Century Film Project

Celebrating the movies our ancestors loved

Tag: 1919

True Heart Susie (1919)

D.W. Griffith was finishing up his Artcraft contract, preparing to make the shift over to celebrity-owned United Artists, when he put out this homey tale of rustic romance. It shows a number of his strengths as a director, more I think than the great “spectacles” with which he is associated today, though it has its underside of weirdness, like all his movies.

Trueheartsusie1919movieposter

The movie starts, as we expect from Griffith, with intertitles filled with bombastic claims and purple prose. The entire movie is “taken from real life” and will explore whether men are more motivated by the appearance of women or by their “true heart.” The first images show us the bucolic homes of William Jenkins (Robert Harron) and Susie Trueheart (Lillian Gish), who have grown up just across the road from one another. We see them at school, and when William can’t spell “anonymous” but Susie can, she goes to the head of the class. It develops that Susie has a big crush on William, to which he is completely oblivious, but nonetheless Susie interprets his words and actions to mean that he is also harboring love for her and they are destined to be married. Based on this, when he desires to go to college, she sells her beloved cow and various other farmyard resources in order to secretly sponsor him, pretending that the money comes from a foppish swell that passes through town one day and notices William for all of a second or two.

True Heart Susie

A Tale of Two Houses

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J’Accuse (1919)

Abel Gance took the world cinema scene by storm with this passionate and compelling portrait of the First World War. Although today overshadowed by the fame of his later work (such as “Napoleon”), in the context of this blog it stands out as a century-old example of cinematic innovation and boldness.

The move begins with a credit sequence, built of actuality footage (see below for production details), silhouettes of an officer with a whistle, and the words “J’ACCUSE” spelled out by uniformed men, standing on a field in formation. This is followed by typical introductions to the lead players with intertitles followed by brief close-ups of the actors, but remarkably it begins by showing us the director/screenwriter himself, something not even the egotistical D.W. Griffith had done. Interestingly, the actors frequently are introduced as being affiliated with one or another theater, no doubt legitimating them in the eyes of a more sophisticated audience.

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Broken Blossoms (1919)

The first major post-World War release from D.W. Griffith is this melodrama of a waif and an immigrant in London’s Limehouse District. This is one of the better-thought-of Griffith movies, even by those who criticize his earlier hits, but how does it look more than a century later?

The movie starts out in an unnamed part of China, where Cheng Huan (Richard Barthelmass in yellowface), a local resident, has a violent encounter with some white American sailors. He is a devotee of Buddhism, and refuses to respond in kind to their taunting and fisticuffs. He decides that the West could use some civilizing, and makes up his mind to bring the word of the Buddha to that part of the world. The film then cuts to several years later, when he runs a small but tidy shop in Limehouse. It seems his missionary zeal is largely forgotten as he deals with the poverty and greed of his neighbors and the struggle to survive in this strange land. Apparently, the only place he can go for company and a taste of the familiar is a local bar that caters to Asians of all stripes – we see men in turbans as well as caftans, almost everyone is smoking, some seem to be holding opium pipes, and there are “fallen” white women scattered about as well as gambling. Memories of his time in the temple in China are contrasted with these images to show how far he has drifted from his original intentions.

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Charlie on the Farm (1919)

This very slight early cartoon uses Charlie Chaplin’s image and a familiar setting to evoke movies like “The Tramp” without actually involving Chaplin or using any of his gags. It is similar to some others we’ve seen, like “Charlie on the Windmill” and “Charlie and the Indians.”

A lightly-sketched background shows a train pulling out of a tunnel into a rural landscape. The train pulls into a station and one of the boxcars opens up, ejecting Charlie, who is being booted unceremoniously off by a railroad worker. He dusts himself off and walks away. He comes to a fence, from which he watches the courtship of a chicken. She is attracted to the rooster, who asks to marry her, but refuses to give up his other girlfriends, so she tries to get the duck to move in. He agrees, and says he would be happy to help raise a family, until she calls in her many children. He flies out of the window and into the distance. Now Charlie sees a man hanging a sign announcing a need for farm hands. Charlie applies for the job. The farmer tells him to milk the cows. Charlie doesn’t know how it’s done, so he takes off his coat and hat and turns the cows’ tails like they are cranks. He sees a milkmaid milking nearby, and watches as the cow’s stomach goes from full to empty, but fails to learn anything; he just goes on cranking. He then tries turning the tail of a bull, which of course chases him until he gets stuck in a knothole in the fence, then butts him so he flies through the air. He bounces off the backside of a caricatured African American laundress and flies back to the other side of the fence, where he sees a pig’s tail, and above it the head of a woman. He’s confused until he looks over the fence to see that the girl is in a hammock above the pig.

