Century Film Project

Celebrating the movies our ancestors loved

Tag: Silent Classical Period

The Scarecrow (1920)

Another of Buster Keaton’s early solo shorts, this one has a lot in common with the work he was doing a year earlier with Roscoe “Fatty” Arbuckle, including a cameo from one of the more recognizable Comique players. It’s probably more famous, though, for establishing Keaton’s fascination with gadgets.

As the movie opens, Keaton is sharing a one-room house with frequent foil, Joe Roberts. Buster has a toothache, and Roberts tries to help by tying the tooth to the door with a piece of string, then suddenly opening it to yank out the tooth. It opens the wrong way, though, and all Roberts succeeds in doing is hitting Buster in the nose with the door. This causes the angry Keaton to slam it shut, inadvertently pulling the tooth. Keaton fixes breakfast for the pair, while Roberts “sets” the table by pulling a string that lowers what they need from the ceiling. After the meal, they carry the tabletop, with all of the plates affixed to it, to the wall and spray it down with a hose. They drop the table leavings into a trapdoor that leads to the pigs’ slop-trough. Keaton’s bed folds up, Murphy-style, to become a piano, and the tub, when emptied, dumps water through a hole in the wall to create a pond for ducks, itself folding into a little bench.

The second reel deals with the rivalry of the two men for the heart of Sybil Seely, the classic girl-next-door. As soon as she appears, the two start running and pushing each other, quickly getting into a fight. When Sybil tries out some dance moves from a magazine, Roberts joins her, resulting in Keaton thinking he has lost, but soon he is pursued by Luke the Dog, who has just eaten a cream pie, making it look like he is rabid. He does his old trick of climbing a ladder to chase Keaton around the roof of a crumbling abandoned farmhouse. Roberts, meanwhile, has bought various medical supplies in anticipation of Buster’s needs, but ends up getting run down by a car and using them n himself. Buster falls into a hay thresher, which rips off most of his clothes, effectively ending the chase. It also results in him “exposing” himself (well, his underthings) to Sybil, resulting in her father (Joe Keaton) chasing him and knocking over Roberts, who now tries to propose to Seely.

Good Dog!

Unbeknownst to them, Buster has “borrowed” the clothes of a scarecrow in the field and now, posing as the scarecrow manages to prevent the proposal and start a fight between Roberts and the farmer. Buster then trips into a kneeling position while tying his shoes, and Sybil believes he is proposing marriage to her. Next the couple speeds off on a motorcycle with Roberts and the farmer in hot pursuit. Scooping up a minister during the chase, they are married on the speeding motorcycle and splash into a stream at the climax of the ceremony and the film.

This movie seems like a throwback to the earlier Comique movies, helped by the presence of Luke the Dog. Joe Roberts seems, especially in the early part of the film, to be playing the Arbuckle role, although he develops into a more generic heavyset antagonist as the movie goes along. There’s nowhere near as much of a story as we got in “One Week” or “Convict 13,” in fact it’s so loose it feels more like “The Butcher Boy” than “The Garage.” It’s mostly a series of unconnected gags and chase sequences. The beginning, though, is built around the many bizarre labor-saving devices of Keaton’s and Robert’s home, which is a treat for Keaton fans. I’ll admit that I generally don’t find this all that funny, but it is interesting to see what Keaton comes up with. The best part is when Luke chases Keaton back to the house and he tries to evade the dog by using the various trapdoors and hidden exits. This is the biggest role I’ve yet seen Keaton give to his father, which also lends to the feeling that this is a smaller, more last-minute production than the others we’ve seen so far.

Director: Edward F. Cline, Buster Keaton

Camera: Elgin Lessley

Starring: Buster Keaton, Joe Roberts, Sybil Seely, Luke the Dog, Joe Keaton, Edward F. Cline

Run Time: 19 Min

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

Convict 13 (1920)

Buster Keaton tries on a striped suit along with his stony expression in this early two-reeler from Metro. Dealing as it does with execution, prison riots, and police brutality, it is of course a gold mine for comic pratfalls.

