Ce-le-brate Good Times, Come On!
Poster art for Cecil B. DeMille’s Unconquered (1947)
A happy and belated July 4 to one and all!
Since that date marks the start of our country’s struggle for liberty and independence, the focus of today’s post (and future ones thereafter) will be the theme of patriotism and how it is represented in such varied forms as motion pictures, the Broadway stage and — believe it or not — the opera house.
Let’s begin with a few selected works from the days of silent and sound cinema.
In point of fact, silent films depicting the American Revolution and/or the Founding Fathers striving for independence against an opressive ruler were few and far between. Scarce is the word I would use to describe the relative lack of footage from the silent era that depicts the forging of our nation, or any other nation for that matter.
One of the main reasons for this shortage is the incontrovertible truth that many movies have simply deteriorated over time due to their having been made on nitrate or other perishable film stock. Film preservation, as an acknowledged and accepted practice, was practically non-existent.
Beyond that reality, there are several silent features that have depicted such prominent figures as George Washington, Abraham Lincoln, and various others. For starters, famed silent film director David Wark (D.W.) Griffith was noted for such gargantuan presentations as Intolerance (1916), Orphans of the Storm (1921), and especially The Birth of a Nation (1915).
D.W. Griffith (center) with his favorite photographer Billy Bitzer (left)
An early example of long-form storytelling and narrative build-up, the bulk of Birth of a Nation takes place during and after the Civil War, in the so-termed Reconstruction period. Against this backdrop, such historical personalities as President Lincoln (played by Joseph Henabery), his assassin John Wilkes Booth (future action director Raoul Walsh), and Generals Ulysses S. Grant (Donald Crisp) and Robert E. Lee (Howard Gaye) are juxtaposed against fictional protagonists Elsie Stoneman (Lillian Gish), Flora Cameron (Mae Marsh), Col. Benjamin Cameron (Henry B. Walthal), Silas Lynch (George Siegmann), and Gus (Walter Long) in a romantic tale of two families on opposite sides of the conflict.
In many respects, Griffith’s epic production is a forerunner of the no-less-compelling (and far lengthier) Gone with the Wind a full generation later, with GWTW boasting a less overtly racist premise. Despite Birth of a Nation’s association with controversy vis-à-vis its questionably “heroic” portrayal of the Ku Klux Klan “riding to save the South from black rule,” as well as the outrageously stereotypical treatment of African Americans throughout (played by white actors in “blackface”), the film remains a landmark in the cinematic arts for its groundbreaking photography and its use of close-ups, crosscutting, editing and montage.
But as far as it can be connected to this article’s main theme, any mention of the role that “patriotism” had in the development of the screenplay and story line of Birth of a Nation can be deemed misguided.
Griffith was also responsible for America: or Love and Sacrifice (1924), a fictional tale involving colonial patriots (among them, a pre-Batman TV series Neil Hamilton as the coonskin hat-wearing Nathan Holden) battling their British red-coated occupiers near and around the sites of the Revolutionary War.
There are moments in the picture that recall James Fenimore Cooper’s The Last of the Mohicans (filmed as a silent in 1920, and remade with sound in 1936), particularly the Native American-Indian raid on Fort Sacrifice. Certainly, actor Lionel Barrymore’s over-the-top performance as corrupt British Captain Walter Butler (a historical personage) tended to skirt the limits of melodramatic villainy by using the Native Americans for his own mercenary purposes.
Still from D.W. Griffith’s America (1924)
In sum, more historical figures are present, pound for pound, in this picture than in The Birth of a Nation. Welcome appearances in the movie’s first half by the likes of John Hancock, Samuel Adams, William Pitt, Thomas Jefferson, Patrick Henry, Paul Revere, and King George III were only the tip of the iceberg. And why not? After all, the aim of the project, as stipulated in Cotton Seiler’s article “The American Revolution” for The Columbia Companion to American History on Film, was “to stir the patriotic hearts of the nation as … no other picture has ever done.” Too, it may have been done to make amends for Griffith’s blatantly biased take in the earlier film.
There is also a Romeo and Juliet love-story angle attached to America, best left explored to more literary-minded readers, but prevalent in the name of one of the feuding families, the Montagues. As a matter of fact, one of their member, Nancy Montague (played by Carol Dempster), is the daughter of Justice Montague (Erville Alderson), a Tory supporter and loyal follower of the British Crown. That Nancy and Nathan fall in and out of love, only to be reunited at the end, is indicative of Griffith’s tugging at the audience’s heartstrings.
