Category Archives: Like it
I was so excited to finally obtain a copy of this rarity that I was running it not five minutes after opening the box and I’m writing this within the hour.
EYE thinks they have a brief fragment of it and you can see it online, but it’s misattributed. I don’t know what film that is, but only the title card at the start is from Bella Butts — the rest is something else. It doesn’t even look like a Vitagraph production. I don’t recognize any of the actors. It’s probably spliced-together projection booth clippings. When film got damaged and the projectionist needed to snip a bit out and make a splice, those clippings tended to wind up on the projection booth floor. Whenever they got around to it and swept up, they were collected together and may or may not have been saved. I’ve certainly got a box full. The clips might vary from only a few frames long to a couple of feet or more, if there was a length of sprocket-hole damage. There was a market for them. Companies like Pordell Projector bought them, cut them into individual frames, and sold them as slides. Movielets did the same. They were sold in random little collections stuffed in tins like Altoids — I’ve got several of those as well. You can play around with the clippings, find similar looking material, try to piece together some sort of narrative, but it’s all a tremendous amount of guesswork. I’ve put together what might be 30 second-ish fragment of Liberty, A Daughter of the USA (1916), but I can really only be sure that the two titles are from Liberty. The film sold by Pordell and Movielets is generally too far gone to salvage — the tins seal fairly air-tight and nitrate decomposes rapidly when it isn’t allowed to off-gas — but if you find loose projection booth floor sweepings, they’re usually fine.
That was a long digression. Anyway, I’ve just acquired a copy that, minus just a brief bit of no consequence at the start, is complete and really is The Smoking Out of Bella Butts.
Bella Butts (Flora Finch), anti-smoking campaigner, arrives in the town of Hicksville to spread the word. At the Ladies Aid Society, she proves how injurious smoking is by giving the women cigars — promptly causing dizziness, headaches, and nausea. Among the afflicted is the mayor’s wife (Betty Gray), who demands that her husband ban smoking or else she’ll divorce him.
His back to the wall, the mayor (Hugie Mack) complies. All the town’s tobacco products are seized and burned in a great bonfire. This does not win the mayor many friends among the menfolk, who soon start trying to smoke corn silk to feed their habits. When a cigar salesman (Jay Dwiggins) arrives, all the men — the mayor included — hide out in a basement to chain-smoke away his samples.
The woman of the house (it’s either Florence Radinoff or Edwina Robbins — hard to tell. That’s the drawback of the first minute or two being missing — there’s no cast list and you just have to recognize the actors) sees smoke pouring from the window and thinks it’s on fire. The fire department is called and start blasting water into the basement. Forced out by the deluge, the men are caught red-handed. Butts is on hand to demand the sheriff arrest the mayor. The mayor hands him a cigar and he forgets all his duties.
Butts gets her bag and “leaves Hicksville to its doom” while the mayor watches, smoking on the porch.
Flora Finch was most known for starring opposite John Bunny in more than a hundred “Bunnyfinches” — domestic sitcoms somewhat similar in style to those of Sidney Drew. Bunny shot his last film with Finch in 1914 before starting on a live stage tour that no one knew he would not return from. (The Jarrs Visit Arcadia was posthumously released in 1915.) Finch continued the act solo, to greater or lesser effect.
In terms of theme, Bella Butts is not unlike the Red Seal film I reviewed a thousand years ago, ‘Morning, Judge (1926), in which Flora Finch enacts a ban on a can-can dancing. ‘Morning, Judge even ended with bungling firefighters as well. But the difference is that Bella Butts wasn’t awful. The jokes are less bottom of the barrel slapstick, which helps, but mainly it’s because the plot was followed through to its conclusion and the filmmakers didn’t just abruptly drop storylines as they became inconvenient. Including the main storyline.
My rating: I like it. I may just postpone the next film I’d intended on scanning and scan Bella Butts instead.
I think I must have referenced Auntie’s Portrait at least two or three times when talking about other Sidney Drew films, but I’ve never spoken about it directly. I should rectify that.
Auntie’s Portrait is usually cast as a “rare” film, but for all it’s supposed rarity, I’ve got five prints of it. The old standard definition video was sourced from the best print I had at the time, which still wasn’t very good — a bit soft and more than a bit dark. The new high definition remaster comes from the last print I obtained, which is just all around gorgeous. I’m very happy to have it as Auntie’s Portrait is my favorite Drew short.
