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The Gaucho

  • 1927
  • Approved
  • 1 Std. 35 Min.
IMDb-BEWERTUNG
7,0/10
390
IHRE BEWERTUNG
Douglas Fairbanks in The Gaucho (1927)
AbenteuerRomanze

Füge eine Handlung in deiner Sprache hinzuA girl is saved by a miracle after she falls from a cliff in the Argentine Andes, and is blessed with healing powers. A shrine is built on the site, and a whole city grows around it, rich wi... Alles lesenA girl is saved by a miracle after she falls from a cliff in the Argentine Andes, and is blessed with healing powers. A shrine is built on the site, and a whole city grows around it, rich with gold from the grateful worshipers. Ruiz, an evil and sadistic general, captures the cit... Alles lesenA girl is saved by a miracle after she falls from a cliff in the Argentine Andes, and is blessed with healing powers. A shrine is built on the site, and a whole city grows around it, rich with gold from the grateful worshipers. Ruiz, an evil and sadistic general, captures the city, confiscates the gold, and closes the shrine. But the Gaucho, the charismatic leader of ... Alles lesen

  • Regie
    • F. Richard Jones
  • Drehbuch
    • Douglas Fairbanks
  • Hauptbesetzung
    • Douglas Fairbanks
    • Lupe Velez
    • Joan Barclay
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,0/10
    390
    IHRE BEWERTUNG
    • Regie
      • F. Richard Jones
    • Drehbuch
      • Douglas Fairbanks
    • Hauptbesetzung
      • Douglas Fairbanks
      • Lupe Velez
      • Joan Barclay
    • 17Benutzerrezensionen
    • 10Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 1 wins total

    Fotos33

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    Topbesetzung12

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    Douglas Fairbanks
    Douglas Fairbanks
    • The Gaucho
    Lupe Velez
    Lupe Velez
    • The Mountain Girl
    Joan Barclay
    Joan Barclay
    • The Girl of the Shrine
    • (as Geraine Greear)
    Eve Southern
    Eve Southern
    • The Girl of the Shrine
    Gustav von Seyffertitz
    Gustav von Seyffertitz
    • Ruiz - The Usurper
    Michael Vavitch
    Michael Vavitch
    • The Usurper's First Lieutenant
    Charles Stevens
    Charles Stevens
    • The Gaucho's First Lieutenant
    Nigel De Brulier
    Nigel De Brulier
    • The Padre
    • (as Nigel de Brulier)
    Albert MacQuarrie
    Albert MacQuarrie
    • Victim of the Black Doom
    Fred DeSilva
    Fred DeSilva
    • Undetermined Secondary Role
    • (Nicht genannt)
    Chris-Pin Martin
    Chris-Pin Martin
    • Undetermined Secondary Role
    • (Nicht genannt)
    Mary Pickford
    Mary Pickford
    • Virgin Mary
    • (Nicht genannt)
    • Regie
      • F. Richard Jones
    • Drehbuch
      • Douglas Fairbanks
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen17

    7,0390
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    8wmorrow59

    A genuinely offbeat adventure story from the last great days of silent cinema

    Douglas Fairbanks wrote, produced and starred in this unusual and entertaining movie at the height of his career, and the guy sure was in his prime: you'll never find him looking as virile, athletic and sexy as he does here. Sight unseen I assumed that The Gaucho would be another escapist swashbuckler flick, cut from the same cloth as Doug's earlier vehicles and aimed primarily at boys, but it proved to be a real surprise, a combination action/adventure/morality tale with a heavier atmosphere and a darker sensibility than any other Fairbanks film. Whether or not its oddness comes as a pleasant surprise is up to the individual viewer, but for my part I enjoyed the change of pace and appreciated the filmmakers' boldness in attempting something so off-the-wall.

    How is The Gaucho different? For starters, Doug himself is different. Based on what little I knew beforehand I figured the title character would be an essentially decent bandit chieftain, a pseudo-Hispanic Robin Hood complete with a new band of Merry Hombres, once more pitted against the wicked forces of authoritarian rule. And in fact that's pretty much what he is, but he's also a flawed character who must mature in the course of the story, thus presenting a challenge for our leading man, who, as even his most dedicated fans admit, was never the most nuanced of actors. Here Doug is still very much the star of the show, but he's playing a decidedly selfish man who doesn't seem all that interested in avenging injustice or fighting for the peasantry. The Gaucho is no Robin Hood: he's cocky and arrogant, and in the early scenes his self-confident machismo is emphasized to the point of obnoxiousness. Like many a silent movie hero the Gaucho has a trademark physical gesture, a one-handed cigarette lighting trick, but once he's exhibited this bit two or three times we begin to roll our eyes and feel he's just begging to be taken down a peg or two.

