THE RETURN OF WILDFIRE. Lippert, 1948.  Richard Arlen, Patricia Morison, Mary Beth Hughes, James Millican, Reed Hadley, Chris Pin-Martin, Stanley Andrews and Mike Ragan. Written by Betty Burbridge and Carl K Hittleman. Directed by Ray Taylor and Paul Landres.

   Whence the title? Return of Wildfire isn’t a sequel, and the eponymous stallion never actually leaves anyplace, so the issue of returning doesn’t arise here. Well never mind, it’s a bit draggy at times, but well played, and with a terrific finish.

   The story opens on a ranch owned by Stanley Andrews, the widowed father requisite in B-Westerns, with two daughters (Mary Beth Hughes and the lovely Patricia Morison.) Andrews raises horses, and suffers from the depredations of outlaw horse Wildfire, who keeps running off with his stock. But his real problem is with dress-heavy Reed Hadley, who aims to corner the market and will stop at little or nothing to get his hands on Andrews’ herd.

   About this time driftin’ cowpoke Richard Arlen blows in, helps out Ms Hughes, who has been injured hunting Wildfire, and is promptly hired on. He also takes a yen for Ms Morison, which leads to some very tiresome complications with Hughes, but before things can get too bogged down, Hadley makes his play and things liven up.

   Andrews gets murdered by his own foreman (James Millican, in a well-judged role as a vacillating bad guy) Hadley jumps in and scarfs up the horses in a dirty business deal, and when Arlen whips up replacements from Wildfire’s herd, Hadley just plain steals them, too.

   Up to this point, The Return of Wildfire has run on the tepid side, but from here on out, it’s non-stop action, with a running gun battle across the Sierra Peloma Mountains, capped with an exhausting fistfight that recalls similar moments in Winchester 73 and The Naked Spur. And I have to say directors Taylor and Landres do it just as well as Anthony Mann could have. Quite a surprise coming from producer Lippert, and one that makes for fine viewing.

   I said The Return of Wildfire was well played, and it is. Besides Millican’s wavering, we get Arlen’s type-cast toughness, and Reed Hadley’s sepulchral villain. And best of all, there’s Patricia Morison, who makes any film she’s in a delight to watch.