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More Deaths and Burials of the Old West’s Most Nefarious Outlaws, Notorious Women, and Celebrated Lawmen

James Beckwourth was one of the most legendary mountain men of the early 1800s. He was the son of a Maryland Irishman and a slave girl, and he was born in Virginia in 1798. When he was very young, his family moved to St. Charles, Missouri. James worked as an apprentice to a blacksmith until the age of nineteen, when he left the anvil and the forge to sign on as a trapper with the Missouri Fur Company, then challenging Hudson Bay trappers working the rich beaver streams beyond the crest of the Rockies.

In 1824, Beckwourth joined William H. Ashley and Andrew Henry on a fur-trapping expedition in the Rocky Mountains; he was one of the first trappers to go into the new country. During various expeditions, he participated in skirmishes with the Blackfeet and other Indians. He became skilled in the use of the bowie knife, tomahawk, and gun.

In 1828, he was adopted into the Crow Indian tribe. He packed his traps and buckskin shirts on his horses and moved to the headwaters of the Powder Rivers and into a new life among the ancient people. He proved himself quickly among his adopted people and rose to the position of war chief. His skill as part of a raiding party to steal Comanche horses was masterful. His prowess and bravery in battle against the hated Blackfoot Indians earned him the name Bloody Arm.

James Beckwourth helped make the Crow a more powerful nation. No more would they give away a tanned buffalo hide for a pint of trade whiskey. Bloody Arm knew the value of hides and the wiles of the whites. He knew the worth of powder and ball and traps and horses and finery for Crow women.

When a fur company opened a trading post among the feared Blackfeet, Beckwourth got the same company to make him its agent among the Crow to see that his adopted people were treated fairly in the trade of pelts for guns. When the beaver trade began fading, Beckwourth went to the Southwest and joined with another ex–mountain man to lead a war party of Utes to raid Spanish ranches in Southern California. They headed east with three thousand head of California horses.

He spent a while in Taos, moved onto Colorado to become a contract hunter supplying meat in places like Bent’s Fort, and then became a trader among Indians. Showing up again in Southern California, he raised a company of Yanquix to fight Governor Micheltorena of Mexico in a quickie revolution.

By the time of the California Gold Rush and the westward movement of hundreds of wagon trains over the worst passes of the Sierra, James, then in his fifties, led a wagon train over a sizable mountain pass that was to be named after him. He still had years of adventure before him. He scouted for the Third Colorado Cavalry tracking Black Kettle to Sand Creek and turned away in disgust at the massacre.

At the age of sixty-eight, Beckwourth embarked on another venture, this one in a bid for peace. The Oglala Sioux were pressing the Crow to join against the whites. The US Army sent for Beckwourth to advise his adopted tribe. He thwarted the alliance.

Mystery surrounds James Beckwourth’s death in Colorado in 1866 in a Crow village. Some historians note he was poisoned by a Crow warrior who caught him cavorting with his wife. The most reliable account of his passing reports that he was poisoned by order of the Crow’s tribal council because he would not accept their offer to go on the warpath with them again. If they could not keep him as a chief, they decided to have the honor of burying him in their burial ground near Laramie, Wyoming. Beckwourth was seventy-eight when he died.

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Notorious Women, and Celebrated Lawmen

A frigid wind blew hard past the weather-beaten exterior of the Palace Garden Theatre in Dawson City, Alaska. It was the spring of 1900, and gleeful patrons were tucked warmly inside, waiting for the “Flame of the Yukon” to take the stage.

A fiery, red-headed beauty glided out before the crowd, her violet eyes smiling. The men went wild with applause. The music began, and the entertainer swayed with the beat, placing a gloved hand to her breast and a fingertip to her lips and then, stretching her arm out, beckoning her admirers. The elaborate red-sequin dress she was wearing was form-fitting, and the long black cape that draped over her shoulders clung to her alabaster skin.

The piano player accelerated his playing, and Kate gyrated gracefully in and out of the shadow of the colored lights that flickered across the stage. After a moment, with a slight movement of her hand, she dropped the cape off her shoulders and it fell to the floor. The glittering diamonds and rhinestones around her neck sparkled and shined. Ever so seductively, she picked up a nearby cane adorned with more than 200 yards of red chiffon and began leaping, while twirling the fabric-covered walking stick. Around and around she fluttered, the chiffon trailing wildly about her like flames from a fire, the material finally settling over her outstretched body. The audience erupted in a thunderous ovation. She was showered with nuggets and pouches filled with gold dust. This dance would make her famous.

