Grapevine Video has a more than decent VHS of James Cruze's wonderful movie. A very, very handsome Cullen Landis plays a peaceful Northerner who is turned down by his Mississippian girlfriend, because he doesn't see the point in fighting duels. So he goes to the awesome Ernest Torrence (the guy who all too memorably beat Richard Barthelmess to within an inch of his life in 'Tol'able David')to toughen up. Torrence teaches him to command respect without ever firing a shot or even slapping anyone. The secret is to be able to make people sit down, when you tell them to, and Landis gets to be a specialist! It is all so funny and well-scripted and elegantly paced, and all performers are excellent, not least Mary Astor, a teenager at this point in her life, who is giggly and wiser than words as the baby sister of Landis' girlfriend.
3 Reviews
Enjoyable and well made, if no exemplar
I_Ailurophile12 March 2024
I'd be lying if I said I this movie didn't throw me for a loop at first. Early intertitles and scene writing portend achingly gauche kitsch, an unabashed expression of the notion that the silent era often represented "simpler entertainment for a simpler time." At first blush this seems to have a lot in common with its more middling and unremarkable contemporaries, and knowing nothing about Booth Tarkington or the 1904 play on which the picture is based, my skepticism was on high alert. Just as much to the point, were 'The fighting coward' an earnest drama or comedy that meant what it said, it would definitely not hold up by modern standards. Yet while that is the initial impression James Cruze's film makes, in very short order it becomes abundantly clear that this is a much smarter and more wily type of affair. It can be a hallmark of great satire that it is all but indistinguishable from "the real thing," and as this deals with antebellum Southern Manners and the idea that manly men must have honor, and be willing to fight and kill in pursuit of redress, it definitely treads that delightfully fine line between witty fun and wonky melodrama. One is perhaps reminded of Mark Twain or Oscar Wilde with the sharp tongue this illustrates, and such comparison is surely a credit to playwright Tarkington, filmmaker Cruze, and screenwriter Walter Woods alike.
The feature is of the sort that is more underhandedly clever than riotously funny, and not just because it so dangerously rides the line in its humor between welcome comedy and just outdated values. 'The fighting coward' is swell exactly as it is, however, and it neither swerves from its chosen path nor pretends to be anything it's not. The scenario is built for a good time as mild-mannered Tom is accused of cowardice and subsequently seeks to build a reputation of notoriety to assert himself, and from all angles the title is fabulously well done to always feed into that cheeky concept. The dialogue (as imparted through intertitles, with free-flowing emphasis of colloquial language and accents) and scene writing both lean extra hard into the flavors on hand; if at first that means eyebrow-raising ham-handedness, later that means a reversal of composure for Tom and a slight, backhanded air of severity in the storytelling at large. The narrative that these build is readily enjoyable and flush with very colorful characters who rather defy the black-and-white presentation. Cruze ensures that every scene carries an unexpected level of energy, ever aided by a cast who heartily embrace the tenor with their lively, spirited performances. With that in mind, this is an instance where the exaggerated body language and facial expressions that characterized no small portions of the silent era are quite fitting for the material, bolstering what vitality the proceedings can claim.
While surviving prints do somewhat show the wear of time, otherwise the movie is well made by the standards of the period. The sets and costume design are decidedly easy on the eyes, and the hair and makeup are nicely done, too. I really do appreciate Cruze's direction even in terms of orchestrating shots and scenes generally - often communicating much without any need for intertitles at all. Where stunts and effects are employed they offer a small measure of excitement, and I'm kind of of the mind that even the editing is particularly keen here. Granted, even at its best it's not so vibrant or joyful as to wholly command our attention. An essential exemplar this is not, not least as there's some odd tonal shifts going on even beyond the satirical nature, and the last few minutes seem to drag as drama takes more of a center stage. Still, after a kickoff that's a tad rough, in no time the film begins to prove itself, and 'The fighting coward' maintains a healthy spark all the way through to the end. The faults might be sufficient such that the flick won't change the minds of those who have difficulty engaging with older cinema, but if you're receptive to the style on hand in every way, the end result is fairly worthwhile on its own merits. Don't go out of your way for it, but if you do have the opportunity to watch 'The fighting coward' it's a fine, pleasant diversion for an hour.
The feature is of the sort that is more underhandedly clever than riotously funny, and not just because it so dangerously rides the line in its humor between welcome comedy and just outdated values. 'The fighting coward' is swell exactly as it is, however, and it neither swerves from its chosen path nor pretends to be anything it's not. The scenario is built for a good time as mild-mannered Tom is accused of cowardice and subsequently seeks to build a reputation of notoriety to assert himself, and from all angles the title is fabulously well done to always feed into that cheeky concept. The dialogue (as imparted through intertitles, with free-flowing emphasis of colloquial language and accents) and scene writing both lean extra hard into the flavors on hand; if at first that means eyebrow-raising ham-handedness, later that means a reversal of composure for Tom and a slight, backhanded air of severity in the storytelling at large. The narrative that these build is readily enjoyable and flush with very colorful characters who rather defy the black-and-white presentation. Cruze ensures that every scene carries an unexpected level of energy, ever aided by a cast who heartily embrace the tenor with their lively, spirited performances. With that in mind, this is an instance where the exaggerated body language and facial expressions that characterized no small portions of the silent era are quite fitting for the material, bolstering what vitality the proceedings can claim.
While surviving prints do somewhat show the wear of time, otherwise the movie is well made by the standards of the period. The sets and costume design are decidedly easy on the eyes, and the hair and makeup are nicely done, too. I really do appreciate Cruze's direction even in terms of orchestrating shots and scenes generally - often communicating much without any need for intertitles at all. Where stunts and effects are employed they offer a small measure of excitement, and I'm kind of of the mind that even the editing is particularly keen here. Granted, even at its best it's not so vibrant or joyful as to wholly command our attention. An essential exemplar this is not, not least as there's some odd tonal shifts going on even beyond the satirical nature, and the last few minutes seem to drag as drama takes more of a center stage. Still, after a kickoff that's a tad rough, in no time the film begins to prove itself, and 'The fighting coward' maintains a healthy spark all the way through to the end. The faults might be sufficient such that the flick won't change the minds of those who have difficulty engaging with older cinema, but if you're receptive to the style on hand in every way, the end result is fairly worthwhile on its own merits. Don't go out of your way for it, but if you do have the opportunity to watch 'The fighting coward' it's a fine, pleasant diversion for an hour.
Mary Astor in her hey-day!
JohnHowardReid15 December 2017
Warning: Spoilers
Popular director James Cruze was actually at his most able back in the 1920s with vehicles like "The Fighting Coward" (1924) in which, despite his late entrance, the star, Ernest Torrence, easily manages to steal the movie not only from its nominal hero, Cullen Landis, but even from the rip-snorting villain, Noah Beery.
And it's also nice to see the really lovely Mary Astor as the heroine, way back then!
Despite the noir theme of the story, Cullen Landis makes little impression in the title role, but there's no denying director Cruze's spectacular staging and the movie's overall really sumptuous production values. (Presently available on a 7/10 Grapevine DVD).
And it's also nice to see the really lovely Mary Astor as the heroine, way back then!
Despite the noir theme of the story, Cullen Landis makes little impression in the title role, but there's no denying director Cruze's spectacular staging and the movie's overall really sumptuous production values. (Presently available on a 7/10 Grapevine DVD).
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