A Christmas Past - Silent-era Holiday Films

 

By Steve D. Stones

This Kino Video DVD collection of 10 short silent era Christmas holiday films is an interesting treat, considering that most of the films are over 100 years old. The films really communicate a sense of what life was like at the beginning of the 20^th century in the early days of the age of automobiles and the airplane. The collection of films dates from 1901 to 1925.

On this DVD set is included the nine films – A Holiday Pageant At Home (1901), A Winter Straw Ride (1906), A Trap For Santa (1909), A Christmas Accident (1912), The Adventure of The Wrong Santa Claus – An Adventure of Octavius, Amateur Detective (1914), Santa Claus vs. Cupid (1915), Santa Claus (1925), A Christmas Carol (1910) and The Night Before Christmas (1905). Most of the films run less than 20 minutes long.

A Winter Straw Ride (1906). A group of young, playful girls climbs on board a horse sleigh for a casual ride through the snow. The girls are happy and giddy, even when they encounter a group of young boys who throw snowballs at them as they pass on a road. The sleigh eventually gets stuck in the snow and overturns, dumping all the girls out into the deep snow. The girls attack a middle-aged man and smear snow in his face. Running through the snow, the girls throw snowballs at each other. Everyone appears to be having lots of fun in this short film. You'll be reminded of those winter days of the past playing out in the snow with your childhood friends when you see this film.

A Trap For Santa (1909). This short film opens with the text on screen: No Work For Father. Misery And Want – The Family's Lot. A hardworking father and husband is out of work, unable to make a living for his family. It's Christmas time, and the father is greatly depressed that he cannot provide a good Christmas for his family during this time that is supposed to be cheerful and merry. The father spends his time at the local bar drinking his problems away. One day he leaves his house for good and places a note under the door to his wife and children saying that they would all be better off without him. His wife later receives a letter in the mail that she has inherited a moderate fortune from her deceased aunt's estate.

On Christmas Eve, the children set a trap for Santa by placing a tight wire wrapped around a chair next to the Christmas tree that leads to their bedroom. Their depressed father climbs through a window to get into the house. The mother suggests that he dress up as Santa and give the children gifts that she has purchased from her estate inheritance. Dressed as Santa, the father distributes the gifts to the children, and the whole family is happy for Christmas.

The Adventure of The Wrong Santa Claus (An Adventure of Octavius – Amateur Detective) (1914). A man named Octavius receives an invitation to play Santa Claus in the Randall family home in Oakville. He packs a Santa suit in a suitcase and travels to the Randall home. After having dinner with the Randall family, Octavius goes upstairs to get into his Santa suit. While putting on the suit, a burglar enters the Randall home, knocks out Octavius unconscious and locks him in a bedroom. The burglar puts on a different Santa suit and goes downstairs to steal gifts from under the Christmas tree. Mrs. Randall finds Octavius knocked out in the locked bedroom. Octavius chases the burglar down the street as they are both still dressed as Santa. After chasing the burglar on board a moving train, Octavius is finally able to confront the burglar at a street corner news stand and have him arrested. The Randall family gets their basket of gifts back for Christmas. Octavius falls in love with the oldest daughter of the Randall family.

Santa Claus (1925). I consider this film to be the best in the entire set. It is also the longest film – running at 28 minutes. The opening title tells the viewer that this is a fantasy filmed in Northern Alaska. Children sleeping in their beds on Christmas Eve awaken to sneak downstairs to the home Christmas tree to wait for the arrival of Santa. They want to ask Santa what he does when it's not Christmas.

When Santa arrives, the children sit on his knees and he tells them that he lives in the Land of Winter near the Polar Sea. He tells them his home is guarded by goblins of the deep, which are sea lions. A polar bear patrols the land and sometimes Layluk, the northern wind, comes howling from ice caves to Santa's ice castle. On nights like these, Santa hurries back to his ice castle to help his elves and gnomes work on Christmas toys. He also tells the children that he cares for reindeer during the entire year. He even occasionally drinks reindeer milk.

Once a year, Santa meets with the Easter bunny to tell him which girls and boys deserve the prettiest Easter baskets at Easter. He watches children all over the world in his giant telescope. He also keeps a record book of all children to record their behaviors and what gifts they want at Christmas.

