A girl is saved by a miracle after she falls from a cliff in the Argentine Andes, and is blessed with healing powers. A shrine is built on the site, and a whole city grows around it, rich ... See full summary »
A girl is saved by a miracle after she falls from a cliff in the Argentine Andes, and is blessed with healing powers. A shrine is built on the site, and a whole city grows around it, rich with gold from the grateful worshipers. Ruiz, an evil and sadistic general, captures the city, confiscates the gold, and closes the shrine. But the Gaucho, the charismatic leader of a band of outlaws, comes to the rescue. Written by
John Oswalt <email@example.com>
A new preservation print of the film, created by the Museum of Modern Art, was first shown at the Academy of Motion Picture Arts and Sciences in 2008. It has subsequently been screened at MoMA (2008), the San Francisco Silent Film Festival (2009), and the National Gallery of Art (2009) to promote the new book "Douglas Fairbanks" (UC Press/Academy Imprints, 2008) with the author introducing the screenings. See more »
"The Gaucho" (1927) by F.Richard Jones putting in scene Douglas Fairbanks it was at the time a kind of almost ballet movie, concerning countryside landscapes in Argentine with cattle and horses. Indeed what it was possible also to a busy adventurer like his character brought another time to audience, in such a character of a smiling enraged gentleman. Saving people in local unrest by his phlegmatic pragmatism in the fight for making a quite still concealed justice of land in relationship with sacred ritual of local mingled faith. Instinctively for a better increase of cohabitation with less weaponry and more physical agility of the body on his horse, fighting as a masked creole friend of the poor's, whose sentimentalism was as a kind of internationalism, somewhat displaced from a social liberation struggle like that. Beyond his own measure and compassion, turning out the unrest at his own capacity and getting things to his wife, as though her lover apparently change his mind stopping it, but finally accepted by him after the social turmoil.
It seems to be a silent movie already displaced from its stillness as guarantee of something of new coming soon, except the hat of Fairbanks which inspires confidence on the pampas as a kind of brave and peace maker, before it had happened too so briefly as possible and soon or later. What does represent the personality of this character in that movie ? Something of the enthusiasm lost for a while with the transition from the silent pictures, a kind of masked temperament reckoned by everyone of the time as righteous integrity, from a horseman who likes being an intruder on the social turmoil, but from whom the diplomatic intervention is not out of the struggle for free speech concerning peasant local religiosity. As if it was a kind of such a specific and well represented low power against any oligarchy on the pampas, told from the time of the roots linking to such a privileged inhabitants not far away of the still recent influence of colonization from abroad. Even if populism at its beginning also it is as bringing a necessary impulse in the intoxicated souls, as strength for smashing support in civil latent unrest for a small war between contenders of both sides.
For all this he is a popular figure in the middle of iconoclasts, representing the request with good conviction for maybe the impossible neutrality, that couldn't facing disturbing spirits like the soul of an impossible twin liberator for any quarrel sharing the way of means of wealth. He represents the prefiguration of the symbolic new life for the countryside, nowhere in South America with the myth of the coming industrialism from North America. He is the gate of the foreigner owner that took the empathy of the local people, as liberal exception still half colonized and masterminded by brotherhood at the place of paternalism. That's it. Fancy as outlooked caricature of such a diversified single hero in his sensibleness and mystery fashion, from the moment that took the weakness of obscurantism and whose own fearless is fighting the most powerful than himself in his melancholy.
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