Charlie reports back to the farmer who tells him to dress some poultry for dinner, so he puts fancy clothes on them and brings them to the house, where they all eat at the table. The caricatured maid takes advantage of their presence to get some eggs for her cake. Now Charlie gets ready for bed after a hard day’s work, but the night sounds of the countryside keep him awake. He looks out his window to cats howling on the fence and frogs croaking out, “work! Work! Work!” in the pond. Before he can even get in bed, the farmer knocks on his door to get him started on the morning chores. Charlie leaps out his window, retrieves his hat and coat from where he left them outside and runs off. Seeing a sign that promises easy work on another farm, he runs away again, not willing to be bitten twice.

These cartoons were produced by Universal without Chaplin’s approval, but unlike some of the live “imitators,” he couldn’t get court approval to shut them down under copyright law at the time. The bare-bones images and unimaginative gags probably didn’t do much for his brand, but they did keep his image in the public view at a time when he wasn’t producing much. It’s odd that the writers spent so much time on the chickens, ducks, and other farm animals, rather than Charlie’s antics. Possibly they couldn’t come up with enough ideas, not having seen “The Tramp” for several years themselves. It seems to me as if animation still had a long way to go before Walt Disney and other animators caught it up to live-action cinema as a form of entertainment.

Director: Pat Sullivan

Run Time: 10 Min

You can watch it for free: here.

The Oyster Princess (1919)

Another Ernst Lubitsch sex comedy starring Ossi Oswalda, this one is a bit less transgressive than “I Don’t Want to Be a Man,” but still racy by the standards of the time, especially compared to American comedies. Lubitsch again shows the talent he will be bringing to movies for some time to come.

Ossi this time plays Ossi Quaker, the daughter of an American magnate (Victor Janson) who has made his fortune selling oysters. She seems to delight in destroying things, throwing newspapers when she runs out of vases to break. When Victor asks what the matter is this time, he finds it’s because the daughter of the “Shoe Cream King” is marrying a count. Of course, she demands better, so Mr. Quaker agrees to find her a prince. He goes to a matchmaker (Max Kronert) who looks in his files and discovers a confirmed bachelor by the name of Prince Nucki (Harry Liedke) and sends him an invitation to meet the Quakers. The reticent Nucki, on receiving this note in his bachelor pad, sends his buddy Josef (Julius Falkenstein) to scope out the girl in question, setting him up to play his valet. Meanwhile, Ossi is “instructed” in married life by practicing with a baby doll.

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The Spiders (Episode One): The Golden Sea

This first episode in a crime serial was one of Fritz Lang’s first movies as a director, and is the earliest one that survives today. It shows his talent as well as how far the European movie business has come since the beginning of the First World War, but it also wears its influences rather obviously on its sleeve.

The movie begins with a kind of prologue in which we see an old hermit-type man throw a bottle into the sea just before being shot in the back with an arrow by a fellow wearing an elaborate feathered head dress. This is soon explained in a fancy club in San Francisco when a sportsman/adventurer by the name of Kay Hoog (Carl de Vogt) tells of finding the message in the bottle, which claims to be from a missing Harvard professor who has discovered and been held captive in a surviving Incan civilization. Hoog has verified the professor’s standing and lost status, and now decides to forgo a major boat race in order to head to Chile and try to find the immense treasure these Incans possess. Among his listeners is the lovely Lio Sha (Ressel Orla), who secretly works for the Spiders, an international crime syndicate of immense power and evil.

The spiders send some thieves who look like cut-rate Fantômas clones over to knock Hoog out and steal his map, leaving a large toy spider and a warning behind. Then the leader of the Spiders assigns Lio to lead a rival expedition to recover the treasure. Once in Mexico, she hires a bunch of roughnecks to assist her, and Hoog starts dressing like a cowboy. There’s a bar-room hold up in which he manages to recover a document that tells him about a mysterious “diamond ship,” though now the Spiders are in pursuit. He meets a professor (Georg John) who plans to fly in a balloon over the plateau where the Incas are, and he manages to climb aboard at the last instant despite the efforts of the Spiders to delay him.

Once we get to the Incan city, a lot of the movie is typical serial capture-and-escape material, with the Incans eager to sacrifice at least one of the trespassers, Lio Sha eager to kill Hoog, and her followers mostly interested in stealing the gold for themselves. Hoog meets  the Priestess Naela (Lil Dagover), and rescues her from punishment for refusing to sacrifice Lio. Lio and her gang are able to find the treasure, but chaos breaks out as the men start fighting over the treasure. Of course, at that moment the volcano erupts and wipes out the Incans as well as all of the Spiders except Lio Sha and one nugget-obsessed henchman.