Santa also meets with Jack Frost, who he considers to be the greatest artist in the world. Here we see a man dressed in a white snow suit with a magic wand with a star wave his wand across snow to create beautiful ice crystals. 

The scenes of Santa's workshop and all the toys being made are some of the most amazing scenes in the film. Santa meeting with Eskimos before Christmas, and entering their homes on Christmas Eve to bring toys for Eskimo children are also some of the interesting highlights of this film. Santa's sleigh even overturns in the deep snow, showing the viewer some of his challenges of getting toys to children on Christmas. Santa loves his job so much that he overcomes these challenges.

This Holiday Season, consider viewing some silent era holiday films that take you back to the early days of the 20^th century. These films may not be big-budget, Hollywood-produced films with famous directors and great cinematography, but they capture an interesting moment in time that communicates what Christmas time was like over 100 years ago. Merry Christmas & Happy New Year!

Drakula Halala -- the first filmed Dracula

Recap by Doug Gibson

"Drakula Halala," a 1921 Hungarian/Austrian film, is considered the first "adaptation" of the Bram Stoker novel. The film is lost; all that remains are stills and news reports, including a small novelization of the film. Above are the stars of the film, Paul Askonas as Drakula, and Margit Lux as Mary Land, the young lovely he menaces.

Scholar Gary D. Rhodes has the past several years become the man who fills in the pieces of a 50,000-word puzzle of the history of Dracula, Bela Lugosi and Ed Wood. Rhodes recently wrote an essay on the history of "Drakula Halala," which more or less means "Dracula's Death." He also translated the novella from the Hungarian.

I've always been fascinated with this film, and I am appreciative of Rhodes' essay, which will be the template for this post. The essay is part of a new book that Rhodes has co-edited with Olaf Brill, Expressionism in the Cinema, published by Edinburgh University Press.

Rhodes is the postgraduate director for Film Studies at the Queens University in Belfast, Northern Ireland. Brill is a German writer on film with an impressive resume. Rhodes notes that from his research, it seems that "Drakula Halala" was an expressionistic film. In what makes one ache to see this lost film, he sees similarities with "The Cabinet of Dr. Caligari." Certainly, the novella compares to Caligari in plot.

I urge readers to buy Expressionism in the Cinema and learn more about "Drakula Halala." I will present a short recap of Rhodes' translation of the novella and afterwards mention a few facts unearthed by Rhodes in the chapter.

The melodrama, suffering, despair and pessimism that is ingrained in the Hungarian culture is represented in Rhodes' translation. Mary Land lives alone, a seamstress working long hours to support her father, confined to a mental institution after the death of his wife. The family was once happy and wealthy, but all that is gone. Mary's boyfriend, a woodcutter named George, implores her to rest but Mary will not.

Eventually, Mr Land's death appears near and Mary and George travel to the asylum. Left there by George, Mary talks with Dr. Tillner. Left alone she is accosted by several of the inmates, including a sadistic man, Drakula, who believes he is immortal. Another, who laughs, is called the "Funny Man." Mary visits her father, who dies. Overcome by sorrow and the fear of Drakula and other inmates who visit her and pretend to be doctors, Mary is advised to spend the night in the asylum.

That night, alone, Mary is kidnapped by Drakula and taken to his castle, where he says, they will be married. Mary's revulsion, her cross and the light push Drakula away from her. He promises to return for their wedding when night comes. That evening there is an elaborate wedding ceremony prepared with other brides of Drakula. It's a strange ceremony, with elaborate lights, shrill music and flowers flowing from the ceiling. Just before Drakula kisses her, Mary pushes the cross toward him. Everyone flees, including Mary.

Outside the castle, Mary is rescued by a family. An attempt by Drakula to recapture her fails. A real doctor cares for her until he is led away on a fool's errand by Drakula. He returns to Mary before any harm can come to her. Nevertheless, thoughts of Drakula torture her in her bed, and seeking relief, she runs out of the house and into the cold snow.

We then cut back to the asylum, where Dr. Tillner is conducting his rounds. Mary is sleeping. The nurse informs the doctor she's had a terrible night of bad dreams.

