British cinema is what it is because of its relation to
American cinema. For reasons economic, artistic and linguistic, British film
makers have always had an uneasy relationship with American filmmaking, half envious,
half slavish, playing along with the game to a set of rules not quite
understood. A minor, but diverting illustration of this is the British western.
With only a few exceptions British westerns can be divided up into three
categories: straight attempts at westerns, adaptations of the western milieu to
British Empire settings, and parodies.
Western novels were popular in Britain even before the
arrival of the movies, as well as the frontier novels of James Fenimore Cooper
and Longfellow’s poem Hiawatha, and the visits to the country of Buffalo Bill
Cody and his Wild West show had created a romantic enthusiasm for the western
myths and values in many in Britain at the turn of the century. The first
British films to reflect this interest were a music hall sketch starring the
legendary Dan Leno and Herbert Campbell as ‘Indian braves’, Burlesque Attack on
a Settler’s Camp (1900), and a grotesque short comedy, The Indian Chief and the
Seidlitz Powder (1901), in which the Chief (sporting a peculiar head-dress)
enters a store, swallows the contents of a bottle of aperient powder, inflates
and explodes. A copy of this latter oddity survives, unlike the great majority
of the thirty or so westerns made in Britain between 1901 and 1915, all of them
one- or two-reelers. Lost, for instance, is the next film on a roughly western
theme to be made, Joe Rosenthal’s Hiawatha (1903), made during a visit to
Canada and enacted by members of the Ojibwa people. Rosenthal also made Indians
Gambling for Furs – is it War or Peace? at the same time.
Such curiosities aside, the key period for the production
of British westerns was to be 1908 to 1913, when American films were becoming
an increasing economic threat and began to demonstrate an evident hold on
British audiences that British films seemed to lack. Had they but known it,
British film makers had played their part in the creation of the American
western, as it is probable if not absolutely proven that the Sheffield Photo
Company’s exciting chase dramas of 1903, A Daring Daylight Burglary and The
Robbery of the Mail Coach in particular, made a great impact in America and
were a strong influence on The Great Train Robbery, the archetypal western. The
latter film, with its highwayman protagonist, indicated a possible route for
British films to follow if they were to challenge the Americans on their own
ground. Various producers were indeed to film stories of the medieval outlaw
Robin Hood and the eighteenth century highwayman Dick Turpin, but somehow the
historical trappings had a lack of conviction, and it was not until the 1950s
and the television series The Adventures of Robin Hood that the British came up
with the depiction of a native myth that could match equivalent American
western product for local popularity. A halfway solution came the following
year with the Charles Urban Trading Company’s Robbery of a Mail Convoy by
Bandits (1904), which located its thrills in Australia, the robbery being
perpetrated by bushrangers. British film makers seeking to recreate Western thrills
would turn again to the colonies in later years.
British westerns began to appear in some numbers from
1908. The chief producers were the American Charles Urban, the most
cosmopolitan film maker in the British film industry, who might have been
expected to show such an interest, and more surprisingly the Hepworth
Manufacturing Company, based in rural Walton-on-Thames and rather better known
for delicate character dramas, happy comedies, and its use of the English
countryside as a background. One of the few British silent westerns to survive
is Hepworth’s The Squatter’s Daughter, made earlier than the main body of
silent westerns in 1906 (it is held by the BFI National Archive).
It was directed by Lewin Fitzhamon, who made the classic
Rescued by Rover (1905). Rumoured to have been shot on Putney Common, London,
the action opens with Indians crawling through undergrowth towards a ranch
house. They beat down the fence and spear the men inside, taking a girl (Dolly
Lupone) captive. She is taken to their chief, who declines to kill her with his
spear, and instead she is tied to a stake to be burnt. Her father (Fitzhamon
himself), riding past, hears the commotion, shoots down the Indians and rescues
his daughter from the stake. The film is less than sophisticatedly made, with a
particularly unconvincing ranch house, pantomime costumes and antics for the
Indians, and the unmistakable greenery of the English countryside. At one point
during the Indian camp scene a sailing boat goes past in the background. But for
all its crudities it is quite exciting in its way, and looks to have been great
fun to make.
