...only for the Alabama Hills location shots. And it is a singularly unique plot, because it's the only in the imagination of a screen scenario where you could find Arab henchmen in Death Valley.
11 Reviews
Worth Watching if.......
silasmrner10 October 2019
Camels in the Alabama Hills
boblipton5 October 2018
This strange little shaky A Monogram Western has Wayne Morris and Virginia Grey crossing the Alabama Hills to get to San Bernardino, pursued by three Arabs -- including George Tobias, using his Middle Eastern accent -- on camels.
The Army tried out importing camels for transportation in the Great Southwestern Desert in the 1850s. It was a brainstorm by Jefferson Davis when he was the Secretary of War. By the middle of the 1860s the Army had abandoned their use. This movie, working off Scott Darling's last script, has a couple of monologues about the critters, including their superiority in the desert.
George Blair, a B director who moved into television, seems to be directing for visuals and to bring the movie up to 70 minutes. This causes some odd pacing problems, and the action sequences seem draggy. Edward Kay's peppy score stands in odd contrast to the slow and duplicative shooting, seeming to emphasize the awkward cutting and dialogue. While Miss Grey's performance is good, Morris' line readings sound off. William Sickner's camerawork is handsome, particularly the long shots to show off the scenery in the handsome copy I saw, but the overall impact is this was a very interesting idea for a movie that was poorly realized.
The Army tried out importing camels for transportation in the Great Southwestern Desert in the 1850s. It was a brainstorm by Jefferson Davis when he was the Secretary of War. By the middle of the 1860s the Army had abandoned their use. This movie, working off Scott Darling's last script, has a couple of monologues about the critters, including their superiority in the desert.
George Blair, a B director who moved into television, seems to be directing for visuals and to bring the movie up to 70 minutes. This causes some odd pacing problems, and the action sequences seem draggy. Edward Kay's peppy score stands in odd contrast to the slow and duplicative shooting, seeming to emphasize the awkward cutting and dialogue. While Miss Grey's performance is good, Morris' line readings sound off. William Sickner's camerawork is handsome, particularly the long shots to show off the scenery in the handsome copy I saw, but the overall impact is this was a very interesting idea for a movie that was poorly realized.
Hokum of the highest order
JohnSeal30 November 2018
Warning: Spoilers
I'm pretty sure that if you look up the word 'hokum' in the dictionary, you'll find a picture of a Desert Pursuit promotional poster. The set-up is so preposterous and outre that the film can't help but be entertaining: three camel-riding Arabs from Smyrna are chasing Wayne Morris and Virginia Grey across Death Valley and will go to any lengths to steal their gold before they can get to San Berdoo. The fact that the Arabs are portrayed as a trio of lunkheads not far removed from the Three Stooges lessens the apparent threat! The gentle, unassuming Morris and feisty Grey work well together, and the desert locations look great. In short, if you put your brain on hold you'll enjoy this absurd and decidedly unusual western.
Wrong camels!
maadienne4 October 2018
Camels westward
searchanddestroy-110 March 2023
Camels in western will be used later, in 1954, by Ray Nazarro's SOUTHWEST PASSAGE, starring Rod Cameron, a very unusual topic and always interesting to watch. This western may be rather ambitious for a George Blair, who usually showed us a tepid work for Republic Pictures, the most prestigious of Poverty Row companies. This movie is helped by Wayne Morris presence. Yes, yes, yes, I am surprised by the quality of this George Blair's western, as I would have been with for instance Philip Ford, Blair's fellow colleague director at Republic Pictures, both directors representing the bottom of the barrel in terms of grade Z quality. Here, that looks like a Jo Kane's film, or at best Ray Nazzaro. A good little surprise.
These ain't Jeff Davis camels
bkoganbing14 October 2019
Wayne Morris and Virginia Grey star in Desert Pursuit which was mostly shot in
desert country in Southern California. He's a prospector who struck it rich. she's
a fired faro dealer and they travel together as man and wife for conveince sake
and to observe the proprieties.
Some Arabs who have imported camels are threatening to take Wayne's gold. The three are Anthony Caruso, George Tobias, and John Doucette. The bulk of the film is taken up with their pursuit with animals more adapted to the desert than horses.
Clearly these are not camels that Jefferson Davis imported when he hoped to start a camel corps. Still they are hardy desert animals. Our Arab villains are a scurvy trio as ever assembled.