Kathleen Eloisa Rockwell came to the Klondike in April 1900. She attracted a following wherever she performed across Alaska. Kate was born in Junction City, Kansas, on October 4, 1876, to parents of Scottish-Irish descent. Her love for music and dancing began when she was a toddler. The piano and scratchy gramophone had an intoxicating effect on her. Her wealthy stepfather provided the gifted child with the education she needed to hone her natural talents. She was trained in French, voice and instrumental music at the Osage Mission in Kansas.
Kate’s parents eventually moved to Spokane, Washington, leaving their daughter behind to complete her studies. She visited her family during the summer months, when Spokane was abuzz with entertainment opportunities. Inspired by performances by traveling troupes of vaudevillians who sang and danced their way across the Northwest, she dreamed about joining the troubadours and of someday being a New York stage actress.

Kate moved to New York with her parents in the late 1800s and found work as a chorus girl in one of the city’s many theatres. She enjoyed her time on the stage and quickly became addicted to the nightlife of the big city. In time, Kate took her act on the road. She traveled across the Great Plains states, working her way back and forth across the country. She stood out among the other singers and dancers by always holding her head up high and smiling proudly for the appreciative audiences.

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Notorious Women, and Celebrated Lawmen

When Victoria Claflin Woodhull died on June 9, 1927, news of her passing was announced on two continents. The press referred to the controversial writer, stockbroker, and politician as a “most immoral woman.” Not only was Victoria the first woman to be officially nominated for president of the United States, but she was also one of the first individuals to have been jailed on federal obscenity charges. Both events occurred in 1872.

Before her involvement with the women’s rights movement in the mid-1860s, Victoria and her sister, Tennessee, were the owners and publishers of a newspaper called the Woodhull and Claflin Weekly. They printed scandalous articles promoting the idea of “free love.” In a letter Victoria sent to the New York Times in 1871, she claimed that free love was the “only cure for immorality, the deep damnation by which men corrupt and disfigure God’s most holy institution of sexual relations.” She continued, “It is not marriage but sexual intercourse, then, that is God’s most holy institution.” Victoria and Tennessee’s progressive views on sex and the brazen printing of those ideals appalled citizens not only in the United States but also in other countries like Germany and Russia, as well. They “threaten to destroy the morals nations so desperately needed to cling to,” was the opinion voiced in the New York Times on November 23, 1871.

Victoria and Tennessee were not strangers to confrontation with the law. Their father, Reuben Buckman “Buck” Claflin, was a scoundrel who excelled at breaking the rules of conventional society and spent time behind bars for his actions. Buck and his wife, Roxanna Hummel, lived in a rundown house in Homer, Ohio. The couple had ten children. Born on September 23, 1838, Victoria was the Claflins’ sixth child. Although Victoria’s father claimed to be a lawyer with his own profitable practice, he was actually a skilled thief with no law degree at all. He owned and operated a gristmill and also worked as a postmaster. Buck supplemented his income by stealing from merchants and business owners, and he was a counterfeiter and a suspected arsonist.

Victoria’s mother was a religious fanatic who dismissed Buck’s illegal activities in favor of chastising her neighbors for what she claimed was hedonism. Her public prayers were loud, judgmental, and dramatic. She preached to her children and insisted they memorize long passages of the Old Testament. By the time Victoria was eight, she was able to recite the Bible from cover to cover. Reflecting on her life, Victoria wrote in Autobiography of Victoria Claflin that her mother’s spiritual zeal so influenced her childhood that young Victoria believed she could see into the future and predict what was to come of those whom sought her out to preach.

Tennessee was reported to be the true clairvoyant of the family. Born in 1845, she was the last child born to Roxanna and Buck. Roxanna claimed Tennessee had the power to perceive things not present to the senses. She would slip into trances and speak with spirits, answering voices no one else could hear.

Victoria and Tennessee had very little formal education. Although Victoria attended school for only four years, she was bright, precocious, and well read. She was uninhibited and at the age of eleven delivered sermons from a busy location in Homer, Ohio.

In 1849, the Claflins left Homer and moved to Mount Gilead, Ohio. Victoria’s father had abandoned gristmill work and decided to venture into the field of psychic phenomena with his daughters in tow. He introduced Victoria and Tennessee to the public and announced the girls’ talent for “second sight” or “extrasensory perception, the ability to receive information in the form of a vision by channeling spirits.” Buck rented a theater and charged patrons seventy-five cents to watch the four-year-old and eleven-year-old communicate with deceased Claflin family members and predict the future. One such specific prediction was that one day a woman would be president of the United States.

