Century Film Project

Celebrating the movies our ancestors loved

The Busher (1919)

This baseball film from Thomas H. Ince emphasizes small-town values and staying true to your roots as ideals, just as many films about “the Great American Pastime” would do in years to come. It features a young Colleen Moore as the love interest, still a few years away from becoming the national symbol of “flapper” fashion.

The movie begins by introducing us to Ben Harding (played by Charles Ray), a small-time pitcher from Brownville. He is already in his baseball uniform as the movie opens, and we get the idea that he’s pretty devoted, in part because he carries a baseball glove around in his pocket. He tries to sneak past his snoozing father on his way to the ball park, but he drops the chain that fastens the gate to the fence and has to go back and tell him where he’s off to. Dad looks stern, but we can see he’s secretly proud of his son’s talents. Read the rest of this entry »

Advertisements

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.

Pardon me ma’am, but is today the 23rd?

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

Starring: William S. Hart, Clara Williams, John Davidson, Gertrude Clair, Bob Kortman

Run Time: 21 Min

I have not found this movie available online for free. If you do, please comment.

An Arizona Wooing (1915)

This lightweight Western short was evidently intended for children and unsophisticated audiences (the bad guy even wears  black hat!), but it works well enough for the time it was made. It was directed by and stars Tom Mix, one of the biggest Western stars of the silent era.

The movie begins by establishing that Tom Warner (Mix) is rivals with “Mexican Joe” (Pat Chrisman) for the affections of Jean Dixon (Louella Maxam). Jean and Tom are on a date out on the range, and Warner goes to a creek to get Jean some water when Joe rides up. He’s kitted out in Mexican finery, and wears a gun (Tom does not). He immediately starts harassing Jean, insisting that she come with him and Tom runs back over and punches him, sending him packing. Next, it is established that Tom is a sheep farmer in cattle country by showing scenes of Tom nursing a baby sheep with a bottle. Jean’s father, Thomas Dixon (William Brunton), gets together with a bunch of other cattle ranchers to write Tom a note saying he needs to stop raising sheep, or else. He responds by asking Jean to meet him at the corral, which angers Mr. Dixon still more. He meets up with Jean, they exchange pleasantries and kiss, and as soon as she’s gone a group of about seven ranchers set upon Tom and tie him up. They ride out to a bluff and tie Tom to the ground, warning him that he’ll stay that way until he agrees to give up sheep farming. The next morning Mexican Joe rides up and slaps Tom in the face now that he’s helpless. Jean comes along and remonstrates with Joe, which results in him kidnapping her. Mr. Dixon now rides out to the bluff to give Tom some food (he’s not heartless) and Tom tells him what’s happened. Mr. Dixon frees Tom and rides off to round up a posse. Tom is able to get to his horse and gallops out to the parson’s, where the Mexican was just minutes away from marrying Jean. He runs as soon as he sees Tom, but Tom lassos him and drags him back to the posse, who take him away. Jean and Tom embrace while Mr. Dixon looks approvingly on, apparently now reconciled to having some sheep on the range.

Just looking at the names in the title credits, I knew who was going to win, even before I noticed that Warner was played by Mix. The movie has no surprises in terms of race, although for half a second I thought Mexican Joe might be decent and free Tom when he found him tied up. I should have known better. The sheep/cattle issue is simplified to a point of being ridiculous, although it seems to have been an excuse to include some cute images of baby sheep, maybe for the littler kids. This is the first Tom Mix movie I’ve reviewed on this blog, I believe, and he lives up to his reputation for providing very simple, super-clean Westerns with action and moral plots. I actually hadn’t known his career started this early, since one usually hears him mentioned in connection with the 1920s, but evidently he worked at Selig from at least 1910 to 1917.

Director: Tom Mix

Camera: Unknown

Starring: Tom Mix, Louella Maxam, Pat Chrisman, William Brunton, Sid Jordan

Run Time: 15 Min

I have not found this movie available for free on the Internet. If you have, please comment.

