binapiraeus
Many things have been written about "The Gaucho", lots of interpretations have been made from the very day it was released, and in the almost 90 years that have passed since then, it has of course been highly praised, but it's also been subject to unjust criticism in many ways; and in recent years the public's and the critics' interest in this so very UNIQUE movie seems to slowly fade away... So I think it's high time for us to rediscover this radiant jewel of early Hollywood, and to look at it in all its unusual spirit, with the innocence and enthusiasm the audience saw it back THEN; and at the same time discover that it's lost NOTHING of its freshness and dynamism - for it's one of those films that NEVER age.And from the very beginning of the movie we have to take into account that we're about to dive right into the world of Douglas Fairbanks, that great genius and pioneer of silent film days, whose huge all-round talent as actor, director, screenwriter and producer was equaled only by that of his best friend, Charlie Chaplin. And just like Chaplin, Doug Fairbanks had his VERY own ideas of motion pictures: they should be larger-than-life, include ALL aspects of reality, and merge them into something even more beautiful, filled with more action, drama, and at the SAME time love and fun than real life itself; and, of course, with an unbreakable optimism that leads to the literally most miraculous happy endings for everyone - not only for the 'good' ones, because there ARE no 'good' and 'bad' characters in "The Gaucho": just as in real life, everybody have got their flaws (even the protagonist himself), and everybody have got their good points.And so, be prepared for a UNIQUE mixture of drama, comedy, love story, and action adventure, that changes moods so quickly that you've got to adapt to Doug Fairbanks' own moody, restless personality in order to follow and understand, and most of all enjoy the movie. It seems to start out as one of those religious films about Madonnas and miracles that were so popular at the time, with a girl being miraculously saved after falling from a cliff by the Virgin Mary (played by Fairbanks' wife Mary Pickford!), and the place of the miracle soon becoming a place of pilgrimage. BUT - a few moments later, we find ourselves in a COMPLETELY different scenery: the world of the Gauchos, the outlaws of the Argentinian pampas, with their daring, carefree, exuberant lifestyle; the very example being of course their leader, Doug Fairbanks himself, simply named 'The Gaucho'.Everybody admires him, having the courage, the personality and the charm of a real leader; and naturally most of all the girls - like the cheeky young 'Mountain Girl' (Lupe Velez), with whom he soon starts a REAL whirlwind romance: he literally ties her to his body with his 'bolas' (the Gauchos' weapon, not unlike a lasso, but much more effective) to dance a HOT tango with her; they kiss and make up all the time, they quarrel, tease each other, and are crazy for each other - undoubtedly one of the most beautiful, entertaining, unusual romances that have ever been brought to the screen! Then the action part ensues, with Fairbanks' famous stunts, and he frees the prosperous 'City of the Miracle' from greedy usurper Ruiz, and even becomes friends with the Padre - without sharing his beliefs, however, because the only thing the Gaucho believes in is - the Gaucho. UNTIL that fateful moment when, after his jealous girl attacked the pious 'Girl of the Shrine' with a knife, unintentionally wounding his hand when he held her back - a victim of the 'Black Doom' (meaning leprosy) INTENTIONALLY infects him with the dreadful disease (because, earlier, he had suggested to him, being in this condition, to find a lonely spot and kill himself - that's what HE would do, he said)... Appalled and frightened, he understands what's happened to him - but he IS a man of principles: he says goodbye cheerfully to the 'Girl of the Shrine' and to his own 'Mountain Girl', and, just like he'd said, sets out into the woods with a gun intending to shoot himself.And there, the religious element sets in again; but not in the 'usual style' of some epic by De Mille or Griffith - no, with a strange, wonderful child-like faith: the 'Girl of the Shrine' finds him and tells him that if he believes, he can be saved; she asks him if he DOES believe, and he looks at her, puzzled, and then answers: 'I believe in YOU!' Then he asks her to teach him to pray - and HERE's the lesson: he's not supposed to become some religious fanatic, he's merely required to leave aside for once his over-developed self-confidence and learn to be HUMBLE and BEG for something... And it works: as soon as he places his hand in the healing water, it gets well - and he jumps around JUST like a little boy: 'I'm healed, I'm healed!!' And, after a few more heroic actions from both, he gets his 'Mountain Girl', the 'City of the Miracle' gets its peace and justice - a most CLASSIC Hollywood Happy Ending; but it gives us MUCH more than that to keep within us: because the TRUE message is the Gaucho's line: 'Yesterday was yesterday. Today is today. There's no tomorrow until it's today.' A great, everlasting message for one of the very GREATEST movies ever made.
