Le timide (1915) Online

In 1915, when he was already a very popular and sought-after Broadway actor, Hollywood producers and directors (and namely D.W. Griffith, whose work Fairbanks admired very much) persuaded him at last to try his luck in the still young métier of motion pictures. He agreed when he was reassured that every one of his films would be supervised by Griffith; and his first appearance was as "The Lamb", a role he'd already played on stage with great success. And it was to determine the roles he'd usually play during the first years of his career: the spoiled young weakling, the 'lamb', that turns into a lion to save his girl when real danger turns up...

It's simply hilarious to watch Doug - who would play the greatest and most fearless swashbuckling heroes just a few years later - in the beginning of the movie, walking around like a shy, scared little boy, and driving his girlfriend Mary crazy with his behavior - and into the arms of a 'real' Western hero; or so she thinks... Whilst her 'lamb' (the allusions used in the inter-titles referring to a real lamb, and to the old nursery rhyme 'Mary had a little lamb', are simply wonderful, by the way!) takes boxing and jiu-jitsu lessons in order to be 'ready' for the trip to Arizona and to show Mary how much he's changed - only that on the way he's being hijacked by some crooks, robbed and left in the middle of the desert...

BUT then an uprising of a Mexican tribe starts, putting his Mary in great danger - and THERE you can see how the 'lamb' turns into a 'lion' to save her!! A WONDERFULLY funny, entertaining, thrilling picture, which even after 100 (!) years has lost nothing of its freshness; a real enjoyment for every fan of classic movies (and a very good example for getting more people interested in silents) - and the beginning of a truly GREAT career!

In 1887 popular author Bronson Howard premiered his new play, 'The Henrietta.' Some twenty-five years later, after the playwright's death, it was revived on Broadway in a revised version entitled 'The New Henrietta,' and this time around it starred popular leading man Douglas Fairbanks in the central role, that of a timid young man named Bertie, nicknamed "the lamb." When Doug made his first feature film two years later in 1915, an adaptation of the hit play was the logical choice for his screen debut; or at least, that's how the story is told in various books and articles on Fairbanks. One look at the surviving film tells a different tale.

It appears the first thing the filmmakers did when it came time to adapt this material was throw out Howard's plot, rename their timid protagonist Gerald, and keep the "lamb" nickname for the title. Otherwise it's a completely new scenario, freshly conceived for the motion picture medium. That said, the plot may seem more than a little familiar if you've seen some of Fairbanks' other comedies, the ones made in the 'teens before he turned to swashbuckling. Understandably, The Lamb is not as polished or as witty as the vehicles subsequently crafted for the star, but this is where it all started, that is, where the template for those comedies was created.

Our central figure Gerald is the son of a Wall Street financier—that's practically the only element kept from the play—a soft and pampered fellow who speaks in an affected, pseudo-British fashion. He is courting Mary, a respectable young lady whose parents approve of the match largely because of Gerald's inherited wealth. But a complication arises when a virile young man from Arizona named Bill appears on the scene. Bill (amusingly called "the cactus fed giant" in title cards) is handsome and macho. Mary is smitten with him. And one day at the beach, when a drowning swimmer calls out for help, it's Bill who bravely rescues her while Gerald looks on passively. Mary denounces her fiancée as a coward, and he's ashamed.

While Mary and several members of her social set visit Bill's Arizona ranch, located near the border with Mexico, Gerald tries to improve himself with lessons in boxing and Jiu-Jitsu. He then departs to join his friends out west, but is waylaid en route by a pair of thieves, and stranded in the desert. Eventually he makes his way to Arizona, just as a rebellion breaks out across the border in Mexico. Both Gerald and Mary are abducted by rebels; Bill, meanwhile, reveals his true colors by fleeing rather than helping Mary. Now strengthened by his experiences, Gerald turns the tables on his captors and protects Mary long enough to allow for their rescue by U.S. Army troops.

That's the plot concocted for this film, and if you've seen any of Doug's other vehicles you'll instantly recognize some of the themes that would become familiar in follow-ups: the effete young weakling who must become tough, the impact of money on courtship and marriage, the superiority of strenuous living out West over stuffy society back East, etc. These elements would be reworked in various combinations, in such films as Double Trouble, Wild and Woolly, The Mollycoddle, etc. Next to those more polished efforts The Lamb is comparatively rough sledding. The tempo is slow in the opening scenes, and the title cards are awkwardly worded throughout. (Anita Loos & John Emerson would write witty text for the subsequent Fairbanks comedies; I gather Miss Loos worked on the titles for this film, but if that's correct she hadn't yet found the right tone to suit Doug's style.) This film also has the unhappy distinction of offering the star's all-time worst performance, in the scene where Gerald laments his cowardice after Bill rescues the drowning woman. Doug grimaces, rakes his face with his hand, turns one way and then the other, flings his arms in the air and then falls face forward into the sand! It's way over the top, and looks like a parody of bad acting. No wonder that, in later productions, Doug was inclined to underplay scenes of high emotion.

