KING OF THE RODEO. Universal, 1929. Hoot Gibson, Kathryn Crawford, Slim Summerfield, Monte Montague. Director: Henry MacRae. Shown at Cinefest 19, Syracuse NY, March 1999.

   One of the high points of the weekend. Hoot is thrown out by his rancher father because he wants to ride in a rodeo in Chicago rather than go to college. Hoot’s films are notable for their superb action and good humor and his search for his rodeo shirts (ill-advisedly stolen by the film’s villain during the commission of a more serious crime) provided both laughs and thrills in a motorcycle/car chase that kept this eternal adolescent on the edge of his seat.

SPRING PARADE. Universal, 1940. Deanna Durbin, Robert Cummings, Mischa Auer, Henry Stephenson, S. Z. Sakall. Director: Henry Koster.

   Saturday night featured a “lost” Deanna Durbin musical Spring Parade, with the unbeatable Deanna playing a girl from the country who befriends the Emperor Franz Joseph II in pre-war Vienna, benefiting her boyfriend, the insufferable Robert Cummings and her employer, S. Z. “Cuddles” Sakall, being his usual … uh … cuddly self. DD is in fine voice and there’s a scene at a beer garden where she sang and danced her way into my heart. I love this kind of schmaltz.

FOOL’S PARADISE. Famous Players / Lasky Super Production for Paramount release, 1922. Dorothy Dalton, Conrad Nagel, Mildred Harris, Theodore Kosloff, Clarence Burton, John Davidson, Julia Faye. Photography by Alvin Wyckoff and Karl Strus. Director: Cecil B. DeMille. Shown at Cinevent 38, Columbus OH, May 2006.

   This was a repeat performance for me but I find it hard to resist early DeMille silents. Arthur Phelps (Conrad Nagel), an unsuccessful poet, is also unsuccessful in his pursuit of noted dancer Rosa Duchene. When he is blinded by a cruel joke engineered by Poli Patchouli (Dorothy Dalton), a dancehall girl who’s in love with him, she assumes the identity of Rosa, marries the besmitten and unsuspecting Arthur, and the two live in deceptive bliss until Poli, repenting of her joke that blinded Arthur, arranges for an operation that may restore his sight.

   Only a DeMille could make this concoction work, but against all odds, and with the help of his appealing cast and some flamboyant camerawork, he does. There’s an episode late in the film that cannot be allowed to pass unnoticed. Arthur, a millionaire after oil!

NEVADA. Paramount, 1927. Gary Cooper, Thelma Todd, William Powell, Philip Strange, Ernie S. Adams, Christian J. Frank, Ivan Christy, Guy Oliver. Based on a novel by Zane Grey. Director: John Waters. Shown at Cinevent 38, Columbus OH, May 2006.

   Gary Cooper is “Nevada,” a wandering cowboy with a tendency to get into trouble, who, with his sidekick Cash Burridge (Ernie S. Adams), seeks refuge on a ranch whose owner’s sister (Thelma Todd) quickly develops an interest in Nevada that’s not welcomed by Clan Dillon, her suitor, played by a polished (as always) William Powell. Ranches in the vicinity are being victimized by cattle rustlers and Nevada goes undercover in an attempt to ferret out the secretive mastermind whose identity is known only to Cawthorne (Ivan Christy), foreman of the ranch owned by Todd’s brother.

   It’s good to see Todd in a leading dramatic role and she and Cooper make a highly combustible pair of lovers. The unmasking of the villain and the rehabilitation of the trouble-prone Nevada come together in a fast-paced climax that wraps up this fine Western drama in a most satisfying fashion.

   The touch I most enjoyed was a meeting between Nevada and the still unidentified villain, with the villain’s face masked by a light shining into Nevada’s eyes, a nice variation on the masked villains of the ever popular chapter plays of the ’20s and ’30s.

WHAT PRICE GLORY. Fox, 1926. Victor McLaglen, Edmund Lowe, Dolores Del Rio, William V. Mong, Phyllis Haver, Elena Juardo, Leslie Fenton, Barry Norton, Sammy Cohen, Ted McNamara. Director: Raoul Walsh, director. Shown at Cinevent 38, Columbus OH, May 2006.

   This was a year for repeat screenings, but I had never seen this great success of 1926. The film was based on the Lawrence Stalling/Maxwell Anderson stage hit of 1924, but with the antics of co-stars McLaglen (Captain Flagg) and Lowe (Sergeant Quirt) beefed up at the expense of the strong anti-war message of the play.

   Much of the film deals with the combative womanizing of Flagg and Quirt, but the climax features a well-staged battle sequence that does play up the brutality and inhumanity of war, with the obligatory sacrifice of a secondary character whose demise you can spot coming very early in the film. (He’s the young artist who’s the least likely of the recruits but performs gallantly until his heroic death.)

   There’s a similar sacrificial lamb in the first talking-film sequel (The Cock-Eyed World, 1929), demonstrating once again that Hollywood loves nothing better than a formula that strives to repeat the success of the original. Still, with its engaging cast and Walsh’s vigorous direction, the film has retained much of its impact.

Editorial Comment:   Mike Grost has a long in-depth look at this movie on his website. Check it out here.

