An upstart studio arrived in Hollywood and made this 1914 oater. The film is about a British gent who takes the blame for a crime and heads out west. He romances and marries a Native American but finds himself conflicted when an opportunity arises to go back home to England. The film is also notable as the directorial debut of one Cecil B. DeMille.
What do you think of when you hear the name William Castle? Classic chillers? Clever marketing gimmicks? If you asked a movie-goer in the forties, though, they would have thought of mysteries.
In the forties, Castle was known as a B director who could get films done on-time and on-budget. His output varied during this decade but two series kept cropping up on his resume: The Whistler and The Crime Doctor. Both were low-budget films series involving amateur sleuths and both featured former silent leading men: Richard Dix and Warner Baxter, respectively.
Status: Missing and presumed lost except for the fragments found in the film’s trailer.
This is the very first film adaptation of the F. Scott Fitzgerald novel, filmed a mere four years after it was written. No need to make this a costume picture. The twenties were roaring away as the cameras cranked.
1926 was a banner year for silent film and The Great Gatsby, while praised, seems to have been a bit lost in the shuffle of Beau Geste, Old Ironside, What Price Glory, Night of Love, Flesh and the Devil…
Here are some vintage reviews:
Photoplay particularly praised Lois Wilson as Daisy Buchanan.
F. Scott Fitzgerald’s novel of the great war’s aftermath presented unusual film difficulties. Herbert Brenon, the director, has managed to retain much of the feeling of the story. Gatsby comes out of the war to achieve a fortune unscrupulously. He falls, of course, in the end, finding that happiness can’t be won that way. Lois Wilson runs away with the film as the jazzy Daisy Buchanan who flashes cocktails and silken you-know-she-wears-’ems.
The distributor magazine Motion Picture News had this to say:
Every good job has been done by this picture — an adaptation of the novel and play. It offered material which necessitated the intelligent handling of characterization so as to keep its spirit intact. In other winds, it depended upon the director emphasizing the central figure as he was emphasized in the novel and play to approach a “nearly perfect gentleman.” This Herbert Brenon has done and so well has Warner Baxter responded that his performance is quite the best of his career and one of the best of the season.
A tragic figure is Gatsby, a product of the gutter who comes up in the world and tries to assume the culture which only goes with long-established generations of ancestry. The manner in which Brenon works is in showing the mute pride and helplessness of the man in attempting to “belong.” Of course, Baxter has his work cut out for him, too.
It’s a sophisticated story, told with first-rate lights and shadows. The spirit of the original is there with plenty to spare. It has its dramatic moments, its romantic scenes, its contrasts and conflicts. And it is splendidly acted by every member of the cast, including Lois Wilson, Neil Hamilton, William Powell, Hale Hamilton, and Georgia Hale.
You read that cast right. William Powell, Lois Wilson, Georgia Hale…
The New York Times felt that something was missing from the final product:
The screen version of “The Great Gatsby” is quite a good entertainment, but at the same time it is obvious that it would have benefited by more imaginative direction. Although Mr. Brenon has included the tragic note at the end, he has succumbed to a number of ordinary movie flashes without inculcating much in the way of subtlety. Neither he nor the players have succeeded in fully developing the characters.
Zelda Fitzgerald was even less happy with the film (she and her husband walked out):
“We saw ‘The Great Gatsby’ in the movies. It’s ROTTEN and awful and terrible and we left.”
Unfortunately, we will never be able to judge for ourselves. The Great Gatsby is one of the more sought-after lost films of the silent era. It is a shame that it is gone since it would have provided a unique perspective on the novel, as played by the men and women who made up that Lost Generation.
Lon Chaney at his most grotesque. A delightfully slimy jungle picture that involves Chaney’s quest for revenge against the man who stole his wife and crippled him. Mary Nolan and Lionel Barrymore support. Wonderful but not for all tastes. A slightly warped mind is recommended. Maybe even required.
Continue reading “West of Zanzibar (1928) A Silent Film Review”