L'instinct qui veille

BACK TO GOD'S COUNTRY (1919) was one of the major successes of Canadian film pioneer Nell Shipman. It has the distinction of being the oldest surviving Canadian feature film and was also the subject of a great deal of controversy because of Shipman's nude outdoor bathing scene at the beginning. Based on a then well known Canadian story about a heroic dog (think THE CALL OF THE WILD), the movie was shot under extremely harrowing conditions.

Much of the action takes place on ice flows and was shot at temperatures as low as 60 degrees below zero. One of the principal actors developed pneumonia and died during the shooting. Shipman was a virtual one woman show on this project. In addition to starring, she also wrote, co-produced, and co-directed without credit. The film was officially credited to a director named David Hartford.

The second feature SOMETHING NEW (1920) features a novel twist on the old Western theme of kidnapping and rescuing the damsel in distress. The hero, instead of riding a horse, drives a car. The film was primarily financed by the Maxwell Car Company (Jack Benny's car) and serves as a large scale ad for their product.

The car goes over rugged terrain and along cliffs that no vehicle at the time would dream of doing. The result is a delightful spoof of traditional Westerns that manages to be exciting at the same time. This time Nell gets a directing credit. Originally available on VHS as part of Milestone Film's EQUAL TIME: THE WOMEN OF CINEMA - THE FILMMAKERS series. For more reviews visit The Capsule Critic.

Hard to rate this thing on anything other than a funny reminder of

how Canada was and will always be renowned for Mounties,

snow, and wildlife. The scandalous "nude scene" where Nell Shipman is bathing

under a waterfall is what gave this film an audience, but definitely

not why it's still around today. It's actually a decent story where the

spirit of a dead Eskimo is incarnated into a husky, but that angle

doesn't really have any significance until the end of the film when

it's revisited. Most surprisingly, I found, was how progressive of a role Nell had

way back in 1919. She drives the plot and essentially rescues

herself from a lot of the danger, something Hollywood is still

reluctant to do. It wasn't actually the first feature film made in Canada

("Evangeline" was in 1913), but it's the earliest one left that has

been preserved. If for no other reason, you gotta check it our just

for that!

This story is based loosely on a novel, not by Jack London, but similar to his "White Fang" and "Call of the Wild" in genre. It has been freely adapted to give most exposure to Nell Shipman who even in the flat lighting usual in the 1919 era comes across as a very capable "Jane Alexander" type. The simple story of villainy stemming from single-minded lust is confusingly told. That may be the result, though, of the difficulties of "restoration" of the old film. There are some excellent scenes that evoke the dreadful loneliness of the arctic winters. It's not a great old museum piece, but interesting and worth a watch.

This is an entertaining old-fashioned melodrama starring Nell Shipman, a good adventure heroine who can do a lot of different things. Here, she is a nature-loving young woman whose husband's work takes her away from the wildlife she loves, but while she is longing to get "Back to God's Country", she must first try to save herself and her husband from some dastardly villains.

There's quite a bit to the story. The drawbacks are that it is a little slow early on while it sets everything up, and then once the action gets going there are some rather implausible developments. But the plot keeps your attention, and Shipman has plenty of energy and is a nice change-of-pace from more conventional heroines. The story takes place in the frozen north of Canada, and the setting is interesting and works well. There are also several good shots of wild animals, a couple of them very funny.

"Back to God's Country" combines some of the usual features of silent melodrama with Shipman's distinctive approach. Most of it works pretty well, and it's worth a look for those who like silents.

For as worthy as any given film may be, sometimes reading about their history, from conception to execution, can be just as gratifying. In learning about this 1919 feature one quickly gains a sense of how special it is in various ways, bolstering our anticipation of watching. It should be mentioned that as soon as we do we're greeted with evidence of how early cinema doesn't always age well, for there is some outdated language that today we plainly recognize as racist, and there's a smidgen of blackface employed here, too. One would be remiss not to also observe that early exposition is decidedly gawky as scenes and intertitles clumsily bounce to and fro to impart tidbits of foundational information; the incidence within the first several minutes is unfortunate. Then, of course, there are the customary questions of different film-making techniques and storytelling sensibilities, facets which can be obstacles for some modern viewers when regarding the silent era; in no few instances this at least means direction, acting, and/or narrative flow that are less fluid and natural. All this is to say that whatever else is true of this picture, it might not be the one to change the minds of those who have a hard time engaging with older cinema.

