The Ruse (1915)
This early short starring William S. Hart lacks the complexity of his later features, but still differs from the more generic Westerns of the era by presenting a decidedly unusual storyline for its star. Hart presents a moral tale in which the simple values of the frontier are contrasted with the corrupt climate of the urban Midwest.
The movie opens by introducing the villain (John Davidson), a crooked mine promoter and his innocent stenographer, May Dawson (Clara Williams), who Davidson seems unduly interested in. Then the scene shifts to the West, where Hart as “Bat” Peters rides into town and defends an old drunk against a bully at a bar, then goes to check his mail. He has a letter from the promoter, who is interested in buying his mine. He suggests bringing samples of the ore to Chicago with him. Bat does so, and he and May make eyes at one another when they meet, and she suggests he room at her mother’s boarding house. Meanwhile, the crook decides to swindle Bat out of his mine, and makes plans with a small gang of hoods to pull it off. However, May hears the details of their plan, so she is kidnapped and held in a small room while the plan is put into action. Bat signs over his mine in exchange for cash and a “bogus Westerner” is introduced to show him the town. He is coaxed into a crooked poker game, with the intention of cheating him out of the money he’s been paid for his property. However, Bat sees the others trading cards and holds them at gunpoint. In trying to get out, he stumbles into the room where May is held, and then a fight breaks out as he tries to rescue her. The police, summoned by gunshots and a fire Bat has started, arrive, and take the crooks into custody. Bat and May go back to her mother’s house and he invites her to join him in the clean air of “the only land I understand.” The end.
I was a bit surprised to see a story set in Chicago starring William S. Hart. He’s still an upright cowboy though, so I guess it’s OK. It’s sort of a reversal of movies like “Wild and Woolly” where Douglas Fairbanks plays an easterner who goes West to find himself. The director seems to have been concerned that we would lose track of what day it was, because there’s a large calendar on the wall at the office that shows the date clearly, and it changes as the story moves from one day to the next. This movie, like “The Arizona Wooing,” was produced by the New York Motion Picture Company’s “Broncho Films” but there’s no obvious attempt to play on Broncho Billy this time. Hart probably wouldn’t have stood for it, although it occurs to me that Billy’s Essanay Company was located in Chicago, the den of evil in this movie, so there may have been a sly comment at work there. There isn’t much going on with the filmmaking here, mostly pretty standard shots and editing for the period, although there’s an insert shot during the poker game of one player’s hand passing a card to another, followed by a closeup of Hart glaring as this happens, so that at least there’s some use of technique. Bat seems to get off awful easy after shooting several men and starting a fire in the warehouse, but I suppose May’s testimony would have some influence on the police. Anyway, it’s not Hart’s best work, but it’s interesting to see where he came from.
Director: William H. Clifford , William S. Hart
Camera: Robert Doran
Run Time: 21 Min
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