Sam Newfield holds the distinction of being the most prolific feature film director of the American sound era. Because of his amazing output, no Newfield filmography will ever be complete. The following is an attempt to accurately catalog all of his known features and shorts.

Originally online in 1998 and last updated in 2001, I have finally revised the filmography with more accurate information and notes, plus the addition of images. The entire filmography has been revamped from the ground up, and is still a work in progress to some degree.

Although somewhat unorthodox, order is now based on the Production Code Administration (PCA) certificate number instead of the earliest release date. This method generally adheres to the release order anyway, and provides a more accurate and indisputable chronology as the films became available for general distribution. A film could be certified and held back, of course, which was not uncommon; or, rarer, a film could be completed but not submitted for certification until later. Some films were previewed before certification, too. This method, however flawed, provides a balance between production order and release, although exceptions do exist.

The earliest release date is now included with each film, whether it be a trade viewing, premiere or general release. Some of the dates are much earlier than modern sources list, the result of using newspaper archives to track distribution. For example: Trigger Fingers, starring Tim McCoy, is generally known as being released between November 1 and December 20, 1939, yet was playing at the Lyric Theatre in Charleston, West Virginia, on June 19, 1939; Death Rides the Range is commonly listed as being released in January 1940 yet was playing at the Palace Theatre in Abilene, Texas, on August 25, 1939. So it is these earlier dates that are used, providing a more accurate account of a film's release.

If a film's copyright registration date precedes the earliest release date, the former is listed instead. A film could be registered and held back, which was not uncommon, but at least provides an earlier date when a film was ready for release.

Following the filmography is a list of alternate titles to avoid confusion of a possible missing film. Notable for title changes are the PRC films, especially their westerns, many of which were retitled by Pictorial Films, Inc. (a subsidiary of Pathé Industries, Inc. which owned PRC) for distribution to television and other non-theatrical venues. Most of the other alternates are re-issue and UK titles. Working titles are not included unless they were actually used (e.g. the working title of Hold That Woman! was Skip Tracer which Pathé later renamed for 16mm distribution).

Following the alternate titles is a poster gallery, most of which have been restored in Photoshop. Although representing more than a third of Newfield's feature output, the gallery is intentionally balanced with a cross-section of genres and brings to life to what is otherwise a colorless filmography.

Sam begins his feature film career with Tower Productions, an upstart helmed by Joseph Simmonds, Morris R. Schlank, Sig Neufeld and Joe Glucksman, the participant’s company invariably known in the trades as Famous Attractions, Premier Attractions, Premier Pictures, Premier Productions, and Premiere Attractions. The company, initially headed by Simmonds, was to make about 18 films but only 12 were made – five directed by Sam. Premier's initial features were made at the Tiffany, Metropolitan, Talisman — new name from the Tiffany studio — and Sennett studios (perhaps others). Independent producer Morris R. Schlank died in 1932 and Sig replaced him as head of production, although the last film evidently is a pick-up from producer George W. Weeks.

The other seven Tower titles are as follows: Discarded Lovers (1932; no producer credited; directed by Fred C. Newmeyer), Shop Angel (1932; Morris R. Schlank; Sig as production supervisor; directed by E. Mason Hopper), Drifting Souls (1932; Morris R. Schlank; Sig as production supervisor; directed by Louis King), Exposure (1932; Morris R. Schlank; Sig as associate producer; directed by Norman Houston), Red Haired Alibi (1932; Sig as producer; directed by Christy Cabanne), Daring Daughters (1933; Sig as producer; directed by Christy Cabanne) and the The Big Bluff (1933; George W. Weeks; directed by Reginald Denny). The AFI Catalog lists Sam Neufeld as assistant director on Daring Daughters, and it is likely he was involved in many of the films. The Neufelds also made Crashing Through Danger under the Premier banner in 1935 but it was not released until 1937.

Progressive Pictures Corp., who made Under Secret Orders, was started by Willis Kent and Ralph M. Like, the latter owning International Film Studios and the companies Action Pictures and its successor, Mayfair Pictures. Progressive made a few other features between 1932-1934 and then went out of business before the name was resurrected by Ben Judell in 1938, the precursor to PRC Pictures.