pery-1
This was hyped at the 2009 SF Silent Film Festival as dark, unconventional and more to 21st century tastes than most silent films. I found it a combination of over-the-top silliness with heavy-handed religious tedium. Perhaps it can be described as surreal. Unfortunately I did not find that entertaining. There is a bit more sexuality than in other Fairbanks films, but nothing compared to Valentino. His continual silly cigarette tricks. too-fast jumps, Velez's arms-on-hips heaving-breast stances, the house dragging scene, and the German expressionist style fake landscapes, walls that crumble at a touch, and the constant performance of miracles, take away from any feeling of reality. They say El Gaucho is the prototype for Mickey Mouse, and the movie does have a cartoon-like character, except for the religious parts. Perhaps the religious element is part of the formula to "get away with anything as long as you throw in religion". For me, it can't hold a candle to The Four Horsemen of the Apocalypse or even The Eagle. Fairbanks movies that I prefer include The Mark of Zorro and The Black Pirate.
MARIO GAUCI
Unusual but beautifully made and typically enjoyable Douglas Fairbanks vehicle, which finds the star at his most roguish (while still being his dashing and athletic self); with the Argentine pampas for backdrop, the film – whose full official title is DOUGLAS FAIRBANKS AS THE GAUCHO – can be considered a semi-Western. The narrative encompasses romance (supplied by fiery Lupe Velez), religion (via the presence of a miraculous shrine overseen by a saintly shepherdess – we even get a couple of visions of the Madonna herself, played by Fairbanks' own equally popular actress wife, Mary Pickford!) as well as more characteristic action (in the form of The Gaucho's opposition to the rule of tyrannical Gustav von Seyffertitz). A subplot which ties in with the element of faith sees the hero being deliberately contaminated by a carrier of "The Black Doom" whom he had previously slighted, though both are eventually cured. Fairbanks' trademark pioneering spirit in the technical department is also well in evidence here – with matte paintings giving the illusion of a truly elaborate visual design, reversed film for one particularly showy leap by the star onto his faithful steed, and even the wholesale horse-driven transportation of a house at one point!
Snow Leopard
Combining the familiar Douglas Fairbanks action scenes with some unexpected material, "The Gaucho" is interesting and pretty good. It might be just a cut below Fairbanks's very best movies, but it has more than enough to satisfy most silent movie fans. The story is involved, and it features some creative turns, while the production is resourceful and quite good for the most part.Fairbanks's character here is not quite the same as in his usual roles. While the story does give him plenty of action and adventure sequences, his character is not nearly as likable as most of the ones that he played. The way that "The Gaucho" treats the other characters is not at all what you would have expected from his other movies - normally, even when his character is an outlaw in the eyes of the authorities, you get the feeling that you'd have nothing to fear from him unless you deserved it. Not so here.That does make the character interesting. As with Fairbanks's usual roles, he seeks justice and respect, but unlike most of the others, he also needs redemption in a much deeper sense. And that fits in well with the other unusual aspect of the movie, which is established at the very beginning with the founding of the miraculous shrine. It introduces a supernatural or quasi-religious dimension that is not at all part of movies like "The Black Pirate" or "The Three Musketeers". Yet, for all that it requires a suspension of disbelief, it works pretty well as part of the overall story.The detailed and sometimes impressive settings, along with the supporting cast, also help out. Lupe Velez has plenty of energy, Gustav von Seyffertitz is a suitable villain, and it's enjoyable to see Mary Pickford's brief appearance. Overall, it's pretty good, despite varying in some respects from time-tested formulas.
