Un lâche

The simple and, by now, oft-told tale of a son who fears that he cannot live up to the high standards of his father may have been fresher in 1915 than it seems today. However, viewers of early silent films should put themselves into the perspective of the times and relish a Civil War story that was filmed while many in the audience could still remember the actual war. The Civil War took place only 50 years before "The Coward" was made, which is approximately the same time span between World War II and "Saving Private Ryan." A fresh-looking Charles Ray portrays Frank Winslow, the son of a proud and unyielding Southern gentleman, and his performance is the most naturalistic of the small cast. A handsome young man with an appropriately innocent demeanor, Ray manages to convey his ambivalence about resisting enlistment in the Confederate Army, a move that will alienate him from his stern father, who insists that his son uphold the family honor. Bowing to his father's orders and threats, the young man joins the army, where he makes a fateful decision. Although subsequent events play out as anyone could predict, viewer interest never lags because the film is tight and decently paced.

Unfortunately, much of the cast, especially Frank Keenan as the father, are either stiff or overly emotive in their roles, which makes Ray that much more appealing in contrast. Characteristic of the times, white actors in black face play the two household slaves. While the condition of the print makes evaluation of the cinematography difficult, the interior scenes for the most part betray the flimsy sets that were used. However, the exterior shots, especially the brief battle scenes, are convincing and effective.

"The Coward" is an amiable film with a well-worn plot and is likely typical of silent films that were produced prior to the 1920's. While neither a work of art nor even the best of its era, the film offers an interesting glimpse of what entertained moviegoers during the years before World War I.

The first half of this Civil War story is very conventional stuff, in which in a wave of patriotic fervour - and to impress the chicks - the young men of Virginia head for the local enlistment point to join the Confederate army. Our hero Frank Winslow, however, promptly thinks better of it, sneaks off and returns home, only to be smartly marched back at gunpoint to enlist by his Pappy, retired Colonel Jefferson Beverly Winslow.

So far so predictable; and told as stiffly as the spine of Colonel Winslow (who as played by Frank Keenan frequently resembles a tailor's dummy). But the film now starts to lighten up and even develop a funny bone. The rustlings in the undergrowth of the local wildlife during Junior's first night on guard duty spook him so much he drops his rifle and scarpers for home again, provoking Pappy into the incredible decision to take Junior's place in his regiment. Nobody in Junior's regiment notices that his father has replaced him; while at that very moment by remarkable coincidence a bunch of brusque Yankee officers billet themselves on the Winslow estate, discuss their latest plan of attack loudly enough for Junior hiding fearfully in the room above to overhear them and - galvanised by the knowledge that he holds the fate of his company in his hands - he finally find his mojo and leaps into action.

Frank gets away from the house in a sight gag worthy of Keaton and - some pretty spectacular battle footage later - Father & Son are reunited, the Winslows' family honour is restored and the South is saved. For now.

I think a lot of the impact of this early silence feature film is lost today, but more about that later in the review. When it was released in 1915, attitudes about plot and drama were very different than today. Predictability was expected from movies and what we would consider over-acting was the norm. Also, having white folks run around in black face playing slaves was, unfortunately, pretty widely accepted. And so, by 1915 standards, this is an exceptional movie and one of the earliest full-length films ever made. I think it is a lot better than its much-admired contemporary, BIRTH OF A NATION--which is ponderously long and one of the most racist films made in America. Unfortunately for the makers of this film, people in 1915 preferred BIRTH OF A NATION and it went on to make a ton of money and was hailed as one of the greatest films ever made. That's really a shame, because there are some exceptional aspects to this film that have been overlooked. In particular, the costumes and battle sequences are excellent (though not quite as grand as those in BIRTH OF A NATION) and the story, though very simplistic and predictable, is still compelling. And, its use of two white folks in black makeup, though appalling, is not nearly as offensive as about 90% of the other film.

Now, as for today's audiences, the plot is very very dusty to say the least. Having the son be afraid of war and deserting was excellent, but the contrived way that his own father accidentally shoots and kills him in battle is so over-the-top dramatically (though not in its day). BUT, it is STILL worth seeing for its historical value. Not a great or memorable film, but one of the most watchable of the early feature-length films.