Records of the production of British silent westerns are
few, but one such record can be found in Leslie Wood’s 1937 book, The Romance
of the Movies:
British producers set about stealing a march upon their
transatlantic cousins and started making a brand of cowboy and Indian films all
their own – in more senses than one! Many of these ‘horse operas’, as the
Americans call them, were made in Epping Forest and other more or less suitable
locations on the outskirts of London. Old ladies enjoying a quiet picnic on Box
Hill would have their idyll rudely shattered by the war-whoops of a dozen
half-naked Cockney Cherokees suddenly appearing on the sky-line, waving tomahawks
and lusting for blood. Countless ‘Nells of the ranch’ rode in chaps and
Stetsons over the hills at Addington, Surrey, and scores of bad men in check
shirts and sombreros plotted to steal the mortgage on ‘the old mine’ at Friern
Barnet. Somehow they lacked an air of reality when seen on the cinema’s screen
of illusion. The horses, hired from livery stables, were but poor substitutes
for the ponies of the prairie, and the English lanes lacked that barrenness and
dustiness which so stirred the imaginations of the followers of the American
Broncho Billy. For many years the Americans were to send us films purporting to
show English life against backgrounds dotted with eucalyptus trees and cactus
plants and prickly pears; the Knights of King Arthur could chew gum and our
courts of justice were represented as a cross between a three-ring-circus and a
public auction, and we accepted it all without a murmur, apparently because we
either thought the Americans knew more about our national life than we did
ourselves or because, being foreigners, we couldn’t expect them to know any
better, but the cowboy pictures made in Surrey were quickly disclaimed by all
right-thinking cinema-goers.
Wood suggests that the decision to produce westerns was a
response to economic rivalry with American cinema, which seems doubtful, but
there was certainly a panic feeling among British producers that they could not
produce what a global market wanted (with a comparatively small home market
they were heavily dependent on exports), and had to at least to try and make
westerns if that was what the public wanted. Equally a stubborn feeling that
‘whatever they can do we can do just as well’ must have influenced the
decision. After all, as Wood points out, ‘the Western film or the Cowboy-and-Indian
picture as it was known to every small boy, was a sure drawing card’. British
producers just had to have a go. Just such a ‘cowboy picture made in Surrey’ as
the right-thinking were to reject is described by Dave Aylott, who was acting
in and directing films for Cricks and Martin (indeed based in Croydon, Surrey).
This is from his unpublished memoir, From Flicker Alley to Wardour Street:
We once attempted to make a Western picture, and there
were some very good paddocks and corrals on the adjoining estate that we used.
We hired some real cowboy saddles, etc., and managed to get some good cowboy
outfits complete with ‘chapps’. There were some fine long-tailed horses in the
paddock but not one to suit me. I was playing one of the parts, [A. E.] Coleby
another, and Johnny Butt was supposed to be a treacherous Red Indian guide. I
was supposed to have a rough-looking horse that also had to buckjump. We found
the very thing in a gypsy camp and had it brought to the studio. But when we
had saddled it and I mounted, the animal would not move, let along buck. We
tried all ways, even a chestnut burr under the tail, but it was no good. The
gypsy who owned him said he could not understand his being so quiet, and when
we told him to take the horse away as being no good, he said ‘Wait a few
minutes. I’ll make him jump for you’. He dashed out of the gates to a little
general shop a few yards away and when he came back said ‘Jump on his back and
hold tight’. I don’t know exactly what he did, but I have an idea that he mentioned
the word ‘ginger’. Within a few minutes I was giving the onlookers a wonderful
display of buck-jumping. I stuck to him like grim death until he reared right
up and nearly toppled over on top of me as I slipped off. It was along time
before he quietened down. We did manage to finish the film, but never
afterwards did we attempt to make a cowboy film.