Where the film is most impressive, however, is in its mythical interpretation of George Washington (Arthur Dewey) at Valley Forge. We all know the fable from our grade-school days: how the “harsh” winter of 1777-78 took an incalculable toll on the fledgling revolutionary forces; how Washington and his men withstood hunger and deprivation in order to maintain courage in the face of ever-mounting odds. Despite their “pain and suffering,” Washington and his men overcame the wintry blasts to fight again another day — and eventually win out over superior British forces. The end.
George Washington (Arthur Dewey) in Griffith’s “America”
Most historians have discounted this retelling of events. Indeed, according to Washington authority Willard Sterne Randall, “It was not an unusually cold winter: in fact, it was one of the warmest in memory.” So much for historical accuracy! True to form, Griffith went on to capture that self-same frigid ambience (now a warmed-over movie cliché) of the prayerful Father of Our Country at Valley Forge, PA, kneeling on sacred ground to ask the Lord for guidance in his hour of need — a surrogate Moses speaking to the Burning Bush (or icy frost, in this instance).
At the time of the film’s release, it was commented on by reviewers that Griffith had attempted to recycle the winning formula he invented for Birth of a Nation into this costly production; that the director had substituted Native Americans (i.e., the “Iroquois”) for African Americans as the so-called “enemy” that needed to be tamed and vanquished; that, in Griffith’s rationale, the colonists were not traitors to King George but rather “rebels” or Confederates (his deliberate choice of words was indeed revealing) with high ideals, fighting for a just cause. Whatever!
But never fear, all’s well that ends well. In the final scene, at his inaugural address, President Washington takes the oath of office on the steps of Federal Hall in New York City, where his life-sized statue still stands to this day.
Griffith turned once more to the Civil War period in his first talkie: the biopic Abraham Lincoln (1930), a creaky, late-career outing that starred Walter Huston as Young Abe and later as President Lincoln, with Una Merkel as Ann Rutledge, Kay Hammond as Mary Todd Lincoln, E. Alyn Warren as both Stephen Douglas and General Grant, Hobart Bosworth as General Lee, Oscar Apfel as Secretary of War Stanton, and Ian Keith as John Wilkes Booth.
Huston was praised for his understated portrayal of the titular sixteenth U.S. president. Lincoln is presented here as having been foreseen (by Divine Providence, no less, in the manner of his Old Testament namesake, the prophet Abraham) as the reluctant father of his country, a unifying figure at a time of great upheaval and division. The same can be said for Huston’s admirable performance: from beginning to end, Walter is the sole unifying factor in a somewhat stolid and stagey production.
It’s not what one would call a warts-and-all rendering of the Great Man, but a far more complicated and discerning one. Lincoln’s lingering depression and ever-present sadness over the burdens of high office are carried with him for much of the film’s 97-minute running time.
Walter Huston as our 16th president in Griffith’s biopic Abraham Lincoln 1930
You could say that this was D.W. Griffith’s final hurrah as far as future film work was concerned. He would direct one last feature, The Struggle, in 1931. Based in part on Émile Zola’s novel The Drunkard, the plot concerns a young alcoholic (played by Hal Skelly) hooked on bootleg liquor, an obvious criticism of the prevailing Prohibition law. The film mirrored Griffith’s own personal problems with alcoholism, which may have contributed to his death, at age 73, in 1948 of a cerebral hemorrhage.
Ready When You Are, Mr. DeMille
One of the most popular and staggeringly successful writer-producer-directors of his time — one who had traversed both the silent and sound eras with equal skill and deftness — was the inexhaustible Cecil Blount DeMille. Considered one of Hollywood’s founding fathers, the Massachusetts-born DeMille was an early proponent of patriotically-themed and/or religiously-based screen epics.
Among the more noteworthy examples from the vast scope and breadth of his oeuvre are The Squaw Man (1914), one of the first films to be made in Hollywood proper and remade several times by DeMille himself; The Viriginian (also from 1914); The Girl of the Golden West (1915) after David Belasco’s play; Carmen (1915) with soprano Geraldine Farrar, based not on Bizet’s opera but on the original Prosper Mérimée novella; the silent version of The Ten Commandments (1923); The Volga Boatman (1926) with William Boyd; and the independently produced The King of Kings (1927), the story of Christ’s Passion and Resurrection.
It was during the sound period, then, that DeMille came into his own as a purveyor of the Protestant work ethic as a means toward achieving the American dream. After watching one of his films, viewers, too, may come away with the same feeling, one that pervaded many of his historical productions: the idea that a busy, industrious America is a happy America (at least, according to C.B.).
