Hart's good-bad man was always an outsider.
哈特扮演的被误为坏人的好人总是一个局外人。
Hart's good-bad man was always an outsider, always one of the disinherited.
哈特扮演的被误为坏人的好人总是一个局外人，总是一个被剥夺继承权的人。
He embodied “the good-bad man”, a figure in search of redemption, and reached his peak with Hell’s Hinges (1916) and The Toll Gate (1920), and he bowed out in 1925 with the epic Tumbleweeds.
他将寻求赎罪而“徘徊于善恶之间”的角色表现得活灵活现，将内心世界的纠葛与矛盾展现得淋漓尽致。 1916年上映的《地狱的铰链》与1920年的《关税》达到了他的艺术顶峰。
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