Mr. and Mrs. Honeypet (Sidney Drew and Jane Morrow) are newlyweds. They receive a gift from Mrs. Honeypet’s wealthy aunt Flora (Ethel Lee). They dig into the box eager to see what it contains only to find a hideous portrait of Auntie herself. The Honeypets are obviously middle class, but they’ve got pretensions and this picture would disgrace their carefully curated walls. Not expecting Auntie to visit anytime soon, they decide to worry about it later. In the meantime, the portrait is consigned to the attic.
The next day, who should drop by but Auntie Flora, every bit as harsh and mean-looking as her picture. And about that picture — no sooner does she take off her hat and coat than the lorgnette comes out and she begins scanning the walls for it. Mr. Honeypet retrieves the portrait from the attic and tries to quickly hang it, but they don’t have a big place — just a few rooms downstairs — and he keeps being interrupted by Auntie. It seems like all is lost when he drops the picture and the frame breaks, but then inspiration strikes and Mr. Honeypet rushes out the back door.
Auntie, having gone round the house several times, has determined that her portrait is nowhere to be found. “I shall leave this house and never return,” she tells her niece, “and I’ll leave you out of my will, too!” She’s almost out the door when Mr. Honeypet barges in. “We sent it away to have this beautiful frame put on it,” he explains, showing her the picture with a new, elaborate gilt frame. “We wanted to surprise you!”
I tend to bring up Auntie’s Portrait when talking about Drew films because I really consider it the gold standard of their formula: newlyweds that are pretentious social climbers and probably a bit insufferable to be around, but not so bad that you want to see them fail. It’s not too confining as formulas go and there’s a lot that can be mined from it. There’s nothing wacky about the Drews’ better domestic comedies. Their world is really only a slightly heightened version of our own. You probably know people in real life not too unlike the Honeypets.
My rating: I like it.
Available from Harpodeon
And now, unless you enjoy my continued ramblings about Amazon, you can stop reading and I’ll think nothing less of you for it.
Spartacus is fairly common as far as silent Italian epics go. You’ve more likely as not already seen it. Alpha released it on DVD and there are any number of other sellers that carry it (all of them likely sourced from the Alpha DVD). The Alpha release has a lot of problems and the image quality is none too good. Spartacus is a film I’ve always wanted to do myself because I think I could do it better. I wasn’t going to just rip Alpha’s DVD, though. I wanted it on film. Issue is, there’s only one print known to survive of Spartacus (the English-language Kleine release of it, anyway — perhaps there are prints of the original Italian release, but I’ve neither seen nor heard of one). That limited my chances, but I always trust in the simple truth that all things come to those who wait. The Spartacus print has been bought and sold many times but it has always been in private hands. And, at long last, now it’s in mine.
It took so long because I have some hard limits when it comes to film acquisition — the chief limit being that no single film is worth more than $750. I don’t care what the title is, who acted in it, who directed it. I don’t care how rare or even unique the print is. I don’t care what condition it’s in. I don’t care how very much I want it. No single film is worth more than $750. Most aren’t worth even a tenth of that. I didn’t break my $750 limit in buying Spartacus, but I came awfully near it. I’ve got some desirable films, but Spartacus is probably the most expensive print in my whole collection.
Looking at the print, a lot of the weirdness of the Alpha DVD makes more sense. The first three reels appear to be from one print and are in black-and-white. The last three are color tinted and I think (from the general appearance of the image and repeated footage) that they’re assembled from at least two different prints. The black-and-white footage has full running titles while the color elements mostly have flash titles. All are in the same style and I have no reason to doubt that they’re the original titles from the Kleine release. Reels four and five are reversed (as they are on the Alpha DVD as well). They also use the wrong color leader. The projector doesn’t care, of course, but convention dictates that the leader should be green and the trailer red. That way, you can see at a glance if a reel is wound heads-out or tails-out. It’s backwards here.
