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VISITING THE HART RANCH
This year the Natural History Museum is
Hart and his crew setting up for the land proud to announce the joint operation of the
rush scene in Tumbleweeds (1925) his last William S. Hart Park Museum with the
and one of his best films. Setups like this en-
abled Hart to get some truly unique shots for County Parks and Recreation Department. Free
a scene that was imitated in many later films. half-hour tours of Hart's home are offered
Wednesday through Friday from 10 a.m. to
2:30 p.m, and Saturday and Sunday from 10 a.m.
to 4:30 p.m. from June 15 through October 1;
from October 1 to June 15 tours are offered from
10 a.m. to 1 p.m., Wednesday through Friday,
and 11 a.m. to 4 p.m., Saturday and Sunday
Many of Hart's Westerns were shot on and
around the 265-acr-e ranch, which Hart named
La Loma de los Vientos, the hill of the winds. The
house itself contains Hart's collection oj art-
works by such Western artists as Frederic Rem-
ington and Charles Russell, his extensive
collections of weapons and Native American
textiles, and his personal memorabilia. The Hart
Ranch is located in Newhall, at 24151 Newhall
Avenue (8051 259-0855) and can be reached
from the Antelope Valley Freeway (Highway
14); take the San Fernando Road exit and follow
the signs.
TUMBLEWEEDS
On Saturday and Sunday, January 9 and 10,
1988, the Natural History Museum will be
showing Tumbleweeds, William S. Hart's
finest and final film . Hart directed and starred in
his stint with Arthur, good parts became from his determination to make West- this silent opus, which tells the story of the
harder and harder to find, and he sup- erns, but Hart was insistent, and Ince
Cherokee Strip land rush. This 19 3 9 reissue of the
plemented his income by working as a finally offered Hart a job as an actor so
19 2 5 film features a prologue by Hart and added
yard detective for the railroads. that he could become accustomed to
Finally, in 1905, he was cast in the role working in front of a camera. Hart was music an~ sound effects. The film is free and will
that served to ignite his career: "Cash" not happy with the two movies com- be shown in the museum's Jean Delacour Audi-
Hawkins in The Squaw Man. He took pleted under this agreement, and when torium at 2 p.m.
advantage of the play's Western theme Ince asked him to do a third feature,
and his own knowledge of the West to Hart protested. Ince was not keeping
make the character his own. The play his promise; Hart insisted on making
was a big hit and ran until 1907. Hart was his own films.
able to buy a house for his sister and Ince finally allowed Hart to collabo- The Bargain had turned out to be a
mother in Westport, Connecticut. In rate with C. Gardner Sullivan on the tremendous success. Ince sensed that
1907 he took over the title role in The screenplay for The Bargain, which was Hart was destined for stardom and held
Virginian, solidifying his image as a directed by Reginald Barker. As soon as up the release of On the Night Stage in
Western star. Rose died in 1909, but by The Bargain (1914) was completed Hart, order to capitalize on that stardom. Hart
this time Bill was too involved in his Sullivan, and Barker began work on a was not aware of this, nor was he aware
career to return home to be with her in second film, On the Night Stage (1915). of his possible earning power; he was just
her final days. He felt guilty about it for Hart was pleased with his first two West- happy to be making real Western films.
the rest of his life. erns, but a contract as an actor was not Although he did not begin to realize that
After his success in The Squaw Man forthcoming from Ince. He did offer Hart he was being exploited until later, it is
and The Virginian, more Western roles a contract as a director, but Hart declined clear that Ince took advantage of their
followed. While touring with the com- and returned to New York to look for friendship from the very beginning.
pany of The Trail of the Lonesome Pine work on the stage. In many ways, however, Hart was for-
in 1914, Hart decided to take a chance Hart was at one of the low points in his tunate to work with Ince. His studio
coming to California to make films. At career. Not only did he feel that his trip "Inceville" had wonderful facilities for
that time motion pictures were still West had been a failure, he was unable to making Westerns, and Ince did allow
something of a novelty, and while the find stage work upon his return to the Hart to make Western pictures in his
industry was still in its infancy, Western East. He had nearly given up when his own way. Hart followed his first two
films were already flooding the market, luck changed. Ince telegrammed him an films with one success after another, be-
and their popularity was dwindling. offer of $125 per week as a star, directing coming one of the top actors of his time
Nevertheless, Hart called the New his own pictures. Hart, his sister Mary as well as one of Hollywood's most suc-
York Motion Picture Company and was Ellen, and their beloved dog Mack cessful directors.
put in touch with producer Thomas Ince, packed up and were off to California, In 1915 Ince joined with Mack Sennett,
who was a friend of his and had once been tourist class. William S. Hart was finally Harry Aitken, and D. W. Griffith to form
his roommate. Ince tried to dissuade him on his way. Triangle Film Corporation and Hart

24 /TERRA, Vol 26, No. 2 · Nov./Dec. 1987