The memories of Wood and Aylott view the past with
amusement, but it appears that at the time producers took their task seriously
and hoped for the results to be convincing and commercial. The film Aylott is
describing is ‘Twixt Red Man and White (1910), and that the Cricks and Martin
publicity department at least had confidence in the film be gleaned from its
notice in a trade paper, which gives a good indication of the sort of western
being made in Britain at this period:
‘Twixt Red Man and White. – An incident in the life of a
backwoodsman, with realistic setting and splendid acting. A white trapper plays
cards with an Indian whom he discovers cheating: a struggle ends with the
apparent death of the Indian. The white man, fearing reprisal, hurries back to
the settlement and tells his chums and all make haste to fortify their cabin.
The inert body of the Indian is soon discovered by other members of the tribe,
who swear revenge, and taking the trail, soon arrive at the settlement, which
they immediately attack. A stout defence is offered, and the Indians are kept
in check, but ammunition fails, and to save his comrades the hero of the story,
notwithstanding the entreaty of his chums, gives himself up to the Indians, who
march him off to their encampment, and hastily binding him to a tree, pile
faggots round him, fire them, and enliven the proceedings by starting the weird
‘Death Dance’. But the cheating Indian has in the meantime recovered his
senses, returns to the white man’s settlement and soon hears of his
antagonist’s fate. Accompanied by the rest of the erstwhile defenders, he
follows the Indians to their camp and demands that the white trapper shall be
released, and the quarrel settled by single combat. Each taking a knife, a
terrific fight in engaged in, which ends in the Indian being disarmed. He bares
his chest for the final thrust but the white man offers his hand in friendship,
and what might have ended in a deadly feud is closed by a scene in which
enemies intermingle and swear peace and goodwill ‘twixt red man and white.
The plotting and performances were serious; it was the
British backgrounds that let them down. That, and a certain lack of confidence
which was making itself felt throughout British production, and could only be
more pronounced when attempting to film the Wild West. But the films are now
lost, and the titles alone remain: An Indian’s Romance (1908), The Ranch
Owner’s Daughter (1909), Hidden Under Campfire (1910), The Sheriff’s Daughter
(1910), An Outlaw Yet a Man (1912), Through Death’s Valley (1912), and several
more. A particular oddity must have been the Natural Color Kinematograph
Company’s Fate (1911), filmed in Kinemacolor and hence the world’s first
western in colour. Also lost are the several comedies made in which a comic
figure usually besotted with cowboy films tries to become one in real life,
with chaotic results made more absurd by the British setting. For instance
Pimple (Fred Evans), Britain’s most popular native film comic, made two such
parodies: Broncho Pimple (1913), spoofing the schoolboy’s favourite, Broncho
Billy, and The Indian Massacre (1913), which poked fun at such serious
endeavours as D.W. Griffith’s The Massacre and The Battle of Elderbrush Gulch.
The small spate of silent British westerns seemed to have
come to an end in 1914 with the First World War and the gradual emergence of
the feature film. The imposture of the western could just be sustained while
films were one- or two-reelers; not when the film ran for over an hour.
Westerns disappeared from British production schedules, and almost the only
serious attempt during the whole of the war period was a six-part series, The
Adventures of Deadwood Dick (1915), co-directed by and starring Fred Paul as
the Englishman Richard Harris who journeys to the Wild West for adventure, and
proves himself as tough as any true Westerner. The West was already being seen
as a testing ground of macho toughness, and Englishmen were by nature excluded
from it. This was another theme to which British film makers would return. The
incongruous Englishman out West was in any case to prove a standard figure in
American films, from Charles Laughton’s imperious butler in Ruggles of Red Gap
(1935) to (by some curious irony) the real life Richard Harris, playing a
masochistic lord undergoing a Sioux trial by strength in A Man called Horse
(1970) and the self-glorifying ‘English Bob’ in Unforgiven (1992), outsiders
all.
