Monte Blue Movies
A product of the Indiana orphanage system, the part-Cherokee-Indian Monte Blue held down jobs ranging from stevedore to reporter before offering his services as a movie-studio handyman in the early 1910s. Pressed into service as an extra and stunt man, Blue graduated to featured parts in D.W. Griffith's Birth of a Nation (1915). Thanks to his work with Griffith and (especially) Cecil B. DeMille, Blue became a dependable box-office attraction of the 1920s, playing everything from lawyers to baseball players. He was a mainstay of the fledgling Warner Bros. studios, where the profits from his films frequently compensated for the expensive failures starring John Barrymore. In 1928 he was cast in his finest silent role, as the drink-sodden doctor in White Shadows on the South Seas. After making a successful transition to talkies, Blue decided to retire from filmmaking, taking a tour around the world to celebrate his freedom. Upon his return to the U.S. in 1931, Blue found that he had lost his fortune through bad investments, and that the public at large had forgotten him. By now too heavy-set to play romantic leads, Blue rebuilt his career from the bottom up, playing bits in "A" pictures and supporting roles in "B"s. He was busiest in the bread-and-butter westerns produced by such minor studios as Republic, Monogram and PRC; he also showed up in several serials, notably as "Ming the Merciless" clone Unga Khan in 1936's Undersea Kingdom. Movie mogul Jack Warner, out of gratitude for Blue's moneymaking vehicles of the 1920s, saw to it that Monte was steadily employed at Warner Bros., and that his name would appear prominently in the studio's advertising copy. While many of his talkie roles at Warners were bits, Blue was given choice supporting roles in such films as Across the Pacific (1942), Mask of Dimitrios (1944) and especially Key Largo (1948). Extending his activities into TV, Blue continued accepting character roles until retiring from acting in 1954. During the last years of his life, Monte Blue was the advance man for the Hamid-Morton Shrine Circus; it was while making his annual appearance in this capacity in Milwaukee, Wisconsin, that Blue suffered a heart attack and died at the age of 73. ~ Hal Erickson, All Movie Guide
The most successful and artistically advanced film of its time, The Birth of a Nation has also sparked protests, riots, and divisiveness since its first release. The film tells the story of the Civil War and its aftermath, as seen through the eyes of two families. The Stonemans hail from the North, the Camerons from the South. When war breaks out, the Stonemans cast their lot with the Union, while the Camerons are loyal to Dixie. After the war, Ben Cameron (Henry B. Walthall), distressed that his beloved south is now under the rule of blacks and carpetbaggers, organizes several like-minded Southerners into a secret vigilante group called the Ku Klux Klan. When Cameron's beloved younger sister Flora (Mae Marsh) leaps to her death rather than surrender to the lustful advances of renegade slave Gus (Walter Long), the Klan wages war on the new Northern-inspired government and ultimately restores "order" to the South. In the original prints, Griffith suggested that the black population be shipped to Liberia, citing Abraham Lincoln as the inspiration for this ethnic cleansing. Showings of Birth of a Nation were picketed and boycotted from the start, and as recently as 1995, Turner Classic Movies cancelled a showing of a restored print in the wake of the racial tensions around the O.J. Simpson trial verdict. ~ Hal Erickson, All Movie Guide
- Starring:
- Henry B. Walthall, Miriam Cooper, (more)
- 1916
Veteran Biograph leading man/director Wilfred Lucas essays the title role in Hell-to-Pay Austin. A rough-and-tumble lumberman, Austin nonetheless has a sentimental side. When the minister father of winsome Briar Rose (Bessie Love) dies of excessive drinking, the girl is unofficially adopted by Austin and his fellow timber jockeys. Her influence transforms old "Hell-to-Pay" from a carouser-brawler to a pious Christian. And of course, once Briar Rose reaches marrying age, she takes Austin as a husband. If Hell-to-Pay Austin were available today, it might prove an eye-opener to film fans who remember Wilfred Lucas only as the stentorian prison warden in Laurel & Hardy's Pardon Us (1931). ~ Hal Erickson, All Movie Guide
- 1916
