Even at their most middling and unremarkable there's something rich and endearing about silent films in their earnestness, and about the old techniques of film-making and storytelling without sound. It's been said, often with an air of cynicism, that the era represents "simpler entertainment for a simpler time," and sometimes that does quite come across - especially when, as here, we get at least in part an expression of cultural values (e.g., introducing religion to a frontier town) that are decidedly outdated. The fact that the name of this picture refers to the protagonist and his role as a preacher ("conveying his congregation to the heavens," as it were) kind of says it all. Yet through any measure of kitsch, any comparative lack of sophistication, some rough edges, and image quality that has somewhat diminished over time, 'The Sky Pilot' remains an enjoyable, well made feature. As a work in the long career of King Vidor, as a western, or just as something good to watch, there's much to appreciate here, and all the utmost skepticism doesn't take away from the core value.
In the broad strokes the plot is fairly light, and not super noteworthy: a young preacher coming to town, finding conflict and gradual acceptance, and getting involved in other goings-on. The plot development and editing are stilted and brusque at points, shortchanging the actual story and doing the whole no favors; as a few examples among others, look to how abruptly the relationship between the protagonist and Hendricks changes, the manner in which characters are introduced, or a crucial scene involving Gwen a bit more than halfway through. Still, even for all this the tale is a worthy good time in and of itself. Between Ralph Connor's novel and Faith Green and John McDermott's adaptation for the screen there is a solid foundation in the overall saga, and in the scenes and characters. If in execution the viewing experience becomes a tad choppy and oversimplified, well, that comes with the territory every now and again, even one hundred years on. Meanwhile, though not one of Vidor's premier movies, his direction is firmly capable, and we can readily discern the ardor of the production. From beautiful filming locations, sets, and costume design, to complex stunts and effects, and even down to just the regular orchestration of every shot and scene, any self-respecting cinephile will see a great deal to admire in most every facet. If you love the medium, and the art of film-making, this is a minor treasure.
True, 'The Sky Pilot' is unlikely to change the minds of anyone who isn't already enamored of the silent era; there is just enough clunky unwieldiness in the presentation that I can understand how it won't appeal to some modern viewers. Case in point: nevermind the most hokey, laughable facets of the religious messaging, at large the dialogue as imparted through intertitles is less than great; the last reel or so lags in places, and maybe isn't the strongest portion of the runtime. Yet the cast are a small joy, certainly including John Bowers and Colleen Moore, even if the curtness of the plot development and editing mean that their commendable performances are at times rendered somewhat perfunctory. We do get sequences of grand adventure and high drama as we would anticipate of a western, and these are as excellent as most any to greet us in the genre; the protagonist may be a preacher, but strictly speaking faith isn't altogether the centerpiece, just significant flavoring. L. William O'Connell and Gus Peterson's cinematography is smart and superb, making a considerable impression in the bigger outdoors sequences where a more active, calculated eye is required; even some instances of lighting are choice. It bears repeating that the stunts and effects herein are pretty fantastic, a fine credit to all involved. All told the title may not be a revelation, nor a must-see, but if one is receptive to older cinema and has the opportunity to watch, it's very entertaining, and deserving on its own merits.
Don't go out of your way for this flick, and be very cognizant of the stylistic and narrative decisions by which it falls short (especially in retrospect). The roots are very sturdy, however, so if you do have the chance to watch, and not least if you're the type of person who loves films even just for their craftsmanship, then these are seventy-five minutes well spent.
In the broad strokes the plot is fairly light, and not super noteworthy: a young preacher coming to town, finding conflict and gradual acceptance, and getting involved in other goings-on. The plot development and editing are stilted and brusque at points, shortchanging the actual story and doing the whole no favors; as a few examples among others, look to how abruptly the relationship between the protagonist and Hendricks changes, the manner in which characters are introduced, or a crucial scene involving Gwen a bit more than halfway through. Still, even for all this the tale is a worthy good time in and of itself. Between Ralph Connor's novel and Faith Green and John McDermott's adaptation for the screen there is a solid foundation in the overall saga, and in the scenes and characters. If in execution the viewing experience becomes a tad choppy and oversimplified, well, that comes with the territory every now and again, even one hundred years on. Meanwhile, though not one of Vidor's premier movies, his direction is firmly capable, and we can readily discern the ardor of the production. From beautiful filming locations, sets, and costume design, to complex stunts and effects, and even down to just the regular orchestration of every shot and scene, any self-respecting cinephile will see a great deal to admire in most every facet. If you love the medium, and the art of film-making, this is a minor treasure.
True, 'The Sky Pilot' is unlikely to change the minds of anyone who isn't already enamored of the silent era; there is just enough clunky unwieldiness in the presentation that I can understand how it won't appeal to some modern viewers. Case in point: nevermind the most hokey, laughable facets of the religious messaging, at large the dialogue as imparted through intertitles is less than great; the last reel or so lags in places, and maybe isn't the strongest portion of the runtime. Yet the cast are a small joy, certainly including John Bowers and Colleen Moore, even if the curtness of the plot development and editing mean that their commendable performances are at times rendered somewhat perfunctory. We do get sequences of grand adventure and high drama as we would anticipate of a western, and these are as excellent as most any to greet us in the genre; the protagonist may be a preacher, but strictly speaking faith isn't altogether the centerpiece, just significant flavoring. L. William O'Connell and Gus Peterson's cinematography is smart and superb, making a considerable impression in the bigger outdoors sequences where a more active, calculated eye is required; even some instances of lighting are choice. It bears repeating that the stunts and effects herein are pretty fantastic, a fine credit to all involved. All told the title may not be a revelation, nor a must-see, but if one is receptive to older cinema and has the opportunity to watch, it's very entertaining, and deserving on its own merits.
Don't go out of your way for this flick, and be very cognizant of the stylistic and narrative decisions by which it falls short (especially in retrospect). The roots are very sturdy, however, so if you do have the chance to watch, and not least if you're the type of person who loves films even just for their craftsmanship, then these are seventy-five minutes well spent.