The Perils of Pauline (1914) ch05 – A Watery Doom, the European version

A Watery Doom opens with scheming villain Paul Panzer hiring a “gypsy” (honestly, calling them Romani in this context seems inappropriate), played by Clifford Bruce, to drown his ward, Pearl White. But Panzer’s worried her fiancé Crane Wilbur will come along and save her at the last minute. So at least Panzer’s learned the structure of Perils of Pauline chapters, even if he hasn’t learned anything from his mistakes.

They’re going to lock her in a basement below river level and drown her. Bruce and his band of gypsies (see, you don’t want to call them a band of Romani here) pose as firemen and burn down one of Wilbur’s factories. Apparently there are women and children in danger at this factory, but it’s immaterial. The false firemen kidnap Wilbur and White and lock them in the opening scene’s basement, then blow a hole to let the river in.

White’s more worried about the rats in the basement, who then swim (in the chapter’s most amusing shots), than she is about drowning. And why should she worry? Even though Panzer and Bruce had a plan to incapacitate Wilbur, it apparently didn’t work at all. He’s able to get his bindings off by rubbing them against a broken chimney base, which Panzer and Bruce apparently didn’t notice when surveying the basement.

Panzer’s got a subplot about firing the house staff because he’s sure he’s finally killed White and now has her riches. It goes unresolved. As bad at Panzer is at devising these murder plots (the gypsies have guns, why not just shoot the couple), at least he’s not Wilbur and White who never seem to figure out he’s always miserable to see them.

The escape from the drowning isn’t great, but the subsequent escape from the gypsy gang is kind of neat. Especially the stunt work.

The Perils of Pauline (1914, Louis J. Gasnier and Donald MacKenzie), the European version, Chapter 4: The Deadly Turning

The Deadly Turning starts with what seems like a lot of corrective potential. Pearl White has signed up for a car race without telling beau Crane Wilbur or guardian Paul Panzer. Once she’s accepted, she tells them at once, setting she and Wilbur on their plot line and Panzer on his.

Wilbur begs White not to race. She refuses. So he says she has to let him drive the car. Even though she’s entered into a car race, she doesn’t seem to know how to drive, which was immediately disappointing. That conflict is pretty much all of White and Wilbur’s plot line.

Meanwhile, Panzer sees another opportunity to kill White and get her money. Turns out he’s got a bunch of other henchmen who he can force to do his bidding. Panzer’s come a long way from the mostly reformed secretary in the first chapter. Now he’s got a league of thugs.

Stupid thugs as it turns out, though Panzer’s plan to cause White to crash is pretty bad on its own. Worse is when how he plans it so the culprit will be in full view of everyone.

Fortunately, it’s a short chapter. There’s not enough time before it’s over to get fully disappointed in how much White is again wasted. The serial often seems less like The Perils of Pauline than Buffoons Can’t Murder.

CREDITS

Directed by Louis J. Gasnier and Donald MacKenzie; screenplay by Charles W. Goddard and Basil Dickey, based on the novel by Goddard; director of photography, Arthur C. Miller; released by the Eclectic Film Company.

Starring Pearl White (Pauline), Crane Wilbur (Harry), and Paul Panzer (Koerner).


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The Perils of Pauline (1914) ch04 – The Deadly Turning, the European version

The Deadly Turning starts with what seems like a lot of corrective potential. Pearl White has signed up for a car race without telling beau Crane Wilbur or guardian Paul Panzer. Once she’s accepted, she tells them at once, setting she and Wilbur on their plot line and Panzer on his.

Wilbur begs White not to race. She refuses. So he says she has to let him drive the car. Even though she’s entered into a car race, she doesn’t seem to know how to drive, which was immediately disappointing. That conflict is pretty much all of White and Wilbur’s plot line.

Meanwhile, Panzer sees another opportunity to kill White and get her money. Turns out he’s got a bunch of other henchmen who he can force to do his bidding. Panzer’s come a long way from the mostly reformed secretary in the first chapter. Now he’s got a league of thugs.

Stupid thugs as it turns out, though Panzer’s plan to cause White to crash is pretty bad on its own. Worse is when how he plans it so the culprit will be in full view of everyone.

