NOW PLAYING (100 YEARS AGO)

[laffite]

Did my catch up on your most illustrious thread. Fabulous work as usual. Thanks for everything. I have been into silents lately.. I suppose no Sunday nights the next two months. Well, I will rely on you.

[scsu1975]

Did my catch up on your most illustrious thread. Fabulous work as usual. Thanks for everything. I have been into silents lately.. I suppose no Sunday nights the next two months. Well, I will rely on you.

Thanks.

[scsu1975]

The Leopardess, directed by Henry Kolker, starred Alice Brady as Tiare, Edward Langford as Captain Donald Croft, and Montagu Love as Scott Quaigg. The film was released on March 25, 1923, at six reels, and is presumed lost.

Plot: On the island of Pali in the South Seas, Angus McKenzie lives with his native wife Mamoe and their daughter Tiare.



While performing a dance, Tiare attracts the attention of Scott Quaigg, an American millionaire and big game hunter. Quaigg has landed aboard a yacht commanded by Captain Donald Croft. When Quaigg gets rough with Tiare, Croft intercedes, and earns the girl’s gratitude. Quaigg wants McKenzie to sell him his daughter, but although McKenzie refuses at first, Mamoe sees this as an opportunity to rid herself of the girl. Playing on Tiare’s superstitions, Mamoe gives Quaigg a small wax image of the girl. Tiare comes upon Quaigg repeating an incantation, as he is melting the wax image over a fire.





Terrified, Tiare agrees to marry Quaigg. As the yacht bearing them leaves the island, Tiare attempts to throw herself into the sea, but is coerced back by Quaigg when he displays her wax image. During the voyage, Croft continues to treat Tiare with kindness.



But Quaigg plans to tame her as he hopes to tame a caged leopardess he is taking back to the States as a trophy. During a stormy night, Quaigg gets drunk and sends one of the drunken sailors for Tiare. He then orders her to dance for him and the crew. She refuses, but relents when he again threatens her with the wax image.



When Croft intercedes, Quaigg orders him to leave. The two fight, and Quaigg throws Croft over the rail into the sea. Tiare locks herself in her cabin, and Quaigg takes command of the yacht. Three months later, Tiare is living in Quaigg’s country home overlooking the Hudson River. He orders her to prepare for guests; he intends to show them how he can manage his wife. He exhibits the leopardess for his guests as well. Quaigg orders Tiare to dance for his guests, menacing her again with the wax figure.



Later, Quaigg leaves on a hunting trip, but promises to have it out with Tiare when he returns.



When a telegram arrives announcing his return, Tiare prepares a plan. At midnight, she stands at the top of the stairs, revolver in hand. A man enters the front door and she shoots him. She is then horrified to discover the wounded man is Croft.



He had survived drowning, and had washed ashore on an island from which a passing steamer had rescued him. He had returned seeking vengeance against Quaigg. Tiare tells Croft about her fear of the wax image. Croft convinces her that the Evil Spirit of Pali is powerless in America. The pair hear Quaigg arriving, so Croft hides in a store room, holding Tiare’s revolver. Quaigg discovers Croft’s hiding place, and goes to Tiare, taunting her, but not telling her he knows Croft is alive. Tiare tells him she no longer fears him. Quaigg produces the wax figure and proceeds to melt it, but Tiare, convinced that no harm can come to her, rejoices in her freedom. She goes to find Croft. Quaigg releases the leopardess from her cage and drives her toward the room where Tiare and Croft are hiding. But Tiare uses Quaigg’s whip to intimidate the animal. The leopardess turns on Quaigg. Croft shoots the animal, but not before it kills Quaigg. Croft and Tiare return to the island, happily married.

Three leopards were employed for the film, on loan from the Ringling Brothers Circus, which was stationed in Bridgeport, CT at the time. After Montagu Love was “killed” by the leopardess, he was required to remain still, with the cat behind him, while a close-up shot was taken. “To keep from breathing while thinking all the time that the lady leopard might get playful and caress me with a rough paw was the hardest thing I have ever done before a camera,” the actor explained. “I’ll tell you that it takes more than personality to play a scene like that.”

