Heritage Of The Desert Online Free >>> DOWNLOAD (Mirror #1)
Original Title: Heritage Of The Desert
Nabb controls the pass and lets all the ranchers through except Holderness and his stolen cattle. When Nabb refuses to sell, Holderness works an his son Snap who has run up gambling debts. There is more trouble when Snap becomes jealous of Judy's attraction to the surveyor Jack. When Holderness has Snap killed, everyone heads to town for the showdown.
Judson Holderness owns the biggest saloon and gambling den in White Sage, Utah and also indulges in cattle-rusting and other nefarious activities. But his one desire is to own the valley lands controlled by Adam Naab. Naab first came to the area with a partner. When the partner died, Naab took his young daughter, Judy, to raise and looked forward to the day when his son, Snap, and his foster daughter would be married. But Naab's son has a gambling habit and when he loses heavily at the saloon, Holderness gives him further credit on a promise he will deliver him fifty horses from the herd that his father is rounding up to sell. A stranger enters the saloon and introduces himselfJack Hare, a surveyor, headed for the Naab ranch. Holderness has no desire to see Naab's land surveyed, so he orders his henchman, "Lefty," to follow Jack, shoot his horse and leave him to die of thirst in the desert. The following morning,Naab and Judy are trailing the horse herd to the White Sage stockyards, she sees Jack wandering in the desert and they rescue him. Jack also manages to find his surveying tools and instruments. Ere long, a romance develops between Jack and Judy. The latter goes up the mountain range to a cabin near where a large flock of sheep are grazing and Jack, working nearby drops in for a visit. This makes Snap insane with jealousy and he insists that he and Judy be married quickly. Judy, who has no interest in marrying Snap, and slips out a window and starts up the mountain trail looking for Jack.
'Heritage of the Desert' is an excellent western that will appeal to viewers who don't normally like westerns. Made early in the career of the underrated director Henry Hathaway, this is a splendid example of his skills.
Veteran character actor J Farrell MacDonald gives one of his best performances hereNaab (unnecessarily weird name), a rancher who permits neighbouring ranchers to run their cattle drives through a narrow pass on his land ... all except rancher Judd Holderness (great name!), whom Naab knows to be a rustler. I usually dislike actor David Landau, with his coarse features and unpleasant voice, but here he has some great dialogue ... baiting his henchman Lefty with lines like 'How often have I told you not to think? You can do a lot better with your gun' and 'You got a six-gun where your brains oughta be.' When a morally ambiguous rancher (good performance by Gordon Westcott) tries to appeal to Holderness's conscience -- 'You wouldn't do a thing like that, would you?' -- Holderness calmly replies 'I do things like that every ten minutes.' Sally Blane, Loretta Young's sister, gives a strong and appealing performancethe heroine. I'm a fan of Loretta Young, but I've always found her just a little too beautiful to be believable in most of her roles. (I have the same problem with Nicole Kidman, whom I also like.) Blane strongly resembled her famous sister but was slightly less beautiful, and this makes her far more credible than Loretta in roles suchthe one she plays here. Blane spends much of the film in a set of culottes which show off her lissome figure, but which are probably not historically accurate.
Vince Barnett, a character actor whom I usually like, is saddled here with some painfully thick-witted dialogue which he enunciates in one of the most bizarre and implausible accents I've ever heard. Randolph Scott is excellentthe surveyor who arrives at Naab's spread, where Sally shows interest in his plumb bob.
SPOILERS COMING. Hathaway's directorial hand is sure throughout. I was especially impressed by one staggeringly beautiful desertscape, and by a long series of dissolve shotsRandolph Scott's stand-in, wounded by a cowpoke's bullet, stumbles through the alkali.
Later in the film, there's an impressive sequence in which two characters draw their pistols and stand each other off. The camera pans to Sally Blane's reactiontwo shots are fired off-camera. She screams, and we know that *somebody* got plugged ... but we don't learn the outcome until later.
Considering that this film was made on a low budget in 1932, its sound recording is very impressive. I'll rate 'Heritage of the Desert' 8 out of 10.
With this adaptation -intrusion - of Zane Grey's novel Heritage of the Desert, Henry Hathaway begins his careera director of feature films although little of his later imprint appears in this effort. The screenplay leaves in tatters Grey's powerful work, which deals strongly with Mormon culture in Utah in 1890, and is only recognizable by the names of charactersa product of Grey. Judson Holderness (David Landau), a cattle rustler and owner of the White Sage Saloon and Gambling Hall, is a pestilence to landowners near his ranch, and has purchased or stolen all nearby property, except for that belonging to Adam Naab (J. Farrell MacDonald). Holderness requires Naab's land in order to have a direct corridor for driving his mostly stolen herd to water, but Naab rejects the saloon owner's offer to buy, and mounts a challenge against any attempt to jump his claim by hiring a surveyor to document his boundaries. When the surveyor, Jack Hare (Randolph Scott) arrives, he spends a good deal of his time wooing Judy (Sally Blane), the ward of Naab and the fiancee of Naab's son Snap, which naturally raises the tension level at the Naab ranch. Despite this romantic conflict, Jack sides with Adam against Holderness with neither realizing that Snap is beholden to the rustler due to gambling debts incurred at the latter's saloon, and the action is prepared to go towards a violent climax. Henry Hathaway enjoyed years of critical success for his films, but in this beginning attempt there are only glimmers of his budding skill, although a poor script and ragged editing are of no assistance. David Landau's villain is pitched to an interesting sardonic level, and Sally Blane is vivacious and strives with some success to make her character interesting, but most of the cast is defeated by its dialogue.
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