On the Night Stage

This is an excellent five-reel number of the Mutual Masterpieces. In it Robert Edeson plays the role of the "Sky Pilot." He is supported by Rhea Mitchell in the feminine lead, Hershal Mayhall as "Handsome Jack" Malone and William S. Hart as "Texas." The scenario was made by Thomas H. Ince and C.G. Sullivan, and the production was directed by Thomas H. Ince. The New York Motion Picture Corporation (Kessell and Baumann) present the production, of which they may be justly proud. The type chosen for the role ot "Texas" is not exactly satisfactory. A more red-blooded, devil-may-care type might have made a stronger impression. Robert Edeson will delight audiences, especially where he wipes up the floor of the dance hall with "Texas" and his associates. - The Moving Picture World, April 3, 1915

Minister Robert Edeson (as Austin, the "Sky Pilot") arrives in a bawdy Wyoming town, and books himself a room in the local saloon. At first, the locals make fun of Mr. Edeson's prayerful ways; but, sexy saloon dancer Rhea Mitchell (as Belle Shields) warms up to him. This doesn't sit well with stagecoach robber William S. Hart (as Texas), who was planning to wed Ms. Mitchell. Seeing the light of the Lord, Mitchell leaves Mr. Hart, and her dance hall days, for a life with Parson Edeson. Eventually, the white light shines on Hart, too. Then, the surprisingly fickle Mitchell begins to step out with tempting Herschel Mayall (as "Handsome Jack" Malone); and, Hart rushes to defend his ex-girlfriend's honor.

Reginald Barker's "On the Night Stage" is no "Bargain", but it does have Hart; who was, at the time, the biggest box office star in the country. Hart performs his part well. But, the scenario is absurd; with the weak-willed "Belle Shields" saddled with an increasingly most difficult to comprehend motivation.

*** On the Night Stage (4/15/15) Reginald Barker ~ William S. Hart, Robert Edeson, Rhea Mitchell

On arrival to a town, a pastor converts, then falls in love with, a saloon dancer, the once girlfriend of William S. Hart's character. Nearly half this early feature-length film is the sequence where the pastor converts the saloon dancer, while Hart drinks, then fights, to reconcile himself over the matter--all within the saloon. It's good pacing, but not much else happens. There's some supposed dilemma that Hart has over the conflict between his thievery and his new friendship with the pastor--hardly stirring. Along with "The Bargain", this was one of Hart's first feature-length Westerns. Both begin with a theatrical introduction of the actors and then a scene of Hart robbing a stagecoach. It took a few minutes into "On the Night Stage" before I was sure I wasn't somehow watching "The Bargain" again.

Actually a three-lead film: Hart, Edeson and Mitchell all feature about equally. Surprisingly modern for 1915 in its use of intercutting, pacing and framing -- I guess someone had taken notes on Griffith's work. While Edeson is viewable in a few other films (e.g., THE TEN COMMANDMENTS), I don't see any of Rhea Mitchell's other features available, which must be a loss -- she's got the face and the chops of an Anna Q. Nilsson, we just don't have the films.

ON THE NIGHT STAGE does betray its age a bit when Hart goes riding at sunny midnight, and there is certainly a little footage missing [e.g., when the villain shoots at him, we don't see him fire back, but it is immediately clear that this happens]. Plus the very stagey introduction of the principals. But not of these interfere with our viewing pleasure.

On the whole, I'd rank this among his better films, despite the picture quality being just fair/good (most) to poor (beginning of reel 4). It's very difficult to imagine what this film looked like new and unspoiled, but the acting and photography still shines through the grime.

Recommended 3.5 / 5