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

Absolutely brilliant

One of the worst ways to make a cult movie is to set out to make a cult movie.

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

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.

. . . The Wayne Warp (not to be confused with the similar Oedipus Complex, in which you kill your father and marry your mom). In the Straight Version of The Wayne Warp, SOMEONE ELSE kills your dad, and then you marry HIS sister. So when Rudd guns down John-John's (that is, John once again playing a "John") Pops, John just HAS to marry Rudd's sister Alice, even though John's friend and coworker Ben buys Alice an engagement ring a few minutes into THE DAWN RIDER. Of course, The Wayne Warp begs the question, "What if a guy whose siblings are all brothers offs Daddy, or what if Votre Noster is gunned down by an only child?" Psychiatry gives us the answer that such events would provide perfect opportunities to unleash all the latent subtexts that are woven through Wayne's work like a Gay Crazy Quilt. Americans have responded to The Wayne Warp much better than the Oedipus Complex, since the former usually involves characters exercising the Second Amendment (as in THE DAWN RIDER), while the latter involves incest, which is beyond the Sex Education Level of U.S. Red Staters (and perhaps too close to home for many of them).

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."

The Dawn Rider has all the right elements for a great movie: a love triangle, loyalties between friends and relatives, revenge, right versus wrong, and a strong-willed hero. Packaged into an hour long cowboy package, everything was right for a great movie. As with nearly all B westerns the time and money required to make a great movie were not there.As John Mason, Wayne never loses focus in his pursuit of his father's killer. At the same time he is oblivious to the yearnings of his best friend's girl, Alice Gordon. Alice is unaware of her brother's criminal doings. Ben McClure is suspicious of Mason when he is around Alice. Rudd Gordon needs to stop Mason before being revealed as a murderer. All the while Yakima Canutt oversees everything as the evil saloon owner.While the story is very straight forward with no plot twists, every scene works toward the climax. While it may have been the intention of Robert Bradbury to do this, too often a cheap western got bogged down with mindless action scenes. The Dawn Rider holds up very well as a movie that clearly tells its story and gets to the point without losing the viewer.John Wayne was a strong figure on screen by 1935. His trademark swagger and delivery was still in the making, but he was genuinely the John Wayne of legend by that time. It took another four or five years for Hollywood to notice, though.