The River Clyde

SUBJECT AREA: Civil engineering, Ports and shipping

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On completing his schooling, Deas spent some years in a locomotive manufacturing shop in Edinburgh and then in a civil engineer's office. He selected the railway for his career, and moved upwards through the professional ranks, working for different companies until 1864 when he became Engineer-in-Chief of the Edinburgh \& Glasgow Railway. This later became the North British Railway and after some years, in 1869, Deas moved to the Clyde Navigation Trust as their Engineer. For thirty years he controlled the development of this great river, and with imaginative vision and determined hard work he saw a trebling in revenue, length of quayage and water area under the Trust's jurisdiction. His office worked on a wide range of problems, including civil engineering, maintenance of harbour craft and the drafting of reports for the many Parliamentary Acts required for the extension of Glasgow Harbour. To understand the immensity of the task, one must appreciate that the River Clyde then had sixty-five shipyards and could handle the largest ships afloat. This had come through the canalization of the old meandering and shallow stream and the difficult removal of the river bed's rock barriers.

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SUBJECT AREA: Ports and shipping

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Educated at Dumbarton Grammar School, Robert Napier had been destined for the Church but persuaded his father to let him serve an apprenticeship as a blacksmith under him. For a while he worked in Edinburgh, but then in 1815 he commenced business in Glasgow, the city that he served for the rest of his life. Initially his workshop was in Camlachie, but it was moved in 1836 to a riverside factory site at Lancefield in the heart of the City and again in 1841 to the Old Shipyard in the Burgh of Govan (then independent of the City of Glasgow). The business expanded through his preparedness to build steam machinery, beginning in 1823 with the engines for the paddle steamer Leven, still to be seen a few hundred metres from Napier's grave in Dumbarton. His name assured owners of quality, and business expanded after two key orders: one in 1836 for the Honourable East India Company; and the second two years later for the Royal Navy, hitherto the preserve of the Royal Dockyards and of the shipbuilders of south-east England. Napier's shipyard and engine shops, then known as Robert Napier and Sons, were to be awarded sixty Admiralty contracts in his lifetime, with a profound influence on ship and engine procurement for the Navy and on foreign governments, which for the first time placed substantial work in the United Kingdom.

Having had problems with hull subcontractors and also with the installation of machinery in wooden hulls, in 1843 Napier ventured into shipbuilding with the paddle steamer Vanguard, which was built of iron. The following year the Royal Navy took delivery of the iron-hulled Jackall, enabling Napier to secure the contract for the Black Prince, Britain's second ironclad and sister ship to HMS Warrior now preserved at Portsmouth. With so much work in iron Napier instigated studies into metallurgy, and the published work of David Kirkaldy bears witness to his open-handedness in assisting the industry. This service to industry was even more apparent in 1866 when the company laid out the Skelmorlie Measured Mile on the Firth of Clyde for ship testing, a mile still in use by ships of all nations.

The greatest legacy of Robert Napier was his training of young engineers, shipbuilders and naval architects. Almost every major Scottish shipyard, and some English too, was influenced by him and many of his early foremen left to set up rival establishments along the banks of the River Clyde. His close association with Samuel Cunard led to the setting up of the company now known as the Cunard Line. Napier designed and engined the first four ships, subcontracting the hulls of this historic quartet to other shipbuilders on the river. While he contributed only 2 per cent to the equity of the shipping line, they came back to him for many more vessels, including the magnificent paddle ship Persia, of 1855.

It is an old tradition on the Clyde that the smokestacks of ships are made by the enginebuilders. The Cunard Line still uses red funnels with black bands, Napier's trademark, in honour of the engineer who set them going.

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See also: Fairbairn, William; Thomson, Sir William

SUBJECT AREA: Ports and shipping

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Brown commenced his apprenticeship on the River Clyde in the late 1830s, working for some of the most famous marine engineering companies and ultimately with the Caledonian Railway Company. In 1850 he joined the shipyard of A. \& J.Inglis Ltd of Partick as Engineering Manager; during his ten years there he pioneered the fitting of link-motion valve gear to marine engines. Other interesting engines were built, all ahead of their time, including a three-cylinder direct-acting steam engine.

His real life's work commenced in 1860 when he entered into partnership with the Renfrew shipbuilder William Simons. Within one year he had designed the fast Clyde steamer Rothesay Castle, a ship less than 200 ft (61 m) long, yet which steamed at c.20 knots and subsequently became a notable American Civil War blockade runner. At this time the company also built the world's first sailing ship with wire-rope rigging. Within a few years of joining the shipyard on the Cart (a tributary of the Clyde), he had designed the first self-propelled hopper barges built in the United Kingdom. He then went on to design, patent and supervise the building of hopper dredges, bucket ladder dredges and sand dredges, which by the end of the century had capacity of 10,000 tons per hour. In 1895 they built an enclosed hopper-type ship which was the prototype of all subsequent sewage-dumping vessels. Typical of his inventions was the double-ended screw-elevating deck ferry, a ship of particular value in areas where there is high tidal range. Examples of this design are still to be found in many seaports of the world. Brown ultimately became Chairman of Simons shipyard, and in his later years took an active part in civic affairs, serving for fifteen years as Provost of Renfrew. His influence in establishing Renfrew as one of the world's centres of excellence in dredge design and building was considerable, and he was instrumental in bringing several hundred ship contracts of a specialist nature to the River Clyde.

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SUBJECT AREA: Ports and shipping

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The son of Patrick Bell, a millwright, Henry had two sisters and an elder brother and was educated at the village school. When he was 9 years old Henry was sent to lodge in Falkirk with an uncle and aunt of his mother's so that he could attend the school there. At the age of 12 he left school and agreed to become a mason with a relative. In 1783, after only three years, he was bound apprentice to his Uncle Henry, a millwright at Jay Mill. He stayed there for a further three years and then, in 1786, joined the firm of Shaw \& Hart, shipbuilders of Borrowstoneness. These were to be the builders of William Symington's hull for the Charlotte Dundas. He also spent twelve months with Mr James Inglis, an engineer of Bellshill, Lanarkshire, and then went to London to gain experience, working for the famous John Rennie for some eighteen months. By 1790 he was back in Glasgow, and a year later he took a partner, James Paterson, into his new business of builder and contractor, based in the Trongate. He later referred to himself as "architect", and his partnership with Paterson lasted seven years. He is said to have invented a discharging machine for calico printing, as well as a steam dredger for clearing the River Clyde.

The Baths Hotel was opened in Helensburgh in 1808, with the hotel-keeper, who was also the first provost of the town, being none other than Henry Bell. It has been suggested that Bell was also the builder of the hotel and this seems very likely. Bell installed a steam engine for pumping sea water out of the Clyde and into the baths, and at first ran a coach service to bring customers from Glasgow three days a week. The driver was his brother Tom. The coach was replaced by the Comet steamboat in 1812.

While Henry was busy with his provost's duties and making arrangements for the building of his steamboat, his wife Margaret, née Young, whom he married in March 1794, occupied herself with the management of the Baths Hotel. Bell did not himself manufacture, but supervised the work of experts: John and Charles Wood of Port Glasgow, builders of the 43ft 6 in. (13.25 m)-long hull of the Comet; David Napier of Howard Street Foundry for the boiler and other castings; and John Robertson of Dempster Street, who had previously supplied a small engine for pumping water to the baths at the hotel in Helensburgh, for the 3 hp engine. The first trials of the finished ship were held on 24 July 1812, when she was launched from Wood's yard. A regular service was advertised in the Glasgow Chronicle on 5 August and was the first in Europe, preceded only by that of Robert Fulton in the USA. The Comet continued to run until 1820, when it was wrecked.

Bell received little reward for his promotion of steam navigation, merely small pensions from the Clyde trustees and others. He was buried at the parish church of Rhu.

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SUBJECT AREA: Ports and shipping

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Almost all of Watson's life was spent in or around the City of Glasgow; his formal education was at the city's High School and at the age of 16 he entered the yard and drawing offices of Robert Napier's Govan Shipyard. Three years later he crossed the River Clyde and started work in the design office of the Pointhouse Shipyard of A. \& J.Inglis, and there received the necessary grounding of a naval architect. Dr John Inglis, the Principal of the firm, encouraged Watson, ensured that he was involved in advanced design work and allowed him to build a yacht in a corner of the shipyard in his spare time.

At the early age of 22 Watson set up as a naval architect with his own company, which is still in existence 120 years later. In 1875, assisted by two carpenters, Watson built the 5-ton yacht Vril to his own design. This vessel was the first with an integral heavy lead keel and its success ensured that design contracts flowed to him for new yachts for the Clyde and elsewhere. His enthusiasm and increasing skill were recognized and soon he was working on the ultimate: the America's Cup challengers Thistle, Valkyrie II, Valkyrie III and Shamrock II. The greatest accolade was the contract for the design of the J Class yacht Britannia, built by D. \& W.Henderson of Glasgow in 1893 for the Prince of Wales.

The company of G.L.Watson became the world's leading designer of steam yachts, and it was usual for it to offer a full design service as well as supervise construction in any part of the world. Watson took a deep interest in the work of the Royal National Lifeboat Institution and was its technical consultant for many years. One of his designs, the Watson Lifeboat, was a stalwart in its fleet for many years. In public life he lectured, took an active part in the debates on yacht racing and was recognized as Britain's leading designer.

