The film starts with a card imploring the audience to not reveal the identity of The Bat to those who have yet to see it, so I won’t. I’ll just say that The Bat is a costumed villain who has been pulling off a series of high-profile robbery-murders. Although out in force, the police have been unable to pin him down.
Near the start, we find him on the roof of the Oakdale bank, but he seems to have been beaten to the punch. Through the skylight, he sees another man – presumably one of the cashiers – make off with $200,000.
Most of the action, however, is set in an old, dark, country house that’s occupied by the dryly sarcastic Cornelia Van Gorder (Emily Fitzroy), her niece Dale (Jewel Carmen), and her scaredy-cat maid (Louise Fazenda). Seven others, The Bat included, eventually show up for their own mysterious reasons and are not afraid to kill anyone who gets in their way. I can’t say much else without giving it away.
There are some Scooby-Doo antics – including the running in and out of doors in a hallway gag – that some might find weirdly off-kilter when compared to darker scenes, but I think the film has a fairly good mix of comedy and drama.
The story plays out at a very quick pace. With the large number of characters and their disparate plotlines, turn away for an instant and you’ll surely be lost. After a couple twists, everything does come together in a satisfying conclusion.
It’s a fun film. If you don’t expect it to take itself too seriously, I’m sure you’ll enjoy the ride.
My rating: I like it.
In the early days of cinema, actors were never credited. There were two reasons for that: On the one side, most actors came from a live theatre background, and while many theatre actors would happily accept a paycheck for appearing in a movie, very few would ever admit to doing so. On the other side, studios feared that if audiences knew who acted in their films that a fan base would develop around those actors, which would give them the high ground in contract negotiations. Still, moviegoers had their favorites, even if they didn’t know their names. Vitagraph had “The Vitagraph Girl” (Florence Turner), Biograph had “The Biograph Girl” (Florence Lawrence), and then there was “The Girl with the Curls” (Gladys Smith at the time, better known as Mary Pickford).
The fact that they had fans was not lost on these actresses, and by the beginning of the 1910s, they were more than willing to claim their film performances, regardless of what the theatre community might say. Being credited by name became a point of contention – one that the studios had not the slightness inclination to yield to. Enter Carl Laemmle.
Now, Laemmle started out on the exhibition end of the film industry. He knew very well that people cared little for who produced a film, who wrote it, or often even what it was about; they came to see their favorite actors on screen. In 1909, Laemmle founded the Independent Moving Pictures Company (or IMP – their logo was a cute pitchfork-wielding devil) with the expressed purpose of not only crediting the actors that appeared in their films, but advertising films based on who acted in them. It was a strategy that lured in many popular actors, Mary Pickford included.
As a Boy Dreams (1911) was one of Pickford’s IMP productions.
The Boy (Jack Pickford) is a cabin boy on a ship full of jerks. They alternate between being jerks and looking intently at a map that shows the way to Treasure Island. The Boy, tired of their jerkiness, steals the map and shows it to The Girl (Mary Pickford). The Girl is The Captain’s daughter… I guess? Anyway, the two of them show the map to someone who might be The Captain, which incites a mutiny or something, that results in The Boy and The Girl escaping in a dinghy. The jerks win the mutiny with such violence that they nearly knock over the flimsy backdrop they’re standing in front of.
It turns out they didn’t need the map, since their aimlessly drifting boat took them right to Treasure Island. Unfortunately, they’re captured by pirates in a matter of seconds. It also turns out that the jerks didn’t need the map either, since they’re hot on The Boy and Girl’s heels in a dinghy of their own. Somehow, the jerks beat them to the treasure, but since the pirates are, you know, pirates, they just murder them and steal it.
Teleport to the ship where The Boy rescues The Captain… from the jerks… who the pirates killed… okay, I don’t really know. Back on the island, the pirates have vanished and The Captain and… some other people… claim the treasure. The Boy and The Girl then get married and apparently The Boy’s name was Mr. Howard.
“Gee! But that was a great dream”…
…yeah, everything was a dream. The Boy was asleep and in his mind had acted out the plot of a penny dreadful book that he’d been reading when he was supposed to be chopping wood. His father is not pleased.
If my synopsis made the film sound like a horrible, confused mess, then I do it too much justice. It’s a far cry from the caliber of work Pickford played in at Biograph.
IMP didn’t last long. In 1912, it merged with a number of other, smaller studios to form Universal Pictures. Pickford thankfully returned to Biograph, but by that time, the cat was out of the bag. Laemmle had created the star system that would come to dominate the movie industry, and there was no brighter star than Mary Pickford. Just as the early studios feared, her popularity meant that she could dictate whatever salary she chose and she quickly became the highest paid actress in the world.
I would not recommend As a Boy Dreams. Occasionally there’s some unintentional humor, but it’s mostly bad-bad, not funny-bad.
My rating: I don’t like it.