L'ultima gioia

Sentimental, but not mawkish, the early John Ford silent, "Four Sons," is a well made film that exemplifies early 20th century values. The four sons of a Bavarian widow are swept up in the events of World War I. Three of the boys fight for the Kaiser, while the fourth, who had emigrated to the United States, is on the opposite side. The screenplay does not dwell on politics, although the German officers have villainous characters, and the American son chastises an employee for advocating war, because "America is neutral." Most of the action takes place in a small village in Bavaria, and the unspoken message is that ordinary Germans are as kind and feeling as people everywhere.

Despite a predictable storyline, the performances avoid the "grand style" that gave silent acting a bad name. Made in 1928 at the apogee of the American silent era, John Ford's direction is solid, and the film foreshadows his adaptation of "How Green Was My Valley" more than a decade later. Certainly the two strong mothers who suffer the absence of their sons have much in common. If John Ford had not directed "Four Sons," the film could have been largely forgotten. Plot holes abound, and coincidences occur that "only happen in the movies." However, the film is a good example of popular entertainment in the late silent era, and modern audiences will likely be engaged, especially students of Ford and those with an affection for silent movies.

In Germany, at the dawn of World War I, widow Margaret Mann (as Frau Bernle) is blessed with "Four Sons" - strapping soldier Francis X. Bushman Jr. (as Franz), dreamy rustic James Hall (as Joseph), handsome metalworker Charles Morton (as Johann), and fair-haired shepherd George Meeker (as Andreas). And, she makes the best honey-cakes in Bavaria. With one son serving the Fatherland, and two more about to join him on the battlefield, Ms. Mann arranges for adventurous Mr. Hall to emigrate to democratic America. There, he opens a delicatessen and marries sweet, beautiful June Collyer (as Annabelle). Eventually, the Great War results in multiple brother tragedies, testing old mother Mann's ability to count her blessings.

The last years of the "silent film" era produced an avalanche of stunning motion pictures; in hindsight, you wonder if the "talkie" might have prevented the silent from advancing even beyond its late 1920s peak. "Four Sons" is another artful example, with John Ford and his picturesque cameramen, George Schneiderman and Charles C. Clarke, directing under the influence of F.W. Murnau - the combination produced a winning film, full of memorable scenes and images. Ford's best symbolic double whammy has two white birds flying to heaven, followed by postman Albert Gran hurling stoning the church's reflection. The restored print looks lovely, but lacks the original's innovative "synchronized sound effects" track, which will hopefully turn up somewhere.

The film won the "Best Picture" of 1928 medal from "Photoplay" and placed #4 on the annual "Film Daily" honor roll.

********* Four Sons (2/13/28) John Ford ~ Margaret Mann, James Hall, George Meeker, Charles Morton

By chance I wound up watching this wonderfully beautifully crafted film on all counts this evening on Turner. The film work is masterfully done with John Ford's usual care and sensitivity to his audience. Mary Mann is outstanding as the mother of her ever faithful sons who go to war. Many will remember her right away as the sweet Grandma in The Little Rascals "Go fly a Kite" and proves what a powerful performer she was and it's a pity she was not given more opportunities.

James Hall who plays Joseph who goes to America to seek his fortune is a real find and I would like to know more about him. Handsome and quite charming and it's puzzling why he was not utilized in his career as well. A silent film that would be a nice introduction to anyone who has been hesitant about watching this lost art form. Worth the time and love to own this if it ever comes out in DVD.

This could have used an extra hour of screen time. John Ford's Four Sons, adapted from the story "Grandmother Bernle Learns Her Letters" by I. A. R. Wylie, tells a far larger story than its 96-minute runtime holds well, but the heart of it is so warm and endearing that by the movie's final twenty minutes it had won me over. I can easily see why it would have been very popular back in 1928. Dealing with the Great War, the immigrant experience, and ending with heartfelt touches while pushing a pro-American message, it has a lot of what made popular silent film popular at the time.

In a bit of a twist, Ford tells a story of the Old World in Bavaria, Germany rather than his ancestral Ireland. Little Mother Bernle (Margaret Mann) is the proud mother of four adult sons. Franz (Ralph Bushman) is an officer in the German military, Andreas (George Meeker) is a shepherd, Johann (Charles Morton) is a fun-loving young man, and Joseph has dreams of going to America. The family is a happy, close family, well-loved in their small Bavarian town. The only people who don't seem to love them are the military personnel stationed in the town. Everyone else is happy to suddenly arrive at the Bernle house and celebrate Mother Bernle's birthday. This is all fine, perhaps a bit overlong, but it's a nice introduction to the world and characters.