Sometimes listed in Newfield's filmography is African Incident (1934), starring Monte Blue, Virginia Brown Faire, Arthur Edmund Carewe, John Miltern and Claire McDowell. The 61-minute film does not appear in the AFI Catalog, but is listed in the Miscellaneous Talkies section of The Motion Picture Guide, which is probably the source of all references to the film.

The Talisman studio mentioned above was the former Tiffany studio, where Sig had been overseeing their shorts department before the company's demise in 1932. The studio would become a base for the subsequent productions made by Ambassador Pictures, which was established in association with Maurice Conn and Sig Neufeld, with Sig as secretary-treasurer and associate producer. Talisman also would be home to A.W. Hackel's Supreme Pictures, George A. Hirliman's Winchester Pictures and Sig Neufeld and Leslie Simmonds' Excelsior Pictures, created when Conn took over Neufeld's interest in Ambassador in 1935. Many of the early PRC films were made at Talisman too, before the company purchased the former studios of Grand National in September 1942.

In late October 1934 Sam Newfield began lensing Federal Agent (see entry below) at the Talisman studio for Select Productions, Inc. The company, a subsidary of Consolidated Film Industries, soon to be Republic Pictures, was helmed by William Saal and Burt Kelly, who along with George A. Hirliman made four actioners between late 1934 and early 1935 starring William Boyd under Newfield's direction. The other three titles: Burning Gold, Go-Get-'Em, Haines (initially released as Go Get It Haines) and Racing Luck.

The last film Sigmund produced for Ambassador Pictures. The others he produced in 1935 for the company, all starring Kermit Maynard: Wilderness Mail (directed by Forrest Sheldon), Red Blood of Courage (directed by John [Jack] English), and His Fighting Blood (directed by John English).

J.R. Booth was a millionaire lumberman who planned to make six features with Canadian themes in conjunction with Audio Pictures Ltd. of Toronto and Du-Art Film Laboratories, Inc. of New York, the companies headed by Arthur Gottlieb who was also a partner in Booth Dominion (shortly renamed Dominion Motion Pictures). Both films were released in the US in mid-1936, 'quota quickies' for the UK market where they were handled by MGM in January 1936. Filmed back-to-back between August and September 1935, at the temporary Ravina Studios (a skating rink) in Toronto, just after Newfield made Branded a Coward, a third film was announced but never materialized. Newfield got the directorial assignments through Burt Kelly — married to Adrienne Doré, the leading lady in Undercover Men — who was the uncredited producer on both films, after working for him on the four William Boyd actioners. Sigmund had also worked with Kelly at the Tiffany studio as a production supervisor for KBS [Kelly-Bischoff-Saal] Productions. Newfield would return to Toronto in the 1950s to make the television series Hawkeye and the Last of the Mohicans and The Adventures of Tugboat Annie, and the features Wolf Dog and Flaming Frontier, all filmed at the Canadian Film Industries Co. Ltd. studio — commonly called Lakeshore Studios — built by Arthur Gottlieb in 1948 (and expanded in 1955) on or near the site of his original 1930 Audio Pictures studio. Thoroughbred was released in the UK as The King's Plate, and debuted in Canada under that title on October 26, 1936 (more than a year after being completed); Undercover Men was released in the UK as Under Cover, and it is unknown if it had a Canadian release.

Another belated release from Newfield's early years, filmed in April 1935 (just before Code of the Mounted) under the Premier banner and certified by the PCA in December 1935 but not released until November 1937, perhaps even earlier.

Up to 1936 A.W. Hackel had been making the Bob Steele and Johnny Mack Brown westerns under his own Supreme Pictures banner, distributed under the states' rights system. With the formation of Republic Pictures in 1935, Hackel joined the producers roster there in mid-1936 and his productions were subsequently known under the Republic name.