Ernest Trimingham (left) and Percy Moran (centre) in
Jack, Sam and Pete (1919), from Stephen Bourne, Black in the British Frame
Somewhat surprisingly, there was a return to western film
making in the immediate post-war silent period. The early 1920s were the absolute
low point of British film production, crushed as it had been by the war and
then by absolute domination by Hollywood, but they were also by extension a
period of experimentation, of ‘we’ll try anything once’, when anyone might have
a go. Thus a handful of silent western features appeared. In Jack, Sam and Pete
(1919), based on the popular boys’ stories by S. Clarke Hook, three cowboys
rescue a kidnapped child. It was a starring vehicle for Percy Moran, the
pre-war star of the stirring Lieutenant Daring adventure series, who clearly
hoped to create a new character to excite a young audience. One of the trio in
the title, Pete, was played by Ernest Trimingham, Britain’s first black actor.
The Night Riders (1920) was one of a handful of features
made in Hollywood at Universal City by the adventurous producer G.B. Samuelson
and concerned cattle rustlers in Alberta. Renowned war cameraman Geoffrey
Malins made the humble Settled in Full (1920), a conventional Western that in
style looked back to the pre-war days. Little Brother of God (1922) was a
Western set in Canada about a man (Victor McLaglen) seeking the truth behind
his brother’s death. Produced by Stoll, the stolid leading British film company
of the period, it was fatally compromised by being shot entirely in the studio.
Rather more interesting probably were two adventures set in England starring a
visiting American star of cowboy serials, Charles Hutchison. British producers
had just begun what was to be a long-running policy of importing minor American
stars to brighten up their productions, and for the Ideal Film Company
Hutchison made Hutch Stirs ‘Em Up (1923), in which he rescues a girl from a
wicked squire’s torture chamber, and Hurricane Hutch In Many Adventures (1924)
again brought cowboy thrills and spills to an unexpected English setting.
By the mid-1920s naive British westerns seemed a thing of
the past, and a new confidence and sophistication in the film making led to a
film such as Anthony Asquith’s Shooting Stars (1928), set in a film studio,
which satirises the filming of a ridiculous cowboy romance (all the while a
deadly love triangle takes place between the three leading actors). It mocks
American cinematic conventions, and could be seen as British cinema’s farewell
to produce pale imitations of what came from across the Atlantic, but in fact
the British western was to roll on and on…
This post is adapted from the first half of a talk that I
gave many moons ago at the National Film Theatre on the British western, silent
and sound. You can find the text of the talk on my personal website, where you
can follow the story into the sound era and find out about The Frozen Limits,
The Overlanders, Diamond City, Ramsbottom Rides Again, The Sheriff of Fractured
Jaw, The Singer not the Song, Carry on Cowboy, The Hellions, Eagle’s Wing and A
Fistful of Fingers.
Finally, here’s a filmography of the British silent
western (extant films are marked with an asterisk):
1901 – Burlesque Attack on a Settler’s Camp (pc. Warwick)
1901 – The Indian Chief and the Seidlitz Powder (pc.
Hepworth) *
1903 – Hiawatha (d. Joseph Rosenthal pc. Urban)
1903 – Indians Gambling for Furs – is it Peace or War?
(d. Joe Rosenthal pc. Urban)
1904 – Robbery of a Mail Convoy by Bandits (pc. Urban)
1906 – The Squatter’s Daughter (d. Lewin Fitzhamon pc.
Hepworth) *
1908 – A Fight for Honour (d. A.E. Coleby pc. Cricks and
Martin)
1908 – An Indian’s Romance (d. Frank Mottershaw pc.
Sheffield Photo Company)
1909 – The Ranch Owner’s Daughter (d. Lewin Fitzhamon pc.
Hepworth)
1909 – Saved by the Telegraph (d. Lewin Fitzhamon pc.