Mary's kidnapping, attempted marriage and flight was all a dream.

Outside, in the courtroom, the mental patients are gathered. The "Funny Man" has a gun. Seizing an opportunity to prove his immortality, Drakula goads the "Funny Man" into shooting him. He does and Drakula dies.

George returns to gather Mary. They return home to a lifetime of happiness.  Mary requests that no one ever speak of Drakula, and asks that a manuscript of his be burnt. (Below is a still of the wedding scene in "Dracula Halala.")

The film, if the novella is correct, is hardly Stoker's "Dracula." Maybe they wanted to exploit the Dracula cultural sensation without paying any royalties to Stoker's widow, Florence. In later years, she would shut down "Nosferatu" and nearly destroy every print due to copyright violation.

The director of "Drakula Halala" was Karoly Lajthay, who acted in films with a young Bela Lugosi. It was shot mostly in Vienna but created by Hungarians. Interiors were shot in Budapest. Askonas had also played the sinister, mesmerizing Svengali in a 1912 version of "Trilby." Lux has appeared in the Mihaly Kertesz co-directed "Alraune."

Kertesz later became the famous director Michael Curtiz. He worked with Lugosi, his future expatriate, in Hungarian cinema. Curtiz was one of three screen writers credited for "Drakula Halala."

Rhodes' recounts publicity and advertising efforts for the film. There were expectations of a long showing of the film in Hungary. But that didn't happen. The film premiered in Vienna in 1921 but only played briefly in Budapest during the spring of 1921.

It's anyone guess as to why the film had a limited showing. Rhodes merits our appreciation for unearthing the information he has discovered. It may be that tucked away, forgotten in an Eastern European film vault, exists a print of "Dracula Halala." Only time well tell. Rhodes, nevertheless, has intrigued us enough to want to know more about the "first Dracula film."

The silent Tom Sawyer from 1917

Tom Sawyer, 44 minute-version, B and W, 1917. Directed by William Desmond Taylor. Starring Jack Pickford as Tom Sawyer, Edythe Chapman as Aunt Polly, Helen Gilmore as Widow Douglas, Robert Gordon as Huckleberry Finn and Clara Horton as Becky Thatcher. Schlock-meter rating: Eight stars out of 10.

This early silent is an interesting curio, creaky but far more entertaining than you'd think. Jack Pickford, brother of Mary, plays Mark Twain's famous scamp, and while he was old for the role (20), he pulls it off with a talented performance. His best scenes are when he cons his buddies into whitewashing the fence and his romance of Becky Thatcher, played by 13-year-old Clara Horton. Pickford had an "aw shucks" type of charm that must have made him pretty famous 85 years ago. Chapman as Aunt Polly is agreeably fussy and Gordon smirks effectively as Huckleberry Finn.

The acting is highly melodramatic, the sets are very effective. On the Internet Movie Database, on reviewer describes the film as having the "feel of an old photo album." Incredibly, this was not the first adapation of Twain's novel. That occurred in 1907. The film ends halfway through the novel, the climax being Tom and Huck crashing their own funeral. This has confused several reviewers, but the story goes that director Taylor divided the film into two movies. A year later he released Huck and Tom, which is the second half of the novel. The tinny score irritates a bit, but the film, recently shown on TCM cable channel, is a real treat for silent film buffs.

Director Taylor was murdered under mysterious circumstances in 1922, a scandal that still thrills Hollywood today. Star Jack Pickford died in 1933, his career and health ruined by fast living.

-- Doug Gibson

The Other Wizard of Oz

By Doug Gibson

Ever heard of Larry Semon? That's all right. Few have. He was a silent movie comic. His physical comedy and sad sack face made him very popular in one-reelers, but his character had a tough time creating pathos with viewers. He needed to be seen in small doses.

Semon had ambition, though, and in the mid 1920s he worked with the son of the late L. Frank Baum, to bring Baum's Wizard of Oz series to the big screen. The 1925 film (versions range from 72 to 81 minutes) is a curio. A huge flop at the box office -- it more or less ruined Semon's career -- it is nevertheless fascinating. It's a so-bad-it's-interesting ego trip from a star who desperately needed a director other than himself. Still, there are moments -- particularly at the beginning of the film -- that feature talented slapstick comedy. Yet, in this film are Semon, of course, big fat slapstick veteran Frank Alexander, a very young Oliver Hardy and Semon's very pretty wife, Dorothy Dwan.