It’s all printed on Agfa stock, which is difficult to date. Some manufacturers, like Kodak, print a series of symbols on the edge of the film that aren’t too dissimilar to silver hallmarks. They’ll tell you what kind of film it is, what factory it came from, and most usefully when it was manufactured. (Note that: it tells you when the film stock itself was manufactured, not when it was exposed or developed. If the edge code says 1928 then the film can’t be any older than that, but it may be younger if the lab was printing on stock they had lying around for some time. Common mistake.) Agfa does not have any such markings. It’s really only possible to roughly date Agfa film based on the font used in the logo. The Spartacus print is from the early ‘30s, my guess. Between the wars, anyway. Decent shape for its age — a bit stiff, but not brittle or shrunken. After a little lubrication and splice repair, it ran just fine.
I was just going to do this as an off-topic post, but why not, let’s make this into a terrible review. Spartacus (Mario Ausonia) is a gladiator who rises up and leads a slave rebellion against Rome. The plot is substantially different from that of the Kubrick film, but that’s hardly unusual. Spartacus was a real person, but historical records of him and his rebellion are sparse and inconsistent. Any telling of the Spartacus story is going to require a great, great deal of embellishment. I liked this one. I liked it enough, at least, to stalk the print for the better part of a decade.
My rating: I like it.
America is embroiled in war and there are German secret agents everywhere. “I must catch some spies,” Sambo Sam (Samuel Jacks) tells himself. “My country demands it of me.” Sam models himself as a sort of Sherlock Holmes, complete with a calabash pipe, and what he lacks in competence, he makes up for in enthusiasm.
On the street, he at once picks up some clues: a German language newspaper, a link of sausage, and the name Schwartz on a mailbox. This can only be one of the Kaiser’s agents. He enters the apartment building and waits outside Schwartz’s door, imagining what nefarious deeds the spy must be up to inside. As soon as the door opens, he claps a laundry bag over the man’s head and marches him to police headquarters. But Schwartz, it turns out, isn’t a German spy but “a respectable colored gentleman”.
Undeterred, Sam sets out to round up more spies. He spots a group of men carrying a cannon into a building. “I’ll get that gang,” he cries to his friends William and Molly before rushing home for his detective gear. The gang is actually William’s fraternity. He goes in to warn them of Sam and they’re ready for him when he walks through the clubhouse door.
Sam is surrounded by black-hooded men with skull and crossbones on their chests. A trapdoor is opened and a slide wheeled into place. Down the slide Sam goes, to a subterranean torture chamber. Another hooded figure lifts an axe ready to lop off Sam’s head, but just then, a knocking sound is heard and everyone freezes. It’s really a workman installing carpet upstairs, but the gang pretends it’s their god calling for them: “Brothers, the master is knocking for us, we will now make our departure from here.” Each man lifts a gun to his head and pulls the trigger before collapsing to the floor. “Good night!” Sam exclaims, running out the door. The gang gets up and pulls off their hoods, laughing uproariously at the prank they’ve just pulled.
Ebony Films was a short-lived Chicago-based studio that made “race films”. It was unusual at the time for white and black actors to appear on screen together. Not unheard of — Larry Semon and Spencer Bell worked alongside one another many times, for example — but certainly unusual. Black people might appear as background extras, but if a white character needed to interact with a black character, the black character was more often than not a white actor in blackface. Race films essentially inverted this arrangement, giving black actors most or all of the principal parts, and were targeted at largely black audiences.
Race films existed from the beginning of cinema. I have in my nitrate collection a race remake of the The May Irwin Kiss likely released sometime around 1899. Some race films were similarly “inspired” by existing movies — the plot of Ebony’s own Mercy, the Mummy Mumbled (1918) is lifted wholesale from Vitagraph’s The Egyptian Mummy (1914) — but there were original films, too.
Older books sometimes refer to Spying the Spy (1918) as a spoof of The Birth of a Nation (1915), and while that’s not true in the slightest, I can see where they got the idea. I’m not aware of Spying the Spy ever being released on video and prints are rare. Most commentators are just going off a handful of stills, which, out of context, do actually make the fraternity look like a parody of the Klan.
The stated goal of Ebony Films was to break from the old and offensive stereotypes then common to the stage and screen and present “real negro comedies with real negro players.” Their output — at least, what survives of it — isn’t exactly a model of progressiveness, but there is something to be said in their favor. Sambo Sam doesn’t speak in dialect nor do the other black characters. I won’t say Spying the Spy doesn’t play on any stereotypes (I mean, the main character’s name is Sambo Sam), but the film isn’t a minstrel show. The antics that Sam gets into are standard slapstick fair that would work just as well if he were white without changing anything.
