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Lash La Rue, Al St. John, and Peggy Stewart in The Black Lash (1952)

Lash La Rue and Peggy Stewart in The Black Lash (1952)

Lash La Rue and Al St. John in The Black Lash (1952)

Bud Osborne and Al St. John in The Black Lash (1952)

Lash La Rue

Al St. John

Peggy Stewart

June Carr

Kathy McKeel

Having sent Deuce Rago to prison in Frontier Revenge (1948), Lash finds he&apos;s out and his outlaw gang are at it again. This time he has the Lawyer Leonard and Joan to help him out and Lash and Fuzzy must bring him in once more.

Ron Ormond

The Black Lash

Deja Vu All Over Again

&quot;The Black Lash&quot; is supposed to be a sequel to the earlier &quot;Frontier Revenge&quot; (1948). In fact about 90% of the film is comprised of scenes lifted from the earlier film and others in the series.

Produced and directed by Ron Ormond, this was the last of the (1948-52) series and therefore more cheaply produced than most of the others.

The &quot;plot&quot; such as it is, has Lash and Fuzzy going after Rago (Ray Bennett) a baddie that they had sent up in the earlier film. Ormond used many of the same actors and scenes in both films. For example, Jim Bannon&apos;s role is lifted entirely from &quot;Frontier Revenge&quot;....and he receives no billing. Of the few &quot;new&quot; scenes shot specifically for this film there are a couple using a double for Bannon shot from behind.

Another quirk is the casting of Peggy Stewart as the heroine in the first film and as a saloon girl in the second, all while playing the same character and using much of her scenes from the first film.

At the beginning of the film we see the bank robbery sequence from &quot;The Dalton&apos;s Women&quot; where Tom Tyler and Bud Osborne can clearly be seen. Osborne by the way, plays the telegrapher in this one. Ormond also padded his running time with lengthy scenes of Lash and/or Fuzzy riding across the screen to and fro or chasing or being chased by the bad guys.

Although this film was shot on a shoestring budget, you have to give producer/director Ormond credit for turning out competent and entertaining little films, particularly the earlier ones in the series, with casts consisting of several familiar faces. It is unfortunate that the series had to end on this note.

"The Black Lash" is supposed to be a sequel to the earlier "Frontier Revenge" (1948). In fact about 90% of the film is comprised of scenes lifted from the earlier film and others in the series.

Produced and directed by Ron Ormond, this was the last of the (1948-52) series and therefore more cheaply produced than most of the others.

The "plot" such as it is, has Lash and Fuzzy going after Rago (Ray Bennett) a baddie that they had sent up in the earlier film. Ormond used many of the same actors and scenes in both films. For example, Jim Bannon's role is lifted entirely from "Frontier Revenge"....and he receives no billing. Of the few "new" scenes shot specifically for this film there are a couple using a double for Bannon shot from behind.

Another quirk is the casting of Peggy Stewart as the heroine in the first film and as a saloon girl in the second, all while playing the same character and using much of her scenes from the first film.

At the beginning of the film we see the bank robbery sequence from "The Dalton's Women" where Tom Tyler and Bud Osborne can clearly be seen. Osborne by the way, plays the telegrapher in this one. Ormond also padded his running time with lengthy scenes of Lash and/or Fuzzy riding across the screen to and fro or chasing or being chased by the bad guys.

Although this film was shot on a shoestring budget, you have to give producer/director Ormond credit for turning out competent and entertaining little films, particularly the earlier ones in the series, with casts consisting of several familiar faces. It is unfortunate that the series had to end on this note.

Having sent Deuce Rago to prison in Frontier Revenge (1948), Lash finds he's out and his outlaw gang are at it again. This time he has the Lawyer Leonard and Joan to help him out and Lash and Fuzzy must bring him in once more.

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