Coward, The (1915)

*** (out of 4)

One of the handful of Civil War films that were rushed into production and released after D.W. Griffith's THE BIRTH OF A NATION became what's probably the biggest hit of all time. This film here deals with Confederate soldier Frank Winslow (Charles Ray) who is terrified of the war and runs away as a battle is about to begin. His father (Frank Keenan) is a decorated soldier and is embarrassed why his son so he pretty much turns his back on him but soon the son is going to have a chance to redeem himself. There's no doubt that this thing isn't in the same league as the Griffith film but at the same time it's still a pretty good little picture. I think the most interesting this is the actual story because it's pretty much saying you're worthless if you're scared to die for your country. I think the film goes a bit too dramatic during the relationship of the son and father. This relationship includes a sequence where the father loads his pistol to shoot the son if he doesn't enlist in the war and even follows him to the enlistment office and again threatens to shoot him. I found the father character to be rather laughable and he'll certainly go down in history as the most pathetic father I've seen in a movie. The jerk is that bad and we get a sequence towards the end where the son might be dying and the father refuses to say he knows the kid. One major plus for the film are the costumes, which all look like they're real. The battle scenes aren't nearly as grand as the one in the Griffith film but they still look pretty good on their own. The performance by Ray is actually pretty good as he does a nice job at showing fear as his character goes through quite a bit here. The pain from his father's rejection is also something else the actor handles quite well. Keenan, on the other hand, is downright awful here. You'll never see me bashing silent acting because it is what it was at the time. I think it's unfair to bash acting from 1910 because it's not like the acting we see today or saw in the 30s or 40s. However, Keenan's acting appears to be coming from the 1620s. Just take a look at how slowly he moves no matter what his character is doing. I'd swear on my life that he moves slower than a zombie. If he goes to raise his hand it takes a good fifteen-seconds. If he goes to turn around that's probably twenty-seconds. If he goes to stand up it's probably thirty-seconds. You get the point. The movie runs 77-minutes but if Keenan would move at a normal speed we'd probably be looking at a movie under an hour. Even with that bad performance there's still enough to make fans of the silent era check this thing out. It's certainly not a classic or a masterpiece but it's an interesting story with a fine lead performance and some great outfits. The film shares a lot in common with Griffith's THE HOUSE WITH CLOSED SHUTTERS.

The DVD "Civil War Films of the Silent Era" has three Thomas Ince productions on it-- the highly successful 1915 feature The Coward, starring Charles Ray and Frank Keenan (Keenan Wynn's grandfather, incidentally, and at times you can definitely tell), plus two shorts from 1913, Granddad and The Drummer of the 8th. The former is directed by Reginald Barker, who I daresay is the only director most of us could associate with Triangle (he directed The Italian, Civilization, several Hart westerns, etc.)

It's pretty tough not to compare a 1915 film about the South to a certain D.W. Griffith film, and on the evidence Barker was highly capable and in some ways more fluid in his storytelling than Griffith, but didn't have Griffith's eye for the iconic actorly gesture that summed up character in a flash. There's nothing flashy about the on-screen agonizing that represents the delineation of character here, which is well acted for the period but takes literally a third of the movie to get across a fairly simple setup-- Dad (Keenan) is a proud Suthanah and gennelmun, Son (Ray) is a weakling who runs away from the enlisting office, and Dad orders Son to sign up and remembah that he is a Winslow, suh. There's a lot of knuckle-biting to get to that point.

Once Ray deserts the movie picks up noticeably, and the action scenes are very nicely handled-- the manner in which Ray eludes capture in his own house is ingenious and nicely in character for someone who was a boy in the home, for instance. Watching it there are enough echoes of The General-- the enlistment opening, spying from beneath a table, etc.-- that you have to think that Keaton was drawing on memories of it, even if unconsciously. The battle scenes are fairly brief but impressively scaled (especially next to those in the shorts-- it's much like the difference in scale between the battle in The Battle of Elderbush Gulch and The Birth).

But perhaps most interesting is what's missing-- The Birth's racial attitudes. This is much closer to Gone With the Wind's benevolent-paternalist view of master-slave relations, and while a definite air of Old South nostalgia/apologia fills the film, it feels right, for instance, that when Ray first sneaks into his home as a deserter, it's the servants who probably really raised him who take him in and try to ease the discovery of his action by his parents. (Of course, they may also have approved of desertion from the Confederate army...)