The Hayseed (1919)

This small-town comedy from Roscoe “Fatty” Arbuckle’s Comique Film Company once again takes various elements from earlier Arbuckle movies, and puts them in a blender with a whole bunch of new and improved gags from him and Buster Keaton, now a fully-fledged sidekick in the company.

The movie starts off by showing us the town general store (which has a large sign: “Why Go to the City to Be Cheated? Buy Here”). Keaton is the store’s clerk and Arbuckle is the postman, who also operates out of the store. In an opening gag, Arbuckle is carrying a huge stack of mail and packages out to the buggy he uses for delivery, and he and Keaton collide, sending parcels everywhere. Then they start hitting each other with the discarded mail, until the store owner runs out and breaks it up. Arbuckle jumps in his jalopy and takes off, but most of the mail has been left behind. On his run, Arbuckle throws letters into boxes from a moving cart with remarkable accuracy, but when one is too big to go in the slot, he has to stop. He tries folding it, but it’s still too big so he rips it into small pieces to get it into the box.

Soon, he arrives at the home of his sweetheart (Molly Malone), and hand-delivers mail to her. He teases her about one letter, saying it must be a love letter, and they play a game of hide-and-seek. While Molly searches for Fatty he falls asleep; meanwhile, the town’s constable (John Henry Coogan, Sr.) arrives at the house and begins flirting with her. Since Arbuckle is hiding in a hay bale, he gets prodded by the farmer when he comes by, and runs off, leaving Molly alone with the amorous policeman.

 

There’s a brief sequence of Keaton and Arbuckle working at the general store that’s reminiscent of earlier Comiques like “The Butcher Boy” and “His Wedding Night.” Arbuckle gets a call from a woman who wants to order Swiss cheese “with lots of holes.” Arbuckle looks at the slab and decides it needs more, so he takes out a drill and starts drilling new holes, wasting a certain amount of the cheese. Keaton observes Coogan stealing money from a registered letter. When he confronts him about it, Coogan first offers him part of the money, and when Keaton won’t accept it, warns him to stay silent or he’ll kill him. Keaton appears cowed by the sheriff’s threat.

Malone happens to be in the store when a spinster is showing off her engagement ring, and tells Arbuckle she wants one. He immediately orders an imitation diamond ring and a new suit, using the Swiss cheese to measure Malone’s finger and sending a pickle the same size as her finger in the envelope with the order. The sheriff shows up with a real ring, bought with his ill-gotten gains, but Arbuckle’s fake ring appears more to Malone’s liking (maybe because it fits perfectly). Keaton gets into a war with Coogan and the store owner when he throws a bucket of water off the roof. It ends with him on a ladder precariously perched, but managing to fall right into Arbuckle’s buggy as he drives by.

That night at the store, which has been converted into a dance hall, Fatty and Molly dance while Buster entertains the crowd with magic tricks. Fatty is due to sing to the crowd; however, his voice gives out, so Buster persuades him to eat some onions to strengthen his voice. The onions have the desired effect, but they also make his breath so pungent that it causes the entire audience to cry. The sheriff now accuses Arbuckle of stealing the money from the envelope, and everyone he turns to for support turns away, thanks to his onion breath. Keaton then informs them that it was Coogan, not Arbuckle, who stole the money. As a scuffle ensues, Fatty sics Luke the Dog on the crooked official; and the sheriff runs out of town with the dog in hot pursuit. In the film’s closing scene, Fatty and Fanny prepare to celebrate their relationship with a kiss, but she initially refuses to kiss him due to his lingering bad breath. He suggests that she eat some onions too in order to cancel out the effect.

I have to admit that I groaned a little when the movie opened on yet another general store, but not much time is spent on gags involving the store or its customers. In fact, the opening sequence borrowed more from “Fatty and Mabel’s Simple Life,” which is one we haven’t seen much of yet. The movie overall moves with a nice, quick pace, and the split reel format gives Arbuckle a chance to have one reel mostly dedicated to random gags, and the second to moving the plot forward. While Keaton is missing for part of that first reel, his character is undeniably pivotal to the story, and he gets considerable opportunity to show off, particularly in a sequence involving a ladder (ladders would be a frequent theme in his movies). I find this to be one of the more watchable Comiques.