I could see being disappointed by Spying the Spy. It’s not Oscar Micheaux; Spying the Spy doesn’t have a message and isn’t trying to say anything about race relations. It’s a broad, low-brow, slapstick comedy. Taken for what it is, it’s not a bad film. Jacks does a good job portraying the bungling amateur detective. The cinematography is unremarkable overall, but I did like how Sam’s fantasy sequences were handled.
My rating: I like it.
The HD remaster of the Sheldon Lewis Jekyll and Hyde won’t be ready for Halloween. The negative it’s sourced from is in pretty poor shape and requires a bit of work to make presentable. I didn’t want to rush it. It should be out by early November. After that will be something particularly exciting: I mentioned in my Timothy’s Quest (1922) writeup that I’d never seen any other silent films set and shot in rural, inland Maine. Well, I found another one, and I guarantee you’ve never heard of it.
If you read movie magazines from the early 1910s, you’ll find an almost universal theme coursing through every issue: will there be censorship? Motion Picture Story Magazine, in particular, had a long running series on the topic with interviews and guest articles by religious leaders of various stripes arguing the morals of the new medium. You’ll recall that the magazine was published by J. Stuart Blackton, co-founder of Vitagraph — who very, very coincidentally were at the height of production of their so-called Quality Films, as distinguished from those vile and corrupting pictures from other studios that played at the nickel theatres.
It’s often hard to reconcile the hyperbolic tone those “other” films are spoken of with the actual films themselves, which often come across as harmless and even quaint. With Blackbeard (1911), though, I kind of see what they’re talking about. I wouldn’t say it’s vile and corrupting, but it is graphically violent, and while the villainous Blackbeard is defeated at the end, he is — until them — more or less the main character. In other words, the story doesn’t focus on some hero out to stop the pirates — it focuses on the pirates.
Blackbeard (Sydney Ayres) and his men sack the island of Martinique. The Governor (Hobart Bosworth) and his household are carried away as prisoners. The Governor is forced to walk the plank, but his faithful maid Conchita (Bessie Eyton) dives in and swims him to safety at a nearby islet. With the other male captives similarly disposed of, the ladies are thrown into the hold where they’re menaced by Blackbeard until a pursuing British Man-O’-War is sighted. Blackbeard orders the hold be sealed and the prisoners suffocated with burning sulfur and they very nearly are until a lucky cannon shot blasts a hole through the deck to let in fresh air. The Man-O’-War overtakes the pirate ship, the British board them, and then it’s down to pistols and cutlasses. At last the pirates are defeated and Blackbeard is hanged from his own yardarm.
It’s gruesome stuff, especially the end, where it does not shy from showing the bodies swinging in the breeze.
Blackbeard was written and directed by Francis Boggs. It was one of his last works — he died the year of its release. I have prints of three of his films. The Cattle Rustlers (1908) is primitive even for the time, but he seems to have learned how to make a movie right quick — Blackbeard and Shipwrecked (1911) are both very well photographed and decently acted, at least in comparison to other films out in the early 1910s, and certainly compared to Vitagraph’s Quality Films. If I had any complaint, Blackbeard relies too heavily on titles to maintain the continuity, but that’s really just down to its length. To be told visually, either story would have to be simplified or the film would have to be a good deal longer than one reel.
My rating: I like it.
Although it wasn’t my plan, five of the last six films I watched were about Mounties.
In The Heart of Doreon, Tom Santschi plays against his usual cowboy type as the titular French-Canadian trapper whose “heart is full of sunshine and laughter and love for Babette.” Babette (Ruth Stonehouse), however, favors bad-boy Blake (Guy Edward Hearn in an equally atypical role). Blake seems to have gotten into a bit of trouble and skips town. You might think Doreon would be pleased, but no — Babette’s distress is his distress and so he vows to find Blake for her.
Corporal King, of the Canadian Mounted Police (Jay Morley?), is after Blake as well. Babette’s beau is in quite a bit of trouble indeed — he’s wanted for bank robbery. Babette realizes she really does love Doreon and denounces Blake.
