Tumbleweeds

Rating:
Summary: Cowboy hero William S. Hart rides off in the sunset
Review: "Tumbleweeds" turned out to be the last film by the premier Western star of the silent era, William S. Hart. This 1925 film, directed by King Baggot, is set in 1889 when the Oklahoma Cherokee Strip is about to be opened to settlers. The land-rush climax is a masterpiece of directing, photography and editing. Hart stars as cowboy Dan Carver, who is helping to move the Box K cattle off of the strip. When he meets homesteader Molly Lassiter (Barbara Bedford) he takes a liking to her and decides to get himself a piece of land so that maybe they can settle down together. However, Carver is arrested as a "Sooner" when he is searching the strip for stray cattle and is kept from participating in the mad dash for land. It seems Molly's half-brother Noll (J. Gordon Russell) and his partner Bill Freel (Richard R. Neill) have set up our hero because they have designes on the Box K for themselves.

Hart's Westerns deserve to be considered because even though this was the silent era his films were uncompromisingly naturalistic in their depiction of the Old West. Hart was 55 years old when this film was finished and his popularity was waning in the face of competition from younger cowboys like Buck Jones and Hoot Gibson as well as from films that glorified the West. In 1939 "Tumbleweeds" was re-released with sound effects, a musical score and the addition of an 8-minute prologue featuring Hart talking about the history behind the movie and recalling his own career as a Western star. At the end of it, Hart bows and walks away into the sunset. There are not a lot of silent westerns available for us to see and even fewer William S. Hart films, but thankfully this one has been preserved. Certainly Hart is the "father" of the Gary Cooper western hero.

Rating:
Summary: Cowboy hero William S. Hart rides off in the sunset
Review: "Tumbleweeds" turned out to be the last film by the premier Western star of the silent era, William S. Hart. This 1925 film, directed by King Baggot, is set in 1889 when the Oklahoma Cherokee Strip is about to be opened to settlers. The land-rush climax is a masterpiece of directing, photography and editing. Hart stars as cowboy Dan Carver, who is helping to move the Box K cattle off of the strip. When he meets homesteader Molly Lassiter (Barbara Bedford) he takes a liking to her and decides to get himself a piece of land so that maybe they can settle down together. However, Carver is arrested as a "Sooner" when he is searching the strip for stray cattle and is kept from participating in the mad dash for land. It seems Molly's half-brother Noll (J. Gordon Russell) and his partner Bill Freel (Richard R. Neill) have set up our hero because they have designes on the Box K for themselves.

Hart's Westerns deserve to be considered because even though this was the silent era his films were uncompromisingly naturalistic in their depiction of the Old West. Hart was 55 years old when this film was finished and his popularity was waning in the face of competition from younger cowboys like Buck Jones and Hoot Gibson as well as from films that glorified the West. In 1939 "Tumbleweeds" was re-released with sound effects, a musical score and the addition of an 8-minute prologue featuring Hart talking about the history behind the movie and recalling his own career as a Western star. At the end of it, Hart bows and walks away into the sunset. There are not a lot of silent westerns available for us to see and even fewer William S. Hart films, but thankfully this one has been preserved. Certainly Hart is the "father" of the Gary Cooper western hero.

Rating:
Summary: William S. Hart's Lasting Legacy.
Review: In 1925 when TUMBLEWEEDS was released, William S. Hart was 60 years old and been had supplanted at the box office by a host of cowboy stars like Tom Mix who were much flashier and far less realistic. Hart wanted to go out on top and that is just what he did. TUMBLEWEEDS is set during the opening of the Cherokee Strip and his recreation of the mad scramble for the newly opened up Indian lands is a landmark in cinema history which has been copied many times but without the same sense of immediacy that is depicted here. All the elements of earlier Hart westerns are here, the shy hero, the woman in distress, the 19th century code of honor (Hart was born in 1865), rugged action sequences involving Hart and above all the rugged natural locations of a now vanished West. The production values are high, the photography splendid, and the supporting cast top notch especially Barbara Bedford as Hart's love interest Molly. Bedford played strong independent women during her brief career most notably in the 1920 LAST OF THE MOHICANS. This new DVD release is an enhanced copy of the old Killiam Collection VHS version that has been around for a while but it has never looked this good. Also included is the 1939 eight minute prologue that Hart did for the film's reissue. Hart was 74 by this time and his recounting of the making of his films and the Old West that he knew is not only informative but also quite poignant. This film is his lasting legacy, a legacy that stretches from Gary Cooper to Clint Eastwood, and it's great to have it on DVD at last.

