The Whistle

The disclaimer opening doth protest too much, methinks: "Since the days of Plato and Socrates there have been many men of wisdom, but none sage enough to solve the struggle eternal between Capitol (Business) and Labor. We do not do not seek to work out the problems of their issue but desire to show the story of the lives of two men as a story and nothing more." Of course, "The Whistle" unashamedly deals with workplace safety, despite its claim of "nothing more".

Laborer William S. Hart (as Robert Evans) lives in the New England town of Chappleville, which is owned and operated by his wealthy boss, Frank Brownlee (as Henry Chapple). Mr. Hart lives with his adolescent son, Will Jim Hatton (as Danny Evans); "Mrs. Evans" having died during childbirth. Mr. Brownlee lives with wife Myrtle Stedman (as Mrs. Chapple) and baby Richard Headrick; later, baby grows into boy Georgie Stone. Hart regular Bob Kortman (as Scardon) has a pivotal role.

Hart and company make a bold statement picture, which is also shamelessly emotional entertainment; and, the star is so effective in the "non-western" lead role, it's a shame he saddled up so much more than not. Hart and Hatton are so convincing as father and son, you can't help but sympathize with Hart. His face shows his son's soul being ripped from Hart, after his gut-wrenching workplace incident. Hart conscientiously carries the remainder of the film well; but, given the melodramatics, the ending is unnecessarily a downer for one cast member.

******* The Whistle (3/27/21) Lambert Hillyer ~ William S. Hart, Frank Brownlee, Myrtle Stedman

Robert Evans works at a factory owned by Henry Chapple. Evans complains to Chapple that the machines are not safe. Tragedy strikes when Evans' son is accidentally killed in the factory. Later, Chapple's chauffeur is transporting Chapple's infant son when the car goes off a bridge. Evans saves the young boy, and, partly in revenge, decides to raise him as the son he lost. Evans leaves town, and after a few years go by, fate brings him together with the Chapple's again, where Mrs. Chapple continues to mourn the death of her son. She develops an affection for Evans' boy, and Evans' conscience begins to bother him. Will he give up the boy to his rightful parents?

This is a pretty good morality play, with Hart playing something other than a gunslinger. As with many of his roles, he walks a fine line between good and evil. Just as interesting is the Chapple character played by Frank Brownlee, who initially appears to be the villain, then softens as the climax approaches. There are several heart-tugging scenes; one in particular is when Hart sees his "son" and dog kneeling and praying that Mrs. Chapple will someday get a son to replace the one she lost.

Overall, this is a solid drama, moving at just the right place. My only complaint is that some of the title cards are needlessly abstruse.

Some strong performances make this film more than a soap opera, although the story has such a twist it shouldn't be considered a soap drama anyway.

However, it does deal with loss of children and how parents try to cope.

Following the basic rule of drama, that a character must change, in "The Whistle," more than one changes, and I think satisfactorily.

"The Whistle" is quite a powerful symbol here, and whistles and bells and other signals have played a large part in U.S. life until at least the 1950s, when industry started to move off shore. Here the whistle is a clue to regimented life in somewhat of a cliché, with the factory owner being heartless and unconsidering of safety.

But not so heartless he doesn't love his wife and son.

William S. Hart looks odd in city clothes, but he proves, again, he's an actor, no matter his milieu, and his powerful performance is reason enough to watch "The Whistle." There are prints at YouTube, a good one, and one at archive.org, not quite so good but completely watchable. I recommend "The Whistle," for great performances by everyone, for good directing, and the chance to see William S. Hart not on horseback.