Doreon, with his keen trapper instincts, has meanwhile tracked down the fugitive. He tries to approach him but Blake sucker-punches him — “Take that, you frog!” — and reaches for his gun. Doreon draws quicker and shoots Blake right in the forehead at point-blank range (but don’t worry; he’s fine).
King arrives and takes custody of Blake (he was shot in the face, but seriously, he’s fine). Doreon learns of Babette’s reversal and rushes home. “Ma Cherie! Is it true you like this old fellow, Doreon?” They embrace as Doreon gives thanks that all has worked out in the end.
There aren’t many contemporary reviews of this short, but one I found was generally favorable while saying “Ruth Stonehouse is inclined to overact as the French girl”. Really? You say that about Stonehouse in a Tom Santschi vehicle? Doreon is a really likeable character and I enjoyed Santschi’s portrayal of him, but he is anything but subtle. I wouldn’t say anything of the rest of the cast is terribly remarkable, one way or the other. Certainly not the guy who walked off a bullet through his skull.
Ruth Stonehouse’s appearance is why I acquired the film in the first place. Alice Guy and Lois Weber have at last gained some recognition in recent years, but many women who worked behind-the-camera — directors, producers, screenwriters — remain obscure. Ruth Stonehouse, who was all of those, seems to be entirely forgotten. The survival rate of her work is actually pretty good, but not much of it is accessible.
She only acts in The Heart of Doreon, unfortunately. I thought she might have written it, but it turns out that it’s an adaption of Robert Walker’s Hard to Catch. Never heard of that book, never heard of that author, and five minutes on Google provided no elucidation, but that’s what the film’s release notice says. It’s possible she adapted the screenplay, of course, but there’s no evidence of that.
(And it’s “Doreon”, not “Dorean”, IMDb.)
My rating: I like it.
The next video release was going to be an HD remaster of Station Content (1918), but I’m not happy with part of the transfer and I’m going to scan it again. The original video was easier because I only had one print to draw from then. I’ve got multiple copies now, and as is often the case with old film, each one is a bit different. Now and then you’ll find entirely alternate scenes, but that’s not the case here — it’s the same sequence of shots, but the cuts are in slightly different places. Mostly it’s just a matter of a few frames more or less, but on the extreme side, one scene from one print is twelve seconds longer than the others. Editing them together requires getting the disparate quality images looking as similar as possible. The prints are all 80+ years old and some are pretty badly curled, which introduces fluttering in the transfer. Some flutter can’t be escaped, but the flutter in my first transfer was just unacceptable. I’ve been trying a new chemical treatment — a bath primarily composed of chloroform — and it worked wonders for Smashing Barriers, which was terribly curled when I got it. Hopefully it will work on Station Content as well.
Instead, the next video will be a new title. It’s a comedy I’ve written about here before. The score calls for Scottish and Oriental characteristics — there’s your hint.
Available from Harpodeon
Can it be? Is it really finished? It doesn’t seem possible. The new reconstruction of The Juggernaut is done.
This review will probably be shorter than you might have thought. I’ve already said pretty much all there is to say about the history of the film in my Juggernauting series, and I don’t have much to add about the adventure it was reconstructing it either. I’m very happy with how it turned out, as I said before. I find The Juggernaut to be a fascinating film — I’ve said that before, too — but I don’t think I’ve ever commented on whether or not it’s a good film.
Let’s put it in a more modern context: it reminds me of Titanic (1997). I went to see Titanic when it came out. Somewhere at around hour 35 of the screening, the person I was there with leaned over and asked me when the boat was going to sink. I think a lot of people were leaning over to their neighbor and asking when the train was going to wreck when they went to see The Juggernaut in 1915. Like the iceberg, audiences knew the wreck was coming. It was all over the advertisements — it’s what the film was sold on, it’s what they were there to see.
It takes a long time to get to the train wreck.
The first reel starts off strong. After a brief introduction to our characters — Mr. and Mrs. Ballard, farmers; their son John (Earle Williams), who dreams of becoming a lawyer; rich railroad magnate James Hardin (Frank Currier) and his ne’er-do-well son Philip (William R. Dunn) — we get right into some action. On their way to market, the elder Ballards are struck at a railroad crossing and killed. John sells the farm and enrolls in law school, where he meets Philip and becomes his friend, despite blaming his father for his parents’ death. Philip is given to dissipation, and rather than meet John for a study session as planned, he joins a poker game with a gang of sharpers. A fight breaks out when he discovers he’s being cheated. He would be killed by one of them if not for the timely arrival of John, who smashes a chair on the hooligan’s head. End of reel one.
