I like the storyline of this show,it attract me so much

Fantastic!

It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

In truth, there is barely enough story here to make a film.

THE DAWN RIDER is another of the many B-movie westerns that John Wayne made throughout the 1930s before he really hit the big time. This one's serviceable enough, not one of the best but quite watchable. The story is okay but the action sequences are lacking at times and it's never quite as exciting as it should be. Wayne's father is bumped off at the outset and he himself is badly wounded, and he ends up falling in love with the nurse tending to him. A love triangle develops and various plot twists ensue until the expected climax. It's not bad, watchable enough for undemanding fans.

This cheapie western starring a young John Wayne starts off with a rather silly confrontation between Wayne and a local tough who just embarrassed another guy moments before. Well that wimp wasn't John Wayne, who proceeds to trash talk the tough guy before cleaning his clock. After the fight the two men become friends. Anyway, that silliness aside, the plot of the movie is about Wayne seeking his father's killer. Turns out it's his girlfriend's brother. Cue dramatic music. Or, in many modern prints, cue the crappy music made on a $20 keyboard. This is made worse by the poor audio where you have to turn the volume up to hear the dialogue, only to have sound effects or that terrible music knock you off your seat.Judged on its merits, it's not one of the better early Wayne westerns. But it does have unintentional comic value and nice photography by Archie Stout. As with most of these low-budget oaters Wayne made, the stunts are the best part. In addition to his stunt work, Yakima Canutt plays the saloon owner. This was remade in 2012 with Christian Slater. I haven't seen that one yet but I can imagine the plot is the only similarity.

John Wayne embarked on a promising acting career with director Raoul Walsh's epic wagon train spectacle "The Big Trail" (1930), one of Fox Studio's biggest and most ambitious westerns which also pioneered the widescreen process. Unfortunately, both for Wayne and what later came to be called 'Cinemascope,' audiences flocked neither to see him nor this big-budgeted oater. Consequently, Wayne languished in B-westerns, Saturday matinée serials, and supporting parts for about a decade before director John Ford rescued him from obscurity with his groundbreaking horse opera "Stagecoach" (1939) co-starring Claire Trevor and Thomas Mitchell. This top-notch revenge western not only revived the Duke's career but also ushered in a new era of maturity for westerns. Meantime, until "Stagecoach," when Wayne wasn't toiling in cheap westerns, he played bit parts in bigger movies, such as "The Deceiver" where he played a corpse, as well as "His Private Secretary" and "Baby Face," biding his time until Ford found him. Wayne took second billing to Colonel Tim McCoy in three Columbia Pictures' sagebrushers "The Range Feud," "Texas Cyclone," and "Two-Fisted Law." During this same period, Wayne toplined three sprawling Mascot Pictures serials: "The Shadow of the Eagle," "The Hurricane Express, and a French Foreign Legion version of "The Three Musketeers." Warner Brothers contracted him for a string of modest westerns, including "Ride Him, Cowboy," "The Big Stampede," "Haunted Gold,""The Telegraph Trail," "Somewhere in Sonora," and "The Man from Monterey," but Jack Warner refused to renew his contract. At the same time, Wayne took small parts in non-western melodramas at Warners. The Duke moved on to Monogram Pictures. He starred in 16 westerns for Lone Star Productions. Compared to his westerns at Columbia and Warners, the Lone Star oaters were primitive, poverty row productions. "The Dawn Rider" appeared near the end of the Lone Star series. In fact, "The Dawn Rider" was his penultimate appearance for Lone Star Pictures and exemplified the kind of movies that he made for director Robert N. Bradbury. By this time, Wayne was displaying some of the swaggering, masculine charm that he parlayed later into a million dollar career courtesy of John Ford."The Dawn Rider" opens as Ben McClure (Reed Howes) and a town undertaker named Bates discuss the sheer lack of excitement in town. Bates shakes his head and observes morosely, "Oh, this town is too healthy. If something don't happen soon, I'll have to vamoose." Suddenly, they witness a scuffle between two cowpokes on the main street. McClure intervenes, brandishes his six-shooter, and forces the man who started the fight to dance in front of a crowd of folks by shooting at the fellow's feet. This bullet ballet was a western staple. McClure deliberately misses the man's boots by inches. The punished cowpoke collapses in a mud hole. John Mason (John Wayne) rides into town and helps this forlorn figure out of the mud hole. Afterward, Mason challenges McClure to a fight. They tangle briefly in a fist-flying brawl that concludes with them shaking hands. The same day Mason returns home, he watches in horror as his father, Dad Mason (Joseph De Grasse) is shot to death during an Express Company hold-up. All that Mason can make out of his father's murderer is a polka dot bandana. You see, the bad man shoots Dad through a broken window. Afterward, Mason pursues the villains on horseback and blows a couple of the dastards out of their saddles with his well-aimed shots. The villains wound Mason during the fracas. Ironically, it turns out that the chief villain's sister, Alice Gordon (Marion Burns), nurses our hero back to health. Meanwhile, the chief villain, Rudd Gordon (Dennis Moore), pits our ten-gallon hero against his best friend, McClure, and tells McClure that Mason is stepping out with his girlfriend. Of course, Ben is jealous and takes all the bullets out of his gun before he realizes that Rudd has tricked him.This dusty, bare-bones horse opera features a couple of fistfights and gunfights. The scenery is as rugged as the heroes are virtuous, and the villains are nefarious. Stuntman Yakima Canutt plays an evil barkeeper who urges Rudd to kill Mason. Later, Wayne and Canutt battle it out. Watch the ring that Ben gets for Alice because it is a major plot point. Christian Slater stars in the 2012 remake that beefs up the plot considerably but sticks to the basics. The villains in the remake wear flour sacks for disguises, and Slater hero is haunted by his past in a Mexican prison. The John Wayne hero is unbesmirched by comparison. He doesn't have a U.S. Marshal (Donald Sutherland) riding after him with an arrest warrant. The remake includes the plot point about Ben's stolen ring, but the ranch that Rudd and Alice own is endanger of being repossessed. Some of the flavorful dialogue in the original screenplay credited to Robert N. Bradbury and Wellyn Totman, based on a story by Lloyd Nosler is quite good. Bradbury derives some amusing comic relief from the town's sole undertaker. None of this humor makes it into the remake that uses the F-word about ten times and contains more graphic gunfights. No, Christian Slater is no John Wayne, but the remake surpasses "The Dawn Rider."