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SUBJECT AREA: Ports and shipping

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McNeill was born in Clydebank just outside Glasgow, and was to serve that town for most of his life. After education at Clydebank High School and then at Allan Glen's in Glasgow, in 1908 he entered the shipyard of John Brown \& Co. Ltd as an apprentice. He was encouraged to matriculate at the University of Glasgow, where he studied naval architecture under the (then) unique Glasgow system of "sandwich" training, alternately spending six months in the shipyard, followed by winter at the Faculty of Engineering. On graduating in 1915, he joined the Army and by 1918 had risen to the rank of Major in the Royal Field Artillery.

After the First World War, McNeill returned to the shipyard and in 1928 was appointed Chief Naval Architect. In 1934 he was made a local director of the company. During the difficult period of the 1930s he was in charge of the technical work which led to the design, launching and successful completion of the great liners Queen Mary and Queen Elizabeth. Some of the most remarkable ships of the mid-twentieth century were to come from this shipyard, including the last British battleship, HMS Vanguard, and the Royal Yacht Britannia, completed in 1954. From 1948 until 1959, Sir James was Managing Director of the Clydebank part of the company and was Deputy Chairman by the time he retired in 1962. His public service was remarkable and included chairmanship of the Shipbuilding Conference and of the British Ship Research Association, and membership of the Committee of Lloyd's Register of Shipping.

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SUBJECT AREA: Ports and shipping

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Despite being one of the youngest entrants to the South Kensington School of Naval Architecture, Purvis obtained both a Whitworth Exhibition and a Scholarship. Upon graduating he commenced a career in shipbuilding that involved him in military, civil and research work in Scotland, England and Japan. Initially he worked in Robert Napier's shipyard on the River Clyde, and then in the London drawing offices of Sir Edward Reed, before joining the staff of the Admiralty, where he assisted William Froude in his classic ship experiments at Torquay. After a short spell with Sir William Pearce at Govan, Purvis joined William Denny and Bros and with his recently gained knowledge of hydrodynamics helped set up the world's first commercial ship model tank at Dumbarton. His penultimate appointment was that of Shipbuilding Partner in the Scottish shipyard of Blackwood and Gordon.

In 1901 he became Professor of Naval Architecture at the Imperial University of Tokyo (succeeding Percy Hillhouse, who had become Naval Architect of Fairfield and later became Professor at Glasgow University) and it was in this role that Purvis was to achieve distinction through developing a teaching course of the highest order. It is accepted that his influence on the Japanese shipbuilding industry was profound. After nineteen years of service he retired to the United Kingdom.

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SUBJECT AREA: Ports and shipping

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Linton came from a north-east Scottish family with shipbuilding connections. After education at Arbuthnott and then Arbroath Academy, he followed his father by becoming an apprentice at the Aberdeen shipyard of Alex Hall in January 1855. Thus must have been an inspiring time for him as the shipyards of Aberdeen were at the start of their rise to world renown. Hall's had just introduced the hollow, lined Aberdeen Bow which heralded the great years of the Aberdeen Clippers. Linton stayed on with Hall's until around 1863, when he joined the Liverpool Under-writers' Register as a ship surveyor; he then worked for similar organizations in different parts of England and Scotland. Early in 1868 Linton joined in partnership with William Dundas Scott and the shipyard of Scott and Linton was opened on the banks of the River Leven, a tributary of the Clyde, at Dumbarton. The operation lasted for about three years until bankruptcy forced closure, the cause being the age-old shipbuilder's problem of high capital investment with slow cash flow. Altogether, nine ships were built, the most remarkable being the record-breaking composite-built clipper ship Cutty Sark. At the time of the closure the tea clipper was in an advanced state of outfitting and was towed across the water to Denny's shipyard for completion. Linton worked for a while with Gourlay Brothers of Dundee, and then with the shipbuilders Oswald Mordaunt, of Woolston near Southampton, before returning to the Montrose area in 1884. His wife died the following year and thereafter Linton gradually reduced his professional commitments.

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SUBJECT AREA: Civil engineering

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Very little is known of his early life, but he was clearly a skilful and gifted engineer who had received comprehensive practical training, for in 1743 he erected the machinery in the world's first water-powered cotton mill at Northampton on the river Nene. In 1748 he invented a weighing machine for use by turnpike trusts for weighing wagons. Until 1757 he remained in Northampton, mainly surveying enclosures and turnpike roads and making agricultural machinery. He also gained a national reputation for building and installing very successful ventilating equipment (invented by Dr Stephen Hales) in hospitals, prisons and ships, including some ventilators of Yeoman's own design in the Houses of Parliament.

Meanwhile he developed an interest in river improvements, and in 1744 he made his first survey of the River Nene between Thrapston and Northampton; he repeated the survey in 1753 and subsequently gave evidence in parliamentary proceedings in 1756. The following year he was in Gloucestershire surveying the line of the Stroudwater Canal, an operation that he repeated in 1776. Also in 1757, he was appointed Surveyor to the River Ivel Navigation in Bedfordshire. In 1761 he was back on the Nene. During 1762–5 he carried out surveys for the Chelmer \& Blackwater Navigation, although the work was not undertaken for another thirty years. In 1765 he reported on land-drainage improvements for the Kentish Sour. It was at this time that he became associated with John Smeaton in a major survey in 1766 of the river Lea for the Lee Navigation Trustees, having already made some surveys with Joseph Nickalls near Waltham Abbey in 1762. Yeoman modified some of Smeaton's proposals and on 1 July 1767 was officially appointed Surveyor to the Lee Navigation Trustees, a post he retained until 1771. He also advised on the work to create the Stort Navigation, and at the official opening on 24 October 1769 he made a formal speech announcing: "Now is Bishops Stortford open to all the ports of the world." Among his other works were: advice on Ferriby Sluice on the River Ancholme (1766); reports on the Forth \& Clyde Canal, the North Level and Wisbech outfall on the Nene, the Coventry Canal, and estimates for the Leeds and Selby Canal (1768–71); estimates for the extension of the Medway Navigation from Tonbridge to Edenbridge (1771); and between 1767 and 1777 he was consulted, with other engineers, by the City of London on problems regarding the Thames.

He joined the Northampton Philosophical Society shortly after its formation in 1743 and was President several times before he moved to London. In 1760 he became a member of the Society for the Encouragement of Arts, Manufactures and Commerce, and in 1763 he was chosen as joint Chairman of the Committee on Mechanics—a position he held until 1778. He was elected a Fellow of the Royal Society on 12 January 1764. On the formation of the Smeatonian Society of Civil Engineers, the forerunner of the present Institution of Civil Engineers, he was elected first President in 1771, remaining as such until his illness in 1780.

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SUBJECT AREA: Civil engineering, Public utilities

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Bateman's maternal grandfather was a Moravian missionary, and from the age of 7 he was educated at the Moravian schools at Fairfield and Ockbrook. At the age of 15 he was apprenticed to a "civil engineer, land surveyor and agent" in Oldham. After this apprenticeship, Bateman commenced his own practice in 1833. One of his early schemes and reports was in regard to the flooding of the river Medlock in the Manchester area. He came to the attention of William Fairbairn, the engine builder and millwright of Canal Street, Ancoats, Manchester. Fairbairn used Bateman as his site surveyor and as such he prepared much of the groundwork for the Bann reservoirs in Northern Ireland. Whilst the reports on the proposals were in the name of Fairbairn, Bateman was, in fact, appointed by the company as their engineer for the execution of the works. One scheme of Bateman's which was carried forward was the Kendal Reservoirs. The Act for these was signed in 1845 and was implemented not for the purpose of water supply but for the conservation of water to supply power to the many mills which stood on the river Kent between Kentmere and Morecambe Bay. The Kentmere Head dam is the only one of the five proposed for the scheme to survive, although not all the others were built as they would have retained only small volumes of water.

Perhaps the greatest monument to the work of J.F.La Trobe Bateman is Manchester's water supply; he was consulted about this in 1844, and construction began four years later. He first built reservoirs in the Longdendale valley, which has a very complicated geological stratification. Bateman favoured earth embankment dams and gravity feed rather than pumping; the five reservoirs in the valley that impound the river Etherow were complex, cored earth dams. However, when completed they were greatly at risk from landslips and ground movement. Later dams were inserted by Bateman to prevent water loss should the older dams fail. The scheme was not completed until 1877, by which time Manchester's population had exceeded the capacity of the original scheme; Thirlmere in Cumbria was chosen by Manchester Corporation as the site of the first of the Lake District water-supply schemes. Bateman, as Consulting Engineer, designed the great stone-faced dam at the west end of the lake, the "gothic" straining well in the middle of the east shore of the lake, and the 100-mile (160 km) pipeline to Manchester. The Act for the Thirlmere reservoir was signed in 1879 and, whilst Bateman continued as Consulting Engineer, the work was supervised by G.H. Hill and was completed in 1894.

Bateman was also consulted by the authorities in Glasgow, with the result that he constructed an impressive water-supply scheme derived from Loch Katrine during the years 1856–60. It was claimed that the scheme bore comparison with "the most extensive aqueducts in the world, not excluding those of ancient Rome". Bateman went on to superintend the waterworks of many cities, mainly in the north of England but also in Dublin and Belfast. In 1865 he published a pamphlet, On the Supply of Water to London from the Sources of the River Severn, based on a survey funded from his own pocket; a Royal Commission examined various schemes but favoured Bateman's.

