Century Film Project

Celebrating the movies our ancestors loved

The Bell Boy (1918)

This short comedy from Comique stars Roscoe “Fatty” Arbuckle and Buster Keaton at the height of their collaboration, giving them a new occupation to demolish – hotel management. The use of large indoor sets and outdoor locations gives them some good opportunities for creative chaos.

Arbuckle and Keaton are uniformed bell boys at the Elk’s Head Hotel, which is managed by Al St. John. We first see Arbuckle emerging from an elevator and looking around carefully, before he protrudes a cigarette from inside of his mouth and smokes it. Keaton is lazing on an easy chair when Al rings the bell and both men hasten to the front. They zip up the stairs to the two visible doors and come out carrying bags. They take them out, leading the two guests to a horse-drawn streetcar, but when Arbuckle tries to throw one of his suitcases on top of the vehicle, it misses and hits Buster, causing the first of many pratfalls. They load up the carriage, the guests get on board, and Al gets into the driver’s seat, driving the contraption down the street and past the “Last National Bank” (remember that one).

 

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The Dream (1911)

This short film from IMP (the predecessor to Universal Pictures) is a simple morality tale about a philandering husband’s comeuppance. It is probably known today mostly because of starring a young Mary Pickford along with her then-husband Owen Moore.

The film begins by depicting a drunk couple out together in a restaurant. The man (Moore) staggers around and hands the waiter all of the money in his wallet. In the midst of their carousing, we briefly cut away to images of a woman (Pickford) sitting dejectedly at home alone, with dinner waiting on the table. She doses off for a moment, and checking the time, determines that it is getting quite late. An intertitle informs us that the husband returns six hours later, but the wife doesn’t seem angry or concerned, just happy to see him. That quickly changes as he yells at her, throwing the food she made on the floor and turning over a chair before passing out on a divan. She seems very upset by his behavior. Read the rest of this entry »

Amarilly of Clothes Line Alley (1918)

Mary Pickford gets to play an adult girl in this movie with a screenplay by her buddy, Frances Marion, who wrote child roles for her in “The Little Princess,” “Poor Little Rich Girl,” and other films. As in those movies, much of the emphasis here is on a contrast between the rich and the poor, with a sense that poverty and honesty are linked, as are wealth and decadence.

The movie begins, like many of the period, with an extensive introduction to the cast of characters. In addition to Mary in the title role of Amarilly Jenkins, we also meet her mother (Kate Price) and brothers, and her boyfriend, Terry (William Scott), who works as a bartender in a big nightclub in Clothes-Line Alley. On the “other side of the tracks,” are the Society people, represented by Mrs. Philips (Ida Waterman) and her nephew Gordon (Norman Kerry). Gordon has a friend with the auspicious name of Johnny Walker (Fred Goodwins), who he spends time with drinking at the athletic club, and who appears to sleep at Gordon’s studio.  Mrs. Philips wants to set up her nephew with a debutante (Margaret Landis), but Gordon keeps putting off her invitations – apparently he prefers spending time with Johnny for now.

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Excelsior! The Prince of Magicians (1901)

This short trick film by Georges Méliès depicts a brief magic show with just a hint of narrative to hold the interest. It is an example of his use of camera trickery in the service of an enhanced stage performance.

The proscenium-style stage suggests a reception chamber in a noble house, and Méliès walks out in the company of a liveried servant. He asks the servant for a handkerchief, but the man has none. Méliès then conjures one out of the astonished man’s mouth. He then holds it up and produces a large bowl from behind it. He asks his servant to fill it with water, but again the man has no idea how to begin. Méliès pumps his arm and water shoots out of his mouth. Then he takes two fish out of the servant’s mouth, and we see them swimming happily inside the bowl. Méliès gives the bowl to his servant and soon there are flames shooting out of it where there were fish a moment ago. Méliès turns the bowl into a large lobster, and the lobster into a woman, then the woman becomes two small girls riding piggyback, and finally the girls disappear and are replaced with a large piece of fabric. Méliès kicks the servant off the stage and wraps himself in the fabric, flying up and off the stage as well, then he runs back out from stage left and catches the falling fabric in his hand, bowing at last to the audience.

