It sounds as though the production history of "A Romance of the Redwoods" is more interesting than the film itself, which is an unexceptional Western for the most part. Star Mary Pickford had only just wrapped production on what would turn out to be the most pivotal picture in her career, "The Poor Little Rich Girl" (1917), which helped cement her being type cast in childhood roles and introduced her most fruitful creative collaboration, with scenarist Francis Marion. Along with the subsequent WWI-era propaganda of "The Little American," "A Romance of the Redwoods" was one of two films she made with director Cecil B. DeMille. His career at this point was probably even more in flux, as he was experimenting with various genres at that point--before hitting on a formula of sex dramedies and, later, spectacles such as "The Ten Commandments" films (1923 and 1956). So, he made sensationalist psychological dramas, opera adaptations, historical epics and Westerns, among others. A director who would earn the reputation of being dictatorial, he had and would never again work with a star of Pickford's caliber. With her own tendency to demand creative input or control, this becomes a more compelling film to view when considering it as being pulled in sometimes divergent directions from two stars in formation. And that's not even to mention the role of frequent DeMille collaborator and another important female screenwriter, Jeanie Macpherson.
Similar to what the American film industry had recently done itself, the film begins with the uprooting from the East (had it been Fort Lee, New Jersey, the former capital of American filmdom, I suppose it would've been too on the nose), to move to California (and the Forest Moon of Endor). Whether the picture's nominal gold rush or the reality of the Edison Trust, the results are likewise gunplay and general lawlessness. Anyways, the story begins with a dual focus on Pickford's travels West and the Western trope of the "good bad man," who, in this case, steals her uncle's identity. William S. Hart played these bandit types who are reformed by a good, pointedly Christian and civilized woman better than anyone around this time in his own vehicles. The same plot emerges when the stagecoach robber and identity thief of this one meets his adopted niece, although it's complicated by the quasi-incestuous nature of this narrative and the queasiness one might feel towards the romantic storyline of Pickford's child-woman character, whom her fake uncle gifts a child's doll in the same scene he proclaims his love for her. The age gap between her character and another suitor seems even more stark.
Regardless, while DeMille attempts some grandiose views early on, including the stereotypical attack by Native Americans, a racial slur in the title cards included, a couple shots of the gigantic redwoods beside the diminutive Pickford, and there is some decent low-key lighting effects here and there, including from the home's fireplace (although not quite as impressive methinks as in DeMille's prior Western, "The Virginian" (1914), let alone the landmark "The Cheat" (1915)), the picture becomes increasingly one of intimate and extended takes of "America's Sweetheart." Playing the good bad man and lacking the subtle intricacies of Hart's expressive face, as well as lighter pull from always-second-fiddle co-stars in his vehicles, Elliott Dexter didn't really stand a chance at sustaining an honest dual focus in this one. He couldn't even always prevent his hair from obscuring a view of his face from the camera lens, let alone compete with the naturalistic acting of and brightness of the star of "the girl with the golden curls." She always seems to be involved in some bit of business and to be fully inhabiting her character--never merely just sitting or standing in stillness in some dated theatrical way of seeming to try to convey thought or internal conflict. She acts circles around everyone else in this one.
Inevitably, Dexter's character will convert to her rule. The rest of the townsmen, though, eventually break into their home and lock her in the barn as they attempt to play out the climax by themselves. Having none of that, Pickford employs some artifice to regain control of the scene. As another male character implores in his surrender, "Boys - I reckon when twenty men have been fooled by one small woman -- they'd better take their medicine!" And so did DeMille and the rest of his usual collaborators, and, not surprisingly, after two films with Pickford, he never worked with as big of a star again (albeit, there've never been many quite as big). This is Pickford's film.
(Note: Streamed from the 39th Pordenone Silent Film Festival, from a digitized 35mm, tinted/toned print from the George Eastman House. While scratchy, the picture quality was good.)
Similar to what the American film industry had recently done itself, the film begins with the uprooting from the East (had it been Fort Lee, New Jersey, the former capital of American filmdom, I suppose it would've been too on the nose), to move to California (and the Forest Moon of Endor). Whether the picture's nominal gold rush or the reality of the Edison Trust, the results are likewise gunplay and general lawlessness. Anyways, the story begins with a dual focus on Pickford's travels West and the Western trope of the "good bad man," who, in this case, steals her uncle's identity. William S. Hart played these bandit types who are reformed by a good, pointedly Christian and civilized woman better than anyone around this time in his own vehicles. The same plot emerges when the stagecoach robber and identity thief of this one meets his adopted niece, although it's complicated by the quasi-incestuous nature of this narrative and the queasiness one might feel towards the romantic storyline of Pickford's child-woman character, whom her fake uncle gifts a child's doll in the same scene he proclaims his love for her. The age gap between her character and another suitor seems even more stark.
Regardless, while DeMille attempts some grandiose views early on, including the stereotypical attack by Native Americans, a racial slur in the title cards included, a couple shots of the gigantic redwoods beside the diminutive Pickford, and there is some decent low-key lighting effects here and there, including from the home's fireplace (although not quite as impressive methinks as in DeMille's prior Western, "The Virginian" (1914), let alone the landmark "The Cheat" (1915)), the picture becomes increasingly one of intimate and extended takes of "America's Sweetheart." Playing the good bad man and lacking the subtle intricacies of Hart's expressive face, as well as lighter pull from always-second-fiddle co-stars in his vehicles, Elliott Dexter didn't really stand a chance at sustaining an honest dual focus in this one. He couldn't even always prevent his hair from obscuring a view of his face from the camera lens, let alone compete with the naturalistic acting of and brightness of the star of "the girl with the golden curls." She always seems to be involved in some bit of business and to be fully inhabiting her character--never merely just sitting or standing in stillness in some dated theatrical way of seeming to try to convey thought or internal conflict. She acts circles around everyone else in this one.
Inevitably, Dexter's character will convert to her rule. The rest of the townsmen, though, eventually break into their home and lock her in the barn as they attempt to play out the climax by themselves. Having none of that, Pickford employs some artifice to regain control of the scene. As another male character implores in his surrender, "Boys - I reckon when twenty men have been fooled by one small woman -- they'd better take their medicine!" And so did DeMille and the rest of his usual collaborators, and, not surprisingly, after two films with Pickford, he never worked with as big of a star again (albeit, there've never been many quite as big). This is Pickford's film.
(Note: Streamed from the 39th Pordenone Silent Film Festival, from a digitized 35mm, tinted/toned print from the George Eastman House. While scratchy, the picture quality was good.)