Bateman was also responsible for harbour and dock works, notably on the rivers Clyde and Shannon, and also for a number of important water-supply works on the Continent of Europe and beyond. Dams and the associated reservoirs were the principal work of J.F.La Trobe Bateman; he completed forty-three such schemes during his professional career. He also prepared many studies of water-supply schemes, and appeared as professional witness before the appropriate Parliamentary Committees.

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SUBJECT AREA: Canals, Ports and shipping

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Wilson, the son of a sailor, spent his early years on the Forth. Later his father moved home to the west and Wilson served his apprenticeship as a shipwright on the Clyde at the small shipyards of Bowling, fifteen miles (24 km) west of Glasgow and on the river's north bank. In his late thirties Wilson was to take the leading role in what is arguably the most important development in Scotland's distinguished shipbuilding history: the building of the world's first properly constructed iron ship. This ship, the Vulcan, was the culmination of several years' effort by a group of people well connected within the academic establishment of Scotland. The Forth and Clyde Canal Company had passed instructions for investigations to be made into reducing running expenses and a distinguished committee looked into this matter. They included John Robison (Secretary of the Royal Society of Edinburgh), Professor Joseph Black of Glasgow University, James Watt and John Schanck. After a period of consideration it was decided to build a new, fastpassage barge of iron, and tenders were invited from several appropriate contractors. Wilson, with the assistance of two blacksmiths, John and Thomas Smellie, was awarded the work, and the Vulcan was constructed and ultimately launched at Faskine near Glasgow in 1819. The work involved was far beyond the comprehension of engineers of the twentieth century, as Wilson had to arrange puddled-iron plates for the shell and hand-crafted angle irons for the frames. His genius is now apparent as every steel ship worldwide uses a form of construction literally "hammered out on the anvil" between 1818 and 1819. The Vulcan was almost 64 ft (19.5 m) in length and 11 ft (3.4 m) broad. In 1822 Wilson was appointed an inspector of works for the Canal Company, and ultimately he superintended the building of the docks at Grangemouth, where he died in 1873, the same year that the Vulcan was broken up.

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SUBJECT AREA: Civil engineering, Ports and shipping

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Following education at the Royal High School of Edinburgh, Bell served an apprenticeship with a Mr Bertram, engineer and shipwright of Leith, before continuing as a regular pupil with Bell and Miller, the well-known civil engineers of Glasgow. A short period at Pelton Colliery in County Durham followed, and then at the early age of 20 Bell was appointed Resident Engineer on the construction of the Meadowside Graving Dock in Glasgow.

The Meadowside Dry Dock was opened on 28 January 1858 and was a remarkable act of faith by the proprietors Messrs Tod and McGregor, one of the earliest companies in iron shipbuilding in the British Isles. It was the first dry dock in the City of Glasgow and used the mouth of the river Kelvin for canting ships; at the time the dimensions of 144×19×5.5m depth were regarded as quite daring. This dock was to remain in regular operation for nearly 105 years and is testimony to the skills of Imrie Bell and his colleagues.

In the following years he worked for the East India Railway Company, where he was in charge of the southern half of the Jumna Railway Bridge at Allahabad, before going on to other exciting civil engineering contracts in India. On his return home, Bell became Engineer to Leith Docks, and three years later he became Executive Engineer to the States of Jersey, where he constructed St Helier's Harbour and the lighthouse at La Corbiere—the first in Britain to be built with Portland cement. In 1878 he rejoined his old firm of Bell and Miller, and ultimately worked from their Westminster office. One of his last jobs in Scotland was supervising the building of the Great Western Road Bridge in Glasgow, one of the beautiful bridges in the West End of the city.

Bell retired from business in 1898 and lived in Surrey for the rest of his life.

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SUBJECT AREA: Ports and shipping

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James Caird was educated at Glasgow Academy. While the connections are difficult to unravel, it is clear he was related to the Cairds of Greenock, whose shipyard on the Clyde built countless liners for the P \& O Company, and to the Caird family who were munificent benefactors of Dundee and the Church of Scotland.

In 1878 Caird joined a firm of East India Merchants in Glasgow, but later went to London. In 1890 he entered the service of Turnbull, Martin \& Co., managers of the Scottish Shire Line of Steamers; he quickly rose to become Manager, and by 1903 he was the sole partner and owner. In this role his business skill became apparent, as he pioneered (along with the Houlder and Federal Lines) refrigerated shipping connections between the United Kingdom and Australia and New Zealand. In 1917 he sold his shipping interests to Messrs Cayzer Irvine, managers of the Clan Line.

During the First World War, Caird set up a new shipyard on the River Wye at Chepstow in Wales. Registered in April 1916, the Standard Shipbuilding and Engineering Company took over an existing shipbuilder in an area not threatened by enemy attacks. The purpose of the yard was rapid building of standardized merchant ships during a period when heavy losses were being sustained because of German U-boat attacks. Caird was appointed Chairman, a post he held until the yard came under full government control later in the war. The shipyard did not meet the high expectations of the time, but it did pioneer standard shipbuilding which was later successful in the USA, the UK and Japan.

Caird's greatest work may have been the service he gave to the councils which helped form the National Maritime Museum at Greenwich. He used all his endeavours to ensure the successful launch of the world's greatest maritime museum; he persuaded friends to donate, the Government to transfer artefacts and records, and he gave of his wealth to purchase works of art for the nation. Prior to his death he endowed the Museum with £1.25 million, a massive sum for the 1930s, and this (the Caird Fund) is administered to this day by the Trustees of Greenwich.

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1900-1979

   Sus origenes en el cine se situan dentro de la tarea de operador de camara y, despues, ayudante de direccion. Su carrera como director comienza realmente en 1936. Lesley Selander es uno de los grandes especialistas del western, con mas de cien peliculas a sus espaldas. Decir “uno de los grandes especialistas” no es lo mismo que decir “uno de los grandes nombres” y, en efecto, la trayectoria de Selander, en lo que a la calidad de sus peliculas se refiere, es irregular. Lo que, sin embargo, sorprende es que la valoracion media de sus westerns no es baja, lo que indica que el director poseia un especial instinto para el genero, que pone de manifiesto con una plastica mas que correcta y un buen manejo del tiempo de la narracion. Inabarcable por su extension, es dificil senalar los filmes que destacan en tan amplia muestra, pero si me veo en la obligacion de citar alguno, no dudaria en elegir las peliculas que hizo para Allied Artists a finales de los anos 40 y principios de los 50, y algunas otras de las ultimas que realizo, como Dakota Lil o The Broken Star.

   FILMOGRAFIA

    Ride’ Em Cowboy. 1936. 59 minutos. Blanco y Negro. Universal. Buck Jo nes, Luana Walters.

    The Boss Rider of Gun Creek. 1936. 65 minutos. Blanco y Negro. Univ er sal. Buck Jones, Muriel Evans.

    Empty Saddles. 1936. 67 minutos. Blanco y Negro. Universal. Buck Jones, Louise Brooks, Claire Rochelle.

    Sandflow. 1937. 58 minutos. Blanco y Negro. Universal. Buck Jones, Lita Chevret.

    Left Handed Law. 1937. 63 minutos. Blanco y Negro. Universal. Buck Jones, Noel Francis, Nina Quartero.

    Smoke Tree Range. 1937. 59 minutos. Blanco y Negro. Universal. Buck Jones, Muriel Evans.

    Hopalong Rides Again. 1937. 65 minutos. Blanco y Negro. Paramount. William Boyd, Lois Wilde, Russell Hayden, George Hayes.

    The Barrier. 1937. 90 minutos. Blanco y Negro. Paramount. Leo Carrillo, Jean Parker, James Ellison.

    Partners of the Plains. 1938. 68 minutos. Blanco y Negro. Paramount. William Boyd, Gwen Gaze, Russell Hayden, Harvey Clark.

    Cassidy on Bar 20. 1938. 56 minutos. Blanco y Negro. Paramount. William Boyd, Nora Lane, Russell Hayden, Frank Darien.

    Heart of Arizona. 1938. 68 minutos. Blanco y Negro. Paramount. William Boyd, Natalie Moorhead, Russell Hayden, George Hayes.

    Bar 20 Justice. 1938. 70 minutos. Blanco y Negro. Paramount. William Boyd, Gwen Gaze, Russell Hayden, George Hayes.

    Pride of the West. 1938. 56 minutos. Blanco y Negro. Paramount. William Boyd, Charlotte Field, Russell Hayden, George Hayes.

    The Mysterious Rider. 1938. 74 minutos. Blanco y Negro. Paramount. Douglas Drumbrille, Russell Hayden, Charlotte Field.

    The Frontiersman. 1938. 74 minutos. Blanco y Negro. Paramount. William Boyd, Evelyn Venable, Russell Hayden, George Hayes.

    Sunset Trail. 1939. 60 minutos. Blanco y Negro. Paramount. William Boyd, Charlotte Wynters, Jane Clayton, Russell Hayden, George Hayes.

    Heritage of the Desert. 1939. 74 minutos. Blanco y Negro. Paramount. Donald Woods, Russell Hayden, Evelyn Venable, Robert Barrat.

    Silver on the Sage (De cara a cara). 1939. 68 minutos. Blanco y Negro. Paramount. William Boyd, Ruth Rogers, Russell Hayden, George Hayes.

    The Renegade Trail. 1939. 61 minutos. Blanco y Negro. Paramount. William Boyd, Charlotte Wynters, Russell Hayden, George Hayes.

    Range War. 1939. 66 minutos. Blanco y Negro. Paramount. William Boyd, Betty Moran, Russell Hayden, Britt Wood.

