Silent Film of the Month: Sally of the Sawdust (1925)

 

Run Time:  104 minutes. Studio: D.W. Griffith Productions. Director: D.W. Griffith. Writer: Forrest Halsey. Based on a play by Dorothy Donnelly. Producer: D.W. Griffith. Main Cast: Carol Dempster, W.C. Fields, Alfred Lunt, Erville Alderson. Cinematographers: Harry Fischbeck, Harold S. Sintzenich. Editor: James Smith. Art Director: Charles M. Kirk. 

Two names you may not except to see on the same movie are D.W. Griffith and W.C. Feilds. D.W. Griffith is best known for such dramatic epics as Birth of a Nation (1915) and Intolerance (1916). However, most of his films are smaller intimate dramas. Those who have read or heard stories about Griffith's relationship with legendary comedy filmmaker Mack Sennett are aware that Griffith is not exactly known for his sense of humor or his understanding of film comedy. W.C. Feilds on the other hand is one of the most popular and beloved comedians of Hollywood's golden age. He would star in some of the most outrageous and wildest comedies of the 1930's and 40's. However, Griffith directed Feilds in two feature length silent movies, Sally of the Sawdust and That Royle Girl (1925). That Royle Girl is unfortunately a lost film, but Sally of the Sawdust is a delightful collaboration between two film giants. 

In this film, Judge Foster (Erville Alderson) casts his daughter out of the family because she married a circus. Much later before the daughter's death, she leaves her own small daughter, Sally (Carol Dempster), with her juggler friend McGargle (W. C. Fields). McGargle gets a job at a carnival company playing at Great Medows, where the Fosters live. As she grows up Peyton (Alfred Lunt), a friend of Foster falls in love with Sally. 

This is a great movie that deserves much more attention than it gets. What really makes this film work is how well it balances melodrama and comedy. The story itself is quite melodramatic, yet it does often work in some bits of Feilds-ian humor. Yet every bit of comedy here is perfectly worked into the story and plays a role in moving the story forward. There is never once simply comedy for the sake of comedy, and it never interrupts the flow of the more dramatic storyline. More than this, it is often times quite funny.

  The storyline may be melodramatic, but it works quite well. The relationship between Sally and her adoptive father is quite touching. This makes us care deeply about what happens to these characters. Because of this no matter how melodramatic the store gets; it feels real to us and can even tug on our heartstrings.  

Professor McGargle is a perfect role for W.C. Fields. This type of lovable conman is the kind of character that Feilds would play later in his career. There is a Dickensian quality to this character with his unsophisticated and unpretentious charm along with his loving heart. It is hard not to love this character, yet at the same time, the character perfectly allows for the type of comedy Feilds is best known for. Feilds is not the only standout from the cast though. Carol Dempster is fantastic here. She is simply magnetic, especially when she shares a performing stage with her adoptive father.  

The climax is a perfect mixture of Griffith and Feilds' styles. It is in many ways a typical Griffith chase to the rescue climax with all the suspense and excitement that one might expect. At the same time some great bits of slapstick humor are worked into it. Both the suspense and the comedy work together perfectly. 

When making this film, Griffith was going through a change of pace with his career. Who had once been one of the most prestigious film directors had now found himself working as a contract director. On Tuesday June 10, 1924, Griffith (due to financial difficulties) began a contract with Famous Players-Lasky (the producing arm of Paramount Pictures). This contract required Griffith to make three films for the studio, while the studio would give a $250,000 loan for Griffith's company. 

On the other hand, W. C. Feild's career was on the upswing. On Monday, September 3, 1923, Dorthy Donnelly's musical comedy play, Poppy premiered on Broadway. It opened at the Apollo Theatre with Madge Kennedy as Poppy and W.C. Feilds as McGargle. Also in the cast was Robert Woosley, later of the comedy team Wheeler and Woosley. The play was a massive hit providing Feilds with the biggest hit of his career at the time. The play would have a very long run with Feilds as the main character. 

In early 1925, Famous Players-Lasky brought the screen rights for Poppy for $15,000. The studio soon decided to make the film version of the popular play, one of the three that Griffith would make for the studio. Griffith would later claim that this was the only of the three films he made for the studio (the others being That Royle Girl and The Sorrows of Satan (1926)), that he actually wanted to make. 

