It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

Blistering performances.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

The film never slows down or bores, plunging from one harrowing sequence to the next.

United Artists, 12 March 1943, George Archainbaud. Based on the 1941 novel, Hopalong Cassidy Serves a Writ, by Clarence Edward Mulford.CAST: William Boyd, Andy Clyde, Jay Kirby, Victor Jory, George Reeves, Jan Christy, Hal Taliaferro, Forbes Murray, Bob Mitchum, Byron Foulger, Earle Hodgins, Roy Barcroft, Ben Corbett. 67 minutes. (Available on an excellent Echo Bridge or a likewise Platinum Disc DVD). COMMENT: Number 44 (or 46, depending upon whose numbering system you're using - Zinman's or Marill's) -- in the series, is the first to be directed by George Archainbaud who handled all twelve of Boyd's personal productions (numbers 55 through 66). Good old George A. certainly commences his stint most promisingly. There's a first-class fight between Hoppy and the villain and other sequences of excitingly staged action. True, the climax itself is a bit disappointing, but that can't be blamed on the director. It's simply the way Gerald Geraghty's script (based on an actual Mulford novel for a change) pans out. On the other hand, this makes the movie a bit different from others in the series where all the action is saved for the final reel. To accommodate dark stock footage, Russell Harlan's photography is slightly below his usual brilliant standard. Of course, what most people will want to know is how Robert Mitchum comes out of this affair. Bob plays a member of the cattle rustling gang. He figures in a few scenes and even has one or two lines, but then unaccountably disappears. We don't see him at the climax at all. According to Marill, the correct order of the Mitchum Hoppies is Border Patrol, this one, The Leather Burners, Colt Comrades, Bar 20, False Colors, and Riders of the Deadline.

This traditional "Hoppy" adventure was never meant to be any kind of classic, but mainly functions as Saturday Matinée fare, a pitting of the good guys against the bad guys with plenty of horse chases and gun-play to keep the kids in their seats and wanting to come back for more. Having grown up in the 1940's, I watch the old Westerns today for reasons other than a gripping plot about which the outcome is clearly foretold. The photography in this one, for example, is exceptional, with cinematographer Russell Harlan going beyond the usual camera set-ups to capture the beauty of location shooting in Lone Pine, California-- the desert-like conditions shot against mountain vistas, the beauty of rustling sycamores framing the action, and exceptional long shots giving us such keen perspectives as robbing of the Well's Fargo Stage from several angles (Harlan, incidentally, went on to film the indelible images of To Kill A Mockingbird). FYI, an unsolicited commercial: Platinum Productions (though Echo Bridge) has released the Cassidy adventures in multiples for very little money, and the transfers are remarkable!Another incidental pleasure of Hoppy Serves A Writ is Hoppy himself, of course, a cool character who always seems a little above the chaos around him: William Boyd, a leading man from the 1930's found his niche in these Westerns--and we don't have to listen to him sing! Frequently pointed out is Robert Mitchum's first major appearance in a film: a performance at the edge of narcolepsy, but Mitchum actually saddles up a few times and rides; future Superman George Reeves has a meatier role as a dude with attitude, attempting to romance the sole female on the film, but losing her to Hoppy's cute, mild-mannered assistant. And for those with an eye for familiar character actors, the laconic Byron Foulger serves as a shopkeeper; Victor Jory, so often a villain in both Westerns and crime films, sports a nasty scar on his cheek that marks him as the one to hiss. In all, this is 64 minutes of matinée fun, perfect for a Saturday afternoon with a bowl of popcorn and all your memories of time well spent with your Hollywood pals.

Nothing special in this Hoppy movie other than William Boyd's winning personality. He shines in all the Hoppy series. I enjoyed his warm, chuckling condescension to most everyone in the movie -- his enemies, his sidekicks, et. al. One good example is when he arrives incognito as a gentleman gambler at a saloon looking for the bad guys. Hoppy sits in at a poker game, taking the favorite (empty) chair of the main bad guy (Victor Jory). Jory walks over later, angry, and tells Hoppy, "Didn't anyone tell you that is my chair?" Hoppy replies, "Yeah, but I am not particular." That cracked me up.The plot and the actors were nothing special. It was Robert Mitchum's first film roll, a small part. Nothing was asked of him, and he didn't do anything at all special in the roll, sleepy looking as usual, as though they didn't pay him enough. I did like George Reeves' (TV's Superman) acting.One neat plot ploy was when Reeves was captured by Hoppy and Co., but refused to tell where in the cabin the money was hidden. But Hoppy kept his eye on Reeves as Hoppy's sidekick moved about the room looking for the money. When he got close, Hoppy knew where the money was based on Reeves' flinching reaction! One laughably silly scene was at the end when Hoppy threw his rope to lasso three retreating bad guys together at the same time! Yes, all three squeezed together inside the loop of the rope!

The 26 year old Robert Mitchum made his screen debut in this film. I'm not too sure how good an actor he really is because he always seems to sound the same. The true test is when you compare him acting as an antagonist as opposed to a protagonist. He's a better protagonist because he's the consistent broad shouldered, tall American.