Hepworth)
1910 – Hidden Under Campfire (pc. Walturdaw)
1910 – A Rake’s Progress (d. A.E. Coleby pc. Cricks and
Martin)
1910 – The Sheriff’s Daughter (d. Lewin Fitzhamon pc.
Hepworth)
1910 – ‘Twixt Red Man and White (d. Dave Aylott pc.
Cricks and Martin)
1911 – Fate (d. Theo Bouwmeester pc. Natural Color
Kinematograph Company)
1911 – Smithson Becomes a Cowboy (pc. Urban)
1912 – Buffalo Bill on the Brain (d. Theo Bouwmeester pc.
Kineto)
1912 – Cowboy Mad (pc. Precision)
1912 – The Heart of a Man (d. Gilbert Southwell pc. GS
Films)
1912 – An Indian’s Recompense (d. F. Martin Thornton pc.
Kineto)
1912 – An Indian Vendetta (d. Lewin Fitzhamon pc.
Hepworth)
1912 – Cook’s Bid for Fame (pc. Hepworth)
1912 – Making a Man of Him (pc. Urban)
1912 – The Mexican’s Love Affair (d. Fred Rains pc.
British Anglo-American)
1912 – An Outlaw Yet a Man (d. F. Martin Thornton pc.
Kineto)
1912 – Through Death’s Valley (d. Sidney Northcote pc.
British and Colonial)
1912 – A White Man’s Ways (d. F. Martin Thornton pc.
Kineto)
1913 – Adventures of Pimple – The Indian Massacre (pc.
Folly Films)
1913 – The Opal Stealers (d. A.E. Coleby pc. Britannia
Films)
1913 – The Scapegrace (d. Edwin J. Collins pc. Cricks) *
1914 – Broncho Pimple (pc. Folly Films)
1914 – A Study in Scarlet (d. George Pearson pc.
Samuelson)
1915 – The Adventures of Deadwood Dick [series] (d. Fred
Paul/L.C. Macbean pc. Samuelson)
– How Richard Harris Became Known as Deadwood Dick
– Deadwood Dick’s Revenge
– Deadwood Dick and the Mormons
– Deadwood Dick Spoils Brigham Young
– Deadwood Dick’s Red Ally
– Deadwood Dick’s Detective Pard
1915 – Cowboy Clem (d. Bert Haldane pc. Transatlantic)
1915 – The Cowboy Village (d. J.V.L. Leigh pc. Gaumont)
1916 – How Men Love (d. J.M. Barrie, amateur)
1916 – Partners (d. Frank Wilson pc. Hepworth)
1919 – Jack, Sam and Pete (d. Leon Pollock pc.
Pollock-Daring)
1920 – The Night Riders (d. Alexander Butler pc.
Samuelson)
1920 – Settled in Full (d. Geoffrey H. Malins pc. P.M.
Productions)
1922 – The Cowgirl Queen (d. Hugh Croise pc. Lily Long)
1922 – Little Brother of God (d. F. Martin Thornton pc.
Stoll)
1923 – Hutch Stirs ‘Em Up (d. Frank H. Crane pc. Ideal)
1924 – Hurricane Hutch In Many Adventures (d. Charles
Hutchinson pc. Ideal)
1904 – Robbery of a Mail Convoy by Bandits (pc. Urban) is not actually a Western. It's setting is Australia and "colonial troops" is the clue.
ReplyDelete1910 – A Rake’s Progress (d. A.E. Coleby pc. Cricks and Martin)
ReplyDeleteI believe the correct title is A Rake's Romance, same credits
Thanks Eddie. I didn't make up the list so I don't have Robbery of a Mail Convoy in my database and as you said I have A Rake's Progress listed as A Rake's Romance.
ReplyDeleteRobbery of a Mail Convoy is most likely listed because the author would also consider Ned Kelly a western as he doesn't confine the term Western to the U.S.A only.
ReplyDeleteThanks for taking time to give us all that information. I live in England and knew nothing about those films.
ReplyDelete