Steineded How sad is this?

Comwayon A Disappointing Continuation

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Matylda Swan It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

JohnHowardReid Hell's Hinges (1916) rates as not only a masterpiece but, so far as its main story is concerned, as a unique offering with few if any imitators. Preachers in Hollywood movies are invariably sturdily pretentious, like the self-ordained church-builder in Hart's own The Silent Man. The preacher villain, the preacher cad, the preacher down-and-out, the preacher who'd sell his soul, betray his trust, desert his flock, indulge himself in sex and booze is a definite Hollywood no-no. Yet here he is - and most ably portrayed by Jack Standing, while Louise Glaum does the sex bit. Another writing innovation by scriptwriter C. Gardner Sullivan lies in the film's extremely pessimistic mood. It wasn't until Clint Eastwood rode the range in High Plains Drifter (1973) and The Unforgiven (1992) that Hollywood re-introduced the downbeat mood of damnation with which this film concludes. Although the direction is credited to Joseph Swickard, Hart himself directed the movie from early September to late October 1915. As it's a five-reeler running only 64 minutes, my guess is that Swickard's scenes were limited to the ten-minute introductory episode with heroine Clara Williams, clergyman Robert McKim and turncoat Standing. When Hart himself finally enters the action in cahoots with smooth heavy, Alfred Hollingsworth, he presumably took over the direction as well. Joseph August's appropriately bleak photography is seen to advantage in the superb, richly red-tinted print available

a-cinema-history This is an unusual Western which uses the freedom which existed before the Hays Code to cast as a villain a faithless Reverend who gets drunk in the local saloon, spends the night with one of the saloon girls and takes part in the arson of his own church. Opposite him we find the Reverend's saintly sister, adequately called Faith, and the big gun Blaze who was determined to get rid of the parson but falls in love with Faith and because of that start believing in God, protects the justs and destroys the villains. Apart from the parsons who is torn between good and evil, the characters are quite unidimensional and racist stereotypes are present, in this case concerning Mexicans. The sudden transformation of Blaze from bad to good is a bit too sudden to be credible.The cinematography is quite innovative for the time with the use notably of a very wide shot with extended panning to follow a stage coach traveling in the hills. Editing is dynamic with efficient use of cross-cutting. Most of the action is filmed outdoor with the reconstitution of a Wild West settlement which is entirely burned down at the end. Sepia, blue and red tainting are used to convey the atmosphere of different scenes. Humour is also present e.g. when we are shown how the parsons imagines the West. The moralizing ending where the bad are punished is a bit too conventional.a-cinema-history.blogspot.com/2013/11/

Spikeopath Hell's Hinges is an early silent William S. Hart Western that sees Hart co-direct himself with Charles Swickard. He stars as Blaze Tracy, a gun-slinger who falls for a pastor's sister (Clara Williams) when she and her inadequate brother arrive in Hell's Hinges to preach the gospel. Once he catches her eye, this town will never be the same again. "Shoot first and do your disputin afterwards" Although a touch too heavy on the religious moral retribution angle, where the good-badman has his epiphany and the town of Hell's Hinges becomes a battle of the church against, well, this devil's den of iniquity, Hell's Hinges flies by. Acted superbly by Hart, a one time stage performer who was a hugely popular silent star of the time, film is full of action, often violent and closes down with a memorable bang. Jack Standing is suitably shifty as the hopeless parson (by parental pressure) easily led astray, and Williams provides some much needed emotional thrust when the film veers to being over preachy. 7/10

Michael_Elliott Hell's Hinges (1916) *** 1/2 (out of 4) Historic Western has William S. Hart playing "Blaze" Tracy, a notorious gunfighter who is evil pure through until he meets a young woman (Clara Williams) arriving in town with her Reverend brother (Jack Standing). Blaze is immediately attracted to the woman and soon he begins to have thoughts about changing his ways but the bad folks in town are trying to turn the Reverend into one of them. This is a pretty strong little movie even if it barely runs an hour and spends way too much of that time on top of a soap box. I was really impressed with what this film had to offer and I think it's fair to say that it deserves every bit of its reputation and status of being one of the first classics from the genre. The film is about good versus evil and religious versus non-religious and there's no question what side the film is on. I think the film spends too much time preaching to us but this is a small problem and one that isn't overly distracting. With that said, the film contains some very memorable shots including the first look at the town known as Hell's Hinges. I love the high shot overlooking the town where we get a good look at all the evils going on within this short take. The scene will take your breathe away as it's such a terrific shot and it lets you know everything you need to know about this place. We also get another terrific shot towards the end of the movie when the church is attacked and we get to see it's aftermath. Hart is terrific in his role and he does very good job at showing off the evils of his character but the actor also makes us believe his changing. I think the change happens too fast but there's no question Hart owns this role and really makes it a memorable character. Williams and Standing are also very good as is Alfred Hollingsworth in his role. Jean Hersholt is somewhere in the film but unspotted by myself as is John Gilbert in his first screen appearance. Apparently Hart directed the majority of the film even though he doesn't get credit for it and I must say that the entire film is quite an impressive achievement even if it doesn't run as long as some of the films were starting to do at the time. The movie contains some memorable characters, some terrific shots and a rather rousing ending and all of this makes it a must see.