Director: Roscoe “Fatty” Arbuckle

Camera: Elgin Lessley

Starring: Roscoe “Fatty” Arbuckle, Buster Keaton, Molly Malone, John Henry Coogan, Luke the Dog

Run Time: 25 Min

You can watch it for free: here.

The Reawakening (1919)

This live-action documentary short from the Ford Motor Company is quite different from the animated political cartoons we’ve seen from them in the past, but it still has a basically political message. In this case, it’s a positive one about re-integrating wounded veterans in the workforce and American society.

The movie consists of a series of documentary images tied together with intertitles. It begins with footage of an ambulance crew on the battlefield, loading a stretcher into their (no doubt Ford-built) vehicle. This is followed by several cards worth of “purple prose” about the heroics of the men and medics of wartime, and then we see soldiers with canes being disembarked from a train and climbing into another ambulance to be shuttled to a hospital. At the hospital, the footage emphasizes occupational therapy, a relatively new idea in which recuperating men are encouraged to perform tasks to restore their muscle strength and coordination, as well as in some cases re-training skills they might be able to put to use in paid work after discharge. We see them receiving physical therapy from nurses and doing gymnastics. We also see the production of artificial limbs. A soldier with a missing leg comes in to receive his and gives a little jump for joy on the way out the door. Read the rest of this entry »

The Ball Player and the Bandit (1912)

This typical Western short from director Francis Ford has an interesting twist and nice performances by the leads. It reminded me a lot of “The Making of Broncho Billy” until the end, where things take a different turn.

The movie begins by introducing Harry Burns (played by Harold Lockwood), who is a star pitcher on a college team. We see him playing pitching a ball in an over-the-shoulder shot, and then the reaction of the crowd as he wins the game. His college life ends, however, when a letter from his uncle arrives informing him that “financial reverses” make it impossible to continue funding his education. He has set him up in a job “in the west,” however, so he’s not destitute. His teammates, along with an old professor and a man in a clerical collar (I suppose the college deacon) all shake his hand and then go to celebrate the victory, leaving Harry to bemoan the loss of his promising baseball career.

He soon recovers, however, and shows up in the typical western town of the era, taking on a job as paymaster (I suppose for the railroad, although it’s not specified). His boss is a gruff-looking cowboy and he has a cute cowgirl daughter (Helen Case). She seem somewhat taken by the handsome new arrival and starts to show him the ropes of his job, but suddenly loses interest when he refuses to carry a gun. She now goes out to a group of toughs and tells them to teach him a lesson, and when Harry comes out they menace him with their guns, even making him “dance” a-la “The Great Train Robbery.” Despite being unarmed, he stands up for himself and proceeds to beat up the lead bully with his fists – the other man tries to fight, but he does have too much honor to reach for his gun and Harry beats him fair and square. Helen takes note of this and gives the bully a bit of ribbing after the fight.

DANCE!

The next day, Harry receives a package in the mail from his old college chums – it is the ball that he pitched in his last game, a memento of his old life. He and Helen are getting closer now, to the consternation of the bully character and the concern of her father. When she sees him setting off to collect the payroll money, she decides to play another “little joke” and takes the office gun that Harry refuses to carry, sneaking out with a smile on her face. However, even as she plans to teach Harry a lesson by pretending to be a bandit, a real bandit by the name of “Red Dan” is introduced. He sees the unarmed man at the post office, picking up the money and his package and decides to follow him.

Helen, now disguised with a heavy coat and a bandana, accosts Harry on the road and threatens him with the gun, but Harry’s not afraid of this rather short bandit and he grabs her gun hand and removes the mask, finding who it really is. Just at that moment, Red Dan rushes in and holds them up. He takes Helen’s gun and searches Harry, finding only the baseball, which he throws to the ground. Then he takes the money and walks away. Thinking fast, Harry grabs the baseball and pitches it into the bandit’s head! He goes down and Harry runs over and quickly overcomes him and binds him while Helen holds his gun. Once again, Harry has proved that his physical talents can overcome a gunman.

