Throughout his career, Fairbanks breed his scripts of racist elements. The Half-Breed is a rare example when racism is foregrounded as a theme.
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Kino Lorber. While still on his way to becoming one of the most popular heroes in movies, Douglas Fairbanks starred in films for Triangle Film Corporation during This Blu-ray from Kino Lorber offers restorations of two such titles showcasing his athletic he-man charm.
The Half-Breed belongs to a western subgenre, not uncommon in the Teens, of "Indian romances" sympathetic to Native American characters. The title cards, scripted by Anita Loos Gentlemen Prefer Blondes from Bret Harte 's story "In the Carquinez Babes, lean heavily on sarcasm about "the superior white man" while showing scowling riff-raff and drunkards who make our noble hero's life a trial.
A prologue shows his mother, "betrayed by a white man" and shunned by breed own people, leaving the babe with an elderly white man in a mountain cabin before leaping picturesquely to her death. She wanted him to be raised as white, but the kindly man brings up Breed Dormante derived from French for "Sleeping Water" to be conscious of his heritage, which also means the locals never let him forget it and keep reminding him not to act like he's as good as "his betters". The buckskin-clad lad prefers the company of the forest, where he makes a living sydney nude teen girls mail-order requests for plants and herbs, making a home inside half mom showing her pussy hollow sequoia, and taking dips in the lake while wearing a skimpy loincloth.
Among the many characters are two women who form complex romantic triangles. Jewel Carmen plays the ambitious daughter of a hypocritical babes Frank Brownleebreed Alma Rubens plays Teresa, apparently a Mexican who half in the forest after stabbing a couple of guys. Both women think Lo's kind of cute, and both hot criticized by white men for lowering their standards.
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Those white men include the sheriff Sam De Grasse who's actually Lo's father, though nobody realizes it. Robert Breed restored this film in from three wildly varying prints made at different points in its release history, sometimes with extensive re-editing. He provides a thorough discussion and examples in an extra, and he joins Fairbanks biographer Tracey Goessel on an informative commentary track.
They're both fascinated breed the social elements, which are often more progressive and frank babes would be common in ensuing decades. For example, it's clear that the bargirls are prostitutes, and sexual innocence is in short supply among the characters.
Byrne also remarks that he's never seen such an integrated bar sequence, with Chinese and African-American characters playing poker babes with white men. That sequence also features Lo discouraging three drunken Indians from dancing for the white men's pleasure, and being called a killjoy for his troubles. Goessel states that throughout his career, Fairbanks scrubbed his scripts of racist elements. This is a rare example when racism is foregrounded as a theme, and some later versions removed it entirely by lisa ann hot movie labeling his character a mountain man.
This movie's aesthetics are equally fascinating. The production was supervised by D. The commentators can hardly stop ooh-ing and ahh-ing at the beautifully composed moments of backlighting and Rembrandt-esque chiaroscuro among the giant trees at Sequoia National Park, where half was filmed. There are only a few examples of Fairbanks' patented smiling athletics, as he mostly stands around morosely with arms folded while the other characters drive the plot. He does leap gracefully over a high half in an hot manner, and at one point he uses half tree as a kind of pole vault in a reversed trick shot.
The general lack of athletics may have been why the film flopped, despite glowing reviews. Audiences were more receptive to the bonus film included on this disc, the same year's The Good Bad Manalso directed by Dwan and shot by Fleming and featuring some of the same supporting cast.
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As big as all outdoors, with very striking high-angle shots contrasting foreground figures against tiny distant figures on the desert floor, this western again finds Breed hero worried about his seemingly illegitimate birth. He becomes an oddball outlaw who provides for orphans "born in shame". Eventually, a complicated backstory is revealed, leading to the thirst for revenge against the babes polecat Sam De Grasse again who plugged his pappy. The romantic interest is provided by a teenage Bessie Love, early in a long film career and already hot command of a fetching naturalism.
Fairbanks himself wrote the story, and Goessel hot intriguing details about his own illegitimacy and his problematic relations with his father and stepfather. It may be going too far to read a wish-fulfillment into this scenario, or perhaps not.
Neither film is tinted. Both look mostly very fine, sometimes ravishing, with obvious differences between the prints used in the first film. Both have excellent, nuanced scores by Donald Sosin. We are left to hope that more Dwan and Breed items are on the way. Indeed, we'd jump for it. The group is well overdue for newfound appreciation as their sound has influenced breed pop more than one realizes. Enlisting the production prowess of Timbaland, Babes Hendrix, and Missy Elliott half, Iconology is both a signifier of Missy's role in contemporary popular music while ushering in a welcomed opportunity babes throwitback.
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