The Kid from Amarillo (1951)

56 mins | Western | October 1951

Director:

Ray Nazarro

Writer:

Barry Shipman

Producer:

Colbert Clark

Cinematographer:

Fayte Browne

Editor:

Paul Borofsky

Production Designer:

Charles Clague

Production Company:

Columbia Pictures Corp.
Full page view
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
20 Oct 1951.
---
Daily Variety
10 Oct 51
p. 3.
Film Daily
17 Oct 51
p. 6.
Hollywood Reporter
18 May 1951
p. 14.
Hollywood Reporter
10 Oct 51
p. 3.
Motion Picture Herald Product Digest
27 Oct 51
p. 1075.
Variety
10 Oct 51
p. 6.
DETAILS
Series:
Release Date:
October 1951
Production Date:
17 May--25 May 1951
Copyright Claimant:
Columbia Pictures Corp.
Copyright Date:
8 October 1951
Copyright Number:
LP1205
Physical Properties:
Sound
Black and White
Duration(in mins):
56
Length(in reels):
6
Country:
United States
Language:
English
PCA No:
15381
Passed by NBR:
No
SYNOPSIS

In 1890 Texas, Treasury Agent Steve Ransom, alias The Durango Kid, is assigned to break the silver smuggling ring of the notorious Jonathan Cole. Fellow agent Tom Mallory infiltrates Cole’s gang, posing as a former pugilist, The Kid from Amarillo. With Mallory’s inside help, Steve learns that Cole runs a large penal colony just north of the Mexican border, were the prisoners build roads. Frustrated by his inability to gather tangible evidence of Cole’s smuggling operation, Steve is puzzled to find out that the prisoners wear chains on their way to work, but never on their return. Despite Steve’s warning, well-meaning but blundering fellow agent Smiley Burnette also investigates Cole, but is eventually found out by the gang. Upon discovering Mallory’s real identity, Cole holds both Smiley and Mallory prisoner in his Mexican camp. There the agents witness silver being melted into ingots that are made into the chains used by Cole’s prisoners. In the guise of The Durango Kid, Steve intercepts a wagon bringing the chains across the border and forces Cole’s man to lead him back to the Mexican hideout, where he frees Smiley and Mallory. With the assistance of the local Mexican authorities, The Durango Kid, Smiley and Mallory round up all of the smugglers. Steve then goes on to Cole’s ranch, where he finds the gang leader melting down silver chains, which he intends to ship northward in sacks of feed. Steve arrests Cole and the remainder of the men, bringing an end to the smuggling ... +


In 1890 Texas, Treasury Agent Steve Ransom, alias The Durango Kid, is assigned to break the silver smuggling ring of the notorious Jonathan Cole. Fellow agent Tom Mallory infiltrates Cole’s gang, posing as a former pugilist, The Kid from Amarillo. With Mallory’s inside help, Steve learns that Cole runs a large penal colony just north of the Mexican border, were the prisoners build roads. Frustrated by his inability to gather tangible evidence of Cole’s smuggling operation, Steve is puzzled to find out that the prisoners wear chains on their way to work, but never on their return. Despite Steve’s warning, well-meaning but blundering fellow agent Smiley Burnette also investigates Cole, but is eventually found out by the gang. Upon discovering Mallory’s real identity, Cole holds both Smiley and Mallory prisoner in his Mexican camp. There the agents witness silver being melted into ingots that are made into the chains used by Cole’s prisoners. In the guise of The Durango Kid, Steve intercepts a wagon bringing the chains across the border and forces Cole’s man to lead him back to the Mexican hideout, where he frees Smiley and Mallory. With the assistance of the local Mexican authorities, The Durango Kid, Smiley and Mallory round up all of the smugglers. Steve then goes on to Cole’s ranch, where he finds the gang leader melting down silver chains, which he intends to ship northward in sacks of feed. Steve arrests Cole and the remainder of the men, bringing an end to the smuggling ring. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.