Old Ira Dayton (F.A. Turner) is a hypochondriac, so when Doc Arnold (Wilfred Lucas) says there is nothing wrong with him, he goes to a quack, Dr. Horatio Bell (Pomeroy Cannon), who proceeds to bilk him out of as much money as possible. The honest Doc Arnold is in love with Dayton's daughter, Jesse (Constance Talmadge), but Dayton disapproves of the match. Dr. Bell gets a ten thousand dollar check from Dayton, but Jesse goes to get it back. They struggle and the quack falls to the ground, mysteriously shot. Jesse is accused of murder, but Doc Arnold snoops around and discovers the shot was fired by a half-wit boy who became jealous when he saw Dr. Bell making love to the maid. After this, old man Dayton comes to his senses. ~ Janiss Garza, All Movie Guide
Sometime during the shooting of the landmark The Birth of a Nation, filmmaker D.W. Griffith probably wondered how he could top himself. In 1916, he showed how, with the awesome Intolerance. The film began humbly enough as a medium-budget feature entitled The Mother and the Law, wherein the lives of a poor but happily married couple are disrupted by the misguided interference of a "social reform" group. A series of unfortunate circumstances culminates in the husband's being sentenced to the gallows, a fate averted by a nick-of-time rescue engineered by his wife. In the wake of the protests attending the racist content of The Birth of a Nation, Griffith wanted to demonstrate the dangers of intolerance. The Mother and the Law filled the bill to some extent, but it just wasn't "big" enough to suit his purposes. Thus, using The Mother and the Law as merely the base of the film, Griffith added three more plotlines and expanded his cinematic thesis to epic proportions. The four separate stories of Intolerance are symbolically linked by Lillian Gish as the Woman Who Rocks the Cradle ("uniter of the here and hereafter"). The "Modern Story" is essentially The Mother and the Law; the "French Story" details the persecution of the Huguenots by Catherine de Medici (Josephine Crowell); the "Biblical Story" relates the last days of Jesus Christ (Howard Gaye); and the "Babylonian Story" concerns the defeat of King Belshazzar (Alfred Paget) by the hordes of Cyrus the Persian (George Siegmann).
Rather than being related chronologically, the four stories are told in parallel fashion, slowly at first, and then with increasing rapidity. The action in the film's final two reels leaps back and forth in time between Babylon, Calvary, 15th century France, and contemporary California. Described by one historian as "the only film fugue," Intolerance baffled many filmgoers of 1916 -- and, indeed, it is still an exhausting, overwhelming experience, even for audiences accustomed to the split-second cutting and multilayered montage sequences popularized by Sergei Eisenstein, Orson Welles, Jean-Luc Godard, Joel Schumacher, and MTV. On a pure entertainment level, the Babylonian sequences are the most effective, played out against one of the largest, most elaborate exterior sets ever built for a single film. The most memorable character in this sequence is "The Mountain Girl," played by star on the rise Constance Talmadge; when the Babylonian scenes were re-released as a separate feature in 1919, Talmadge's tragic death scene was altered to accommodate a happily-ever-after denouement. Other superb performances are delivered by Mae Marsh and Robert Harron in the Modern Story, and by Eugene Pallette and Margery Wilson in the French Story. Remarkably sophisticated in some scenes, appallingly naïve in others, Intolerance is a mixed bag dramatically, but one cannot deny that it is also a work of cinematic genius. The film did poorly upon its first release, not so much because its continuity was difficult to follow as because it preached a gospel of tolerance and pacifism to a nation preparing to enter World War I. Currently available prints of Intolerance run anywhere from 178 to 208 minutes; while it may be rough sledding at times, it remains essential viewing for any serious student of film technique. ~ Hal Erickson, All Movie Guide
