A Romance of the Redwoods

Romance Of The Redwoods was the first of two films that Mary Pickford did for Cecil B. DeMille. Pickford came as part of the package when the Famous-Players Company merged with the Jesse L. Lasky Picture Corporation to form Famous-Players-Lasky which eventually was Paramount. Adolph Zukor asked DeMille to do a film with her and DeMille wanted a war film. Zukor insisted on a western first and we got Romance Of The Redwoods.

Both DeMille and Pickford came from the tradition of the Victorian Theater and in fact when DeMille was an actor he appeared with Pickford on stage in one production. Now she was a big star and rising and usually had her own way in terms of crew, script, and directing. That was not how DeMille worked and he got his way.

Romance Of The Redwoods sadly is terribly dated and could use some restoration. Mary plays a girl gone west to live with her uncle in the California gold fields. But her uncle was killed by Indians. Notorious road agent Elliott Dexter finds the uncle's body and swaps clothes and identity with him as he's looking to get out of the outlaw game as folks are getting tired of the lack of law and order and are ready to form a vigilante committee.

Mary, America's Sweetheart, faces a challenge in that she knows Dexter is not her uncle, but where else can a good girl go in those wild mining camps and keep her virtue. As for Dexter he's impressed with her virtue and the inevitable happens.

As another reviewer said, the ending is quite unbelievable but it was in keeping with the Pickford image and the mores of the times. Still it's sadly dated and probably won't find favor with current audiences.

Jenny left home for meeting her uncle. She arrived at the town where she and her uncle were determined to see each other. But there was not her uncle, the strange man who was a burglar appeared in front of her. His name is Black Brown. Black Brown let her know that her uncle was killed by arrows of apaches. Then Brown pretended to become her uncle at the moment, Jenny told other people that he was her uncle. His mind got weaker(I am unsure), owing to her innocent personality. He swore to not do something bad to Jenny. Brown, however, broke a vow, stole gold, and then purchased the doll to give Jenny a present. Sheriff and other people came, were determined to strangle him. Brown confessed the truth that he was not Jenny's uncle, requested her to save him. Jenny requested Sheriff or one man. After all, Brown was not strangled. Then Jenny and Brown left the town together.

Black Brown was quite hot in the film. It was cute that his heart became weaker in front of Jenny. Jenny was boyish, she targeted someone(She did not know the man was Black Brown at that time) with the gun. Eliott Dexter looked a lot younger than his age, forty-six or seven in the film.

Mary Pickford (as Jenny Lawrence) finds herself all alone in New England, after the elder Mrs. Lawrence dies; so, she moves to the "Gold Rush" state of California, to live with her uncle. What she doesn't know (initially) is that her uncle has been killed by Indians (Native Americans); and, outlaw Elliott Dexter (as "Black" Brown) has assumed his identity. Arriving in the little mining town of Strawberry Flats, Ms. Pickford discovers Mr. Dexter's charade, and learns of her uncle's death. Dexter demands Pickford pretend she's his niece; and, with nowhere to go, Pickford agrees.

First and foremost, Dexter and Pickford are marvelous in the lead roles. Dexter begins to amaze when, in a barroom scene, he rescues Pickford from the advances of Raymond Hatton (as Dick Roland). Pickford performed nicely when first entering her shabby new home, but becomes amazing when waking in the shed up as a wolf howls… the two exude an unmistakable sexuality in their earliest scenes together, assisted by fine light and shadows direction from Cecil B. DeMille (and, watch how the camera places their hands in a couple of scenes). As the film moves along, it loses focus on some of the sensuality, unfortunately. A subtle scene showing the leads' passion would have been nice.

Joining Hatton, supporting players Charles Ogle (as Jim Lyn, who dates Pickford), Tully Marshall (as barman Sam Sparks), and Walter Long (as the Sheriff) are entertaining. Pickford's last minute way of getting the townfolk to reconsider Dexter's fate is ingenious. The fact that "twenty men are fooled by one small woman" was nicely put, especially since it involved a doll given to Dexter's so-called "little girl"!