    It's also noticeable that, all of a sudden, Doug is attempting to fill the dance shoes of the recently departed Rudolph Valentino. When he played Robin Hood or the Black Pirate Doug's attitude toward his leading lady was more respectful than passionate, but the Gaucho represents the most maturely sexual character Fairbanks would take on in his screen career. Doug's tango with Lupe Velez is as steamy as any sequence he ever played, even incorporating a hint of S&M when he lashes his partner to himself with a sharp twirl of his bolo. These early scenes suggest that our protagonist -- who has apparently already won the day, and has everything he needs to be happy -- must be riding for a fall. This is where the story's moralizing kicks in, as the Gaucho is compelled to recognize that there are forces at work in the universe even greater than himself.

    A pronounced element of religious mysticism is introduced in the prologue, when a gravely injured girl on the brink of death is visited by an apparition of the Virgin Mary. The girl is healed, whereupon she herself heals a dying baby. (The Virgin is played by Fairbanks' wife Mary Pickford, with a gravity that is unfortunately somewhat undercut by her bizarre, spinning halo.) This dollop of Hollywood Godliness, usually the province of Cecil B. DeMille, is interwoven throughout, and some viewers may find the going a bit sticky. Personally I didn't have a problem with it, perhaps in part because the 'religious' sequences are presented with such straightforward earnestness; and perhaps because, if ever a hero needed to find God, it's this one.

    Where matters of taste are concerned one might also question the introduction of the subject of leprosy into the scenario. The condition is identified only as the 'Black Doom,' but from the context it's perfectly clear what disease was being represented. Whatever your response, Fairbanks deserves credit for sheer moxie, and for attempting to stretch the boundaries of what was considered permissible in an adventure film. He could have played it safe and re-worked Robin Hood, or cranked out another Zorro sequel, but he took a risk, and all things considered I feel he pulled it off. And it's worth noting that the story's heavier material is counterbalanced by more typical scenes of rowdy play and athleticism. Fairbanks the canny showman also gives us two spectacular sequences: in the first, a house is dragged from its foundations by a team of horses, and later there's an amazing cattle stampede that looks quite fearsome and dangerous. The Gaucho also gives us the young and wildly sexy Lupe Velez, who takes a far more active role in the proceedings than most of Doug's other leading ladies.

    All told it's a helluva show, and well worth seeking out. It may not be for all tastes, but no one can call The Gaucho a routine swashbuckler. I would include it with Douglas Fairbanks' most entertaining and accomplished works.
    8TheLittleSongbird

    Even when not not Fairbanks' strongest films, fans will still find much to enjoy

    Of the Douglas Fairbanks films I've seen so far, there is not one that came across as bad. The Gaucho may be my least favourite of them, it does get a tad too heavy-handed at times and the religious stuff sometimes bogs it down and give off an odd feel. But what makes Fairbanks' films as good as they are are most definitely present in The Gaucho. The sets are some of the most exotic and lavish of any Fairbanks film, and the same can be said of the costumes. The photography is equally beautiful, and the music score is appropriately rousing which make the stunts and such even more exciting than they already are. There is a strong sense of humour that is as fresh and current now as it was then, the director handles things deftly and the story cannot be called routine, if anything of all the films Fairbanks did The Gaucho is perhaps his least conventional story-wise. It is also very briskly paced and with a constant sense of fun and energy, as well as memorable scenes like the aftermath of the healing miracle. It's not a Fairbanks film without mentioning the stunts and they are spectacularly choreographed and dazzlingly executed. And with real athleticism that has not been matched much by many films today standards. Fairbanks steals the show, as he should as he is the star, he is charisma personified and clearly looks like he's enjoying every moment. His stunts are athletic and youthful and he does show some expressive acting like in the healing miracle scene and its aftermath. He is very well-supported by the rest of the cast, the standouts being Lupe Velez, who plays with a lot of appealing spunk and is sexy without even trying, and Gustav von Seyffertitz, whose suave charm but very twisted malevolence makes for one of the nastiest villains of any Fairbanks film. All in all, while not one of Douglas Fairbanks' best it is still a treat. 8/10 Bethany Cox
    7Cineanalyst

    Douglas Fairbanks's Religious and Sexual Zeal

    As Douglas Fairbanks biographer Jeffrey Vance has noted, "The Gaucho" is different from the action star's swashbucklers he'd been making since "The Mark of Zorro" (1920), citing the film's shift from the prior ones' boyish adventurism to more mature themes of sexuality and spirituality. Once again, Doug, this time as the Gaucho, saves a community from a dastardly villain, but this storyline becomes secondary to his religious conversion. Initially, the Gaucho isn't the perfect hero, either, although Doug still seems to perform stunts effortlessly (thanks in part to undercranking the camera and some quick, even sometimes choppy, editing).

