"The IMDb Show" Thanksgiving special: Alan Tudyk ranks his top five droids of all time, we track down the cast of Roman J. Israel, Esq., and we share our favorite Thanksgiving TV episodes with memorable sitcom families.
Amarilly comes from a large family in a working-class neighborhood. She is happy with her family and her boyfriend Terry, a bartender in a cafe. But one day she meets Gordon, a sculptor who... See full summary »
Captain Wynnegate leaves England, accepting the blame for embezzling charity funds though knowing that his cousin Sir Henry is guilty. Out West he and the Indian girl Nat-U-Rich save each ... See full summary »
Cecil B. DeMille
The first part tells the story of Moses leading the Jews from Egypt to the Promised Land, his receipt of the tablets and the worship of the golden calf. The second part shows the efficacy ... See full summary »
Cecil B. DeMille
Charles de Rochefort,
Trader Ned Stewart's father Graehme was unjustly accused of adultery and killed. Ned sets out to avenge his father but is captured and send on "la longue traverse," the long journey to ... See full summary »
Cecil B. DeMille
Captain Wynnegate leaves England, accepting the blame for embezzling charity funds though knowing that his cousin Sir Henry is guilty. Out West he and the Indian girl Nat-U-Rich save each other from the evil cattle rustler Cash Hawkins and marry. Lady Diana shows up to announce Sir Henry's death. After Nat-U-Rich's suicide Wynnegate takes his half-breed son and Lady Diana back to England as the new Earl of Kerhill. Written by
Ed Stephan <firstname.lastname@example.org>
The original studio facilities for Paramount Pictures grew out of the barn on the corner of Selma and Vine streets. When Paramount moved to its current site in 1926 (further east, off of Melrose Avenue), they brought the barn with them. See more »
Early in the film, when Captain James Wynnegate (played by Dustin Farnum) is on board the sailing ship, he writes a note asking that a "check" enclosed with the note be cashed for him. Since Captain Farnum is an Englishman, he would have spelled the word as "cheque", the standard British spelling. (Moreover, the handwriting in the note is scarcely that of an educated British military officer: the lines of writing are crooked and the letters are crudely formed.) See more »
"Come out west where folks keep their hands in their own pockets"
The Squaw Man may be best remembered as the first picture directed by Cecil B. DeMille, and the first made in Hollywood, then a convenient wilderness. It's a rather inglorious debut on both counts, and nowadays is perhaps most interesting as an example of the early western feature.
In pioneer westerns of the 20s and 30s the main theme was usually the exploration of the unclaimed west, but in the 1910s the most common set-up was of a civilized easterner heading to an already-settled but still unruly west. This is the case in Griffith westerns like The Battle of Elderbrush Gulch (1913), as well as later features by DeMille such as The Virginian (1914) and A Romance of the Redwoods (1917). It's worth bearing in mind that, in this early part of the twentieth century the "old" west would have been a fairly recent memory, and the western was then more a lesson in geography than history. It's also rather apt given the circumstances of production companies from the east going out west and probably also the reason why they are called westerns and rather than being some sub-genre of the historical feature.
While the outsider in westerns of this period was typically a lady or gentleman of New York or some other east coast city, the titular squaw man is an Englishman. There are a few establishing scenes set in England, with a plot regarding an embezzlement from an orphan's fund that is very reminiscent of Griffith's biograph shorts. This is not surprising, as Griffith took his themes from the American stage where he began his career, and The Squaw Man is based on a play. The trouble is, Griffith was a master at making these theatrical stories cinematic, whereas the adaptation of The Squaw Man is rather flat and weak. The plot takes bizarre, improbable and pointless turns, sometimes getting bogged down in subplot and at other points zipping ahead making the narrative incomprehensible at times.
As noted this was Cecil B. DeMille's debut as director, although this is perhaps misleading. It was co-directed by Oscar Apfel, who had already made two-dozen shorts for Edison and Pathe. Accounts of the production state that Apfel handled the technical side of things, whereas DeMille coached the actors. DeMille may therefore be responsible for some of the fairly decent naturalistic acting on display here, although there are some lapses into appalling pantomime. There are some DeMille style attempts to photograph the imagination, with double exposures showing the hero dreaming of home, one of which is very effective, with a picture in a magazine morphing into the woman he has left behind. There also seem to be some experiments with lighting going on with some contrasting brightness and dimness in interiors, perhaps a forerunner of the Rembrandt lighting that would soon become a DeMille trademark. It is of course very difficult to accurately attribute ideas, although DeMille is also credited as "picturizer" (i.e. screenwriter) and producer.
In spite of these meagre marks of quality, as a whole The Squaw Man lacks excitement and real drama. In comparison DeMille's first feature as solo director, The Virginian, is a far more solid production, and although made only a few months after The Squaw Man it is light years ahead in style.
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