In any case, while it doesn't hold up as well as his best features, The Lamb marked a highly significant career milestone for Douglas Fairbanks, and will therefore be of interest to anyone who enjoys his mature work. All the great stars had to begin somewhere. This is where Doug's screen career was launched, and considering how many early films are lost we can be grateful it survives at all.

Douglas Fairbanks (as Gerald, a "Son of the Idle Rich") jumps from stage to screen as "The Lamb", an extension of the successful Broadway character he'd been playing during the first half of the decade. Mr. Fairbanks had essayed a smaller role in "The Martyrs of the Alamo"; wisely, it was held back until "The Lamb" premiered. This was the first of Fairbanks' successful Triangle/D.W. Griffith-supervised run of films. It's a good introduction to an amazing silent film career, which ended with "The Iron Mask" (1929).

Fairbanks is a wealthy "Lovesick Lamb", head-over-heels for beautiful Seena Owen (as Mary, "The American Girl"). Ms. Owen is set for a big society wedding with woolly Fairbanks; but, their relationship is threatened by Fairbanks' timid nature. Owens wishes her "lamb" were more like "Her Model Type of Man", Alfred Paget (as "The Goat"). So, Fairbanks heads west, to prove his mettle. Down Mexico way, he encounters savage Native Americans. Later, Fairbanks knowingly sent "The Lamb" to Buster Keaton ("The Saphead").

***** The Lamb (9/23/15) Christy Cabanne ~ Douglas Fairbanks, Seena Owen, Alfred Paget

Here's Douglas Fairbanks in his very first film, so I guess we shouldn't judge it too harshly, though it's hard to restrain ourselves from voicing disappointment. As you might expect, Doug imagines he's still on a theater stage and overacts accordingly, but he's none too pleasingly photographed either. In fact, he looks too old for a spunky girl like Seena Owen. The plot is pretentious hoke and if you can't guess how it will all turn out after the first two or three minutes, you sure haven't seen many movies. As for the direction, it's pretty uneven. Director Christy Cabanne has two or three bright ideas – maybe they were written into the scenario? – but generally he is heavy-handed when what the play actually calls for is a light touch. So all in all, despite its curiosity value, this is definitely not one for Fairbanks fans. Available on an excellent Grapevine DVD.

Sorry I haven't seen the film, but I'm baffled why people here are so confident that it is an "uncredited" adaptation of the play "The New Henrietta" which Fairbanks also starred in on stage. That play (later filmed as Buster Keaton's "The Saphead") is a Wall Street comedy. It has no Indians in it, no Mexicans, no battle scenes, and is set entirely in New York, not out West. So this linkage sounds doubtful. I'd hate to judge this before seeing the film, so if someone knows where it can be seen, please share. Otherwise, will the person who added the "uncredited" screenplay information please confirm where they got that info from?

To be fair, I don't know how well a play "The New Henrietta" was on stage; Douglas Fairbanks had played the main role on Broadway just the year before this film, which is a reworking of the play. Five years later, Fairbanks suggested the part for Buster Keaton, for a film that became "The Saphead". Both "The Lamb" and "The Saphead" were the first feature-length starring roles for the respective would-be stars, making their careers as movie comedians. Yet, it was a lousy story in both adaptations, although Fairbanks and Keaton did their best under the circumstances. As for the adaptations, I prefer "The Lamb" because it's less melodramatic and a little less drawn-out, although it is still slow going compared to Fairbanks's later vehicles.

Actually, this scenario is similar to the one Fairbanks used in many of his early comedies: he plays an effeminate rich boy, with "no backbone", who through some adventure (often by leaving a city such as New York for the wild west), regains his manhood and the girl. "The Lamb", however, lacks the pacing set by director John Emerson and the witty title cards of Anita Loos, which "His Picture in the Papers" (1916) and subsequent Fairbanks pictures maintained. The action picks up at the climax, but that's about it. The title writing here is bad, and there are seemingly too many title cards as a result. The frontal staging of actors for the stationary camera is also dated.

(Note: I saw a dark, poor-quality print.)