Unusual but beautifully made and typically enjoyable Douglas Fairbanks vehicle, which finds the star at his most roguish (while still being his dashing and athletic self); with the Argentine pampas for backdrop, the film whose full official title is DOUGLAS FAIRBANKS AS THE GAUCHO can be considered a semi-Western. The narrative encompasses romance (supplied by fiery Lupe Velez), religion (via the presence of a miraculous shrine overseen by a saintly shepherdess we even get a couple of visions of the Madonna herself, played by Fairbanks' own equally popular actress wife, Mary Pickford!) as well as more characteristic action (in the form of The Gaucho's opposition to the rule of tyrannical Gustav von Seyffertitz). A subplot which ties in with the element of faith sees the hero being deliberately contaminated by a carrier of "The Black Doom" whom he had previously slighted, though both are eventually cured. Fairbanks' trademark pioneering spirit in the technical department is also well in evidence here with matte paintings giving the illusion of a truly elaborate visual design, reversed film for one particularly showy leap by the star onto his faithful steed, and even the wholesale horse-driven transportation of a house at one point!
16 Reviews
Even when not not Fairbanks' strongest films, fans will still find much to enjoy
TheLittleSongbird17 May 2014
Of the Douglas Fairbanks films I've seen so far, there is not one that came across as bad. The Gaucho may be my least favourite of them, it does get a tad too heavy-handed at times and the religious stuff sometimes bogs it down and give off an odd feel. But what makes Fairbanks' films as good as they are are most definitely present in The Gaucho. The sets are some of the most exotic and lavish of any Fairbanks film, and the same can be said of the costumes. The photography is equally beautiful, and the music score is appropriately rousing which make the stunts and such even more exciting than they already are. There is a strong sense of humour that is as fresh and current now as it was then, the director handles things deftly and the story cannot be called routine, if anything of all the films Fairbanks did The Gaucho is perhaps his least conventional story-wise. It is also very briskly paced and with a constant sense of fun and energy, as well as memorable scenes like the aftermath of the healing miracle. It's not a Fairbanks film without mentioning the stunts and they are spectacularly choreographed and dazzlingly executed. And with real athleticism that has not been matched much by many films today standards. Fairbanks steals the show, as he should as he is the star, he is charisma personified and clearly looks like he's enjoying every moment. His stunts are athletic and youthful and he does show some expressive acting like in the healing miracle scene and its aftermath. He is very well-supported by the rest of the cast, the standouts being Lupe Velez, who plays with a lot of appealing spunk and is sexy without even trying, and Gustav von Seyffertitz, whose suave charm but very twisted malevolence makes for one of the nastiest villains of any Fairbanks film. All in all, while not one of Douglas Fairbanks' best it is still a treat. 8/10 Bethany Cox
Douglas Fairbanks's Religious and Sexual Zeal
Cineanalyst15 April 2021
As Douglas Fairbanks biographer Jeffrey Vance has noted, "The Gaucho" is different from the action star's swashbucklers he'd been making since "The Mark of Zorro" (1920), citing the film's shift from the prior ones' boyish adventurism to more mature themes of sexuality and spirituality. Once again, Doug, this time as the Gaucho, saves a community from a dastardly villain, but this storyline becomes secondary to his religious conversion. Initially, the Gaucho isn't the perfect hero, either, although Doug still seems to perform stunts effortlessly (thanks in part to undercranking the camera and some quick, even sometimes choppy, editing).
And, this time, the girl pursues and tries to rescue him. Lupe Velez, as the easily-jealous, not damsel-y at all Mountain Girl, matches and sometimes exceeds Doug's exuberance. At one point, she tackles a guy and beats him up, and she likewise experiences a religious conversion. Usually, these type of religious pictures, complete with faith healing, a magical fountain and superimposed Virgin Marys would bore the hell out of me. I shudder at the thought of a film where the Girl of the Shrine, with her vacant expressions-supposedly alluding to spiritual superiority-were the protagonist.
But, Doug exudes charisma, his smile is contagious, and the religion, at least, slows his rollicking down for a moment. Otherwise, the guy is non-stop motion; he only sits down to briefly strike a pose and a match for his also-fervent cigarette smoking. Plus, The Gaucho does include the usual fare of Doug as the hero of the oppressed, defeater of dastardly villains. There's no sword fighting, but he does use a whip, performs some horse riding tricks, jumps all over the place and uses his wits to overcome large armies, including the climactic cattle stampede. The sets are also grand, per usual. Doug and his merry band of gauchos even help move one of them.
And, this time, the girl pursues and tries to rescue him. Lupe Velez, as the easily-jealous, not damsel-y at all Mountain Girl, matches and sometimes exceeds Doug's exuberance. At one point, she tackles a guy and beats him up, and she likewise experiences a religious conversion. Usually, these type of religious pictures, complete with faith healing, a magical fountain and superimposed Virgin Marys would bore the hell out of me. I shudder at the thought of a film where the Girl of the Shrine, with her vacant expressions-supposedly alluding to spiritual superiority-were the protagonist.
But, Doug exudes charisma, his smile is contagious, and the religion, at least, slows his rollicking down for a moment. Otherwise, the guy is non-stop motion; he only sits down to briefly strike a pose and a match for his also-fervent cigarette smoking. Plus, The Gaucho does include the usual fare of Doug as the hero of the oppressed, defeater of dastardly villains. There's no sword fighting, but he does use a whip, performs some horse riding tricks, jumps all over the place and uses his wits to overcome large armies, including the climactic cattle stampede. The sets are also grand, per usual. Doug and his merry band of gauchos even help move one of them.
Entertaining Douglas Fairbanks Feature With Some Unexpected Elements
Snow Leopard1 December 2004
Combining the familiar Douglas Fairbanks action scenes with some unexpected material, "The Gaucho" is interesting and pretty good. It might be just a cut below Fairbanks's very best movies, but it has more than enough to satisfy most silent movie fans. The story is involved, and it features some creative turns, while the production is resourceful and quite good for the most part.
Fairbanks's character here is not quite the same as in his usual roles. While the story does give him plenty of action and adventure sequences, his character is not nearly as likable as most of the ones that he played. The way that "The Gaucho" treats the other characters is not at all what you would have expected from his other movies - normally, even when his character is an outlaw in the eyes of the authorities, you get the feeling that you'd have nothing to fear from him unless you deserved it. Not so here.
