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The Jack-Knife Man (1920)

Approved | | Drama | 1 August 1920 (USA)
A lonely old riverboat man is left a child by a dying mother. The old man and the boy grow to love one another. The village snoop feels the child would be better off in an orphanage and the... See full summary »

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Cast

Cast overview:
F.A. Turner ... Peter Lane (as Fred Turner)
... 'Booge'
Bobby Kelso ... 'Buddy'
Willis Marks ... Rasmer Briggles
... Widow Potter
James Corrigan ... George Rapp
... Lize Merdin (as Claire MacDowell)
... The Doctor
... Mrs. Marcia Montgomery
Irene Yeager ... Susie (as Irene Yaeger)
Carol Marshall ... Jane
Anna Dodge ... Undetermined Role (as Mrs. George Hernandez)
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Storyline

A lonely old riverboat man is left a child by a dying mother. The old man and the boy grow to love one another. The village snoop feels the child would be better off in an orphanage and the sheriff is sent to try to take the child away. Written by Anonymous

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Drama

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Approved
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1 August 1920 (USA)  »

Also Known As:

Hittebarnet  »

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1.33 : 1
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User Reviews

 
Fine performances from all extracted by King Vidor.
25 February 2001 | by See all my reviews

Veteran stage performer Fred Turner portrays Peter Lane, a shantyboat resident who is unexpectedly placed in the position of caretaker for a three year-old boy, due to the death of the boy's mother, and who faces a wide range of challenges in this extraordinarily well-made and scripted 1920 silent, which benefits from the directing and writing skills of King Vidor. Strong acting is in evidence from Turner, Harry Todd as a good-hearted tramp whose role becomes very important, Florence Vidor, Lillian Leighton and James Corrigan, as the film showcases a large dose of clever writing, building to a satisfying and sentimental climax. Most of the work's activity takes place in Lane's houseboat, which possesses the healing powers of home to him, as he attempts to ward off the nuptial blandishments of an attractive widow. The film is marked by a very gentle nature, is graced with delightful moments of humour and is an excellent early example of Vidor's proletarian stylistics and his mastery of montage, all enhanced by the entirely appropriate original organ score performed by Rosa Rio.


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