******** A Romance of the Redwoods (5/14/17) Cecil B. DeMille ~ Mary Pickford, Elliott Dexter, Charles Ogle

I didn't know what to make of this Mary Pickford film. I've seen quite a few of Mary's films by now, and this one was just strange. There was no chemistry between Mary's character and the thief she falls in love with, no foundation for that to happen at all. The story was implausible; why would the girl stick around after she found out the uncle was dead? She should have turned right on home again. Instead she compromises her own honor by trying to save the villain, and then she tricks the law in order to escape with her "love". Poor script, to say the least. Not on par with Mary's other films.

It sounds as though the production history of "A Romance of the Redwoods" is more interesting than the film itself, which is an unexceptional Western for the most part. Star Mary Pickford had only just wrapped production on what would turn out to be the most pivotal picture in her career, "The Poor Little Rich Girl" (1917), which helped cement her being type cast in childhood roles and introduced her most fruitful creative collaboration, with scenarist Francis Marion. Along with the subsequent WWI-era propaganda of "The Little American," "A Romance of the Redwoods" was one of two films she made with director Cecil B. DeMille. His career at this point was probably even more in flux, as he was experimenting with various genres at that point--before hitting on a formula of sex dramedies and, later, spectacles such as "The Ten Commandments" films (1923 and 1956). So, he made sensationalist psychological dramas, opera adaptations, historical epics and Westerns, among others. A director who would earn the reputation of being dictatorial, he had and would never again work with a star of Pickford's caliber. With her own tendency to demand creative input or control, this becomes a more compelling film to view when considering it as being pulled in sometimes divergent directions from two stars in formation. And that's not even to mention the role of frequent DeMille collaborator and another important female screenwriter, Jeanie Macpherson.

Similar to what the American film industry had recently done itself, the film begins with the uprooting from the East (had it been Fort Lee, New Jersey, the former capital of American filmdom, I suppose it would've been too on the nose), to move to California (and the Forest Moon of Endor). Whether the picture's nominal gold rush or the reality of the Edison Trust, the results are likewise gunplay and general lawlessness. Anyways, the story begins with a dual focus on Pickford's travels West and the Western trope of the "good bad man," who, in this case, steals her uncle's identity. William S. Hart played these bandit types who are reformed by a good, pointedly Christian and civilized woman better than anyone around this time in his own vehicles. The same plot emerges when the stagecoach robber and identity thief of this one meets his adopted niece, although it's complicated by the quasi-incestuous nature of this narrative and the queasiness one might feel towards the romantic storyline of Pickford's child-woman character, whom her fake uncle gifts a child's doll in the same scene he proclaims his love for her. The age gap between her character and another suitor seems even more stark.

Regardless, while DeMille attempts some grandiose views early on, including the stereotypical attack by Native Americans, a racial slur in the title cards included, a couple shots of the gigantic redwoods beside the diminutive Pickford, and there is some decent low-key lighting effects here and there, including from the home's fireplace (although not quite as impressive methinks as in DeMille's prior Western, "The Virginian" (1914), let alone the landmark "The Cheat" (1915)), the picture becomes increasingly one of intimate and extended takes of "America's Sweetheart." Playing the good bad man and lacking the subtle intricacies of Hart's expressive face, as well as lighter pull from always-second-fiddle co-stars in his vehicles, Elliott Dexter didn't really stand a chance at sustaining an honest dual focus in this one. He couldn't even always prevent his hair from obscuring a view of his face from the camera lens, let alone compete with the naturalistic acting of and brightness of the star of "the girl with the golden curls." She always seems to be involved in some bit of business and to be fully inhabiting her character--never merely just sitting or standing in stillness in some dated theatrical way of seeming to try to convey thought or internal conflict. She acts circles around everyone else in this one.

Inevitably, Dexter's character will convert to her rule. The rest of the townsmen, though, eventually break into their home and lock her in the barn as they attempt to play out the climax by themselves. Having none of that, Pickford employs some artifice to regain control of the scene. As another male character implores in his surrender, "Boys - I reckon when twenty men have been fooled by one small woman -- they'd better take their medicine!" And so did DeMille and the rest of his usual collaborators, and, not surprisingly, after two films with Pickford, he never worked with as big of a star again (albeit, there've never been many quite as big). This is Pickford's film.

(Note: Streamed from the 39th Pordenone Silent Film Festival, from a digitized 35mm, tinted/toned print from the George Eastman House. While scratchy, the picture quality was good.)