The film began shooting on Monday March 9. That morning was spent with lighting test and rehearsals and that after the prologue with Poppy's mother being turned out of her home for marrying a circus man were shot. On Tuesday March 10, these scenes were finished and a scene in a bedroom set involving actress Elfie Shannon were filmed. On Wednesday March 11, Feilds films his first scene, where his character adopts Sally, was filmed in the morning. The scene was wrapped up in time for Feilds to appear in a matinee performance of the Ziegfield Follies at the New Amsterdam Theatre. That night a giant circus tent is put up. On Thursday March 12, crowd scenes were shot around that circus tent. 200 extras were signed for that day. On Friday March 13 scenes involving a lion tamer, Carol Dempster (on her first day of shooting) and Feilds performing his famous juggling act (for the first time in front of a camera). Saturday March 14 including shooting close-ups of Carol Dempster and her act with Feilds (again Feilds' scenes needed to be shot early enough that he could appear on stage the same day), close-ups of Glenn Anders (the acrobat) and the scenes with Carol Dempster and the elephant. On Sunday March 15 W.C. Feilds shot a fight scene and his shell game (another famous Feilds sketch). On Monday March 16 and Tuesday March 17, scenes were shot in Carol Dempster's tent. On Wednesday March 18, Thursday March 19 and Friday March 20, the bootleggers scene was shot. On Saturday March 21 and Sunday March 22 the bakery scenes were shot. On Monday March 23 scenes in the judge's home were shot. On Wednesday March 25 and Thursday March 26 the ball scenes were shot. From Friday March 27 to Sunday March 29 scenes were shot in the Foster home. From Monday March 30 through Thursday April 9, carnival scenes were shot. From Friday April 10 to Monday April 13 the courtroom scenes were shot. Tuesday April 14 through Friday April 17 retakes and location shots were filmed.  

Exhibitor's Trade Review, 1925

Exhibitors Hearld, 1925

Moving Picture World, 1925

A review in The Moving Picture World stated, "In a word, Mr. Griffith has produced in 'Sally of the Sawdust' a picture that is filled with sure-fire stuff that will thoroughly entertain the majority. It has an abundance of rattling good comedy, pathos, drama, sympathy and suspense and should prove a big box office attraction." 

The following review comes from an issue of The Moving Picture World dated June 27, 1925. 

"Through the kindness of one of our dependable scouts, we are privileged to hand you a tip that will silence somewhat, the cry that our tips are not up to date enough. Needn't say anymore just read it!

"'Dear Van, 

"'Just finished preview showing of D.W. Griffith's newest production of 'Sally of the Sawdust'; despite terrific heat, we played to capacity, which alone is great tribute to Mr. Griffith and his splendid production. 

"'The featured roles are played by Carol Dempster and W.C. Feilds, the Ziegfield Follies comic.

"'In other reports I have claimed Miss Dempster as a comer; in 'Sally of the Sawdust' I claim she has arrived. Her portrayal as Sally will go down in screen history as one of the finest bits of acting ever done upon the screen. In W.C. Feilds, Mr. Griffith has brought to the screen a new star, who, in the role of McGargle is a 'wow.' The juvenile lead is played by Arthur Lunt; other fine character bits were played by Glen Anders, Elfie Shannon and Ervillie Alderson. 

"'In this production Mr. Griffith has placed some of the most delightful scenes ever shown upon the screen. The scenes get hold of the audience, and it cries and laughs just as Mr. Griffith has willed. [Spoiler Alert] When the girl is reunited with her grandmother one reaches for a handkerchief with the same rapidity as in the old days of 'East Lynn.' [End Spoiler Alert] When Feilds as McGargle begins his idiosyncrasies, roars of laughter greet his antics, and when [Spoiler Alert] he walks off lonesome at the end, you feel a cheerful friend has gone out of your life. [End Spoiler Alert]

"'I predict 'Sally of the Sawdust' will be one of the coming season's outstanding hits.' - Al Hamiliton, Rialto Theatre, So. Norwalk, Connecticut."
  
If you are interested in watching this great movie, you can watch a YouTube version below.