Rating:
Summary: Women ain?t reliable. Cows are.
Review: TUMBLEWEEDS is a fitting coda to the career of arguably the greatest cowboy star of the silent era, William S. Hart. It is also a grand introduction to a viewer unfamiliar with his work.
Usually I don't mind watching a dvd in sequence, but TUMBLEWEEDS opens with an introduction, "Farewell to the Screen," Hart filmed for the 1939 reissue of his 1925 silent classic. Hart, decked out in cowboy hat and bandana against a desert landscape tells us a little about the film - it's about the opening of the Cherokee Strip in 1889. He also tells us why he retired from movies and how important his career was to him. Listening to him we hear a speech that borders on the maudlin, and the impression isn't relieved much by the swelling violin under-score. Hart's voice reminds me a bit of a water-down Franklin Roosevelt (Hart was born in New York and moved west in his youth.) None of this is unpleasant or even out of place, but it leaves an incongruous memory when the title card reads a drawling "varmint" or "I reckon." If you're new to Hart, as I was, I'd suggest you watch the movie before playing the introduction.
Hart plays `tumbleweed' Dan Carver. A tumbleweed, Carver explains to pretty Molly Lassiter (Barbara Bedford), is a footloose and rootless man of the open range. Hart was 60 years old when TUMBLEWEEDS was filmed, and although he probably never looked his age (he just wore that bandana higher and higher off his neck, I guess) it's a little strange to see him aw-shucks a-courting the 23-year-old Bedford.
Well, the love story is secondary, anyway. TUMBLEWEEDS is famous for the opening of the strip scene, and the sequence leading to the "maddest stampede in American history" is brilliantly edited. It is a quick cut montage of troopers checking their pocket watches to a penned Hart to the anxious and distraught girl to yet another shot of an advancing wall clock. Finally the cannon is shot and the race is on. It's a timelessly beautiful bit of film art.
Another scene I was particularly fond of occurred a little earlier in the movie. The government ordered all cattle removed from the strip prior to the run of the homesteaders. Hart, riding point, and four other tumbleweeds rest their horses on a rise and watch the cattle being rounded out. The men identify the vanishing herds - those are the Circle Dot, those are the Diamond Bar. Hart removes his hat and announces "Boys, it's the last of the west." The others remove their hats as well and the camera holds them in a medium long shot for a few long seconds before fading to silhouette and then to black. It's a understated moment, and the fact that it comes in Hart's final western gives it an added poignancy.
TUMBLEWEEDS was transferred from a restored print, but the restoration was done in 1975. Anyone expecting a digital restoration will be disappointed. There are scratches and flares a-plenty, although not to the point of distraction. It also contains the "original piano score" of William Perry. The score was written for the 1975 restoration and not for the original release. Still, it adds rather than detracts from the movie.
TUMBLEWEEDS will reward anyone willing to give a silent movie a go. The acting is naturalistic, there's plenty of action and the good guys win in the end. Heck, we don't even have to squirm through the hero kissing the girl (although I think I remember seeing Hart give his horse a quick peck.) What more could you ask for?

Rating:
Summary: Women ain¿t reliable. Cows are.
Review: TUMBLEWEEDS is a fitting coda to the career of arguably the greatest cowboy star of the silent era, William S. Hart. It is also a grand introduction to a viewer unfamiliar with his work.
Usually I don't mind watching a dvd in sequence, but TUMBLEWEEDS opens with an introduction, "Farewell to the Screen," Hart filmed for the 1939 reissue of his 1925 silent classic. Hart, decked out in cowboy hat and bandana against a desert landscape tells us a little about the film - it's about the opening of the Cherokee Strip in 1889. He also tells us why he retired from movies and how important his career was to him. Listening to him we hear a speech that borders on the maudlin, and the impression isn't relieved much by the swelling violin under-score. Hart's voice reminds me a bit of a water-down Franklin Roosevelt (Hart was born in New York and moved west in his youth.) None of this is unpleasant or even out of place, but it leaves an incongruous memory when the title card reads a drawling "varmint" or "I reckon." If you're new to Hart, as I was, I'd suggest you watch the movie before playing the introduction.
Hart plays 'tumbleweed' Dan Carver. A tumbleweed, Carver explains to pretty Molly Lassiter (Barbara Bedford), is a footloose and rootless man of the open range. Hart was 60 years old when TUMBLEWEEDS was filmed, and although he probably never looked his age (he just wore that bandana higher and higher off his neck, I guess) it's a little strange to see him aw-shucks a-courting the 23-year-old Bedford.
Well, the love story is secondary, anyway. TUMBLEWEEDS is famous for the opening of the strip scene, and the sequence leading to the "maddest stampede in American history" is brilliantly edited. It is a quick cut montage of troopers checking their pocket watches to a penned Hart to the anxious and distraught girl to yet another shot of an advancing wall clock. Finally the cannon is shot and the race is on. It's a timelessly beautiful bit of film art.
Another scene I was particularly fond of occurred a little earlier in the movie. The government ordered all cattle removed from the strip prior to the run of the homesteaders. Hart, riding point, and four other tumbleweeds rest their horses on a rise and watch the cattle being rounded out. The men identify the vanishing herds - those are the Circle Dot, those are the Diamond Bar. Hart removes his hat and announces "Boys, it's the last of the west." The others remove their hats as well and the camera holds them in a medium long shot for a few long seconds before fading to silhouette and then to black. It's a understated moment, and the fact that it comes in Hart's final western gives it an added poignancy.
TUMBLEWEEDS was transferred from a restored print, but the restoration was done in 1975. Anyone expecting a digital restoration will be disappointed. There are scratches and flares a-plenty, although not to the point of distraction. It also contains the "original piano score" of William Perry. The score was written for the 1975 restoration and not for the original release. Still, it adds rather than detracts from the movie.
TUMBLEWEEDS will reward anyone willing to give a silent movie a go. The acting is naturalistic, there's plenty of action and the good guys win in the end. Heck, we don't even have to squirm through the hero kissing the girl (although I think I remember seeing Hart give his horse a quick peck.) What more could you ask for?