The Making of Broncho Billy

This documentary traces the history of the B-Western from it's silent movie origins to its demise in the early 1950s. The film contains a large number of scenes from early silents and seldom seen films, as well as old photographs of the stars and one-sheet advertisements for lost films.

Broncho Billy and his pals plot to rob the general store. Broncho Billy is elected to go into the store and engage the proprietor in conversation while the others enter the rear door and rob the till.

Broncho Billy, a woodsman, living in northern Montana, is greeted by Paul Harding, an artist from New York City. Harding presents Broncho Billy with a letter of introduction. The newcomer is taken into the rough western home and is told to make his headquarters there until he has finished with his painting. Harding sees in Broncho Billy's wife, an excellent subject for oils, and is given consent to paint her portrait. Harding takes a deep interest in the woman and not only teaches her how to read and write, but gives her a thorough knowledge of worldly things in general. Some time later, Harding receives a telegram demanding that he return to his home immediately, that his mother is critically ill. Broncho Billy's wife takes Harding to the railroad station in their buggy. Broncho gets wind of his wife driving away with Harding, and comes to the untimely conclusion that she is eloping with the artist. Harding is overtaken by Broncho Billy and a fierce struggle ensues.

Broncho Billy shoots an outlaw for making a disrespectful remark about his sweetheart. After the shooting he hastens to her home and tells her he has shot a man, but does not know who he is. Shortly after the remainder of the gang of outlaws arrive and, to learn the direction Broncho went, tell her it was her father who was shot.

Broncho Billy is a foreman on Roger Newman's ranch and is in love with his daughter, Mae. Newman finds this out, discharges Broncho Billy and sends Mae to visit her brother in the east. Broncho Billy kidnaps Mae from the stage coach and they marry, squatting on Newman's land.

A reward is offered for the capture of Broncho Billy and David Kirkland and freedom is promised to either one who will turn state's evidence.

Ethel Walker and Tom Phelps are engaged to marry, but father objects. Later, when the old gentleman finds his daughter writing a note to Tom, promising him to elope, he calls in blacksmiths and has them put bars on the windows and grating in the door.

Pioneer filmmaker J. Stuart Blackton was intrigued by the idea of a film about the history of the movies as early as 1915. He finally released a 52-minute feature called The Film Parade that was shown in New York and favorably reviewed by "Variety" in 1933. He continued tinkering with the film for the rest of the decade, and later filmmakers and distributors used Blackton's footage for stock or to produce their own variously titled and truncated versions. -UCLA Film & Television Archive

Old Clayton, a ranchman, has a pretty daughter, Sue, who is loved by Dan Morris, a worthless cattleman. Clayton tries to force Sue to marry Morris, but the girl indignantly refuses, tells Morris she doesn't love him and goes to meet her real sweetheart.

Tim Cantle, an evil-looking fellow, is drinking at a bar. The saloonkeeper's daughter enters, and Tim, slightly tipsy, tries to kiss her. She struggles to escape him. Broncho Billy enters and draws his gun. Tim flees. Tim gets his horse and rides away. As he approaches a house on a hill nearby, he sees Annie Fargo run out of her home, her father cursing her. Tim seizes and kisses her. She strikes him in the face and screams. Her father then comes out and drives Tim away. He sends Annie back into the house, following her with his gun. Tim swears vengeance.

Two wandering thespians, whose one lone trunk bears the legend "Schulz Brothers, in Vaudeville," are hitting the grit back to New York. They are sore and tired when they reach "Snakeville." They decide to stop overnight, and if fortune favors them to give a performance and gets enough money to ride back to Broadway. Thereat they bill the town and make ready for the performance at the Town Hall that evening. Their efforts to please the critical Snakeville audience are futile and before they have rendered their first selection the audience bowls them off the stage and all leave. Furthermore the management in the box office has decamped to the "Red Eye" saloon with all the proceeds of the performance and they are in as bad a fix as before.

After the train station clerk is assaulted and left bound and gagged, then the departing train and its passengers robbed, a posse goes in hot pursuit of the fleeing bandits.

Walking along with his bulldog, Charlie finds a "good luck" horseshoe just as he passes a training camp advertising for a boxing partner "who can take a beating." After watching others lose, Charlie puts the horseshoe in his glove and wins. The trainer prepares Charlie to fight the world champion. A gambler wants Charlie to throw the fight. He and the trainer's daughter fall in love.

Though only the second half survives, here's a synopsis of what's left: Stan is a Robin Hood-type character in a medieval walled town. He's chased by an army of knights, but both he and his pursuers ride music-hall half-horse costumes in lieu of real steads. He proceeds to fight, Fairbanks-like, dozens of swordsmen at once, and defeats his rival one-on-one, leaving him to marry the princess in a state ceremony.

Billy commits a robbery but a preacher inspires him to have a change of heart.

A rough criminal gets a second chance at life thanks to a kindly (and wealthy) lady saloon patron. But he hasn't gone straight yet, as he and a partner attempt to rob the home of a rich homeowner-- whose wife is asleep in the next room.