That does make the character interesting. As with Fairbanks's usual roles, he seeks justice and respect, but unlike most of the others, he also needs redemption in a much deeper sense. And that fits in well with the other unusual aspect of the movie, which is established at the very beginning with the founding of the miraculous shrine. It introduces a supernatural or quasi-religious dimension that is not at all part of movies like "The Black Pirate" or "The Three Musketeers". Yet, for all that it requires a suspension of disbelief, it works pretty well as part of the overall story.
The detailed and sometimes impressive settings, along with the supporting cast, also help out. Lupe Velez has plenty of energy, Gustav von Seyffertitz is a suitable villain, and it's enjoyable to see Mary Pickford's brief appearance. Overall, it's pretty good, despite varying in some respects from time-tested formulas.
Fairbanks's character here is not quite the same as in his usual roles. While the story does give him plenty of action and adventure sequences, his character is not nearly as likable as most of the ones that he played. The way that "The Gaucho" treats the other characters is not at all what you would have expected from his other movies - normally, even when his character is an outlaw in the eyes of the authorities, you get the feeling that you'd have nothing to fear from him unless you deserved it. Not so here.
That does make the character interesting. As with Fairbanks's usual roles, he seeks justice and respect, but unlike most of the others, he also needs redemption in a much deeper sense. And that fits in well with the other unusual aspect of the movie, which is established at the very beginning with the founding of the miraculous shrine. It introduces a supernatural or quasi-religious dimension that is not at all part of movies like "The Black Pirate" or "The Three Musketeers". Yet, for all that it requires a suspension of disbelief, it works pretty well as part of the overall story.
The detailed and sometimes impressive settings, along with the supporting cast, also help out. Lupe Velez has plenty of energy, Gustav von Seyffertitz is a suitable villain, and it's enjoyable to see Mary Pickford's brief appearance. Overall, it's pretty good, despite varying in some respects from time-tested formulas.
Kinda like Robin Hood, Zorro and a religious epic all rolled into one bizarre package!
planktonrules22 September 2010
Warning: Spoilers
Technically speaking, this was a good movie. It's obvious United Artists put a lot of money behind this project (and why shouldn't they, as two of the company's creators were the star of this film and his wife!). The sets and costumes were nice, the matte paintings and backgrounds were among the best I've seen in a silent and the stunts were fantastic. However, the overall package was still very weird, as there was an uncomfortably odd combination of various earlier Douglas Fairbanks films along with what looked almost like the Jennifer Jones film "The Song of Bernadette"! Odd to say the least.
The film begins with a religious prologue about a young shepherdess falling from a cliff but being miraculously healed by what appears to be the Virgin Mary. Soon a religious shrine is built there.
Ten years have now passed. It seems that in this South American nation, a corrupt government is now oppressing the people (just like in "The Mark of Zorro" and "Robin Hood" and "The Black Pirate" and several other Fairbanks films). Fairbanks is a bandit (it's not clear if he steal from the rich and gives to the poor...maybe he just steals) and he and his men take over a small town run by government thugs. However, despite the lovely stunt-work and women who adore him, the Gaucho is a bit of a jerk. When, as the new town's leader, he's mean to someone who has some weird disease (that looks NOTHING like any real illness). As a result, this afflicted person sneaks up on him later and deliberately infects him! And, thanks to some prayers and a re-appearance by the Virgin, the Gaucho is healed and life is good.
The story is great to look at but heavy-handed and silly. My advice is first see Fairbanks' more famous films--they are better. Then, if you're curious, try this freaky film. It's good but not among his best by any standard.
By the way, speaking of weird, get a load of the 'house scene'. If you see the movie, then you'll know what I mean!!
The film begins with a religious prologue about a young shepherdess falling from a cliff but being miraculously healed by what appears to be the Virgin Mary. Soon a religious shrine is built there.
Ten years have now passed. It seems that in this South American nation, a corrupt government is now oppressing the people (just like in "The Mark of Zorro" and "Robin Hood" and "The Black Pirate" and several other Fairbanks films). Fairbanks is a bandit (it's not clear if he steal from the rich and gives to the poor...maybe he just steals) and he and his men take over a small town run by government thugs. However, despite the lovely stunt-work and women who adore him, the Gaucho is a bit of a jerk. When, as the new town's leader, he's mean to someone who has some weird disease (that looks NOTHING like any real illness). As a result, this afflicted person sneaks up on him later and deliberately infects him! And, thanks to some prayers and a re-appearance by the Virgin, the Gaucho is healed and life is good.
The story is great to look at but heavy-handed and silly. My advice is first see Fairbanks' more famous films--they are better. Then, if you're curious, try this freaky film. It's good but not among his best by any standard.
By the way, speaking of weird, get a load of the 'house scene'. If you see the movie, then you'll know what I mean!!
Not Doug's Best
silentmoviefan24 January 2013
Warning: Spoilers
Douglas Fairbanks made many, many good films over the span of his career. This one, while it has its good points, does not belong in the upper echelon of his best films. In this one, he plays an outlaw who for some reason is a good guy in this film (a rather common theme nowadays). He does his usual "Doug" things, his athletic tricks and so forth, but what is noteworthy about this film is that he didn't do some of the stunts himself. What really kind of bothered me about this film (and the reason it gets a "6") is when he and the local padre decide who gets to go to a healing fountain and who doesn't. A man with a hideous disease that has to keep himself covered is told by Doug to go kill himself! Doug! Nowadays, that probably would not be considered so bad in a movie, but back then, dang! This film is also noteworthy because it was the film debut of the ill-fated actress Lupe Velez. She plays a mountain girl who early in the film falls to what should have been her death by trying to dislodge a lamb who had gotten stuck in some rocks. She sees the Virgin Mary (who I understand was played by Doug's wife at the time, Mary Pickford) and the spot becomes sacred and a healing fountain results. Lupe is very much Lupe, if you've ever seen any of her films, she's very over-the-top pretty much all the way through. In a few years, when she started doing talking pictures and added speech to that, she really came into her own, I think. Anyway, if you just have to see all of Douglas Fairbanks' films, go ahead and see it. If you just want to see a silent film, you can do much better than this one, including several Douglas Fairbanks films.
