The Ridin' Fool: A B-Western That Moves Faster Than It Thinks

Is it worth your time?

If you have a soft spot for 1930s B-Westerns, you’ll probably find something to love in The Ridin' Fool. It’s got that specific, scratchy charm that only old film stock can provide. But if you’re looking for a tight, logical narrative? Forget it. You’ll probably hate how quickly the movie tosses out its own rules.

Bob Steele plays Steve Kendall with a certain brand of earnestness that is hard not to root for. He’s the kind of guy who sings a song—yes, he actually sings—to win a girl's heart. It’s a moment that feels both entirely ridiculous and somehow perfectly at home in this dusty world.

Cinematic perspective: Exploring the visual vocabulary of The Ridin' Fool (1931) through its definitive frames.

The trinket problem

The whole plot hinges on this strange idea of Juanita and her 'trinkets.' She’s constantly getting gifted jewelry by guys who are clearly up to no good, and then she gets confused about who gave her what. It’s a bit messy. It feels like the script was written on the back of a napkin in a busy diner.

There’s a scene where the locals decide to string 'Boston' Harry up, and the pacing is just frantic. One minute they’re ready to hang the guy, the next he’s riding off into the sunset with Steve like nothing happened. It makes you wonder if anyone in this town had anything better to do on a Tuesday.

Cinematic perspective: Exploring the visual vocabulary of The Ridin' Fool (1931) through its definitive frames.

Bits and pieces

• The singing is... well, it’s certainly something. I’ve heard worse, but I’ve definitely heard better.
• The bad guy, Nikkos, wears his villainy like a cheap suit. You know he’s trouble the second he walks on screen.
• I couldn't help but think about how much more polished things feel in later films like The Boss of Rustler's Roost, though maybe less 'real' in its own way.

Florence Turner plays Ma Warren with a stern face that suggests she’s seen enough of these wandering cowhands to last a lifetime. She really carries the scenes where the plot starts to drag its feet. It’s a shame the script didn’t give her more to do than just fret over the store.

The whole situation with her son, Bud, is the only part that actually feels like it has some stakes. You can see the gears turning in his head, trying to figure out how to keep his crimes hidden while his sister is busy swooning over the men who might eventually put him behind bars. It’s almost too much drama for such a short runtime.

I left the movie wondering why everyone in these westerns is always so eager to jump to conclusions. It’s like, 'Hey, that guy looks suspicious, let’s go get the rope!' It happens so fast. No questions asked. Just instant justice, which usually isn't very just.

Maybe it’s not a masterpiece. It’s not even trying to be one. But there’s something about the way these films just get straight to the point that I find kind of refreshing, even when the point is completely nonsensical. 🤠