As for reel two… and three… and four… well, we’ll say it doesn’t keep up the momentum. A less charitable viewer might use the word “padding” to describe everything that happens after the fight and before the wreck.
John apparently killed the menacing gambler. Philip swears he’ll never reveal the secret. John and Viola Ruskin (Anita Stewart) meet on graduation day and fall in love, but Viola’s mother (Julia Swayne Gordon) has the Hardin fortune in mind and forces her to marry Philip. Viola dies giving birth to Louise, John and Philip drift apart.
Twenty years later, John is the District Attorney and brings a suit against Philip’s railroad, which has only gotten worse since he’s inherited it. Philip would blackmail John into dropping the case by threatening to reveal the murder, but Louise (also played by Anita Stewart) spoils it all by giving evidence to John that proves it wasn’t him — the sharper got into another fight later that same day and was killed then. The trial proceeds, Philip phones Louise to bring him some documents from his home safe, her car breaks down and she’s force to take… dun-dun-dun… the train.
We’re in the fifth reel now and have come to what everyone is waiting for. The train is speeding toward a bridge Philip knows is unsafe to cross, but he doesn’t discover until too late that his daughter is on board. He races out of the office and tries to head-off the train and warn them of the danger ahead, but he’s not fast enough. The bridge collapses and the train goes tumbling into the water.
Then the film forks in a couple directions. John has rushed to the scene as well. At the film’s premiere screening, he swims out to the wreckage and pulls out Louise, but the Juggernaut has claimed its victim — Louise is dead. Others got one of two alternate endings that vary in detail, but both end with Louise recovering and John professing his love to her.
The Juggernaut was a popular film — it played for 750 days and made an obscene amount of money. It’s interesting to see, as time goes on, how the ads for it change. Earle Williams is the star in 1915. In 1917, Anita Stewart and Earle Williams are both top billed. In 1920, Anita Stewart is the star.
I must say, Anita Stewart gives the only decent performance. Earle Williams’s idea of emoting is to just spike the camera. The intensity of his emotion can be gauged by how long he holds eye contact with you — romantic, pathetic, tensive, it doesn’t matter, spike the camera. Now Julia Swayne Gordon, she is acting. My word, does she chew the scenery. The thing is, I’ve seen Gordon in other films and she’s nowhere near as hammy as she is here, even in her very early work. I’m sure she was directed to act like that. I’m sure even in the final take just as she’s about to devour the set whole, Ralph Ince is just off-camera yelling “BIGGER!” I will give credit where it’s due, the man knew how to block a scene. The scene where John overhears Viola and her mother arguing about Philip in particular, I though that was expertly arranged. He just couldn’t direct actors for beans.
We’ve come down to the rating. The Juggernaut is a fascinating film, and it does deliver the promised full-scale train wreck, and it is thrilling for two or three scenes, but is it a good film? No, not at all. Not one bit. But would I recommend it? The narrative is weak and the acting is horrid, but it’s less a movie than it is a spectacle. Go in with that mindset, don’t trouble yourself with paying too close attention to the middle bits, and you’ll love it as I love it.
My rating: I like it.
I think I’m going to take a few days off, but I’ll give you a hint as to what the next video will be. I needed part of Wanted:- A Nurse (1915) for The Juggernaut and it didn’t make any sense not to go ahead and scan all of it. So that’s waiting on the hard drive for whenever I care to get around to it, but that won’t be the next video out. We released an HD remaster of The Victoria Cross (1912) not too long ago. Coming up next will be another before-he-was-famous Wallace Reid film. One more hint, just as in The Victoria Cross, he also plays a lieutenant in this one.
Available from Harpodeon
Original posters for silent films are rare. The films themselves were seen as disposable once they’d finished their run, the ephemera connected to them were valued even less. Most that still exist survive by accident. Rarer still are the posters that hung in the offices of distributors that advertised posters to exhibitors. I’ve got one of those for the 1919 serial Smashing Barriers. It shows all the styles of posters available and explains which will catch attention at a distance and which are better for up-close inspection. The latter one is great because it’s just a collage of every cliff-hanging moment from all fifteen episodes. I look at it quite often — it hangs in my bedroom — and I always seem to spot something new in it. All I had were those pictures, because the serial itself was believed to be lost.