Oh my gosh...listen to the little exchange that occurs about four minutes into the film. It is, possibly, the worst exchange of dialog I have ever heard--it was so dumb that even Ed Wood wold wince!! As Wayne and another dude try to one-up each other, I just couldn't help but think sooner or later one of them would say "I know you are, but what am I?!" or "I'm a rock and you're glue--what you say bounces off me and sticks to you!"--or some other ridiculously childish nonsense. Yes, it was truly that bad. Here's a real example: "...I'm gonna cloud up and rain all over you." "Yeah, you and whose army." Eventually, the two thespians decide to just bash each other's brains out--and thus begins this western masterpiece!! Believe it or not, these two geniuses buy each other drinks just minutes later! They don't write 'em like the used to (thank God).Soon after this, Wayne and his new bestest buddy go to see Wayne's father--a local rancher. In an interesting coincidence, they walk in just as Dad is being robbed...and killed. Now considering that Wayne had been away from home for years, it was a might peculiar that he would return home to witness this murder! Again, the writers were having an off day here! The rest of the film consists of Wayne trying to catch and punish the baddies responsible for this crime (I am talking about the murder, not the writing of this script!).This is perhaps one of the poorest of John Wayne's films. The writing is just dreadful at times, though the rest of the time it is pretty average (when it isn't sucking). My advice is to try some of his other Bs first--this one is clearly a letdown.By the way, is it just me or is there perhaps a bit of a gay subtext going on between Wayne and his new friend Ben?! After all, as Wayne and his lady friend are talking, she is thinking about a wedding ring...and Wayne is just thinking about Ben. This and a few other scenes (such as the apparent 'lovers quarrel' they have late in the film) do make you wonder!