Fortunately, it’s a short chapter. There’s not enough time before it’s over to get fully disappointed in how much White is again wasted. The serial often seems less like The Perils of Pauline than Buffoons Can’t Murder.

The Perils of Pauline (1914) ch03 – The Pirate Treasure, the European version

The Pirate Treasure doesn’t give Pearl White anything more to do than usual in Pauline, despite her playing Pauline, but it’s one heck of an amusing chapter. Villains Paul Panzer and Francis Carlyle (who really ought to be top-billed since they have the most to do every chapter–so far) are walking along trying to figure out how to kill White and happen across a destitute old sailor (Donald MacKenzie). They like the look him and it turns out MacKenzie isn’t above some accessory to murder, so long as he gets paid.

Panzer’s scheme has MacKenzie telling White he’s got buried treasure on an island. Presumably because Panzer knows White won’t be able to resist helping MacKenzie get the buried treasure?

At first, MacKenzie terrifies White and her would-be beau, Crane Wilbur, rushes to her rescue. Wilbur’s intrusion convinces White she should listen to MacKenzie’s tale, regardless of him being a terrifying old sailor. So she boots Wilbur out, listens to the tale, and agrees to help him.

When Wilbur wants to know what she’s up to on her boating expedition, she refuses to tell him, which kicks off his subplot. He gets a buddy and hires a boat to follow her.

Except the skipper they hire is in Carlyle’s pay and dumps them on an empty island. They build a raft, which sinks, but then swim to shore on a different island. By that time, White and her party have gotten to that island, where they’re stopping over to go to the treasure island.

That extra time gives Wilbur time to put on black face and pretend to be a cook so he can go with them. It’s a fairly complex disguise–including a hairpiece; so the staging island must have had a costume shop.

The plot holes–Wilbur’s disappearing friend, White’s erratic behavior, Wilbur not–you know–wanting to wait for White’s ship to depart before following it–makes Treasure rather amusing.

Technically the best part is MacKenzie’s flashback to childhood–he’s a cabin boy who has to kill the entire crew of a ship to defend himself from being thrown overboard. It’s a great gunfight turned knife fight turned brawl. Whoever plays young MacKenzie does well.

MacKenzie’s makeup is awesome as well.

The chapter only has one Peril, which is fine, especially since it gives Panzer and Carlyle their best moment of villainy in the whole thing.

The Perils of Pauline (1914, Louis J. Gasnier and Donald MacKenzie), the European version, Chapter 2: The Goddess of the Far West

Tired of being in the public eye–presumably since she escaped a terrible fate in the previous chapter–Pearl White decides to go visit some friends out west. Suitor and pal Crane Wilbur can’t go with her (which is initially a blessing); unfortunately, villain Paul Panzer discovers her plans and schemes to once again kill her for her fortune.

Panzer’s thug, Francis Carlyle, hires a band of evil cowboys to help him kidnap White. They do, with ease, and lock her in a cave. While the villains get away, a group of Native Americans are fox hunting nearby. Seeing the fox in the cave, White realizes its not entirely sealed and works her way out.

Not clear why she didn’t explore the cave before seeing the fox. Not clear at all.

She escapes her makeshift prison with the help of a Native American who takes her back to the tribe. The elders decide they’re going to kill her in some ritual manner. Even though her rescuer tries to get her free, it’s too late. They push White down a hill and send boulders after her.

There’s at least one cool shot of White (or a stuntperson) running from a boulder.

In the meantime, Wilbur’s back to save the day. Even though a sheriff’s posse was ostensibly looking for White, they had no luck. Only Wilbur can find her.

The finale has the posse killing a bunch of the bloodthirsty Natives, though everyone decides White’s Native rescuer is an all right guy.

Goddess is a long twenty or so minutes. The first “peril” at least fits into the bigger plot, but the second one is seemingly just there because the first doesn’t have any big set pieces. And it only doesn’t have big set pieces because directors Gasnier and MacKenzie rush the kidnapping.

It’d be nice if White got something to do most of the time instead of at most a quarter of it.

CREDITS

Directed by Louis J. Gasnier and Donald MacKenzie; screenplay by Charles W. Goddard and Basil Dickey, based on the novel by Goddard; director of photography, Arthur C. Miller; released by the Eclectic Film Company.