I’m sure he’ll get a fair trial.

Now Helen and Harry bring the bandit, and the money, back into town. The gang of toughs leads the bandit away (a prominent length of rope made me think of a lynching, but nothing is shown). Helen’s father congratulates Harry. The final scene shows Helen and Harry sitting on a bench, obviously falling in love. The Pony Express man rides up with a telegram, informing Harry that he has been selected to play on the Chicago White Sox, and can move back east. At this, Helen begins to cry and Harry writes out his reply: he is “engaged for life” and will not return to ball playing. Helen looks up with surprise and embraces him.

Now you see it…

…Now you don’t.

The big surprise in this movie, which sets it apart from “The Making of Broncho Billy” and dozens of similar Westerns, is that the hero does not pick up a gun by the end of the movie. He wins the day with his baseball skills instead. Of course, when G.M. Anderson tried to respond to a bullying situation with his fists, he wasn’t given the chance, so this partly depends on the sense of honor of one’s opponents, but it’s clear that the bandit here would have had no compunctions about shooting an unarmed man or a woman. One odd “continuity error,” that probably no one cared about at the time is that the insert shot introducing the baseball doesn’t match the long shot – in the shots before and after the insert, Harry is holding the bag of money, but the insert shot shows him fondling the ball with both hands and nothing else in them. I was also struck by Helen Case’s performance, in which she frequently acts out what she’s describing to the characters. This would have been frowned on in silent films just a few years later, and usually does look like “over-acting,” but somehow she makes it seem natural, like it’s part of how her character communicates normally. I quite enjoyed her playful approach to acting.

There’s a bit of a mystery about the production of this movie. On-screen credits claim it comes from “Broncho Movie Company” and there’s even an “S&A” at the end with an Indian head, giving the impression that this was released by Essanay, the company that made the Broncho Billy movies. I thought perhaps it was an early release from their studio in Niles, California. But, so far as I know Francis Ford never worked for Essanay, and the imdb (admittedly an imperfect source) lists the producer as Thomas Ince. If that’s the case, Ince may have been deliberately trying to horn in on Essanay’s success with the “Broncho” and “S&A” references. Today, that’d get you a lawsuit, but in the freewheeling early days of film, a lot of things went unchallenged!

Director: Francis Ford

Camera: Unknown

Starring: Harold Lockwood, Helen Case, Joe King

Run Time: 12 Min

I have not found this movie available for free online. However, you can see a clip from it here.

Uncle Sam Donates for Liberty Bonds (1919)

Like “Uncle Sam vs. the IWW-Bolsheviki Rat” and “United Snakes of America,” this is a late-teens propaganda movie from the Ford Company. Unlike those, it has a positive message about supporting the troops, rather than a negative one about fighting internal enemies.

The frame centers on a large chest, labeled “U.S. War Chest,” with symbolic figures to either side. To the left is Uncle Sam, in his traditional hat and coat. To the right is a robed female figure, who may represent “victory,” “Columbia,” or just an idealized American Womanhood. They open the chest and inside the lid is written, “1st Liberty Loan: Prepare for War.” The woman gestures toward the chest and Uncle Sam pulls out a sockfull of money to toss in. They close and open the chest and now it reads, “2nd Liberty Loan: Equip.” Uncle Sam throws in his cuffs and collar. The next time, it reads, “3rd Liberty Loan: Transport.” Now Uncle Sam gives his jacket. Next, it says, “4th Liberty Loan: Fight.” Uncle Sam contributes his vest. Finally, they open it to see, “Victory Liberty Loan: Pay Our Debts and Bring Back Our Boys.” Uncle Sam throws in his shirt front and his hat. The movie ends as an animator’s hand appears to sign for the Ford Motor Company underneath the words, “Sure, We’ll Finish the Job!”