Resources Used

Kaufman at the Movies: Articles & Essays 1987–2021, Volume 2 by J.B. Kaufman

https://mediahistoryproject.org/

https://www.imdb.com/

Movie Review: Marty Supreme

 

Michael's Movie Grade: F

An insufferable movie about an insufferable character. 

This movie about a young man risking everything to become the world table tennis champion seems to be trying to make a comment on just how far someone would go to achieve their dreams even disregarding any sense of morality. This kind of story could work if either the character started out moral and that morality deteriorate as the story went on or if the character started as a jerk but changed into a better person at the end. However, our main character here is an irredeemable piece of crap from the opening credits to the closing credits. He does nothing to win our sympathy nor make us root for him in any way. He simply does one horribly immoral thing after another. The scenes involving a dog especially made me hate this character. The result is just plain unpleasant to watch. For a two-and-a-half-hour runtime it is also irritatingly repetitive. The whole movie is made even more unpleasant by a surprising number of violent scenes (for a film about table tennis) and a slew of supporting characters that also have no sense of reality. The violent scenes aren't especially gory, but they are done in such a way as to make them unpleasant to watch. If there is a point these bits of violence are trying to make, they are lost in a film with a disjointed story and no emotional center. What makes this movie even worse is the ending. While I won't give it away, it obviously expects us to sympathize with our main character and tries to even hit an unsuccessful sentimental note. If so, then the filmmakers should have given us a single reason to care about him and the over two hours that preceded this forced ending. 

I know this movie is a critical darling but frankly I can't see one reason to recommend it. Even Timothée Chalamet's all-in performance as the main character is wasted on a character not worth caring about.  

-Michael J. Ruhland 

Movie Trailer: Avengers: Doomsday

All-New Super Friends Hour: Cable Car Rescue (1977)

 

This is the final segment of the fourteenth episode of The All-New Super Friends Hour, unlike most other Super Friends formats, this one had hour long episodes that were made up of various shorter cartoons. The first segment would be an adventure staring two members (or three in some cases as Batman and Robin would often team with another Super Friend) of the Super Friends. The second would be a morality play staring the Wonder Twins. The third would be a typical half hour Super Friends adventure. The fourth and last segment would feature one of the main Super Friends (or two in the case of Batman and Robin) teaming up with a special DC Comics guest. 

In this cartoon, Wonder Woman and the Atom team up to save passengers stranded on a cable car in the Rocky Mountains. 

This is a wonderful cartoon. Taking place at the Rocky Mountains, there is a great sense of atmosphere throughout. The background art of the rugged and snowy terrain is fantastic, with great detail that makes it feel real to us. The effects animation with the lighting also adds to this sense of atmosphere. All this also works together to create a real sense of danger. You really feel the danger all the passengers are in and the episode gets a good amount of suspense out of this basic premise. The superhero action is pretty basic as well. However, it is also quite effective and exciting. 

This episode may be very basic, but it is also Super Friends doing a great job at what it does best. 

-Michael J. Ruhland 

Cowboy Church #249

 Hello my friends and welcome back for another service of Cowboy Church.

Today's musical selection begins with Roy Rogers and Dale Evans with Near the Cross. This hymn was written by Fanny Crosby, who had written many beloved hymns including Blessed Assurance and Pass Me Not, O Gentle Saviour. This song first appeared in an 1869 collection of hymns entitled Bright Jewels. One of those who put together this collection was William Doane, who would write the music for this hymn. Fanny had been blind since she was six weeks old. Evangelist Dwight L. Moody once asked Fanny, “If you could have just one wish granted, what would it be?” Fanny's answer shocked him. She said, “If I could have one wish, I’d wish that I might continue blind the rest of my life.” She explained this answer by saying “Because, after being blind for all these years, the first face I want to see now is the face of Jesus.”

This is followed by Red Sovine with If You Should Visit Heaven. 

Afterwards comes The Sons of the Pioneers with their 1941 recording of What Wonderful Joy. Though many don't want to give their loves to Jesus because they don't want to give up their sins, the truth is that the joy Jesus can give us is greater than anything we may get out of sinning. This song is about the incredible joy that only Jesus can provide. This recording is very much a duet between two members of the band. Lloyd Perryman and Bob Nolan share the main vocal duties on this song, and both sound as great as ever.

