“The idea of those classic silent-screen faces winding up in ‘B' westerns of the Thirties is almost akin to having Rembrandt climax his career by drawing a ‘Dick Tracy' comic-strip--but the westerns are enjoyable, and do seem to have been tailored to use, if not to actually exploit, their magnetic feminine stars.” --W.K.E.
Empty Saddles
“The first and better of the two westerns with which Brooks closed her career, Empty Saddles seems almost like an extension of her work with Pabst. The film opens with an encounter with a ghost, and from that point on none of the plot is ever really explained. Brooks makes the heroine far more than the usual passive two-dimensional character, and there is a charming and seemingly spontaneous quality to her comic and romantic sparring with Jones.” --W.K. Everson