Jed Buell Productions was actually DeLuxe Pictures, Inc. although the name was never used in advertising or on film. New York-based Spectrum Pictures Corp. was a distributor who financed independent production units to make their product, and Sam directed six films under their banner (all starring Fred Scott). Comedian Stan Laurel (a western fan) financed three of Newfield's Spectrum films which were made with Jed Buell's unit, the last two under the name Stan Laurel Pictures, Inc.

A sequel to this film was evidently produced by Ted Toddy in 1941 titled Prairie Comes to Harlem (61 mins.). No other details are known.

† Principal had this film in limited distribution before Columbia picked it up.

A rare producer credit for Sam although no one is actually listed in the credits except for Norman Haskall as associate producer. Arcadia Pictures Corp. was most likely independent producer Jack H. Skirball's company, since he was involved in two other films under that name, slated for release by Grand National before they folded.

Colony had been releasing their films through Grand National, which folded around this time. Sam was poised to direct a series of six musical westerns for the studio starring Max Baer, with the first title as Two Fisted Cowboy, but they were never made. Grand National Studios would become PRC Studios in late 1942 (purchased for $305,000 from a subsidiary of Western Electric), although the company used the facilities from the beginning, as well as other studios.

Sam Newfield's first film for Ben Judell's newly formed Producers Pictures Corp. (later Producers Releasing Corp. and finally, in 1943, PRC Pictures). The distributing arm was initially known as Producers Distributing Corp. (PDC). Controversial during the time, the film was heavily cut and released as Beast of Berlin, Beasts of Berlin and Goose Step. Sam begins directing under the aliases Sherman Scott and Peter Stewart to cover his dolly tracks. Along with Ben Judell, Sigmund produced three films for the new company without Sam in the director's chair, all released in 1939: Torture Ship (directed by Victor Halperin), Buried Alive (directed by Victor Halperin), and Mercy Plane (directed by Richard Harlan).

The Sagebrush Family Trails West and Texas Renegades were filmed at a studio Producers Pictures Corporation had built at Granite Dells in Prescott, Arizona. The company initially announced 24–36 pictures would be filmed at the studio but only these were known to be made, the results of a financial crisis which would see the cash-stricken firm reorganized as Producers Releasing Corporation, with Ben Judell ousted as president and Pathé Laboratories holding the purse strings. Sigmund Neufeld Productions, Inc. was incorporated March 27, 1940, with Sigmund as president, Stanley Neufeld (Sig's son) as vice-president, Sam Newfield as secretary, and Ruth Newfield (Sig's wife) as treasurer; the company soon operating simply as a “production affiliate”. (Note that Sigmund Neufeld was associate producer on all the Judell-produced films.)

S & N Productions, Inc. was based at the PRC Studios, with Bert Sternbach as president, Violet Newfield (Sam's wife) as vice-president, and Sam as secretary-treasurer.

Although the on-screen and copyright title is The Renegades, the film was advertized as The Renegade.

Around this time Sigmund produced Law of the Saddle for PRC starring Bob Livingston without Sam in the director's chair, directed instead by Melville De Lay.

Originally titled The Girl and the Gorilla, the film was retitled Nabonga Gorilla for general release in 1944 although it is usually referred to simply as Nabonga.

The production dates of the three films below, Mantan Messes Up, Fight That Ghost and House-Rent Party, are unknown. The latter two share the same crew so they were probably filmed back-to-back, and both were submitted for censorship approval in New York in April 1946. Toddy Pictures Co. was a distributor and producer specializing in “race” pictures. Based in Atlanta, Ted Toddy, with years of previous experience in the distribution business, formed Dixie National Pictures in 1940 with Jed Buell as the company's vice president. Dixie National eventually would become Toddy Pictures Co., like its predecessor specializing in the distribution and production of films for the hundreds of theaters that catered to black audiences.