Joseph leaves for America, and very soon afterwards the Archduke Ferdinand is assassinated and World War I breaks out. Reminiscent of All Quiet on the Western Front, the townspeople are overjoyed at the outbreak of conflict with young men eagerly joining up to fight the fight that will be over by Christmas. Franz and Johann (newly joined into the military) march off to war with the rest, but word soon comes to Mother Bernle that two of her four sons have died in the opening battles of the war. This is where I really feel like the movie needs its extra hour. It goes, tonally, whole hog into the muck of World War I, especially when Andreas gets forced into the army by the local military officer in retribution for Joseph living in America and "supporting" the enemy. I'll just take a moment here to say that Four Sons is the best looking movie Ford had made up to this point. There's intelligence around framing, composition, and lighting that helps sell moments and their emotional reality, one of the best moments being when Mother Bernle is desperately clinging to Andreas' hand out of a train car window, Ford using the entire vertical space of the frame to tell the emotional moment visually, the two characters' fingers desperately clinging together until the last moment.

Meanwhile, in America, Joseph quickly moves upward, earning enough as a stock boy to buy the little shop he works at in New York, soon marrying and having a son. He's decided to become full-American, so when his German born assistant rails about the war while working, Joseph chastises him, reminding him that America is neutral. When America joins the fight, so does Joseph. He's off to fight.

And then we get the movie's relatively short timeframe rearing its ugly head. There's contrivance aplenty when Joseph hides behind a wall by No Man's Land, hears the calling of a German voice calling for his "Little Mother", and Joseph taking water to his own dying brother on the battlefield. I get it, but this is pretty much the extent of our direct view into battlefield life, and it's dedicated to a moment that beggars belief. It ends up feeling false precisely because so little time is dedicated to it. Having this central section be significantly longer as we watch the two brothers get closer together over the course of some period of time (weeks, perhaps) might have given the moment the feeling of tragic inevitability it was obviously shooting for.

The war comes to an end (seemingly less than half an hour after it started, also evidence that this movie should have been longer), and news of Andreas' death has not reached Mother Bernle. The postman (Albert Gran) has delivered the black bordered letters for her two other sons before, and he's loathe to deliver news of the third. The scene where Mother Bernle receives this news is another concentrated instance of Ford's increasing command of the frame, and it's a strongly emotional scene. And then there's a stark tonal shift when we suddenly cut to jaunty music as Joseph returns home to New York. It's a weird moment to go from deep sadness to jaunty and amusing little scene as Joseph finds that his store has flourished under his wife's management. It was here where I was really beginning to feel like the movie was just too uneven for my tastes.

And then it really gains focus, and it's significantly lighter than the middle act. Joseph, at the pleading of his son, decides to send for Mother Bernle and bring her to America, but Mother Bernle is illiterate. She'll need to learn her letters to be admitted. The ending is about her doing just that while going to America and encountering the kindly bureaucracy at Ellis Island. The pure goodness of Mother Bernle eventually finding her way home with her never before seen grandson falling asleep in her lap is just so endearing that I simply couldn't resist it by the end.

Yeah, the movie's uneven. It really is. However, I ended up enjoying it on the whole by the end. In terms of straight production, it's probably the best movie Ford had made up to this point. It ends up between genres a bit, and that ends up creating contrivance where it shouldn't be as well as some tonal jumps that end up feeling more jarring than they should be. However, the heart of the film is Mother Bernle, and by the end, it's easy to forgive some of the film's earlier issues and just be happy to see Mother Bernle find some peace after the ravage of war tore her family apart.

The biggest interest point for me seeing 'Four Sons' was John Ford, a truly fine director and a versatile one, doing many films in many different genres. Including from personal opinion the definitive director of the Western genre. Also really liked the subject matter and appreciate silent film hugely, the positive reception to the film also helped. Even if there was the potential trap of it being too melodramatic and over-emotive, though actually it sounded very emotional.

'Four Sons' turned out to be exactly that. While it may not be one of the great director's very best or most iconic films (am most familiar with his films from the 40s and 50s decades), it is one of his best early ones and one of not many to be properly great. 'Four Sons' overcomes all the potential limitations that silent film can have that have eluded quite a few films around this time and to me it was definitely more genuinely emotional than it was overly melodramatic.

Very, very little wrong, though the brothers' reunion on the battlefield did seem too much of a too much by chance coincidence.

However, 'Four Sons' is incredibly well made. Ford's films always did look great, namely in his Westerns with how the photography captured those majestic locations. Even for so early on there is nothing primitive looking here, it is beautifully and atmospherically filmed and really admired the attention to detail in the setting. The farewell to wife scene is one of the standouts of particularly well shot scenes. The music is haunting and has an emotional but not overwrought edge.

Moreover, Ford directs with ease and doesn't seem uncomfortable or uninterested. 'Four Sons' is incredibly moving, of all my recent first time viewings this is easily in the top 3 films that made me weep the most. Hankies and tissues are absolutely needed for the heart-breaking climax, though there is emotional impact throughout without it getting too heavy. The film is always compelling with not a dull stretch.

All the acting is more than fine, Margaret Mann's performance is an affecting powerhouse and should have gotten some award consideration.

Summing up, great. 9/10