In 1939, William S. Hart, a Shakespearean actor from New York who had been a key player in the making of Hollywood 20 years earlier, and for a time was considered its biggest silent star by virtue of filming “western” melodrama in a signature gritty and realistic style, re-released his 1925 silent epic “Tumbleweeds.” With it he offered a spoken introduction that was a sad farewell to both his own career and to the genre he had helped establish. This same year also saw the release of “Stagecoach,” John Ford’s benchmark. “Tumbleweeds” was a depiction of the actual opening of the Cherokee Strip in Oklahoma by the U.S. government only 50 years before and, to Hart’s mind, the end of the Western epoch. But the “western,” as we now know it, had just been re-born.
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