A number of the tricks we see here are equivalent to tricks of misdirection that a magician might perform live on stage, but made easier with substitution splices. The items coming from the servant’s mouth, and the things appearing and disappearing from behind handkerchiefs or large pieces of fabric are examples. I was rather surprised when water started spewing out of the servant’s mouth, and wondered if audiences at the time saw this as “vulgar,” a reference to bodily fluids or vomiting. It looks like a water pump, of course, so it isn’t as gross as could be, but I still wondered a bit, and wondered if French and American audiences of the time would see it differently. The only real narrative we have is the hapless servant, who never seems to have what he needs or to know what to expect. Still, it’s an amusing piece, and probably gives a taste of what Méliès did in live performance as well.

Director: Georges Méliès

Camera: Unknown

Starring: Georges Méliès

Run Time: 2 Min

You can watch it for free: here.

The Bachelor’s Paradise (1901)

Alternate Title: Chez la sorcière

This short trick film from Georges Méliès shows off his ability to construct a satisfying narrative around a slight story and a couple of simple effects. The French title means “House of the Witch,” which gives it a slight horror element, but it isn’t very scary.

The movie takes place on a proscenium-style stage dressed as the workshop of a sorcerer or magician. Certain set-pieces are recycled from previous movies, including “The Alchemist’s Hallucination.” At the center of the stage is a cauldron held up by a ring of metal frogs. The witch, an ancient crone (I believe it is Méliès in costume) is reading some kind of mystical text, when she is interrupted by the entrance of a young man in the clothes of a dandy. He commissions a spell from her, and she sets to work at the cauldron. She pours in a potion of some kind, then dances around the cauldron waving her walking-stick as if it were a wand. Soon, a young woman levitates out of the smoke billowing from the cauldron. The young man inspects her, but seems uncertain, so the witch gestures, and soon four new girls appear, one after the other, standing in a line next to the first one. The bachelor inspects each carefully, and finally makes a selection. He takes this girl over to a chair at the right side of the screen, and the witch makes the others disappear. Now the young man attempts to woo the magically-summoned young lady, but suddenly she transforms into the crone, cackling with laughter, when the bachelor recoils, she turns him into a donkey, then rides him around the stage, hitting him with her stick.

Another of Méliès’s charming little magic movies, this one got me to thinking that one rarely sees a man dressed up as a woman in a Méliès movie, whereas it was common at the Edison studios for quite some time. I’m not certain that the witch in this movie was a man, but I believe it was. Still, when Méliès wanted a pretty young woman in a movie, that was what he used, not a man in woman’s clothing as was usual at Edison. This may mostly reflect opportunity: Méliès ran a theater and had contact with lots of young actresses, while the Edison Studio was run by engineers, who had to make an effort to find an actress willing to perform in front of a camera. Although the set up for this film is quite sexist – a man attempts to buy a woman from a procuress – the ending puts a bit of a feminist spin on it. Méliès may not really have intended it that way, he probably felt that it was funnier and a bit more family-friendly to have the bachelor receive a comeuppance. It does work for a few chuckles, at least, and the donkey suit is charming.

Director: Georges Méliès

Camera: Unknown

Starring: Unknown, probably Georges Méliès

Run Time: 1 Min, 50 secs

You can watch it for free: here.

Good Night Nurse (1918)

This short comedy from Roscoe “Fatty” Arbuckle’s Comique Film Company was released in July, 1918 and co-stars Buster Keaton. Arbuckle is at the center of action, but as usual his collaborators get good opportunities to shine as well.

The movie begins on a rainy street corner, in front of a pharmacy. Arbuckle is standing in the downpour, futilely trying to light a cigarette, and occasionally getting chased off the stoop by the pharmacist. A woman with an umbrella (supposedly Keaton, but we never see her face) is blown down the street and Arbuckle attempts to help her against the storm. In the process, hr umbrella is destroyed and she does several pratfalls. Soon, she returns in the direction she originally came from. Now a drunk (Snitz Edwards) joins Arbuckle on the corner, sitting in the gutter. A policeman walks up, and Arbuckle realizes he should stand up and be nonchalant, trying to signal the drunk to do the same as he again tries to light a match to smoke a cigarette. The policeman sees this and laughs at his attempts. Now a gypsy organ grinder and his assistant walk up, and Fatty gives them a coin and asks for the national anthem. This makes the police officer take off his rain hat and stand at attention, and Arbuckle is able to use its protection to finally light up a cigarette.