I was almost surprised by a movie from an ostensibly “right wing” source that advocated Americans giving money to support the government. Today, the message of Uncle Sam’s brief striptease would probably be that Americans are already expected to pay too much in taxes, and then they are duped into voluntarily supporting the government by buying worthless bonds as well. But this is not Ford’s intent. He is demonstrating that an ideal patriot (Uncle Sam) is one who gives to support the just cause of the war, even after it seems that he has no more to give, and even after the fighting is finished. No doubt, he believed that with hard work over the next few years, Sam would soon be able to buy back all of his clothes. That kind of optimism is hard to find today.

Director: Unknown

Camera: Unknown

Run Time: 1 Min

I have been unable to find this movie for free on the Internet. Please comment if you do.

His Last Game (1909)

This short film from Independent Moving Pictures (the I.M.P.) has many elements that would appear in later films by D.W. Griffith, but with a somewhat surprising ending. It uses baseball to tell a story of honor and racial strife.

The movie opens by telling us that the last game of the year is impending, with the Choctaw team facing the team from Jimtown. Bill Going, an Indian, is the star pitcher for Choctaw. We see Bill standing in front of the town bar and a large sign announcing the game. His teammates, most of whom appear to be white, come up and invite him to go drinking but he refuses, perhaps wanting to stay clear for the game. Another man in Indian garb with elaborate war feathers comes up and stands in the background as the team leaves for their drinks. Now, two gamblers in traditional Western clothing come up and offer Bill a generous pile of coins in order to throw the game. Bill counts out the coins several times, only to finally refuse. The gamblers go off to the bar together, and we see them spiking a drink in an insert shot, then they come back and offer the drink to Bill, who agrees at first, but then insists on switching drinks with one of them. When that one fails to drink, Bill throws his drink at him. Now, the gambler, outraged, pulls his gun. Bill quickly disarms and shoots him. Now the sheriff suddenly comes out of the bar, to see Bill shoot down a white man. The other Indian watches as the sheriff arrests him on the spot.

The next scene is labeled “swift Western justice” by an intertitle. We see a group of grave-diggers in the background, and Bill and the sheriff in the foreground. The Indian tries to remonstrate with the sheriff to no avail, but then Bill’s team arrive and they ask the sheriff to let him live long enough to pitch for them. The sheriff agrees, but insists that the other Indian stand in his place. If Bill doesn’t come back in time, he will execute this man instead. Bill and the Indian agree to the terms. The sheriff sends a note to the judge asking for a stay of execution, if Bill keeps his word. The next sequence shows the ball game, all shot from behind the home plate. We see the Jimtown players gain several bases, but then Bill runs up and pitches a shutout. The Choctaws win. The team carries Bill back to the bar on their shoulders, then offers him a large drink to celebrate. Bill is about to drink when he remembers his promise. He throws down the bottle and runs back to the grave site. The grave diggers are now a firing squad, and are just about to shoot the Indian when Bill arrives. He takes the man’s place, but the Indian signals that he hears hoofbeats, putting his ear to the ground in cliché fashion. Intercutting shows us that the messenger is indeed running back, but the sheriff doesn’t see anything in time, so the execution proceeds. The messenger rides over the hill just as Bill is shot and his body falls into the grave. The sheriff reads the note that would have saved Bill’s life, just seconds too late, and the team arrives to mourn his loss.

I.M.P. was one of the companies that later went into making Universal Pictures, and this movie was produced by Carl Laemmle, senior, the head of that operation. I.M.P. was also famous for defying the Edison Trust and operating independently, and this movie would have been shot in Fort Lee, New Jersey, the site of their operations and much of the American film industry at the time. They made movies for the burgeoning Nickelodeon market, and indeed Laemmle and his partners had started out as Nickelodeon theater owners. This movie demonstrates that concepts of editing which are often attributed to a later period had already come into use, if in rather primitive form, at the time. The inter-cutting between the messenger and the execution scene is reminiscent of Griffith’s 1911 film, “The Lonedale Operator,” although here the hero is unable to save the day in time. I found myself reflecting that if Bill had been white, the story probably would not have ended the same way. The “noble savage” story almost always had a tragic ending, however, and here Bill is killed by “swift Western justice” that has no sympathy for his situation or ethical behavior. Bill’s relationship with alcohol is also interesting – he never actually drinks, but is repeatedly tempted by drink and appears eager to do so, each time realizing just in time that it would be a mistake. Also interesting was the decision to shoot the entire ball game from a single angle, one in which the players frequently obscure the action from the camera. Showing baseball to audiences was still a new thing at the time, and more sophisticated ways to demonstrate it were yet to be developed. Note that the scene of the two gamblers drinking shows the I.M.P. logo prominently – still a common practice at the time to discourage film piracy.