Nice location shooting in the desert and a no frills story with a cast that delivers.
Some Arabs who have imported camels are threatening to take Wayne's gold. The three are Anthony Caruso, George Tobias, and John Doucette. The bulk of the film is taken up with their pursuit with animals more adapted to the desert than horses.
Clearly these are not camels that Jefferson Davis imported when he hoped to start a camel corps. Still they are hardy desert animals. Our Arab villains are a scurvy trio as ever assembled.
Nice location shooting in the desert and a no frills story with a cast that delivers.
Not a trivial "pursuit" ..............
ca-corbett9 May 2008
Wayne Morris appeared in many fine, lesser known films before and after his stellar career as a decorated WWII fighter ace. This film, though poorly budgeted, was a unique and fun twist on the standard western programmer of the era.
Morris portrays a rambler with a cache of gold, being pursued by a trio of Arabs interested in his tempting treasure. The prolific character actors George Tobias and John Doucette are great as the star's greedy enemies.
The unusual plot, fine scenery and charisma of the under-appreciated Wayne Morris make this a western well worth watching. As he demonstrated in Paths of Glory, Morris was the rare cowboy star who had some real acting chops....... Enjoy !!
Morris portrays a rambler with a cache of gold, being pursued by a trio of Arabs interested in his tempting treasure. The prolific character actors George Tobias and John Doucette are great as the star's greedy enemies.
The unusual plot, fine scenery and charisma of the under-appreciated Wayne Morris make this a western well worth watching. As he demonstrated in Paths of Glory, Morris was the rare cowboy star who had some real acting chops....... Enjoy !!
Camels and horses and sand oh my!
hitchcockthelegend28 March 2015
"In 1856 Jefferson Davis, Secretary of War, organised the American Camel Corps of the United States Army, which mapped the southern route across the plains and deserts from Texas to California. The building of the trans-continental railroad ended the usefulness of the Camel Corps, and the animals were sold to private enterprise or escaped into the south-western desert where camels were still seen by lonely prospectors more than a decade later."
Quite what filmic significance that opening statement has to how Desert Pursuit pans out is anybody's guess, but it's there and clearly the pic was meant to be more thematically telling than the odd ball piece it is.
Out of Monogram, it's directed by George Blair and adapted to screenplay by W. Scott Darling from the novel written by Kenneth Perkins. It stars Wayne Morris and Virginia Grey, William Sickner photographs it out of Death Valley and the Sierra Mountains, and music is by Edward J. Kay. Plot pitches Morris and Grey on a journey through the desert trying to avoid three Arabian men who are up to no good. There's gold, camels, a burgeoning romance, oh and it's Christmas time as well, handy since there is three not so wise men on the scene and Grey's character is called Mary...
It's actually a harmless movie, a decent time waster. The musical score blends Oater strains with Arabian flavours, the locations gorgeous, while Morris and Grey are a likable coupling. There's the odd dummy flung about the place, the fist fights scarcely believable, and you know how this is ultimately going to end, but it's a fun enough dromedary ride regardless. 6/10
Quite what filmic significance that opening statement has to how Desert Pursuit pans out is anybody's guess, but it's there and clearly the pic was meant to be more thematically telling than the odd ball piece it is.
Out of Monogram, it's directed by George Blair and adapted to screenplay by W. Scott Darling from the novel written by Kenneth Perkins. It stars Wayne Morris and Virginia Grey, William Sickner photographs it out of Death Valley and the Sierra Mountains, and music is by Edward J. Kay. Plot pitches Morris and Grey on a journey through the desert trying to avoid three Arabian men who are up to no good. There's gold, camels, a burgeoning romance, oh and it's Christmas time as well, handy since there is three not so wise men on the scene and Grey's character is called Mary...
It's actually a harmless movie, a decent time waster. The musical score blends Oater strains with Arabian flavours, the locations gorgeous, while Morris and Grey are a likable coupling. There's the odd dummy flung about the place, the fist fights scarcely believable, and you know how this is ultimately going to end, but it's a fun enough dromedary ride regardless. 6/10
A cut above!
JohnHowardReid8 April 2018
Warning: Spoilers
Copyright 21 April 1952 by Monogram Pictures Corp. No recorded New York opening. U.S. release: 11 May 1952. U.K. release through Pathe: 10 August 1953. No Australian theatrical release. 70 minutes.