Rather than being related chronologically, the four stories are told in parallel fashion, slowly at first, and then with increasing rapidity. The action in the film's final two reels leaps back and forth in time between Babylon, Calvary, 15th century France, and contemporary California. Described by one historian as "the only film fugue," Intolerance baffled many filmgoers of 1916 -- and, indeed, it is still an exhausting, overwhelming experience, even for audiences accustomed to the split-second cutting and multilayered montage sequences popularized by Sergei Eisenstein, Orson Welles, Jean-Luc Godard, Joel Schumacher, and MTV. On a pure entertainment level, the Babylonian sequences are the most effective, played out against one of the largest, most elaborate exterior sets ever built for a single film. The most memorable character in this sequence is "The Mountain Girl," played by star on the rise Constance Talmadge; when the Babylonian scenes were re-released as a separate feature in 1919, Talmadge's tragic death scene was altered to accommodate a happily-ever-after denouement. Other superb performances are delivered by Mae Marsh and Robert Harron in the Modern Story, and by Eugene Pallette and Margery Wilson in the French Story. Remarkably sophisticated in some scenes, appallingly naïve in others, Intolerance is a mixed bag dramatically, but one cannot deny that it is also a work of cinematic genius. The film did poorly upon its first release, not so much because its continuity was difficult to follow as because it preached a gospel of tolerance and pacifism to a nation preparing to enter World War I. Currently available prints of Intolerance run anywhere from 178 to 208 minutes; while it may be rough sledding at times, it remains essential viewing for any serious student of film technique. ~ Hal Erickson, All Movie Guide
- Starring:
- Lillian Gish, Mae Marsh, (more)
- 1916
The charisma of Douglas Fairbanks keeps this two-reel idea interesting for five reels. Jimmy Conroy (Fairbanks) wants to marry Marna Lewis (Constance Talmadge, whose charisma is a near-match for Doug's). However, Mr. Lewis (Wilbur Hight) has chosen another man for his daughter to marry. So Jimmy and Marna entrain in an attempt to elope, but the rejected suitor is close behind. At a train stop, Jimmy finds a minister (Fred Warren) -- in a bathtub! -- and drags him to the train... which is already gone. Jimmy and the minister head after Marna by mule, handcart and several other strange and uncomfortable ways. They never do hook up in person, but Jimmy and Marna wed anyhow by phone, with the minister, in jail, on one end of the line and Marna on the other, and Jimmy in the middle, on top of a telephone pole. Although Anita Loos, Fairbanks' frequent scenarist, did not write the screenplay (credit, for what it's worth, goes to Roy Cohen and J.U. Glesy), it is likely that she wrote the titles. ~ Janiss Garza, All Movie Guide
Jeff Hillington (Douglas Fairbanks) is the extremely naive son of a wealthy Eastern family -- he loves the Old West so much that he virtually lives it in his room. The knocker on his door is a pistol and he has a dummy horse which he leaps on now and again (actually Fairbanks was a little old for such shenanigans even in 1917, but this is easily overlooked). When his father (Walter Bytell) sends him to Arizona on business, Jeff expects it to be the place he read about in dime-store novels, and to appease him, the townsfolk put on a Wild West show. But instead of presenting a mock hold up, Steve (Sam deGrasse) and Pedro (Charles Stevens) make it real -- and they also kidnap a girl, Nell (Eileen Percy). No one knows what to do except Jeff, who uses every western cliché in the book (quite hilariously) to capture the bandits and save the girl. This tasty Fairbanks confection was one of many that was the product of screenwriter Anita Loos and director John Emerson. ~ Janiss Garza, All Movie Guide
- 1917
Rancher Warren Bronson (Herbert Standing) is plagued by cattle rustlers, so he gets Western detective Fancy Jim Sherwood (Douglas Fairbanks) on the case. Fancy Jim disguises himself as an Eastern wimp and easily discovers that Bull Madden (Frank Campeau) is the head of the rustlers. Jim also falls in love with Jane Forbes (Eileen Percy), a school teacher who has been harassed by Madden. Before rounding up the rustlers and getting the girl, Fairbanks gives full reign to his usual stunts -- climbing up the sides of buildings, mounting a dashing horse, and other leaps and bounds. This wasn't a stand-out vehicle for the athletic star, but according to reviews of the day it was entertaining nevertheless. ~ Janiss Garza, All Movie Guide
- 1917
