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Cecil B. DeMille: The Squaw Man (1914) + The Squaw Man (1931) [ReUp]

Posted By: Someonelse
Cecil B. DeMille: The Squaw Man (1914) + The Squaw Man (1931) [ReUp]

Double Feature: The Squaw Man (1931)
1914 Version and 1931 Version
DVD9 | VIDEO_TS | NTSC 4:3 | 01:13:35 + 01:46:29 | 7,53 Gb
1914: Score and 1931: English - AC3 2.0 @ 192 Kbps | Subtitles: None
Genre: Action, Romance, Western

Director: Cecil B. DeMille

Cecil B. DeMille’s The Squaw Man is a first and a last. The 1914 version is widely regarded as the first feature film made in Hollywood. And DeMille makes the final film under his MGM contract with a 1931 Talkie of the oft-told tale (DeMille lensed a second silent version in 1918) about a British outcast in the West, his Native American bride and events that shatter their happiness. The films vary greatly. The first is packed with events – a horse race, a brawl with a Scotland Yarder, a shipboard fire, a night in New York – that foreshadow DeMille’s ambitious narrative reach. The second hones in on the tender and ultimately heartbreaking familial relationship. Same story. Same filmmaker. A rare chance to experience them in different ways.

IMDB - The Squaw Man (1914)
IMDB - The Squaw Man (1931)

First feature length film out of Hollywood, first film of Cecil B. DeMille, and his first of three treatments of an Englishman ending up in the American west, being saved by an Indian woman. Good movement in the film, fast and surprisingly ample use of editing, nice use of locations, and an amazing special effect where the Englishman sees a former lover and aquaintance in a newspaper ad he is reading. DeMille must have found the story captivating because he did return to it again in 1918 (a silent film lost to history), and a 1931 sound version. Having seen both the 1914 and 1931 versions, the sound version is a little more cohesive and full story wise. This 1914 film however is a groundbreaker, very well made, and on the cutting creative edge of its early time period.
Cecil B. DeMille: The Squaw Man (1914) + The Squaw Man (1931) [ReUp]

The Squaw Man (1914)

The Squaw Man (1914) is the first film by director Cecil B. DeMille, and reputedly, the first feature film ever made in Hollywood (though some film scholars dispute this claim) . These noteworthy "firsts" began when would-be stage producer Jesse Lasky approached Cecil's brother, William C. de Mille (a celebrated Broadway playwright) to collaborate on an operetta. William was managed by his mother, Mrs. H.C. de Mille, who ran a theatrical agency. Since William was committed to another project, she recommended her younger son Cecil, who also had dramatic aspirations, and was not without experience both as a writer and actor. A skeptical Lasky agreed to meet, and he and Cecil quickly forged a bond and decided to work together – not on a play, but a film. Short films were the norm, but it was becoming evident that feature-length films would soon dominate the marketplace. DeMille and Lasky decided to wager on the future of cinema, and with an investment of $26,500, they formed the Lasky Feature Play Company.

Cecil B. DeMille: The Squaw Man (1914) + The Squaw Man (1931) [ReUp]

As their first property, they chose a story that appeared to be an easily exploitable property: The Squaw Man, written by Edwin Milton Royle. It had begun as a successful stage play in 1905 (featuring future cowboy star William S. Hart), and had been revived in 1907, 1908 and 1911. At a price of $5,000, the filmmakers recruited the star of the 1911 run, Dustin Farnum. Because DeMille had no experience as a filmmaker (his apprenticeship consisted of a single day at the Edison Studios), Oscar Apfel was brought along to co-direct, and to help initiate the producers into the world of filmmaking.

Cecil B. DeMille: The Squaw Man (1914) + The Squaw Man (1931) [ReUp]

In 1913 (when The Squaw Man began filming), plenty of motion pictures were being filmed outdoors, but generally within driving distance to the studios in New York and New Jersey. DeMille recognized the power of exotic scenery and intended to use sweeping plains and imposing mountains as the key visual component of his film, so he boarded a train west, bound for the picturesque-sounding Flagstaff, Arizona. Unfortunately, Flagstaff failed to deliver such awesome vistas. Discouraged but not broken, De Mille, Farnum & Co. remained on the train until it reached the end of the line: the junction city of Los Angeles. They drifted into the sleepy community of Hollywood and rented a large barn at Vine and Selma Streets for $200 per month. The barn was the seed from which Paramount Pictures would eventually grow, and still stands today, preserved as a museum of early Hollywood filmmaking. On December 29, 1913, the cameras began to turn.

Cecil B. DeMille: The Squaw Man (1914) + The Squaw Man (1931) [ReUp]

The melodrama concerns itself with the honor of Captain James Wynnegate (Farnum), a peer of England. When his cousin, Sir Henry (Monroe Salisbury) embezzles money from an orphans' fund to pay his gambling debts, James accepts the blame and is banished from high society. When the ship upon which he is traveling burns and sinks, James is rescued and taken to America. Disgusted by the crime and chicanery of the big city, he accepts a Westerner's invitation to travel with him back to the plains. The sophisticated Britisher is at first mocked, but quickly earns the respect of the rangehands, with the exception of the villainous rustler, Cash Hawkins (William Elmer). When Nat-U-Rich (Red Wing), a native American woman, saves his life, they fall in love and are married. Suffering financial hardship, James's future seems grim, until a dying confession, an unexpected reunion with an old flame (Winifred Kingston) and a fateful shoot-out bring the film (already bursting at the seams with narrative) to a surprising and elaborately plotted resolution.

