Tuesday, February 14, 2017

Old Ironsides: To the Shores of Tripoli

(1926)          D: James Cruze

Charles Farrell ('The Commodore'), Esther Ralston (Esther), Wallace Beery ('Bos'n'), George Bancroft ('Gunner'), Charles Hill Mailes (Capt. Preble), Johnnie Wallier--as Johnnie Walker (Lt. Stephen Decatur), Eddie Fetherston (Lt. Somersom), George Godfrey ('The Cook'), William Conklin (Esther's Father), Duke 
Kahanamoku (Pirate Captain)

  
                                                                                       "Shall we borrow money to buy dishonor?"

When most people think of motion pictures from the silent era, there is a horrendous misconception. They tend to think of these wonderful films running about at a herky-jerky clip, not realizing they are being shown with a projector that ran them at the wrong speed.  In the silent era, the performers had to be able to express their emotions without the assistance of dialogue and did so wonderfully.

One of the highlights of this period was 1926's Old Ironsides.  Cruze had recently scored with his epic The Covered Wagon, and was the perfect choice to helm the picture.  Unfortunately, he didn't make it in the sound era and died a destitute alcoholic in 1942.

The only woman in the cast, Ralston wore bloomers that went down to her ankles.  For the scene where she by the ship's wheel, Cruze had the actress remove them as the wind blowing against her dress would outline her figure.  For years, men commented to Ralston about that particular scene.  

When asked if it would bother him to climb the rigging, Farrell stated he used to dive off ships' riggings as a child.  Extras included Gary Cooper, Richard Arlen and Boris Karloff.

Old Ironsides is an outstanding look at rivalry and camaraderie.  Throughout the film, 'Bos'n' and 'Gunner' fight and harass one another, both men willing to fight at a second's notice.  Yet both men see to it 'The Commodore' is protected, and when the chips are down, unite for a common cause.

One of the more interesting features is the treatment of 'The Cook.'  Although the man's a Negro, he's not portrayed as a caricature, which many movies from that era did.  Heavyweight boxer Geoffrey did the role with dignity.

The picture's additionally a fine view at courtship.  Although it's love at first sight with 'The Commodore' and Esther, he wins her gradually.  In the long run, he has to kill to win her.  And when he risks his life to save her, he goes from being her lover to the woman's hero.

Yet more than anything, Old Ironsides is a stirring look at patriotism.  Although a young nation, the United States is irked at the Tripoli Pirates' actions, thus decide to end their reign on the seas.  Though a rowdy bunch, the sailors have pride in fighting for their country.  When things look bleak for them, they never quit, but press on, as they knew it's what their fathers did.  And their descendants will follow on in the same manner.

No matter what era you grew up in, this is an exciting motion picture.  Old Ironsides made Farrell a star.  The marvelous fight scenes raised the standard for action films and Lawrence Stallings' ('What Price Glory') fervently patriotic script combines with the excellent work from everyone to deliver one of the greats. 


Thursday, February 9, 2017

The Prisoner of Zenda: Duty, Honor, Country

(1937)          D:  John Cromwell, W.S. Van Dyke (uncredited)

Ronald Colman (Maj. Rudolf Rassendyl/The Prisoner of Zenda), Madeline Carroll (Princess Flavia), C. Aubrey Smith (Col. Zapt.), Raymond Massey (Black Michael), Mary Astor (Antoinette de Mauban), David Niven (Capt. Fritz von Tarlenheim), Douglas Fairbanks, Jr. (Rupert of Hentzau)

                          "I see you want to let the drawbridge down.  Well, well.  I just killed a man for trying that."       
                          "An unarmed man, of course."
                         "Of course."

  Anthony Hope's classic 1895 novel has been turned into a motion picture several times.s  The most notable version was filmed by producer David O. Selznick, who'd been inspired to make it after the abdication of England's Edward III.  Selznick stated, "the case had made very topical an old problem-that of king and commoner and queen and commoner."  The deciding factor was having Colman under contract, as the filmmaker said he wouldn't have purchased the right had he not had the actor.

  Fay Wray and Anita Louise were tested for the part of Flavia.  Fairbanks wanted the lead, and nearly rejected Rupert, as it wasn't a starring role.  His father said to take it, adding Rupert was "probably one of the best roles ever written," adding, "Nobody has ever played Rupert and failed to steal the show . . . It is so actor-proof in fact, Rin-Tin-Tin could play the part and walk away with it."

  Having trouble getting into his character, Massey approached Smith, saying he couldn't get into Michael's skin.  The elder actor replied, "Ray, in my time I have played every part in The Prisoner of Zenda except Princess Flavia.  And I always had trouble with Black Michael."  With that, he went back to reading his newspaper.

  While thoroughly entertaining, this movie is an excellent look at love, honor and duty.  We see the love story between Rudolf and Flavia and Antionette's love for Michael.  Both are cases where the people are more than hopeful their love comes to fruition, and both wind up being examples of hopeless causes.  

  The Prisoner of Zenda deals with honor as Rudolf is offered a vast fortune to betray the king.  Instead of taking the easy way out and accepting it, he scoffs at it, as he's an honorable man.

  When Antionette gives Michael's plan to Rudolf, the woman feels she's betraying her lover.  Yet she also knows in her heart she's aiding her country, which her sense of honor leads her to do.  

  As Rudolf impersonates the king, then attempts to rescue him, he does so out of duty.  Although not a citizen of Zenda, the man realizes it's the proper thing to do as a human being, and proceeds.  Call it conscience if one must, but Rudolf knows the difference between that and duty.

  Zapt and Fritz proceed with their mission as they love their king and country.  The duo also comprehends what will happen to their nation should a man with a heart as evil as Michael take power.  They do what they must as it's their jobs.  The men exceed expectations as they realize it's expected of them.  Both understand what duty is.

  Everyone scores, but Fairbanks did exactly as his father predicted and ran away with the picture.  Max Steiner's music would be used again for the 1952 version.  Added to the Library of Congress in 1991, this is a film lover's feast.