The movie begins with Keaton on a golf course, in his typical get-up, trying to impress a girl and generally failing as a golfer. At one point, having knocked his ball into a water trap, it is swallowed by a fish, and Buster has to catch fish with his bare hands, inspect their insides, and find a way to retrieve his ball when he does find it. Meanwhile, a fellow about Keaton’s height escapes from a nearby prison. He find his way to the golf course and comes across Buster, lying unconscious as a result of beaning himself with his own ball. The escapee swaps clothing and walks away free. As Keaton wakes up and attempts to continue golfing, several prison guards surround him and he slowly becomes aware of his new uniform. He distracts them with his ball and takes off running, but pretty soon there are more guards and Keaton falls into line marching with them. For a moment it looks like he may escape when he tricks them into marching the other way, but it only gives him a brief reprieve – he winds up trying to hitch a ride from the warden before getting finally running ahead of the guards into the prison and locking himself in when he tries to lock them out.

The warden, it turns out, is the father of Buster’s girl (Sybil Seely). She tries to plead for him, knowing that he was free just a few hours ago, but his number (#13) is on the roster for a hanging today and daddy insists on carrying it out. Thinking quickly, Sybil grabs some elasticated rope from the gym, and replaces the noose with it. When the hangman puts it around Buster’s neck, he bounces up and down, but does not hang. The warden assures the disappointed audience of convicts that he’ll hang two next week to make up for it. Keaton is put on rock-breaking, which he does by tapping lightly on the smallest bits of rock he can find, resulting in an extended slapstick battle with one of the guards, who happens to be about Keaton’s height. When he is knocked out, Buster changes clothes with him.

Now in a position of authority, Buster finds himself confronted by a hammer-wielding crazed convict (Joe Roberts), who has already knocked out all his other guards. Buster tries to frighten him, but soon they are also in a running battle, which extends to a riot as the other convicts catch the fever. Buster puts attaches a basketball to the elasticated rope and swings it around his head, knocking out all of the other convicts, and finally managing to take down Roberts as well. Just as it seems he will be able to claim victory and get the girl, he accidentally knocks himself out, finding himself back on the golf course, being shaken back to awareness by Sybil. It was all a dream.

In this movie, Keaton takes the concept of “the clothes make the man” to an extreme. Once he’s in the uniform or prisoner #13, that’s his life. Only Sybil can see through the clothes to recognize him, even Keaton seems resigned to his fate as a convict. This is particularly evident as he resolutely goes up the gallows steps because his number is due for execution – his character doesn’t even know that Sybil has acted to save him. He barely even protests, and does nothing to stop the executioner. Once he’s changed clothes with the guard, now he’s a guard (and presumably the other fellow just accepts being a convict on death row). He acts in his own interest in fighting the rioters, but he also makes no attempt to escape the prison now that he’s presumably a free man. He does his duty, stands his ground, and manages to prevail. Of course, the ending calls all of it into question. In a dream, we often accept conditions that wouldn’t logically make sense in waking life. It’s somewhat more funny to think of this as the reality of Keaton’s world, rather than a dream, but the ending kind of undoes that conceit.

The basketball-swinging stunt harks back to a gag that Buster and Joe Keaton did on stage, as described in Keaton’s autobiography. His father would be shaving himself on one end of the stage with a straight razor while Buster swung a basketball on a rope, getting closer to his dad with each swing, and timing the hit precisely to avoid injury and maximize laughs. Then his father would chase him and use him as a “human mop.” According to Keaton, a real razor was used, and no one was ever hurt with it. Still it shows the lengths he and his family would go for a laugh.

Director: Buster Keaton and Edward F. Cline

Camera: Elgin Lessley

Starring: Buster Keaton, Sybil Seely, Joe Roberts, Edward F. Cline, Joe Keaton

Run Time: 24 Min

You can watch it for free: here.

One Week (1920)

Buster Keaton’s first movie released after he and Roscoe “Fatty” Arbuckle ended their partnership and started to work independently is parody of a Ford Motor Company promotional movie for prefab housing. While our ability to appreciate the source of the satire is limited today, it holds up as a comedy for the ages.