    And, this time, the girl pursues and tries to rescue him. Lupe Velez, as the easily-jealous, not damsel-y at all Mountain Girl, matches and sometimes exceeds Doug's exuberance. At one point, she tackles a guy and beats him up, and she likewise experiences a religious conversion. Usually, these type of religious pictures, complete with faith healing, a magical fountain and superimposed Virgin Marys would bore the hell out of me. I shudder at the thought of a film where the Girl of the Shrine, with her vacant expressions-supposedly alluding to spiritual superiority-were the protagonist.

    But, Doug exudes charisma, his smile is contagious, and the religion, at least, slows his rollicking down for a moment. Otherwise, the guy is non-stop motion; he only sits down to briefly strike a pose and a match for his also-fervent cigarette smoking. Plus, The Gaucho does include the usual fare of Doug as the hero of the oppressed, defeater of dastardly villains. There's no sword fighting, but he does use a whip, performs some horse riding tricks, jumps all over the place and uses his wits to overcome large armies, including the climactic cattle stampede. The sets are also grand, per usual. Doug and his merry band of gauchos even help move one of them.
    9jsobre-1

    Vintage Fairbanks, Feisty Velez, Somewhere in Argentina??

    This is typical 20's Fairbanks, when he was making his grand epic swashbucklers, with typical over-complicated plots. The character reminds me of the first Zorro, but this guy is harder, and nastier (even after his miraculous reform). Fairbanks was also in his mid-forties when he made it, which explains his fined-down, but still very buff, appearance.

    The plot is a mythical Argentina (with a tango thrown in to define the place, but it could take place anywhere, including Zorro's Early California. Fairbanks does wear an exotic costume, though.

    Lupe Velez' Mountain Girl is the real departure. She is feisty, for one, and swashes every bit of buckle that Fairbanks does. These sort of characters are usually the one who DOESN'T get her man; here, it is with great satisfaction that she does--a woman ahead of her times!
    7Bunuel1976

    THE GAUCHO (F. Richard Jones, 1927) ***

    Unusual but beautifully made and typically enjoyable Douglas Fairbanks vehicle, which finds the star at his most roguish (while still being his dashing and athletic self); with the Argentine pampas for backdrop, the film – whose full official title is DOUGLAS FAIRBANKS AS THE GAUCHO – can be considered a semi-Western. The narrative encompasses romance (supplied by fiery Lupe Velez), religion (via the presence of a miraculous shrine overseen by a saintly shepherdess – we even get a couple of visions of the Madonna herself, played by Fairbanks' own equally popular actress wife, Mary Pickford!) as well as more characteristic action (in the form of The Gaucho's opposition to the rule of tyrannical Gustav von Seyffertitz). A subplot which ties in with the element of faith sees the hero being deliberately contaminated by a carrier of "The Black Doom" whom he had previously slighted, though both are eventually cured. Fairbanks' trademark pioneering spirit in the technical department is also well in evidence here – with matte paintings giving the illusion of a truly elaborate visual design, reversed film for one particularly showy leap by the star onto his faithful steed, and even the wholesale horse-driven transportation of a house at one point!

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    Handlung

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    • Wissenswertes
      A new preservation print of the film, created by the Museum of Modern Art, was first shown at the Academy of Motion Picture Arts and Sciences in 2008. It has subsequently been screened at MoMA (2008), the San Francisco Silent Film Festival (2009), and the National Gallery of Art (2009) to promote the new book "Douglas Fairbanks" (UC Press/Academy Imprints, 2008) with the author introducing the screenings.
    • Zitate

      The Girl of the Shrine: All things whatsoever ye shall ask in prayer, believing, ye shall receive... Do you believe?

      The Gaucho: I do not know. I do not understand. I do not understand *you*. You're like a beautiful sunset - something I can't embrace, yet I love... You're like one night on the pampas... I was alone... A full moon rose... A bird sang... I believe in *you*.

    • Verbindungen
      Edited into Die Hand, die sich hinter der Maus verbirgt (1999)

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    Details

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    • Erscheinungsdatum
      • 23. Januar 1928 (Dänemark)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprache
      • Englisch
    • Auch bekannt als
      • Douglas Fairbanks as The Gaucho
    • Drehorte
      • Iverson Ranch - 1 Iverson Lane, Chatsworth, Los Angeles, Kalifornien, USA
    • Produktionsfirma
      • Elton Corporation
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    Technische Daten

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    • Laufzeit
      • 1 Std. 35 Min.(95 min)
    • Sound-Mix
      • Silent
    • Seitenverhältnis
      • 1.33 : 1

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