When Reverend Robert Henley and his sister Faith arrive in the town of Hell's Hinges, saloon owner Silk Miller and his cohorts sense danger to their evil ways. They hire gunman Blaze Tracy ... See full summary »
Wells Fargo stages are being robbed by 'The Poet' and no one can find out who he is. Wylie is a gambler who is found by the sheriff and gives him the option of going back to a questionable ... See full summary »
Count Anikoff, a Russian officer, challenges his best friend, Sergei, to a duel when he finds him courting the young woman he, too, is in love with. Sergei can't bring himself to kill his friend. He fires only after taking the bullet out of his pistol. Now, it is the Count's turn to fire...
The sheriff of Gunlock is planning to hang Sam Hall, who shot three farmers found on cattle land, at sundown. At the casino, betting is 8 to 3 he won't make it. The cattlemen are set to ... See full summary »
This valiant melodrama is the brilliant debut as a moviemaker of the great Japanese actress Kinuyo Tanaka, who also has a small role in the story. Based on a screenplay by Keinosuke ... See full summary »
After the bandit Jim Stokes robs the stage he is wounded fleeing. Recuperating at a ranch, he falls in love with and marries the daughter. Now wishing to go straight he tries to return the ... See full summary »
William S. Hart,
J. Frank Burke,
When Reverend Robert Henley and his sister Faith arrive in the town of Hell's Hinges, saloon owner Silk Miller and his cohorts sense danger to their evil ways. They hire gunman Blaze Tracy to run the minister out of town. But Blaze finds something in Faith Henley that turns him around, and soon Silk Miller and his compadres have Blaze to deal with. Written by
Jim Beaver <firstname.lastname@example.org>
One of the 50 films in the 4-disk boxed DVD set called "Treasures from American Film Archives (2000)", compiled by the National Film Preservation Foundation from 18 American film archives. This film was preserved by the Museum of Modern Art. See more »
I reckon God ain't wantin' me much, ma'am, but when I look at you, I feel I've been ridin' the wrong trail.
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The silent western has a lot going against it. As a western, the plot is grounded in an exaggerated human experience heightened by a minimised physical environment. The silent film too has to exaggerate the experience, not only in the mannerisms of the actors, but in the setting and props as well. No wonder so many silent westerns are seen as inflated and risibly tiresome.
Add a third problem: the religious experience. This too is often exaggerated because of how profoundly inward the process is. So we have a scene with Hart cleaned up, hair combed back, nodding his head as he reads the Bible. Avoidable? Probably, Demille would have been a better candidate. But we can still admire how free of convention the film is in its structure and methods, something Hart would pursue in his more worthwhile works.
3 out of 5 - Some strong elements
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