The movie begins with a wedding between Buster and his new bride, Sybil Seely. For some reason, their “just married” car is being driven by the Buster’s former rival, “Handy Hank,” who is played by an otherwise unknown and unidentified actor. Buster and Sybil receive a plot of land and a build-it-yourself house that comes in numbered boxes, with IKEA-sized directions in an envelope. Keaton sets to work putting the house together, doing things like sitting on a plank a story up as he saws it in half, causing him to drop to the ground when it separates. Meanwhile, Hank takes some paint and renumbers two of the boxes, adding to the confusion Buster’s already serious incompetence was causing. The end result looks like a German Expressionist worked with a cartoonist to design a house.

Undaunted, Keaton and his wife move into the house. Their first major challenge is when the piano arrives. Keaton tries to attach a pulley to the ceiling to haul it in, but the ceiling droops down like a circus tent. So, Keaton props it up with a spare board. He brings the piano in, dangling from the ceiling, but it swings wildly and chases him around the room before crashing through the floor. His wife brings in a music score and he sets it on the piano. Buster also encounters problems when he nails down the carpet, forgetting that he left his jacket in the middle of the floor. The only way he can think of to get rid of the unsightly lump is to cut around it, remove the jacket, then put a small rug over the hole in the carpet. He uses the extra piece of carpet as a welcome mat. He tries to install the chimney, but winds up falling into the bathtub after his wife has just gotten out, then the door he chooses to leave the bathroom turns out to be a straight drop to the ground, due to the misnumbered boxes.

Buster and Sybil hold a housewarming party, trying to serve their guests despite an oddly-arranged kitchen, but when a storm kicks up outside, they discover that the house pivots in the wind, eventually spinning like a merry-go-round. All of the guests eventually are thrown clear by centripetal force, and Buster and Sibyl watch the house spin from their yard, in the rain. As if this were not enough, Keaton finds he has built his house on the wrong site and has to move it, attaching it to his car with ropes, and then simply nailing it to the back of the car. The movie reaches its climax when the house becomes stuck on railroad tracks. Keaton and Seely try to move it out the way of an oncoming train, which eventually passes on the neighboring track. As the couple look relieved, the house is immediately struck and demolished by another train coming the other way. Keaton stares at the scene, places a ‘For Sale’ sign with the heap (attaching the building instructions) and walks off with Seely.

Keaton showed considerable insight in choosing a simple subject that would make a coherent framework around which to build his many sight gags and pratfalls. The movie is essentially a series of vignettes, each prefaced by a shot of a calendar page being torn off to show us the passage of the week (a device borrowed from the Ford film). Setting it up that way actually makes it feel more coherent than, for example, “The Garage,” in which he and Arbuckle’s gags are tied together just by the sense that all of this could happen in an established workspace. Keaton did not hold back on his gags, using a full-sized house to great effect. One gag I didn’t mention above is an anticipation of one he used years later in “Steamboat Bill, Jr.” where a wall of a house falls toward him, with his character fortuitously missing getting crushed due to standing in the spot where the open window hits. The house really does spin, really is dragged onto a railroad track, and really is smashed by a locomotive. The gag at the end reminded me of a story Keaton tells in his autobiography about a practical joke played on Marcus Loew, where he pretended his car had died on a cable car track, carefully positioning it so that the trams would zip past, barely missing the front and rear bumpers.

Keaton shared writing and directing credits with Edward F. Cline, a man who would continue working on most of Keaton’s short movies for the next few years. It seems that Keaton, who was used to collaborating with Arbuckle, worked better at this time having someone to bounce ideas off of, or even to let him take over sometimes. This is very different from Charlie Chaplin, who started directing his own work while still in his first year at Keystone, and never let anyone else share credit for his creative work afterward. I suspect these differences in work styles partially explains the different flavors of their short movies – Chaplin’s are largely the work of a single genius, while Keaton’s are less personal, more inclusive creations. I don’t entirely know which I prefer – I think I laugh more at Chaplin movies from this period, but there’s something about Keaton that keeps me coming back, partly just to see how he did what he did.

Director: Buster Keaton, Edward F. Cline

Camera: Elgin Lessley

Starring: Buster Keaton, Sybil Seely, Joe Roberts

Run Time: 19 Min

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

Way Down East (1920)

One of D.W. Griffith’s most enduring features, this movie comes from the period in which he was one of the leading lights of United Artists, and was quickly bankrupting himself trying to keep up a stream of hits for that ambitious studio project. While some of the movies he made then are dismissed today, this one endures as a critics’ darling – does it live up to its reputation?