Newfield also directed three other films in 1946, all released in 1947: Jungle Flight (filmed early July 1946), Adventure Island (filmed early October 1946), and Three on a Ticket (filmed late October 1946). So 1946 was a busy time for the director but 1947 was not, helming only one known film, The Counterfeiters (filmed September 1947 and released May 1948). Lucky Star Production Co., who produced Mantan Messes Up, also produced three other films in 1947 — perhaps even earlier — starring Mantan Moreland in which the directors are unknown, all distributed by Toddy Pictures Co.: Mantan Runs for Mayor (59 mins.), Return of Mandy's Husband (49 mins.) and What a Guy (54 mins.).

Sam had made his first “race” picture in 1937, Harlem on the Prairie, followed by Am I Guilty? in 1940 which Toddy re-issued as it did with so many “all-colored” films from the recent past. Mantan Moreland also starred in two Toddy-released films in 1949 — again perhaps made even earlier — in which the directors are unknown: Come on, Cowboy! (72 mins.) and She's Too Mean for Me (66 mins.), both produced under the Goldmax Productions banner.

There is always the possibility that Sam directed at least one of these films to help fill the void left with the demise of PRC. Perhaps we will never know because the films are presumed “lost” and little is known about them, the limited credits mostly gleaned from posters and lobby cards. An even more mysterious film is the supposed sequel to Harlem on the Prairie titled Prairie Comes to Harlem (61 mins.), produced and released by Ted Toddy in 1941.

See the notes above for these three films.

By mid-1947 PRC was completely absorbed by Eagle Lion Films, a process which had started a year earlier. It was around this time that Eagle Lion re-issued a number of Newfield's previous PRC product as 40-minute streamliners, individually known as a “Bronco Buckaroo”: Code of the Plains (culled from The Renegades), Frontier Fighters (culled from Western Cyclone), Panhandle Trail (culled from The Mysterious Rider), and Raiders of Red Rock (culled from Fugitive of the Plains).

William H. Pine and William C. Thomas were based out of the PRC Studios, releasing through Paramount, later moving to Nassour Studios where Sam would direct his next film, The Counterfeiters, and other subsequent films. (Note that these two films are in circulation crediting Metropolis Productions on the print, but this was a television distributor.)

Sigmund Neufeld Pictures, Inc. was incorporated March 27, 1948, making this its first production (filmed at the Sutherland Studios). Film Classics, Inc., founded by George A. Hirliman in 1943, was a distributor of re-issues which also handled independent productions using its well-established exchanges. In late 1947 the company became a subsidiary of Cinecolor, and Sam would lens four films using the process, with Film Classics distributing two of them. The company, which had an office at the Nassour Studios, merged with Eagle Lion Films, Inc. in 1950 to become Eagle Lion Classics, Inc., which was taken over by United Artists in 1951.

John Sutherland was an independent producer of features, shorts, cartoons and industrial films, with his stages at the Sutherland Studios used for at least one of the last PRC films.

Purchased by Hallmark Productions and initially re-released in 1950 as The Devil's Weed (the film's working title) and then by January 1951, She Shoulda Said 'NO'! Shot in seven days at Hal Roach Studios, the film was refused a PCA certificate. In the UK the film, under the title Devil's Weed, was banned in 1950 by the British Board of Film Censors.

Lippert Pictures was an independent producer and distributor whose origins go back to the post-war Screen Guild company. With longtime cinematographer Jack Greenhalgh, productions for Lippert were made under the names Mayflower Productions, Spartan Productions, and Tom Productions — all subsidiaries of Lippert, the corporate names more for tax reasons than anything else. Like Radar Secret Service, the subsequent films produced by Sigmund for Lippert were made by the Sigmund Neufeld Productions [Pictures] unit. Not operating a studio per se (space was leased), Lippert Pictures operated until 1955 when Robert L. Lippert ceased distribution — and helming the odd production himself — and moved to oversee Regal Films, an autonomous budget unit at 20th Century-Fox.

† So-named after Film Classics was absorbed by Eagle Lion in 1950. At the time of this film's release Eagle Lion had just merged with United Artists, whose banner this film sometimes flew under (and re-released in 1953 by United Artists as Square Shooter). Filmed at the Nassour Studios (known as KTTV when it was sold in May 1950) where Sam directed many of the Lippert films using the Sigmund Neufeld Pictures production unit.