Starring Pearl White (Pauline), Crane Wilbur (Harry), Paul Panzer (Koerner), and Francis Carlyle (Hicks).


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The Perils of Pauline (1914) ch02 – The Goddess of the Far West, the European version

Tired of being in the public eye–presumably since she escaped a terrible fate in the previous chapter–Pearl White decides to go visit some friends out west. Suitor and pal Crane Wilbur can’t go with her (which is initially a blessing); unfortunately, villain Paul Panzer discovers her plans and schemes to once again kill her for her fortune.

Panzer’s thug, Francis Carlyle, hires a band of evil cowboys to help him kidnap White. They do, with ease, and lock her in a cave. While the villains get away, a group of Native Americans are fox hunting nearby. Seeing the fox in the cave, White realizes its not entirely sealed and works her way out.

Not clear why she didn’t explore the cave before seeing the fox. Not clear at all.

She escapes her makeshift prison with the help of a Native American who takes her back to the tribe. The elders decide they’re going to kill her in some ritual manner. Even though her rescuer tries to get her free, it’s too late. They push White down a hill and send boulders after her.

There’s at least one cool shot of White (or a stuntperson) running from a boulder.

In the meantime, Wilbur’s back to save the day. Even though a sheriff’s posse was ostensibly looking for White, they had no luck. Only Wilbur can find her.

The finale has the posse killing a bunch of the bloodthirsty Natives, though everyone decides White’s Native rescuer is an all right guy.

Goddess is a long twenty or so minutes. The first “peril” at least fits into the bigger plot, but the second one is seemingly just there because the first doesn’t have any big set pieces. And it only doesn’t have big set pieces because directors Gasnier and MacKenzie rush the kidnapping.

It’d be nice if White got something to do most of the time instead of at most a quarter of it.

The Perils of Pauline (1914, Louis J. Gasnier and Donald MacKenzie), the European version, Chapter 1: Trial by Fire

Trial by Fire takes a while to get to its first Peril for (sort of) lead Pauline (Pearl White). She’s a young heiress who wants to live a life of adventure–at least for a year–before she marries her guardian’s son. That son, Crane Wilbur, doesn’t really want Pauline to take this year off, but he agrees. Little do they know the guardian is about to be deathly ill. They completely don’t know the guardian’s secretary is actually an escaped con.

Paul Panzer plays the secretary. Just as the guardian falls ill, an old criminal acquaintance comes looking for money. Francis Carlyle plays the crook. Once the guardian dies, it’s Carlyle who talks Panzer into killing White for her money. Panzer’s now her guardian and her fortune could be theirs!

Panzer and Carlyle aren’t exactly criminal masterminds; their first attempt on White’s life involves a hot air balloon accident. Little do they realize White isn’t a complete idiot, so she’s able to save herself. At that point, however, Trial by Fire gets a little strange.

After her first self-rescue, White becomes unable to fend for herself. She climbs down from a hot air balloon on its anchor line, only to get a fear of heights at the cliff. Thank goodness Wilbur has arrived to save her. There’s some dering-do from him (or his stuntman) but the bad guys are waiting for him.

It’s reasonably exciting after the long setup, though Wilbur’s greatest ability seems to be able to just buy whatever he wants whenever he needs it. White gets little to do after the hot air balloon; before it she’s just telling Wilbur she doesn’t want to marry him yet, much to his chagrin.

The chapter doesn’t end on a cliffhanger. Well, not a hard one, anyway. Panzer and Carlyle’s first two attempts on White’s life may have failed but they’re ready to scheme for more.

There are some great stunts, solid direction from Gasnier and MacKenzie; presumably once they trim the setup fat, Perils will be smooth sailing. And hopefully White won’t end up a damsel more than fifty percent of the time.

CREDITS

Directed by Louis J. Gasnier and Donald MacKenzie; screenplay by Charles W. Goddard and Basil Dickey, based on the novel by Goddard; director of photography, Arthur C. Miller; released by the Eclectic Film Company.

Starring Pearl White (Pauline), Crane Wilbur (Harry), Paul Panzer (Koerner), Francis Carlyle (Hicks), and Edward José (Sanford Marvin).