Griffith’ usual flowery intertitles set up a situation he tries to present as “universal” although it is rather specific. Anna Moore (Lillian Gish) is a young woman living East of Boston with her widowed mother. As money is tight, Anna reluctantly agrees to go in to the city to visit wealthy relatives, and ask for help. The family is clearly put off by her appearance, and she is a little too shy (and a little too proud) to ask outright for money, so she awkwardly accepts a left-handed invitation to stay. The one person in “society” who pays her any attention is Lennox Sanderson (Lowell Sherman), a raconteur whose only interest is sex. He tricks her into a phony wedding in order to get her in bed, and convinces her to keep it a secret to avoid upsetting his father an losing his inheritance. Anna, thinking that her future fortune is now secure, returns home and begins seeing him secretly. She soon becomes pregnant, and tells Lennox that they must now reveal their marriage, causing him to reveal to her that it wasn’t legal. He promises her money and leaves.

Read the rest of this entry »

Blue Blazes Rawden (1918)

William S. Hart stars in this somewhat somber morality tale set in the Pacific Northwest. With less action than his usual Westerns, this movie asks more of him as an actor and director in terms of emotion and conviction.

The movie begins, with rather flowery intertitles that have a distinctly Jack London influence, by introducing “Blue Blazes” Rawden – a hellraising timber man far from civilization (played by Hart), surrounded by his admirers on pay day. He leads them to the town of Timber Cove with the full intention of blowing all their pay in a wild debauch. They quickly locate the Far North Hotel, a place with a saloon suited to separate them from their money, and once there, Blazes is soon in a dispute with the owner, “Ladyfingers” Hilgard (Robert McKim), over his girl Babette du Fresne (Maude George). Blazes and Hilgard try to settle things with cards, but as Blazes winnings pile up and Hilgard is about to lose his hotel, he challenges Blazes to a gunfight, even going so far as to have one of his cronies sabotage Blazes’ ammunition, but Blazes is too tough for him, and ends up shooting Hilgard with his own gun.

Rawden has won the respect of the town, the hotel, and the woman in one fell swoop, but there’s a catch. As he’s dying, Hilgard gives Rawden the letter he just received from his aging mother (Gertrude Clair) – she’s coming out to visit, along with Eric, his innocent younger brother (Robert Gordon), and they expect to find a decent, respectable man, not a ruffian card sharp. When they arrive, apparently Rawden’s heart grows three sizes that day, because he can’t bring himself to tell the truth about Hilgard or himself. He admits that Hilgard is dead, but insists they were fast friends and that Hilgard was a pillar of the community. He threatens everyone at the bar not to contradict him or they’ll get what Ladyfingers got, and so they all go along with him as he puts up a gravestone that calls Hilgard  a good man and generally carries off a huge deception, reforming himself along the way. Eventually, Babette becomes annoyed by the “new” Blazes and tells the younger brother that Blazes killed Hilgard, which so enrages him that he shoots Blazes – who refuses to defend himself because that would mean killing two sons of the woman who he so respects. After saving Eric from a lynch mob, Blue Blazes makes him promise never to tell Mrs. Hilgard what he knows and leaves town a reformed man, though it seems likely he’ll die in the wilderness of his wounds.

Most of this movie hinges on Hart convincing his audience that he is so remorseful after meeting the mother of his victim that he completely changes from the brutal hell raiser into a man of decency. What’s remarkable is that he pulls it off quite well. The two sides of this character seem perfectly suited to Hart – he was equally capable of being the devil-may-care brawler and the man with a simple code of honor who never wavers, once decided on his path. It’s strange to see them both evoked in a single story like this, but somehow it works. It helps that Clair is so good as the refined but sweet old lady who could never think ill of her son or his surroundings. When Babette tries to tell her about Hilgard, she invites her to tea and remarks how surprised she is that the other ladies (all of them evidently prostitutes) of the town have never paid her a call. As a director, Hart deserves credit also for building a believable environment of savage lumber jacks, taking advantage of the redwoods in northern California to show a primeval forest that separates men from their upbringing and civilized training. Given this theme in the early intertitles, I was surprised when something as simple as a mother’s love was enough to shatter this premise and change the title character from hellion to angel.

