OLD IRONSIDES (1926)

Just in time for the 1776 Independence Sesquicentennial, this seafaring pageant takes on the Barbary Pirates off ‘the shores of Tripoli’ in America’s first international engagement. James Cruze, hoping to repeat his phenomenal success with THE COVERED WAGON/’23, got the prestige assignment from Paramount, spent enormously (2 mill.), lost a caboodle, then his A-list standing as director. Likely as not, the ‘Roaring ‘Twenties’ Zeitgeist done him in; too stolid, too patriotic, too corny for Flaming Youth flappers. But this handsome, big-boned production deserved better. Charles Farrell, picturesquely handsome with his hair pulled back in a Revolutionary ponytail, nabbed his first leading role (stardom came next year in 7th HEAVEN/’27) as a farm boy off to join the crew of THE CONSTITUTION when he’s shanghai’d by Wallace Berry, ‘Bos’n’ of THE ESTHER, a commercial vessel. George Bancroft (in pageboy & earrings) and Esther Ralston are also on board for a first half that’s enjoyable if slightly pokey, showing young Farrell’s none too sentimental seaman’s education. But the film steps up for its second half, once they’re captured by the pirates and in the thrilling sea battle rescue that follows when THE CONSTITUTION makes port. It’s dandy stuff, much of it accomplished using real frigates sent thru their paces, masts & sails stretched to the sky. The model effects, fine for the period, are almost insulting next to so much of the real thing.

ATTENTION MUST BE PAID: In a great piece of stunt casting, heavyweight champ George Godfrey, the only black guy on the boat, plays the cook. No surprise there. But once they’re captured (and now figuratively all in the same boat), he shows real leadership qualities, planning & leading the escape, giving orders to the other leading players (all white) who’ve joined him. Pretty unusual for the period.

DOUBLE-BILL: D.W. Griffith also flopped with a Revolutionary War epic, AMERICA/’24. (In his case, deservedly so.) Together, these two films gave rise to Hollywood’s long standing aversion (even now) to films where men write with quill pens & wear powdered wigs.