One of the most overused titles in the history of films, Betrayed was affixed to this early effort from director Raoul Walsh. Miriam Cooper, who at the time was married to the director, stars as Mexican peasant girl Carmelita Carruti. Not the brightest of senoritas, Carmelita falls in love with ruthless bandit leader Leopoldo Juares (Hobart Bosworth). She changes her mind about Juares as a result of a dream, in which her sweetheart is exposed as a double-dyed villain by handsome U.S. Cavalry officer William Jerome (Wheeler Oakman). Upon awakening, however, Carmelita throws over both Juares and Jerome in favor of her hometown boyfriend Pepo Esparenza (Monte Blue) -- who secures his financial future by collecting the 10,000 peso reward on Juares' head. For reasons unknown, Betrayed was reviewed in the trade magazine Variety under the title Betrayal. ~ Hal Erickson, All Movie Guide
- 1917
It's hard to imagine the vivaciously stylish Constance Talmadge as a boarding-house drudge, but that's the part she plays here. An old couple resides at the house with a mysterious box, which they watch over constantly. Harry Brent, an equally mysterious young man (Kenneth Harlan), moves in and convinces Betsy that there are items in the box that belong to him, and she obligingly steals it. Oscar, a grocery clerk and aspiring detective (Clyde Hopkins), believes that Harry is a crook. There are real crooks afoot, but they have nothing to do with Harry. They kidnap Betsy and the box (which she emptied into her trunk before their arrival), kill the old husband (Joseph Singleton) and knock Oscar --who is in the couple's room -- unconscious. Harry gives chase while Oscar comes to and calls on some real detectives. The police capture the crooks, and Betsy reveals the contents of the box -- the Brent family jewels and a will in Harry's favor. ~ Janiss Garza, All Movie Guide
- 1918
A college-educated Native American (Monroe Salisbury) returns to his homeland to work on an irrigation project in this early silent western. He saves the boss's niece (Ruth Clifford) from being bitten by a tarantula, and the two fall in love. Although suffering from a nervous condition, she refuses to return to the healing desert with the Indian, who instead turns to kidnapping. Once in the wilderness, love blooms again, and the two are eventually married. Leading lady Clifford, a teenager when she made this film, told this author how uncomfortable she felt making cinematic love to the middle-aged, heavily made up Salisbury, whose toupee kept getting in the way. Despite those handicaps, the pair made half-a-dozen films together, mostly westerns. ~ Hans J. Wollstein, All Movie Guide
- 1918
Cecil B. DeMille made The Squaw Man three times; this silent version was the second one. While the 1914 Squaw Man bears more historical significance (as it went a long way in establishing Hollywood as the heart of the film industry), this 1918 version is, by far, the better film, with higher production values and a more sophisticated approach. To briefly recap the plot, James Wynnegate (Elliott Dexter) travels to Wyoming after a scandal involving an embezzlement. His cousin, Henry (Thurston Hall), is the guilty one, but Wynnegate takes the blame out of love for Henry's wife, Lady Diana (Katherine MacDonald). In Wyoming, Wynnegate saves an Indian maiden, Naturich (Anna Little), from the advances of the villainous Cash Hawkins (Jack Holt). Wynnegate and Naturich marry, and she then murders Hawkins. Lady Diana comes to Wyoming to tell Wynnegate that Henry was killed on a hunting trip and confessed to the embezzlement before he died. Naturich, feeling she is in her husband's way, commits suicide. Wynnegate, now the Earl of Kerhill, returns to England with Lady Diana and his half-Indian son (Pat Moore). At the time this drama was made, DeMille was only just becoming known for creating film spectaculars; this production was an assurance that this reputation would grow. ~ Janiss Garza, All Movie Guide
- 1918
Silent star Mary Pickford once referred to director William Desmond Taylor as "a very charming man who directed me in three very bad pictures." This was one of them. Not that he didn't have help in creating this anemic vehicle -- the story was written by Rupert Hughes and the scenario was by Frances Marion, both normally much more competent at their tasks. Johanna (Pickford) has spent the better part of her young life caring for her siblings and livestock on her father's Pennsylvania farm. She's never had a beau, but one day a whole regiment of soldiers camp out on her father's land and she is overrun by men. Lieutenant LeRoy (Emory Johnson) is utterly charmed by the girl, as is Private Vibbard (Monte Blue) and Captain Van Renssaller (Douglas MacLean), although the latter is loathe to admit it. Because of an understanding between the Lieutenant and the Private, the Private is faced with court martial. Johanna, however, gets everything straightened out. And when the Captain realizes that she comes from good, solid Dutch stock -- just like he does -- he decides to marry her when the regiment picks up camp and heads for the next town. ~ Janiss Garza, All Movie Guide
