He Who Gets Slapped (1924)

Run Time: 95 minutes. Studio: MGM. Director: Victor Sjöström. Writer: Victor Sjöström, Carey Wilson, Marian Ainslee. Based on a play by Leonid Andreyev. Main Cast: Lon Chaney, Norma Shearer, John Gilbert, Ford Sterling, Marc McDermott, Ruth King. Cinematographer: Milton Moore.



He Who Gets Slapped was a very important film in the history of movies. It was both the first movie to be released under the company name of Metro Goldwyn Mayer (or MGM for short). It is also the first movie for the studio headed by Irving Thalberg. Thalberg had received two titles at this time, first vice president and supervisor of production. Thalberg had previously worked at Universal which had made a lot of movies staring Lon Chaney. Because of this Thalberg brought Chaney over to star in this movie. Chaney would later remember his character in this film as one of his favorite characters he ever played.

Paul Beaumont (played by Lon Chaney) was once a very dedicated and brilliant scientist. However one day his assistant (played by Marc McDermott) claims Beaumont's ideas as his own and becomes the toast of the scientific community. To make matters worse he has also stolen the affections of Beaumont's wife. This causes the poor scientist to have a complete mental breakdown. He now sees life as nothing but a cruel joke. Because of this he joins a circus as a clown under the rather self-deprecating name "He Who Gets Slapped".  In this act no matter what he states it is swiftly answered with a slap to the face. At this circus he falls in love with a woman named Consuelo (played by Norma Shearer), who is love with Beazno (played by John Gilbert) a daredevil horseback rider at the circus.

This is a fantastic movie. The setting is hugely absorbing, the characters very well defined, the story engaging, and the performances fantastic. While the cruelty the world keeps dealing our main character could easily have come off as forced and mean spirited, it feels completely real here. This is because the characters and the setting are completely believable. While the main character is often an object of pity here, we feel much more for him as well. We admire who he was and what he had done before subjecting himself to the torture that became his life throughout this movie. This makes us feel all the more for him, and understand the tragedy of the story to a much greater extant. It is also worth noting that the fact that he is simply a pawn to the cruel hand of fate, is shown cinematically as a laughing clown spinning a globe. Not only is fate pilled up against him, but it is laughing at him as well. It is a clown with a cruel sense of humor that simply tortures our hero because it can. This is a brilliant image that sums up this film perfectly, without any dialogue but rather just the power of the cinematic medium. Overall this is just a fantastic movie that ever silent film fan needs to see.

The movie had a budget of $172,000 (and was shot in 37 days) and earned back $349,000. The film did very well with critics with a review in the New York Times even saying "For dramatic value and a faultless adaptation of a play, this is the finest production we have yet seen."

-Michael J. Ruhland

Resources Usedhttp://www.tcm.com/tcmdb/title/196/He-Who-Gets-Slapped/articles.html

Poor Papa (1928)

Run Time: 5 minutes. Studios: Universal Studios, Winkler Productions Director: Walt Disney. Writer: Walt Disney. Producers: Charles Mintz, George Winkler. Animators: Ub Iwerks, Hugh Harmon, Les Clark, Friz Freleng, Ben Clopton, Norman Blackburn, Rollin "Ham" Hamilton.







Now probably anyone who reads my blogs knows I am a huge fan of Walt Disney. I am not only in love with Walt's popular feature films, but also his obscure ones, his theatrical cartoon shorts, his TV programs, and of course Disneyland itself. Being a huge fan of Walt, it is only natural that I have a special fondness for his early work. This is not only because I get to watch him evolve as a filmmaker, but because I also get to see him work as an actual film director (something he would not do much in his later career). Now with all this it should come as no surprise, that I am one of the many devotees to the great character of Oswald the Lucky Rabbit (it is so cool I can say one of the many now as I couldn't before Disney regained the rights to the characters).

Before making his first Oswald cartoon, Walt Disney was making a series of shorts known as the Alice Comedies. This series was a reversal of what the Fleshchier Brothers had done with their Out of the Inkwell cartoons. In the Out of the Inkwell shorts, the animated Koko the Clown would enter into the real (live action) world. In the Alice Comedies a live action Alice, would enter an animated world. Walt had felt this series had run its course and wanted to make a fully animated series. For this series he created a rabbit known as Oswald.