SYNOPSIS: A gold prospector tries to escape three pursuing bandits by riding across Death Valley.
COMMENT: This is certainly a cut above the usual Monogram "B" western, doubtless because it is based on a novel rather than an original screen story geared to the usual western clichés. The plot has a number of extremely novel (pun intended) twists, yet manages to pack in plenty of action for its 70 minutes. The ruggedly rocky and sandy desert locations in which seemingly all the movie was lensed are not only particularly impressive in themselves, but serve the story well.
Both principals revel in the greater depth provided for their characters, whilst Tobias, Caruso and Doucette make a wonderfully hissable trio of villains. Emmett Lynn over-acts to an irritating degree but fortunately isn't in the movie long enough to make too bad a lasting memory. Blair handles the action vigorously. Sickner's cinematography is - by Monogram standards - superb.
OTHER VIEWS: There is no credit for art direction or set decoration as this film was shot entirely on location and has no interiors. It is extremely well served by photographer William Sickner. The direction, however, is considerably less distinguished and the script, especially the opening scene with Emmett Lynn, is inclined to over-talkativeness. However, there is enough action to satisfy the fans and generally the acting is good enough to get by. Camels in Death Valley is a novel touch as well as the idea of making the villains Arabs and the indigenous people Mission Indians whom the Spanish padres left to fend for themselves when recalled to Spain.
Summing up, this is an agreeable and generally creditable little offering in Wayne Morris' Monogram series
SYNOPSIS: A gold prospector tries to escape three pursuing bandits by riding across Death Valley.
COMMENT: This is certainly a cut above the usual Monogram "B" western, doubtless because it is based on a novel rather than an original screen story geared to the usual western clichés. The plot has a number of extremely novel (pun intended) twists, yet manages to pack in plenty of action for its 70 minutes. The ruggedly rocky and sandy desert locations in which seemingly all the movie was lensed are not only particularly impressive in themselves, but serve the story well.
Both principals revel in the greater depth provided for their characters, whilst Tobias, Caruso and Doucette make a wonderfully hissable trio of villains. Emmett Lynn over-acts to an irritating degree but fortunately isn't in the movie long enough to make too bad a lasting memory. Blair handles the action vigorously. Sickner's cinematography is - by Monogram standards - superb.
OTHER VIEWS: There is no credit for art direction or set decoration as this film was shot entirely on location and has no interiors. It is extremely well served by photographer William Sickner. The direction, however, is considerably less distinguished and the script, especially the opening scene with Emmett Lynn, is inclined to over-talkativeness. However, there is enough action to satisfy the fans and generally the acting is good enough to get by. Camels in Death Valley is a novel touch as well as the idea of making the villains Arabs and the indigenous people Mission Indians whom the Spanish padres left to fend for themselves when recalled to Spain.
Summing up, this is an agreeable and generally creditable little offering in Wayne Morris' Monogram series
Not bad a nice duster.
lkbradshaw94 October 2018
Camel western
jarrodmcdonald-125 December 2023
Warning: Spoilers
The U. S. Army Camel Corps was an attempt to use sturdier animals across the desert between Texas and California. Organized by Secretary of War Jefferson Davis, this notable experiment was later depicted in SOUTHWEST PASSAGE (1954) and in several western TV series. The Camel Corps lasted for ten years from 1856 to 1866. It was discontinued after the Civil War, because transport through the region was made easier after the building of the transcontinental railroad.
A written preface on screen tells us that after the camels were no longer needed by the government, they were sold off or had escaped into the southwestern desert. Certainly this is an interesting historical backdrop and with such information, we are able to better appreciate the story that follows.
Wayne Morris, freelancing after his years at Warner Brothers, plays the main character and also serves as a coproducer. His character is a likable prospector who has unearthed a lode of gold and needs to get it to California. The ore may be too heavy to haul by horse. There are some camels loose in the vicinity, as seen by a drunken old pal (Emmett Lynn). Also roaming the land is a pretty gal (Virginia Grey) who seems to be running from something and wants to travel to California, too.