The first film produced by Howco Productions, formed by southern-based distributors J. Francis White and Joy Houck, later known has Howco International.

Two of the many co-productions Lippert Pictures handled between 1952 and 1955 as part of a reciprocal agreement with the British distributor Exclusive Films, with Anthony Hinds and Michael Carreras producing at Hammer. Newfield's name does not appear on the UK release of The Gambler and the Lady, credited instead to Patrick Jenkins, a pseudonym for Pat Jackson (the US print shows both Newfield and Jenkins as directors). On the US print Pat Jenkins is credited as dialogue director on Scotland Yard Inspector, which was filmed first.

Now working in television, Sam directs no feature films for a few years. Sigmund (without cinematographer Greenhalgh, who would now retire from features for television) goes on to produce Lippert's Ansco-colored Sins of Jezebel (1953) starring Paulette Goddard.

Culled from three episodes of the TV series Captain Gallant of the Foreign Legion, this film was released theatrically in the UK only.

One of four features Lippert released theatrically that were culled from the syndicated television series Ramar of the Jungle, produced by Arrow Productions with Leon Fromkess as company president (he had also helmed PRC at one time). Arrow was soon bought out by Television Programs of America, with Fromkess as vice-president and executive producer of all its subsequent product. Produced between 1952 and 1953, Newfield directed 13 episodes for the third season on familiar ground — the Eagle Lion Studios, formerly PRC Studios. The first two seasons were lensed by Jack Greenhalgh, Newfield's longtime cinematographer, at the former Nassour (KTTV) Studios. Newfield's other television work around this time includes the syndicated series Captain Gallant of the Foreign Legion, produced between 1954 and 1955, starring Buster Crabbe and Fuzzy Knight. Initially filmed on location in Morocco, with interiors at a Paris studio, the series aired on NBC between 1955 and 1957.

Associated Film Releasing Corp. (AFRC) was a short-lived distributor who besides these films also handled a couple of other independent westerns: Ron Ormond's Naked Gun and Richard Bartlett's Two-Gun Lady. AFRC also released one British co-production, Blonde Bait (Women Without Men), made by Anthony Hinds at Hammer. Robert L. Lippert's AFRC was created to fill the void left over when Lippert Pictures ceased distribution.

August–October, 1957: Newfield ends his feature film career completing principal photography on these two films, made back-to-back for the Canadian counterpart of Regal Films (helmed by Robert L. Lippert). Previous to this, from July 1956 to April 1957, Newfield had been in Canada directing all 38 episodes of the television series Hawkeye and the Last of the Mohicans (aka The Last of the Mohicans) starring John Hart and Lon Chaney, Jr. It was from this series, produced by Sigmund Neufeld, that features were compiled and released to television in 1962: Along the Mohawk Trail, The Long Rifle and the Tomahawk (co-dir: Sidney Salkow, who directed the pilot in Hollywood), The Pathfinder and the Mohican, and The Redman and the Renegades; another compilation feature, The Adventures of Hawkeye—Indian Scout, was released to television in 1963 (probably in the UK only). The series, filmed with the co-operation of the Canadian Broadcasting Corporation, was produced by Normandie Productions Ltd., the Canadian subsidiary of Television Programs of America, Inc., the US company that also handled Ramar of the Jungle (although it was initially handled by Arrow Distributing Co.). Newfield was also in Canada directing part of the television series The Adventures of Tugboat Annie (aka Tugboat Annie), filmed between June 1957 and February 1958, his episodes perhaps lensed just before making the two Regal features. The series, with 39 episodes if one includes the Hollywood pilot, was produced by Normandie Productions in conjunction with Associated-Rediffusion of the UK.

