For many film lovers, silent era Westerns remain an untapped commodity. And unless you are a devote fan of this genre, the 1925 epic “Tumbleweeds” might be the greatest film that you never saw. An audacious, sprawling, emotional and exhilarating recreation of the 1893 land rush in the Oklahoma Territory’s Cherokee Strip, “Tumbleweeds” is a vibrant combination of history, melodrama, comedy, adventure and the wonderfully distinctive art form of silent movies that vanished once the microphone entered the cinematic equation.
“Tumbleweeds” is notable as the last starring feature for William S. Hart, arguably the greatest star of the pre-talkies Western. His strong, stoic yet sometimes unexpectedly sensitive type was the forerunner of the personas adapted by an endless number of tall-in-the-saddle cowboy stars. As a silent film star, Hart was brilliant at using facial expressions and body language to frame his on-screen heroism. And at 61 years of age when he shot this film, Hart truly came across as a presence who transcended time.
The tumbleweeds of the title refer to a nickname for the cowboys who work as cattle ranchers in an open Oklahoma that is on the verge of becoming overwhelmed by homesteaders. Hart is a foreman on one of these ranches, and his unhappiness that his way of life is coming to an end is buffered with a love-at-first-sight encounter with a lovely Eastern woman who arrived to stake a claim in the land rush. There is also a parallel story regarding his grizzled sidekick falling in love with a stout, earthy woman eager to begin a new life in the territory.
“Tumbleweeds” has an admittedly convoluted journey with comic entanglements, treachery and derring-do. Maybe the most remarkable moment involves Hart’s character (after being arrested on bogus charges) pole vaulting his way out of a stockade to join the land rush (okay, it was a stuntman, but it is still a joy to behold). The land rush sequence is a marvel of camerawork, stunt work and editing as covered wagons, horsemen and even a zany character on an old-fashioned bicycle race across the rugged land to stake their claims. The film’s long-forgotten director King Baggot created one of the most thrilling achievements in film history by bringing this historic event to breathtaking life; later attempts to film this event in the two film versions of “Cimarron” pale in comparison.
Contrary to the belief that silent films were rejected by audiences after “The Jazz Singer” changed the movie industry, “Tumbleweeds” was brought back into theatrical release in 1939 with a synchronized music score and sound effects. Hart, at the age of 74, was also brought back for his only sound film appearance to recall his career as a cowboy star. The actor had his professional roots in the late 19th century theater, which is obvious in his heavily dramatic declamations for the camera. Still, he was an entertaining presence who clearly loved being in the spotlight, and it was a shame that he bowed out of films after “Tumbleweeds” and never made an effort to transition into sound films.
For viewing “Tumbleweeds,” I might recommend the following digital restoration from film historian Geno Cuddy that is now on YouTube. Put time aside to enjoy it – if you never saw Hart’s films, you’re in for a treat.