|
The Toll Gate (1920)Outlaw Black Deering leads a band of desperadoes, but decides to give up the bandit life. Agreeing to go on one last job with his gang, he is captured when his henchman Jordan betrays the ... See full summary » Director:Lambert HillyerWriter:Lambert Hillyer |
| 0Share... |
User Lists
Related lists from IMDb users
Share this Rating
Title: The Toll Gate (1920)
Want to share IMDb's rating on your own site? Use the HTML below.
Edit
Cast
| Complete credited cast: | |||
| William S. Hart | ... | ||
 |
Anna Q. Nilsson | ... | |
|
|
Joseph Singleton | ... | |
|
|
Jack Richardson | ... |
The Sheriff
|
|
|
Richard Headrick | ... |
The Little Feller
(as Master Richard Headrick)
|
Edit
Plot Summary
|
Add Synopsis
Storyline
Outlaw Black Deering leads a band of desperadoes, but decides to give up the bandit life. Agreeing to go on one last job with his gang, he is captured when his henchman Jordan betrays the gang for the reward. Deering escapes and determines to avenge himself on Jordan. Written by Jim Beaver <jumblejim@prodigy.net>
Genres:
WesternParents Guide:
Add content advisory for parents »
Edit
See full technical specs »
Details
Country:
USALanguage:
EnglishRelease Date:
15 April 1920 (USA) See more »Also Known As:
Nevadamanden See more »Filming Locations:
Sonora, California, USACompany Credits
Show detailed
company contact information
on
IMDbPro »
Although not his best (see "Hell's Hinges", "The Narrow Trail" or "Wagon Tracks"), this is a fine example of a William S. Hart Western. He plays his patented role of the good bad-man, whose regeneration is progressed by the love of a pure woman. Here, it seems more of a personal battle of conscience, and there's the revenge plot.
The plot of "The Toll Gate" is not as tight as in other Hart vehicles, and, this one is excessively melodramatic. There's also some mild racism; moral goodness is equated to being white (as in Caucasian). On the other hand, there's nighttime photography and some nice use of tinting. The wear of age aggrandizes the odd, striking look of some of these scenes, such as with the glowing, red tinted silhouettes, or the blue sky from color deterioration in the final reel. The print, however, is in bad shape during the dénouement.
Hart's face was very expressive, and nowhere is that more visible than here. The refinements in film-making by 1920 help that and reflect the superior gloss and look of films at this time. Still, Hart's Westerns seemed outdated by then--not as entertaining and well constructed as just a few years ago.