Motion Picture News wrote “it is the best picture in which Alice Brady has appeared on the Paramount program and one which gives her opportunity to go the limit. Although we must confess that Miss Brady is not very convincing as a South Sea island belle, she works hard and is very good in the dramatic closing scenes.” Moving Picture World noted that the film “has the usual atmospheric appeal, and conflict between the primitive and the civilized. It should be agreeably received in the theatre where such pictures continue to please.” Screen Opinions wrote “it is difficult to enthuse over a situation in which a brutal hunter who is said to torture as well as to break the heart of a leopardess against iron bars because it tried to kill him in the jungle, cruelly employs superstition to inveigle a tropical maid to marry him,” but added “the tropical atmosphere is well established and many of the scenes are beautiful … the climax where the leopardess, set free, is locked in the rooms with Tiare, and where instead of killing the woman as intended she kills Quaigg, are quite thrilling.” Exhibitor’s Trade Review wrote “for those who delight in pictures replete with romance, adventure and unadulterated thrills, without caring whether the probabilities are transgressed or not, “The Leopardess” should provide satisfactory entertainment.” Finally, Exhibitor’s Herald wrote “while the story is wildly improbable it is not without entertainment value.”

[laffite]

A movie fraught with improbabilities but yet entertaining. It gets a free pass, back in 1923 it must been sheer delight go the movies, no matter what. Today movies like this are called out. A man loses a fight and is thrown overboard. But he survives, I would like to have his travel agent.

[scsu1975]

A movie fraught with improbabilities but yet entertaining. It gets a free pass, back in 1923 it must been sheer delight go the movies, no matter what. Today movies like this are called out. A man loses a fight and is thrown overboard. But he survives, I would like to have his travel agent.

I think PETA would also be upset about the leopardess.

[laffite]

A movie fraught with improbabilities but yet entertaining. It gets a free pass, back in 1923 it must been sheer delight go the movies, no matter what. Today movies like this are called out. A man loses a fight and is thrown overboard. But he survives, I would like to have his travel agent.

I think PETA would also be upset about the leopardess.

Yes, they are probably happy that the movie is lost.

[scsu1975]

The Man From Hell’s River starred Irving Cummings (who also directed) as Pierre de Barre, Eva Novak as Mabella, Wallace Beery as Gaspard, and, in his screen debut, Rin Tin Tin. The film was released in March of 1922 at five reels. A complete copy is held in the Filmarchiv in Austria.

Plot: Pierre de Barre, of the Royal Northwest Mounted Police, is returning after several months spent on a manhunt in Canada. He pauses to feed his dog team, led by Rin Tin, and thinks about his sweetheart, Mabella, whom he left at the post. Mabella is the daughter of Lopente and an Indian woman.



Sergeant McKenna, in charge of the post, is comforting Mabella, telling her Pierre will not return until he gets his man, and perhaps he may never even come back. Gaspard “The Wolf,” who has a hold over Lopente, arrives at the post and looks with lustful eyes at Mabella. He compels Lopente to sell her to him in marriage, or he will expose the man for his involvement in a murder. Mabella permits herself to be married to Gaspard, with Father La Croix performing the ceremony. Pierre returns to the post.



He is broken-hearted at the news that Mabella has married Gaspard. He seeks an explanation from Mabella, but gets none. Meanwhile, Gaspard turns to drink and the company of other women in the dance hall. Pierre sees this and his blood boils. He goes to see Father La Croix, who warns Pierre “thou shalt not kill.” Pierre again tries to get an explanation from Mabella.



Gaspard sees the pair together and becomes jealous. He goes home and discovers a picture of Pierre that Mabella had kept. He quarrels with her over the photo, then leaves for the dance hall. Mabella decides she cannot stand this any longer, so she packs some belongings and goes to the post headquarters. Lopente tells Gaspard that Mabella has gone to Pierre. Gaspard goes to the post and confronts Pierre, demanding to see his wife, who is hiding upstairs.



When Gaspard tries to ascend the stairs, Pierre intervenes, and a battle ensues. Gaspard knocks out Pierre, overpowers Mabella, steals a dog team, and takes off for the snow country. When Pierre recovers, he realizes he has seen Gaspard before; he is wanted for murder. Pierre gets his dog team and sets out to overtake Gaspard. When the two meet, another fight ensues, with the two men rolling in the snow until they reach the edge of a high precipice.