- 1918
The first Tarzan starring Elmo Lincoln did so well that, in time-honored cinematic tradition, the studio, First National, made a sequel. This picture covers the last chapters of Edgar Rice Burroughs' novel, Tarzan of the Apes, and brings Tarzan back to civilization -- jungle man or not, Tarzan is still the son of Lord and Lady Greystoke and needs to claim the family fortune. He sets sail for England, along with his ladylove, Jane Porter (Enid Markey) and the villainous Clayton (Colin Kenny), who wants to get his hands on the Greystoke millions. The ship is attacked by natives, and although Tarzan saves everyone else, they sail away without him because Clayton claims he was killed. But this doesn't stop Tarzan -- he swims out and boards another boat. Eventually he lands in California, where Jane and her father (Thomas Jefferson) are entertaining Clayton at their ranch. When Tarzan shows up, Clayton enlists the help of a dance hall girl, La Belle Odine (Cleo Madison). Odine compromises Tarzan and Jane rejects him. So Tarzan returns to the jungle. But Odine, who has fallen for Tarzan herself, goes to Jane and tells her the truth. So Jane goes to Tarzan in the jungle and they reunite. ~ Janiss Garza, All Movie Guide
- 1918
During World War I, every director made at least one film about the battles going on in Europe, even Cecil B. DeMille. These pictures were rarely very distinguished, and this drama was certainly one of DeMille's lesser efforts. Florence Vidor plays Yvonne, a Belgian girl who marries a German man, Karl Von Krutz G. Butler Clonbough. The war breaks out after Von Krutz confesses to Yvonne that he is a spy, he leaves for the German forces. Later, when the United States enters the war, Captain Jefferson Strong (Bryant Washburn) becomes a spy for the Allies. He is ordered to take on the identity of Von Krutz so that he can go behind the lines and blow up a liquid fire base. However, Yvonne is caring for 65 war orphans and they will all die if the detonation goes off, so Strong is forced to cut the wires. Although he undergoes a court martial, Belgian's King Albert (Winter Hall) frees him. Von Krutz conveniently dies, enabling Strong and Yvonne to be together. ~ Janiss Garza, All Movie Guide
- 1918
Previously filmed in 1915, the Bret Harte story M'liss served as one of Mary Pickford's most memorable vehicles. The "terror" of Red Gulch, the hoydenish M'liss (Pickford) spends most of her time dragging her scraggly father Bummer Smith (Ernest Torrence) home from the local bordello. As such, M'liss has very little time for romance, and when she finally receives her first chaste kiss from new schoolmaster Allan Gray (Thomas Gray), she rushes to the bawdy-house Madam for advice! Eventually, M'liss wins her man through virtuous means, pausing long enough to save an innocent man from being hung for the crimes committed by a local outlaw. The finale features a decidedly uncharacteristic moment when "America's Sweetheart" looks on approvingly as the real crook is strung up from the nearest tree! M'liss was remade in 1922 as The Girl Who Rand Wild, then again under its original title in 1936. ~ Hal Erickson, All Movie Guide
- Starring:
- Mary Pickford
- 1918
Another of a successful string of Metro features directed by the vastly underrated John H. Collins, Riders of the Night was set in Kentucky hill country. Collins' wifeViola Dana stars as Sally Castleton, a country girl in love with a brooding and idealistic aristocrat. When her sweetheart joins a night-riding vigilante organization, Sally is temporarily dismayed but resolves to hide the man from the authorities. Ultimately she gives up her own life for the sake of her lover. Though clearly inspired by Birth of a Nation, the film never resorted to mere imitation and was capable of standing up on its own dramatic and aesthetic merits. Unfortunately, like most of the Collins/Dana collaborations, Riders of the Night has apparently long since disappeared. ~ Hal Erickson, All Movie Guide
- 1919