Such rousing recreations of frontier life as The Plainsman (1937), with Gary Cooper as Wild Bill Hickok, Jean Arthur as Calamity Jane, James Ellison as Buffalo Bill, and John Miljan as George Custer; the War of 1812 in The Buccaneer (1938), with Fredric March as privateer Jean Lafitte, Franciska Gaal as his ladylove Gretchen, Douglass Dumbrille as Governor Claiborne, and Hugh Sothern as a crotchety Andrew Jackson; and the building of the transcontinental railway in Union Pacific (1939), with Joel McCrea as Captain Jeff Butler, Barbara Stanwyck as the Irish-brogue spouting Mollie Monahan, Brian Donlevy as the villainous Sid Campeau, and Francis J. McDonald as General Dodge, all depict a young nation at work, keeping physically strong and mentally sharp by a division of labor between those who toil and those who govern.
Workers laying down track in Cecil B. DeMille’s Union Pacific (1939)
DeMille’s heady mixture of historical luminaries and nationalistic fervor, blended with hard-working fictional protagonists that audiences could seemingly relate to and identify with, reaped huge box-office rewards for Paramount Studios’ coffers.
Looking northward, DeMille turned out (in vividly stunning Technicolor) a nostalgic ode to our Canadian neighbors in Northwest Mounted Police (1940). His pièce de résistance in this regard, however, was the later Unconquered (1947), which revisited similar terrain as Griffith’s America and Cooper’s Last of the Mohicans. Pure hokum and a potboiler supreme are one way to describe the picture; a “barnstormer rooted in Victorian theater,” as quoted by film critic David Thomson, and “shamelessly stereotyped and sentimental, but eagerly courting twentieth-century permissiveness, if only solemnly to condemn it.”
It was back to the frontier and the hearty folk who populated it. An all-star lineup of talent was assembled for Unconquered, headed by lanky Gary Cooper as Indian fighter Captain Christopher Holden, Paulette Goddard (who co-starred with him in Northwest Mounted Police) as indentured servant girl Abigail Hale, Howard Da Silva as illegal gunrunner Martin Garth, Boris Karloff as the Seneca Chief Guyasuta, Ward Bond as John Fraser, Victor Varconi (a DeMille stalwart) as Captain Ecuyer, Henry Wilcoxon (another DeMille favorite who appeared as Major Heyward in the 1936 version of Last of the Mohicans) as Captain Steele, Richard Gaines as a dark-haired Colonel George Washington, and a cast of thousands if not hundreds.
Abby (Paulette Goddard) & Chris (Gary Cooper) meet up with Bone (Mike Mazurki, left) in Unconquered
The impossible-to-follow plot is a ludicrous assemblage of old, discarded bits from The Last of the Mohicans (in the Indian attack on Fort Pitt), to include, but not limited to, Capt. Holden’s stupefying rescue of Abby to prevent her from being roasted alive by the warring tribesmen. Both he and Abby manage to elude the pursuing braves by going down a studio-bound river in a raft and over a poorly projected waterfall. Nor is the inane dialogue any better, a common complaint in DeMille’s pictures. C.B. wasn’t interested as much in what his actors were saying as he was with what they look liked in costume.
The film’s title could just as easily have referred to the unconquerable “Abby” Hale as to its wilderness setting. In an article about George Washington by John D. Thomas, found in The Columbia Companion to American History on Film: How the Movies Have Portrayed the American Past, there’s a scene early on in which Captain Holden and Col. Washington are both privy to “an auction of white indentured servants brought over from Britain,” to include the scrappy Ms. Hale. “Washington ventures this bit of personal information: ‘One of my teachers was an indentured convict, Chris, a fine man, but he never could teach me to spell.’”
Thomas points out that historically, the indentured convict belonged to Washington’s father, and that Washington himself had owned numerous slaves (as did the other Founding Fathers), as many as 350 or more after he married Martha. For DeMille, such a historically accurate revelation in Unconquered would have detracted from audiences’ enjoyment of his film, as well as clouded the issue of celebrating the fictionalized account of our freedom-loving ancestors.
Be that as it may, DeMille’s involvement with his 1956 Technicolor wide-screen remake of The Ten Commandments would address the slavery question head-on. Only this time, it would involve the tribulations of the put-upon Hebrew slaves of the Old Testament, intertwined with the rise of their Deliverer, Moses, and the eventual flight from Egypt, known as the Exodus (see the following link to my post about the background to The Ten Commandments: https://josmarlopes.wordpress.com/2012/07/16/the-ten-commandments-american-society-in-the-fifties/).
(End of Part One)
To be continued….
Copyright © 2017 by Josmar F. Lopes
Curtain Going Up! 