The Toll Gate

Toll Gate, The (1920)

*** (out of 4)

Outlaw Black Deering (William S. Hart) wants to retire after his gang's latest robbery but they convince him to go after one more score. His partner ends up selling him out for the reward money and Deering swears vengeance no matter how long it takes. He manages to escape from the posse and ends up on a small farm where he saves the life of a young boy and becomes apart of his mother's life. Soon Deering wants to start life fresh with them but his past is close behind. If you've seen any of Hart's Westerns made before THE TOLL GATE then you're going to be thinking that this is a remake of about three dozen of them. In all seriousness, if you've seen one Hart picture then you basically get the same story one film to the next but it says a lot about the persona of Hart that he managed to make each film so fresh and exciting even when it offers up nothing new. At 70-minutes the film never gets boring as we're treated to some nice drama as well as a couple very good action scenes. The opening scenes of the men trying to rob the train were pretty exciting and the ending with Hart trying to track down the man who set him up also offers some nice tension. The majority of the film features the same old story of Hart being a very bad man who falls for a woman who then makes him want to change his ways. At least in this film his character goes through a transformation where the viewer can at least understand and see why he would want to change his ways. There are several cute scenes between the little boy and Hart that really make the film stand out. The boy never got to know his real father so he looks forward to having a new dad in his life and this here makes for some very good moments. Hart fits the role with ease as by this time he could do this type of role in his sleep. He's benefited from a very strong supporting cast including Anna Q. Nilsson as the mother and Richard Headrick as the kid. Tom Jordan does a very good job playing the snake who turns Hart in. The film also benefits from some authentic scenery that really helps build up an atmosphere of being in the Old West. While the story is something we've seen before, the film is a good example of how you can bring fresh life to an old tale and with Hart's performance you walk away satisfied.

"The Toll Gate" is a silent William S. Hart film and it's rather similar to several other Hart films I have seen. Unlike later cowboy heroes, Hart quite often seemed to play bad guys with some good in them. Perhaps it's just that these films are the ones that somehow survived or he played the parts a lot. All I know is that it's the 3rd or 4th film of his I saw where he played a bad guy...well, a sort of bad guy! The film begins with a western gang leader (Hart) announcing to his men that they should disband and go their separate ways, as they're bound to get caught thanks to all the attention they got through their banditry. However, one of the gang, Jordan, insists that they go on one final mission--and the rest of the gang agrees. So, Hart goes along--only to discover that Jordan set them up! He manages to escape--because the soldiers who caught him remembered his good deed when he saved the fort from attack some time ago.

Much of the rest of the film consists of Hart's character running from the law. Eventually, it leads to the home of a woman and her child--her no-good husband had abandoned them long ago. Again, Hart's character does good and so the woman agrees to hide him from the law. But, when Jordan and his new gang attack, it's up to Hart to help save the day.

Overall, this was a very good western and I was prepared to give it at least a 7. However, the ending was quite strange and anti-climactic. Decent acting, a good story and a print that varies considerably in quality. It's worth seeing but if you aren't familiar with Hart's film, perhaps you might want to see another one first--one with an ending that won't disappoint.

Anyone that thinks that Westerns didn't get tough and gritty until the 50s needs to see this excellent silent film starring William S. Hart (who also wrote the screenplay I believe). Hart plays an outlaw that goes gunning for revenge against the man who betrayed him, all the while trying to dodge local authorities. He comes across a single mother and her young son and wrestles with his conscience...something he thought he suppressed a long time ago. The plot is a direct precursor to the similarly-themed 'Shane' and 'Will Penny' and Hart is the forefather of the silent hard-ass (Clint Eastwood owes a lot to him). Beyond its historical value, this film is recommended just for being so damn good.

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.

This has become one of my favorite movies and certainly one of the best westerns I have ever seen. Having a soft spot for the genre (westerns are, or were, since they are no longer made very often, morality plays that too often have been denigrated by critics with intellectual pretensions), I purchased the DVD, sight unseen, because I had read enough about William S. Hart's work (much of which he wrote and directed) to pique my interest and thought I should have at least one of his films in my video collection.

I must admit that I approached the actual viewing with some trepidation. My previous experiences with silent cinema "classics" had left me feeling let down. Chaney's The Phantom of the Opera, Griffith's Birth of a Nation and Fairbanks' The Mark of Zorro were fine, but not nearly as good as their reputations would lead one to expect. They were either too long, or too theatrical, or both.

The Toll Gate, however, emerged as a pleasant surprise.

It is a story told in a simple and straightforward manner. Black Deering (played by Hart), leader of a notoriously successful outlaw gang, thinks the time has come for group to disband, before its luck runs out. He is, however, opposed by his chief lieutenant, Jordan, who goads them all into one last holdup by promising great wealth but leads them into a trap in which he is complicit. Everyone is killed except Deering, who is taken prisoner. When his captors recognize him as the man who once saved a number of soldiers and settlers by warning an outpost of an impending Indian attack, they allow him to escape. Free, he tries to find honest work but is snubbed and ridiculed and ultimately must rob again to survive. Soon, he is pursued not only by the sheriff's posse but also by Jordan (now prospering from the reward money he has collected) and his henchmen. His flight leads him to a remote cabin inhabited by a single mother and her little son. After some initial misgivings, they take him into their hearts. Deering sees a chance for a new life but, with the posse and Jordan closing in, realizes that this may not be possible.

Hart was the first great western star and the first to inject realism into the genre. As one of the pioneers of movie-making, he created many of the characters and situations that have become cliché in westerns for more than ninety years. What keeps his movies interesting, however, was his ability to go beyond the cliché (perhaps his imitators did not go far enough) so that the material appears fresh and innovative, even now. Three such instances in The Toll Gate illustrate this:

1) In one scene, his character shoots into a crowd in an attempt to kill Jordan, and kills a bystander instead. A subsequent close-up shows that he is clearly frustrated. The frustration, however, comes not from the fact that he has gunned down a man who had hitherto caused him no harm but that he missed his intended target.

2) In another, as he flees from the posse, his "borrowed" horse steps into a gopher hole and breaks a leg. Hart pulls out his gun to put the animal out of its misery but, before pulling the trigger, gives his head a sad, loving pat, as if to say farewell to an old friend.

3) And finally, after he has strangled Jordan and thrown his body over a cliff, he returns to retrieve his guns and spots his adversary's pistol lying on the ground nearby. He steps forward and gives it a swift kick before mounting his horse. It is a simple gesture but it underscores the deep loathing he feels for the man who betrayed him and his comrades.

And I love the title, The Toll Gate. It is allegorical in its implication that a man cannot begin a new life until he has paid for the sins of his old one. Deering's payment comes in the form of sacrifice. Today's more sophisticated audiences may not buy into that sentiment entirely but it can still work on you if you let it.

Viewers who like their videos in pristine condition will undoubtedly object to the DVD's picture quality, especially the badly deteriorated final reel. I don't mind at all. That a copy of this 1920 movie even exists at all is a miracle since prints of so many other silent movies have been lost. If you bear that in mind and look upon the film as a piece of history, its visual flaws are not that difficult to accept.

William S. Hart was born in 1870 in New York but grew up in the Minnesota and Wisconsin where he learned to speak Sioux and Indian sign language. He counted Wyatt Earp and Bat Masterson among his friends and collected Remington paintings, so his knowledge of the West was first-hand. If his vision seems overly romanticized by today's standards, it is nevertheless rooted far closer to reality than the spaghetti westerns of the '60s and '70s and the revisionist works that followed. Both the star and his films are overdue for re-evaluation.