The good news, however, is that however much we may him and haw about various aspects, by and large 'Back to god's country' is splendidly well made and a fine credit to those involved. Reflecting the interests of author James Oliver Curwood, scribe behind root short story "Whapi, the Walrus," and star and screenwriter Nell Shipman, it's readily apparent that this movie was made in no small part with a mind for showcasing the splendor of the natural world. The production makes a point of putting a number and variety of animals in front of the camera, and moreover the filming locations for this Canadian gem are utterly gorgeous. The surrounding environs play a crucial, meaningful role in the saga, not unlike what we'd see in filmmaker David Hartford's later Curwood adaptation 'Nomads of the north,' and for my part I'm reminded somewhat of a similar yet even more intense approach taken by Swedish legend Victor Sjöström (see 'Terje Vigen' or 'The outlaw and his wife,' among others). The sets, costume design, and hair and makeup were all rendered with great care and detail, and those stunts and effects that we see are terrific - not to mention unquestionably more dangerous at this point in the medium than if they were to be attempted in subsequent years with developing techniques, technology, and standards.

The direction and cinematography here may be slightly less refined, but Hartford again demonstrates a keen mind for getting the most out of any given moment, whatever the mood, and Dal Clawson and Joseph Walker's eyes ensure that we get eyefuls of all the minutiae to be had. Meanwhile, it's sometimes been said of the silent era, if not also early talkies, that such fare boasts less complex storytelling and is marked by "simpler entertainment for a simpler time." Given the relative forthrightness and crudeness of some of the plot in this instance, and the comparative lack of polish, I don't think it's unfair to say that 'Back to god's country' generally represents an example of this. Yet this is no inherent mark against the title, and still I think Shipman is to be commended for a fine screenplay. To whatever extent we might note some inelegance in the doing, the characters and scene writing are strong and pronounced, and the overall story is firmly compelling in its own right. It's also definitely noteworthy that by Shipman's hand her character Dolores is made to be the protagonist, playing an increasingly bold, heroic role, in sharp contrast with the opportunities presented to women in many contemporary works. I would even say that as the length progresses the tale finds more strength and cohesion, and as if it weren't already before, the back end is compelling and satisfying, with more discernible cleverness and nuance in every way. Not just the storytelling but even the direction and cinematography find their feet and make the most of it when their power is needed most, with marvelous results.

Rounded out with flavorful tinting, and acting that is admirable (if not specifically remarkable), when all is said and done the film really is a minor treasure, and it's easy to see why it's held in such high esteem, especially in Canada. I don't think it's perfect, for among other little elements Curwood's titular figure Whapi is reduced to a bit part; Shipman very slyly reconfigured the plot to center Dolores, but it's still obvious that Whapi is somewhat shortchanged, and in turn, in some measure, the whole. As much as the flick ultimately stands tall on its own, and comes into its own in the last stretch, one can't help but feel that there's a level of ungainliness to the construction that means the sum total doesn't carry the full weight that it ideally should. Nevertheless, part of me even feels bad for suggesting imperfection, because it's hard not to be a tad impressed: I don't think there's much arguing that the production was rather ambitious, taking a woman-led tale of adventure to far-flung destinations and enacting somewhat complex stunts and sequences at a time when the very enterprise of film-making was still finding its proverbial legs. For any manner in which the feature could be said to bear a weakness or shortcoming, far more than not there is so very much to love in these seventy-some minutes, and its lasting value and the stamp that it left on a growing medium far outweigh any faults we might pinpoint. Criticisms are reasonable, but I sit here after watching and can only think of how superb it was.

We all have our personal preferences, and I can understand how the silent era won't appeal to all comers; I'd have said the same myself at one time. If you're receptive to all that cinema has to offer, however, and looking for something a little off the beaten path, then I firmly believe that 'Back to god's country' broadly holds up (with footnotes) as an excellent picture that remains well worth exploring. Be aware of those ways in which it may not be totally flawless, but I quite love it and I'm happy to give my very high and hearty recommendation!