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Trimmed is a american film of genre Western directed by Harry A. Pollard released in USA on 3 july 1922 with Hoot Gibson

Trimmed (1922)

Trimmed
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Released in USA 3 july 1922
Length 50minutes
Directed by
OriginUSA
Genres Western

Trimmed is a 1922 American Western film directed by Harry A. Pollard and featuring Hoot Gibson. Its survival status is classified as unknown, which suggests that it is a lost film.



^ Progressive Silent Film List: Trimmed at silentera.com

^ The Library of Congress American Silent Feature Film Survival Catalog:Trimmed

Actors

Hoot Gibson

(Dale Garland)Patsy Ruth Miller

(Alice Millard)Fred Kohler

(Young Bill Young)Alfred Hollingsworth

(John Millard)Otto Hoffman

(Nebo Slayter)Dick La Reno

(Judge William Dandridge)
Trailer of Trimmed

Bluray, DVD

Streaming / VOD

Source : Wikidata

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Suggestions of similar film to Trimmed

There are 279 films with the same actors, 16 films with the same director, 4224 with the same cinematographic genres, to have finally 70 suggestions of similar films.

If you liked Trimmed, you will probably like those similar films :
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As described in a studio publication, Bert Lyons (Gibson) returns to his ranch to discover his foreman dead and the ranch leased to a real estate shark. The new hands seem to be trafficking in booze and narcotics under the guise of raising cattle. He goes to see his sweetheart Molly Grainger (Olmstead) who shares her suspicions. The smugglers do not care for Bert's curiosity and plan to "get him." The new boss of the ranch has designs on Molly, and tells her that he will assist in freeing her brother Joe (Sutherland), who is in prison charged with murder, if she goes with him across the border. Bert learns of this ruse, tricks the smugglers, and rides to Molly's rescue. The smugglers are rounded up, and Joe is freed, leaving Bert and Molly to plan their new home.
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Based upon a review in a film publication, Cyril Henderson (Gibson), although growing up in a western community where guns are common and liquor freely drunk, was never raised by his Quaker mother (Claire) to be "rough." Cyril's sweetheart Grace Nolan (Murphy) returns from college and, to his dismay, town bully Art Jordan (Boteler) announces that she is his "steady." Grace goes along with this to teach Cyril a lesson. When Cyril then tries to get rough to please her, the people in the town laugh at him. Old Andrew McBride (Hoffman), who held mortgages on nearly everyone in town, is found murdered, and Cyril's father (Welsh) is arrested as the suspect since he was the last person to see McBride. Cyril tries to confess to the crime to free his father, but Sheriff Nolen, who is Grace's father, says "Cyril, you can't do it!" Art tries to get the townspeople to lynch John, but Cyril to the surprise of everyone knocks him down. After Cyril learns of further plans to lynch his father, he grabs a gun and covers the Sheriff and some townspeople, and then grabs Grace and rides off with her. The Sheriff and the townspeople ride after him. The issue of the identity of the murderer and Cyril's courage are settled in the desert.
The Cohens and Kellys
The Cohens and Kellys (1926)
, 1h20
Directed by Harry A. Pollard
Origin USA
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Rating62% 3.1050653.1050653.1050653.1050653.105065
As articulated in the Nichols case, The Cohens and The [sic] Kellys presents two families, Jewish and Irish, living side by side in the poorer quarters of New York in a state of perpetual enmity. The wives in both cases are still living, and share in the mutual animosity, as do two small sons, and even the respective dogs. The Jews have a daughter, the Irish a son; the Jewish father is in the clothing business; the Irishman is a policeman. The children are in love with each other, and secretly marry, apparently after the play opens. The Jew, being in great financial straits, learns from a lawyer that he has fallen heir to a large fortune from a great-aunt, and moves into a great house, fitted luxuriously. Here he and his family live in vulgar ostentation, and here the Irish boy seeks out his Jewish bride, and is chased away by the angry father. The Jew then abuses the Irishman over the telephone, and both become hysterically excited. The extremity of his feelings makes the Jew sick, so that he must go to Florida for a rest, just before which the daughter discloses her marriage to her mother. On his return, the Jew finds that his daughter has borne a child; at first he suspects the lawyer, but eventually learns the truth and is overcome with anger at such a low alliance. Meanwhile, the Irish family who have been forbidden to see the grandchild, go to the Jew's house, and after a violent scene between the two fathers in which the Jew disowns his daughter, who decides to go back with her husband, the Irishman takes her back with her baby to his own poor lodgings. The lawyer, who had hoped to marry the Jew's daughter, seeing his plan foiled, tells the Jew that his fortune really belongs to the Irishman, who was also related to the dead woman, but offers to conceal his knowledge, if the Jew will share the loot. This the Jew repudiates, and, leaving the astonished lawyer, walks through the rain to his enemy's house to surrender the property. He arrives in great dejection, tells the truth, and abjectly turns to leave. A reconciliation ensues, the Irishman agreeing to share with him equally. The Jew shows some interest in his grandchild, though this is at most a minor motive in the reconciliation, and the curtain falls while the two are in their cups, the Jew insisting that in the firm name for the business, which they are to carry on jointly, his name shall stand first.