Not all silent films are great.
pery-111 July 2009
Warning: Spoilers
This was hyped at the 2009 SF Silent Film Festival as dark, unconventional and more to 21st century tastes than most silent films. I found it a combination of over-the-top silliness with heavy-handed religious tedium. Perhaps it can be described as surreal. Unfortunately I did not find that entertaining.
There is a bit more sexuality than in other Fairbanks films, but nothing compared to Valentino. His continual silly cigarette tricks. too-fast jumps, Velez's arms-on-hips heaving-breast stances, the house dragging scene, and the German expressionist style fake landscapes, walls that crumble at a touch, and the constant performance of miracles, take away from any feeling of reality. They say El Gaucho is the prototype for Mickey Mouse, and the movie does have a cartoon-like character, except for the religious parts. Perhaps the religious element is part of the formula to "get away with anything as long as you throw in religion".
For me, it can't hold a candle to The Four Horsemen of the Apocalypse or even The Eagle. Fairbanks movies that I prefer include The Mark of Zorro and The Black Pirate.
There is a bit more sexuality than in other Fairbanks films, but nothing compared to Valentino. His continual silly cigarette tricks. too-fast jumps, Velez's arms-on-hips heaving-breast stances, the house dragging scene, and the German expressionist style fake landscapes, walls that crumble at a touch, and the constant performance of miracles, take away from any feeling of reality. They say El Gaucho is the prototype for Mickey Mouse, and the movie does have a cartoon-like character, except for the religious parts. Perhaps the religious element is part of the formula to "get away with anything as long as you throw in religion".
For me, it can't hold a candle to The Four Horsemen of the Apocalypse or even The Eagle. Fairbanks movies that I prefer include The Mark of Zorro and The Black Pirate.
A genuinely offbeat adventure story from the last great days of silent cinema
wmorrow592 October 2004
Douglas Fairbanks wrote, produced and starred in this unusual and entertaining movie at the height of his career, and the guy sure was in his prime: you'll never find him looking as virile, athletic and sexy as he does here. Sight unseen I assumed that The Gaucho would be another escapist swashbuckler flick, cut from the same cloth as Doug's earlier vehicles and aimed primarily at boys, but it proved to be a real surprise, a combination action/adventure/morality tale with a heavier atmosphere and a darker sensibility than any other Fairbanks film. Whether or not its oddness comes as a pleasant surprise is up to the individual viewer, but for my part I enjoyed the change of pace and appreciated the filmmakers' boldness in attempting something so off-the-wall.
How is The Gaucho different? For starters, Doug himself is different. Based on what little I knew beforehand I figured the title character would be an essentially decent bandit chieftain, a pseudo-Hispanic Robin Hood complete with a new band of Merry Hombres, once more pitted against the wicked forces of authoritarian rule. And in fact that's pretty much what he is, but he's also a flawed character who must mature in the course of the story, thus presenting a challenge for our leading man, who, as even his most dedicated fans admit, was never the most nuanced of actors. Here Doug is still very much the star of the show, but he's playing a decidedly selfish man who doesn't seem all that interested in avenging injustice or fighting for the peasantry. The Gaucho is no Robin Hood: he's cocky and arrogant, and in the early scenes his self-confident machismo is emphasized to the point of obnoxiousness. Like many a silent movie hero the Gaucho has a trademark physical gesture, a one-handed cigarette lighting trick, but once he's exhibited this bit two or three times we begin to roll our eyes and feel he's just begging to be taken down a peg or two.
It's also noticeable that, all of a sudden, Doug is attempting to fill the dance shoes of the recently departed Rudolph Valentino. When he played Robin Hood or the Black Pirate Doug's attitude toward his leading lady was more respectful than passionate, but the Gaucho represents the most maturely sexual character Fairbanks would take on in his screen career. Doug's tango with Lupe Velez is as steamy as any sequence he ever played, even incorporating a hint of S&M when he lashes his partner to himself with a sharp twirl of his bolo. These early scenes suggest that our protagonist -- who has apparently already won the day, and has everything he needs to be happy -- must be riding for a fall. This is where the story's moralizing kicks in, as the Gaucho is compelled to recognize that there are forces at work in the universe even greater than himself.
A pronounced element of religious mysticism is introduced in the prologue, when a gravely injured girl on the brink of death is visited by an apparition of the Virgin Mary. The girl is healed, whereupon she herself heals a dying baby. (The Virgin is played by Fairbanks' wife Mary Pickford, with a gravity that is unfortunately somewhat undercut by her bizarre, spinning halo.) This dollop of Hollywood Godliness, usually the province of Cecil B. DeMille, is interwoven throughout, and some viewers may find the going a bit sticky. Personally I didn't have a problem with it, perhaps in part because the 'religious' sequences are presented with such straightforward earnestness; and perhaps because, if ever a hero needed to find God, it's this one.
Where matters of taste are concerned one might also question the introduction of the subject of leprosy into the scenario. The condition is identified only as the 'Black Doom,' but from the context it's perfectly clear what disease was being represented. Whatever your response, Fairbanks deserves credit for sheer moxie, and for attempting to stretch the boundaries of what was considered permissible in an adventure film. He could have played it safe and re-worked Robin Hood, or cranked out another Zorro sequel, but he took a risk, and all things considered I feel he pulled it off. And it's worth noting that the story's heavier material is counterbalanced by more typical scenes of rowdy play and athleticism. Fairbanks the canny showman also gives us two spectacular sequences: in the first, a house is dragged from its foundations by a team of horses, and later there's an amazing cattle stampede that looks quite fearsome and dangerous. The Gaucho also gives us the young and wildly sexy Lupe Velez, who takes a far more active role in the proceedings than most of Doug's other leading ladies.
All told it's a helluva show, and well worth seeking out. It may not be for all tastes, but no one can call The Gaucho a routine swashbuckler. I would include it with Douglas Fairbanks' most entertaining and accomplished works.
How is The Gaucho different? For starters, Doug himself is different. Based on what little I knew beforehand I figured the title character would be an essentially decent bandit chieftain, a pseudo-Hispanic Robin Hood complete with a new band of Merry Hombres, once more pitted against the wicked forces of authoritarian rule. And in fact that's pretty much what he is, but he's also a flawed character who must mature in the course of the story, thus presenting a challenge for our leading man, who, as even his most dedicated fans admit, was never the most nuanced of actors. Here Doug is still very much the star of the show, but he's playing a decidedly selfish man who doesn't seem all that interested in avenging injustice or fighting for the peasantry. The Gaucho is no Robin Hood: he's cocky and arrogant, and in the early scenes his self-confident machismo is emphasized to the point of obnoxiousness. Like many a silent movie hero the Gaucho has a trademark physical gesture, a one-handed cigarette lighting trick, but once he's exhibited this bit two or three times we begin to roll our eyes and feel he's just begging to be taken down a peg or two.