Poor Papa was the first Oswald cartoon made but the 21st released. This was because Walt's distributors at the time (Universal and Charles Mintz) did not care much for the film. In one letter Mintz laid out four reasons for not liking the film. The first was that he felt the animation was too jerky, the second was that too much action was repeated, the third was he didn't like the character of Oswald because as he put it, "he has no outstanding trait", and lastly that the film just centered around gags with not enough story. Walt responded in another letter. He disagreed with the first point stating that maybe Mintz had watched the film at the wrong speed. On the third point he stated that Oswald was never supposed to have a recognizable trait, but rather his personality was meant to be stressed through his whole manner of acting. On the fourth point Walt said that he couldn't in the amount of time given for a one reel short film, make much of a detailed story and still make the audience laugh. Walt continued by stating that all the gags did in fact revolve around the storyline.

In this cartoon Oswald deals with a massive problem. The storks are constantly bringing him babies (a big problem for rabbits as you know) until it just becomes too much for poor Ozzie to handle. Oswald then decides he needs to take action.

Despite Mintz's objections this is an excellent cartoon. The humor is fast paced and quite funny. There are some imaginative ideas in the comedy such as Oswald's way of cleaning the young rabbits. The character animation here is fantastic and the characters really come to life through it. Even the small rabbits have slightly different personalities all displayed expertly through great animation. Though Oswald here is a bit of a different character than he would later become (he is definitely older and less energetic), he is still a great character that is very relatable and full of personality.

Resources Used

Oswald The Lucky Rabbit The Search For The Lost Disney Cartoons by David A. Bossert.

The Farmer's Wife (1928)

Run Time: 129 minutes. Studio: British International Pictures. Director: Alfred Hitchcock. Writer: Eliot Stannard. Based on a play by Eden Phillpotts. Main Cast: Jameson Thomas, Lillian Hall-Davis, Gordon Harker. Cinematographer: Jack E. Cox.


Good Evening. I feel it is safe to assume that at least some of the people who read my blogs are fans of Turner Classic Movies. I certainty am. In fact TCM makes up a huge portion of my TV watching time, and why not, it is a channel that shows movies with the pure respect they deserve, it gives you insight into the history of the movie, and the whole channel feels very welcoming. One thing this channel is doing this month is something I am very excited for. Every Wednesday and Friday of July TCM will be showing many Alfred Hicthcock movies and there will even be an online class accompanying it.

Like many film buffs I am a huge fan of Hitch. He has directed many movies that are highly deserving of the classic status they have received. Movies like Psycho, Vertigo, Rear Window, The Birds and North By Northwest are certainty great examples of the cinematic art form and no one loves these movies more than I do. However I also have a huge fondness for Hitch's early British movies too. Despite these not receiving the same amount of attention many of these are fantastic movies in their own right and my silent film of the month is no exception.

The Farmer's Wife is a very different movie for Alfred Hicthcock. In fact if you were to miss the opening credits, it would be very hard to tell that Hitch had anything to do with it. This movie is a nice sweet little romantic film, and a fairly straightforward adaption of Eden Phillpotts' play. With Alfred Hitchcock directing there are some brilliant little cinematic touches but nothing specifically Hitchcockian. At this time Alfred Hicthcock was not yet known as a suspense director. Even though Hitch had already directed a fantastic suspense movie with The Lodger, he was at this time directing a huge variety of different styles of movies. However looking at many of these films, shows that Hitch was not only a brilliant suspense director, but a great director of any type of movie.

Farmer Sweetland's (played by Jameson Thomas) wife has past away leaving him very lonely. He is looking for a new wife, but his attempts don't go very well. Helping him find a new wife is his housekeeper Minta (played by Lillian Hall-Davis), who has strong feelings for Sweetland that she keeps secret

This is a delightful movie. The characters are very well defined, likeable and relatable. Before becoming much of the all out comedy this movie will become as it goes along, this film gives you time to know each of these characters. This makes the comedy all the more effective and the movie feel all the more real. Speaking of the comedy, it is really good. Many of Sweetland's failed attempts to find a wife are very funny. Also helping to make this movie delightful is the visual filmmaking. One image that continuously is shown is that of an empty chair. Sometimes when Farmer Sweetland gets lonely he looks at the chair his wife used to sit in and sees it completely empty. This image tells us more than any words ever could. It makes us fully understand what the farmer is going through and puts us in his shoes. When he is looking for a new wife he sometimes imagines one of the women he wants to marry in the chair. However that image quickly fades away and all we see is the chair. Again these simple images show us more than we could ever be told in words and truly show the power of film as an art form. In fact when interviewed by François Truffaut years later Hitch said that this movie inspired him to make what he called "purely cinematic pictures" that would mostly center around visual story telling. Though Hitch did feel this movie still had too many intertitles.