Victoria and Tennessee’s shows, in which they would conduct séances and interpret dreams for audience members, attracted a large following, and in a short time the two young girls became the sole source of income for their family.

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The memory of Ellen Clark Sargent’s arrival in Nevada City, California, stayed with her all her life. Long after she had left the Gold Country, she recalled: “It was on the evening of October 23, 1852 that I arrived in Nevada [City], accompanied by my husband. We had traveled by stage since the morning from Sacramento. Our road for the last eight or ten miles was through a forest of trees, mostly pines. The glory of the full moon was shining upon the beautiful hills and trees and everything seemed so quiet and restful that it made a deep impression on me, sentimental if not poetical, never to be forgotten.”

In the newly formed state of California, shaped by men and women who had endured unbelievable hardships to cross the plains, Ellen saw an opportunity to gain something she passionately wanted: the right to vote. Despite defeat after defeat, she never gave up.

Ellen Clark fell in love with Aaron Augustus Sargent, a journalist and aspiring politician, in Newburyport, Massachusetts, when they were in their teens. Both taught Sunday school in the Methodist Church. Upon their engagement, Aaron promised to devote his life to being a good husband and making their life a happy one. But several years passed before he had a chance to make good on that promise.

In 1847, Aaron left Ellen in Newburyport to go to Philadelphia, where he worked as a printer. His interest in politics intensified with the new friends he made. Aaron, an ardent opponent of slavery, closely followed arguments of free-soilers and antislavery forces.

He worked as a print compositor and as a newspaper writer. However, the trade paid poorly. With word of the gold strike in California, Aaron borrowed $125 from his uncle and sailed from Baltimore on February 3, 1849, leaving Ellen with a promise to return and make her his wife.

Aaron arrived in the gold camp called Nevada in the spring of 1849 and was moderately successful in his search for gold. He then became a partner with several others in the Nevada Journal newspaper. But with a promise to keep, Aaron obtained the help of a friend and built a small frame house near the corner of Broad and Bennett Streets, right in the center of town. In January 1852, he returned to Newburyport to claim his bride. Aaron and Ellen were married on March 15 and returned to Nevada City in October of that year.

Ellen Sargent had no notion of the home she would find, but she was agreeably surprised. She later wrote an account of her arrival in Nevada City: “My good husband had before my arrival provided for me a one-story house of four rooms including a good-sized pantry where he had already stored a bag of flour, a couple of pumpkins and various other edibles ready for use, so that I was reminded by them a part of the prayer of the minister who had married us, seven months before, in faraway Massachusetts. He prayed that we might be blessed in basket and in store. It looked like we should be.”

Ellen set up housekeeping in a town where the cost of everything was astonishing. Eggs sold for three dollars a dozen, chickens for five dollars apiece.

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More Tales Behind the Tombstones tells the stories behind the deaths (or supposed deaths) and burials of even more of the Old West’s most nefarious outlaws, notorious women, and celebrated lawmen. Readers will learn the stories behind these legendary characters and visit the sites of tombs long forgotten while legends have lived on.

Read about the lives (and deaths) of fearless, famous lawmen such as Bass Reeves, Chalk Beeson, Bill Tilghman, and Pat Garrett; learn about the dauntless women who blazed new paths for their sex in medicine, journalism, entertainment, and voting rights; and discover the intriguing facts and myths that continue to circulate about these and other infamous characters long after their grave markers have become worn down or simply lost to time.

In the end, all you get is a few words.

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Cowboys, Creatures and Classics:  The Story of Republic Pictures.

The most influential woman at Republic Pictures from the early 1940s to the studio’s demise in the early 1960s, was Vera Hruba.  Born in Prague, Czechoslovakia, on July 12, 1919, the blonde beauty caught Republic Picture’s president Herbert Yates’ attention in 1939 when she toured the United States with an ice-skating show called Ice Vanities.

Vera was an exceptional ice skater, having placed 17^th in the 1936 Olympics behind figure skater Sonja Henie.  Yates was captivated with Vera’s talent and looks and believed she could be as successful as Ms. Henie who was one of the leading stars at 20^th Century Fox.  He cast Vera, and the entire company of the Ice Vanities, in a musical film entitled The Ice Capades.  Critics called the picture “sheer enchantment on ice.”  Vera was mentioned along with five other skaters as “spectacular”.  Yates couldn’t have agreed more and in 1943 signed her to a long-term contract with the studio and added Ralston to her name.  He added Ralston, a name borrowed from the cereal, because Hruba was difficult for moviegoers to pronounce.

