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HISTORY

Sources conflict concerning who directed and wrote this film. The title sheet for the film in the copyright descriptions and an advertisement list Lambert Hillyer as the sole director. Some reviews list William S. Hart as the sole director, while other reviews, Paramount publicity, and news items credit both of them. The copyright records and some reviews credit both Hillyer and Hart with the story, while other reviews credit only Hart, and an advertisement credits Hillyer with the scenario and Charles Alden Seltzer with the story. According to a modern source, the film is from the story "Somebody's Fool" by William S. ... More Less

Sources conflict concerning who directed and wrote this film. The title sheet for the film in the copyright descriptions and an advertisement list Lambert Hillyer as the sole director. Some reviews list William S. Hart as the sole director, while other reviews, Paramount publicity, and news items credit both of them. The copyright records and some reviews credit both Hillyer and Hart with the story, while other reviews credit only Hart, and an advertisement credits Hillyer with the scenario and Charles Alden Seltzer with the story. According to a modern source, the film is from the story "Somebody's Fool" by William S. Hart. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
ETR
3 May 19
p. 1677.
MPN
3 May 19
p. 2861, 2902
MPW
3 May 19
p. 714.
New York Times
17 Feb 19
p. 11.
Variety
25 Apr 19
p. 83.
Wid's
27 Apr 19
p. 15.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
NAME
CREDITED AS
CREDIT
DIRECTOR
PRODUCERS
WRITERS
PHOTOGRAPHY
ART DIRECTORS
Art dir
Art titles
SOURCES
LITERARY
Based on a story by Charles Alden Seltzer in Argosy Magazine (publication date undetermined).
DETAILS
Release Date:
20 April 1919
Copyright Claimant:
William S. Hart Productions, Inc.
Copyright Date:
23 April 1919
Copyright Number:
LP13657
Physical Properties:
Silent
Black and White
Length(in feet):
5,192
Length(in reels):
5
Country:
United States
Passed by NBR:
No
SYNOPSIS

Montana cowpuncher Lem Beason quits his job when his boss refuses to let him go to the rodeo. While winning the shooting championship, Lem attracts the attention of Chicago railroad magnate Gregory Collins, whose vault has just been robbed for the second time, and his guard killed. Collins offers Lem the job, but he turns it down until he meets Collins' poor but beautiful niece Rose. Disregarding death threats, and acting on instructions from Collins's secretary Carl Bruler, Lem goes to a dive to look for the robbers of the vault, which Lem calls "the money corral." He rescues a pretty girl and bests some of the Chicago underworld, but then discovers that the girl was trying to lure him to his death. After Rose rescues Lem from the ridicule of Collins' daughter and her society friends, they decide to go West, but first Lem catches Bruler and his gang robbing the safe. In gratitude, Collins gives Lem and Rose a ... +


Montana cowpuncher Lem Beason quits his job when his boss refuses to let him go to the rodeo. While winning the shooting championship, Lem attracts the attention of Chicago railroad magnate Gregory Collins, whose vault has just been robbed for the second time, and his guard killed. Collins offers Lem the job, but he turns it down until he meets Collins' poor but beautiful niece Rose. Disregarding death threats, and acting on instructions from Collins's secretary Carl Bruler, Lem goes to a dive to look for the robbers of the vault, which Lem calls "the money corral." He rescues a pretty girl and bests some of the Chicago underworld, but then discovers that the girl was trying to lure him to his death. After Rose rescues Lem from the ridicule of Collins' daughter and her society friends, they decide to go West, but first Lem catches Bruler and his gang robbing the safe. In gratitude, Collins gives Lem and Rose a ranch. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.