    Santa Fe Marshal. 1940. 65 minutos. Blanco y Negro. Paramount. William Boyd, Bernadine Hayes, Russell Hayden, Britt Wood.

    Knights of the Range. 1940. 68 minutos. Blanco y Negro. Paramount. Russell Hayden, Jean Parker, Victor Jory.

    The Light of Western Stars. 1940. 67 minutos. Blanco y Negro. Para mount. Russell Hayden, Victor Jory, Jo Ann Sayers.

    Hidden Gold. 1940. 61 minutos. Blanco y Negro. Paramount. William Boyd, Ruth Rogers, Russell Hayden, Britt Wood.

    Stagecoach War. 1940. 63 minutos. Blanco y Negro. Paramount. William Boyd, Julie Carter, Russell Hayden, Eddy Waller.

    Cherokee Strip. 1940. 86 minutos. Blanco y Negro. Paramount. Richard Dix, Florence Rice, Victor Jory, Andy Clyde.

    Three Men from Texas (Hombres del Oeste). 1940. 70 minutos. Blanco y Negro. Paramount. William Boyd, Esther Estrella, Russell Hayden, Andy Clyde.

    Doomed Caravan. 1941. 62 minutos. Blanco y Negro. Paramount. William Boyd, Georgia Hawkins, Russell Hayden, Andy Clyde.

    The Roundup. 1941. 90 minutos. Blanco y Negro. Paramount. Richard Dix, Patricia Morison, Preston Foster.

    Pirates on Horseback. 1941. 69 minutos. Blanco y Negro. Paramount. Wi lliam Boyd, Eleanor Stewart, Russell Hayden, Andy Clyde.

    Wide Open Town (La ley del Oeste). 1941. 78 minutos. Blanco y Negro. Paramount. William Boyd, Evelyn Brent, Bernice Kay, Russell Hayden, Andy Clyde.

    Riders of the Timberline. 1941. 59 minutos. Blanco y Negro. Paramount. William Boyd, Eleanor Stewart, Brad King,

    Stick to Your Guns. 1941. 63 minutos. Blanco y Negro. Paramount. William Boyd, Jennifer Holt, Brad King, Andy Clyde.

    Thundering Hoofs. 1942. 61 minutos. Blanco y Negro. RKO. Tim Holt, Luana Walters, Lee White, Ray Whitley.

    Bandit Ranger. 1942. 58 minutos. Blanco y Negro. RKO. Tim Holt, Joan Barclay, Cliff Edwards.

    Undercover Man. 1942. 68 minutos. Blanco y Negro. UA. William Boyd, Nora Lane, Esther Estrella, Jay Kirby, Andy Clyde.

    Border Patrol. 1943. 66 minutos. Blanco y Negro. UA. William Boyd, Claudia Drake, Jay Kirby, Andy Clyde.

    Buckskin Frontier. 1943. 74 minutos. Blanco y Negro. UA. Richard Dix, Jane Wyatt, Lee J. Cobb, Albert Dekker.

    Colt Comrades. 1943. 67 minutos. Blanco y Negro. UA. William Boyd, Gayle Lord, Jay Kirby, Andy Clyde.

    Red River Robin Hood. 1942. 57 minutos. Blanco y Negro. RKO. Tim Holt, Barbara Moffett, Cliff Edwards.

    Bar 20. 1943. 54 minutos. Blanco y Negro. UA. William Boyd, Dustine Farnum, George Reeves, Andy Clyde.

    Riders of the Deadline. 1943. 70 minutos. Blanco y Negro. UA. William Boyd, Frances Woodward, Jimmy Rogers, Andy Clyde.

    Lost Canyon. 1942. 61 minutos. Blanco y Negro. UA. William Boyd, Nora Lane, Jay Kirby, Andy Clyde.

    Lumberjack. 1944. 65 minutos. Blanco y Negro. UA. William Boyd, Ellen Hall, Jimmy Rogers, Andy Clyde.

    Forty Thieves. 1944. 60 minutos. Blanco y Negro. UA. William Boyd, Louise Currie, Jimmy Rogers, Andy Clyde.

    Call of the Rockies. 1944. 56 minutos. Blanco y Negro. Republic. Sunset Carson, Smiley Burnette, Ellen Hall.

    Bordertown Trail. 1944. 55 minutos. Blanco y Negro. Republic. Sunset Carson, Smiley Burnette, Ellen Lowe.

    Stagecoach to Monterey. 1944. 55 minutos. Blanco y Negro. Republic. Allan Lane, Peggy Stewart, Roy Barcroft.

    Cheyenne Wildcat. 1944. 56 minutos. Blanco y Negro. Republic. Bill Elliott, Peggy Stewart, Bob Blake.

    Sheriff of Sundown. 1944. 55 minutos. Blanco y Negro. Republic. Allan Lane, Max Terhune, Linda Sterling.

    Firebrands of Arizona. 1944. 55 minutos. Blanco y Negro. Republic. Sunset Carson, Smiley Burnette, Peggy Stewart.

    Sheriff of Las Vegas. 1944. 55 minutos. Blanco y Negro. Republic. Bill Elliott, Peggy Stewart, Bob Blake.

    The Great Stagecoach Robbery. 1945. 56 minutos. Blanco y Negro. Republic. Bill Elliott, Bob Blake.

    Trail of Kit Carson. 1945. 57 minutos. Blanco y Negro. Republic. Allan Lane, Helen Talbot.

    Phantom of the Plains. 1945. 56 minutos. Blanco y Negro. Republic. Bill Elliott, Bob Blake.

    Out California Way. 1946. 67 minutos. Trucolor. Republic. Monte Hale, Adrian Booth, John Dehner, Bobby Blake.

    Last Frontier Uprising. 1947. 67 minutos. Trucolor. Republic. Monte Hale, Adrian Booth, Roy Barcroft.

    Saddle Pals. 1947. 72 minutos. Blanco y Negro. Republic. Gene Autry, Lynne Roberts, Sterling Holloway.

    Robin Hood of Texas. 1947. 71 minutos. Blanco y Negro. Republic. Gene Autry, Lynne Roberts, Sterling Holloway.

    The Red Stallion. 1947. 81 minutos. Cinecolor. Eagle Lion. Robert Paige, Noreen Nash.

    Belle Star’s Daughter. 1947. 85 minutos. Blanco y Negro. Alson (Fox). George Montgomery, Rod Cameron, Ruth Roman.

    Panhandle (Imperio del crimen). 1948. 85 minutos. Blanco y Negro. Allied. Rod Cameron, Cathy Downs, Reed Hadley, Anne Gwynne.

    Guns of Hate. 1948. 62 minutos. Blanco y Negro. RKO. Tim Holt, Nan Leslie, Richard Martin.

    Indian Agent. 1948. 63 minutos. Blanco y Negro. RKO. Tim Holt, Nan Leslie, Richard Martin, Lee “Lasses” White.

    Brothers in the Saddle. 1949. 60 minutos. Blanco y Negro. RKO. Tim Holt, Virginia Cox, Richard Martin.

    Rustlers. 1949. 61 minutos. Blanco y Negro. RKO. Tim Holt, Martha Hyer, Richard Martin.

    Stampede. 1949. 78 minutos. Blanco y Negro. Allied. Rod Cameron, Johnny Mack Brown, Gale Storm.

    Masked Raiders. 1949. 60 minutos. Blanco y Negro. RKO. Tim Holt, Marjorie Lord, Richard Martin.

    The Mysterious Desperado. 1949. 61 minutos. Blanco y Negro. RKO. Tim Holt, Movita, Richard Martin.

    Dakota Lil. 1950. 88 minutos. Cinecolor. Fox. George Montgomery, Marie Windsor, Rod Cameron.

    Riders of the Range. 1950. 60 minutos. Blanco y Negro. RKO. Tim Holt, Jacqueline White, Richard Martin.

    Storm Over Wyoming. 1950. 60 minutos. Blanco y Negro. RKO. Tim Holt, Noreen Nash, Betty Underwood, Richard Martin.

    Rider from Tucson. 1950. 60 minutos. Blanco y Negro. RKO. Tim Holt, Elaine Riley, Veda Ann Borg, Richard Martin.

    Rio Grande Patrol (Patrulla de Rio Grande). 1950. 60 minutos. Blanco y Negro. RKO. Tim Holt, Jane Nigh, Richard Martin.

    The Kangaroo Kid. 1950. 72 minutos. Blanco y Negro. Allied Australian. Jock Mahoney, Veda Ann Borg, Douglass Dumbrille, Martha Hyer.

    Short Grass. 1950. 82 minutos. Blanco y Negro. Allied. Rod Cameron, Johnny Mack Brown, Cathy Downs.

    Law of the Badlands. 1951. 60 minutos. Blanco y Negro. RKO. Tim Holt, Joan Dixon, Richard Martin

    Saddle Legion. 1951. 61 minutos. Blanco y Negro. RKO. Tim Holt, Dorothy Malone, Richard Martin.

    Cavalry Scout. 1951. 78 minutos. Cinecolor. Monogram. Rod Cameron, Audrey Long, Jim Davis.

    Gunplay. 1951. 69 minutos. Blanco y Negro. RKO. Tim Holt, Joan Dixon, Richard Martin.

    Pistol Harvest. 1951. 60 minutos. Blanco y Negro. RKO. Tim Holt, Joan Dixon, Richard Martin.

    Overland Telegraph. 1951. 60 minutos. Blanco y Negro. RKO. Tim Holt, Gail Davis, Richard Martin.