The bulk of Sam Newfield's short films (almost all two-reelers) were produced by Abe and Julius Sterns' Century Film Corp. (later Stern Film Corp.). In early 1929 Universal did not renew its contract with the company, who had their own studio on Sunset Boulevard, opting instead to make their own shorts but still under the supervision of the Neufelds (Sigmund was Stern's production manager). All the Century product (known as Century Comedies, which had been made since 1914) was purchased and distributed by Universal, whose president, Carl Laemmle, was married to Julius Sterns' daughter. For Century, Sam directed episodes of the Excuse Makers, What Happened to Jane, Let George Do It, Buster Brown, Mike and Ike, and Newlyweds and Their Baby series.

1926: Which Is Which? (Century/Universal), Please Excuse Me (Century/Universal), Jane's Engagement Party (Century/Universal), Jane's Predicament (Century/Universal) 1927: What's Your Hurry? (Century/Universal), Ask Dad (White/Educational), All Wet (Samuel Van Ronkel Productions/Universal), Auntie's Ante (White/Educational), A Gym Dandy (White/Educational), Jane's Sleuth (Century/Universal), My Mistake (Century/Universal), What an Excuse (Century/Universal), On Furlough (Century/Universal), Rushing Business (Century/Universal), Nize People (Weiss Brothers Artclass), The Disordered Orderly (co-director: Gus Meins; Century/Universal), On Deck (Century/Universal) 1928: High Flyin' George (Century/Universal), Man of Letters (Century/Universal), George's False Alarm (Century/Universal), Watch, George! (Century/Universal), When George Hops (Century/Universal), Sailor George (Century/Universal), George's School Daze (Century/Universal), George Meets George (Century/Universal), Buster Minds the Baby (Century/Universal), Big Game George (Century/Universal), Good Scout Buster (Century/Universal), Busting Buster (Century/Universal), She's My Girl (Century/Universal), Halfback Buster (Century/Universal), Buster Trims Up (Century/Universal), Teacher's Pest (Century/Universal), Watch the Birdie (Century/Universal) 1929: Out at Home (Century/Universal), Have Patience (Century/Universal), Take Your Pick (Century/Universal), The Newlyweds' Visit (Century/Universal), She's a Pippin (Century/Universal), Tige's Girl Friend (Century/Universal), This Way Please (Century/Universal), Magic (Century/Universal), Delivering the Goods (Century/Universal), Chaperons (co-director: Gus Meins; Century/Universal), Buster's Choice (Century/Universal; some sources credit Francis Corby as the director), Buster's Spooks (Century/Universal), Stop Barking (Century/Universal), Night Owls (Universal), Too Many Women (Universal) 1930: French Leave (Universal), All Wet (Universal), Her Bashful Beau (Universal), Sid's Long Count (Universal), The Beauty Parade (Universal), Peek-A-Boo (Universal), Fellow Students (Universal), She's a He (Universal) 1931: Wedding Belles (Cavalcade) 1935: You Can Be Had (Universal).

In May 1930 Sigmund Neufeld was hired by Phil Goldstone of Tiffany to head its short subject department, where Sig directed the Tiffany Talking Chimps series of two-reelers. Trade publications are full of references to Sig directing, including some of the copyright records. However, a short biography of Sam Newfield in The Film Daily (spelled Neufield; see below) states he directed the series, although the author may have simply confused his brother's name with Sig's. In any case it is likely they both worked on the films, which were very popular and even spawned toys and — perhaps just studio hype — a chimp training school on the studio lot.

In total, two series of six shorts were produced in 1930 and 1931: The Blimp Mystery, The Little Covered Wagon, The Little Big House, The Little Divorcee, Chasing Around, Sweet Patootie, Nine Nights in a Bar Room, Aping Hollywood, Africa Squawks, Cinnamon, Skimpy, and Broadcasting (this may have been the episode announced as Gland Hotel).

Sam Newfield's two-reeler You Can Be Had (1935), produced by Bert Sternbach, Newfield's longtime production manager, and Arthur Alexander whom Newfield worked for at Colony Pictures. Arthur also would make films for PRC under the name Alexander-Stern Productions along with his brother Max, nephews of Universal boss Carl Laemmle.

The short was obviously an attempt to recapture the popularity of the original Tiffany Talking Chimps series before the studio's demise in 1932.