Pierre’s faithful dog, Rin Tin Tin, breaks free from his leash and sets out to rescue his master. Gaspard, his back to the precipice, is about to hurl Pierre to his death when Rin Tin Tin makes a mad leap over his master’s head, striking Gaspard on the chest with his full weight. Gaspard tumbles over the precipice to his death. When Pierre and Mabella return to the post, Father La Croix reveals that Mabella is not Lopente’s child. She is actually a white child, who had been rescued during a snowstorm which had killed her parents. She had then been given to an Indian mother, whose own infant had died, as consolation.



She had then been raised by Lopente. With the truth revealed, Pierre and Mabella look forward to their future together.



Filming was done in Yosemite National Park.

Reviews for the film were hard to come by. The Film Daily wrote that the movie “contains fine action, good dramatic punch, heart interest and the usual, though quite requisite, romantic touch besides a wealth of fine atmosphere that is vividly brought out in the beautiful locations selected as backgrounds. …An outstanding feature of the offering is the performance of Wallace Beery as Gaspard, the Wolf, and villain of the story. The direction is quite satisfactory. Besides providing a fine pictorial appeal, Cummings has handled the story first rate.” Moving Picture World noted “Mr. Cummings is the leading man as well as director and he does all his role calls for it in the way of acting, but he may be complimented especially for the manner in which he has staged the picture.

Irving Cummings pulled quadruple duty for the film. In addition to directing and starring in it, he also produced the film and wrote the scenario. His wife Ruth wrote the title cards. This was Cummings first full-length directing job. He went on to direct several of 20th Century Fox’s popular musicals in the 1930s and 1940s. His entrance into directing wasn’t easy. In a 1934 interview, Cummings looked back on his early days, stating “those were hectic days. For some reason or other Hollywood seemed to resent my determination to become a director. They were all willing to give me a job as an actor, but no one would give me a chance as a director.” When Cummings directed the silent film The Johnstown Flood, he cast a young girl in her first dramatic role. Later, when Director Frank Borzage was looking for the female lead in Seventh Heaven, Cummings sold him on signing the same girl for the role. And Janet Gaynor’s career was off and running.

[LiamCasey]

When Pierre and Mabella return to the post, Father La Croix reveals that Mabella is not Lopente’s child. She is actually a white child, who had been rescued during a snowstorm which had killed her parents. She had then been given to an Indian mother, whose own infant had died, as consolation.

She had then been raised by Lopente. With the truth revealed, Pierre and Mabella look forward to their future together.

And, thus, the audience would not have to concern itself about any possibility of miscegenation by our hero. A necessity, I guess, to allow the movie to be shown in certain areas back in the day.

[scsu1975]

The White Flower, directed by Julia Crawford Ivers, starred Betty Compson as Konia Markham and Edmund Lowe as Bob Rutherford. The film was released on March 4, 1923, at six reels, and is presumed lost.

Plot: Pele, the Goddess of Destruction, presides over Kilauea, the world’s greatest volcano. When the native people make their sacrifices to her, Pele is appeased and rises from the flaming crater. She gathers up molten lava, molds it into a talisman, and throws it to the King who stands with his daughter among the worshippers. Pele tells him that the talisman shall have power to be used once every generation for five generations, and at the end of that time, it must be returned to her.

In present day Hawaii, Konia Markham lives with her American father and Hawaiian mother.



Konia listens to the prophecies of an old sorceress, whom she has asked to tell her future. She learns that the man she will someday marry will come with a white flower which he will offer her and which she will accept. Unknown to Konia, this prophecy has not been preordained by fate, but by the bribery of wealthy David Panuahi, whose efforts to woo Konia have so far proven unsuccessful. The Markhams give a luau, and Bob Rutherford, successor to the pineapple king of the island, sees Konia dancing and is infatuated.





As she finishes, he takes a white gardenia from his buttonhole and presents it to Konia. Recalling the words of the sorceress, Konia accepts the flower, while David, in the background, becomes furious. Konia begins to spend more time with Bob.







At one point, Konia saves Bob from drowning in the surf.



