John S. Robertson was an actor and director who enjoyed good reputation in the early decades of the twentieth century of the last millennium, when silent movies then was all that was known in the film art. Canadian-born filmmaker shot a lot of film exercises, worked during the transition from silent film to talkies, and led to some artistic luminaries then. It is the case of this film, which adapts the literary creation of Grace Miller White, and which has in its cast as acting first asset the mythical Mary Pickford, who was part of the founders of United Artists. The portrayed history presents the experiences of a wealthy family in US territory, whose patriarch built his house on top of a mountain, and lives bitter by a bunch of squatters who have settled at the foot of it, constantly trying to get rid of those people, for him undesirable individuals. Things get complicated when one of the occupants, beautiful and passionate young girl, gets emotionally attached to his eldest son, and even take care of the first born child of the sister of him, his grandson. The film is a good sample of the kind of pictures that were then made on American soil, decent and sober film, besides having in its cast the big female star of those days, essential Mary Pickford.
When the movie gets started, after a few Bible verses about respecting the neighbors, we see Elias Graves (David Torrence), having lunch with his children Frederick (Lloyd Hughes), Teola (Gloria Hope), besides the young Daniel 'Dan' Jordan (Robert Russell), her suitor. Elias lives upset by squatters living at the foot of the hill where his family resides; Dan, to please him, tries to get rid of them, along with Frederick, they both meet Tessibel 'Tess' Skinner (Pickford), small and stout girl, who puts them out of "her" land. Elias, owner of the land, requires all fishing nets are seized, and thus expel the invaders by hunger; while that is done, Teola urges Dan to marry. When Dan gives approval for the wedding, he is killed by Ben Letts (Jean Hersholt), invader who shoots him and blames Orn Skinner (Forrest Robinson), father of Tess. In the village the news spreads, Mr. Skinner is imprisoned, prosecuted without many hopes to return free, Tess suffers, while Frederick, who approached her, is attracted to the girl, the attraction is reciprocated, and he promises to look for her after finishing his studies. Letts, in the absence of the father, tries to marry Tess, and even attempts to rape her, but is stopped, while Teola, very affected, gives birth to Dan's child. Tess must take care for the poor baby, and hide her feelings for Frederick, but with a happy ending.
Just by starting the picture we see a personal dedication from the very Mary Pickford, in which, among other things, informs us, his audience, that Tess was her favorite interpreted character among all who she got incarnated, and at the end of film is not hard to imagine why. The central character of the film is delineated immediately when we appreciate barely a hint of personality, is presented to us eloquently when we see her braiding to death with poor Dan, take him to the ground and fill him with blows and kicks. Impossible not be surprised to see a petite female, flimsy-looking, beating a man who is much more tall than her (funny will see how the noble canid who saved her from a safe outrage, huge Great Dane, to stand on two legs and rebases her in size), attitude repeated many times during the feature; but is portrayed in her first action we see, do not hesitate and almost enjoys physical activity as unique, especially for a girl of his characteristics, because Dan is not the only one who tests her ardor in the first sequence. So we see the great Mary Pickford in her interpretation, in which even her walk is modified to generate the character of the fiery and rustic Tess, young lady of null manners and delicacy, chimeric hygiene habits, but immeasurable passion and kindness, characteristics outside the normal roles embodied by Pickford; maybe that's why, this being a distinct role, has been her favorite, being also the most challenging. Interesting is to appreciate the evolution of the character, the temperamental and almost wild girl from the start, to the noble and selfless young woman who takes care of the unfortunate orphan son of Dan. Certainly the whole acting burden is on her, it is indeed her film, was a test of character, and Pickford behaved at the height of his legend; whom was founder of United Artists, with her husband Douglas Fairbanks and immortal titans like David Wark Griffith and Charly Chaplin, becomes absolute protagonist of the film, her performance is strong, concise, compelling, it is easy to understand why by far she was the most beloved by the public at the stage of silent cinematic firmament, most dazzling cinema star then, and the best paid female star. It is worth mentioning that it was not her first time taking main role in a film, because a year earlier, in Little Lord Fauntleroy (1921), directed by Alfred E. Green and her brother Jack Pickford, took a similar responsibility. When the sound arrived to the seventh art, she adapted and incarnated more adult roles, something that viewers did not see with such good eyes. Anyway, she is undoubtedly one of the biggest female names of film scenario of those decades, and here we have a good justification for this assertion.
Robertson in his film proves to be a sober audiovisual narrator, obviously considering the resources and the availability of the time, a rather austerity in visual narrative is appreciated, where still shots dominate almost the entire film. The simplicity of his narrative is manifested in the absence of travellings, or following movements, in the absence of dynamism in the camera, a simple narrative language, sober, not glitzy or spectacular. This is however compensated by proper treatment of what is portrayed, no longer on the visual level but on the level of montage, structuring the story, and the plot, events, they feel properly connected; the jump of one sequence to another, from one moment to another, and the difference of sentiments contained therein, feels smooth, contrast generated when moving from one point to another (for example, after the death of Dan, immediately we see Teola, cheerful and preparing the invitations for a wedding that will never happen) gives greater strength to the story, increases the interest in the feature. But if something regrets who writes, is that scarce on the picture, and much, of close-ups, for the very proper performance of Pickford had been positively enhanced and reinforced with a proper of close-ups work, inundating the entire screen with her beautiful and expressive face; but again, the media and general still shots govern the film. That said, we can state that in fact is not the staging what stands out in the film, the main attributes are a solid story and even stronger performance of the protagonist, then already possessor of extensive filmography, abundant short films and not a few features integrated the career of the female acting celebrity. As initially said, this is a good example of average film made then in Hollywood, it is not a wonder as art cinema itself, but fulfills its purpose, attracts, entertains, is a decent entertainment, Hollywood film decline not yet begun; and thus, in defense of the filmmaker, we can say that this was the typical American cinema then, little deploy of true art. Without being mediocre pictures, are entertainment pictures, far from European cinema excercises, full of art in some cases; in USA, in that moment, interpreters used to shine more than directors. So we are presented with the story, the story of some unfortunate beings, victims of circumstances, noble beings some, low and contemptible other ones, such as Letts, and in the middle of all, she, the compendium of virtues, devotee of God, unblemished female, will find a happy ending in the arms of her lover. It was not surprising that the end of the picture is a happy ending, a happy corollary to all hardships and difficulties experienced, correct finishing touch for a film that although it is not near the great silent masterpieces, is a proper exercise with one of the greatest actresses of old American cinema. As a final detail, worth mentioning that this film is the second version of the story, the first was shot in 1914, also played by the Pickford. Filmic royalty.
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