One may notice the name of  Louie Pounds in the credits. This is in fact the only film she appeared in, though she was a huge star on stage and was especially popular in Gilbert and Sullivan musicals. She plays a delightful performance here as Widow Windeatt.

This movie plays on TCM on July 5th at 8:15 pm western time and 11:15pm eastern time.

Resources Usedhttp://www.tcm.com/this-month/article.html?id=650695%7C651448
The Alfred Hitchcock Encyclopedia by Stephen Whitty.
Truffaut-Hitchcock by François Truffaut and Alfred Hitchcock

-Michael J. Ruhland

Snow White (1916)

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Run Time: 63 minutes. Studio: Famous Players/Paramount. Director: J. Searle Dawley. Writer: Winthrop Ames. Based on a play by Winthrop Ames. and a book by The Brothers Grimm. Producer: H. Lyman Broening. Main Cast: Marguerite Clark, Dorothy G. Cumming, Creighton Hale, Lionel Braham, Alice Washburn. Cinematographer: H. Lyman Broening.

Anyone who reads my blogs knows that I am a huge Disney fan. Because of this often times when a classic fairy tale is brought up it is the Disney version that first comes to my mind. However these stories existed long before Walt touched them and they even had film adaptions before then. Some of these film adaptions even were huge influences on the Disney movies. One of the most clear example of this is the 1916 silent version of Snow White. Now some of my fellow Disney buffs may have heard of this movie. Walt Disney had in fact seen it as a teenager and legend goes that it inspired him to make his own film version of the classic fairy tale. Still this movie has more than that great story behind it. It is also a delightful film in its own right.

Though this film was obviously inspired by the Brothers Grimm's classic story, it had an even more direct and recent piece of source material. This was a 1912 play based off of the story. That play was written by Winthrop Ames, and starred Marguerite Clark, who also were the writer and star of this film adaption. So in many ways the point of this movie was simply to bring that stage play to the screen. Considering the differences between the stage and the silent cinema there naturally needed to be some changes made. The most obvious of these was to eliminate song numbers and very dialogue heavy scenes. However interestingly more scenes were added starring the Huntsman. These scenes revolved around him being locked in the tower as a prisoner. Also in adapting it for film, director J. Searle Dawley employed some more cinematic techniques. For instance in this version of the story the Witch (a separate character from the Queen) wants Snow White's heart to help with a potion to get herself her. When she is given a pig's heart instead her head grows pig's tails instead of hair. On stage the actress simply ducked off stage real quick and put on a head cap. Here the pig's tails appear to slowly fade in on her head, accomplished by a dissolve shot (Searle Dawley later remembered doing this on a set with crowded extras in 1916 made this a very difficult technical challenge).

The film interestingly begins with a brief prologue involving Santa Claus leaving a bunch of dolls at a little girl's house. This dolls become real people and then our story really begins. A Queen wants a beautiful child and gets one in Snow White (played by Marguerite Clark). However when this Queen passes away, the king remarries. The new Queen (played by Dorothy Cummings) is an evil and jealous woman who hates Snow White. When the King dies there is no one to protect Snow White from this evil woman. Snow White now has to work in rags as a maid, but this isn't all that is planned for her. The jealous Queen conspires with a witch (played by Alice Washburn) to get rid of Snow White. In return for helping the Queen, the Witch wants Snow White's heart. The Queen hires the huntsman (played by Lionel Braham) to take care of Snow White. However the huntsman can't do it, and gives the queen the heart of a pig instead. Snow White hides out at a house of dwarfs, who promise to help her, however they can. The Queen learning that the huntsman has failed her, decides to kill Snow White herself.