Director: William S. Hart

Camera: Joseph H. August

Starring: William S. Hart, Maude George, Robert McKim, Gertrude Claire, Robert Gordon, Jack Hoxie

Run Time: 51 Min

You can watch it for free: here.

The Garage (1920)

This is the last short film from the Comique Studios starring Roscoe “Fatty” Arbuckle and Buster Keaton. after this, Keaton would strike out on his own and Arbuckle would make a brief stab at feature films before being embroiled in scandal, but for now, we get to enjoy the duo in action for one last time.

Arbuckle and Keaton play automobile mechanics and firemen at a garage in a fire station. They work for an old man who seems to have high blood pressure (Dan Crimmins). Molly Malone plays the boss’ daughter who is being courted by a man named Jim (Harry McCoy), though she turns him down after the flowers he brings her end up accidentally soaked in motor oil thanks to Fatty and Buster. Livid, Jim raises the alarm in the fire station to make Fatty and Buster think there is a fire and forcing them to rush across town. However, Jim accidentally starts a real fire while trying to exit the station and the firemen return to put out the fire and rescue Mollie who is trapped inside. When Fatty, Buster and several of the townspeople try to rescue Molly using a life net, she bounces up into the telephone wires. Fatty and Buster eventually get Molly down but become trapped themselves; luckily Mollie moves a car beneath them just before they fall and all three ride off together.

The summary above focuses on the “plot,” but really misses most of the film. Like most of the Keaton/Arbuckle shorts, the story is just a thin skeleton on which to hang a series of gags, which come fast and thick here. Right off the bat, we see Arbuckle washing down a car at the opening, and he seems to work extra hard on a window, before leaning through the window to clean the outside of the car, demonstrating that it was open the whole time! Keaton has some beer with his lunch, but decides it’s a bit thin and adds some wood alcohol to the mix. Keaton and Arbuckle get into a fight, throwing pies, soapy rags, oil and everything else they can find at one another, making a huge mess of themselves and the car Arbuckle just finished washing down. Then they put it on a giant spinning plate and spray it with a hose while the manager does pratfalls to distract the customer. And all this is just the first few minutes of the movie! Probably one of the best-loved sequences is where Keaton, having been chased by Luke the Dog and losing his pants as a result, pretends to be a Scotsman by cutting a kilt off a poster for Scotch whiskey and does a ridiculous jig in front of a policeman. Then he hides by walking behind Arbuckle, then switching to the front when the cop is behind them. None of this has anything to do with the garage (though it is loosely tied in to Jim’s attempts to date Mollie), but it works because it doesn’t need to make sense to be funny.

Unlike some of their earlier work, this one seems to flow naturally from one scene into the next, despite the madcap pacing. There is sort of a divide between reel one, which is mostly about fixing cars, and reel two, which is mostly about fighting fires, but there isn’t quite as much sense of the film being two movies stitched together as in “The Butcher Boy” for example. Arbuckle and Keaton are clearly having fun every minute, and although the movie ends with Keaton acting as chauffeur while Mollie and Fatty snuggle in the back seat, there is very little sense of Arbuckle being the “lead” and Keaton being a “sidekick.” The two of them are fully a team now. It’s sort of sad to think that they never worked together again, but in fact Keaton was headed for bigger things. We’ll be seeing some of that in months and years to come.

Director: Roscoe “Fatty” Arbuckle

Camera: Elgin Lessley

Starring: Roscoe “Fatty” Arbuckle, Buster Keaton, Molly Malone, Harry McCoy, Daniel Crimmins, Luke the Dog

Run Time: 25 Min

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

The Silent Man (1917)

William S. Hart one-ups John Wayne by being even quieter in this movie from Thomas Ince’s Artcraft Pictures. Is silence golden? We’ll take a look at it today.