Hoog and Naela are able to escape in a large floating basket and make their way back to San Francisco to be married. Lio Sha comes to him and asks him to join her, saying they would make a great team if they worked together and became lovers. Hoog refuses and Lio kills Naela in revenge.

This movie’s debt to the crime serials of Louis Feuillade would be less painfully obvious if Lang hadn’t cast Orla and dressed her to look so much like Musidora. She comes across as decidedly more German than French, however – she’s domineering and masculine rather than sexy and conniving. I find that de Vogt reminds me of René Cresté, who played “Judex,” though other reviewers compare him to a young William S. Hart. Hart played an Aztec in one movie, so maybe Lang was going for that here. I find it amusing that Lang thought “Kay” was a good first name for his all-American manly man hero. It’s not really clear to me why the “good” character is motivated to steal treasure from a civilization that has avoided Western contact, although all he does in fact is to fall in love with one of their priestesses and save her life. That said, the Spiders work well as a “Vampires”-style crime organization, and some of the best parts of the Feiullades sprang from the illogic of the series.

Overall, the film making technique of this movie is way ahead of the work Gaumont was putting out before and during the war. There are frequent close-ups, cuts within scenes, cross-cutting to enhance suspense, creative camera angles, and lighting. The camera moves to follow actors, and sometimes to reveal things at the right moment. In one scene, Hoog stands in front of a window of the cantina while Lio Sha carouses inside. Both of them are in perfect focus, and the edits each time Hoog peers inside allow us to think she might spot him at any moment. There’s a good use of silhouettes on the plateau at night, and we get actual darkness for night scenes, rather than just tinting a brightly-lit scene and expecting the audience to go along with it. When I was collecting screenshots for this article, I became especially aware of how fast the editing is compared to the movies I’ve reviewed up to now. Usually, I have plenty of time to choose my shot, but with this one, I had to hurry or it would cut away. The costumes and sets for the Incans are elaborate and beautiful (though probably not terribly authentic). Another break in logic came for me when the head-dress fellow snuck up on one of the Spiders’ guards and took him out. How did he not see that huge feathered thing coming right up to him?

The “diamond ship” subplot is a setup for the next episode, which came out in 1920, so I’ll be reviewing it soon as well.

Director: Fritz Lang

Camera: Emil Schünemann, Carl Hoffmann

Starring: Carl de Vogt, Lil Dagover, Ressel Orla, Georg John

Run Time: 1 Hour, 9 Min

You can watch it (together with part two, “The Diamond Ship) for free: here.

Blind Husbands (1919)

Erich von Stroheim’s first directorial effort is a tale of infidelity set in a small European village. This is the feature film that “made him” as a director, establishing a reputation for brilliance, going over-budget, and being domineering on the set.

The picture takes place in a small Alpine village, and begins with a dedication to “Sepp” a mountain guide who happens to share a name with the guide character (played by Gibson Gowland) in the movie. Sepp receives word that his friend Dr. Robert Armstrong (Sam De Grasse) is returning to the village, which results in an emotional flashback in which we learn that Dr. Armstrong saved Sepp’s life on the mountain and that Sepp pledged his undying loyalty to him in gratitude. We see the arrival of the doctor and his young wife (Francelia Billington) in a carriage, the doctor consistently with his nose buried in a book. This opens up opportunities for an Austrian Lieutenant (played in highly Prussian style by von Stroheim himself) to awkwardly flirt with her, though she shows no interest in him. As the film progresses, this theme continues, with the Lieutenant flirting with, and at times annoying, Mrs. Armstrong while her husband is oblivious to her concerns. Meanwhile, their relationship is contrasted with that of two young Honeymooners (the girl is played by Valerie Germonprez, von Stroheim’s future wife), who are only interested in one another to the point of obliviousness to all else. Mrs. Armstrong clearly longs for that kind of attention, and is ashamed to be seen in public with a man who ignores her. The Lieutenant quickly seduces and abandons a waitress (Fay Holderness) at their inn, pausing only momentarily in his pursuit of Mrs. Armstrong, giving us a clear picture of what would happen to her if she were to submit to him.

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The Master Mystery (1919)

To wrap up this year’s October review of chilling movies, I’m going to look at this serial starring no less a person than Harry Houdini. Once again, it’s not exactly a horror movie – it’s more of a crime serial ala Louis Feuillade – but it has madness, a robot, and lots of creative death-dealing situations for the hero to get out of, so I’m including it.

