Century Film Project

Celebrating the movies our ancestors loved

Tag: Margaret Joslin

The Puncher’s New Love (1911)

This unusual film from Gilbert M. “Broncho Billy” Anderson avoids most of the usual Western tropes to tell a romantic story of love lost through selfishness. While a bit awkwardly shot and acted, it goes a long way to showing the diversity of roles Anderson did within the “Broncho Billy” umbrella.

As the movie begins, Anderson is leaning in the window to ask out his girl (Ann Little) to an upcoming barn dance. She is happy to accept and even gives him a little kiss goodbye. Right after he departs, a rival (John O’Brien) arrives with a handbill about the same dance. Ann rightly tells John she can’t go with him, because she just agreed to go with Billy, but he doesn’t seem to get the hint until she repeats herself. Eventually, he seems to console himself by saying at least he’ll see her at the dance with Billy. Meanwhile, Billy comes across a “city girl” (Gladys Field) out riding, and is immediately infatuated. He shows her the handbill and she shows an interest in going with Billy, who seems to completely forget about Ann. On the night of the dance, John sees Billy come in with the city girl and his jaw drops. She refuses to shake hands with a man Billy introduces her to, and looks disdainfully at the whole affair, but eventually agrees to dance with Billy. John eagerly rushes off to find Ann, who is standing forlornly in front of her gate. He tells her Billy’s there with another woman, and she looks crushed, but eventually agrees to go with John. Once there, Billy appears to be about to leave with his bored date, but receives a withering stare from Ann before he gets out the door, and sees that she is with John.

Some time later, Billy pays a call on the city girl, looking about in wide-eyed wonder at her fine house and the liveried butler. Gladys seems not to remember Billy when he is announced, but eventually deigns to coldly greet him. Then a man in a tuxedo comes in and she quickly rushes up and hugs him hello. Billy expresses his jealousy and is asked to leave, which he will not do until he’s said his piece and threatened violence. Now he returns shame-faced to see Ann in her home, but she is still angry at being cast aside without even being informed that their date was off. She tells Billy to go, and this time he does so with more decency, because this is someone he can respect. John comes in a bit later with a ring and we see that Ann has transferred her feelings to him. A final intertitle (possibly added due to the loss of some footage) tells us that the couple eventually discovers Billy dead.

We can’t see you, Ann!

There are no gunfights, horseback chases or bar room brawls in this film, yet it is fundamentally about the different values of the “pure” pioneering America versus the corrupt Europeanized culture of the city. Billy and all the other “punchers” wear riding garb at all times, even at the formal dance, although the city girl wears a black gown and the other country girls are in simple dresses. The overall plot is reminiscent of F.W. Murnau’s much later movie “Sunrise,” but without the happy ending, or the attempted murder. It’s interesting that Billy is unable to redeem himself from his mistake – usually in a story like this, a man can make amends, but a “fallen woman” has to die. This movie surprised me by ending with the death of the fallen man. It’s very much a 1911 movie, with all shots taken at full-figure distance, and no camera movement or editing within scenes. The sets are often crowded, especially the dance hall set, and actors frequently pass in front of one another, obscuring  the main action. The dance begins with a little comedy about the fiddler, who is either drunk or exhausted (I couldn’t tell if he was laughing hysterically or yawning), and nearly everyone in the movie is crowded into that scene. One really unfortunate choice was to shoot the scene of John picking up Ann from behind the gate Ann is waiting at, so her face is obscured as she acts out her reaction to Billy’s betrayal. There were a lot of other angles they could have used for that scene, but it probably didn’t occur to anyone that it would be an issue.

Director: Gilbert M. “Broncho Billy” Anderson

Camera: Unknown

Starring: Gilbert M. “Broncho Billy” Anderson, Gladys Field, Ann Little, John O’Brien, Augustus, Carney, Harry Todd, Margaret Joslin, Brinsley Shaw

Run Time: 12 Min

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

Alkali Ike’s Auto (1911)

Cars were still a pretty new invention in 1911, especially in the more rural areas of the United States. Film was also pretty new, but with the boom of Nickelodeons opening across the country, more people of different backgrounds were going to the movies and demanding more content they could enjoy. This movie, like a number of others I’ve looked at, shows how film as a medium exploited the fascination with speed and technology in general.

Alkali Ikes AutoAlkali Ike (Augustus Carney) is a fairly typical rural “bumpkin” character – the type of Village Idiot that cityfolk think is typical of the sticks and that rural folks recognize as belonging to the neighbors. In this movie, he has a counterpart or rival, the taller “Mustang Pete” (Harry Todd). The object of their competition is a woman named Betty Brown (Margaret Joslin). First, they both try to help her with her dishes, but she is annoyed by their constant squabbling over who will dry the next dish, which sometimes leads to their pulling their guns on one another. They try to “cooperate” in carrying the basin of water, but actually their fighting over who will carry it results in Betty getting splashed with dirty dishwater. Next, Ike wants to take her for a horseback ride, but Pete wins by showing up in a horse and carriage. Betty goes off with him, and Ike, despondent, leads his horses to the general store. Now a stranger drives up in an automobile. The audience is tipped that the car is in bad shape when the store owner refuses to buy at any price, but Ike misses this key bit of information and offers to trade his horses for the car. The stranger, no doubt happy to have a reliable means of transportation to get out of this backwater, accepts, and gives Ike brief instructions on driving.

Alkali Ikes Auto1Now Pete and Betty ride up in their horse & carriage. Betty is excited to be offered a ride in a horseless carriage, and climbs aboard with Ike, who drives it through town and knocks over a post in front of the store. Betty is patient, however, and he does keep it on the road for a while, before ominous steam starts coming from under the cap. The car stops, and the steam turns into a spray of water aimed at Betty. Ike gets out to look and see what he can do about it, then the car starts up on its own, tearing down the hill with Betty aboard. The car crashes at the end of the ride, and Betty is pitched across the hood into the mud. She is furious when Ike catches up and grabs him by the throat.

Alkali Ikes Auto2There are a number of interesting things about this movie. One is that Betty is not at all the typical love-object, or even any sort of movie farm girl, but rather a large, matronly type, physically larger than either of the male suitors. My initial assumption (based on my familiarity with the genre combined with my own prejudices) was that she was a wealthy widow that the men wanted to marry for land and/or money. However, the Intertitles never say any such thing. Maybe her appearance is part of the comedy, or maybe it was assumed that she was the sort of person a bumpkin would be attracted to. The movie as a whole is pretty typical of the pre-Keystone comedies of the time. We get no close-ups on anyone, relying on broad physical gestures and costume to tell us what we need to know about character and motivation. Editing is limited, usually just linking one sequence to the next rather than allowing for intercutting between scenes, and the slapstick action is mostly tame by comparison to a Keystone movie.

Alkali Ikes Auto3Carney was a well-known Essanay player, and apparently this movie was one of their biggest hit releases for 1911, leading to a remake in 1913. He and Mustang Pete would appear in a number of future shorts together as well. In 1914 Carney would go to Universal in search of higher pay as “Universal Ike,” sans Pete. Another successful series of shorts was released, but Carney still demanded more money until Universal terminated his contract and most of his career. His friend Christy Cabanne occasionally gave him supporting roles after that, as in “Martyrs of the Alamo,” in which he was a soldier. By 1916, he was out of film altogether, and he died in 1920.

Alkali Ikes Auto4Director: Billy Anderson or, possibly, E. Mason Hopper

Camera: Unknown

Cast: Augustus Carney, Harry Todd, Margaret Joslin, John B. O’Brien

Run Time: 11 Min

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