Arbuckle takes the gypsies back to his house, where his wife has just read about a new surgical cure for alcoholism, at some place called “No Hope Sanitarium.” When the gypsies’ monkey sneaks into her room, she concludes that Fatty needs to take the cure. The rest of the movie takes place at the Sanitarium, at which point the film’s title finally begins to make sense. As Arbuckle is being taken in, he sees a man covered in bandages (apparently this is Joe Keaton, Buster’s dad) leaving on crutches. Arbuckle stops to sympathize with the man, who assures him he’s fine, now he’s been “cured.” This does little to build Arbuckle’s confidence, but his wife insists on bringing him in. Soon, he meets the doctor in charge of the place (Buster Keaton), who arrives in a smock covered in blood. He also meets the “crazy” girl (Alice Lake) who will serve as his illicit love interest, even while wifey is still around watching. When she jumps into his arms and kisses him, what can he do? After all, she’s crazy.

Arbuckle and Lake soon devise plans to escape, using a massive pillow fight amongst the patients as cover, but as soon as she’s outside, she wants to go back in. Arbuckle hides by jumping into a pond, then sets up a hose to blow air so that it looks like he’s still under when the orderlies come to “rescue” him. Then he spots a large nurse (Kate Bruce) going on her lunch break and decides to swipe her uniform to make an escape. He runs into Keaton in the hallway and the two of them flirt, Keaton obviously convinced that he is a large nurse. Then the real nurse returns and blows his cover. Arbuckle runs out into the countryside, winding up in the midst of a cross-country race, which he inadvertently wins. As he is accepting the prize money, the doctors and orderlies surround him, wrestling him down. Suddenly he wakes up back in the Sanitarium, where he has been given ether; all of his escapes are now revealed to be a dream.

This is yet another movie in which Arbuckle and/or Keaton dress in drag for laughs – both of them in this case, if online sources are right and Keaton is the woman with the umbrella. This scenario somewhat resembles their earlier collaboration, “The Butcher Boy,” where Arbuckle tried to rescue Lake from a boarding school by dressing in drag, but with a much heavier emphasis on Keaton’s character and abilities. The pillow fight sequence reminded me of earlier Edison comedies that relied on this gag for humor and titillation, but note that there was also one in “The Butcher Boy” as well. Keaton’s awkward “flirting” with Fatty has to be seen to be believed, it’s one of the funniest on-screen crushes this side of Elmer Fudd. An odd detail stuck out to me in this movie. In most of the silent comedies, especially the “Keystone Kops” movies, the policemen are funny-looking. The policeman in this film is quite handsome, at least pretty normal by comparison. I think he was probably cast for his height rather than his look. He needed to be tall enough that when he held his hat at his breast, Arbuckle could conveniently get under it to light a cigarette. It’s still remarkable that they didn’t give him a false mustache or bushy eyebrows or something. Maybe they would have fallen off in the rain.

Director: Roscoe “Fatty” Arbuckle

Camera: George Peters

Cast: Roscoe “Fatty” Arbuckle, Alice Lake, Buster Keaton, Al St. John, Joe Bordeaux, Joe Keaton, Snitz Edwards, Kate Bruce

Run Time: 22 Min

You can watch it for free: here (no music) or here (incomplete, with music).

June 1918

The news round-up this month is a bit deceptive, because a lot of the important historical events of this month weren’t heavily covered at the time. The biggest event really is the escalation of the “Spanish Flu” to a pandemic, but no one knew in June that it would ultimately kill more people than the First World War. The Bolsheviks weren’t advertising the fact that they had begun killing off the Romanov royal family, either. And, the important document the British government sent to the Syrians, assuring them of the principle of national self-determination would have significant influence on the Treaty of Versailles, although it received little publicity at the time. Sometimes, we don’t know what the most significant events of our times are until we can look back at them with some perspective.

 

World War One:

The Battle of Belleau Wood begins June 1. The U.S. Army 2nd Infantry Division deployed troops, including the 5th and 6th Marine Regiments, to hold Belleau Wood near the Marne River in France after the towns of Château-Thierry and Vaux fell to the Germans.

Allied counterattacks in the Third Battle of the Aisne on June 3 halted the German advance at the Marne River. Allied casualties were massive at 127,000, including 98,000 French casualties and 29,000 British casualties. Germany suffered slightly more with 130,000 casualties

The Austro-Hungarian dreadnought battleship SMS Szent István is sunk on June 10 by two Italian MAS motor torpedo boats, off the Dalmatian coast.

The first airplane bombing raid by an American unit in France is carried out June 12.

Grand Duke Michael of Russia

Russian Revolution:

Grand Duke Michael of Russia is murdered on June 12, thereby becoming the first of the Romanovs to be murdered by the Bolsheviks.