Cecil B. DeMille: The Squaw Man (1914) + The Squaw Man (1931) [ReUp]

Cecil B. DeMille would later become synonymous with grandiose spectacle, and even in The Squaw Man, one detects his strong visual sense. To add scale and drama to scenes in a small western town, he constructed a set for the depot/general store within a few feet of a roalroad track, so that scenes filmed there are punctuated by a roaring steam enging passing almost through the set.

Even in his first film, DeMille displayed a keen eye for lighting (influenced by the stage plays of David Belasco). Using rudimentary techniques, DeMille and cinematographer Alfred Gandolfi managed to the effects of firelight and candlelight so that the visual impact of their western was not limited to the quantity of actors on screen, but the quality of the compositions in which they are presented.

Cecil B. DeMille: The Squaw Man (1914) + The Squaw Man (1931) [ReUp]

Upon the completion of The Squaw Man, the producers (and any exhibitors who screened the film) were shocked to find the film periodically shifting up and down on the screen. The inexperienced DeMille and Lasky prepared to file a lawsuit against the Eastman Kodak Company. They consulted film pioneer Sigmund Lubin, who explained that the defect was not the film. "You used two different cameras, didn't you?" asked Lubin, according to Terry Ramsaye's book A Million and One Nights. "That's why…two different frame lines – that makes the picture jump." DeMille made sure the cameras were properly calibrated after that, and Lubin secured a lucrative contracted to "fix" the negative and process all the distribution prints of the film.
Cecil B. DeMille: The Squaw Man (1914) + The Squaw Man (1931) [ReUp]

The Squaw Man (1931)

A Western with the darkness of a film noir, The Squaw Man (1931) hits few happy notes as its story travels from an aristocratic England of fox hunts and charity balls to an American West of racial tension between Indians and white settlers.

Cecil B. DeMille: The Squaw Man (1914) + The Squaw Man (1931) [ReUp]

James Wynnegate (Warner Baxter) is a British captain whose love for Diana Kerhill (Eleanor Boardman), a woman married to his cousin Henry (Paul Cavanagh), creates a potentially volatile situation between the three. Determined to do the noble thing, James flees to America, where he starts a new life as Jim Carston and falls in love with a "primitive," beautiful Indian squaw Naturich (Lupe Velez) after he saves her from the abusive clutches of local cattle rustler Cash Hawkins (Charles Bickford). The couple set up a Wyoming ranch and raise their half-breed child (Dickie Moore). Jim appears to be content, until former flame Diana travels to America to tell him the news of Henry's death and calls his new life into question.The Squaw Man was a sound remake of Cecil DeMille's 1914 debut feature, which became a box-office smash upon its release. The first Squaw Man launched DeMille's movie career as a director making him as famous a box office draw as D.W. Griffith as well as a consummate symbol of Hollywood's Golden Age. It also launched the career of his producer Jesse L. Lasky and the Famous Players-Lasky Co., which went on to become Paramount Studios. The 1914 Squaw Man was also the first feature-length picture to be made in Hollywood. Prior to the 1931 version, the film had already been remade by DeMille in 1918, making him the only film director in film history to make the same film three times. All three film versions were based on a Broadway play of 1907 which starred cowboy actor William S. Hart as Jim's nemesis, Cash Hawkins.

Cecil B. DeMille: The Squaw Man (1914) + The Squaw Man (1931) [ReUp]

DeMille's lead actress from the 1914 Squaw Man, Winifred Kingston, was even featured in a bit part in this 1931 remake, of which DeMille claimed, "I love this story so much that as long as I live I will make it every 10 years." In actuality, DeMille was said to be tremendously depressed at the prospect of making the film again, and working with the difficult Velez, reportedly as tempestuous off screen as she was in her many onscreen roles as the "Mexican spitfire." But he was anxious to quickly get out of his contract to MGM by completing this final film for the studio.

Cecil B. DeMille: The Squaw Man (1914) + The Squaw Man (1931) [ReUp]

The 1931 Squaw Man is often considered the weakest of the three DeMille productions, with its rather lethargic pacing and creaky dawn-of-sound technology. Early scenes in England are especially plodding, but the film quickly changes tone and becomes more engaging when Capt. James Wynnegate/Jim Carston travels to America and a feud develops between the cosmopolitan Englishman still tragically in love with Diana and the villainous Hawkins.

Cecil B. DeMille: The Squaw Man (1914) + The Squaw Man (1931) [ReUp]

The original two Squaw Man productions had been cast with Native American actors, according to DeMille's wishes, to generate authenticity. But by the time of the third remake's release in 1931 the more standard Hollywood practice was to use non-Native Americans to play such roles, including Mexican actress Velez as Naturich. The film also shows signs of its outmoded views, laced with casual racism that equates Native-Americans with "primitivism" and suggests Naturich's race gives her a limited understanding of the modern world.
Cecil B. DeMille: The Squaw Man (1914) + The Squaw Man (1931) [ReUp]

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