Even with the vast majority of silent films lost, there
continue to be new discoveries or at least new re-emergences and
re-evaluations. Edward Lorusso wrote in his excellent book, The Silent Films
of Marion Davies published in 2017 that this film was “largely forgotten”
and was only extant outside of the archives on a grainy grey-market VHS copy
from Videolibrary. Mr Lorusso was clearly not going to let that lie and
proceeded to set up a funding campaign via Kickstarter, his 17th and
8th for Marion which duly brought in double the backing after being
funded in just four hours.
He was thus able to create a new scan of the 35mm print
from the Marion Davies Collection in the Library of Congress which is not only
in very good condition but also contains the original tints making this one of
the loveliest looking digital offerings. Ben Model provides an expertly improvised
organ score and the plan is to release the film more widely through his
company, Undercrank Productions. So, even if you missed this project, you’ll be
able to see what is yet another truly entertaining Davies’ film at some point.
Directed by George W. Hill from a script by Lillie
Hayward with Editorial Direction from Frances Marion, Zander represented
something like a return to “normalcy” as Lorusso wrote, with epic costume drama
left behind for a western with a strong moral core. This was the actresses
first “Hollywood” film for MGM and allows her to show off her impressive and
under-rated range, from comedic Pickford style kidding around as an orphan at
the start, to the more dramatic episodes out West, romance and comedy hair cuts
that have to be seen to be believed… especially relevant in this age of
“Lockdown Haircuts”, if only more of us thought to use a bowl to guide the
scissors!
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| Marion in motion |
Marion kicks off in full Mary-mode as Mamie Smith a spirited orphan who has far too much energy to follow the rules of her orphanage in Weeweedin, New Jersey, nor the terrifying Matron (Emily Fitzroy keeping a glacial, straight face almost throughout). Exhibitors Trade Review noted that Marion’s appearance and interpretation were “strongly reminiscent” of Pickford and whilst that’s true, boy does she carry it off well. The same paper was also complimentary about Hill who was apparently the replacement for one Clarence Badger who producer and Davies’ partner and career counsellor, William Randolph Hearst, who also burned his footage before bringing in the replacement. Quite what Hearst wanted for Marion is open to interpretation… there’s no way this was going to be a great drama but perhaps he was simply trying to get the best for his friend?
Another reviewer, “A.S.” in Photoplay, described
this opening section as a “turning point” in Davies’ career and a performance
that will “place her in the rank of the Gishes, the Pickfords and Colleen
Moore.” She’s certainly a whirlwind with her ponytails, freckles and sheer
“bounce”. The perpetual motion Marion is also supported by some smart stunt
work with a man in a dress carrying her huge laundry basket and riding her motorbike
in dangerous fashion but not quick enough to defeat the modern freeze-frame; a
tribute to the quality of the transfer.
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| Rescued by Hedda Hopper |
Mamie goes too far and is badly beaten by the sadistic
Matron before being rescued by the kindly Mr. Pepper (Richard Carle) before
being shipped out from the orphanage to stay with a single mother Mrs. Caldwell
(Hedda Hopper), and her small child Alexander whom Mamie calls Zander (who
grows up to be played by Master Jack Huff). The house and surrounds look like
something out of a fairy tale, especially in the gorgeous lilac tints and
there’s some smart business involving a proposal from a local lad which is
rejected in silhouette by a fully grown Mamie who wants to marry only for love.
Talking of which, Mrs Caldwell has been waiting years for
her husband who has gone off to Mexico in search of his fortune and as the
years pass she grows frailer as her hopes fade. She gets ill and when he
finally writes to callously brush her off, Mamie pretends he’s arranging to
meet her after establishing himself in Singletree, Arizona (there’s only one
tree, do you see?). As she dies, Mamie promises to take her son to find his
father there.
Now the film hits its stride as Mamie and Zander evade
the attempts of the old orphanage to take in the boy and make their way out
West in a battered Ford with both of Zander’s pet rabbits… this is a good film
if you like Lagomorpha as, by the time they arrive, the two have become rather
more, proving that old jokes really are pretty, pretty old.
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| Harrison Ford is also really good in this film |
Mamie seeks refuge in a huge house – a very expressive
set design – where she encounters two old hands, “Good News” (Harry Watson) and
“Texas” (Harry Myers) who are going to be good for some slapstick whilst also
being apart of a gang liquor smugglers. The gang’s leader, of Dan Murchison
(Harrison Ford no, not that one… how many times Paul!?) takes an instant
disinterest in Mamie until she takes her hat off and is revealed as a woman as
beautiful as Marion Davies! A fourth horseman is revealed as Juan Fernández (Holbrook
Blinn).
Dan’s all for kicking Mamie out until there’s a lightning
raid by the local Sheriff, played by Hobart Bosworth who, as all those who’ve
seen Behind the Door know, can give bad guys one hell of a beating! Mamie’s the
domestic cover they need and there’s more as Dan reveals his real name… yes,
he’s Zander’s long lost father and he means to change course.
Or. Does he? The bad guys are all relative and there’s a
gang leader in the desert called Black Bart (George Siegmann) who’s just as
keen as the law enforcement officers to end Dan’s trade in hootch. There’s a
lot of moral issues piling up and you can be sure they’ll all be resolved one
way or another in a breath taking finish featuring some smashing locations and
Marion choking on gusts of sand whipped up under Randolph Heart’s specific
instruction: he wanted her to be seen to suffer just as much as Lillian Gish on
the ice in Way Down East… and it looks like she did. Amongst her impressive
array of competencies seems to be physical resilience; no one can doubt that as
troopers go, Marion was real!
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| That's acting, Rudolph! |
So it came to pass that Zander the Great is no
longer forgotten or grainy and grey, it’s part of our growing appreciation of
Marion Davies the star and even if it’s not exactly a classic it is very much a
film made by a genuinely classic star… For that Mr Larusso is owed a debt of
gratitude by all of us who find the actress charming and highly skilled. Marion
is being rehabilitated and I’ve no doubt that Mr Hurst would be pleased to know how
much she is still truly loved.
The commercial release will be out in early 2022 and you'll be able to order direct from the Undercrank Productions site as this film joins Beauty’s Worth, The Bride’s Play,
Little Old New York and the excellent When Knighthood Was in Flower, which was a Ben Model Kickstarter, on the
roster. When the going gets tough the tough get Kickstartng and we can only be grateful for the enthusiasm, expertise and passion of both gentlemen!
There’s also a fascinating post on Ed’s website, Silent Room discussing the relationship between Chaplin and Davies as well as the
former’s stunt work in this film. There’s no evidence of the lion taming scene
apart from references in Davies and other biographies and the cue card proves
it had gone by the final cut… all signs of wanting to avoid the opprobrium of
Citizen Hearst or just a casualty of the widespread changes made by the magnet?
Who knows… there are plenty of mysteries left in silent film as PH has so
eloquently stated in her recent post about Le Giornate in Pordenone.
Forward into the past it shall be then… as always!
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