World Health:

The “Spanish ‘flu” becomes pandemic. Over 30 million people die in the following 6 months.

Disasters:

RMS Kenilworth Castle, one of the Union-Castle Line steamships, collides with her escort destroyer HMS Rival on June 4 while trying to avoid her other escort, the cruiser HMS Kent.

Astronomy:

V603 Aquilae, the brightest nova observed since Kepler’s of 1604, is discovered June 8.

Diplomacy:

The Declaration to the Seven, a British government response to a memorandum issued anonymously by seven Syrian notables after the Balfour Declaration and the Sykes-Picot Agreement became known, is published June 16. It assures Arabs of the British government’s support of the principle of national self-determination after the war is over.

Crime:

Suspects in the Chicago Restaurant Poisonings are arrested on June 22, and more than 100 waiters are taken into custody, for poisoning restaurant customers with a lethal powder called Mickey Finn.

Film:

Marion Davies produced and starred in her second feature film Cecilia of the Pink Roses, released through Select Pictures on June 2.

Theda Bara starred in the silent drama Under the Yoke, released June 9, which became noteworthy in its controversy in later years for its depiction of Filipinos and the one-sided view of American occupation in the Philippines.

Born:

Robert Preston (actor, in “The Music Man” and “Victor/Victoria”) June 8.

Jane Bryan (actress, in “Kid Galahad” and “Brother Rat”) June 11.

Ellen Liiger (Estonian actress, known for the film adaptation of Karge meri) June 26.

What Is Home without the Boarder? (1901)

Alternate Title: La Maison tranquille, The Quiet House

A typical short comedy from Georges Méliès, but without any camera trickery in this case. The gleeful anarchy of this piece pre-sages later developments in silent slapstick comedy.

A proscenium-style set has been divided horizontally between two stages. In the lower one, a couple in dark clothes has dinner in an orderly bourgeois dining room. In the upper stage, three men in their bedclothes dance and play musical instruments. The men upstairs kick a hole in the floor/ceiling and steal wine from the table of the couple, who run out in fear. Then, one of the trouble-makers (Méliès) jumps down into the room and sends the turkey up to his flat-mates to eat. He covers himself in a sheet and simulates an elephant, terrifying the landlady when she comes back to investigate. He returns to the upstairs space in time to help his comrades defend their territory when a policeman is summoned. The policeman is pelted, first with powder and wine, then with a mattress and other pieces of furniture the men have to hand. When he, the landlord, and landlady finally retreat, the men jump downstairs and dance around, piling furniture against the door to stop any further intrusions of their chaotic fun. The movie ends with them victorious.

In this movie, Méliès utilizes several comedy tropes that would later be exploited by Charlie Chaplin and other famous silent comedians: celebrating confrontation with authority (the landlord and police), emphasis on fast action, escalation of violence and absurdity in rejection of social rules. All of these elements make for a very funny film, and the comedians who would later embrace them understood, as Méliès did the way this kind of chaos allows a release for people living in a highly structured modern society. On another level, this kind of comedy reflects the hidden fear of moderns that the veneer of social behavior can be dismissed as soon as one (or in this case three) member rejects it and that society will be helpless to contain them without their voluntary surrender. The ironic title in both languages suggests a degree of identification with the landlords, who have taken in boarders to benefit themselves economically, only to find that their comforts are threatened by this very arrangement. At any rate, the whole piece is great fun, and a measure of what Méliès could achieve without any magical effects.

Director: Georges Méliès

Camera: Unknown

Starring: Georges Méliès, unknown

Run Time: 1 Min, 20 secs

You can watch it for free: here.

Bud’s Recruit (1918)

This two-reel narrative was produced as a “positive” film for young people, by a philanthropist concerned about the state of youth in America. It uses the theme of patriotism and the war effort to deliver a message about the innate decency of American boys.