What really makes this film work is Marguerite Clark's performance as Snow White. In this era of such stars as Mary Pickford and Lillian Gish, it was common for grown women to play the part of little girls. Though Clark turned 33, the year this film was released, she plays the part so well you completely believe she is about 10 or 12. There is just a great sense of innocence to this performance. This is best shown in the scene with the huntsman. She clings to the huntsman and is simply so excited to be with him. She acts like the two are going to play games with each other. When the huntsman says what they are really out there for she easily assumes that he is joking. In a lesser actress' hands this could have felt very forced but here it comes out naturally. Later when she goes into the dwarfs cottage she not wanting to impose knows that if she only takes small bites from each plate, they can't possibly be mad at her. Clark does that so delicately that it gives that small moment extra charm to it.

However if there is something this film is lacking in, it is a real sense of danger. While the Disney film wasn't intended for kids (in fact in Britain, it got an adults only rating because of how scary the witch is), the play this movie was based on and even to a certain extant this movie itself was aimed primarily at children. Because of this the villains don't feel as threating as the Queen in the Disney version (being aimed mostly at adults) could. While this silent film is quite good, this does result in the Disney movie being even better.      

While Walt Disney's film is easily the superior version, this little movie has such a sweet and simple charm to it will still delight today's modern audiences.

-Michael J. Ruhland

Resources Used
http://www.jbkaufman.com/movie-of-the-month/snow-white-1916
The Animated Man: A Life of Walt Disney by Michael Barrier

Moran of the Lady Letty (1922)

Run Time: 71 minutes. Studio: Famous Players-Laskey Corporation. Director: George Melford. Writer: Monte M. Katterjohn. Based on a book by Frank Norris Producer: George Melford. Main Cast: Rudolph Valentino, Dorothy Dalton, Charles Brinley, Walter Long. Cinematographer: William Marshall.

A year earlier in 1921 (also the year of his breakthrough appearance in Rex Ingram's The Four Horsemen of the Apocalypse), Rudolph Valentino had one of the biggest success of his career with The Sheik. This movie proved very popular especially with women. This was hugely due to his Latin lover persona. However the Famous Players-Lasky Corporation (later Paramount Pictures) noticed this image did not have the same effect on most male movie goers. Instead men seemed to find this image a bit off putting. Because of this the studio decided to put him in a role that would appeal more to men in the audience. So Valentino was put into my silent film of the month, Moran of the Lady Letty, which was a much more adventure based film in order to get him a male audience as well. George Melford who had directed Valentino in The Sheik would also direct him here. George Melford might be a name that clasic horror movie buffs will recognize as he directed the famous Spanish language version of 1931's Dracula.

Melford had stated in interviews hinted that this movie would show Valentino in a very athletic and almost Douglas Fairbanksian light as he stated "find out what a husky, red-blooded chap he is." Melford also stated that "climbed to the very tip of the mast -- just for exercise. The hard-boiled crew of the ship gasped!" However it is impossible to say if that was actually true. One change was made however to make the role fit more into Valentino's Latin lover image. This was that writer Monte Katterjohn (who also worked on The Sheik) changed the main characters name from Russ Wilbur (the name in the book) to Ramon Laredo. An intertitle early in the film states "rich man's son spends the dash and fire inherited from his Spanish ancestors in leading cotillions."

As the story begins Moran (played by Dorothy Dalton) is happy living with her sea going father and she is love with the sea. Ramon (played by Rudolph Valentino) is however unhappy. He is rich, but his life is sheltered and he craves adventure. However all this changes when Ramon is shanghaied. The ship he is now aboard is ruled by a mean and hate filled captain (played by Walter Long (my fellow Laurel and Hardy fans will easily recognize him)). They run across a burning ship in trouble. The crew mostly just steals goods for them selves. However Ramon saves one of the sailors aboard that ship, more specifically Moran. Raman falls in love with Moran, but the lustful captain has his eyes on her, and Ramon must protect his new "mate".

This is an excellent film. The adventure filled climax is exciting to watch, and easily just as (and in many cases more) compelling than today's special effects filled action scenes. The chemistry between the two leads is fantastic and you really believe that these two grow to care for each other, even with their different backgrounds. The technical film making is also very well done. This film uses color tinting a lot, and extremely well. Color tinting is when the whole screen is tinted a certain color and it was used often in the silent era. While on the boat (except in the cabins) the screen is tinted blue, but the high society functions are tinted brown. This creates a great contrast and makes many of the more adventure filled scenes seem bigger and more exciting. Also the cutting between (slight spoilers ahead) Moran on the boat and Ramon at a fancy party towards the end is extremely effective as it lets us know that they are on each other's minds. The tinting also comes in handy here as it makes us see why the party is less appealing to Ramon. Also with dropping the Latin lover image I think this film is more accessible and enjoyable to many modern day audiences and all those who just don't like his Latin lover image, than most of Valentino's work is.

