Taming of the West (Astor/Columbia, 1939)

“Don’t make a move or you’re a gone goose.”

Of all the B-movie cowboys, Wild Bill Elliott is this writer’s personal favorite and honestly, a source of mild confusion. A favorite because Elliott seems like a quintessential Western lead, fitting Jeff Arnold’s preferred cinematic Westerner – tall, lanky, a good rider; a source of confusion because, after paying dues in B-Westerns, his time leading A-pictures (of the Republic variety, anyway) was short.

Gordon Nance was born in Pattonsburg, Missouri, a small town northeast of Kansas City. Idolizing William S. Hart, he moved to California and knocked around the film industry starting in the late silent era; his appearances did not often appear in credits but he was listed as ‘Gordon Elliott’ when they did. Under this name, he received his big break when cast as the title character in the serial The Great Adventures of Wild Bill Hickok. ‘Gordon Elliott’ gave way to ‘Wild Bill Elliott’.

With the serial under his gun belt, the former journeyman actor became a fixture in Westerns. He appeared in several more under the Columbia contract, including another serial where he played Kit Carson; then he received the B-movie golden ticket: the lead in a Western film series. Taming of the West is the first entry in the ‘Wild Bill Saunders Adventures’.

Elliott played Saunders for four films. The character and the series then transmogrified into a vehicle for ‘Wild Bill Hickok’; one wonders why they bothered with the Saunders surname. And, in other, non-series films for Columbia, Elliott would play characters generally named ‘Wild Bill’ but with varying last names.

Regardless of the character or film’s name, Elliott’s characterization remained constant. Which, to this writer, is a good thing. Wild Bill is in the top tier of tall, tough, taciturn cowboys, cool-headed in a scrap, seeming to choose his (scripted) words carefully, delivering them authoritatively in a distinctive clipped cadence.

He also became enough of a star to have trademarks. His catchphrase was “I’m a peaceable man”, usually delivered before he took some less-than-peaceable action. Taming marked the first appearance of his trademark six-guns, stag-handled and holstered butts forward.

1939 was a good year for the noble genre: Jesse James, Stagecoach, and Union Pacific were all released that year. Taming of the West, despite its title implying a story of epic proportion (it isn’t), certainly does not compare to those pictures: it is a B-picture, 55 minutes of ridin’, ropin’, shootin’ action. But in spite of its pedigree, it is also not a film just for juveniles gobbling concession stand sweets. Like those bigger pictures, it has a harder edge, more of an adult sensibility.

The film opens with the Columbia torch lady, as expected. But the title card is incongruous. Hygo Television Films? Apparently this film was sold for television syndication and the original title card was lost.

The movie begin with a group of cowboys riding rampant through the streets of Prairie Port, whooping and shooting. You know how they do.

Cannonball’s first scene

Dub Taylor’s Cannonball character sidles out of the jail but is forced to duck for cover. This picture introduces Cannonball, as mentioned in a recent post about Oklahoma Blues. Taylor continued to appear with Wild Bill, and other B cowboys, until the late ‘40s. Taming features a more restrained, less bumbling Cannonball. But still musical! He has a short harmonica solo in a later scene.

Wild Bill rides into town. Taking grim note of the commotion, he dismounts and, with spurs jangling, joins a crowd of townsfolk to watch the action.

One cowpoke lassoes the cook of the town’s restaurant. Much to his surprise, he is yanked from his horse and dragged into said restaurant. This byplay introduces the third member of the film’s triumvirate, the aptly-named Pepper, played by Iris Meredith.

Meredith is attractive, of course, but brings more to the film than just a potential love interest or damsel in distress. Pepper has moxie. The script gives her some decent dialogue, which Meredith delivers with zest, and she handles a firearm with cool confidence. Despite her glamorous makeup and tightly-curled hairstyle, Pepper is just as tough as Wild Bill, a worthy foil.

Meredith and Elliott have that elusive acting ingredient, chemistry. They were teamed in several more pictures, but Meredith retired from film, with one exception, after 1943.

The trussed-and-dragged cowboy is Rawhide, the *apparent* leader of the gang (in this writer’s opinion, character names in B’s are part of the fun).