    Fort Osage. 1952. 72 minutos. Cinecolor. Monogram. Rod Cameron, Jane Nigh.

    Trail Guide (Rastro oculto). 1952. 60 minutos. Blanco y Negro. RKO. Tim Holt, Linda Douglas (Mary Jo Tarola), Richard Martin.

    Road Agent. 1952. 60 minutos. Blanco y Negro. RKO. Tim Holt, Noreen Nash, Richard Martin.

    Desert Passage. 1952. 60 minutos. Blanco y Negro. RKO. Tim Holt, Joan Dixon, Richard Martin.

    The Raiders. 1952. 80 minutos. Technicolor. Universal. Richard Conte, Viveca Lindfords, Richard Martin, Barbara Britton.

    Fort Vengeance (Fort Venganza). 1953. 75 minutos. Cinecolor. Allied. James Craig, Rita Moreno, Keith Larsen.

    Cow Country. 1953. 82 minutos. Blanco y Negro. Allied. Edmond O’Brien, Peggie Castle, Robert Barrat, Helen Westcott.

    War Paint. 1953. 89 minutos. Pathecolor. K-B Productions (UA). Robert Stack, Joan Taylor, Charles McGraw.

    Arrow in the Dust (Flechas incendiarias). 1954. 80 minutos. Technicolor. Allied. Sterling Hayden, Coleen Gray, Keith Larsen.

    The Yellow Tomahawk. 1954. 82 minutos. Color Corp. Of America. Bel-Air (UA). Rory Calhoun, Peggie Castle, Peter Graves.

    Shotgun (La pradera sangrienta). 1955. 81 minutos. Technicolor. Allied. Sterling Hayden, Yvonne De Carlo, Zachary Scott.

    Fort Yuma. 1955. 78 minutos. Technicolor. Bel-Air (UA). Peter Graves, Jean Vohs, John Hudson, Joan Taylor.

    Tall Man Riding. 1955. 83 minutos. Warnercolor. WB. Randolph Scott, Dorothy Malone, Robert Barrat, Peggie Castle.

    The Broken Star. 1956. 82 minutos. Blanco y Negro. Bel-Air (UA). Howard Duff, Lita Baron, Bill Williams.

    Quincannon - Frontier Scout. 1956. 83 minutos. Color DeLuxe. Bel-Air (UA). Tony Martin, Peggie Castle, John Bromfield.

    Tomahawk Trail. 1957. 60 minutos. Blanco y Negro. Bel-Air (UA). Chuck Connors, Susan Cummings, John Smith.

    Revolt at Fort Laramie. 1957. 73 minutos. Color DeLuxe. Bel-Air (UA). John Dehner, Gregg Palmer, Frances Helm.

    Outlaw’s Son. 1957. 87 minutos. Blanco y Negro. Bel-Air (UA). Dane Clark, Ben Cooper, Lori Nelson.

    The Lone Ranger and the Lost City of Gold. 1958. 80 minutos. East man color. UA. Clayton Moore, Jay Silverheels, Noreen Nash.

    Convict Stage. 1965. 71 minutos. Blanco y Negro. Fox. Harry Lauter, Do nald Barry, Jodi Mitchell.

    War Party. 1965. 72 minutos. Blanco y Negro. Fox. Michael T. Mikler, Do nald Barry, Laurie Mack.

    Fort Courageous. 1965. 72 minutos. Blanco y Negro. Fox. Fred Beir, Do nald Barry, Hanna Landy.

    Town Tamer. 1965. 89 minutos. Technicolor. Techniscope. A.C. Lyles (Para mount). Dana Andrews, Terry Moore, Pat O’Brien, Coleen Gray.

    The Texican/Texas Kid (Texas Kid). 1966. 86 minutos. Eastmancolor. Techniscope. M.C.R./Balcazar (Columbia). Audie Murphy, Broderick Craw ford, Diana Lorys

    Fort Utah. 1967. 83 minutos. Technicolor. Techniscope. A.C. Lyles (Para mount). John Ireland, Virginia Mayo, Scott Brady.

    Arizona Bushwhackers. 1968. 86 minutos. Technicolor. Techniscope. A.C. Lyles (Paramount). Howard Keel, Yvonne De Carlo, John Ireland.

1888-1952

   Actor y empresario teatral antes de la Primera Gue rra Mundial, despues se convierte en ayudante de direccion para Fox, trabajando con John Ford. En los anos 20 pasa a Universal, donde empieza a dirigir primero cortometrajes y despues peliculas de serie B, sobre todo thrillers y seriales diversos. En el sonoro, al que se adapta aceptablemente, trabaja con intensidad. Es, sin duda, uno de los realizadores mas prolificos del genero; mas de 80 westerns avalan su trayectoria, ni mas ni menos destacada que la de otros muchos, aunque no le falta buen pulso narrativo las mas de las veces. Trabaja, inevitablemente, con actores populares, y tambien prolificos, de los anos 30 y, en menor medida, 40. Peliculas de una hora de duracion, aproximadamente, con argumentos poco elaborados, y algun serial, dirigido en solitario a comienzos del sonoro, y ya en colaboracion unos diez anos despues, constituyen la inmensa mayoria de una filmografia inabarcable.

   FILMOGRAFIA

    The One Way Trail (La senda de la venganza). 1931. 60 minutos. Blanco y Negro. Columbia. Tim McCoy, Doris Hill, Polly Ann Young, Carroll Nye.

    Battling with Buffalo Bill. 1931. 217 minutos. 12 capitulos. Blanco y Negro. Universal. Tom Tyler, Lucille Browne, Rex Bell, William Desmond.

    Heroes of the West. 1932. 210 minutos. 12 capitulos. Blanco y Negro. Universal. Noah Beery, Jr., Julie Bishop, William Desmond, Onslow Stevens.

    Clancy of the Mounted. 1933. 225 minutos. 12 capitulos. Blanco y Negro. Universal. Tom Tyler, Jacqueline Wells, William Desmond.

    Gordon of Ghost City. 1933. 220 minutos. 12 capitulos. Blanco y Negro. Universal. Buck Jones, Madge Bellamy, Walter Miller.

    The Fighting Trooper. 1934. 61 minutos. Blanco y Negro. Ambassador. Kermit Maynard, Barbara Worth, LeRoy Mason.

    Outlawed Guns. 1935. 62 minutos. Blanco y Negro. Universal. Buck Jones, Ruth Channing, Roy D’Arcy, Joan Gale.

    The Roaring West. 1935. 255 minutos. 15 capitulos. Blanco y Negro. Universal. Buck Jones, Muriel Evans, Walter Miller, Frank McGlynn.

    The Throwback (El hijo del cuatrero). 1935. 60 minutos. Blanco y Negro. Universal. Buck Jones, Muriel Evans, George Hayes.

    The Ivory-Handled Gun (Exterminio). 1935. 58 minutos. Blanco y Negro. Universal. Buck Jones, Charlotte Wynters, Walter Miller.

    Sunset of Power (El ocaso del poder). 1936. 66 minutos. Blanco y Negro. Universal. Buck Jones, Dorothy Dix, Charles B. Middleton.

    Silver Spurs (El desfiladero perdido). 1936. 60 minutos. Blanco y Negro. Universal. Buck Jones, Muriel Evans, George Hayes.

    The Cowboy and the Kid (El vaquero y el huerfano). 1936. 58 minutos. Blanco y Negro. Universal. Buck Jones, Dorothy Revier, Billy Burrud.

    The Phantom Rider. 1936. 258 minutos. 15 capitulos. Blanco y Negro. Universal. Buck Jones, Marla Shelton, Diana Gibson, Harry Woods.

    The Three Mesquiteers. 1936. 61 minutos. Blanco y Negro. Republic. Robert Livingston, Ray Corrigan, Syd Saylor, Kay Hugues.

    The Vigilantes Are Coming (co-d.: Mack V. Wright). 1936. 229 minutos. 12 capitulos. Blanco y Negro. Republic. Robert Livingston, Kay Hugues, Guinn Williams, Raymond Hatton.

    The Painted Stallion (co-d.: Alan James, William Witney). 1937. 212 minutos. 12 capitulos. Blanco y Negro. Republic. Ray Corrigan, Hoot Gibson, LeRoy Mason, Duncan Renaldo, Julia Thayer.

    Drums of Destiny. 1937. 62 minutos. Blanco y Negro. Crescent. Tom Keene, Edna Lawrence, Robert Fiske.

    Raw Timber. 1937. 63 minutos. Blanco y Negro. Crescent. Tom Keene, Peggy Keys, Robert Fiske.

    The Mystery of the Hooded Horsemen (Jinetes enmascarados). 1937. 60 minutos. Blanco y Negro. Grand National. Tex Ritter, Irish Meredith, Horace Murphy.

    Sudden Bill Dorn. 1937. 60 minutos. Blanco y Negro. Universal. Buck Jones, Noel Francis, Evelyn Brent.

    Boss of Lonely Valley. 1937. 59 minutos. Blanco y Negro. Universal. Buck Jones, Muriel Evans, Walter Miller.

    Tex Ritter with the Boy Scouts. 1938. 57 minutos. Blanco y Negro. Grand National. Tex Ritter, Marjorie Reynolds, Snub Pollard.

    Hawaiian Buckaroo (La ultima emboscada). 1938. 62 minutos. Blanco y Negro. Principal/Fox. Smith Ballew, Evalyn Knapp, Benny Burt, Pat O’Brien.

