In our nostalgia-lure monoculture, rhymes and restarts are everywhere. But Hollywood has always been in the game of regulating existing media, even as early as the 20th century when a young Johnon Wayne shook him on the B-film territory. The Duke did not become an icon on the night: he had to pay his taxi for a good 10 years, making dozens of what was known as "poverty Wu" Western-Near-budget, low production of oats, produced by small studio, such as republican paintings. During the 1930s, these were the films they gave to Wayne his start in Hollywood, before director Johnon Ford saved him from relative ambiguity Casting him in his family samen in 1939.

Before breaking with "Stagecoach", Wayne starred in some of his worst moviesincluding the 1933 "Telegraph", with its uncertain representation of indigenous Americans and Nate Arizona Sky since 1934, which was one of 13 different projects Wayne led that year. But 1932's Cowboy is noticeable in that it is one of the few remuneration of previous quiet films starring Ken Maynard.

Directed by Fred Allen, "Driving Him, Cowboy" was at least produced for the Warner brothers, not for any of the Rowe poverty studio. It is one of Mayard's six remake, led by the duke between 1932 and 1933, with this special example being the first national feature in 1926 called "Unknown Cavalier".

At the end of the 1920s, the sound in the film became widespread, leading to a "conversation" explosion. But that also led to the stream of remake, as the studio decided to rethink the quiet projects of the past years and to bring them into a new age. "Drive it, Cowboy" was such an example. After Warner Bros. bought the first national paintings, the company had access to the studio's catalog and decided to update some of its quiet Oatri. But these would not be complete remake. In the case of "Driving him, Cowboy", Warner Bros., Jackec Warner, was convinced to take the project based in much of the possibility of re -using the footage of "The Unknown Cavalier", based on the 1923 novel by Kenneth Perkins.

It is this approach that the 25-year-old Johnon Wayne was thrown into the lead. Obviously, studio executions thought that the young actor resembled Ken Maynard enough that the audience could not say when they mix their new footage with old trick scenes. Even the primary horse of the film was Tarzan's Tarzan, Mayard's steel of "The Unknown Cavalier".

In the remake, Johnon Wayne plays the Cowboy Johnon Durry, who arrives in a new city where he saves a horse from fatal. Duri is welcomed as a hero by the city, who encourage him to consider a series of crimes with a mysterious figure known as Hawk. Soon, Duri reveals that seemingly decent Henry Sims (Frank Hagni) is actually a hawk, which even links him to the workplace before returning him to raid the ranch and kill a man. After Wayne's cowboy escapes, he must clear his name and take off the real hawk before it's too late. Although Don Durry is not one of Wayne's best rolesThe film itself was commercially and critically successful, with reviewers praising the remake of their story and cast and Warner reporting solid profits. But the question we are so often asked today was applied in 1932: Was this remake necessary?

If the studio reblogged today using action scenes from the original and simply inserts new shots into the narrative, it would rightly be rejected as a cynical catching cash. Moreover, Ken Maynard still appeared in films at Warner Bros.. (That said, Maynard was in agreement with Universal at the time, making it impossible for the Playners to bring it back to their remake.) What is even more, the coming of sounds in films was such an important development that it probably makes sense to process even relatively recent features if it meant that.

That certainly seemed to work for Warner Bros., because "driving it, cowboy" proved successfully by almost every metrics. Diversity (through Turner's classic movies. The exit also praised the film that there was a "more story than a difficult ride", which was a rarity among these types of Western productions at the time. The German failed at all in favor of the audience, and it was only with Stagecoach and several other influential West in 1939, restoring its popularity. As such, "driving it, cowboy" would never be a mega-hit that renews the western part, though it is a fascinating piece of Hollywood history-and not only for its status as an unreliable remake of a quiet film conversation. In fact, given how well it was received at the time, it can be claimed to be Johnon Wayne's underestimated film that is worth watching.