Several years ago, probably 2003 or 2004, I had the opportunity to buy a reel of Smashing Barriers. Which of the thirty reels it was, I don’t know. It was in very bad shape. The inner part of the reel was at stage five (terminal) decomposition, much of the remainder was at stage four. Perhaps only the first dozen feet was salvageable at all — not even a minute’s worth of footage. I passed on it and I’ve kicked myself for passing on it ever since. Even if was only a few seconds, I wanted to see those few seconds.
In 1923, Vitagraph re-worked the footage into a single feature-length film, abridging it down from something like 30,000 feet to 5,600 feet. This, too, is presumed to be lost aside from perhaps a fragment. It was even further abridged, down to just a single reel, in 1932. That version I can now say is not lost because it arrived on my doorstep this morning and I just confirmed that the faded handwriting on the label is correct — it is Smashing Barriers.
From contemporary reviews, I already knew that the only reason anyone watched Smashing Barriers was for the action — the plot was, by all accounts, mind-numbingly incoherent. I imagine it was similar to A Woman in Grey (1920) in that you sat through half an hour of boring nonsense because the last few moments made up for it in excitement. This abridgment of Smashing Barriers is composed of nothing but those last few moments, one after the other, and it is glorious. It’s like the poster on my bedroom wall come to life.
The story, such as it is, is dispensed with quickly: Helen Cole (Edith Johnson) owns a logging operation in the Rocky Mountains. A band of outlaws kidnaps her for ransom. Dan Stevens (William Duncan) must rescue her. It’s a lot like The Timber Queen (1922).
There aren’t many other characters identified. The chief bandit, “Wirenail” Hedges, is Joe Ryan. The man who lassos Helen looks a great deal like Guillermo Calles, who I know did work with Duncan on several films.
Helen has a sort of MacGyver-ish ingenuity for getting out of danger and Dan is a brave lunkhead kind of guy. There are fights and shoot-outs and lassoings, horse chases, boat chases, wagons going off cliffs, diving from a fifty foot dam into the water, burning cabins and collapsing barns, Dan slides on a zipline down a mountain clutching Helen between his legs… it’s non-stop action from beginning to end. It’s everything I could have hoped for and more. I love it.
I’m still working on Tough Luck and Tin Lizzies and there’s another film in the scanner right now (a remaster of an old title), but Smashing Barriers is definitely coming to video soon.
My rating: I like it.
Available from Harpodeon
Ladies and gentlemen, I feel that I need to apologize. I don’t often watch videos. Usually when I watch something, I’m screening a film print. When I’m running something that I’ve half a mind to write about, I’ll have a video camera off to the side vaguely pointed at the screen so that I’ve got a file to pull screenshots from. It’s sometimes out of focus and poorly exposed, and maybe the top or bottom of the frame is cropped off, and the picture is always horribly skewed, but everything went wrong with today’s screenshots. I am sorry.
Satan Town — “The Wickedest Place in the World – Tourists Welcome”, so says the banner across main street. Bill Scott (Harry Carey) rides into the city looking for adventure. At the Palace Hotel, the wickedest place in Satan Town, Sue (Kathleen Collins) of the Salvation Army strives to reach one or two of the drunks, gamblers, and prostitutes that throng the saloon.
Malamute (Ben Hendricks), the bouncer at the bar, never shies from a fight, and what’s more, he’s never lost one. Sue, to her misfortune, has gotten on his nerves. Bill enters just in time to get between Malamute and Sue. After a brief but spirited battle, Malamute is bested.
It doesn’t end there, of course. Malamute attempts revenge several times and is repelled by Bill at each turn. The direct approach not working, Malamute tries a more indirect route. Sue gets a letter from Pearl, a prostitute at the Palace, saying that she’s ill. When Sue gets to room 16, however, she’s met only by Frisco Bob (Charles Delaney), the band leader. Bob is in cahoots with Malamute to ruin Sue’s reputation and thus drive her out of town. As Bob approaches menacingly, Sue picks up a convenient gun that was left on the table. Bob is undeterred. When he’s almost on her, she fires. Bob is not hit. The girl standing in the doorway, however, is. Pearl crumples to the floor, dead.