    The Painted Stallion (co-d.: Alan James, William Witney). 1938. 67 minutos. Blanco y Negro. Republic. Ray Corrigan, Hoot Gibson, Jean Carmen.

    Frontier Town. 1938. 59 minutos. Blanco y Negro. Grand National. Tex Ritter, Ann Evers, Snub Pollard.

    Rawhide. 1938. 58 minutos. Blanco y Negro. Principal/Fox. Smith Ballew, Lou Gehrig, Evalyn Knapp.

    Flaming Frontiers (co-d.: Alan James). 1938. 15 capitulos. Blanco y Negro. Universal. Johnny Mack Brown, Eleanor Hansen.

    Panamint’s Bad Man (Jugandose la vida). 1938. 60 minutos. Blanco y Negro. Principal/Fox. Smith Ballew, Evelyn Daw, Noah Beery.

    Riders of Pasco Basin. 1940. 56 minutos. Blanco y Negro. Universal. John ny Mack Brown, Frances Robinson, Bob Baker, Fuzzy Knight.

    West of Carson City. 1940. 56 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Peggy Moran, Bob Baker, Fuzzy Knight.

    Bad Man from Red Butte. 1940. 58 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Anne Gwynne, Bob Baker, Fuzzy Knight.

    Winners of the West (co-d.: Ford Beebe). 1940. 247 minutos. 13 capitulos. Blanco y Negro. Universal. Dick Foran, Anne Nagel.

    Ragtime Cowboy Joe. 1940. 58 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Nell O’Day, Lynn Merrick, Fuzzy Knight.

    Law and Order. 1940. 57 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Nell O’Day, Fuzzy Knight.

    Pony Post. 1940. 59 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Nell O’Day, Dorothy Short, Fuzzy Knight.

    Boss of Bullion City. 1941. 61 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Nell O’Day, Maria Montez, Fuzzy Knight.

    Bury Me Not on the Lone Prairie. 1941. 61 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Nell O’Day, Kathryn Adams, Fuzzy Knight.

    Law of the Range. 1941. 59 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Nell O’Day, Elaine Morley, Fuzzy Knight.

    Riders of Death Valley (Los jinetes de la muerte) (co-d.: Ford Beebe). 1941. 283 minutos. 15 capitulos. Blanco y Negro. Universal. Dick Foran, Leo Carrillo, Jeannie Kelly.

    Rawhide Rangers. 1941. 56 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Nell O’Day, Kathryn Adams, Fuzzy Knight.

    Man from Montana. 1941. 59 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Nell O’Day, Jeanne Kelly, Fuzzy Knight.

    Fighting Bill Fargo. 1941. 57 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Nell O’Day, Jeanne Kelly, Fuzzy Knight.

    Stagecoach Buckaroo. 1942. 58 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Nell O’Day, Anne Nagel, Fuzzy Knight.

    Cheyenne Roundup. 1943. 59 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Jennifer Holt, Tex Ritter, Fuzzy Knight.

    The Lone Star Trail. 1943. 58 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Jennifer Holt, Tex Ritter, Fuzzy Knight.

    Boss of Boomtown. 1944. 58 minutos. Blanco y Negro. Universal. Rod Cameron, Tom Tyler, Vivian Austin, Fuzzy Knight.

    Raiders of Ghost City (co-d.: Lewis D. Collins). 1944. 225 minutos. 13 capitulos. Blanco y negro. Universal. Dennis Moore, Wanda McKay.

    The Royal Mounted Rides Again (co-d.: Lewis D. Collins). 1945. 221 minutos. 13 capitulos. Blanco y Negro. Universal. George Dolenz, Bill Kennedy, Milburn Stone.

    The Daltons Ride Again (Casta indomable). 1945. 70 minutos. Blanco y Negro. Universal. Alan Curtis, Kent Taylor, Martha O’Driscoll.

    The Scarlet Horseman (co-d.: Lewis D. Collins). 1946. 248 minutos. 13 capitulos. Blanco y negro. Universal. Peter Cookson, Janet Shaw.

    Wild Country. 1947. 55 minutos. Blanco y Negro. PRC. Eddie Dean, Roscoe Ates, Peggy Wynne.

    Law of the Lash. 1947. 53 minutos. Blanco y Negro. PRC. Lash LaRue, Al St. John, Mary Scott

    Range Beyond the Blue. 1947. 53 minutos. Blanco y Negro. PRC. Eddie Dean, Roscoe Ates, Helen Mowery.

    The Michigan Kid (El chico de Michigan/Ninguno como el). 1947. 69 minutos. Cinecolor. Universal. Jon Hall, Rita Johnson, Victor McLaglen.

    West to Glory. 1947. 56 minutos. Blanco y Negro. PRC. Eddie Dean, Roscoe Ates, Dolores Castle.

    Border Feud. 1947. 55 minutos. Blanco y Negro. PRC. Lash LaRue, Al St. John, Gloria Marlen.

    Pioneer Justice. 1947. 56 minutos. Blanco y Negro. PRC. Lash LaRue, Al St. John, Jennifer Holt.

    Ghost Town Renegades. 1947. 58 minutos. Blanco y Negro. PRC. Lash LaRue, Al St. John, Jennifer Holt.

    The Vigilantes Return. 1947. 67 minutos. Cinecolor. Universal. Jon Hall, Margaret Lindsay, Paula Drew.

    Stage to Mesa City. 1947. 56 min. B y N. PRC. Lash LaRue, Al St. John.

    Black Hills. 1947. 60 minutos. Blanco y Negro. PRC. Eddie Dean, Roscoe Ates, Shirley Patterson.

    Return of the Lash. 1947. 55 minutos. Blanco y Negro. PRC. Lash LaRue, Al St. John, Mary Maynard.

    The Fighting Vigilantes. 1947. 61 minutos. Blanco y Negro. PRC. Lash LaRue, Al St. John, Jennifer Holt.

    Shadow Valley. 1947. 59 minutos. Blanco y Negro. PRC-Eagle Lion. Eddie Dean, Roscoe Ates, Jennifer Holt.

    Cheyenne Takes Over. 1947. 56 minutos. Blanco y Negro. PRC. Lash LaRue, Al St. John, Nancy Gates.

    Check Your Guns. 1948. 55 minutos. Blanco y Negro. PRC-Eagle Lion. Eddie Dean, Roscoe Ates, Nancy Gates.

    Tornado Range. 1948. 56 minutos. Blanco y Negro. PRC-Eagle Lion. Eddie Dean, Roscoe Ates, Jennifer Holt.

    The Westward Trail. 1948. 56 minutos. Blanco y Negro. PRC-Eagle Lion. Eddie Dean, Roscoe Ates, Phyllis Planchard.

    The Hawk of Powder River. 1948. 54 minutos. Blanco y Negro. PRC-Eagle Lion. Eddie Dean, Roscoe Ates, Jennifer Holt.

    The Tioga Kid. 1948. 54 minutos. Blanco y Negro. PRC-Eagle Lion. Eddie Dean, Roscoe Ates, Jennifer Holt.

    Range Justice. 1948. 57 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Felice Ingersall, Max Terhune.

    The Return of Wildfire (Tierra de heroes). 1948. 83 minutos. Blanco y Negro. Screen Guild. Richard Arlen, Patricia Morison, Mary Beth Hugues.

    Dead Man’s Gold. 1948. 60 minutos. Blanco y Negro. Screen Guild. Lash LaRue, Al St. John, Peggy Stewart.

    Mark of the Lash. 1948. 60 minutos. Blanco y Negro. Screen Guild. Lash LaRue, Al St. John, Suzi Crandall.

    Gunning for Justice. 1948. 55 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Evelyn Finley, Max Terhune, Raymond Hatton.

    Hidden Danger. 1948. 55 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Christine Larsen, Max Terhune, Raymond Hatton.

    Frontier Revenge. 1948. 56 minutos. Blanco y Negro. Screen Guild. Lash LaRue, Al St. John, Peggy Stewart.

    Outlaw Country. 1949. 66 minutos. Blanco y Negro. Screen Guild. Lash LaRue, Al St. John, Nancy Saunders.

    Crashing Thru. 1949. 57 minutos. Blanco y Negro. Monogram. Whip Wilson, Christine Larsen, Andy Clyde.

    Shadows of the West. 1949. 59 minutos. Blanco y Negro. Monogram. Whip Wilson, Reno Browne, Andy Clyde.

    Law of the West. 1949. 54 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Gerry Patterson, Max Terhune.

    Son of Billy the Kid. 1949. 65 minutos. Blanco y Negro. Screen Guild. Lash LaRue, Al St. John, Marion Colby.

    Son of a Badman. 1949. 64 minutos. Blanco y Negro. Screen Guild. Lash LaRue, Al St. John, Noel Neill.

    West of El Dorado. 1949. 58 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Reno Browne, Max Terhune.

1903-1974

   Neoyorquino, lo encontramos por primera vez en los titulos de credito de una pelicula en 1936, como ayudante de direccion de Nate Watt en La rueda del destino (Hoppalong Cassidy Returns). Continuara en este cometido, siempre para Paramount, a las ordenes del citado Watt, David Selman, Edward Ven turini, Howard Bretherton y, sobre todo, Lesley Selan der. Salvo en una ocasion, las peliculas son entregas su cesivas de la serie protagonizada por William Boyd. Cuando, en 1941, pasa a la direccion, no es de ex tranar que su obra, westerns en su inmensa mayoria, se centre en series y seriales con actores como el citado Boyd, Charles Starrett (Durango Kid) o Johnny Mack Brown. Trabaja para Columbia y, en menor me dida, para Monogram. Entre 1941, ano de su debut detras de las camaras, y 1945, cuando empieza su conjunto de peliculas con Charles Starrett, existe un vacio que no he podido llenar, en el que, segun algunas fuentes, realiza tres westerns, Texas Rifles, Phantom Outlaws y Cattle Call, todos ellos de 1944.