David seeks out the sorceress, and demands to know where he can find a kahuna with the power to pray a white person to death. A ship docks, carrying Ethel Granville, Bob’s fiancée. Bob greets her, but Ethel fails to notice his lack of interest. Konia, awaiting a call from Bob, is disappointed when David arrives and tells her he has seen Bob with Ethel. Konia is furious, and orders David out of her house; but he suggests that she have Ethel kahunaed. Konia considers this, and decides that Ethel must be sacrificed. The kahuna sends a letter to Ethel that the first evidence of his power will be the loss of her voice. That night Ethel has a nightmare. She attempts to call her aunt and uncle in the adjoining room and finds she has lost her voice. David awaits Ethel’s death so that he can blame Konia for the crime. Konia has a change of heart, and goes to the kahuna, asking him to lift the curse on Ethel.



But the kahuna paddles over the water, to scatter the ashes of Ethel’s hair over the waves, thereby completing the curse. Konia paddles after him. When he tries to escape, Konia upsets his canoe and recovers the box containing the ashes. Konia goes to Ethel and tells her the curse is broken. Ethel recovers her voice, tells Bob she does not love him, and leaves the island. Bob learns from Konia’s father that she is headed to the volcano to return the talisman to Pele. Bob rushes after her, and comes upon her lying on the edge of the crater. He takes her in his arms and tells her he loves her.

The movie was filmed on location. Cinematographer James Van Trees (with his back to the viewer) is shown below setting up a scene on volcanic rock formations, with Betty Compson at right:



Van Trees also spent three nights to film a night blooming cereus (“the white flower”). Since the bud remains open for only a short time, patience was required to get the perfect shot.

En route to Hawaii, Compson learned how to do the hula, only to discover once she reached Honolulu that the natives do it differently there. So she relearned the dance.

Compson posed for some publicity shots. In the first, below, she is playing a ukulele on the beach. In the second, she is posing in front of four surfers. Some advertisements (like the one at the top of this post) show drawings of Compson surfing in the film, and publicity reports indicate she learned to surf while on location:





Upon her return to Southern California, Betty Compson said “we had a marvelous time in the islands. We established the ‘Lasky Junior studio’ in Honolulu and we really did an enormous quantity of work. … We had some difficult in securing native actors for some of the minor roles but Julia Crawford Ivers, who wrote and directed ‘The White Flower,’ finally succeeded in picking perfectly wonderful native characters for the various parts.” Indeed, the part of the kahuna was played by a local named Maui Kaite, a newspaper seller. Since the natives did not speak sufficient English to be directed, Director Ivers secured the services of the Mayor of Honolulu to act as interpreter.

The still below shows the cast arriving in Honolulu. From left to right: Edward Martindel (as John Markham), Arthur Hoyt (as Gregory Bolton), Betty Compson, Edmund Lowe, Sylvia Ashton (as Mrs. Bolton), Arline Pretty (as Ethel Granville), and Leon Barry (as David Panuahi):



Critics seemed impressed by the location photography, less so by the storyline. Motion Picture Magazine wrote “the atmospheric backgrounds compensate for the moth-eaten plot – which shows that Mrs. Evers has done better work with the megaphone than with the pen. At least she took the company to Hawaii and collected a deal of local color and detail.” The Film Daily was more positive, noting “although the theme may be said to contain a very original and unique twist, the idea is so very unconvincing that only those with extreme imaginations or tastes for unusual theories will find it of real interest … but there is a pleasing and rather interesting romance contained in the story that will probably excuse the sequence of witchery and the author, who also directed the picture, has supplied a thoroughly delightful production with innumerable beautiful backgrounds and a general atmosphere of pictorial appeal that makes “The White Flower” always well worth looking at.” Exhibitor’s Trade Review wrote “some wonderfully realistic and beautiful scenes have rewarded the cameraman’s exertions. The prologue, showing the ancient inhabitants of the island sacrificing to the Goddess of the volcano, is extremely well done and the entire feature is permeated with a sensuous touch of color, enhanced by the glowing splendor of tropical skies.” Exhibitor’s Herald wrote “the picture contains interesting and fascinating scenes of ceremonies and customs indulged in by the Hawaiians, an appealing though not always convincing story and some unusual scenes of an active volcano’s crater.”