The Narrow Trail

Outside the pale of civilization, two western Kings roam. One is a wild horse; the other is William S. Hart (as Ice Harding), evil leader of the most daring band of outlaws in the Nevadas. Not surprisingly, Mr. Hart is the man to tame the wild Pinto, which he names "King". Then, masked for thieving, Hart robs a coach containing Sylvia Breamer (as Betty Werdin). The seemingly sweet Ms. Breamer is traveling with her "Uncle", Milton Ross (as Admiral Bates). Hart thinks Breamer is, "The most wonderful being he has ever seen." In town, Breamer's icky wonderfulness begins to melt Hart's icy wickedness. But, Hart doesn't know Breamer's secret…

The first of Hart's Paramount period (though, second released) is a definitive high point; "The Narrow Trail" is one of the best examples of the "Hart western" (if you're looking for one to sample). The star, director Lambert Hillyer, and photographer Joe August are at their best, creating a beautiful landscape for the Hart formula to play upon.

The film is perfectly paced.

Hart's horse, "Fritz" (as "King"), makes a screen "return", which fits amazingly well into the storyline. And, Hart has one of his most conscientious "man to horse" talks. Best of all is the twist on a recurring Hart feature; to wit, an otherwise ordinary woman attracts Hart with an allurement only he can see; but, this one's refreshingly different.

********* The Narrow Trail (12/30/17) Lambert Hillyer ~ William S. Hart, Sylvia Breamer, Milton Ross, Bob Kortman

Stagecoach robber Ice Harding and his gang are wanted all across California for their activities, but trouble brews when Ice gets a paint horse from the wild herd that his gang finds too much of a giveaway when recognizing the gang. Ice decides to split from his men and makes way to town to start a new life. He meets Betty Werdin and his uncle Admiral Bates and Ice is immediately falls for the young lady. We find out that Bates runs a dance hall on the Barbary Coast (with Betty as a dance hall girl), so he uses his niece to swindle Ice of his money. Betty refuses, so she and Bates return to San Francisco, where Ice manages to make his way. After nearly being shanghaied at Bates' saloon, Ice notices Betty and both seemed shamed because of their pasts, so they leave back to town, where a cross country horse race is being held and the $1000 grand prize will help the two start a new life, unless the sheriff and his men decide to lock up Ice for his past crimes. As usual, this William S. Hart film does not disappoint with a good deal of action, drama, romance and all in the right doses for a western. The standard Hart formula is well utilized here of the reformed bandit making good, but my gripe with the film were the scenes on the Barbary Coast because I felt it really made this western actually not be in the old west, as the other scenes indicated. Great fight though in the bar room between Hart and Kortman. The horse race at the end was exciting only topped by the ending with the confrontation between Hart and the sheriff. Rating, 8.

This is, apparently, William S. Hart's first Artcraft picture under Paramount, away from Triangle. Thomas H. Ince and cinematographer Joseph H. August join him, as does, for the first time, director Lambert Hillyer, who would direct many of Hart's Westerns, including "The Toll Gate" (1920). The top Hollywood stars of the era (Hart, Pickford, Fairbanks, Chaplin, etc.) tended to play the same characters every picture (not that this would significantly change later). Unlike Chaplin, Fairbanks, or Pickford, however, Hart has been largely forgotten today. I think this is mostly because one nation, the US, is nearly entirely responsible for the Western genre, which is based in a time that existed briefly and only in a part of the country. And, the Western film has not fared well anywhere lately. On the other hand, comedies, melodramas and swashbucklers have had more universal and lasting appeal.

I don't care much for some of Hart's vehicles, because they are often so much the same: Hart is the good bad-man--a bandit who reforms after seeing a pure woman. That's basically what happens in "The Narrow Trail", too, but it's not as black and white. This outing, the woman has her own personal quarrels. The cocky, charismatic good bad-man devoted to his pony falls down some stairs after trying to sit down. And, Hart takes a brutal mob beating at one point. Being familiar with star vehicles, one appreciates such subtle variations. Additionally, I find it easier to relate to Hart's passion for and romanticism of the old frontier as a result.

The quick editing and nice scenery, in addition to the scenes in San Francisco, help, as well. Parallel editing emphasizes the comparison between the leads when Hart reckons he'll follow her to San Francisco. As in other Hart Westerns, the vernacular is used well in the intertitles. There is also the appeal of simplicity, which the production of the film reflects. It's a simple story and film, with the simple values of a bygone era.

(Note: The print I saw seemed near-complete, but was missing some brief footage and contained very slight mottling. Its runtime was approximately 53 minutes.)