Director: Unknown, possibly Harry Solter

Camera: Unknown

Starring: Unknown

Run Time: 12 Min

I have been unable to find this film for free on the Internet. You can see a brief segment here.

Uncle Sam and the Bolsheviki-IWW Rat (1919)

This anti-Communist propaganda cartoon, presented in the style of a newspaper political comic, was produced by the Ford Motor Company at the height of the American “Red Scare.” It uses heavy-handed propaganda to make a fairly blunt (if dubious) comment.

As the movie opens, Uncle Sam is represented as a farmer in a barn stocked with corn. Bags of corn in front of Uncle Sam read “American Institutions” and a speech-bubble from Uncle Sam identifies the corn as “the fruits of our labor.” Then, a rat begins chewing its way through the wall. Uncle Sam crouches down behind the bags with a shovel, proclaiming, “I’ll get that varmint,” and a large black rat comes out of the hole. On it is written “Bolsheviki-IWW.” The rat is heedless of Uncle Sam and goes over to the corn, eagerly grabbing a piece in its jaws. Uncle Sam brings the shovel down on top of it, killing it, the hefts the rat out of the window with the shovel. He proclaims, “Bolshevists are the rats of civilization” and the movie ends.

Henry Ford, in addition to being a successful industrialist, was heavily active in the American far right. He was responsible for the printing of the anti-Semitic “Protocols of the Elders of Zion” in this country, and his news magazine, “The Dearborn Independent” proclaimed any number of conspiracy theories that would fit right into INFOWARS today. With the successful revolution in Russia, and several lesser failed revolutions igniting throughout Europe at the end of the First World War, Ford’s crowd was increasingly concerned about the possibility of foreign influences fomenting labor unrest in the United States. The Industrial Workers of the World was a small but very radical labor union that mostly focused on organizing unskilled laborers, including immigrants. It is unlikely that the USSR, strapped for cash and fighting a Civil War at home, had much to offer their comrades in the IWW besides emotional support in 1919, but accuracy in reporting has never been important in political cartoons (or Internet memes). The real irony of this movie, though, is that it depicts organized labor as “stealing” the fruits of their own work from the embodiment of American society. How did Uncle Sam manage to steal all that corn from the rats in the first place?

Director: Unknown

Camera: Unknown

Run Time: 1Min

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

Funeral of Vera Kholodnaia (1919)

This Soviet-era newsreel footage is something of the “end of an era” in Russian filmmaking. Evgeni Bauer had died between the revolutions, and most of his important colleagues would soon flee Russia for Paris. The great, innovative movies of the Tsarist period were quickly forgotten as new experimental styles were developed by Vertov, Eisenstein, and others. But now, Vera Kholodnaia, known as the “Queen of the Screen,” succumbed to the flu epidemic that killed millions of Europeans in the year following the First World War. There were immediate speculations about poisoning and Bolshevik plots, with nothing ever proven. Despite the deliberate destruction of many of her films by the State, she had been rehabilitated as a kind of revolutionary heroine, and a large ceremonial funeral was authorized in Odessa. Thousands attended, and the Soviet newsreel footage of her coffin being taken to its final resting place may be the best-known movie of her today. It begins with a title card with her name, followed by seemingly random clips from her movies, then an image of her lying in state with the date of her death superimposed. Then the funeral procession is shown, with the streets of Odessa filled with mourners, and an ornate white coffin lifted by six pallbearers.

Director: Peter Chardynin

Camera: Unknown

Starring: Vera Kholodnaya

Run Time: 2 Min

You can watch it for free: here.