Farmer boy Johnny Madden (King Clark) travels to the city and falls in love with Capella (Vivian Rich), a dancer at a musical review. The two are soon wed and rather happily so. Johnny’s mother, Mrs. Madden (Louise Lester), is heartbroken both at her beloved son flying the nest and that the wife he’s flown to is “a common actress” and not a respectable woman… like, say, Daisy Brown (Marguerite Nichols).
Daisy is their neighbor and Mrs. Madden has long considered her and her son’s engagement a forgone conclusion, despite Johnny making no bones about how little he cares for the vain and self-centered girl. Unbeknownst to Johnny, his mother begins putting the screws to Capella, pressuring her to leave her husband so that he’ll come back to the farm and Daisy. And eventually Capella relents: Johnny returns home one day to find his wife gone and a letter urging him to “go to the farm and your mother and forget”.
He does go back to the farm, but he doesn’t forget. Daisy abandons whatever hopes she still held for winning Johnny and Mrs. Madden, seeing what she’s done to her son, realizes that her actions were not, as she had believed, “for the best”. It comes to a head when Johnny discovers the letter Capella sent his mother, when she conceded defeat and agreed to leave. Mrs. Madden begs her son’s forgiveness and shows him Capella’s most recent letter, in which she says that she’s fallen ill and desperately wants to see Johnny.
“Out of the shadow”. Mother and son both rush to the hospital and Capella’s side. Her illness turns out to be pregnancy. Mrs. Madden kisses Capella as she holds her new grandchild.
The story, of course, is just a modern-day retelling of La Dame aux Camélias given a happy ending. There are shades of Sawdust and Salome as well, but then you wouldn’t be wrong in saying Sawdust itself is just a looser adaptation of Camélias.
Nearly all of the American films I’ve seen have been from the heyday of the company’s early years and I was interested to see how well they kept up with the rapid changes in the film industry. The Dancer is a late American production (quite late — the company would be out of business not a year after its release), but aside from a few interesting close shots here and there, you really wouldn’t know it. Their cinematographic style in 1916 seems not to have changed all that much from what it had been five or six years earlier. Not that I’m surprised; with the singular exception of Vitagraph, none of the pioneers lived to see the end of the 1910s. American wasn’t a pioneer, but it did get in the game early enough to calcify before the war and the dissolution of the Patents Trust completely upset how movies were made and distributed in the US. I brought up Sawdust and Salome earlier because, despite The Dancer coming out two years after that film, it feels more primitive in comparison.
That said, the film isn’t that bad for what it is. Unless you’ve somehow managed to avoid every single take on this story for the last 168 years, you can predict the exact course of the picture from frame one, but again, as adaptations go, it isn’t that bad.
My rating: Meh.
And now, a sneak preview of our upcoming video. We’ve released the title before, but this isn’t simply an HD remaster — it’s from a new print entirely different from the version in common circulation. That’s your hint.
A true chamber drama, in the sense that it takes place entirely on a single set with a principle cast of just two players. Further, the whole film appears to have been done in one continuous take (there are actually a few cuts, but most are masked by title cards and the one that isn’t is so seamless that I had to step over it frame-by-frame to find it).
Percy Pigeon (J. Warren Kerrigan) arrives home to find a “Kick Me” sign on his back — it’s April Fool’s day, the calendar reveals. He’s expecting his aunt to visit later and, as he hopes to be well remembered in her will, he wants to make a good impression. This involves replacing the artwork on the walls with signs reading “Love Your Relatives” and “What is Home Without an Aunt?”
Bobby, Percy’s friend, appears and asks to borrow his apartment to meet his fiancée. Percy agrees. Bobby writes to Dolly to come at once and they’ll be married right away, then leaves to get dressed. Once he’s gone, Percy decides to play a joke of his own. He takes Bobby’s letter and readdresses it to Bridget O’Rafferty, their washerwoman. Later, when Bobby is waiting in the apartment alone, Bridget shows up ready to get hitched and isn’t eager to take ‘no’ for an answer.
After Bridget’s exit (pushed out the window), Bobby notices the letter from Percy’s aunt on the table and, returning tit for tat, takes a dress and wig from the closet (why does Percy have these?) and impersonates her. Percy is surprised. It seems like there should be more to the ending, but the original end card is intact on my print and it runs all of its advertised 420 feet, so I don’t think anything is missing. It just very abruptly stops with Percy on the floor searching for a dropped ring (?) while Bobby as Auntie stands over him.
Technically speaking, this is not an advanced film (aside from that impressively concealed cut while Bobby is fiddling with the latch on the trunk), but even if the technique wasn’t pioneering, the story is well enough presented. “It fulfills its purpose”, to quote Moving Picture World. They didn’t seem to care for it much. While all the other films got a paragraph synopsis, The Borrowed Flat has just “A comedy presenting what happened in a borrowed flat”. I wouldn’t be so dismissive, though. I personally found it entertaining.
My rating: I like it.
Available from Harpodeon
In California, a “religious old mountaineer” (George Periolat) intends that he son (J. Warren Kerrigan) should become a friar. He’s sent to the mission, but before reaching it, he meets a girl (Jessalyn Van Trump) and falls in love. After several days, he decides to abandon the cloth and marry her.