The opening title explains this as a “Judge Brown Story,” but the judge is nowhere to be seen in this movie, so I’ll talk about him a little after going through my synopsis. The movie proper begins by introducing us to “Bud” (Wallis Brennan), a young man who likes to dress up in uniforms and play army games. He blows on his bugle and various other boys from the neighborhood rush over to line up for drilling. A couple of smaller children come up to ask if they can join in, and Bud takes them to a tree where he has marked the minimum height for participation. One makes it, the other does not. Then, that smaller boy gets the idea of standing on a rock, and Bud lets him in, not fooled, but appreciating the boy’s spunk. He gives the little boy a drum to beat while everyone marches. It isn’t long before he loses interest in all the hard walking and sits down under a tree with a puppy. When Bud finds out, he sentences the child to death for desertion, so the boy runs away quickly while the rest of the recruits fire their wooden guns at his back. The boy runs to his mother, who takes on the regiment with a frying pan and routs them, meanwhile beating the stuffing out of a dummy of Kaiser Wilhelm II that they set up for target practice.

Meanwhile, we meet “Reggie” (Robert Gordon), who is Bud’s older brother and has no interest in things military. He sits around in the backyard smoking and drinking lemonade served to him by an African American butler. His girlfriend Edith (Ruth Hampton) is reading  the paper and learns that Reggie’s draft number is so low that there’s no chance he will be called up to serve, which is a relief to them both, as well as to Reggie and Bud’s mom, herself involved with pacifist meetings. Bud objects to the lack of patriotism and is sent to his room without dinner, but he says it’s fine because it’s a “meatless day” anyway. In his room, he puts up various recruiting posters and looks at them longingly. We learn that Edith’s sister also has a beau, who signed up for service because he wasn’t going to be drafted, setting up a new pressure on Reggie to demonstrate his manliness. Reggie goes to the bedroom he shares with Bud and takes down the recruitment poster from the wall, but Bud draws a line with chalk across the middle of the room – one side is for patriots, the other for cowards like Reggie.

The next day, Bud leads a counter-protest of his boys when Reggie and mom attend a peace meeting in the living room. They carry a sign that says “We Want Peace – After We Lick Em!” Edith, apparently finding this more amusing than the dull speeches inside, picks up an American flag and joins the march. Reggie is led back inside by his mother, making him seem all the more dominated and infantilized. That night, while Reggie sleeps, Bud reads a newspaper story about German air raids that kill women and children, and he resolves to take action. If Reggie won’t volunteer to fight, he can dress up as Reggie and sign up himself in his brother’s name! He puts on a false mustache and swipes a pair of Reggie’s glasses and some of his clothes, and heads down to a Recruiting Office. The soldier there looks like he would pretty much sign up any boy who said he wanted to join, whether he dressed up or not – he doesn’t even apply Bud’s “tree test” to see how tall he is.

The news comes out in the local paper’s “honor roll” of volunteer soldiers. Reggie is as surprised as anyone to see his name on the list, but before he finds out a soldier shakes his hand on the street and Edith’s sister sneaks up and kisses him! Edith now seems quite proud of Reggie, but mom is still deeply concerned. Then Reggie goes up to his room and shows Bud the article. He spots his glasses in Bud’s pocket and puts two and two together. The two brothers get into a fight, with Bud coming out on top and ordering Reggie to leave town so that he (Bud) can go through with his plan and join the army. Reggie says “uncle” and agrees. In the next scene, he’s at a train station, but of course there are recruitment posters there and he starts having second thoughts. Bud dresses up to report for duty, but he is met at the base by Reggie, who can’t let his kid brother do his duty for him. Bud seems astonished at first, but he smiles and runs off to tell Edith and his family the news. Everyone runs down to the base to see Reggie in his new uniform, and the servant sums up the situation, saying he “always knowed that boy had red, white, and blue blood in his veins.”

Classic movie fans will generally be familiar with Father Edward J. Flanagan and “Boys Town,” but they may not have realized how many similar projects there were in the United States at the time. This movie was made by the “Boy City Film Co.,” a project of Judge Willis Brown who did indeed run a chain of so-called “boy cities” across the nation. The Boy City Film Company produced a series of films to promote clean entertainment, of which this was the first. Most of them evidently did feature the Judge himself as a dispenser of wisdom and resolver of disputes, but this first movie only features him in a still photo as a prop. These movies are mostly lost, and would probably be entirely forgotten, except that the Judge was able to find a rather promising young man named King Vidor to direct them. This is not his first film (in fact he had been directing since 1913), but it is by far the earliest one I’ve ever seen. Given the heavy-handed intentions and presumably limited budget, it is a very effective movie, especially in terms of its comedy. The boy actors are charming, and always seem to give the adults a run for their money. Vidor seems to have internalized Judge Willis’s belief that boys “do not need to be saved,” and are naturally inclined towards goodness and decency, even when adults around them behave questionably. The movie comes across as innocently naïve, where it could have easily been foolish or preachy, which I believe is a testament to Vidor’s subtlety and sensitivity, more than to strength of the script itself.