Then comes Washington Phillips with his 1929 recording of I've got the Key to the Kingdom. 

Next is Carl Smith with I Dreamed of the Old Rugged Cross. 

Then come Bill Anderson with Blessed Assurance. This hymn came about when songwriter Fanny Crosby visited composer Phoebe Palmer Knapp. Knapp played a tune for Crosby and asked what came to her mind with that tune. Crosby said, "Blessed assurance, Jesus is mine!" She then immediately followed it with more lyrics that would be in the finished song. The song was published in 1873 and first appeared in a monthly magazine for which the editors were Joseph Fairchild Knapp and Phoebe Palmer Knapp (who were husband and wife). When it later appeared in 1887's Gospel Songs, No. 5 by Ira Sankey, this we lead it to greater fame as it would be commonly sung in the revivals of Dwight L. Moody and Sankey. By 1889, the hymn commonly appeared in Methodist hymnals. This version of the hymn comes from Bill Anderson's 1967 gospel album; I Can Do Nothing Alone. 

Today's musical selection ends with Johnny Cash singing Let the Lower Lights Be Burning. In the notes for the box set Unearthed, John wrote, "This is a very special song for me, and I'll tell you what it means to me now. When my father was dying, he was in a coma, and all my brothers and sisters and I were gathered around the bed, and we felt like telling him goodbye. But my oldest sister Louise said, 'Let's sing to him.' So we started singing 'Let the Lower Lights be Burning.' At some point I looked at him and, though he had been sound asleep in a coma for days, his lips started moving and he started singing that song along with us. The more we would sing it the more he sang. And he opened his eyes, and he looked around at us as we were singing. Ad of course everybody had a good cry as watched him and listened to him as he sang 'Let the Lower Lights be Burning' with us."

Now for a message from the Reverand Billy Graham. 

Today's movie is The Mystery of the Hooded Horsemen (1937) starring Tex Ritter. 

Psalm 122

A song of ascents. Of David.

1 I rejoiced with those who said to me,

    “Let us go to the house of the Lord.”

2 Our feet are standing

    in your gates, Jerusalem.

3 Jerusalem is built like a city

    that is closely compacted together.

4 That is where the tribes go up—

    the tribes of the Lord—

to praise the name of the Lord

    according to the statute given to Israel.

5 There stand the thrones for judgment,

    the thrones of the house of David.

6 Pray for the peace of Jerusalem:

    “May those who love you be secure.

7 May there be peace within your walls

    and security within your citadels.”

8 For the sake of my family and friends,

    I will say, “Peace be within you.”

9 For the sake of the house of the Lord our God,

    I will seek your prosperity.

Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again. 

Movie Review: The Secret Agent (O Agente Secreto)

 

Michael's Movie Grade: A+

A fantastic political thriller from Brazil. 

This film tells the story of a man who in 1977 Brazil goes back to his hometown of Recife only to discover that it has changed for the worse, turning him into a political refuge. 

As this movie starts, we are quite unsure of who this character is as well as his past. Yet the opening sequence sets up a real sense of dread. We open with our main character pulling into a gas station where a dead body is lying outside because the cops haven't come around to pick it up yet (though it has been there for days). When we see the cops finally come, they do nothing about the dead body but instead search the car of our main character, despite his various objections. This is a perfect opening. It tells us little of anything, yet it pulls us in and intrigues us automatically. This is an opening scene that will stay with me for a good while. The film slowly reveals what is going on, a little at a time. This type of storytelling can be dangerous because it can either come off as intriguing or boring. However here it works perfectly. That is because the excellent filmmaking and well written script make it incredibly compelling, even before we fully figure out what is going on. The whole film is fully of beautiful looking shots and very intelligent dialogue. The musical score is also excellent and lends much to the sense of atmosphere. Meanwhile each reveal is fully worth waiting for as each one is very smart and makes what came before even more effective. The movie also gets more intense as it goes along with a climax that is very exciting and disturbing. 

I am keeping this review short as to not give away too much. However, I give it my highest recommendation. 



 

Movie Trailer: Madden