Pour l'amour de Carmelita

There are magical qualities to the silent era that all the resplendent advances of subsequent years and modern cinema just can't match. Intertitles relating dialogue sometimes not only employ verbiage that's faded from popularity but much reach for representation of accents and regional lexicon that are barely recognizable as English. Even as filmmakers were constantly breaking new ground even in the 1910s, let alone the 1920s, every instance of active, dynamic cinematography, overlaid imagery, or sharp editing still seems like a novelty. Acting falls on a spectrum from the more nuanced and natural performances we're accustomed to after talkies came along, to exaggerated body language and facial expressions that compensate for the lack of verbal dialogue and which follows from live theater. And whether or not a title could arguably be described as "simpler entertainment for a simpler time," the sum total of all these traits and others is that any given flick invites feelings of refreshing nostalgia, and seems to reflect the most earnest craftsmanship and love of the medium - the type of achievement that would be celebrated in passing in the likes of 'Singin' in the rain,' Damien Chazelle's 'Babylon,' or the Coen Brothers' 'Hail, Caesar!' that are love letters to Hollywood. For all the wonder that modern movies deliver, I just as often find myself searching out silent classics to bask in that glorious past.

This is no mere tangent, though, because 'Thundering Hoofs' embodies all these factors, and evokes these thoughts. If in any manner it is less sophisticated or impactful than films to come thereafter, it is no less well made or enjoyable exactly as it is. Everything we'd want out of a western, or most any fare, is found here in abundance: shrewd cinematography, beautiful filming locations, detailed sets and costume design, lovely hair and makeup, swell stunts and effects, admirable acting, and firm direction. No small amount of credit absolutely belongs as well to "Wonder Horse" Silver King, the trusted equine companion of star Fred Thomson, and those who handled and trained him; while Silver King is not so heavily spotlighted here as the humans, it's easy to anthropomorphize him and ascribe genuine acting skill, personality, and presence to him. And the picture definitely speaks well to screenwriters Frances Marion and Marion Jackson, who penned a fun, compelling, satisfying story of rivalry, love, and a hero finding victory despite the machinations of a scheming antagonist and the odds that are stacked against him. The tale blends adventure, drama, romance, and touches of comedy into a light but enticing slurry that consistently provides a good time all throughout the length; the more action-oriented moments really are terrific, and the witty gags and situational humor wouldn't seem out of place in a vehicle for Harold Lloyd or Buster Keaton. There a bit of something here for everyone!

True, there is expression here of very old-fashioned values as Carmelita is little more than an object to be shuttled about between male characters; in fairness, that's just part of the storytelling. Strong scene writing and characterizations fuel the proceedings at every turn, and provide excellent foundations for the cast to let loose and have a blast. It's safe to say this wasn't what I expected when I sat to watch, not truly knowing anything about the feature, yet Thomson gives a splendidly varied performance that shows his capabilities as a leading man, and Ann May is warm and charming as love interest Carmelita. Filling more plainly comedic supporting parts, Charles De Ravenne and Carrie Clark Ward are minor delights; this is to say nothing of William Lowery or Charles Hill Mailes, who stand as figures opposed to protagonist Dave. Sure, when all is said and done the plot really is uncomplicated and rather straightforward, yet that kind of just comes with the territory in this timeframe; while much of the piece may be focused more on human drama than on the classic invigorating western lark, but still there's plenty to keep us engaged from beginning to end with just the right measure of action to provide shots of electricity, and the climactic sequence alone is utterly stupendous. When all is said and done this may not be an outright must-see, and maybe it won't change the minds of anyone who has difficulty engaging with older cinema. It's very much worth watching on its own merits, though, and in some ways surely stands taller than some of its kin (especially as there are no signs of the tawdry racism that has infected countless other westerns).

Filmmaker Albert S. Rogell even demonstrates a fine eye for shot composition, and relatively uninvolved as the narrative may be, it's still surprisingly multifaceted, with some inclusions that are extra smart. There's so much to appreciate here, and one can readily recognize all the tremendous skill, intelligence, and hard work that went into the production. Perhaps one doesn't need to go out of their way to see 'Thundering hoofs,' but if you do have the opportunity to watch this is uniformly solid and holds up marvelously, and I'm pleased to give it my high and hearty recommendation!

Thundering Hoofs (1924)

** 1/2 (out of 4)

Decent Western has good guy Dave Marshall (Fred Thomson) framed by bad guy Luke Severn (William Lowery). The battle goes to Mexico where Marshall has fallen in love with a beautiful Senorita (Ann May) but her father is under the impression that he's a bad guy so he must clear his name and defeat the bad one as well. This plot detail sounds like hundreds of other "B" movies that the genre would release at one per week once the 1930s came along. It's somewhat hard not looking at this film as being unoriginal but I'm going to guess that the plot was somewhat fresher in 1924, although today it comes off terribly dated due to all the other films that have been released since. Overall I had a decent time with the movie, although much like those "B" Westerns of the 30s, you're not going to be missing a Holy Grail if you decide not to watch it. The most memorable sequence in the film is when a robbery goes wrong and the stagecoach carrying the woman goes off on its own and Marshall must ride up to it and jump onto the horses. This scene was featured in the Hollywood documentary as the stuntman was seriously injured and it's easy to see why as the accident footage is still in the film. You can still clearly see where he misjudged his jump and ended up going under the stagecoach. This action scene is without question the highlight of the film. Fred Thomson was one of the bigger names in the genre back in the day but this was my first time seeing him. It's hard to judge someone by just one film but I thought he was mildly entertaining and at least was able to carry himself in front of the camera. Lowery is pretty good as the bad guy who hates the horse Silver King. Yes, even this era of Westerns had the special horse. Silver King isn't any better or worse than the various other horses out there but he certainly takes a beating in a few scenes including the over-the-top ending where our bad guy throws him into a bull ring. In the end there's not enough to recommend this to general or casual fans but I think those interesting in the genre will probably find enough to keep them entertained.