   FILMOGRAFIA

   ◘ Border Vigilantes. 1941. 62 minutos. Blanco y Negro. Paramount. William Boyd, Russell Hayden, Andy Clyde, Frances Gifford.

   ◘ Secrets of the Wasterland. 1941. 66 minutos. Blanco y Negro. Para mount. William Boyd, Andy Clyde, Brad King, Barbara Britton.

    Rough Ridin’Justice. 1945. 58 minutos. Blanco y Negro. Columbia. Charles Starrett, Dub Taylor, Betty Jane Graham, Jimmy Wakely.

    The Return of the Durango Kid. 1945. 58 minutos. Blanco y Negro. Columbia. Charles Starrett, Tex Harding, Jean Stevens, Britt Wood.

    Both Barrels Blazing. 1945. 57 minutos. Blanco y Negro. Columbia. Charles Starrett, Dub Taylor, Pat Parrish, Tex Harding.

    Rustlers of the Badlands. 1945. 55 minutos. Blanco y negro. Columbia. Charles Starrett, Dub Taylor, Sally Bliss, Tex Harding.

    Northwest Trail. 1945. 66 minutos. Cinecolor. Screen Guild. Bob Steele, John Litel, Joan Woodbury.

    Drifting Along. 1946. 60 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Lynne Carver, Raymond Hatton.

    Frontier Gunlaw. 1946. 60 minutos. Blanco y Negro. Columbia. Charles Starrett, Tex Harding, Jean Stevens, Dub Taylor.

    The Haunted Mine. 1946. 51 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Linda Johnson.

    The Fighting Frontiersman. 1946. 61 minutos. Blanco y Negro. Columbia. Charles Starrett, Smiley Burnette, Helen Mowery.

    South of the Chisholm Trail. 1947. 58 minutos. Blanco y Negro. Columbia. Charles Starrett, Smiley Burnette, Nancy Saunders.

    Prairie Raiders. 1947. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Smiley Burnette, Nancy Saunders.

    Swing the Western Way. 1947. 66 minutos. Blanco y Negro. Columbia. Paul Triesch, Ken Triesch, Mary Dugan.

    The Stranger from Ponca City. 1947. 56 minutos. Blanco y Negro. Columbia. Charles Starrett, Smiley Burnette, Virginia Hunter.

    Riders of the Lone Star. 1947. 55 minutos. Blanco y Negro. Columbia. Charles Starrett, Smiley Burnette, Virginia Hunter.

    Smoky River Serenade. 1947. 67 minutos. Blanco y Negro. Columbia. Paul Campbell, Ruth Terry.

    Tex Granger, Midnight Rider of the Plains. 1948. 270 minutos. 15 capitu los. Blanco y Negro. Columbia. Robert Kellard, Peggy Stewart

    The Rangers Ride. 1948. 56 minutos. Blanco y Negro. Monogram. Jimmy Wakely, Dub Taylor, Virginia Belmont.

    Cowboy Cavalier. 1948. 57 minutos. Blanco y Negro. Monogram. Jimmy Wakely, Dub Taylor, Jan Bryant.

    The Girl from San Lorenzo. 1950. 59 minutos. Blanco y Negro. Inter-American Productions (UA). Duncan Renaldo, Leo Carrillo, Jane Adams.

    Whistling Hills (Emboscada en las colinas). 1951. 58 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Jimmy Ellison, Noel Neill.

1899-1954

   Entre 1927 y 1954, ano de su prematura muerte debida a un ataque cardiaco, realiza un total aproximado de 120 peliculas, de las que unas veinte son cortometrajes. Se dedica, especialmente, al western, sobre todo para Universal y Monogram. Es un director modesto, sin estilo visible que, como tantos otros, trabaja para las sucesivas estrellas de la epoca.

   FILMOGRAFIA

    Guns for Hire. 1932. 58 minutos. Blanco y Negro. Willis Kent. Lane Chandler, Sally Darling.

    Via Pony Express. 1933. 60 minutos. Blanco y Negro. Majestic. Jack Hoxie, Marceline Day.

    Gun Law. 1933. 59 min. Blanco y Negro. Majestic. Jack Hoxie, Paula Fix.

    Trouble Busters. 1933. 55 minutos. Blanco y Negro. Majestic. Jack Hoxie, Lane Chandler, Kaye Edwards.

    The Man from Hell. 1934. 58 minutos. Blanco y Negro. Willis Kent. Reb Russell, Fred Kohler, Ann Darcy.

    Brand of Hate. 1934. 63 minutos. Blanco y Negro. Supreme. Bob Steele, William Farnum, Lucille Browne.

    The Desert Trail. 1935. 54 minutos. Blanco y Negro. Monogram/Lone Star. John Wayne, Mary Kornman.

    Little Joe, the Wrangler. 1942. 64 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Tex Ritter, Fuzzy Knight, Jennifer Holt.

    Tenting Tonight on the Old Camp Ground. 1943. 59 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Tex Ritter, Fuzzy Knight, Jennifer Holt.

    Raiders of San Joaquin. 1943. 60 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Tex Ritter, Fuzzy Knight, Jennifer Holt.

    Oklahoma Raiders. 1944. 57 minutos. Blanco y Negro. Universal. Tex Ritter, Fuzzy Knight, Jennifer Holt.

    Trigger Trail. 1944. 59 minutos. Blanco y Negro. Universal. Rod Cameron, Eddie Dew, Fuzzy Knight, Vivian Austin.

    Raiders of Ghost City (co-d.: Ray Taylor). 1944. 225 minutos. 13 capitulos. Blanco y Negro. Universal. Dennis Moore, Wanda McKay, Lionel Atwill.

    The Old Texas Trail. 1944. 60 minutos. Blanco y Negro. Universal. Rod Cameron, Fuzzy Knight, Marjorie Clements.

    The Royal Mounted Rides Again (co-d.: Ray Taylor). 1945. 221 minutos. 13 capitulos. Blanco y Negro. Universal. George Dolenz, Bill Kennedy, Milburn Stone.

    The Scarlet Horseman (co-d.: Ray Taylor). 1946. 248 minutos. 13 capitulos. Blanco y Negro. Universal. Peter Cookson, Janet Shaw.

    Ride, Ryder, Ride! 1949. 60 minutos. Cinecolor. Equity/Eagle Lion. Jim Bannon, Peggy Stewart, Emmett Lynn.

    Roll, Thunder, Roll! 1949. 60 minutos. Cinecolor. Equity/Eagle Lion. Jim Bannon, I. Stanford Jolley, Don Kay Reynolds, Nancy Gates.

    The Fighting Redhead. 1949. 55 minutos. Cinecolor. Equity/Eagle Lion. Jim Bannon, Peggy Stewart, Don Kay Reynolds.

    Cowboy and the Prizefighter. 1949. 59 minutos. Cinecolor. Equity/Eagle Lion. Jim Bannon, Emmett Lynn, Don Kay Reynolds, Karen Randle.

    Law of the Panhandle. 1950. 55 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Jane Adams, Milburn Morante.

    Cherokee Uprising. 1950. 55 minutos. Blanco y Negro. Monogram. Whip Wilson, Andy Clyde, Lois Hall.

    Colorado Ambush. 1951. 51 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Lois Hall, Myron Healey.

    Abilene Trail. 1951. 54 minutos. Blanco y Negro. Monogram. Whip Wilson, Andy Clyde, Noel Neill.

    Man from Sonora. 1951. 54 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Phyllis Coates, House Peters, Jr.

    Canyon Raiders. 1951. 54 minutos. Blanco y Negro. Monogram. Whip Wilson, Fuzzy Knight, Phyllis Coates.

    Nevada Badmen. 1951. 58 minutos. Blanco y Negro. Monogram. Whip Wilson, Fuzzy Knight, Phyllis Coates.

    Stagecoach Driver. 1951. 52 minutos. Blanco y Negro. Monogram. Whip Wilson, Fuzzy Knight, Gloria Winters.

    Oklahoma Justice. 1951. 51 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Phyllis Coates, Jimmy Ellison.

    Lawless Cowboys. 1951. 58 minutos. Blanco y Negro. Monogram. Whip Wilson, Fuzzy Knight, Pamela Duncan.

    The Longhorn. 1951. 70 minutos. Blanco y Negro. Monogram. Bill Elliot, Phyllis Coates, Myron Healey.

    Texas Lawmen. 1951. 54 minutos. Blanco y Negro. Frontier Pictures - /Monogram. Johnny Mack Brown, Jimmy Ellison, Lee Roberts.

    Stage to Blue River. 1951. 55 minutos. Blanco y Negro. Monogram. Whip Wilson, Fuzzy Knight, Phyllis Coates.

    Texas City (Misterio en Texas). 1952. 54 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Lois Hall, Jimmy Ellison.

    Waco. 1952. 68 minutos. Blanco y Negro. Monogram. Bill Elliott, Pamela Blake, I. Stanford Jolley.

    The Gunman. 1952. 52 minutos. Blanco y Negro. Monogram. Whip Wilson, Fuzzy Knight, Phyllis Coates.