The first movie Vera Hruba Ralston appeared as a star, minus the skates, was Republic Pictures’ 1941 horror film The Lady and the Monster.  Her costars were Erich von Stroheim and Richard Arlen.  Billed as “a picture from out of this world” the plot involves a millionaire whose brain is preserved after his death, and telepathically begins to take control of those around him.  Von Stroheim portrays the diabolical Dr. Mueller who retrieves the brain of a financial genius who crashed to his death in an airplane mishap near the laboratory.  The doctor carries out a fiendish plot to put the super brain to work for him.  Richard Arlen plays the doctor’s assistant who falls in love with the doctor’s ward, Vera Ralston.  The film reviewer for the Havre Daily News referred to Ralston’s debut as a dramatic actress as “the find of the season.”

Most did not agree with the critics who found the foreign ingénue to be a promising star.  Many complained that her performance was wooden and that her accent was too thick.  Yates ignored every voice but his own and quickly reteamed von Stroheim and Arlen with his discovery in another feature entitled Storm Over Lisbon.  In this spy thriller Ralston played an allied operative in Lisbon and Arlen an American newspaper man who she helps get out of Portugal with important information.  Audiences found Ralston attractive, but struggled to understand what she was saying.

Yates hired acting instructors and speech coaches for Ralston.  While her English and her acting soon improved she could not lose her strong Czech accent.  Yates felt that ticket buyers would eventually see how compelling the stunning blonde’s talent truly was and learn to embrace her way of talking in much the same way they did Marlene Dietrich.  In order to help Ralston, gain a broader acceptance he paired her with an actor that had mass appeal – John Wayne.

To learn more about Vera Ralston and the films she made for Republic Pictures read Cowboys, Creatures and Classics.

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Cowboys, Creatures and Cowboys:  The Story of Republic Pictures

Dale Evans was one of Republic Pictures most popular western stars.  The unlikely celluloid cowgirl, western star starred in tandem with singing cowboy Roy Rogers in most of her thirty-eight films and two television series.  The undisputed Queen of the West was born Frances Octavia Smith on October 31, 1912, Uvalde, Texas.  In her words, her upbringing was “idyllic.”  As the only daughter of Walter and Betty Sue Smith, she was showered with attention and her musical talents were encouraged with piano and dance lessons.

While still in high school, she married Thomas Fox and had a son, Thomas Jr.  The marriage, however, was short-lived.  After securing a divorce, she attended a business school in Memphis and worked as a secretary before making her singing debut at a local radio station.  In 1931 she changed her name to Dale Evans.

By the mid-1930s, Dale was highly sought-after big-band singer performing with orchestras throughout the Midwest.  Her stage persona and singing voice earned her a screen test for the 1942 movie Holiday Inn.  She didn’t get the part, but she ended up singing with the nationally broadcast radio program the Chase and Sanborn Hour and soon after signed a contract with Republic Studios.  She hoped her work in motion pictures would lead to a run on Broadway doing musicals.

In August 1943, two weeks after signing a one-year contract with Republic Studios, Dale began rehearsals for the film Swing Your Partner.  Although her role in the picture was small, studio executives considered it a promising start.  Over the next year Dale filmed nine other movies for Republic, and in between she continued to record music.

When she wasn’t working, Dale spent time with her son, Tom, and her second husband, orchestra director Robert Butts.  Her marriage was struggling under the weight of their demanding work schedules, but neither spouse was willing to compromise.

“I was torn between my desire to be a good housekeeper, wife, and mother and my consuming ambition as an entertainer,” Dale told the Los Angeles Daily News in 1970.  “It was like trying to ride two horses at once, and I couldn’t seem to control either one of them.”

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Cowboys, Creatures and Classics:  The Story of Republic Pictures.

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Cowboys, Creatures and Classics:  The Story of Republic Pictures

In many of the films actress Anne Jeffreys made for Republic Pictures she played a damsel in perilous situations.  Neither the studio nor the performer could imagine how much those movies would affect the lives of young, ticket buyers.  A letter from a fan written to the motion picture studio in the summer of 1945 expressed what many males were thinking about the talented Ms. Jeffreys.