THE RAINBOW TRAIL. Fox, 1925. Tom Mix, Anne Cornwall, George Bancroft, Lucien Littlefield, Mark Hamilton, Vivian Oakland, Doc Roberts, Carol Halloway, Diana Miller. Screenplay by Lynn Reynolds, based on the novel of the same name by Zane Grey. Cinematography by Dan Clark. Director: Lynn Reynolds. Shown at Cinevent 38, Columbus OH, May 2006.

   A sequel to the film of Grey’s Riders of the Purple Sage (Fox, 1925) in which Mix played the role of Jim Lassiter, a Texas Ranger pursued by an outlaw posse who evades his pursuers by sealing himself in a remote valley with a young woman he has rescued from the villain who held her and her mother captive.

   Now, some years later, Lassiter’s nephew John Shefford (played by Tom Mix) tracks his long-missing uncle to the valley into which he had disappeared, with the only road to the refuge leading through a “rough frontier settlement” controlled by surviving enemies of Lassiter.

   This handsomely photographed and exciting film is climaxed by an assault on Lassister’s cabin in Paradise Valley that takes great scenic advantage of the treacherous terrain. This film may lack some of the visual poetry of Riders but it’s an exceptional Western with a splendid performance by Tom Mix in top form.

MOCKERY. MGM, 1927. Lon Chaney, Ricardo Cortez, Barbara Bedford, Mack Swain, Emily Fitzroy, Charles Puffy, Kai Schmidt, Johnny Mack Brown. Scenario by Benjamin Christensen based on a story by Stig Esbern. Cinematography by Merritt B. Gerstad; edited by John W. English. Director: Benjamin Christensen. Shown at Cinevent 35, Columbus OH, May 2003.

   After a notable career as a director and actor in his native Denmark that included the controversial Häxan: Witchcraft Through the Ages, Christiansen was brought to America in 1926 by MGM, where after completing two films, The Devil’s Circus and Mockery, and working on The Mysterious Island (begun by Maurice Tourneur and completed by Lucian Hubbard), he moved to First National.

   There he completed (among other films) a version of A. Merritt’s Seven Footprints to Satan that’s not a lost film but one that’s in restoration limbo. (It was announced for a showing on Turner several years ago that was cancelled with the explanation, as I recall, that the soundtrack was not up to standard. An odd explanation for a silent film’s cancellation. A good friend, Charlie Shibuk, who saw the film some 25 years ago at the Museum of Modern Art with Czech intertitles, points out that the original titles were written by Cornell Woolrich as William Irish.)

   Chaney plays Sergei, a brutish peasant who rescues the Countess Tatiana (Barbara Bedford) from revolutionaries, helping her to escape to Novokutsk to deliver a message to the Czarist forces. Sergei falls in love with Tatiana and she, in turn, falls in love with a Czarist officer (Ricardo Cortez) who arrives in time to save her from the Bolsheviks.

   Chaney learns to hate the aristocrats but can’t overcome his love for Tatiana and sacrifices his life for her. Chaney, almost unrecognizable in his effective makeup, gives a nuanced performance, one of his strongest in a non-genre film that I’ve seen.

   I didn’t detect any of the stylistic flourishes for which Christiansen’s horror films are known, but his sensitive handling of the fine cast is, perhaps, a testament to his own acting skill.

   I wondered if the editor is the same John English who co-directed, with William Witney, some of Republic Studio’s finest serials in the late 1930s. IMDB says yes.

  THE BARGAIN. New York Motion Picture Corp., 1914. William S. Hart, J. Frank Burke, Barney Sherry, James Dawley, Clara Williams, Charles Swickard, Roy Laidlaw, Herschel Mayall. Scenario by Thomas H. Ince and William H. Clifford; cinematography by Joseph H. August and/or Robert Newhard. Director: Reginald Barker. Shown at Cinevent 39, Columbus OH, May 2003.

   Hart’s first feature-length film, The Bargain, as the program notes aptly pointed out, established the basic elements that would be a hallmark of the Hart Western (notably the concept of the good-bad man who is regenerated through his love for a good woman).

   The film was shot in and near the Grand Canyon (with some sources claiming the cinematography was by Joseph August) and while the print was not always the sharpest, varying in quality from reel to reel, the Arizona landscape was captured in its startling beauty and awesome grandeur.

   I was immediately struck by the opening sequence in which each of the cast members is first shown in evening attire, then as they bend over, hiding their face from the camera, they straighten up in makeup and costume for their on-screen-roles. (Dan Stumpf commented that he had seen this device used in at least one other Hart film.)

   Hart plays outlaw Two-Gun Jim Stokes who, after he is wounded by a posse, is rescued by a farmer (J. Barney Sherry) who takes him to his shack, which he shares with his daughter Nell (Clara Williams).

   Stokes and Nell fall in love, are married, and Stokes leaves to settle some unfinished business (he plans to return the money from his most recent holdup), promising to return.

   He’s captured by Sheriff Bud Walsh (J. Frank Burke) but when Walsh, falling prey to temptation, gambles away the money he’s rescued from Stokes, Stokes strikes a bargain that will save Walsh’s reputation and allow Stokes to escape to a new life.

   In a sense, The Bargain was Ince’s response to DeMille’s The Squaw Man. It made Hart a star and confirmed the Western as a major film genre.