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Don (William S. Hart) and his sidekick Kentucky (Lucien Littlefield) have been cowboys for pretty much all their lives, drifting from one place to another wherever they were needed, and have been enjoying it, too. Presently they work on a cattle farm at the Cherokee Strip, Oklahoma, but that area has been written over to homesteaders by the gouvernment now, with homesteaders arriving a dime a dozen, all eagerly awaiting the signal for the "land rush", only after which it would be legal to stake any claim on any land. Don and Kentucky decide to move on, until they meet two homesteaders they come to fancy, Molly (Barbara Bedford) and widow Riley (Lillian Leighton) - and thus they suddenly decide to settle down. And while Kentucky has no problems getting on good terms with the latter, Don is naturally shy, especially with pretty woman like Molly, and acts all clumsy around her even if she's clearly fond of him. Problem is, Molly has a half brother, Noll (J. Gordon Russell), who's a rather bad apple, and he wants to marry Molly to crook Freel (Richard Neill). Noll and Freel soon notice Don will be a threat to their sinister plans, so they have him arrested, accusing him to be a "sooner" (a person trying to stake a claim before the official signal) and having him thrown into the slammer so he'll miss the land rush as such, and it also gets him out of favour with Molly. But Don has Kentucky bring his horse to the corral he and the other sooners are held at, then escapes, doing a bit of pole vaulting, and ultimately he catches Noll and Freel when they try to steal an old couple's (George F. Marion, Gertrude Claire) land - and of course in the end not only is his record cleared, he also gets the girl ...

Tumbleweed, last starring movie of silent western superstar William S. Hart, is a film that sure has its moments - especially the extended sequence of the land rush itself is breathtaking, as it manages to portray the event as a pretty merciless race, which each homesteader giving their all, and not always with a happy ending. The story  surrounding that historical event from 1893 (so just over 30 years prior to the film) on the other hand is pretty much routine stuff of the "boy finds girl, boy loses girl, boy wins girl back" variety, and while admittedly William S. Hart's stoic and thus a bit stiff acting lends itself surprisingly well to the comedy moments of the romance part of the movie, in all the story doesn't rise above standard fare, which is a pity as above-mentioned scenes would have well deserved a better vehicle.

review © by Mike Haberfelner

 

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