“The first time I saw her [Anne Jeffreys] in a movie her lovely image was secured permanently,” the admirer wrote.  “She was not only staggeringly beautiful, but kind and warm, and understanding.  If she only knew how many times I’ve swept her off a teetering bridge just before it collapsed; how many hoodlums I flattened with my powerful fists as they tried to force you, kicking and screaming, into their black limousine or into a stagecoach, for God knows what evil purpose; how many times, as you cradled my head in your arms (after I just saved your life AGAIN) and tearfully asked ‘Are you all right?’  I’ve replied:  ‘It’s nothing, just a bullet wound in the chest.’

Born Anne Carmichael on January 26, 1926, in Goldsboro, North Carolina, Anne was one of Republic Pictures most versatile leading ladies.  She played everything from a mobster’s girlfriend to a singing cowgirl.  As a child she displayed outstanding musical talent.  Her first professional appearance was on a radio program of mixed songs at Durhum, when she was ten.  Anne’s mother was encouraged to take her daughter to New York to audition for various theatre companies.  There she sang before a number of vocal celebrities; all agreed Anne was an operatic find and offered to finance her further musical education.  Anne preferred however, to pay her own way by becoming a John Powers model.

The young North Carolina girl studied her music diligently, ultimately winning a scholarship with the Municipal Opera Association.

The Metropolitan, goal of all opera singers, seemed just around the corner when Mrs. Jeffreys decided her hardworking child had earned a vacation.  Mother and daughter boarded a bus for Hollywood.

Even in a community well people with charming blondes, Anne’s blonde beauty attracted the attention of cinema talent scouts.  Carefully trained by Lillian Albertson, a studio drama coach, Anne Jeffreys began appearing in motion pictures in 1942.  In the beginning she played a number of background characters in such popular Republic Pictures as Moonlight Masquerade and The Flying Tigers.  In 1943 Anne finally got her chance to costar in two movies opposite Bill Elliott and Gabby Hayes.  The pictures, Calling Wild Bill Elliott and The Man from Thunder River, were westerns.  Newspapers across the country reported on the studio’s decision to cast Anne in the film’s main female role.

Anne’s debut in the Bill Elliott films was applauded by moviegoers everywhere and Republic Pictures was praised for the decision to use the gifted songstress in such an inventive role.

“Singing cowboys are not new to the Hollywood scene, but blonde and gorgeous Anne Jeffreys can honestly claim the distinction of being the first singing cowgirl,” an article in the August 7, 1943 edition of the Hollywood Reporter noted.  “She is Wild Bill Elliott’s leading lady in all his Republic Pictures now.  In each of the pictures in the Elliott series Anne breaks into song at one point or another.”

To learn more about the films leading lady Anne Jeffreys made for Republic Studios read Cowboys, Creatures and Classics:  The Story of Republic Pictures.

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Cowboys, Creatures and Classics: The Story of Republic Pictures

There were many talented female contract players at Republic Pictures. In the mid-1940s, the studio had more than 120 actors in its stable of gifted individuals. Some of those actresses became household names because of their work in front of the camera, and others rose to fame as a result of their off-screen exploits. The following is a look at a few of the studio’s most recognizable and popular women thespians, their careers, and the roles that made them stars.

One of Republic Pictures’ most popular actresses was one of the motion picture industry’s most troubled. Her name was Gail Russell. Russell, a beautiful brunette with dark, blue eyes, was a gifted talent who dreamed of becoming a commercial artist. She was born Elizabeth L. Russell in Chicago on September 21, 1924. Throughout her childhood, she was painfully shy and often hid under her parents’ piano whenever guests came to their home. The young girl only felt completely comfortable when she was sketching various people and places in her sphere of influence. She began drawing at the age of five years old and was considered exceptional by most who saw her sketches and paintings.

When she was in her late teens, her mother, Gladys Russell, encouraged her to set aside her drawing pencils and venture into films. Russell was fourteen when her parents moved to Los Angeles so their daughter could pursue their dream of her becoming a star. She attended Santa Monica High School, and as soon as she graduated, she auditioned for Paramount Pictures and signed a contract with the studio for fifty dollars a week.

