Century Film Project

Celebrating the movies our ancestors loved

Tag: Harry Solter

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.

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Flo’s Discipline (1912)

This is a movie I got to see at Cinecon in a very nice print, but which does exist on the Internet in incomplete form (see below). It was part of the collection of shorts from the Champion Studio starring Florence Lawrence at the height of her popularity.

This movie concerns “Flo’s” (Lawrence) employment at a boys’ school called Dow’s, and her efforts to get the boys to behave. At the beginning of the film, we see them at a meal, and the male headmaster (Owen Moore) pays them no mind as they scream, yell, throw food, and generally raise Hell. Flo is in the next room and when an elderly man complains to her she takes charge, firing the popular teacher and attempting to establish order. Now it becomes a war between her and the kids. When she cancels recess and sends the boys inside, locking the door after them, they climb out a window and run past her, waving their hats. Next, when Owen tries teaching class outside, she sprays them with a garden hose to get them off the lawn. They foolishly run and hide inside the ice house (not a smart move when you’re wet!) and she again locks them in. The teacher tries to rescue them by climbing a tall ladder to a window in the building (which would seem to be a bad design idea in an ice house, but whatever), but Flo removes the ladder and leaves him stranded on a ledge for an hour. Finally, she relents and lets him down and the boys out. She agrees to re-hire the teacher and the boys, sufficiently chastened, agree to follow the rules. There is a hint that she and Owen will become sweethearts.

This is a pretty silly comedy, with some elements of gender relations thrown in. It struck me again that Florence’s character was pretty determined and self-sufficient, even if the implication was that the male teacher was better able to get through to the boys (they are very well-behaved when he leads the class on the lawn). If we took the movie seriously, her act of locking a bunch of dripping wet kids into an ice house would have to be seen as abusive and possibly life-threatening (although she does give them hot coffee at one point). But, the point here really is that she doesn’t give up or get flustered just because the kids don’t respect her, and she does ultimately win their respect in this way. Compared to some of the other Champions we saw, this was something of a light and simple movie, but it was an effective comedy and got some laughs from this modern audience.

Director: Unknown, possibly Harry Solter

Camera: Unknown

Starring: Florence Lawrence, Owen Moore

Run Time: 11 Min

You can watch a fragment of this film for free: here. Please let me know in the comments if it becomes available in full.

Not Like Other Girls (1912)

This short from Champion was screened at Cinecon last Sunday, and I’m reviewing it based on that viewing. I admit that my memory of this one is a bit hazy – there were four other Champion shorts at the same time and this one seems to have been the least distinctive.

Florence Lawrence and Owen Moore in another movie from 1912.

We see a young couple (Florence Lawrence and Owen Moore) out for a drive. He pulls over to pick her some flowers, but she moves over and drives the car away, ditching him. A few feet away, the car stalls and he runs over to repair it, then they go merrily on their way. When Owen drops her off, she presents the bouquet to him, again reversing the gender order. This continues in a boating trip, where Florence tips the boat over so that he falls into the water, then eagerly seizes the oars and begins rowing for herself. Somewhere in here is a bit where his father tells him that he has lost money that was put in trust to him by Florence’s family, and the only way to stay out of jail will be for the two of them to wed. Owen is pretty well ready to give up after the boating incident, and the father dies. Now Owen is the one who will go to jail if the money is not returned. Florence learns of the crime and goes to see Owen, apparently angry. It turns out she’s really mad because she has fallen in love with him, and the two are married after all.

Florence Lawrence had been in movies for several years by 1912, but her growing stardom was confirmed when Champion, now a subsidiary of Universal, created a new brand called “Victor” to showcase her specifically. If the liner notes for Cinecon are correct, this was the first of those movies. Although I had some difficulty following the plot, it was very interesting that her tomboyishness seemed to be shown as both a source for comedy and also an attractive quality. Sort of like “playing hard to get,” the fact that she’s apparently not interested in men and wants to take control of the car and the boat (and presumably her destiny) apparently made her seem “cute” to male audiences at the time. Perhaps women found the idea of a heroine not having to be subservient at all times appealing also.

Director: Harry L. Solter

Camera: Unknown

Cast: Florence Lawrence, Owen Moore

Run Time: 9 Min

This movie is not available for home viewing at this time.