Thundering Hoofs 1924

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Brief Synopsis
Dave Marshall takes many dangerous chances in his efforts to visit his sweetheart, Carmelita, as a result of bandit Luke Severn’s success in making Carmelita’s father, Don Juan Estrada, believe that Dave is an outlaw. When Don Estrada takes his daughter back to Mexico, Severn finally has Dave jailed on trumped-up charges; but Dave escapes in time to save his horse, Silver King, from being gored in a bullring; and the pair proceed to bulldog the bull–American style. The audience is enthusiastic in its praise, Don Estrada consents to the marriage of Carmelita and Dave, and the sheriff arrives for Severn.

Director: Albert S. Rogell (as Al Rogell)
Writers: Marion Jackson (story and continuity), Frances Marion (unconfirmed)
Stars: Fred Thomson, Silver King the Horse, Ann May

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The Chechahcos 1924

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A fire engulfs a shipload of prospectors and adventurers making their way to Alaska. In the confusion, Mrs. Stanlaw is separated from her young daughter, who ends up in the care of ‘Horseshoe’ Riley and Bob Dexter. Mrs. Stanlaw is told by gambler Richard Steele that her daughter is lost. Flash forward 10 years; Riley and Dexter are running a prosperous gold mine, and Steele has just come to town to run the local saloon. Ruth, meanwhile, has grown into a beautiful young woman, and finds herself falling in love with Dexter. Between Steele sending his henchman Pierre to kill Dexter, Dexter discovering that Steele tried to kill him on the ship, and the reunion of Mrs. Stanlaw and Ruth, there’s plenty of drama even without the dramatic Alaskan scenery, including the majestic glaciers.

—Jon Reeves <>

Director: Lewis H. Moomaw
Screenplay: Harvey Gates
Story by: Lewis H. Moomaw
Cast: Albert Van Antwerp, William Dills, Eva Gordon, Baby Margie

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Shootin’ Square 1924


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This otherwise fairly average silent western contains a sequence as racist in its own seemingly innocuous way as anything D.W. Griffith ever committed. But unlike the treatment of African-Americans in Birth of a Nation, which at least had the excuse of being a period piece, the offensive elements of the modern-dress Shootin’ Square are played as natural and understanding behavior. Ranch foreman Jack Perrin’s upcoming nuptials with his boss’ daughter (Peggy O’Day) hits a snag when the minister (Martin Turner) proves to be black. “How could you do this to me?” O’Day cries (via an inter title of course). “I’ll never see you again!” Poor Parson Turner apologizes for the color of his skin, Perrin explains that it was all a misunderstanding, O’Day forgives him, and they return to the altar. This time the minister is actually an escaped outlaw in disguise (Bud Osborne), a fact which proves slightly less traumatic for the bride than the earlier “mishap.”


Directed By: Robert J. Horner

Stars: Jack Perrin, Peggy O’Day, Bud Osborne, Tex Starr

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