Runtime: 78 Minutes. Studio: William S. Hart Productions. Director: King Baggot. Writer: Hal G. Evarts. Based on a story by C. Gardner Sullivan. Main Cast: William S. Hart, Barbara Bedford, Lucien Littlefield, J. Gordon Russell. Producer: William S. Hart. Cinematographer: Joseph H. August.
It seems to me that too often even silent film buffs tend to overlook silent westerns, as much of the focus tends to be on silent comedy and more artsy movies. This is unfortunate as westerns played a major role in the movies during the silent era and some of the cowboy stars were some of the most popular actors of the time. Possibly the best of the silent cowboy stars is William S. Hart. Like John Wayne did later, William S. Hart helped define what a movie cowboy was. For those who think that all westerns before Stagecoach (1939) were corny and very light hearted, watching Hart's films will be surprised by how dark and serious these films can get. Yet at the same time the films are exciting, gripping and a lot of fun to watch. Tumbleweeds marks not only Hart's western but the last movie he ever made. It is appropriate that it is often considered one of his best and it is nice to see a screen legend going out at the top of their game.
Motion Picture World, 1926
This movie depicts the Cherokee Strip land rush of 1893. The title comes from what cowboy's like our hero, Don Carver (William S. Hart) call themselves. Since they are ramblers by nature they refer to themselves as tumbleweeds. Don a firm believer in this life style prefers the animals in his prairie over the greedy landgrabbers who are to come. Accompanied by his sidekick, Kentucky Rose (Lucien Littlefield), he rides to town to get information on the coming landgrabbers. It is here that Kentucky falls for a widow (Lillian Leighton) with three children. While Kentucky is wondering if he has been thinking wrongly about the life of a homesteader, Don just wants to get back to his cows. Yet he acknowledges himself that the way of life he dearly loves is fading away, stating (via intertitle) "Boys, it's the end of the West." Still he adamantly refuses to settle down. However this changes when he falls in love with a woman named Molly Lassiter (Barbara Bedford). He is torn between the woman he loves and the way of life that is so dear to him. This proves to not be the end of his troubles as the hostility of the land rush only increases in violence and deadly danger.
This is truly one of William S. Hart's best films. Everything about this movie works. The romance is well developed and completely believable, the action scenes are tense and exciting, the comedy is funny and best of all the story is mature and is as gripping as it must have been in 1925. This is also an incredibly beautiful looking movie. William S. Hart was an old west history buff himself and sought to put as much effort as possible to make his films look and feel like the old west. This truly pays off here because there are so many small little details that don't need to be there but still make all the difference. Though much credit needs to go to director King Baggot and cinematographer Joseph H. August. They put so much care into each shot of the film and it shows. Every shot is a stand alone piece of art that deserves to hang in a cinema museum. Both the intimate and the epic scenes are equally well captured. In fact the climatic action scene has such a strong epic feel that I could not take my eyes off the screen. Though many technical advancements have been made since 1925, this scene still stands up perfectly today. Adding to this is that the story is told so passionately. While not as dark as Hell's Hinges (1916), there is some truly mature and sophisticated storytelling here that stands above those of much of the movies the other cowboy stars were making at this time. Simply put this is a true gem and holds its own against many of the more famous later western films.
As great as William S. Hart is, attention should be given to the supporting cast, who do an equally fine job in this picture. Comedic sidekicks to the hero are a staple of movie westerns, and Lucien Littlefield does an excellent job in this role. He provides some truly funny moments and does so with an easy going charm that I find hard to resist. Littlefield began his movie career in the silent area often playing comedic supporting roles like this one. Silent comedy fans might recognize him from the Roscoe "Fatty" Arbuckle feature Leap Year (1921). His career stretched all the way into the 1950's. Movie fans will probably best recognize him as the veterinarian who examines Ollie in one of Laurel and Hardy's most popular features, Sons of the Desert (1933). His love interest Lillian Leighton mostly worked in supporting roles but still had quite a career in the movies. She had been in Cecil B. DeMille's Male and Female (1919), the Jackie Coogan vehicle Peck's Bad Boy (1921), Greta Garbo's American movie debut Torrent and the Harold Lloyd talkie Feet First (1930). Hart's love interest, Barbera Bedford's career would also reach well into the sound era, but by the mid-1930's she was mostly appearing in uncredited roles. Her silent film credits include, Tom Mix in Arabia (1922), The Last of the Mohicans (1920), Arabian Love (1922), and Souls For Sale (1923).
The following are exhibitor's reviews from The Exhibitor's Herald, "TUMBLEWEEDS: William S. Hart—As I live in Oklahoma, and can remember back when the strip was opened for settlement, I think Mr. Hart has done a good job in making an early day picture. Had a nice run and did not have to split the velvet with the Co. Seven reels. -C.A. Kelly, Rex Theatre, Custer City, Okla. - Small Town Patronage." "Tumbleweeds: William S. Hart - Here is a real picture. One worth while. Everyone enjoyed it. Good action, historical and will draw well. One of the best we have shown this year. Ten and thirty-five. -James Moffitt, Auditorium theatre, Tampa, Kan., Small Town Patronage." "TUMBLEWEEDS: William S. Hart - Good. Above Par. 'Tumbleweeds' though old, is an excellent Hart picture. It pleased all and made us money. Print we drew was all torn up. Unless you are assured of a good print, lay off it. -Stoddard Bros., Rex Theatre, Madisonville, Tex. - General Patronage."
The Film Daily, 1926
This movie can be seen on YouTube. This version below comes from a 1939 re-issue of the film. It features a spoken introduction of William S. Hart. You will find that he actually had a great speaking voice and vocal delivery. It may make you wish he made talkie movies as well.
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