Sig Neufeld also directed human shorts for Tiffany, such as One Punch O'Toole (1931) starring Paul Hurst, Pert Kelton, Eddie Boland, Aggie Herring and Bud Jameson.

A lost Newfield film from Texas? No, it is a misprinted poster showing Sam Newfield's name when it should be Al Herman's.

Sack Amusement Enterprises, a longtime Texas-based distributor, re-issued the film in the 1940s with the wrong director's name. The film is from 1935, produced by Max and Arthur Alexander's Beacon Productions before they formed Colony Pictures.

Sam Newfield's most controversial film, originally titled Wild Weed (1949). Banned outright in the UK and condemned by the National Legion of Decency, which wrote: “The subject matter of this film is considered morally unsuitable for entertainment motion picture audiences. Moreover, it contains suggestive sequences.”

The Devil's Weed (1949), aka Wild Weed and She Shoulda Said 'NO'!

She Shoulda Said 'NO'! (1949), aka Wild Weed and The Devil's Weed.

She Shoulda Said 'NO'! (1949), aka Wild Weed and The Devil's Weed.

The most obscure Newfield film, Mantan Messes Up (1945). The original film was 43 minutes long and then subsequently modified with additional scenes, including a two-reel short titled Boogie-Woogie Dream from 1941 (directed by Hans Burger) featuring Lena Horne, Albert Ammons and Pete Johnson.

After making the Tower films, in late 1934 Newfield began the first of four Bill Boyd actioners for Select Productions, a subsidiary of Consolidated Film Industries. Federal Man was the first, known under the Winchester Pictures banner and released months after Republic Pictures was founded in April 1935 after Consolidated foreclosed on a number of companies.

Exploitation king J.D. Kendis' Secrets of a Model (1939), directed by Newfield in six days with a negative cost of $10,501.70. Almost condemned by the National Legion of Decency, it received a B rating: “Suggestive situations and implications.” The producer's next film would be Escort Girl without Sam directing but with much of the same crew.

Secrets of a Model (1939).

Newfield's first western, Northern Frontier (1935), the second under Kermit Maynard's contract with Ambassador Pictures. The first, The Fighting Trooper (directed by Ray Taylor), was announced under production in late October 1934 as “…being produced by Maurice Conn and his new partner, Sig Neufeld….” Maynard would make 18 films for Ambassador.

Marrying Widows (1934), one of five films directed by Newfield for Tower Productions.

Newfield's first color film, Adventure Island (1947), with perhaps the longest shooting schedule in his entire career: 19 days.

The Black Raven (1943) featuring George Zucco, PRC's inhouse horror star. Newfield also would direct Zucco in The Mad Monster (1942), Dead Men Walk (1943), The Monster Maker (1944), and The Flying Serpent (1946).

Lost Continent (1951), filmed in 11 days at the Goldwyn Studios.

The Traitor (1936), the last of Tim McCoy's 10-picture deal with Puritan Pictures. The first two were made by others, with Sig Neufeld and Leslie Simmonds producing the remainder (under Sam's direction) for their Excelsior Pictures unit.

Thunder Over Sangoland (1955), one of four features released theatrically by Lippert Pictures that were culled from the television series Ramar of the Jungle. The print has a 1954 copyright statement but was filmed in 1953. The other three features, all produced by Arrow Productions: White Goddess (1953, directed by Wallace Fox), Eyes of the Jungle (1953, directed by Paul Landres) and Phantom of the Jungle (1955, directed by Spencer Gordon Bennet). All four of the films were shot with theatrical release in mind and then edited for television.

The Rangers' Round-Up (1938), one of six Fred Scott westerns directed by Newfield. Comedian Stan Laurel financed this one and two others.

House-Rent Party (1946), produced by Ted Toddy. Newfield also directed four other known “all-colored” films, and the author suspects there could be more.

Death Rides the Range (1939), produced by the Alexander brothers, Max and Arthur, for their Colony Pictures. The two would later produce for PRC.

Scotland Yard Inspector (1952), produced in the UK as Lady in the Fog. Filmed back-to-back with The Gambler and the Lady.

