Copyright 13 May 1945 by Republic Pictures Corp. Presented by Republic Pictures on behalf of Republic Productions, Inc. Executive producer: Herbert J. Yates. No New York opening. U.S. release: 19 June 1945. U.K. release through British Lion: December 1945. Australian release through British Empire Films: 6 March 1947. Lengths: 7 reels, 68 minutes (U.S.); 55 minutes (U.K.); 6,417 feet, 71 minutes (Australia).
SYNOPSIS: Roy Rogers saves a circus from an unscrupulous mortgagor.
COMMENT: Rogers' best film and one of the high points of Republic "B" production in the 40s - all this despite a large number of flaws:
Firstly, the basic premise of the plot is impossibly silly and old-hat. True, it's often a convenient peg for the songs and other antics, but it's just so ridiculous it deserved to be sent up instead of being played perfectly straight.
Our second problem is that the print under review has been duped from the U.K. release which is missing at least 13 minutes. Mind you, there are no gaps in the story. It's quite possible that the missing footage contained more songs (presumably at least one by Bob Nolan who doesn't sing a note in this version. All he does is look amiably/jealously on while Roy does all warbling) and yet more comedy relief from that tiresomely loud-mouthed, aptly-named windbag, "Gabby" Hayes.
Now let's get to the high points. First, just look at that cast! Yes, it's great to see all Republic's western stars except John Wayne (the script explains he is away on location) in the one film - and some of them cleverly introduced in studio scenes too. I'm sure all of us are enthusiasts for movies about movie-making - and oddly enough this is one of the best, for in Bells of Rosarita's most interesting scenes, Frank McDonald and his technicians play themselves. McDonald has a large, speaking part, but we also get a good look at photographer Ernest Miller acting as his own clapper-boy, and assistant director John Grubbs calling the crew to order.
In order to build up his importance, McDonald is shown directing the extremely elaborate title number with Rogers, Nolan, the Mitchell Choir, the entrancing Janet Martin and a huge crowd of colorful extras. The brilliant way this sequence is shot and edited is absolutely breathtaking. Allied with the most attractive song, it becomes one of the most memorable movie moments in the entire history of the "B" western. This sequence is so perfect, we ran it over and over - at least seven times - at our screening and were constantly amazed at the precision and skill of the film editing. (Yet Roberts isn't even listed in the standard book The Motion Picture Film Editor by René L. Ash, published by The Scarecrow Press, Metuchen, N.J., 1974).
Earlier in the film, McDonald is shown directing a vigorous action sequence complete with running inserts and daredevil stunts. The climax is also handled from the camera truck (which we actually see in the first episode), though disfigured by a few obvious studio inserts. Nice to see Bob Wilke as a deputy sheriff, though he has no dialogue.
Aside from the too-garrulous Hayes, the players acquit themselves nobly. Mr Slye is in excellent voice and manages to hold his own with the Mitchell Choir. Miss Evans is an agreeable straight shooter too, while Adele Mara makes a surprisingly sprightly second-heroine. Even "Shug" Fisher has an important role.
In addition, there's a delightfully high-stepping chorus line. The songs themselves are so attractive, it's a mystery to us the sound track has never been released - not even on a bootleg label. Maybe this good write-up will start a trend.
SYNOPSIS: Roy Rogers saves a circus from an unscrupulous mortgagor.
COMMENT: Rogers' best film and one of the high points of Republic "B" production in the 40s - all this despite a large number of flaws:
Firstly, the basic premise of the plot is impossibly silly and old-hat. True, it's often a convenient peg for the songs and other antics, but it's just so ridiculous it deserved to be sent up instead of being played perfectly straight.
Our second problem is that the print under review has been duped from the U.K. release which is missing at least 13 minutes. Mind you, there are no gaps in the story. It's quite possible that the missing footage contained more songs (presumably at least one by Bob Nolan who doesn't sing a note in this version. All he does is look amiably/jealously on while Roy does all warbling) and yet more comedy relief from that tiresomely loud-mouthed, aptly-named windbag, "Gabby" Hayes.
Now let's get to the high points. First, just look at that cast! Yes, it's great to see all Republic's western stars except John Wayne (the script explains he is away on location) in the one film - and some of them cleverly introduced in studio scenes too. I'm sure all of us are enthusiasts for movies about movie-making - and oddly enough this is one of the best, for in Bells of Rosarita's most interesting scenes, Frank McDonald and his technicians play themselves. McDonald has a large, speaking part, but we also get a good look at photographer Ernest Miller acting as his own clapper-boy, and assistant director John Grubbs calling the crew to order.
In order to build up his importance, McDonald is shown directing the extremely elaborate title number with Rogers, Nolan, the Mitchell Choir, the entrancing Janet Martin and a huge crowd of colorful extras. The brilliant way this sequence is shot and edited is absolutely breathtaking. Allied with the most attractive song, it becomes one of the most memorable movie moments in the entire history of the "B" western. This sequence is so perfect, we ran it over and over - at least seven times - at our screening and were constantly amazed at the precision and skill of the film editing. (Yet Roberts isn't even listed in the standard book The Motion Picture Film Editor by René L. Ash, published by The Scarecrow Press, Metuchen, N.J., 1974).
Earlier in the film, McDonald is shown directing a vigorous action sequence complete with running inserts and daredevil stunts. The climax is also handled from the camera truck (which we actually see in the first episode), though disfigured by a few obvious studio inserts. Nice to see Bob Wilke as a deputy sheriff, though he has no dialogue.
Aside from the too-garrulous Hayes, the players acquit themselves nobly. Mr Slye is in excellent voice and manages to hold his own with the Mitchell Choir. Miss Evans is an agreeable straight shooter too, while Adele Mara makes a surprisingly sprightly second-heroine. Even "Shug" Fisher has an important role.
In addition, there's a delightfully high-stepping chorus line. The songs themselves are so attractive, it's a mystery to us the sound track has never been released - not even on a bootleg label. Maybe this good write-up will start a trend.