Hart plays “Silent” Budd Marr, a prospector who, after three months in the desert, has finally struck a claim. He treats his horse and mule with characteristic affection, bringing them past rattlesnakes and to the front of the “Hello Thar” dance hall in “Bakeoven,” the small gold rush camp town that is the main setting of our tale. There he proceeds to order three tall glasses of water – a very wise idea given his parched condition – before heading over to the assessor’s office to file his claim. Because he pays in gold dust, he attracts the attention of the proprietors, Ames Mitchell (Milton Ross) and “Handsome” Jack Pressley (Robert McKim). Handsom Jack tries to get Silent drunk, but he sticks to water. He also meets “Grubstake” Higgins (J.P. Lockney), a more classically grizzled-looking resident of the town, who rides him for his choice of drink with a racist comment, but then is big-hearted enough to direct him to the assessor’s office. With his claim in hand, Silent now heads back to the bar for some “man-sized” drinks. This is a mistake, because in the meantime Mitchell and Pressley have devised a plan.

Handsome and Silent

Pressley sends one of his dance hall girls, a woman he had tricked into marrying him in order to lure her to the “Hello Thar,” to get Silent’s attention, and then starts a dispute, which can only be settled by a card game between the two of them. Of course, he’s cheating, using the girl to telegraph Silent’s hand from behind his back, but when Silent catches on he makes the situation worse by fighting and getting shot, spending two weeks in bed to recover, and giving the claim-jumpers a chance to secure a claim with the assessor, somehow moving Silent’s claim a few hundred yards from where it should be.

While Silent’s been out of action, Handsome Jack has been busy recruiting a new girl for his business. This is Betty Bryce (played by the equally alliterative Vola Vale), a young innocent orphan from the neighboring town of Chloride who takes care of her brother (Harold Goodwin), who’d rather she marry a cowboy so he could have a horse to ride. She falls for Pressley’s line, however, with the result that she and he are in the same coach where Ames is transporting his ill-gotten gold dust back to Bakeoven when Silent, now reduced to banditry, decides to raid it. He winds up taking  the girl captive, and has to hide out with her while the posse searches for him. She assumes him to be an evil desperado, but he treats her with gentlemanly consideration, and gradually she comes to see him as trustworthy. He tells her the story of how he came to desperado-hood and that he’s saved her from an evil fate, though at first she has doubts.

Silent brings Betty to the mountain home of “Preachin” Bill Hardy (George Nichols), a former prospector who’s found God and is now building a church in the wilderness to bring the Word to the forsaken people of Bakeoven (but still can’t remember not to cuss in front of young girls). Grubstake brings her brother out to join her, and the family is reunited. The happiness of the situation is temporary (of course), as Ames and Pressley eventually get wind of Silent’s whereabouts. Betty’s brother, eager to earn the reward for the bandit in order to give it to the preacher to help him finish the church, is injured in an attempt to take Silent single-handed, and he brings him back to the church, but meanwhile, the bad guys have set fire to the church to try to get the information from Hardy. Silent lets the boy bring him in so that the reward will go to Hardy, who has lost everything for his honor. At the trial, the truth comes out when Grubstake reveals his true identity as a Federal Marshall investigating Ames. Pressley and Ames try to get the crowd to lynch Silent anyway, but more lawmen show up and save the day. Bud and Betty are able to marry and live happily ever after.

Coming a year after “Hell’s Hinges,” and “The Return of Draw Egan” this movie seems comparably formulaic and unimaginative. I don’t know, maybe I’ve just seen too many of these William Hart movies to appreciate it, but it seems to me like pretty much everything in this has been done before. In fact, the subplot about capturing Betty and wooing her reminded me a lot of “Shark Monroe,” which was to come out the next year and did a much better job of dealing with the awkwardness and sexual tension of that situation. We do get the interesting situation of Hart as an anti-hero bandit with a pure heart and a desire for revenge, but this is mostly window-dressing for a pretty generic Western storyline. Finally, I’m not sure why his character (or the title)  is called “Silent,” unless it was just to call attention to the fact that this is a silent movie. He has as much dialogue as anyone, and actually the one person who keeps silence is the preacher, who refuses to divulge information under extreme duress.

Director: William S. Hart

Camera: Joseph H. August

Starring: William S. Hart, Vola Vale, Robert McKim, J.P. Lockney, George Nichols, Gertrude Clair, Milton Ross, Harold Goodwin

Run Time: 55 Min

 

Headin Home (1920)

This early biopic stars its subject Babe Ruth but completely fictionalizes his life to create a down-home American narrative surrounding a life which might not have fit into accepted American mythology at the time. The result is somewhat odd, but at times quite amusing.