It's also noticeable that, all of a sudden, Doug is attempting to fill the dance shoes of the recently departed Rudolph Valentino. When he played Robin Hood or the Black Pirate Doug's attitude toward his leading lady was more respectful than passionate, but the Gaucho represents the most maturely sexual character Fairbanks would take on in his screen career. Doug's tango with Lupe Velez is as steamy as any sequence he ever played, even incorporating a hint of S&M when he lashes his partner to himself with a sharp twirl of his bolo. These early scenes suggest that our protagonist -- who has apparently already won the day, and has everything he needs to be happy -- must be riding for a fall. This is where the story's moralizing kicks in, as the Gaucho is compelled to recognize that there are forces at work in the universe even greater than himself.
A pronounced element of religious mysticism is introduced in the prologue, when a gravely injured girl on the brink of death is visited by an apparition of the Virgin Mary. The girl is healed, whereupon she herself heals a dying baby. (The Virgin is played by Fairbanks' wife Mary Pickford, with a gravity that is unfortunately somewhat undercut by her bizarre, spinning halo.) This dollop of Hollywood Godliness, usually the province of Cecil B. DeMille, is interwoven throughout, and some viewers may find the going a bit sticky. Personally I didn't have a problem with it, perhaps in part because the 'religious' sequences are presented with such straightforward earnestness; and perhaps because, if ever a hero needed to find God, it's this one.
Where matters of taste are concerned one might also question the introduction of the subject of leprosy into the scenario. The condition is identified only as the 'Black Doom,' but from the context it's perfectly clear what disease was being represented. Whatever your response, Fairbanks deserves credit for sheer moxie, and for attempting to stretch the boundaries of what was considered permissible in an adventure film. He could have played it safe and re-worked Robin Hood, or cranked out another Zorro sequel, but he took a risk, and all things considered I feel he pulled it off. And it's worth noting that the story's heavier material is counterbalanced by more typical scenes of rowdy play and athleticism. Fairbanks the canny showman also gives us two spectacular sequences: in the first, a house is dragged from its foundations by a team of horses, and later there's an amazing cattle stampede that looks quite fearsome and dangerous. The Gaucho also gives us the young and wildly sexy Lupe Velez, who takes a far more active role in the proceedings than most of Doug's other leading ladies.
All told it's a helluva show, and well worth seeking out. It may not be for all tastes, but no one can call The Gaucho a routine swashbuckler. I would include it with Douglas Fairbanks' most entertaining and accomplished works.
An atypical Douglas Fairbanks lavish entertainer with a spiritual zest
SAMTHEBESTEST28 January 2024
The Gaucho (1927) :
Brief Review -
An atypical Douglas Fairbanks lavish entertainer with a spiritual zest. Far from Allan Dwan's swashbuckler flicks, Douglas Fairbanks found himself on a spiritual path with this F. Richard Jones's directorial. Counting every Fairbanks trademark right, be it scale, comedy, or surroundings, The Gaucho goes a step ahead with devotional fervour, mainly suitable for believers. The film starts with a young girl falling down from a height and yet getting up alright after the holy power saves her and blesses her with special powers. The girl prays from her heart and does miracles, which convert the place into a sacred shrine, and the place is called the town of miracles. Far up in the north, there is a disreputable leader of a group of bandits, El Gaucho, who is off to invade the sacred shrine and take all the wealth. A local strongman, Ruiz, is also after the same, which puts these two strong men against each other. Gaucho enters the place with his gang, but soon realises that the lady is no regular human. He can feel something but can't express or understand what it is. How fate turns the game against him and how he acknowledges the spiritual path are all you get to see in the film. Like I said, it's an atypical Fairbanks entertainer, so you might miss some of the trademark shots, but not much. He delivers enough for his audience; it's just a little different this time. Lupe Vélez looks beautiful as a Holy Girl, and not even for a moment did she look fake. Nigel De Brulier, Charles Stevens, and Gustav von Seyffertitz were okay, while Albert MacQuarrie left a better impact without showing his face (except once). The F. Richard Jones' movie has drama, comedy, action, and a spiritual message, and that's more than what you'd expect, I guess. "Just follow these; you need no rules."
RATING - 7/10*
By - #samthebestest.
An atypical Douglas Fairbanks lavish entertainer with a spiritual zest. Far from Allan Dwan's swashbuckler flicks, Douglas Fairbanks found himself on a spiritual path with this F. Richard Jones's directorial. Counting every Fairbanks trademark right, be it scale, comedy, or surroundings, The Gaucho goes a step ahead with devotional fervour, mainly suitable for believers. The film starts with a young girl falling down from a height and yet getting up alright after the holy power saves her and blesses her with special powers. The girl prays from her heart and does miracles, which convert the place into a sacred shrine, and the place is called the town of miracles. Far up in the north, there is a disreputable leader of a group of bandits, El Gaucho, who is off to invade the sacred shrine and take all the wealth. A local strongman, Ruiz, is also after the same, which puts these two strong men against each other. Gaucho enters the place with his gang, but soon realises that the lady is no regular human. He can feel something but can't express or understand what it is. How fate turns the game against him and how he acknowledges the spiritual path are all you get to see in the film. Like I said, it's an atypical Fairbanks entertainer, so you might miss some of the trademark shots, but not much. He delivers enough for his audience; it's just a little different this time. Lupe Vélez looks beautiful as a Holy Girl, and not even for a moment did she look fake. Nigel De Brulier, Charles Stevens, and Gustav von Seyffertitz were okay, while Albert MacQuarrie left a better impact without showing his face (except once). The F. Richard Jones' movie has drama, comedy, action, and a spiritual message, and that's more than what you'd expect, I guess. "Just follow these; you need no rules."
RATING - 7/10*
By - #samthebestest.
