Son of Paleface (1952)

A generation after The Pale Face (1948), 'Painless' Potter Jr. (Bob Hope,) an orphaned Harvard graduate drives his jalopy West to collect his inheritance only to find Potter Sr. left him an empty chest and a townful of depts.

Once again, a government agent (Roy Rogers this time) is investigating; though now it’s a series of highway robberies, with Hope present simply to get in his way.

I haven’t really watched any Roy Rogers films, but I assume his the Galahad persona he presents here (he never drinks, and he is mysteriously more interested in horses than in women, despite serenading one,) is a constant through his career.

A character who might have become a romantic rival, ends leaving Hope the girl (Jane Russell, as a character unrelated to her previous one) all to himself.

The surreal humor is brought up a couple of notches with gags, hallucinations (the cartoonish effects of a ridiculously large cocktail; an ice-skating scene in the desert; buzzards that turn into penguins or reappear wearing a bib and a fork; a bullet thru a painting that squirts water, a much-too-flexible nose, impossible physics, etc.) and lastly, the appearance of a ghost and a shapely female demon.

The horse in bed gag already used by Harpo Marx is repeated here, but with no bestiality/romance intent as Hope is Rogers' and Trigger’s captive with no say in his bedding accommodations. It’s a very funny scene, but also very odd.

That crazy gags reminded me a bit of The Road to Morocco (1942, there’s even a non-sequitur Crosby cameo,) and I think enjoyed this one more than The Paleface despite my nostalgic love for it.

While the first movie is a simple Western Comedy, this one easily crosses the line full on into Psychotronic Film territory.

I’m surprised Michael Wheldon never mentions it in his book.

The problematic ethnic portrayal here (with the Indians hoping to avenge the previous chapter’s murders) is not nearly as insensitive as before; but in this sequel, we get some of those controversial stunts involving horses.

I can’t swear animals were not harmed.

Written and directed by Frank Tashlin; with Trigger, Bill Williams, Lloyd Corrigan, Iron Eyes Cody, and a cameo by Cecil B. DeMille.

Reprising the song Buttons and Bows, but taking advantage of Roy Rogers' presence also features lots others, making this a genuine musical as well.