The movie opens, after a jokey intertitle, by showing a throng of baseball fans piling into a ball park (most likely the Polo Grounds, where Ruth worked at the time). They are nearly all men, and nearly all wearing identical straw hats – obviously a major fashion accessory of the day. We see the New York Yankees come out of their dressing rooms and a close up of Ruth in the dugout, then a ballgame and the crowd is shot from a few different angles. Suddenly, one of the fans is introduced as “an oldtimer from Babe’s birthplace, Haverlock.” Haverlock, it seems, is a small rural community somewhere in “the sticks” (it’s never really clear where, but the town has sort of an East Coast look that made me think of upstate New York). We are then transported to this rustic hamlet, where Babe evidently lived with his single mother (Margaret Seddon) and small foster sister (Frances Victory). Ruth is shown hacking down a small tree in the woods with the intention of making himself a baseball bat. Other town members are introduced, each with a funny and often misspelled intertitle, including the local banker (James Marcus), his son (Ralf Harolde) and daughter (Ruth Taylor), who is Ruth’s love interest Mildred. “Si,” the banker (short for “Cyrus”) kicks his son out of the house for running up debts and the son goes off to New York. We also meet Ruth’s rivals, who include the local dogcatcher (George Halpin) and Harry Knight (William Sheer), the man Cyrus brings in to work at the bank and to pitch for the local ball team, run by the drunken town barber (Walter Lawrence).

Read the rest of this entry »

Carmen (1918)

Alternate Title: “Gypsy Blood”

Coming early in the careers of Ernst Lubitsch and Pola Negri, this filmed version of the famous novella/opera gave them an opportunity to work with “serious” cultural material. Does this European interpretation of the story work better than its American predecessors?

The movie opens with a group of gypsies sitting around a campfire at night. One of them launches into the story of “La Carmencita” and the man she ruined. We now see Don Jose (played by Harry Liedke), who visits his mother and sweetheart in the hills before he arrives in Seville to receive a promotion to the rank of Sergeant. This is a great honor for a man of humble beginnings. We can see from his shy interactions with his fiancé that he has little knowledge of the ways of the world. At Seville, we see a parade at the changing of the guard, which seems to be a big draw for crowds, including the girls at the local tobacco factory, who wave at the soldiers and flirt with men on the street. The most beautiful, and aggressive, is of course Carmen (Negri). She sees Don Jose mooning over a letter from his sweetheart and resolves to have some fun with him. She teases him with a rose, which he mostly ignores until she leaves, then notices how marvelously sweet the odor is once she’s gone. Read the rest of this entry »

Charlie Butts In (1920)

Unusual provenance explains this re-edited, re-titled version of Charlie Chaplin’s “A Night Out,” but it was once widely seen by audiences who had little access to new material from Chaplin during his long dry spells in the 1920s.

The movie begins by showing Charlie as a band conductor, with a trombonist who frequently hits him when his back(side) is turned. Then we cut to Charlie in his hotel, flirting with a woman behind a veil, apparently a bit drunk, impressed by her backside and horrified when her face is revealed. Next is a scene showing Charlie, evidently in a restaurant, using a decorative fountain for his evening ablutions. At the very end of this sequence, Bud Jamison appears to chastise him. Next is a scene of Charlie preparing for bed in a hotel room, tossing clothes out the window and nearly sleeping on the floor himself. Edna Purviance plays with a dog across the hall and this hides under Charlie’s bed. Edna follows it and Charlie finds a girl under his bed, only to find moments later, her husband (Bud Jamison again) at the door. Soon, Ben Turpin shows up with a bone to pick with Charlie as well. The ensuing fight ends with Charlie passing out in his bathtub.

Some unscrupulous type seems to have gotten ahold of discarded takes from “A Night Out” and edited it into a short movie. Again, since Chaplin wasn’t releasing much at the time (certainly not as much as the public wanted), it was easy to get a “new” Chaplin into distribution, even without his approval. It lives on in the guise of a Charlie Chaplin movie, although better prints of the originals have been released.

Director: Unknown (though Chaplin presumably directed all the footage)

Camera: Unknown (most likely Harry Ensign)

Starring: Charlie Chaplin, Edna Purviance, Bud Jamison, Ben Turpin, Fred Goodwins

Run Time: 11 Min

You can watch it for free: here.