This film's plotline bears a lot of similarities to Eyes of the Soul, which was released at the same time. Ethel Clayton plays chorus girl Daisy Heath who is being courted by a millionaire (Charles Gerard). Although she doesn't love the man, she's willing to marry him until she meets Private Pettigrew (Monte Blue). Pettigrew, a lonely soldier on leave in New York, meets her by chance at the theater where she's performing. The vivacious Daisy finds that her millionaire's lobster dinners pale in comparison with Pettigrew's ice cream dates. She vows to wait for Pettigrew while he goes off to fight, and because this film was made just after the end of WWI, of course she's there when he returns. Pettigrew's Girl, however, is notable because the millionaire is not portrayed as an out-and-out villain -- a rarity in those days. ~ Janiss Garza, All Movie Guide
- 1919
Like many another Constance Talmadge vehicle, Romance and Arabella was based on a popular stage play, this one written by William J. Hurlbutt. Cast in the role originated on Broadway by Laura Hope Crews, Talmadge played young widow Arabella Cadenhouse. Having been wed for several years to an elderly and unexciting fellow, Arabella now hopes to enjoy life to the fullest, and to that end she simultaneously inaugurates romances with four different men. Left in the lurch is Arabella's erstwhile sweetheart Bill (played by the "first" Harrison Ford), whom our heroine has rejected because he represents the conservatism and frugality practiced by her late husband. Even without seeing Romance and Arabella, one can safely predict who will be Arabella's ultimate matrimonial selection. ~ Hal Erickson, All Movie Guide
- 1919
This meller is about as old-fashioned as the play (by Augustus Thomas) on which it was based. Sheriff Jim Radburn (Robert Warwick) secretly pays for the education of the daughter of his pal, Jo Vernon (Noah Beery). The girl, Kate (Eileen Percy), also happens to be Jim's sweetheart. But when she returns, she finds Jim too unrefined for her tastes. Instead she's drawn to Robert Travers (Robert Cain), a dandy from St. Louis. When a highwayman robs a train, Sam Fowler (Monte Blue), the fiancé of Jim's sister Emily (Hazel Brannon) is accused of the crime. But Sam recognizes Travers as the robber, and Jim goes after him. In his attempt to run away, Travers kills a man and hides in Kate's house. Jim captures him and tries to prevent him from being lynched, but when he tries to escape he is shot dead. Kate finally realizes that Travers wasn't what he pretended to be and returns to Jim. ~ Janiss Garza, All Movie Guide
- 1919
Allegory is a storytelling form little used in cinema today, but it popped up frequently during the silent era, especially before the '20s kicked in. This particular film was based on a morality play by Walter Browns. Everywoman (Violet Heming) is on a quest for love, but Flattery (Raymond Hatton) convinces her to go on the stage. Other temptations and distractions that stand in her way include Wealth (Theodore Roberts), Passion (Irving Cummings) and Dissipation (Fred Huntley). Finally, she discovers that Love is a humble young physician (Monte Blue). Although the premise to this film sounds corny now, some of the casting still fascinates; the dark, delectable Bebe Daniels is a fetching choice for Vice! ~ Janiss Garza, All Movie Guide
- 1920
During the late teens and early '20s, filmmaker Cecil B. DeMille reveled in much cinematic pomp and circumstance, mixing epic past-life fantasies with James M. Barrie in Male and Female and blending high society with sex in the domestic scenarios of Don't Change Your Husband and Why Change Your Wife?. So when he tried for simplicity and a spiritual message with Something to Think About, it took quite a few people aback. Elliott Dexter plays David Markley, crippled but wealthy, who pays for the education of Ruth Anderson Gloria Swanson, daughter of the town blacksmith Theodore Roberts. When Ruth returns from school, Markley falls in love with her. She feels obliged to marry him but elopes instead with Jim Dirk Monte Blue. After Dirk is killed in an accident, Ruth comes home once again, but her angry and now-blind father denounces her. The altruistic Markley agrees to marry Ruth only for the benefit of the son she had by Dirk. But this marriage -- in name only -- turns into a real romance as Ruth and Markley fall in love. The bad feelings between them vanish and heal the crippled man. The intention behind Something to Think About was certainly well-meant, but at this point in DeMille's career words like "straightforward" and "uncomplicated" just weren't part of his vocabulary. Unfortunately that's just what this film needed to be, but instead it veered between sincerity and melodrama. ~ Janiss Garza, All Movie Guide
- 1920
