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A feud between the Owens and the Gillettes ends when the last remaining Gillette is killed, but new trouble erupts for the mountain folk with the arrival of a U.S. revenue agent and his assistant. The revenuers search high and low for the secret hideaway where the mountain people prepare illegal alcohol, but end up in deep trouble that only a little movie magic can save them from. Written by
Jim Beaver <firstname.lastname@example.org>
Leading lady Alice Lake suffered an injury on the set of this film, according to an article in the December 1918 issue of Photoplay magazine. She was preparing to mount a horse when the horse stepped on her foot. Fortunately, Alice was standing on a sandy surface at the time and no bones were broken, but her foot was sore for weeks afterward. See more »
Unremarkable two-reeler with self-parody in title cards
This is the one where you come out humming the title cards. Indeed the self-parodying titles are the best thing about this little Arbuckle/Keaton effort. They make us constantly aware that this is a movie and refer to all sorts of dialogue parallel to the on-screen action, involving the likes of the director, the extras, the amount of time necessary to develop a story line, etc.
The bare plot line has revenuers Keaton (his ninth film appearance) and Arbuckle captured by bootleggers and of course, Arbuckle falls for the bootlegger's daughter.
Memorable bits include:
Arrival of the revenue car, with the "clown car" emptying of a score of revenuers; Fatty and Buster in turn almost falling from a cliff; The blowing up of a cabin and its re-assembly through film reversal; The bootleggers elegant soiree dinner; Arbuckle's escape by emulating The Count of Monte Cristo; Keaton and St. John chasing each other up a tree and down the other side.
It's barely amusing and not one of their greater efforts, despite the clever title writing, which might have been an after thought to spark up a tepid preview audience's review. The print used by KINO in their VHS and DVD release (Arbuckle and Keaton, Volume One) is dreadfully overexposed and barely watchable at times. As always the inimitable Alloy Orchestra contributes a dreadful score.
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