Meanwhile some villainous Arabian men (George Tobias, Anthony Caruso & John Doucette) are on the trail. They were probably trying to recapture the stray camels, but now have a new plan to steal Morris' gold. We see how ruthless they are when two of them kill Lynn's character, after Morris and Grey have gone ahead. With the basic set-up established, we have an idea how it will all play out. Morris and Grey will journey to California, with her posing as his wife. The Arabs will pursue them (hence the title).
This is a decent enough B western with a unique premise to keep viewers engaged. Obviously, there isn't a huge budget provided by the executives at Monogram, which may explain why Morris is also functioning as a producer, to add to what may be lower pay as the film's star. The dialogue has been written by Scott Darling. Incidentally, this was the last script submitted by Darling whose work in motion pictures originated with silent serials in the 1910s. The prolific screenwriter had committed suicide before DESERT PURSUIT was made.
One thing I like about this film is the fact that there are no interior sets used. All the action is filmed outdoors on location, mostly in Death Valley. Because of this, we are given characters with a goal against the elements, navigating land and weather. Oh, and their own internal desires. Of course, we know Morris and Grey will fall in love and become a proper married couple by the time the story concludes.
Despite the outdoor desert scenes under a blazing sun, the characters don't seem to perspire at all. Sure, they take obligatory drinks of water from their canteens. But one gets the impression most scenes were shot in the morning before it was too hot. Production notes also tell us that shooting took place in late October and November 1951, which would have been cooler months for the cast and crew to work outdoors in Death Valley.
The standard western passage aspects of the tale are enhanced by a religious sequence near the end. This is when Morris and Grey have reached California, where they receive protection from the bad guys by natives at a Catholic mission. It's Christmas, and the locals amusingly think the Arab villains are like the three wisemen mentioned in the Bible. Plus, since Grey's character is named Mary, they probably have their ideas about her...though we've been told she was a crooked saloon gal before she teamed up with Morris and started to reform.
A written preface on screen tells us that after the camels were no longer needed by the government, they were sold off or had escaped into the southwestern desert. Certainly this is an interesting historical backdrop and with such information, we are able to better appreciate the story that follows.
Wayne Morris, freelancing after his years at Warner Brothers, plays the main character and also serves as a coproducer. His character is a likable prospector who has unearthed a lode of gold and needs to get it to California. The ore may be too heavy to haul by horse. There are some camels loose in the vicinity, as seen by a drunken old pal (Emmett Lynn). Also roaming the land is a pretty gal (Virginia Grey) who seems to be running from something and wants to travel to California, too.
Meanwhile some villainous Arabian men (George Tobias, Anthony Caruso & John Doucette) are on the trail. They were probably trying to recapture the stray camels, but now have a new plan to steal Morris' gold. We see how ruthless they are when two of them kill Lynn's character, after Morris and Grey have gone ahead. With the basic set-up established, we have an idea how it will all play out. Morris and Grey will journey to California, with her posing as his wife. The Arabs will pursue them (hence the title).
This is a decent enough B western with a unique premise to keep viewers engaged. Obviously, there isn't a huge budget provided by the executives at Monogram, which may explain why Morris is also functioning as a producer, to add to what may be lower pay as the film's star. The dialogue has been written by Scott Darling. Incidentally, this was the last script submitted by Darling whose work in motion pictures originated with silent serials in the 1910s. The prolific screenwriter had committed suicide before DESERT PURSUIT was made.
One thing I like about this film is the fact that there are no interior sets used. All the action is filmed outdoors on location, mostly in Death Valley. Because of this, we are given characters with a goal against the elements, navigating land and weather. Oh, and their own internal desires. Of course, we know Morris and Grey will fall in love and become a proper married couple by the time the story concludes.
Despite the outdoor desert scenes under a blazing sun, the characters don't seem to perspire at all. Sure, they take obligatory drinks of water from their canteens. But one gets the impression most scenes were shot in the morning before it was too hot. Production notes also tell us that shooting took place in late October and November 1951, which would have been cooler months for the cast and crew to work outdoors in Death Valley.
The standard western passage aspects of the tale are enhanced by a religious sequence near the end. This is when Morris and Grey have reached California, where they receive protection from the bad guys by natives at a Catholic mission. It's Christmas, and the locals amusingly think the Arab villains are like the three wisemen mentioned in the Bible. Plus, since Grey's character is named Mary, they probably have their ideas about her...though we've been told she was a crooked saloon gal before she teamed up with Morris and started to reform.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