    Wild Stallion. 1952. 70 minutos. Cinecolor. Monogram. Ben Johnson, Edgar Buchanan, Martha Hyer.

    Kansas Territory. 1952. 65 minutos. Blanco y Negro. Monogram. Bill Elliott, Peggy Stewart, Fuzzy Knight.

    Dead Man’s Trail. 1952. 59 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Barbara Allen, Jimmy Ellison.

    Montana Incident. 1952. 54 minutos. Blanco y Negro. Monogram. Whip Wilson, Peggy Stewart, Noel Neill.

    Fargo (Los atracadores de Fargo). 1952. 69 minutos. Blanco y Negro. Monogram. Bill Elliott, Phyllis Coates, Fuzzy Knight.

    Canyon Ambush. 1952. 53 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Phyllis Coates, Lee Roberts.

    The Homesteaders. 1953. 62 minutos. Blanco y Negro. Allied. Bill Elliott, Emmett Lynn, Robert Lowery.

    The Marksman. 1953. 62 minutos. Blanco y Negro. Allied. Wayne Morris, Elena Verdugo, Frank Ferguson.

    Vigilante Terror. 1953. 70 minutos. Blanco y Negro. Allied. Bill Elliott, Fuzzy Knight, Mary Ellen Kay.

    Texas Bad Man. 1953. 62 minutos. Blanco y Negro. Allied. Wayne Morris, Elaine Riley, Frank Ferguson.

    Two Guns and a Badge (Dos pistolas y una insignia). 1954. 60 minutos. Blanco y Negro. Allied. Wayne Morris, Beverly Garland, Morris Ankrum.

1907-1997

   Hijo y hermano de actores, tambien actor el, lo encontramos desde la infancia dentro del mundo del cine, interpretando papeles de distinta importancia hasta que, en 1945, se incorpora a la realizacion. Thomas Carr fue uno mas entre tantos directores de series (incluidas unas Adventures of Superman televisivas en 1952), sobre todo para Republic. Nada resenable en su extensa filmografia, que incluye un importante numero de producciones destinadas a la pequena pantalla.

   FILMOGRAFIA

    Santa Fe Saddlemates. 1945. 56 minutos. Blanco y Negro. Republic. Sunset Carson, Linda Stirling, Roy Barcroft.

    Oregon Trail. 1945. 55 minutos. Blanco y Negro. Republic. Sunset Carson, Peggy Stewart, Si Jenks.

    Bandits of the Badlands. 1945. 55 minutos. Blanco y Negro. Republic. Sunset Carson, Peggy Stewart, Si Jenks.

    Rough Riders of Cheyenne. 1945. 56 minutos. Blanco y Negro. Republic. Sunset Carson, Peggy Stewart, Monte Hale.

    The Cherokee Flash. 1945. 55 minutos. Blanco y Negro. Republic. Sunset Carson, Linda Stirling, Tom London.

    Days of Buffalo Bill. 1946. 56 minutos. Blanco y Negro. Republic. Sunset Carson, Peggy Stewart, Tom London.

    Alias Billy the Kid. 1946. 56 minutos. Blanco y Negro. Republic. Sunset Carson, Peggy Stewart, Tom London.

    The El Paso Kid. 1946. 54 minutos. Blanco y Negro. Republic. Sunset Carson, Marie Harmon, Edmund Cobb.

    Red River Renegades. 1946. 55 minutos. Blanco y Negro. Republic. Sunset Carson, Peggy Stewart, Tom London.

    Rio Grande Raiders. 1946. 56 minutos. Blanco y Negro. Republic. Sunset Carson, Bob Steele, Linda Sterling.

    Jesse James Rides Again (co-d.: Fred C. Brannon). 1947. 180 minutos. 13 capitulos. Blanco y Negro. Republic. Clayton Moore, Linda Stirling.

    Song of the Wasteland. 1947. 56 minutos. Blanco y Negro. Monogram. Jimmy Wakely, Lee White, Holly Bane.

    Code of the Saddle. 1947. 53 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Kay Morley.

    The Dalton’s Women. 1950. 80 minutos. Blanco y Negro. Howco. Lash LaRue, Al St. John, Pamela Blake.

    Hostile Country. 1950. 60 minutos. Blanco y Negro. Lippert. Jimmy Ellison, Russell Hayden, Julie Adams.

    Marshal of Heldorado. 1950. 53 minutos. Blanco y Negro. Lippert. Jimmy Ellison, Russell Hayden, Julie Adams.

    Colorado Ranger. 1950. 59 minutos. Blanco y Negro. Lippert. Jimmy Ellison, Russell Hayden, Julie Adamas.

    Roar of the Iron Horse, Rail-Blazer of the Apache Trail (co-d.: Spencer Gordon Bennett). 1950. 260 minutos. 15 capitulos. Blanco y Negro. Columbia. Jock Mahoney, Virginia Herrick.

    West of the Brazos. 1950. 58 minutos. Blanco y Negro. Lippert. Jimmy Ellison, Russell Hayden, Julie Adams.

    Crooked River. 1950. 55 minutos. Blanco y Negro. Lippert. Jimmy Ellison, Russell Hayden, Julie Adams.

    Fast on the Draw. 1950. 55 minutos. Blanco y Negro. Lippert. Jimmy Ellison, Russell Hayden, Julie Adams.

    Outlaws of Texas. 1950. 56 minutos. Blanco y Negro. Monogram. Whip Wilson, Andy Clyde, Phyllis Coates.

    Wanted: Dead or Alive. 1951. 59 minutos. Blanco y Negro. Monogram. Whip Wilson, Fuzzy Knight, Christine McIntyre.

    Man from the Black Hills. 1952. 51 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Jimmy Ellison, Lane Bradford.

    Behind Southern Lines. 1952. 51 minutos. Blanco y Negro. Monogram. Guy Madison, Andy Devine, Rand Brooks.

    Trail of the Arrow. 1952. 54 minutos. Blanco y Negro. Monogram. Guy Madison, Andy Devine, Wendy Waldron.

    Wyoming Roundup. 1952. 53 minutos. Blanco y Negro. Monogram. Whip Wilson, Phyllis Coates, Tommy Farrell.

    The Maverick. 1952. 71 minutos. Blanco y Negro. Allied. Bill Elliott, Phyllis Coates, Myron Healey.

    Star of Texas. 1953. 68 minutos. Blanco y Negro. Allied. Wayne Morris, Paul Fix, Frank Ferguson.

    Rebel City. 1953. 62 minutos. Blanco y Negro. Allied. Bill Elliott, Marjorie Lord, Robert Kent.

    Topeka. 1953. 71 minutos. Blanco y Negro. Allied. Bill Elliott, Phyllis Coates, Fuzzy Knight.

    The Fighting Lawman. 1953. 71 minutos. Blanco y Negro. Allied. Wayne Morris, Virginia Grey, John Kellogs.

    Bitter Creek. 1954. 74 minutos. Blanco y Negro. Allied. Bill Elliott, Beverly Garland, Carleton Young.

    The Forty-Niners (El pistolero desconocido). 1954. 71 minutos. Blanco y Negro. Allied. Bill Elliott, Virginia Grey, Henry Morgan.

    The Desperado. 1954. 81 minutos. Blanco y Negro. Allied. Wayne Morris, James Lydon, Beverly Garland.

    The Tall Stranger (Valle prohibido). 1957. 81 minutos. Color DeLuxe. CinemaScope. Allied. Joel McCrea, Virginia Mayo, Barry Kelley, Michael An sara.

    Gunsmoke in Tucson. 1958. 79 minutos. Color DeLuxe. CinemaScope. Allied. Mark Stevens, Forrest Tucker, Gale Robbins.

    Cast a Long Shadow. 1959. 82 minutos. Blanco y Negro. Mirisch (UA). Audie Murphy, John Dehner, Terry Moore.

SUBJECT AREA: Ports and shipping

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The early life of Fulton is documented sparsely; however, it is clear that he was brought up in poor circumstances along with three sisters and one brother by a widowed mother. The War of Independence was raging around them for some years, but despite this it is believed that he spent some time learning the jeweller's trade in Philadelphia and had by then made a name for himself as a miniaturist. Throughout his life he remained skilled with his hands and well able to record technical detail on paper. He witnessed many of the early trials of American steamboats and saw the work of William Henry and John Fitch, and in 1787 he set off for the first time to Europe. For some years he examined steamships in Paris and without doubt saw the Charlotte Dundas on the Forth and Clyde Canal near Glasgow. In 1803 he built a steamship that ran on the Seine at 4 1/2 mph (7.25 km/h), and when it was lost, another to replace it. All his designs were based on principles that had been tried and proved elsewhere, and in this respect he was more of a developer than an inventor. After some time experimenting with submersibles and torpedoes for the British and French governments, in 1806 he returned to the United States. In 1807 he took delivery of the 100 ton displacement paddle steamer Clermont from the yard of Charles Browne of East River, New York. In August of that year it started the passenger services on the Hudson River and this can be claimed as the commencement of world passenger steam navigation. Again the ship was traditional in shape and the machinery was supplied by Messrs Boulton and Watt. This was followed by other ships, including Car of Neptune, Paragon and the world's first steam warship, Demolgos, launched in New York in October 1814 and designed by Fulton for coastal defence and the breaking of the British blockade. His last and finest boat was named Chancellor Livingston after his friend and patron Robert Livingston (1746–1813); the timber hull was launched in 1816, some months after Fulton's death.

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