Swashbuckling Fun With Douglas Fairbanks
Ron Oliver5 February 2000
He is feared by men and adored by women - but only one woman will tame him. He acknowledges no creed, but only One Faith will claim him. No jail shall hold him or treasure elude him. He is South America's greatest bandit and soon the fate of the Andes' most venerated shrine will be in his hands. He is THE GAUCHO.
Douglas Fairbanks was at the pinnacle of his fame when he made this wonderful adventure film. His buoyant on-screen charm is matched only by his superb & graceful athleticism. He is secure in his position as one of the very greatest of cinema legends.
Lupe Velez makes a fiery & beautiful love interest as the Mountain Girl, flirting or fighting with Fairbanks at every twist of the plot; Nigel De Brulier as The Padre & Eve Southern as the Girl of The Shrine are saintly in their supporting roles. That's Mary Pickford in a cameo as the Virgin Mary. And once seen, who can ever forget The Victim of the Black Doom?
The sets and the special effects shots - using glass mattes - are exceptional. The very long City of the Miracles set is one of the finest ever created for a silent film.
Douglas Fairbanks was at the pinnacle of his fame when he made this wonderful adventure film. His buoyant on-screen charm is matched only by his superb & graceful athleticism. He is secure in his position as one of the very greatest of cinema legends.
Lupe Velez makes a fiery & beautiful love interest as the Mountain Girl, flirting or fighting with Fairbanks at every twist of the plot; Nigel De Brulier as The Padre & Eve Southern as the Girl of The Shrine are saintly in their supporting roles. That's Mary Pickford in a cameo as the Virgin Mary. And once seen, who can ever forget The Victim of the Black Doom?
The sets and the special effects shots - using glass mattes - are exceptional. The very long City of the Miracles set is one of the finest ever created for a silent film.
Douglas Fairbanks' MOST unusual masterpiece
binapiraeus12 April 2014
Warning: Spoilers
Many things have been written about "The Gaucho", lots of interpretations have been made from the very day it was released, and in the almost 90 years that have passed since then, it has of course been highly praised, but it's also been subject to unjust criticism in many ways; and in recent years the public's and the critics' interest in this so very UNIQUE movie seems to slowly fade away... So I think it's high time for us to rediscover this radiant jewel of early Hollywood, and to look at it in all its unusual spirit, with the innocence and enthusiasm the audience saw it back THEN; and at the same time discover that it's lost NOTHING of its freshness and dynamism - for it's one of those films that NEVER age.
And from the very beginning of the movie we have to take into account that we're about to dive right into the world of Douglas Fairbanks, that great genius and pioneer of silent film days, whose huge all-round talent as actor, director, screenwriter and producer was equaled only by that of his best friend, Charlie Chaplin. And just like Chaplin, Doug Fairbanks had his VERY own ideas of motion pictures: they should be larger-than-life, include ALL aspects of reality, and merge them into something even more beautiful, filled with more action, drama, and at the SAME time love and fun than real life itself; and, of course, with an unbreakable optimism that leads to the literally most miraculous happy endings for everyone - not only for the 'good' ones, because there ARE no 'good' and 'bad' characters in "The Gaucho": just as in real life, everybody have got their flaws (even the protagonist himself), and everybody have got their good points.
And so, be prepared for a UNIQUE mixture of drama, comedy, love story, and action adventure, that changes moods so quickly that you've got to adapt to Doug Fairbanks' own moody, restless personality in order to follow and understand, and most of all enjoy the movie. It seems to start out as one of those religious films about Madonnas and miracles that were so popular at the time, with a girl being miraculously saved after falling from a cliff by the Virgin Mary (played by Fairbanks' wife Mary Pickford!), and the place of the miracle soon becoming a place of pilgrimage. BUT - a few moments later, we find ourselves in a COMPLETELY different scenery: the world of the Gauchos, the outlaws of the Argentinian pampas, with their daring, carefree, exuberant lifestyle; the very example being of course their leader, Doug Fairbanks himself, simply named 'The Gaucho'.
Everybody admires him, having the courage, the personality and the charm of a real leader; and naturally most of all the girls - like the cheeky young 'Mountain Girl' (Lupe Velez), with whom he soon starts a REAL whirlwind romance: he literally ties her to his body with his 'bolas' (the Gauchos' weapon, not unlike a lasso, but much more effective) to dance a HOT tango with her; they kiss and make up all the time, they quarrel, tease each other, and are crazy for each other - undoubtedly one of the most beautiful, entertaining, unusual romances that have ever been brought to the screen!
Then the action part ensues, with Fairbanks' famous stunts, and he frees the prosperous 'City of the Miracle' from greedy usurper Ruiz, and even becomes friends with the Padre - without sharing his beliefs, however, because the only thing the Gaucho believes in is - the Gaucho. UNTIL that fateful moment when, after his jealous girl attacked the pious 'Girl of the Shrine' with a knife, unintentionally wounding his hand when he held her back - a victim of the 'Black Doom' (meaning leprosy) INTENTIONALLY infects him with the dreadful disease (because, earlier, he had suggested to him, being in this condition, to find a lonely spot and kill himself - that's what HE would do, he said)... Appalled and frightened, he understands what's happened to him - but he IS a man of principles: he says goodbye cheerfully to the 'Girl of the Shrine' and to his own 'Mountain Girl', and, just like he'd said, sets out into the woods with a gun intending to shoot himself.
And there, the religious element sets in again; but not in the 'usual style' of some epic by De Mille or Griffith - no, with a strange, wonderful child-like faith: the 'Girl of the Shrine' finds him and tells him that if he believes, he can be saved; she asks him if he DOES believe, and he looks at her, puzzled, and then answers: 'I believe in YOU!' Then he asks her to teach him to pray - and HERE's the lesson: he's not supposed to become some religious fanatic, he's merely required to leave aside for once his over-developed self-confidence and learn to be HUMBLE and BEG for something... And it works: as soon as he places his hand in the healing water, it gets well - and he jumps around JUST like a little boy: 'I'm healed, I'm healed!!' And, after a few more heroic actions from both, he gets his 'Mountain Girl', the 'City of the Miracle' gets its peace and justice - a most CLASSIC Hollywood Happy Ending; but it gives us MUCH more than that to keep within us: because the TRUE message is the Gaucho's line: 'Yesterday was yesterday. Today is today. There's no tomorrow until it's today.'
A great, everlasting message for one of the very GREATEST movies ever made.