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The Perils of Pauline (1914) ch01 – Trial by Fire, the European version

Trial by Fire takes a while to get to its first Peril for (sort of) lead Pauline (Pearl White). She’s a young heiress who wants to live a life of adventure–at least for a year–before she marries her guardian’s son. That son, Crane Wilbur, doesn’t really want Pauline to take this year off, but he agrees. Little do they know the guardian is about to be deathly ill. They completely don’t know the guardian’s secretary is actually an escaped con.

Paul Panzer plays the secretary. Just as the guardian falls ill, an old criminal acquaintance comes looking for money. Francis Carlyle plays the crook. Once the guardian dies, it’s Carlyle who talks Panzer into killing White for her money. Panzer’s now her guardian and her fortune could be theirs!

Panzer and Carlyle aren’t exactly criminal masterminds; their first attempt on White’s life involves a hot air balloon accident. Little do they realize White isn’t a complete idiot, so she’s able to save herself. At that point, however, Trial by Fire gets a little strange.

After her first self-rescue, White becomes unable to fend for herself. She climbs down from a hot air balloon on its anchor line, only to get a fear of heights at the cliff. Thank goodness Wilbur has arrived to save her. There’s some dering-do from him (or his stuntman) but the bad guys are waiting for him.

It’s reasonably exciting after the long setup, though Wilbur’s greatest ability seems to be able to just buy whatever he wants whenever he needs it. White gets little to do after the hot air balloon; before it she’s just telling Wilbur she doesn’t want to marry him yet, much to his chagrin.

The chapter doesn’t end on a cliffhanger. Well, not a hard one, anyway. Panzer and Carlyle’s first two attempts on White’s life may have failed but they’re ready to scheme for more.

There are some great stunts, solid direction from Gasnier and MacKenzie; presumably once they trim the setup fat, Perils will be smooth sailing. And hopefully White won’t end up a damsel more than fifty percent of the time.

Recreation (1914, Charles Chaplin)

Chaplin’s got a real problem with visual continuity in Recreation. At first, he does really well. The actors move–through a park–from left to right. Helen Carruthers is on a bench with a prospective beau (Charles Bennett), then she leaves him and moves right. Chaplin (as the Tramp) enters and moves right to follow her.

Eventually he has to move further right, where he starts throwing bricks at Bennett. Recreation makes me wonder if brick throwing was a big thing in the teens.

Anyway, there’s a bunch of action between the different shots and it’s really great. Then Chaplin breaks it for the finish, multiple times, and the jump is rather annoying.

Otherwise, Recreation is a good deal of fun. Chaplin and his actors have a great time with the physical comedy; the Tramp’s undeniably charming. Shame an island appeared out of nowhere to set up the final gag.

2/3Recommended

CREDITS

Written, edited and directed by Charles Chaplin; director of photography, Frank D. Williams; produced by Mack Sennett; released by Mutual Film.

Starring Charles Chaplin (Tramp), Helen Carruthers (Girl), Charles Bennett (Seaman), Edwin Frazee (Short Cop) and Edward Nolan (Tall Cop).


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Cruel, Cruel Love (1914, George Nichols)

Cruel, Cruel Love has a lot of possibilities. Sadly, director Nichols doesn’t realize any of them. He’s interested in broad physical humor–wrestling, actually–and having Charlie Chaplin mug for the camera. Chaplin does a fine enough job mugging, but it goes on forever.

Love concerns an engaged couple, Chaplin and Minta Durfee. When Durfee sees him helping her maid (after the maid trips), Durfee ends the engagement. Already, Love‘s on its own plane of reality.

Chaplin responds by drinking poison, hence the mugging as he convulses. Except he didn’t really take poison, his butler (Edgar Kennedy) tricked him. Maybe he wanted to see Chaplin mug for the camera too.

The viewer knows Chaplin’s fine almost immediately, which kills Love‘s suspense. I kept waiting for Nichols and writer Craig Hutchinson to do something smart with the plot. I’m still waiting.

Love‘s not a terrible short, but it’s a lame one.

1/3Not Recommended

CREDITS

Directed by George Nichols; written by Craig Hutchinson; director of photography, Frank D. Williams; produced by Mack Sennett; released by Mutual Film.

Starring Charles Chaplin (The Lord), Edgar Kennedy (The Butler), Minta Durfee (The Lady), Eva Nelson (The Maid) and William Hauber (The Gardener).


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