Here's the film in a few paragraphs: We start in Oz, where Prince Kynd (Bryant Washburn) and the citizens are upset with corrupt leaders, including Prime Minister Kruel. The bad leaders consult the Wizard, a con man, who suggests they bring the lost Princess Dorothy back. We cut now to Kansas, where the womanly Dorothy (Dwan) lives with Aunt Em, (Mary Carr) a limp dishrag of a woman, and Uncle Henry (Alexander) a big, fat domestic abuser. He literally punches anyone he meets.

Competing for Dorothy's love are farmhands Semon and Hardy. There is a black farmhand named Snowball. Be advised the film is very racist and the character, played by actor Spencer Bell, is billed as "G. Howe Black." (Later in the film, Semon's character lets loose with a tasteless racist jab at Bell's character) Ths racism was unfortunately the norm for those times.

The film meanders on coherently while the characters are in Kansas. It's cliche-ridden, but there are talented, physical slapstick gags with Semon, Hardy and Alexander. There's a funny bit with bees, and another with a swing. But once the main characters are blown to Oz in a shack it loses all sense. The first nonsensical twist is having Aunt Em -- who is in the wind-guided shack -- disappear when they arrive. It gets worse: Semon turns into the Scarecrow, Hardy the Tin Man and Bell the cowardly lion, but they really aren't these characters. They are disguises. Alexander briefly turns into a good guy, then reverts to being a bad guy. Incomprehensibly, Hardy's Tin Man turns bad too.

Finally, Dwan's Dorothy more or less disappears from the film, becomes betrothed to Prince Kynd, and wants to see Semon's Scarecrow done away with, too! In fact, the film degenerates into a series of bad slapstick gags designed to showcase Semon trying to outwit the Oz folk who want to capture him. The Wizard (Charles Murray) is still hanging around. By then it's really no longer Baum's Wizard of Oz. It's just an overlong, badly paced Semon slapstick show.

As I mentioned, the film bombed. Semon's career was almost ruined. He puttered around in films for a few more years, then died young. Many believe stress over his bankruptcy contributed to his death. For a long time this film was considered obscure and very hard to find. Lately, though it has popped up on DVD, either as an extra to the 1939 The Wizard of Oz, or as the feature attraction in a DVD of silent versions of Baum's Oz tales (there are several as far back as 1910). It has also been shown recently on Turner Classic Movies. In fact, it was last on Dec. 26.

I will say one good thing about the silent Wizard of Oz. Semon's Scarecrow very much resembles in looks and mannerisms of Ray Bolger's much-lauded Scarecrow in the later classic. It seems clear that Bolger did borrow from Semon's portrayal and also managed to bring the empathy to the character that Semon could not achieve. Cult movies fans should note that many of Semon's silent shorts can be purchased today via brick-and-mortar and online stores.

The Cabinet of Dr. Caligari

THE CABINET OF DR. CALIGARI — Directed in 1919 by German expressionist filmmaker Robert Wiene, this silent masterpiece has been regarded as the first cult film in cinema history. The film concerns a young student named Francis who encounters an evil magician named Dr. Caligari at a traveling fair. Caligari's "act" at the fair consists of a frightening somnambulist named Cesare, who has lain asleep in a coffin for over 25 years. When awakened, Cesare predicts certain death to Francis' friend, and is blamed for a series of murders that take place in the nearby town. (A scene from the film is shown above left)

This film has many interesting characteristics of both German-Expressionist painting and film, such as the transformation of everyday objects — furniture, windows, walls and buildings — into unmistakable symbols that reveal a hyper-psychological essence and the opposition of the standards of naturalism.

"Caligari" is an important film in the history of the cinema because it lays the groundwork for many devices used in contemporary horror films, such as the use of the "mad doctor" or "mad scientist" theme used in many Universal Studios horror films of the 1930s and 1940s, and the use of light, a sense of terror and tension in filmmaking. I highly recommend this film to anyone studying silent films.
(This review was originally published in the Standard-Examiner)

-- Steve Stones