And from the very beginning of the movie we have to take into account that we're about to dive right into the world of Douglas Fairbanks, that great genius and pioneer of silent film days, whose huge all-round talent as actor, director, screenwriter and producer was equaled only by that of his best friend, Charlie Chaplin. And just like Chaplin, Doug Fairbanks had his VERY own ideas of motion pictures: they should be larger-than-life, include ALL aspects of reality, and merge them into something even more beautiful, filled with more action, drama, and at the SAME time love and fun than real life itself; and, of course, with an unbreakable optimism that leads to the literally most miraculous happy endings for everyone - not only for the 'good' ones, because there ARE no 'good' and 'bad' characters in "The Gaucho": just as in real life, everybody have got their flaws (even the protagonist himself), and everybody have got their good points.
And so, be prepared for a UNIQUE mixture of drama, comedy, love story, and action adventure, that changes moods so quickly that you've got to adapt to Doug Fairbanks' own moody, restless personality in order to follow and understand, and most of all enjoy the movie. It seems to start out as one of those religious films about Madonnas and miracles that were so popular at the time, with a girl being miraculously saved after falling from a cliff by the Virgin Mary (played by Fairbanks' wife Mary Pickford!), and the place of the miracle soon becoming a place of pilgrimage. BUT - a few moments later, we find ourselves in a COMPLETELY different scenery: the world of the Gauchos, the outlaws of the Argentinian pampas, with their daring, carefree, exuberant lifestyle; the very example being of course their leader, Doug Fairbanks himself, simply named 'The Gaucho'.
Everybody admires him, having the courage, the personality and the charm of a real leader; and naturally most of all the girls - like the cheeky young 'Mountain Girl' (Lupe Velez), with whom he soon starts a REAL whirlwind romance: he literally ties her to his body with his 'bolas' (the Gauchos' weapon, not unlike a lasso, but much more effective) to dance a HOT tango with her; they kiss and make up all the time, they quarrel, tease each other, and are crazy for each other - undoubtedly one of the most beautiful, entertaining, unusual romances that have ever been brought to the screen!
Then the action part ensues, with Fairbanks' famous stunts, and he frees the prosperous 'City of the Miracle' from greedy usurper Ruiz, and even becomes friends with the Padre - without sharing his beliefs, however, because the only thing the Gaucho believes in is - the Gaucho. UNTIL that fateful moment when, after his jealous girl attacked the pious 'Girl of the Shrine' with a knife, unintentionally wounding his hand when he held her back - a victim of the 'Black Doom' (meaning leprosy) INTENTIONALLY infects him with the dreadful disease (because, earlier, he had suggested to him, being in this condition, to find a lonely spot and kill himself - that's what HE would do, he said)... Appalled and frightened, he understands what's happened to him - but he IS a man of principles: he says goodbye cheerfully to the 'Girl of the Shrine' and to his own 'Mountain Girl', and, just like he'd said, sets out into the woods with a gun intending to shoot himself.
And there, the religious element sets in again; but not in the 'usual style' of some epic by De Mille or Griffith - no, with a strange, wonderful child-like faith: the 'Girl of the Shrine' finds him and tells him that if he believes, he can be saved; she asks him if he DOES believe, and he looks at her, puzzled, and then answers: 'I believe in YOU!' Then he asks her to teach him to pray - and HERE's the lesson: he's not supposed to become some religious fanatic, he's merely required to leave aside for once his over-developed self-confidence and learn to be HUMBLE and BEG for something... And it works: as soon as he places his hand in the healing water, it gets well - and he jumps around JUST like a little boy: 'I'm healed, I'm healed!!' And, after a few more heroic actions from both, he gets his 'Mountain Girl', the 'City of the Miracle' gets its peace and justice - a most CLASSIC Hollywood Happy Ending; but it gives us MUCH more than that to keep within us: because the TRUE message is the Gaucho's line: 'Yesterday was yesterday. Today is today. There's no tomorrow until it's today.'
A great, everlasting message for one of the very GREATEST movies ever made.
Vintage Fairbanks, Feisty Velez, Somewhere in Argentina??
jsobre-123 October 2005
This is typical 20's Fairbanks, when he was making his grand epic swashbucklers, with typical over-complicated plots. The character reminds me of the first Zorro, but this guy is harder, and nastier (even after his miraculous reform). Fairbanks was also in his mid-forties when he made it, which explains his fined-down, but still very buff, appearance.
The plot is a mythical Argentina (with a tango thrown in to define the place, but it could take place anywhere, including Zorro's Early California. Fairbanks does wear an exotic costume, though.
Lupe Velez' Mountain Girl is the real departure. She is feisty, for one, and swashes every bit of buckle that Fairbanks does. These sort of characters are usually the one who DOESN'T get her man; here, it is with great satisfaction that she does--a woman ahead of her times!
The plot is a mythical Argentina (with a tango thrown in to define the place, but it could take place anywhere, including Zorro's Early California. Fairbanks does wear an exotic costume, though.
Lupe Velez' Mountain Girl is the real departure. She is feisty, for one, and swashes every bit of buckle that Fairbanks does. These sort of characters are usually the one who DOESN'T get her man; here, it is with great satisfaction that she does--a woman ahead of her times!
Displaced from its stillness
carvalheiro12 November 2007
"The Gaucho" (1927) by F.Richard Jones putting in scene Douglas Fairbanks it was at the time a kind of almost ballet movie, concerning countryside landscapes in Argentine with cattle and horses. Indeed what it was possible also to a busy adventurer like his character brought another time to audience, in such a character of a smiling enraged gentleman. Saving people in local unrest by his phlegmatic pragmatism in the fight for making a quite still concealed justice of land in relationship with sacred ritual of local mingled faith. Instinctively for a better increase of cohabitation with less weaponry and more physical agility of the body on his horse, fighting as a masked creole friend of the poor's, whose sentimentalism was as a kind of internationalism, somewhat displaced from a social liberation struggle like that. Beyond his own measure and compassion, turning out the unrest at his own capacity and getting things to his wife, as though her lover apparently change his mind stopping it, but finally accepted by him after the social turmoil.
