A lot of blogs do some kind of year-end wrap up at this point in the year, but for this blog that actually means thinking about two years at the same time: this year and the one a hundred years ago.
1916 was a rough year for a lot of people, especially in Europe. The First World War had gone from an exciting adventure to a horrendous meat grinder of death, and there was no end in sight. Each new attack on the Western Front meant the sacrifice of thousands, and there was no visible movement of the battle lines. For most of the year, men were fighting in Verdun, only to find themselves in December in approximately their original positions, and from July to November, the Battle of the Somme raged with only minor gains for the Allies. Each of these battles cost the lives of hundreds of thousands on both sides.
Meanwhile, the home front was beginning to suffer the effects of war as well. In Germany, the allied blockade was having the effect of creating severe food shortages, which resulted in riots in several cities, especially Berlin, and the imposition of food rationing through the creation of a military office with absolute power over civilian affairs. Contrary to later perceptions of socialist agitation against the military, this move was widely embraced by the working classes, who saw rationing as a way to create equity between the rich and poor in food distribution. Rationing may have helped with front-line morale as well: it was hard for soldiers to feel good about fighting for their homeland when they knew their own families faced deprivation.
Mark I Tanks on September 15, 1916
In Russia, the domestic situation was moving from bad to worse to intolerable. The front here was not a stable line, but quite mobile, with advances and retreats of hundreds of miles. That’s fine for a cavalry officer, but it meant a great deal of marching for soldiers who were often sent to the lines without proper footwear. Equipment of all kinds was lacking: including guns. Russian soldiers were advised to take weapons from the dead during battle in order to defend themselves. Moreover, the nation’s casualties (including POWs) now numbered in the millions.
Grigory Rasputin
Political agitation, which had been relatively quiet since the beginning of the war, started up again in earnest in 1916, with mutinies, strikes, and street demonstrations in most major cities. Russia was also suffering from food shortages, particularly in Petrograd. Even those who had money for bread often could not find it, or waited in lines for hours to get it (reportedly there were housewives who spent up to 40 hours a week on line). The Czar was warned by his senate (the Duma) and his security forces that open revolution was a real possibility by November of 1916. It came only weeks after the New Year.
Woodrow Wilson
The USA has managed to avoid war, even re-electing President Woodrow Wilson with a slogan of “he kept us out of war.” Neutrality in World War One would not survive another year, of course, but it allowed many in the US to prosper from sales of industrial goods to Europe in 1916. The American film industry has been a major beneficiary of the decline in European productivity, and American films are finally beginning to make inroads into European distribution chains. While the distant war in Europe may seem remote or even beneficial to some Americans, a more immediate concern is the ongoing revolution in Mexico, which has spilled across the border repeatedly, and led to 12,000 troops being sent by Wilson to pursue Pancho Villa – a military intervention that brings the US to the brink of outright war with Mexico. The US also occupied the Dominican Republic in 1916, continuing an aggressive interpretation of the Monroe Doctrine.
This year has no huge breakout film on the scale of “The Birth of a Nation,” although most historians agree that D.W. Griffith’s “Intolerance” had a good run and was seen by many of the same people that made “Birth” a huge hit. It still lost money, primarily because it cost so much more to make. The next-highest grossing film is reported to be “20,000 Leagues Under the Sea.” But the name on most people’s lips this year is Charlie Chaplin, who is now the highest-paid movie star, working at Mutual for $670,000, with a signing bonus that nearly brought it to a million. He has finally gained the freedom to slow down his production schedule and is taking more time on each new release, which technically sets him behind on his contractual requirements by the end of the year, but Mutual is still raking in plenty from his work. Others are also benefitting from his lag in production: a huge number of “Chaplin imitators” or derivative acts are filling the void with their own shorts of varying quality, including a fellow calling himself “Lonesome Luke” that is actually a young Harold Lloyd. A new face on the scene this year is Douglas Fairbanks, whose good-natured all-American athleticism is being used to create a new kind of comedy that also finds strong audience approval. He and Chaplin will be friends and allies in years to come.
Carrying the wounded off the field.
Although European film production is down, there are still significant contributions from European studios. The first documentary to see major box office success is “The Battle of the Somme,” released in Britain with the support of the War Office. Germany makes one of its first forays into Expressionism with the serial “Homunculus,” about a man created by science who lacks the ability to feel love. And, although Louis Feuillade is by this time serving on the Western Front, Gaumont Studios manages to profit from late release of his crime-serial follow-ups to “Fantômas:” “Les Vampires,” which runs from the end of 1915 into the early part of the year, and “Judex,” which had been shot years earlier but sees the first episode released in the last week of 1916. Finally, Evgeni Bauer gave us his column-filled drama “A Life for a Life,” which launched its star, Vera Kholodnaia, to celebrity status.
