusing us of starting the Civil War next.

Budd Buster, Wally West, and Jack Hendricks in Billy the Kid Trapped (1942)

Buster Crabbe and Anne Jeffreys in Billy the Kid Trapped (1942)

Buster Crabbe

Al St. John

Malcolm &apos;Bud&apos; McTaggart

Joseph O&apos;Donnell

Stanton breaks Billy and his two friends Fuzzy and Jeff out of jail. He wants them free so three of his men can impersonate them for the robberies and murders he has planned.

Sam Newfield

Billy the Kid Trapped

&quot;Billy the Kid Trapped&quot; is our Treat!

&quot;Billy the Kid &quot; from 1942 is a most clever, pleasant, and enjoyable B-western excursion, one that features the best of what the genre can offer. The story is fun and well developed... oh sure, there are a few plot devices that the keen observer will have to let pass, but for the most part, the story is attractive and unique, involving as it does a lookalike component that is more intricate and directly responsible for the film&apos;s reason for being than any I have heretofore seen. The comedic antics offered by Fuzzy in this one are only some in number, which is really just about right to set the tone for the invitation to the viewer to sit back and take in a relaxed and quite competently performed western whimsy. All this in spite of the fact that this picture comes from the infamously low-budgeted PRC organization.

Buster shows an excellent hero&apos;s persona in this one... strong, but yet relaxed and firmly comfortable to the point that he knows he can capably handle any difficulties that may arise, and rest assured plenty of difficulties indeed arise. Because Fuzzy showcases far fewer shenanigans in this film compared to many of the other films in their series, Buster doesn&apos;t have to play straight man all that much, which allows him to maintain a more consistent authoritative bearing. This authoritative posture allows the viewer to unquestionably respect his presence in the film. We see Buster firmly take his place as a cowboy hero in this one, one that most other western stars of the era consistently portrayed. And it makes the viewer feel good to see a no-nonsense hero seriously stand up without too much interference to the plentiful bad around him.

The rest of the cast is excellent in their roles, and the cheap sets are appropriately superb... the street scenes have an earthy and rustic feel about them. The interiors look worn and real, and the outdoor scenery is varied. Western movie action abounds, yes, including running horses with eyes aglow and manes afire, but it is the story and its unique bent that propels this PRC western movie to far more than ordinary.

"Billy the Kid " from 1942 is a most clever, pleasant, and enjoyable B-western excursion, one that features the best of what the genre can offer. The story is fun and well developed... oh sure, there are a few plot devices that the keen observer will have to let pass, but for the most part, the story is attractive and unique, involving as it does a lookalike component that is more intricate and directly responsible for the film's reason for being than any I have heretofore seen. The comedic antics offered by Fuzzy in this one are only some in number, which is really just about right to set the tone for the invitation to the viewer to sit back and take in a relaxed and quite competently performed western whimsy. All this in spite of the fact that this picture comes from the infamously low-budgeted PRC organization.

Buster shows an excellent hero's persona in this one... strong, but yet relaxed and firmly comfortable to the point that he knows he can capably handle any difficulties that may arise, and rest assured plenty of difficulties indeed arise. Because Fuzzy showcases far fewer shenanigans in this film compared to many of the other films in their series, Buster doesn't have to play straight man all that much, which allows him to maintain a more consistent authoritative bearing. This authoritative posture allows the viewer to unquestionably respect his presence in the film. We see Buster firmly take his place as a cowboy hero in this one, one that most other western stars of the era consistently portrayed. And it makes the viewer feel good to see a no-nonsense hero seriously stand up without too much interference to the plentiful bad around him.

The rest of the cast is excellent in their roles, and the cheap sets are appropriately superb... the street scenes have an earthy and rustic feel about them. The interiors look worn and real, and the outdoor scenery is varied. Western movie action abounds, yes, including running horses with eyes aglow and manes afire, but it is the story and its unique bent that propels this PRC western movie to far more than ordinary.

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Billy the Kid Trapped

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