A year passes, and at its end, the son returns home to visit his father. The father, who all the while has thought that his son had entered the priesthood, is surprised to see him. “I heeded the call of love”, he explains. His father rejects him, not angrily but in crushing disappointment. The son calls his wife over. At the sight of her and of the newborn child she carries, the father yields and embraces them both.
The announcement for Man’s Calling in the trade magazine Moving Picture World somewhat grandiloquently calls it a drama “dealing with the psychology of the soul”. That doesn’t actually say much about what the film might be, but it does suggest what it isn’t. One reel dramas can often feel more or less rushed because they try to maintain a sense of constant action and try to cover too much material than they can do justice, but Man’s Calling keeps the plot remarkably simple and staid, and in doing so, it really gives itself some room to breathe and allows the cast to act with deliberation and conviction. Regardless of whether it succeeds in revealing the “psychology of the soul”, it does manage to use its thirteen minutes to establish believable characters that appear to act with real emotion.
My rating: I like it.
To close out the gay-themed silent films review series, I’ve decided to take a look at a film that doesn’t feature any gay characters, but does star a notable gay actor: J. Warren Kerrigan.
Great God Kerrigan, as he was known, was one of the first major movie stars and appeared in well over a hundred short westerns in the first half of the 1910s. He principally worked for the American Film Manufacturing Company – or the Flying “A” – under the direction of Allan Dwan. Very, very few of those early shorts survive. I’ll be looking at one of them: Three Million Dollars (1911).
Joseph Close (George Periolat) receives a letter from the lawyer of his wealthy and recently deceased brother informing him that his daughter Estella (Pauline Bush) stands to inherit $3,000,000 on the condition that she marries before the end of the month, but “the girl refuses to get married because nobody loves her”. Joe isn’t about to let $3,000,000 slip through his fingers over so minor an issue. He offers a thousand dollars apiece to a group of cowboys to abduct his daughter, find and abduct a suitable husband for her, and then bring them before the Justice of the Peace.
The unwitting groom is Arthur White (J. Warren Kerrigan). He’s taken, tied and blindfolded, to the feed lot, where they already have Estella waiting, similarly encumbered. Before the Justice of the Peace arrives, Arthur wiggles free. He unties Estella, the two steal a horse, and they make their escape into the desert.
As they flee from their kidnappers, Arthur and Estella fall in love and decide to go back. They tie themselves up again and wait for the Justice of the Peace, who marries them on the spot. Joe, so pleased with the outcome, kisses both Estella and Arthur – the latter making quite a show of spitting and rubbing his face afterward.
Three Million Dollars is a silly film, but I don’t know if that’s intentional. It was billed as a western romance, but it strikes me as more of a comedy. The romance doesn’t exist – after a frantic escape across the desert, they climb a rock and Arthur says “Let’s go back and get married”. That’s the extent of the romance between the two leads. Apart from that, though, I have to say that I was very impressed by Pauline Bush. She acted extremely well during the abduction and escape. Kerrigan was hamming it up and not taking his role at all seriously, but I can’t say I blame him.
What happened to Kerrigan’s stardom? There were a few factors at play. The studio line was that he lost his audience’s favor by refusing to enlist in the First World War, which was true. It’s also true that he made some rather unfortunate remarks in that regard, to the effect that it was a good thing so many plebes were going over to be cannon fodder that a star like him could stay safe at home. It was said jokingly, but it didn’t make him any friends.
The other and probably more significant reason was Kerrigan’s refusal to marry and his disregard for secrecy. In the early days, it didn’t matter. The industry was small and insular, and when it came to the performers’ personal lives, audiences were only spoon-fed whatever lies the studio thought it best for them to hear. By the end of the 1910s, it had got too big and the stars lived too much in the public’s eye. The studio may not care whether or not an actor was gay, so long as they kept selling tickets, but they had to shield themselves from the moral crusaders crying for censorship and government oversight, and overtly gay actors were a liability. Others, like Alla Nazimova and Charles Bryant, entered “lavender marriages” – where a gay actor and a lesbian actress marry, show themselves off together in public, and give a few interviews about how married they are – but Kerrigan wouldn’t do that. Kerrigan also had a tendency of being a little too catty in interviews. In one famous example, his usual reply to the “Why aren’t you married?” question – “I have my mother to take care of” – wasn’t good enough and the interviewer kept doggedly approaching it from different angles until at last asking point-blank if he even liked girls. Kerrigan replied: “I like them just fine, when they leave me alone.”
Kerrigan never entirely vanished, but his days of being a star were over. He attempted a come-back in the mid-1920s, with films like The Covered Wagon (1923) and Captain Blood (1924), but his career didn’t revive and he retired from the screen. When he died in 1947, he was survived by his boyfriend of nearly forty years, James Vincent, who he met on set when he was just starting out at the Flying “A” in 1910.
How do I rate the Three Million Dollars? As a pure romance, it’s laughable, but taken as a comedy, it’s not bad – far from good, but not bad. That can only mean…
My rating: Meh.
Available from Harpodeon