Russell’s shyness followed her as she began her career. Acting instructors were hired to help her overcome her timidity, but it never completely subsided. It did add to her haunting persona, and she was cast in roles where that part of her personality could be highlighted. As her star rose in the industry, her fear of performing became more pronounced. With each film it took more effort to overcome her lack of self-confidence and commit to the part. While filming The Uninvited in 1944, Russell chose to deal with her paralyzing self-doubt by drinking. Alcohol did not quiet her nerves; it merely made her more anxious. By the end of the production, she had become dependent on liquor and was on the brink of a nervous breakdown. The Uninvited was a critical success, and the film was nominated for an Academy Award. Russell became even more popular thanks to the film. She went on to work with such stars as Alan Ladd and Joel McCrea, Jane Wyatt and Adolphe Menjou. The work was continuous and the pace grueling. Russell dealt with the frantic schedules the same way she did with her shyness, by drinking.

In 1946 Russell starred in the first of four films she made for Republic Pictures. John Wayne co-produced The Angel and the Badman and specifically requested Gail Russell to play opposite him in the western written and directed by James Edward Grant. Wayne was moved by her quiet, unassuming personality. He treated her with the respect and kindness she’d not known from many other leading men or producers. The two became good friends while working on the film. Wayne was protective of Russell. He recognized vulnerability in the actress some could have taken advantage of. He was a father figure to Russell, and she considered him to be a fiercely honest individual.

To learn more about the many films Republic Pictures produced read

Cowboys, Creatures and Classics: The Story of Republic Pictures

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Cowboys, Creatures and Classics: The Story of Republic Pictures

Between 1936 and 1956, Republic released a string of unique horror serials that promised audiences they would quake with fear when they came face to face with the studio’s terrifying lineup of ghouls, freaks of nature, and the walking dead.

Drums of Fu Manchu premiered in the spring of 1940. The creepy chapter play featured a race of bald-headed, fanged slaves known as “Dacoits” who had been lobotomized into doing the bidding of the immortal and insidious Doctor Fu Manchu. Fu Manchu hopes to conquer Asia and subsequently the world but needs specific artifacts from the tomb of Genghis Khan to achieve his goal. In Los Angeles, California, he convenes a meeting of the S-Far, an international conspiracy group that helps him draw up his plans. When archeologist Dr. James Parker is killed so Fu Manchu can obtain rare scrolls in his possession, his son Allan joins forces with Sir Denis Nayland Smith of the British Foreign Office to avenge his father’s death.

The sixteen frightful-looking “Dacoits” who contributed many of the thrills to Drums of Fu Manchu were a product of the makeup artist Bob Mark’s wizardry. The normal-looking people became grotesque monsters in Mark’s hands.

Rubber caps entirely covered their hair, giving them the impression of baldness. These caps, which could be worn only once, were especially manufactured at the cost of five dollars each. They were fitted tightly over the “Dacoit’s” heads, and heavy, theatrical grease paint was applied over them. The scars, which represented the incisions where Dr. Fu Manchu had removed the frontal lobes of their brain, were made of a special rubber composition and were held in place by rubber cement. The makeup of Fu Manchu himself, an elaboration of the “Dacoit’s” makeup, took exactly 2.5 hours each day to apply.

The fifteen-part Fu Manchu serial was directed by William Witney. He considered Fu Manchu to be his finest work. Sam Rohmer created the character of the insidious Fu Manchu in 1913 for a series of adventure novels. Rohmer’s books were best sellers, and he used a portion of the profit made from the sales to develop a product he believed needed refining—mothballs.

There was a time in 1935 that Republic Pictures’ development department believed there was nothing left on dry land to scare the wits out of moviegoers, so they decided to seek out stories from the depths of the darkest oceans. Undersea Kingdom was a 1936 serial thriller that starred Ray “Crash” Corrigan.

Before becoming a costar in a number of Republic westerns, Corrigan was a bit player and stuntman who frequently donned a gorilla costume to act as a crazed ape whenever the studio called for one. Corrigan even had his own gorilla costume.

Corrigan’s character in Undersea Kingdom is a lieutenant right out of Annapolis whose assignment is to stop an evil tyrant ruler from taking over the world. Corrigan’s character is recruited for the job when a series of mysterious man-made earthquakes threaten to destroy civilization. He leads an expedition to the ocean floor in a rocket-propelled submarine and discovers the Undersea Kingdom of Atlantis. Soon the explorers find themselves caught between two warring factions led by the peace-loving High Priest of Atlantis and the evil warlord Unga-Khan, whose diabolical plans include conquering the surface of the world.

Corrigan’s super-human athletic abilities combined with the genius of the rocket-sub inventor make them targets in an action-packed battle for survival against ray-guns, tanks, and robots.

To learn more about the many films Republic Pictures produced read

Cowboys, Creatures and Classics: The Story of Republic Pictures