Our story begins in the home of Peter Brent (Jack Burns), the President of International Patents, Inc, a company whose nefarious scheme is to buy up the patents for new inventions from lone geniuses and keep them off the market – benefiting those who own existing patents by preventing free competition. Unbeknownst to Brent, one of his employees, Quentin Locke (Houdini) is actually an agent of the Dept. of Justice, investigating on the grounds of the Anti-trust Act, and he has wired Brent’s home for sound (most of the first shots we see of Houdini are his reactions to conversations other characters are having in other rooms, which can be a bit confusing). Locke is of course secretly in love with Brent’s daughter Eva (Marguerite Marsh), and Brent is actually having second thoughts about the whole scheme for her sake. Enter the real villains of the movie, Herbert and Paul Balcom (William Pike and Charles E Graham), a father-and-son team who hope to take over the company (the father) and marry Eva (the son). They also have collaborators in the form of a secretary named Zita Dane (Ruth Stonehouse) who is secretly in love with Locke and a lady-of-leisure with the unlikely moniker of De Luxe Dora (Edna Britton) who “dominates” Paul. Read the rest of this entry »

Back Stage (1919)

Buster Keaton and Roscoe “Fatty” Arbuckle team up again for this short from Arbuckle’s Comique Film Corporation. Keaton has a very prominent co-starring role in this, although Arbuckle is still the center of attention.

Like a lot of these two-reel Comique shorts, this movie is divided into two very short story lines. True to the title, the first focuses on the backstage antics of a small theater troupe, while the second shows a performance, disrupted by hecklers. The movie begins by showing two men (Buster and Al St. John) re-arranging furniture in what seems to be a small bedroom. Suddenly, they grab hold of the flats that serve as the side walls and move them, then the backdrop is raised into the ceiling, showing that we have been looking at a set. Arbuckle is now seen, pulling the rope that lifts the backdrop. This sets the stage for the many sight-gags we’ll be seeing throughout. An intertitle informs us that Arbuckle is in charge of the theatrical company, and we see him outside the theater, trying to paste up a new poster for a coming attraction, but a small child takes an interest in his work and keeps getting in the way. Arbuckle finally pastes him to the wall to keep him out of trouble. He then tears him down and sends him on his way, pasting a bit of poster to his bottom to hide where his pants were torn in the process. When he’s done, the sign advertises a famous star, but the sliding door to the theater obscures half the message when left open, and the remaining text appears to promote a stripper. Inside, Keaton is dealing with a touchy star who insists on having a dressing room with a star over it. Once he’s inside, Keaton pulls the string that moves the star over another dressing room.

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Fireman Save My Child (1919)

This animated short stars “Mutt and Jeff,” themselves stars of a long-running newspaper comic strip. The movie emphasizes slapstick and low-brow comedy of various kinds.

The movie begins with a very primitive image of the front of a fire station. Mutt and Jeff walk out to the front and Mutt sees smoke billowing out from a neighboring tree. On the logic of “where there’s smoke there’s fire,” he and Jeff spray the tree with a fire hose, putting out the cigarette of a policeman who’s standing there and drenching him as well. Jeff runs away, climbing the fire pole and putting his hat on one bed, rumpling the covers to make it appear he’s there, then hiding under another one. The cop comes into the station and hits Mutt with his billy club. Mutt grabs a fire ax and goes looking for Jeff. He finds the hat and gets ready to swing, but suddenly five other firemen jump out of the bed and confront him. Further problems are prevented when a real fire bell goes off and everyone piles into the fire truck in a comedy sequence. They get to a tall building that’s on fire and a lady is yelling “save my darling!” Jeff uses the hose to squirt Jeff up to the top of the neighboring building and helps one young woman escape, but she’s not the right one, so he goes in to the burning house, where he’s attacked by a vicious dog. Eventually he makes an escape, getting ready to leap onto the firemen’s life net, but at that moment a pretty girl is climbing down the fire escape and all the firemen go to look up her skirt. Jeff crashes through the pavement. He and Mutt go to talk to the screaming woman and it turns out that her “darling” is the dog. They pass out on the street.

There’s not much to this, besides constant cartoon violence. The backgrounds remain simple and un-detailed, and most of the animation is repetitive. There is a quick close-up on Mutt as he hides under the bed, which shows more detail than most of the images. The other interesting bit is how various characters, including Mutt and the policeman, are able to “ride” the water coming out of the fire hose. It’s not an entirely reliable mode of conveyance, but it does allow some impossible things to happen. Mutt and Jeff were one of the first comic “strips,” in the sense of being several linked panels, and ran for many years. Many kids, like me, who never actually saw Mutt and Jeff heard about it from our parents: they were American comic icons to which modern cartoons and comics were always compared. This series of animated shorts was produced from 1916 until 1927 and consisted of over 300 movies.

Director: Bud Fisher

Camera: Unknown

Run Time: 6 Min

I have been unable to find this available for free viewing. If you do, please comment.