The Fourth Horseman: Watching Tom Mix Ride in Circles

Is this thing worth a watch?

If you like your westerns dusty, short, and featuring guys named Ben Jones who spend the whole movie scowling, you’ll probably have a decent time. If you need complex character arcs or, I don’t know, a plot that doesn’t move at the speed of a startled pony, look elsewhere. The Fourth Horseman is purely for folks who enjoy the smell of old celluloid and seeing Tom Mix look like he’s having a better time than the rest of the cast combined.

Cinematic perspective: Exploring the visual vocabulary of The Fourth Horseman (1932) through its definitive frames.

The whole premise is basically a tax dispute, which sounds boring, but in 1932 terms, it means everyone gets to shoot at each other in the desert. Ben Jones is the kind of villain who probably kicks puppies for a hobby. He finds out Molly O'Rourke hasn't paid her taxes and decides he’s the new king of Stillwell. Not if Tom has anything to say about it.

Cinematic perspective: Exploring the visual vocabulary of The Fourth Horseman (1932) through its definitive frames.

Tom Mix really carries the energy here. There’s a moment where he rides off to pay those taxes—which is such a weirdly responsible thing for a cowboy to do—and Jones sends his entire gang after him. It’s a classic chase. The dust clouds look real because, well, they probably were.

Cinematic perspective: Exploring the visual vocabulary of The Fourth Horseman (1932) through its definitive frames.

I found myself staring at the background extras more than the leads at one point. There’s a guy in the back of the saloon scene who just kind of stands there looking confused for a solid minute while everyone else is shouting about land deeds. It’s distracting but also kind of great.

Cinematic perspective: Exploring the visual vocabulary of The Fourth Horseman (1932) through its definitive frames.

It definitely feels more grounded than something like Hell's Hinges, which tries to do a whole lot more with its moral weight. This one is just guys on horses, a looming deadline, and a lot of frantic hat-adjusting.

The pacing is a bit of a mess. Sometimes the scenes end before you even realize a conversation started. It’s like the editor was on a lunch break and just cut the film wherever they felt like it.

• The horse gets more personality than half the sidekicks.
• The villain’s lair is just a room with one chair. Very minimalist.
• Tom Mix’s hat is a character in its own right.
• The sound of the horses galloping sounds strangely like a drum machine in some spots.

Is it better than Red Hot Hoofs? Maybe. It’s got that same kinetic energy but feels a bit less polished, which I honestly prefer. Don't go looking for deep meaning. Just watch the horse. Tony the Horse is honestly the only one in this movie who knows exactly what he’s doing every second. 🐎