Despite his excellence in the lead role Valentino did not care for his role in this movie. He preferred playing more exotic types and felt a film like this hurt his Latin lover image. Because of this his later this same year he would play those type of characters again in Blood and Sand and The Young Rajah.

-Michael J. Ruhland

Resources Used
http://www.tcm.com/tcmdb/title/497111/Moran-of-the-Lady-Letty/articles.html

The Big Show (1923)

Run Time: 17 minutes. Studio: Hal Roach Studios Director: Robert McGowan. Writers: Hal Roach, H.M. Walker . Producer: Hal Roach. Main Cast: Mickey Daneils, Joe Cobb, Jackie Condon, Jack Davis, Allen "Farina" Haskins, Mary Koreman, Ernest Morrison, Richard Billings, Andy Samuel . Cinematographer: Len Powers.

Since I post a Silent Film of the Month article every 1st of the month, I feel it is only appropriate to post about a slapstick comedy short every April, in honor of April Fools Day. Last year I wrote about a classic Laurel and Hardy short, and this year I am writing about a classic Our Gang short. Who knows what I will post next year (Maybe Charlie Chaplin, maybe Harry Langdon, maybe Charley Chase, Maybe Buster Keaton, Maybe whoever else I feel like, I haven't decided about next year yet).

When one brings up Our Gang (or the Little Rascals), most people will think of Spanky, Alfalfa, and Buckwheat. However the team existed well before these characters. In fact the team was formed in 1922, back in the silent era. Since the series centered around kids actors and characters had to change (especially since the series ran until 1944). The group of kids from when The Big Show came out included Mickey Daniels, Joe Cobb, Jackie Cindon, Jack Davis, Allen "Farina" Haskins, Mary Koreman, Ernest "Sunshine Sammy" Morrison, Richard "Mugsy" Billings, and Andy Samuel. This is in fact the first Our Gang short for Andy Samuel. Andy had previously worked as an extra in Charlie Chaplin's classic 1921 feature film The Kid. While working on that film he learned how to imitate Charlie Chaplin. The basis for this short came as an excuse to let him show off his impression of Chaplin.

The film begins with the gang wanting to look at the county fair for free. They are naturally chased out of the fair. Because of this the gang decides to put on their own carnival with rides, animals and movies.

For all my fellow movie buffs, the highlight of this film is their moving picture show. Joe has a nonworking moving picture camera and pretends to project the film, while other kids on stage do impressions of various movie stars. These impressions include Charlie Chaplin, Douglas Fairbanks, William S. Hart and Harold Lloyd. The most elaborate of these is the Harold Lloyd impression. This sequence is a very elaborate redoing of various scenes from the 1922 feature Grandma's Boy only with kids as the actors. One gag is decidedly different though. In Grandma's Boy Harold is annoyed by cats and uses a statue of a dog to scare them off. However in this film the character is being annoyed by pigs, and holds a card that says "butcher" to scare them off. That feature film was done at the same studio as this one was and that may more than explain this. The Charlie Chaplin and Douglas Fairbanks sequences are also based on certain films those actors starred in but are much less elaborate. The Charlie Chaplin sequence recalls Chaplin's classic 1918 film Shoulder Arms, while the Douglas Fairbanks sequence recalls his performance as D'Artagnan in the 1921 film version of The Three Musketeers. As stated before the Chaplin imitation was done by Andy Samuel. The Douglas Fairbanks impression was provided by Mickey Daniels. While it is not certain who played the imitation of Harold Lloyd, Leonard Maltin and Richard W. Bann (according to their book Our Gang: The Life and Times of the Little Rascals) believe it was played by a child actor named Billy Lord. However this is still not certain.  

It has been stated that what makes Our Gang so great and beloved is that they have had the child hood we all wish we had. This is never more clear than it is in this film. After all who didn't as a kid want to create something like these kids created  here. What kid doesn't want to make their own movies, or work with wild animals, or simply have adventures like these kids do. Beyond all the great humor, this film is so charming because it is wish fulfillment for the child in all of us.