Hogtied Rawhide

Pepper literally kicks Rawhide out of her place, then steps into the street and fires her six shooter after the retreating cowboy gang. In so doing, she shoots a hole in Bill’s Stetson, which provides an opportunity for the two leads to meet cute.

Yet another unpleasant type, Turkey, shoots and wounds the town’s Marshal, then rides out of town. Unsurprisingly, Bill is swiftly named marshal and pursues Turkey… straight to the Iverson Ranch. An excitingly-staged galloping chase ensues among the rock formations (with some shots taken from higher ground, an unexpected set-up; overall, the production values of this film are higher than one would expect.)

Turkey goes to ground and trades shots with Elliott. After Wild Bill goads the less-than-wild Turkey with a series of quips, none about his unfortunate nickname, then runs him out of ammunition, Bill holsters his guns and the two men trade punches… until Turkey pulls a knife. This blatant breaking of brawling rules ends with Turkey falling off a cliff, to Bill’s evident dismay.

Bill, however, won’t take the marshal’s job permanently: “I have jackrabbits in my boots”. In the same scene, almost 20 minutes into the picture, Elliott FINALLY gets to say “I’m a peaceable man” (without any immediately ensuing mayhem). Pepper is disappointed and angry with his decision.

Meanwhile, two henchman types confer in malevolent fashion and ride out of town.

Earlier, Pepper told Bill that her sister was coming to Prairie Port with all of her possessions and a big enough stake to purchase a ranch. Somehow, the gang learned this information. Their evil plan is to rob the sister’s covered wagon.

Another exciting chase sequence ensues, with its horses hauling the covered wagon at full gallop and the bad guys in pursuit. Bill happens upon the hubbub and spurs on his horse, pursuing the pursuers (without a stunt rider, seemingly!) As if all this is not enough. Pepper also joins the chase.

Unfortunately, her sister is shot. The wagon careens off a cliff.

In light of this occurrence, Bill dons the star. Just as we knew he would.

During a town meeting, the town’s judge quite literally informs the crowd that a new sheriff (marshal) is in town. Marshal Wild Bill serves a number of warrants and members of the gang are tossed in the hoosegow by jailer Cannonball.

But, the remaining baddies orchestrate an intimidation campaign so townsfolk won’t testify.

The picture then briefly channels a courtroom drama; coincidently, Elliott performed in a handful of early Perry Mason films before his Wild Bill break. Marshal and judge attempt to try the jailed gang members. Unfortunately, the intimidated townspeople contradict the content of the warrants. Even more unfortunately, one of those townspeople, a rancher, is played by the great Charlie King! The bulky B-movie heavy is allowed no glowering stares or surprisingly nimble fisticuffs; he instead weakly allows that his cattle might not have been rustled.

Wasting Charlie King? A misstep

Pepper is outraged. She reprimands the town’s citizens for their cowardice. An elderly woman then indicates her husband was severely beaten the previous day, but intends to testify when able. Her declaration sets furious action in motion: two of the gang members exercise their newly-received freedom, collect their firearms, and leave. Seeing them go, Pepper collects HER firearm and follows. As does Wild Bill.

The two badmen coldly shoot the potential witness as he sits on his porch. They are surprised, however, by a hail of bullets from Pepper. Yet ANOTHER chase ensues, with Pepper guiding her horse through the same rock formations as the late Turkey did earlier. Wild Bill is waiting…

… and he lassoes the varmints! Taming of the West is a very lasso-heavy movie.

Who is the *real* leader of the gang? Will Wild Bill have a showdown with Rawhide and his henchmen? Do Bill and Pepper settle down together?

No spoilers, e-pards. But is the film good?

Cleaning up a Western town was a hoary plot when this picture was made. It breaks little in the way of new ground. And while Bill’s no-nonsense persona is in place, his acting is a work in progress. (He clenches his teeth rather often during events both good and bad, but my notice of this might also be a sign that I watched Taming too often while writing this post.)

But execution matters! And Taming of the West executes its tropes expertly. This picture is sturdy fun.

This post is part of Legends of Western Cinema Week 2025, an event hosted by
Along the Brandywine
Hamlette’s Soliloquy
Meanwhile, in Rivendell…

Please check into this year’s additional posts!