The trade magazine Motion Picture News called Mary Miles Minter "a clever little star when she has the right backing." Read between the lines, it hints at the limitations of her talent. Here she had solid backing with co-stars like Monte Blue and John Bowers and an accomplished director in Charles Maigne. Easter Hicks (Minter) lives in the Cumberland mountains. Her father (Guy Oliver) is a moonshiner who is in hiding from the revenue officers. She meets Clayton (Bowers), a city man, and falls in love with him in spite of her father's violent disapproval. Another mountain dweller, Sherd Raines (Blue), loves Easter, but he is willing to give her up when Clayton convinces him that he is willing to marry the girl. Raines has been studying to become a preacher and he offers to perform the ceremony. But Pap Hicks shows up at the wedding with a gun, intending to kill Clayton. Raines jumps in front of Clayton to protect him, but Easter tries to protect Raines and takes the shot. As she recovers from her wound, she realizes she really loves Raines, and Clayton hands over the wedding ring. ~ Janiss Garza, All Movie Guide
- 1921
The homely but likable Monte Blue teams up with director Allan Dwan for this pleasing comedy-drama, adapted from a short story that ran in the Saturday Evening Post. Wally Griggs (Blue) is your classic meek, mild bank messenger, destined to a threadbare life of earning 63 dollars a month. At least this is what he seems to be. But when he's not working Griggs is the dashing James Brown, an adventurer and storyteller who is familiar with bank president Halliday (Hardee Kirkland). A publisher, fascinated by Brown's wild tales, offers him a deal. Griggs also uses his alter ego to help Mary Oliver, the girl her loves (Jacqueline Logan). District attorney "Big Bill" Thaine (Stanton Heck) has cheated her out of her fortune and is now trying to force her to marry him. Griggs is given twenty-five thousand dollars' worth of bonds to deliver but he mysteriously disappears. Thaine figures out the Brown-Griggs connection and Wally is arrested. After being given the third degree, Brown sues for false imprisonment, and the mayor forces Thaine to make restitution out of his own pocket. Griggs gives this sum to Mary. Meanwhile, he pretends amnesia and shows up at the bank with the bonds. Because of the proceeds from the book, Griggs is able to quit his low-paying job and wed Mary. ~ Janiss Garza, All Movie Guide
- Starring:
- Monte Blue, Jacqueline Logan, (more)
- 1921
Tommy Dawes (Monte Blue) is a simple-minded young man who works on the ranch belonging to Bill Nyall (Les Bates). Dawes adores Nyall's little girl, Rosemary, who is crippled and must use a wheelchair (Mary Jane Irving). When he accidentally breaks her favorite doll, he sets out to a buy a new one, taking with him a 20-dollar gold piece which he has borrowed. Along the way he runs into an escaped convict who steals the gold piece and insists on changing coats with him -- the convict is wearing one he has stolen from Sheriff Hugh Bundy (Arthur Millette). Later Dawes runs into the convict again and manages to get the money back. Sheriff Bundy, believing that he is the convict, arrests him. Dawes manages to escape, and along the way meets Bundy's daughter, Harriet (Mary Thurman). Harriet goes to town and buys the new doll for him. The convict is rounded up and Dawes gets part of the reward money. He miraculously drops his simple-minded demeanor (one of the story's worst inconsistencies) and proposes to Harriet. Bundy gives his approval. ~ Janiss Garza, All Movie Guide
- 1921
During the early '20s, the star/director team of Mae Murray and her husband Robert Z. Leonard was nearly unbeatable. Murray's fame was based on films like this one. Elmer Harmon (Monte Blue, Murray's co-star in several films) travels to Paris to land a contract with the French government. He gets the deal with the help of Cleo, a dancer (Murray). They fall in love and are married, but back home in the States, Harmon discovers that his small town associates do not approve of his bride. He decides to start over again in the big city, but between the pricey apartment he has rented and Cleo's expensive tastes, the money runs out quickly. In order to help out financially, Cleo teams up with an old friend, but Harmon believes she is being unfaithful. The truth is finally revealed and the couple are reconciled. In 1930, when Murray's career was on the skids, she made a talkie with the same title, but it had only the barest resemblance to the earlier film. ~ Janiss Garza, All Movie Guide
- Starring:
- Mae Murray, Monte Blue, (more)