-Michael J. Ruhland

Resources Used

Our Gang: The Life and Times of Our Gang by Leonard Maltin and Richard W. Bann

  

Captain Salvation (1927).

Runtime: 87 minutes. Studio: MGM. Director: John S. Robertson. Writer: Jack Cunningham. Intertitles: John Colton. Producer: John S. Robertson. Main Cast: Lars Hanson, Marceline Day, Pauline Starke, Ernest Torrance. Cinematographer: William Daniels.

In many ways I consider the silent era the golden age of Christian films. While there are many great films with Christian messages released over the years the best ones seem to be from the silent era. These include such amazing films as Ben Hur: A Tale of the Christ, Sparrows (ok it may not be your typical Christian film but it definitely has a Christian Message), King of Kings, Noah's Ark, the original Ten Commandments and this little hidden gem. As a Christian, myself I have a special fondness for the Christian films of the silent era.

This film's director was John S. Robertson. Robertson had begun his career in 1916 as both an actor and director however by 1918, he was directing and no longer acting. His directing career began by directing various comedy short for the Vitagraph studio. In 1917 he directed his first feature film Baby Mine. As a feature length director he would direct such movies as Dr. Jeckel and Mr. Hyde (1920) and The Enchanted Cottage. His career would last until 1935.

The star of this film was Lars Hanson, a name that is probably not as well remembered as it should be. Hanson began his film career in his home country of Sweden, with a lost 1916 film called Dolken. However he would not catch the attention of American movie makers until costarring (with Greta Garbo) in 1924's The Saga of Gösta Berling. This film was a huge international success and it wasn't long until MGM wanted to work with Lars Hanson. By the time he stared in Captain Salvation, he had already been in two gigantic box office successes for the MGM studio, The Scarlett Letter and The Flesh in the Devil (where he would once again costar with Great Garbo). Here his costars would be Marceline Day, Pauline Starke and Ernest Torrance. Torrance was one of the silent screen's greatest tough guys appearing in such films like Peter Pan (1924), Steamboat Bill Jr., The Hunchback of Notre Dame (1923), The King of Kings, Tol'able David, and The Ruggles of Red Gap. He most often played villains like he does here, and was an operatic baritone before his film career. Marceline Day had a great talent for comedy. She started at the Mack Sennett studio, where she even appeared in films that starred Harry Langdon. Though over the course of her career she would appear in more dramatic movies such as this one and London After Midnight (the infamous lost film with Lon Chaney and directed by Tod Browning), she would still do much comedy, including being the leading lady opposite Buster Keaton in The Cameraman. In the 1930's unfortunately her career would go downhill and she would appear mostly in B pictures including The Telegraph Trail (with John Wayne, who would obviously later graduate from B pictures). Pauline Starke began her career as an extra in 1916, even appearing in such big films as D.W. Griffith's Intolerance. However she would work her way up to being a leading lady. As a leading lady she would appear in such films as The Viking, Eyes of Youth, A Connecticut Yankee in King Arthur's Court (1921) and Salvation Nell.  

The film's story centers on a young man named Anson Campbell (played by Lars Hansen), who is as a title tells us torn between two loves. These are his love of serving God and of the sea. One day he sees a woman (probably a prostitute, though never directly stated) named Bess Morgan (played by Pauline Starke) being treated very harshly in his town, because she is sinful. He helps her out and takes care of her, but this ends up ruining his life with the town folks, his girlfriend (played by Marceline Day) and seemingly his ministry. Distraught he joins up with a ship hoping to leave it all behind. However Bess is on the ship, and the captain (played by Ernest Torrance) is not exactly the nicest of fellows. However this leads him to learn all that god actually has in store for him.

This is a fantastic movie in many ways. The story is really engaging, the acting is great, the film looks great (hugely thanks to cinematographer William Daniels) and the whole movie is just charming. Also adding to the movies charm is John Coulton's extremely well written and intelligently thought out intertitles. As all silent film fans know, poorly written intertitles can take their toll on other wise great films, but well written ones can make a great movie even better. Don't think that because I'm Christian and am praising a Christian movie that it does not hold much for non-Christians, this film has more than enough to satisfy any fan of silent cinema.

Resources Used
http://www.tcm.com/tcmdb/title/2878/Captain-Salvation/articles.html
http://www.imdb.com/title/tt0017735/reviews?ref_=tt_urv

-Michael J. Ruhland