(***OOOPS - THIS REVIEW CONTAINS MAJOR SPOILERS***)
It is fascinating to note how most people of today take it for granted that acting in silent films consisted of purely melodramatic overplay, worthy of little more than unintentional laughter, when, in fact, what may have founded this impression in a lot of people are excerpts from films which were supposed to poke fun at that kind of acting. Released in the summer of 1913, the Keystone comedy BARNEY OLDFIELD'S RACE FOR A LIFE has become one of the most iconic films of this sort. Although its initial success may be largely explained with the appearance of the real Barney Oldfield, a celebrity in the early days of "auto-racing," the film still remains quite funny, and the story, although ridiculously simple (as well as simply ridiculous!), is well accomplished.
Mabel Normand is kidnapped by Ford Sterling, as the latter seeks revenge on the girl as she refused to flirt with him. With the help of two assistants, she is being tied to some railroad- tracks, whereupon Ford hastily locates a locomotive and sets off to complete his evil plan. In the meantime, however, Mabel's boyfriend, played by Mack Sennett, is made aware of the situation, and he gets hold on Barney Oldfield in order to save her before the locomotive arrives at Mabel's spot...and there you got your race. Yes, a ridiculous story, but no less a spot-on, somewhat heartless parody on the tear-jerking melodramas that bombarded theater stages throughout the 19th century, and which had recently begun to blossom again in the still-new medium of film.
Inevitably, the strength of the cast is highly significant if such broad parody is to work, and BARNEY OLDFIELD'S RACE FOR A LIFE provides at least two of Keystone's most accomplished talents with Mabel Normand and Ford Sterling. The latter performs perhaps one of his most memorable acts ever; although I do know Sterling's tendency to overplay is not everyone's cup of tea, this is one of the instances where it works superbly. He is no less than brilliant here; his character may be the quintessential villain of melodrama, as his characteristics would probably seem familiar even to people not well acquainted with silent films. A favorite moment of mine occurs early on, when Ford whistles for his assistants to turn up, which they do instantly; as he whistles a second time, they disappear equally fast. Mabel Normand is also good; overplay she does, but that is, as stated, the point. Mack Sennett is far less colorful, though; although reasonably competent, Sennett was simply no actor, in the sense that he was unable to vary the behavior of his screen character depending on the context of the film. He is barely any different here, in the midst of a parody on melodrama, than he is in any other film in which he appeared.
As a final note: some reviewers have expressed disgust with the last part, where the entire troupe of Keystone Kops is shot to death, but while I did not find this bit to be the least funny myself, it is crucial in order for the final gag to work; the Kops tumble down in realistic manner, which is shocking as the film up to that point has been quite cartoonish, but this is typically followed by the most cartoonish instance in the entire film, with Ford committing suicide by strangling himself to death. Dramaturgically speaking, the final gag would not have worked as well without that brief contrast.
It is fascinating to note how most people of today take it for granted that acting in silent films consisted of purely melodramatic overplay, worthy of little more than unintentional laughter, when, in fact, what may have founded this impression in a lot of people are excerpts from films which were supposed to poke fun at that kind of acting. Released in the summer of 1913, the Keystone comedy BARNEY OLDFIELD'S RACE FOR A LIFE has become one of the most iconic films of this sort. Although its initial success may be largely explained with the appearance of the real Barney Oldfield, a celebrity in the early days of "auto-racing," the film still remains quite funny, and the story, although ridiculously simple (as well as simply ridiculous!), is well accomplished.
Mabel Normand is kidnapped by Ford Sterling, as the latter seeks revenge on the girl as she refused to flirt with him. With the help of two assistants, she is being tied to some railroad- tracks, whereupon Ford hastily locates a locomotive and sets off to complete his evil plan. In the meantime, however, Mabel's boyfriend, played by Mack Sennett, is made aware of the situation, and he gets hold on Barney Oldfield in order to save her before the locomotive arrives at Mabel's spot...and there you got your race. Yes, a ridiculous story, but no less a spot-on, somewhat heartless parody on the tear-jerking melodramas that bombarded theater stages throughout the 19th century, and which had recently begun to blossom again in the still-new medium of film.
Inevitably, the strength of the cast is highly significant if such broad parody is to work, and BARNEY OLDFIELD'S RACE FOR A LIFE provides at least two of Keystone's most accomplished talents with Mabel Normand and Ford Sterling. The latter performs perhaps one of his most memorable acts ever; although I do know Sterling's tendency to overplay is not everyone's cup of tea, this is one of the instances where it works superbly. He is no less than brilliant here; his character may be the quintessential villain of melodrama, as his characteristics would probably seem familiar even to people not well acquainted with silent films. A favorite moment of mine occurs early on, when Ford whistles for his assistants to turn up, which they do instantly; as he whistles a second time, they disappear equally fast. Mabel Normand is also good; overplay she does, but that is, as stated, the point. Mack Sennett is far less colorful, though; although reasonably competent, Sennett was simply no actor, in the sense that he was unable to vary the behavior of his screen character depending on the context of the film. He is barely any different here, in the midst of a parody on melodrama, than he is in any other film in which he appeared.
As a final note: some reviewers have expressed disgust with the last part, where the entire troupe of Keystone Kops is shot to death, but while I did not find this bit to be the least funny myself, it is crucial in order for the final gag to work; the Kops tumble down in realistic manner, which is shocking as the film up to that point has been quite cartoonish, but this is typically followed by the most cartoonish instance in the entire film, with Ford committing suicide by strangling himself to death. Dramaturgically speaking, the final gag would not have worked as well without that brief contrast.