Station Content (Triangle, 1918)
Kitty Manning (Gloria Swanson) is the wife of Jim (Lee Hill), master of the Cybar train station. Cybar is a nothing town nestled deep “amid the desolate southwestern plains” and Kitty, who had been used to big city life before marriage, is suffering from an extreme case of ennui. A theatre agent (Ward Caulfield) overhears her singing one day and, impressed by her vocal talent, offers to find her a job. Kitty is excited at the prospect and eager to talk it over with Jim, but Jim ignores her – his life is focused on his railroad/telegraph duties to the exclusion of everything else. That night, Jim finds a note on the table – Kitty has left him.
She meets with success and becomes a chorus girl in a small revue, but at least one person thinks she should aspire to greater heights. That would be Stephen Morton (Arthur Millett), the president of the Pacific Railroad. He’s friends with the director of a major theatre in San Francisco and wants to establish Kitty there, which, after some hesitation, she agrees to.
Kitty misses a connecting train on the way to San Francisco and is forced to spend some time at Hell’s Station – a place even more isolated than the station she escaped from. It’s also manned by a married couple, but the wife here suffers from none of Kitty’s listlessness and Kitty begins to envy their happiness together.
Meanwhile, Jim is relocated to a new station and leaves for Victorville. A violent storm destroys the Hell’s Canyon bridge, over which Jim’s train is bound. Kitty, ignorant that Jim is on board but knowing that the train is doomed if it isn’t warned in time, takes it upon herself to brave the storm and “certain death” danger of crossing the canyon to stop the train.
Gloria Swanson’s filmography is usually divided into two periods: her early work at Keystone, where she starred opposite Bobby Vernon in a series of one- and two-reel slapstick comedies; and her later work at Famous Players, after she became Cecil B. DeMille’s go-to dramatic leading lady. Almost forgotten is the year she spent at Triangle between those two epochs, even though it’s the pivotal part of Swanson’s career.
The Keystone shorts are inane in general and Swanson’s character in them is essentially undefined. The only identifying trait I can think of is recklessness, and that’s hardly unique in slapstick. She was upstaged by a dog more than once. (Seriously, Teddy the Dog was a bigger name than either Swanson or Vernon at the time.) The high melodrama of her Triangle pictures were a great change of pace and really allowed Swanson to test her mettle as an actress and make a name for herself in the process. Roles like Marcia Grey in Shifting Sands (1918) and Kitty Manning here in Station Content (1918) were what led to her becoming a favorite of DeMille and achieving super-stardom in the 1920s. It’s unfortunate that so little from this transitional period in Swanson’s oeuvre survives.
On that note, most seem to think Station Content is a lost film, too. They’re not entirely wrong – what survives is an abridged copy, not the film DeMille was so impressed by in 1918. We lose out on some of the more salacious subplots, like Stephen Morton being Jim’s boss and Kitty having an affair with him. It’s just sidelong glances and a vague suggestion of things unsaid now. What saddens me is that we don’t get to see more of the action set pieces; I’m very impressed by the camera work in those that do survive. Arthur Hoyt was primarily an actor. If you’ve read my other reviews, you might remember him as Henry Caron from Trumpet Island (1920). He only directed one film before Station Content and quit directing immediately after. I can’t imagine why. There’s something about the simple composition of his shots that’s perfectly effective at conveying the characters’ emotions. Particularly striking is the scene with Kitty standing on the tracks in front of the train as the rain beats down, her arms outstretched as if crucified, with the headlight from the train morphing into a halo over her head. It’s an image of contrition and the hope of redemption.
I’ll admit that I’m a sucker for sentimental melodrama, but I think I’d like Station Content even if I weren’t. I give a strong recommendation for it.
Side note: it’s usually the case that the entire cast and crew of all the films I watch are long dead, but I can’t say that of Station Content. The baby in the Hell’s Station sequence is Fay McKenzie, and at least as of my writing this, she’s still alive at the age of 95.
My rating: I like it.
Available from Harpodeon