The evidence is against her and Sue is arrested. On the way to jail, Bob rides in and sweeps up Sue. A mob forms to retake her, but just then, a woman appears (I don’t know who it is — doesn’t really matter) and tells them that Pearl isn’t really dead. All of it was staged to frame Sue — Pearl and Bob are laughing it up at the bar this minute. Malamute, who’s been in the background all along, sees his plans unraveling before his eyes. He pulls his gun to shoot Sue, but Bill’s quicker and shoots him first.
The worm begins to turn. The mob rather suddenly switches sides. “Let’s wipe out the whole rotten town!” a woman cries. The way it’s acted and blocked, the scene plays out very much like the False Maria inciting the workers scene in Metropolis, so much so that, if it weren’t for the fact that this film is a year older, I’d say it was ripped off from it. As it is… well, I wonder if Fritz Lang was a fan of westerns.
Bill and Sue embrace in the middle of the road, the town literally in flames around them as a crazed torch-wielding mob races about in a frenzy of destruction, left “to a life of peace and happiness”.
I liked it. The film’s kinda hokey, its plot’s a little thin and what plot it has is well-worn, Carey is very much taking his cues from William S. Hart’s good bad man shtick and the whole story bears more than a passing resemblance to Hell’s Hinges (1916), but for all that, I liked it. It helps that it’s easy to look at, being very well acted and expertly shot (though the screenshots may not seem so). And the title is great; how could anything called Satan Town be bad?
The only questionable things are a couple of weird tonal shifts. The film was advertised as a western drama and nothing else. For everything between the first scene and the last, I wouldn’t argue that. It is, on the whole, a melodrama that’s played completely straight, but the satire is so in your face at the open and close that I can’t believe it was unintentional. I’m not sure what they were going for with that.
My rating: I like it.
You don’t have to hang around long with a group of silent comedy enthusiasts before at least a few of them will make sure you know of their vehement hatred of Larry Semon. I wonder how much of that is because of his adaption of The Wizard of Oz (1925). Oz is a film so terrible I don’t think even his defenders would pretend to like it, but unfortunately for Semon, it’s probably the work he’s most known for today.
Certainly, his work is formulaic. In my review of The Sawmill (1922), I gave a rundown of features common to pretty much every Larry Semon film — and the film I’ll be presently getting to, Bathing Beauties and Big Boobs, is no exception — but in his day, Semon was rather popular. I think the similarity of his films worked in his favor. You know exactly what you’re going to get, and if his shtick is the kind of thing you’re into, well, you know you won’t be disappointed no matter what title is playing.
I just acquired a new print of Bathing Beauties a few weeks ago that’s of infinitely better quality than any of my other ones. It shouldn’t matter — theoretically, a good film should be able to shine through a muddy picture — but of course, quality does matter. You, me, and everyone else is going to give a fairer shake to whichever print looks the prettiest. Going back to The Sawmill, I recall that I had to re-evaluate my opinion of it after screening an original Kodascope.
Larry Semon is at the beach and falls in love with Madge Kirby (I’m just going to call them that—they’re not characters enough to have names), but her father disapproves. Naturally, the only course of action is for Larry and his rotund friend Frank Alexander to stage a robbery which Larry can then foil and thus win over the old man. Unfortunately, there’s also of pair of actual robbers running about to be contended with. Cue the chase and the inexplicable tower that must be jumped from several times. The robbers caught and the swag retrieved, Larry goes to claim his girl only to see her and Frank hand-in-hand — “I owe everything to this stout young man,” her father says approvingly.
It’s… not bad? Yes, there’s the unfortunate scene where Larry confuses the maid for Madge — “Man, yo’ sho’ am a fast worker!” “You’re tanned up a bit too much for me!” — but that aside, I’ve seen much worse slapstick comedies. Yes, it ticks every box on the Larry Semon Checklist of Plot Points, and yes, the requisite tower comes out of nowhere, but still… it kind of works.
I think I’ve seen too many Larry Semon pictures. I’m developing Stockholm Syndrome.
My rating: I like it.