It seems to be a silent movie already displaced from its stillness as guarantee of something of new coming soon, except the hat of Fairbanks which inspires confidence on the pampas as a kind of brave and peace maker, before it had happened too so briefly as possible and soon or later. What does represent the personality of this character in that movie ? Something of the enthusiasm lost for a while with the transition from the silent pictures, a kind of masked temperament reckoned by everyone of the time as righteous integrity, from a horseman who likes being an intruder on the social turmoil, but from whom the diplomatic intervention is not out of the struggle for free speech concerning peasant local religiosity. As if it was a kind of such a specific and well represented low power against any oligarchy on the pampas, told from the time of the roots linking to such a privileged inhabitants not far away of the still recent influence of colonization from abroad. Even if populism at its beginning also it is as bringing a necessary impulse in the intoxicated souls, as strength for smashing support in civil latent unrest for a small war between contenders of both sides.
For all this he is a popular figure in the middle of iconoclasts, representing the request with good conviction for maybe the impossible neutrality, that couldn't facing disturbing spirits like the soul of an impossible twin liberator for any quarrel sharing the way of means of wealth. He represents the prefiguration of the symbolic new life for the countryside, nowhere in South America with the myth of the coming industrialism from North America. He is the gate of the foreigner owner that took the empathy of the local people, as liberal exception still half colonized and masterminded by brotherhood at the place of paternalism. That's it. Fancy as outlooked caricature of such a diversified single hero in his sensibleness and mystery fashion, from the moment that took the weakness of obscurantism and whose own fearless is fighting the most powerful than himself in his melancholy.
It seems to be a silent movie already displaced from its stillness as guarantee of something of new coming soon, except the hat of Fairbanks which inspires confidence on the pampas as a kind of brave and peace maker, before it had happened too so briefly as possible and soon or later. What does represent the personality of this character in that movie ? Something of the enthusiasm lost for a while with the transition from the silent pictures, a kind of masked temperament reckoned by everyone of the time as righteous integrity, from a horseman who likes being an intruder on the social turmoil, but from whom the diplomatic intervention is not out of the struggle for free speech concerning peasant local religiosity. As if it was a kind of such a specific and well represented low power against any oligarchy on the pampas, told from the time of the roots linking to such a privileged inhabitants not far away of the still recent influence of colonization from abroad. Even if populism at its beginning also it is as bringing a necessary impulse in the intoxicated souls, as strength for smashing support in civil latent unrest for a small war between contenders of both sides.
For all this he is a popular figure in the middle of iconoclasts, representing the request with good conviction for maybe the impossible neutrality, that couldn't facing disturbing spirits like the soul of an impossible twin liberator for any quarrel sharing the way of means of wealth. He represents the prefiguration of the symbolic new life for the countryside, nowhere in South America with the myth of the coming industrialism from North America. He is the gate of the foreigner owner that took the empathy of the local people, as liberal exception still half colonized and masterminded by brotherhood at the place of paternalism. That's it. Fancy as outlooked caricature of such a diversified single hero in his sensibleness and mystery fashion, from the moment that took the weakness of obscurantism and whose own fearless is fighting the most powerful than himself in his melancholy.
Amorous Fairbanks Goes Against His Stereotype
springfieldrental21 April 2022
Producer Douglas Fairbanks was getting tired playing the same chaste character who not only respected women in an honorable way, but was barely close enough to his love interests to plant a kiss. All that changed in his November 1927 "The Gaucho."
Maybe it was for the fact, as a pallbearer for cinema's male sex symbol, Rudolph Valentino, and witnessing the female hysteria of the actor's sudden death, Fairbanks realized there was a void for a Latin lover on the screen. Soon after the near-riots on the streets surrounding Valentino's coffin, he sat down and wrote the scenario for "The Gaucho," set in the mountains of Argentina. His character, The Gaucho, goes after women with abandon, especially with The Mountain Girl (Lupe Velez). He even dances a provocative tango number with Velez, establishing a physical presence with the opposite sex never witnessed in a Fairbanks' movie before.
Of course, Fairbanks realized he couldn't disappoint his legion of fans by portraying a libidinous character throughout his adventurous motion picture. "The Gaucho" turns on its heels when he becomes infected by some unnamed disease (most likely leprosy). Once he takes his health seriously, he goes to the City of the Miracle, named after an event from a woman's miraculous survival of a fall from a nearby cliff. Fairbanks' wife in real life, Mary Pickford, plays the Madonna, who pays a visit to the city.
"The Gaucho" was directed by F. Richard Jones, the same person who brought back to Hollywood Mabel Normand, who was battling drug addiction for three years. He also worked with Stan Lauren on 19 films before his pairing with Oliver Hardy. Laurel credited Jones with teaching him everything he learned about cinematic comedy. Jones later directed Ronald Coleman in 1929's "Bulldog Drummond" in his first talkie.
For The Mountain Girl role, Fairbanks auditioned several soon-to-be famous young actresses, including Myrna Loy, Fay Wray and Loretta Young. He was especially impressed with Lupe Velez, his love interest in "The Gaucho." The movie gave the actress, a former Ziegfeld Follies dancer, visibility after appearing in just a couple of Hal Roach shorts, including "Sailors, Beware!" with Laurel and Hardy. Her private life lived up to her nickname "The Mexican Spitfire," including fiery relationships with Gary Cooper, Johnny Weissmuller, Charlie Chaplin and Clark Gable, among others.
Fairbanks himself was experiencing quite a year in 1927. He was one of the first to imprint his hands and feet into cement next to the Grauman's Chinese Theatre. Mel Brooks in his 1974 black comedy 'Blazing Saddles" has one of his characters say after spotting the actor's mold, "How did he do such fantastic stunts ... with such little feet?" The members of the Motion Picture Academy of Arts and Sciences also voted him to be the first president of that organization. "The Gaucho" was released one month after Hollywood's first talkie "The Jazz Singer." The Latino-flavored movie proved to be Fairbanks' last fully-silent movie; his next one, 1928's "The Iron Mask" contained a musical and sound effects track along with two short speeches by Fairbanks.
Maybe it was for the fact, as a pallbearer for cinema's male sex symbol, Rudolph Valentino, and witnessing the female hysteria of the actor's sudden death, Fairbanks realized there was a void for a Latin lover on the screen. Soon after the near-riots on the streets surrounding Valentino's coffin, he sat down and wrote the scenario for "The Gaucho," set in the mountains of Argentina. His character, The Gaucho, goes after women with abandon, especially with The Mountain Girl (Lupe Velez). He even dances a provocative tango number with Velez, establishing a physical presence with the opposite sex never witnessed in a Fairbanks' movie before.