Six-Gun Rhythm (1939).

Queen of Burlesque (1946).

Am I Guilty? (1940), re-issued in 1944 by Toddy Pictures as Racket Doctor.

Racket Doctor (1940, aka Am I Guilty?).

Fighting Mad (1939), the third in a series of eight films with James Newill as Sergeant Renfrew. The first two were handled by Grand National but with their demise Monogram handled the others.

Hitler—Beast of Berlin (1939), Newfield's first film for Producers Pictures Corp., the soon-to-be Producers Releasing Corp.

Three on a Ticket (1947), Newfield's last film for PRC, one of five in a series with Hugh Beaumont as detective Michael Shayne.

Code of the Rangers (1938).

Wild Horse Rustlers (1943).

Along the Sundown Trail (1942).

Marked Men (1940).

Danger! Women at Work (1943).

Motor Patrol (1950).

The Wild Dakotas (1956).

Roarin' Lead (1936).

Flaming Lead (1939).

Skipalong Rosenbloom (1951).

The Lady Confesses (1945).

Jungle Flight (1947).

Reform Girl (1933).

Wolf Dog (1958).

The Counterfeiters (1948).

Three Desperate Men (1951).

Moonlight on the Range (1937).

Timber War (1935).

The Lone Rider Crosses the Rio (1941).

Billy the Kid's Fighting Pals (1941).

Branded a Coward (1935).

Leave It to the Marines (1951).

Lightnin' Bill Carson (1936).

Frontier Scout (1938).

Border Badmen (1945).

Sky High (1951).

Mask of the Dragon (1951).

Overland Stagecoach (1942).

The Invisible Killer (1939).

Jungle Siren (1942).

Dead Men Walk (1943).

Larceny in Her Heart (1946).

Thundering Gun Slingers (1944).

The Flying Serpent (1946).

Frontier Gambler (1956).

The Fighting Renegade (1939).

Bulldog Courage (1935).

Harlem on the Prairie (1937).

The Sagebrush Family Trails West (1940).

Lightning Carson Rides Again (1938).

Outlaw Women (1951).

Outlaws of the Plains (1946), with the film's working title shown on the poster.

Desert Patrol (1938).

White Pongo (1945).

Texas Renegades (1940).

Big Time or Bust (1933).

Fugitive of the Plains (1943).

Trigger Pals (1939).

Overland Riders (1946).

Apology for Murder (1945).

Border Roundup (1942).

The Lone Rider Rides On (1941).

Fighting Bill Carson (1945).

Trigger Fingers (1939).

The Gambler and the Lady (1952).

Texas Wildcats (1939).

Knight of the Plains (1938).

Flaming Frontier (1958), Newfield's swan song. Like Wolf Dog (1958) and the television series Hawkeye and the Last of the Mohicans and The Adventures of Tugboat Annie, Newfield ended his career directing in Ontario, Canada.

The Terror of Tiny Town (1938), undoubtedly Newfield's best-known film. Jed Buell, former head of the Sennett Studios rental department, had almost completed the film when Sol Lesser, impressed with what he saw, financed additional sequences through his Principal Productions.

Radar Secret Service (1950).

Lady at Midnight (1948).

Fight That Ghost (1946).

Blonde for a Day (1946).

Miraculous Journey (1948).

Last of the Desperados (1955).

Like the other three Bill Boyd films (Federal Agent, Go-Get-'Em, Haines and Racing Luck), Burning Gold (1935) was made shortly before he became Hopalong Cassidy.

The Sea Hound (1947), a 15-chapter Columbia serial directed by Walter B. Eason and Mack V. Wright, and produced by Sam Katzman. Although not appearing in the filmography, evidently Newfield was replaced by Wright for reasons unknown and is not credited.

The Lion's Den (1936).

Fuzzy Settles Down (1944).

Nabonga Gorilla (1944).

The Monster Maker (1944).

Hold That Woman! (1940).

The five 'mystery' films outlined in the filmography (directors unknown)