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150 FILMS IN REVIEW

returned prisoner who discovers that the old Mabel Normand lot where
he had been framed by his wife and Mickey was made. He surrounded
a cop and decides to brand her with himself with men who greatly con-
an etched plate depicting a convict tributed to his success. Lambert Hill-
crawling out of a grave. Wagon yer was director; E. H. Allen, studio
Tracks was a story of a pioneer trek manager; Paul H. (Scoop) Conlon,
to the West Coast in the 1850s with publicity director; Joseph H. August,
Hart as a frontier scout. Sand was first cameraman; David Ragin, Dwight
President Woodrow Wilson's favorite vxr arren .and Victor Milner, assistant
Hart film. cameraman; Jack Nelson, assistant di-
In Cradle of Cottrage Hart por- rector; LeRoy Stone, cutter. August
trayed an ex-crook who, returning was one of the greatest American
from World War I, became a cop. cinematographers and later shot John
The Toil Gate, still shown a,t NYC's Ford's The Informer, The Plottgh and
Museum of Modern Art, contains the Stars, and They were Expendable.
some of the most spectacular stunts He died in 1947. Milner is still active
ever in a Western. The Whistle was and is now with Cecil B. DeMille.
not a Wes tern and had Hart as a In 1919, while Hart was in San
factory worker. Francisco for The Poppy Girl's Htts-
Hart soon had his own producing band, Mary Pickford visited him and
company, which, when not on loca- suggested he join Douglas Fairbanks,
tion, worked in a separate studio- D. W. Griffith, Charles Chaplin and

Hart & Hillyer (at camera) at work on WAGON TRACKS