My blog remains a relatively less-popular film blog – I guess the topic and approach is a bit esoteric compared to the usual classic film blog. I’m up about 5000 hits from last year, which falls slightly short of doubling my total for 2015. I’m holding steady with about 120 followers, and I only occasionally get more than one “like” on a post. Only a few people comment, but those that do tend to come back and comment again. My impression is that I have a small cadre of dedicated readers, but not a lot of mass appeal, and I’m fine with that. I am backing off a bit (as some have probably noticed) from doing daily posts. I like doing a short movie every day when I can, and one “feature” or at least more in-depth post a week, but the simple fact is that it takes a little too much of my time away from other activities. I’m also writing fewer “context” posts, apart from my monthly Century News roundups.
I’m aware that my blog is somewhat less research-heavy than some other blogs, especially those focused on the silent era. I generally write my impressions of the movies I watch without doing a lot of background research, in part because I’m interested in what the movies themselves convey as sources. I typically avoid, in particular, reading other reviews of movies I’m discussing until after I’ve posted, because it’s all too easy to be influenced by the perceptions of others. Sometimes that means I get stuff wrong, but that’s a hazard of studying a period for which a large proportion of the primary sources are lost, and I try at least to admit when I’m writing from a position of ignorance.
The reason I started this blog was unusual: it wasn’t because I knew a whole lot about early film, it was because I wanted to learn more. In that sense, this blog is a huge success. My first posts were under 250 words (one reason daily posting was no big deal), but now it’s hard for me to write less than 500. That’s because I know more, so I see more in every movie I review. I’ve gained an appreciation for movies from this period far beyond just knowledge as well – coming back to “The Mystery of the Rocks of Kador” really demonstrated that to me recently. When I watched it in 2012, I barely understood what I was seeing, whereas now watching it is a rich experience. I’ve discovered viewing-muscles I never knew I had as I’ve done this workout. So, that’s a win, and as long as it’s true, there will be every reason to continue this project.
The movie begins with a quarrel between Myrtle Lind and Bobby Vernon. Myrtle’s in a rather unflattering Mary Pickford-style wig, which I guess signals us that she’s a “good” girl. Bobby quickly falls into the orbit of “bad” girl Helen Bray, who may be deliberately imitating (or parodying) Theda Bara’s performance in “A Fool There Was.” She’s going riding, and invites Bobby along after brushing off “Last Season’s Suitor” (A. Edward Sutherland). Gloria shows up driving recklessly with her brother Reggie Morris (for some reason known throughout as “Honey Boy”). Reggie is hoping to hook up with the danger girl, and Gloria develops an interest in Bobby when he helps her change a tire. When all the men start gravitating to the danger girl at a party, Gloria decides to take matters into her own hands by dressing as a man and distracting her. Myrtle ends up with Reggie, once the danger girl is no longer in play, but Gloria has to avoid the attacks of Last Season’s Suitor until Bobby drives a bus through the plate-glass window of the café they’re at and rescues her. Finally, all the “good” people are happily paired up.
This movie is a bit hard to keep up with, in part because the prints I was able to find were of poor quality, so it’s hard to tell actors apart, but in part because the characters don’t have enough personality or back story to identify with. The danger girl is distinctive, and once Gloria’s in her masculine attire, she’s easy to track, but the others seem quite interchangeable. I’m still not 100% sure I kept the division between Myrtle and Gloria straight before the “drag” sequence, and I gave up even trying to tell Reggie from Last Year’s Suitor, although Bobby Vernon is generally recognizable.
For a Keystone comedy, I was a bit surprised at the “adult” approach to comedy for the first two-thirds of the movie, although once we get to the café the Mack Sennett chaos does kick into gear. The theme of women in “masculine” attire goes a bit beyond just the explicit drag sequence: the danger girl’s riding outfit includes pants and a blazer, giving her a “hard” look, and Gloria puts on overalls when she has to work on her car. I suspect this was titillating to a 1916 audience, who didn’t often see women in pants. Some of the most interesting scenes involve Gloria in the “male” domain of a saloon, where she has to figure out how to stand at the bar, and avoid being groped by a fat drunk. We do get some basic camera movement and reasonably sophisticated editing, certainly if one compares this to the Keystone Chaplins of 1914, but it was hardly cutting-edge in production values.
Century Film Project 