Of course, Fairbanks realized he couldn't disappoint his legion of fans by portraying a libidinous character throughout his adventurous motion picture. "The Gaucho" turns on its heels when he becomes infected by some unnamed disease (most likely leprosy). Once he takes his health seriously, he goes to the City of the Miracle, named after an event from a woman's miraculous survival of a fall from a nearby cliff. Fairbanks' wife in real life, Mary Pickford, plays the Madonna, who pays a visit to the city.
"The Gaucho" was directed by F. Richard Jones, the same person who brought back to Hollywood Mabel Normand, who was battling drug addiction for three years. He also worked with Stan Lauren on 19 films before his pairing with Oliver Hardy. Laurel credited Jones with teaching him everything he learned about cinematic comedy. Jones later directed Ronald Coleman in 1929's "Bulldog Drummond" in his first talkie.
For The Mountain Girl role, Fairbanks auditioned several soon-to-be famous young actresses, including Myrna Loy, Fay Wray and Loretta Young. He was especially impressed with Lupe Velez, his love interest in "The Gaucho." The movie gave the actress, a former Ziegfeld Follies dancer, visibility after appearing in just a couple of Hal Roach shorts, including "Sailors, Beware!" with Laurel and Hardy. Her private life lived up to her nickname "The Mexican Spitfire," including fiery relationships with Gary Cooper, Johnny Weissmuller, Charlie Chaplin and Clark Gable, among others.
Fairbanks himself was experiencing quite a year in 1927. He was one of the first to imprint his hands and feet into cement next to the Grauman's Chinese Theatre. Mel Brooks in his 1974 black comedy 'Blazing Saddles" has one of his characters say after spotting the actor's mold, "How did he do such fantastic stunts ... with such little feet?" The members of the Motion Picture Academy of Arts and Sciences also voted him to be the first president of that organization. "The Gaucho" was released one month after Hollywood's first talkie "The Jazz Singer." The Latino-flavored movie proved to be Fairbanks' last fully-silent movie; his next one, 1928's "The Iron Mask" contained a musical and sound effects track along with two short speeches by Fairbanks.
Sex, sin, and salvation in South America
MissSimonetta28 March 2023
Warning: Spoilers
THE GAUCHO is the oddest and most elusive film in the Fairbanks filmography. It's as exotic and swashbuckly as his other big 20s pictures, but with a decided difference. This is just as much a religious film as an adventure story, and depending on your outlook, this is either a refreshing shake-up or an obnoxious intrusion on the proceedings.
I didn't mind it too much, as much as I don't care for kitschy presentations of religion complete with sanctimonious priests and doe-eyed miracle workers in perpetual Virgin Mother cosplay. At the very least, the religious themes tie into the Gaucho's character arc as he goes from being a selfish, merciless outlaw to a more compassionate and thoughtful hero. Fairbanks sells the transformation well-- this might be the most emotionally rich of his 1920s films even.
Production-wise, the sets and costumes are gorgeous, a dream of a mythical South America in which adventure and miracles lurk in plain sight. I also just realized that Fairbanks' big action scenes and clever moments (such as how he "escapes" from his cell in the climactic scene) remind me a lot of similar moments in silent comedies from the period. You're just as impressed by the hero's smarts and resourcefulness as you are by his physical daring.
Another impressive element: Lupe Velez. She is Fairbanks' perfect match, just as spunky and smart. I so wish he had used leading ladies in her mold more often rather than the demure damsels he so often employed. The spark between the two actors is very electric-- Fairbanks hated doing love scenes, but here he takes them on with relish, exuding a kinky sexuality that takes the breath away.
All in all, this is a great underseen film. Such a shame it isn't more widely available.
I didn't mind it too much, as much as I don't care for kitschy presentations of religion complete with sanctimonious priests and doe-eyed miracle workers in perpetual Virgin Mother cosplay. At the very least, the religious themes tie into the Gaucho's character arc as he goes from being a selfish, merciless outlaw to a more compassionate and thoughtful hero. Fairbanks sells the transformation well-- this might be the most emotionally rich of his 1920s films even.
Production-wise, the sets and costumes are gorgeous, a dream of a mythical South America in which adventure and miracles lurk in plain sight. I also just realized that Fairbanks' big action scenes and clever moments (such as how he "escapes" from his cell in the climactic scene) remind me a lot of similar moments in silent comedies from the period. You're just as impressed by the hero's smarts and resourcefulness as you are by his physical daring.
Another impressive element: Lupe Velez. She is Fairbanks' perfect match, just as spunky and smart. I so wish he had used leading ladies in her mold more often rather than the demure damsels he so often employed. The spark between the two actors is very electric-- Fairbanks hated doing love scenes, but here he takes them on with relish, exuding a kinky sexuality that takes the breath away.
All in all, this is a great underseen film. Such a shame it isn't more widely available.
David Jeffers for SIFFblog.com
rdjeffers20 June 2008
Warning: Spoilers
Monday June, 7:00pm The Paramount Theater, Seattle
Douglas Fairbanks chose a swarthy Argentine anti-hero for his next-to-last silent role in The Gaucho (1927).
A young shepherdess is visited by the Holy Virgin while tending her flock and a mountain shrine is built on the site. Years pass, and The City of the Miracle attracts wealth and attention. When a corrupt general known as Ruiz the Usurper (Gustave von Seyfferitz) takes over the town, they are liberated by The Gaucho.
Fairbanks perennial Charles Stevens plays The Gaucho's First Lieutenant and Mary Pickford appears (literally) as The Virgin, in two cameos that are almost certainly what were originally the two-color Technicolor segments now presumed lost.
Douglas Fairbanks chose a swarthy Argentine anti-hero for his next-to-last silent role in The Gaucho (1927).
A young shepherdess is visited by the Holy Virgin while tending her flock and a mountain shrine is built on the site. Years pass, and The City of the Miracle attracts wealth and attention. When a corrupt general known as Ruiz the Usurper (Gustave von Seyfferitz) takes over the town, they are liberated by The Gaucho.
Fairbanks perennial Charles Stevens plays The Gaucho's First Lieutenant and Mary Pickford appears (literally) as The Virgin, in two cameos that are almost certainly what were originally the two-color Technicolor segments now presumed lost.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