Director: King Vidor

Camera: Unknown

Starring: Wallis Brennan, Robert Gordon, Ruth Hampton, Mildred Davis

Run Time: 26 Min

You can watch it for free: here (no music).

100% American (1918)

Mary Pickford stars in this promotional film for the Fourth Liberty Bond during World War I. While it’s predictably preachy, the film does take advantage of its star’s charms and gives a brief narrative to hold the audience’s interest while arguing that it needs to “do without” in order to support the war effort.

Pickford is introduced a “Mayme,” a typical young American woman who likes to indulge in the pleasures of an affluent society. The story begins with her and a girlfriend or roommate at an amusement park, dazzled by all kinds of opportunities for meaningless consumption and fun. They are distracted by a man giving a speech – possibly a barker for some new attraction. He turns out to be a “four minute man” – a public speaker drumming up support for buying war bonds. At the climax of his speech, he points at the camera and asks, “What are you giving right now?” A reversal shows Mayme reacting to this question. Evidently she feels guilty for not doing enough. She and her friend continue along the boardwalk and Mayme window shops longingly, but resists the urge to go into a store and buy new clothes. Then she and her friend go to a soda shop. While her friend eats ice cream, Mayme orders water. Finally, she walks home alone to save car fare.

The next scene comes on “bond day.” Mayme stands in a line of people, ready to buy their war bonds. She has saved up a sizable wad of bills, but she gets nervous when an ugly man takes an interest in her, and she stashes the loot. When she reaches the head of the line, she looks in her purse and can’t find the money – she’s already forgotten that she hid it – and she accuses the ugly man of robbing her. A policeman comes over to shake him down and meanwhile, Mayme finds the money, buy her bond, and makes a hasty retreat after correcting her mistake.

The movie now looks forward to “after the war” when Mayme is qualified to go to a “100% American” dance with soldiers and other bond-holders. Her fashionable friend cannot attend this event, because she failed to buy bonds. But, Mayme has pity on her and lets her take her bond. After she leaves, Mayme collapses in remorse that she can’t even go to the celebration. Then, Mayme’s soldier boyfriend comes home. He has bought two bonds, so that they can still go together. The final scene is a live-action political cartoon, in which Kaiser Wilhelm II is suspended from falling into “the soup” on a thin high wire labeled “Hindenburg Line.” He tries to retreat from France to Germany, but is weighted down by various burdens, with labels like “brute force” and “clown prince.” Mayme takes out a baseball labeled “Fourth Liberty Bond” and knocks him off the wire, simulating the kinds of amusements she forsook at the beginning of the film. Then she points to the camera and suggests that, “Your’s may be the bond to knock him off his perch!”

By 1918, Mary Pickford was possibly the biggest star in the world (easily in the top five, at any rate). Her support of liberty bonds was well known, and she donated a considerable amount of her valuable (and expensive!) time to public appearances in support of them. There’s an irony to the title of this film, however, since she was in fact a Canadian citizen! Her home country had been fighting for almost four years by the time any American troops showed up, and perhaps that was the reason for her urgency in trying to get the war over as quickly as possible. Of course, she had already starred in “The Little American” and was known as “America’s Sweetheart,” so audiences probably didn’t see this as a big problem. She was an actress playing a role, and in this case that role was of a patriotic American girl who sacrifices her immediate pleasures for the sake of the war effort. Unfortunately, the concept of “100% American” would be used after the war to hound immigrants and leftists during the “Red Scare.”

Feet!

This sort of short propaganda film doesn’t show off the best in film making technique of the time, but there are some interesting bits. The reversal to Pickford after the four minute man breaks the fourth wall is particularly well executed in terms of editing, and handled very quickly, to keep the emotional verisimilitude high. There are a number of insert shots of Mayme’s fashionable shoes, perhaps to establish her as a person given to extravagance, or perhaps in the interest of titillating the male audience, as shoes and feet seem to have been a big deal since the days of “What Demoralized the Barber Shop” and “The Gay Shoe Clerk.” I found the final “cartoon” interesting as well, since it involved so many different ideas being integrated into a single image.

Director: Arthur Rosson

Camera: Hugh McClung, Glen MacWilliams

Starring: Mary Pickford, Loretta Blake, Monte Blue, Henry Bergman

Run Time: 14 Min

You can watch it for free: here.