Wid's Filmdom (1920)

ee ae Se a ea, Sunday, June 27, 1920 a DAILYW 9 Very Good Hart Picture With Star in Typical Role William S. Hart in “SAND” Paramount—Artcraft MrerCC DAEs SM i a as aes Lambert Hillyer UAL Tatu, ERP EES fs). ce se e's, Russell A. Boggs oN eee OB Yee i kas Lambert Hillyer ERISA Ng ogee sos Seceln wove Joe August mea WHOLE 2..3.. Virile western subject that has some very pleasing bits; will be sure to please Bill Hart fans POTN Yaa, Well suited to start and affords goodly share of opportunities DIRECTION ...... Splendid; many original touches Very good Good O. K. His usual self, pleasing as the western good, bad man SUPPORT Mary Thurman pretty and appealing; G. Raymond Nye a suitable villian EE sey ele @, © 6.6.6) /8| 6,0) 4) \0l-e ener & A (See Ses ¢ Sy 6 ¢ O 6 6 Ce 0 6 © 6 6 0 0 8 8 Be eee ae Ee 9 96.0 16)'@' @) 6 0.1.9 48 2 '@ 0 (6) Sn) @ SOL OLS STAR 6 hi 6 © me SS UESTD US RG) YAS Fine western shots rec) cs a ec ba wk how ans Few eA a. enn a be Good titling CHARACTER OF STORY .. Westerner who proves his mettle and wins the girl Peer EE RONUCTION: 1.000... 4,869 feet Folks won’t be disappointed in this latest William Hart offering. It’s just what they'll expect, a virile story of the great west. It’s a typical Hart picture and as such has been given a pleasing and adequate production that will surely please photoplay audiences, admirers of the star in particular. Director Hillyer has injected some clever touches that go toward making the picture worth while. quite appropriate and cleverly adapted to the action. Mary Thurman makes a very attractive heroine and is very pretty. They will probably want to see her in more Hart pictures. The story, an adaptation of Russell Boggs’ “Dan Kurrie’s Inning,’ while not containing anything particularly new in the way of Also the titling is material or any particularly original angles, affords sufficient matter for Hart whose performance, together with good direction and a generally careful production, make up for any deficiency in the story. Among the good touches and small bits of business that register effectively is where Hart in demonstrating his aptitude at handling a gun, shoots the dirt from under a chicken’s feet causing said fowl to immediately abdicate and the following close-up of the same chicken registering indignation. This piece got a round of laughs at the |Rialto. In the opening reel, Hart steps out of his usual role and is presented as an ex-cowpuncher and railroader seeking a job as station agent in a small western town. He is assigned to take the place of Pop Young, at Condor, Young having grown old in service and no longer able to take care of the station. Bill recognizes Pop’s daughter as the girl he used to ride twenty miles every day to see, some five years previous. Bill at first refuses to take Pop’s job away from him but Margaret explains that she and her father are to run Joseph Garber’s general store. Garber is the “powerful factor in the district,’ and an admirer of Margaret. Placing her in charge of his store is part of his plan to get her for himself. When Garber discovers Bill’s renewed attentions to Margaret, he plans to oust Bill from his job. Among the day’s mail is a large sum of money for Pete Beckett, a nearby ranchman and former employer of Bill’s. Beckett entrusts the money to Bill overnight. The safe is blown open and Bill is confronted by Garber who demands an explanation. But hero produces the money from his pocket. He had not put it in the safe. Finally Garber works Bill out of his job and Margaret believing Bill in love with Beckett’s daughter, accepts Garber’s proposal. A railroad hold-up in which Hart plays the big part by arriving in time to show up Garber as the leader of the hold-up gang works up a thrilling finish. Of course hero wins the girl. Will Be Sure to Please Picture Patrons, Star’s Friends Particularly Box Office Analysis for the Exhibitor. There’s little to fear regarding this getting over. It ~ will satisfy all and should prove particularly pleasing . for those who like Bill Hart and the character he represents. In “Sand” you can promise them a typical Hart picture, with the star in a truly characteristic role, that of the man of the great out-of-doors. A virile western atmosphere prevails throughout the production. Some pretty shots of western country, a thrilling hold-up in which Hart comes to the rescue at the crucial moment, a not altogether new but well handled sequence in which the political boss is “shown up,” all provide worth-while bits in “sand,” Play up the star’s name and the title. For catchlines say: “When you refer to your horse in terms of endearment, be sure your sweetheart isn’t around. She may not know who you are talking about. See how Bill Hart nearly loses his sweetheart in ‘Sand’ and you'll be sure to be careful.”