Treason (1933): A Dusty Ride Through Old Tropes

Is this thing worth your time?

Honestly, only if you have a very specific craving for 1930s B-movie grit or if you are a die-hard fan of Buck Jones. It’s a short, punchy, and thoroughly predictable ride that feels like a hundred other films from that era. If you hate stiff dialogue or plots that move faster than the logic allows, steer clear.

The whole thing kicks off with this post-Civil War tension in Kansas that honestly feels a bit tacked on just to get the shooting started. Joan Randall is supposed to be this tough leader of troops, but the movie doesn't really give her much to do besides wait around to be saved. It reminded me a little of the frantic energy in Straight from the Shoulder, though with way more horses and way less personality.

Buck Jones is playing Jeff Conners, and he’s doing that thing where he looks serious while staring at the horizon for an uncomfortable amount of time. I kept waiting for someone to offer him a glass of water, but nope—just more riding. The pacing is a total mess, honestly. One minute he’s catching the girl, and the next he’s suddenly playing detective to clear her name.

Cinematic perspective: Exploring the visual vocabulary of Treason (1933) through its definitive frames.

Oddly specific observations:

• There is a shot of a horse that lingers way longer than necessary. It’s almost like the animal was the best actor on set.
• The "Governor's pardon" sequence is so rushed it feels like they were trying to beat a parking meter fine.
• The villain, Colonel Jedcott, is so obviously bad that I was waiting for him to twirl a mustache that wasn't even there.

The middle part of the movie is basically just guys on horses riding toward things, then riding away from things. It’s weird how the movie assumes we care about the legalities of a post-war trial, but then completely skips over the actual suspense of the investigation. It’s just a formality to get to the shootout.

I’m not saying it’s a disaster. It’s just... fine. It doesn't have the cleverness of Seven Keys to Baldpate, nor does it try to be anything more than a quick afternoon distraction. Sometimes, the bad guys are so cartoonish it’s almost funny. Like, did they really think we wouldn't spot the betrayal coming from a mile away? 🤠

There’s a moment near the end where the hero is waylaid by the villain, and it’s shot so flatly that I wasn't even sure if they were fighting or just dancing awkwardly in the dirt. It’s a very 1933 way of handling action. You get the idea, but don't expect to feel your heart racing.

It’s fine for what it is. Just don't look too closely at the plot holes, or the whole thing will crumble faster than a stale biscuit.