Century Film Project

Celebrating the movies our ancestors loved

Tag: Tully Marshall

M’Liss (1918)

Mary Pickford is a feral, bratty tomboy in this comedy-western from Artcraft. While in most of the movies I reviewed in 1917 she played a little girl of ten or eleven (taking advantage of her stature to seem younger than her co-stars), here she is a girl on the cusp of woman-hood, but the movie handles this somewhat awkwardly.

The movie opens, as many silent features did, with a kind of visual credit sequence in which each actor and character is introduced with an intertitle and a brief vignette that shows them in character. Pickford is shown in a raggedy dress, firing a slingshot at a bear in the woods, and we are told that her name means “limb of Satan” to the local populace. We also meet her pappy, “Bummer” Smith (Theodore Roberts), a  bearded man who trades eggs for booze, the local judge (Tully Marshall) who also enjoys a drink, and the villain, “Mexican” Joe (Monty Blue). Shortly thereafter, the new schoolteacher (Thomas Meighan) rides into town on a stagecoach that is robbed by M’Liss at slingshot-point, largely due to the winking cooperation of the stagecoach driver, Yuba Bill (Charles Ogle). We now learn that “Bummer” Smith has a rich brother in San Francisco who has willed “Bummer” all his money, but the evil nurse (Winifred Greenwood) and her husband (Val Paul) have plans to get it for themselves. Got all that? Good.

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A Modern Musketeer (1917)

Douglas Fairbanks extends his brand of good-natured athletic all-American comedy into the realm of swashbuckling with this feature from 100 years ago. No doubt Fairbanks saw the potential in a story setting him as an adventurer in the Grand Canyon as soon as he read the source, a piece called “D’Artagnan of Kansas” by Eugene P. Lyle.

The movie begins with an extended flashback to the “Three Musketeers” which is almost a short movie in itself. Doug plays D’Artgnan, and he makes a point of mocking his own mustache and long locks in what seems to be a kind of wink at the audience. He rides into a tavern where he sees a woman inconvenienced by a nobleman of some sort, then starts a fight that leads to fencing and stunts, including leaping up to the rafters and continuing the fight from there. This is the first time I’ve seen Fairbanks with a sword in his hand (he’s had plenty of fights with guns and fists, up to this point), and it’s easy to see that he was a natural to Hollywood-style swordplay. His sword flashes and leaps, parries and thrusts, and never seems to draw any blood as he disarms and dispatches his foes. I can’t imagine that any fan of later action movies would be disappointed in this sequence or find it slow-moving. And, again, it includes Doug’s now-patented physical comedy touches, as when he grabs the beard of a sleeping drunk to steady himself during the battle.

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Joan the Woman (1916)

Cecil B. DeMille enters the arena of the historical epic with this depiction of France’s most famous saint, starring Geraldine Farrar, who had been very successful in “Carmen” the previous year. While a bit rough in places, it is likely to be a major contender in this year’s Century Awards.

joan_the_womanThis is one of those silent movies that, unfortunately, begins with several minutes of intertitles explaining the plot. Most silent directors did their best to avoid this, but DeMille may have felt that because he was dealing with such a “serious” subject, his audiences would need a little priming to get into the mood. Anyway, after five minutes of introductory reading, we finally get to an unnecessary wraparound story. We begin in the trenches in France in 1916, where a young English soldier is digging in the dirt wall for some reason, and pulls out a sword, apparently buried there since the fifteenth century. He speculates that some “queer bloke” must have wielded it, and then responds to a call for volunteers from an officer. The officer is looking for someone to carry a very unwieldy bomb across no-man’s-land to destroy an enemy trench. He tells the soldier to think about it until midnight before making a decision whether to take on the suicide mission. Once back in his barracks, the soldier sees a vision of Joan of Arc and the real movie finally begins!

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Intolerance (1916)

Probably the most talked about film of 1916, “Intolerance” remains a kind of enigma to film historians. Despite the large amount of ink and computer bytes shed writing about it (see the bibliography at the end of this review for a small sample), it seems no better understood than most of the more typical releases of the year. What is this movie that has inspired so much discussion and debate? Is it one of the most important movies in history or just a giant flop?

Intolerance_(film)

Quick Summary

Regular readers of my blog know I usually begin each review with a recap of the action from the film – I don’t worry too much about “spoiling” 100-year-old movies, but if you want to see it first, you can always scroll down to the link and then come back and read the review. In this case, I’m going to be a bit less specific about the sequence of events and just give a summary of the stories, not accounting for the editing or sequence. In part,  this is because there are several different movies today calling themselves “Intolerance,” and deciding which is the “most authentic” is one of the sources of debate among scholars. It is complicated by the fact that the director, D.W. Griffith, kept making changes for each new re-release of the movie, beginning shortly after the premier on September 5, 1916. Some have argued that the 1917 re-release is more definitive, or even that the version Griffith reconstructed in 1922 after chopping up the print to release one of the storylines as a separate film is the most accurate. In 1990 the Museum of Modern Art attempted to reconstruct the movie based on the score written by Joseph Carl Breil for the opening night, in an attempt to get back to an “original” form, but it needs to be noted that this reconstruction is highly debated, and that it is possible that most viewers in 1916 were seeing a quite different movie. Read the rest of this entry »

The Devil’s Needle (1916)

This release from D.W. Griffith’s Fine Arts company reflects his concern with progressive social issues, although it comes across to us today in a similar spirit to “Reefer Madness” and other anti-drug propaganda movies. The version we have today was a re-release for 1923 audiences, which changed character names and other details through new Intertitles.

Devils NeedleBecause of the changes, I’m going to refer to the characters in the film by the names of the actors who played them. Director Chester Withey has followed his mentor’s lead in making the characters more like “types” than individuals in any event. Norma Talmadge, working before she became a big star, plays a model who is caught up in a sort of four-way love triangle (“love trapezoid?”) with her boss, a lanky painter played by Tully Marshall, the daughter of one of his patrons, played by Marguerite Marsh, and her suitor, Howard Gaye, who of course works for her father, F.A. Turner. Norma wants to marry Tully, but he’s infatuated with Marguerite, who is decidedly uninterested in Howard, and apparently willing to consider an marrying artist just to get out of doing what her father wants her to. This whole situation is complicated by the fact that Norma has picked up a habit that involves buying little packages of powder from a shady guy in a cap and sticking herself with needles.

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