The Revolutionist (1912) y The Mexican Revolutionist (1912)

Dos filmes de 1912 con título muy similar se estrenaron en Estados Unidos. Ambos tienen a la revolución como eje temático: The Revolutionist (Lubin) y The Mexican Revolutionist (Kalem). A continuación las reseñas y fotos aparecidad en varios Moving Picture World de la época:

Moving Picture World, Vol. XI, Jan-Mar 1912, p. 994:

THE REVOLUTIONIST. (Mar. 23).—Doctor Busso, a physician, is in love with Juanita, a young Spanish beauty. Juanita, however, has other aspirations and gives her heart and hand to Don Guille, a Mexican, who is an officer in the army of the Mexican republic. Busso joins the revolutionists. Two years pass. Don Guille has married Juanita and their union has been blessed by a young Señor. The baby is taken sick. Don Guille receives word that the revolutionist is in the neighborhood and commanding that the don go in immediate pursuit of the man. Don Guille finally departs. Way up in the mountains a desperate battle between Don Guille’s troops and the revolutionists is waged. Down in the valley a no less desperate battle is being fought by an anxious mother, with death. Busso flees from his pursuers. Close pressed he jumps into the window of a house he chances to pass. The house is the home of Don Guille and he finds there the dying babe. Recalling his old-time medical skill he saves the baby’s life. Just then the father returns from the battle. The mother secrets the savior of her child in an adjoining room. Don Guille is delighted to find the baby recovered but sadly disappointed at his failure to capture the revolutionist. An accident discloses the presence of Busso and Don Guille arrests him. The mother then tells her husband of the signal service rendered by his captive. He permits the revolutionist escape.

Moving Picture World, Vol. XI, Jan-Mar 1912, p. 1034:

Released Saturday, March 23rd, 1912

Length about 1,000 feet

THE REVOLUTIONIST (Lubin)

Don Guille, officer in the Army of the Mexican Republic, is married to a Spanish beauty, and has a little son. Dr. Bosso loved the Senorita before her marriage, and to alleviate his broken heart joins the revolutionary forces and becomes a commander. Guille is ordered to engage the rebels and capture Bosso. The revolutionists are scattered and Bosso escapes and hides himself in Guille’s house, where he cures the child. He is discovered and arrested, but the Don in gratitude for saving the boy’s life permits him to escape.

The Moving Picture World, Vol. XII, No. 1, April 6, 1912, p. 42:

The Revolutionist (Lubin), March 23. – A Mexican story of a disappointed lover who became a revolutionist. He was a doctor. Later, he saved the life of a woman’s baby and her husband, his former rival saves his life. This is one of the slowest pictures we have seen; it is fairly sleepy. Its climax is very unconvincing. The sets and costumes are nondescript. The photographs are good.

The Moving Picture World, Vol. XI, Jan-Mar 1912, p. 1034

Moving Picture World, Vol. XII, Apr-Jun 1912, p. 256:

THE MEXICAN REVOLUTIONIST (April 24). — Juan, a Mexican revolutionist, encamped with his compatriots outside of Guadalajara, volunteers to enter the Federal camp and learn the enemy’s numbers. While on hostile ground Juan protects Marcela, a pretty Mexican girl, from the attack of an intoxicated Federal soldier. The latter is not so far deprived of his senses, however, but that he recognizes the revolutionist and gives the alarm. Juan, fleeing from the Federals, seeks shelter in the home of Marcela’s father. Felipe, but lie is apprehended and his two friends are taken with him, charged with being sympathizers.

During the night Juan escapes from prison and joins his party, who proceeds in force to Guadalajara, capture the city and liberate Marcela and Felipe. Juan’s life is now beset with many dangers but he does not forget the charming girl who has shared his trials and two months later he is rewarded with her hand.

The Moving Picture World, Vol. XII, Apr-Jun 1912, p. 110

Moving Picture World, Vol. XII, Apr-Jun 1912, p. 528:

THE MEXICAN REVOLUTIONIST (Kalem), April 25. — A splendid Mexican Kalem. Because of their absolute fidelity to truth, their correct rendering of every detail and the charm of their outdoor settings, these Mexican Kalems have justly become very popular with exhibitors. Their educational value is considerable. Americans have learned more about conditions as they exist in the sister republic through these pictures than through any other medium. There are some very fine and novel features in this particular reel, notably the breaking un of the insurrectos’ camp, the call to arms, and the fight between the federals and the insurrectos, which are thrillingly realistic. The correctness of these pictures from a military point of view is surely not the least of their merits. The plot is simple, but pleasing and probable, and the acting is beyond all praise.

Margarita de Orellana reproduce las siguientes fichas filmográficas en su libro La mirada circular (páginas 183-84):

The Revolutionists (Los revolucionarios). Producción: Lubin. Fuente: Moving Picture World, vol. XI, núm. 11, marzo 16, 1912, p. 994. Aunque el título está en plural, el anuncio la presenta en singular.

Sinópsis: El doctor Busso está enamorado de una belleza “española”: Juanita, quien a su vez ama a don Guille, un militar federal mexicano. Busso se une a los rebeldes. Dos años después don Guille y Juanita tienen un hijo, el que se enferma gravemente cuando los revolucionarios llegan a tomar el pueblo. Don Guille sale a las montañas a combatir, dejando atrás a Juanita desesperada. Busso logra escapar de los federales y se refugia en la primera casa que encuentra, que no es otra que la de Juanita. Cura al niño agonizante y ella lo esconde en un cuarto de la casa. Don Guille decepcionado por no haber hallado a los rebeldes, regresa a casa para encontrar a su hijo sano. Un pequeño accidente revela la presencia de Busso en casa y don Guille lo arresta. La esposa le cuenta lo que pasó y Busso es liberado.

The Mexican Revolutionist (El revolucionario mexicano). Producción: Kalem. Actores: Alice Joy, Carlyle Blackwell. Fuente: Moving Picture World, Vol. XII, Apr-Jun 1912, núm. 3, abril 20, 1912, p. 256:

Juan, un revolucionario mexicano que se encuentra acampando con sus compatriotas fuera de Guadalajara, se interna como espía en campo federal. Al darse cuenta de que un federal borracho está molestando a una chica llamada Marcela, se enfrenta a él pero éste lo reconoce y da la alarma. Juan se esconde en casa de Marcela. El padre de ella es aprehendido junto con Juan por simpatizar con los rebeldes. Por fin Juan logra escapar. Se reúne con sus hombres para tomar Guadalajara, liberando a Marcela y a su padre. Dos meses más tarde pide la mano de la chica.

The Motion Picture Story Magazine de mayo de 1912 (Vol. III, No. 4, p. 153)
The Motion Picture Story Magazine de mayo de 1912 (Vol. III, No. 4, p. 153)

García Riera en México visto por el cine extranjero, vol. 2 (pág. 29) nos da la siguiente información:

1206 / 33. The Mexican Revolutionist. Producción: EU (Kalem), 1912. Intérpretes: Alice Joyce (Manuela), Carlyle Blackwell (Juan). 1 rollo. El revolucionario mexicano Juan, que acampa con los suyos en las afueras de Guadalajara, se ofrece como voluntario para entrar al terreno de los enemigos federales y averiguar su número. Al proteger en Guadalajara a la joven Manuela de un federal borracho, fugitivo, se refugia en casa del padre de Manuela, pero es hecho preso junto con sus protectores, simpatizantes de la revolución. Durante la noche, Juan huye y se reúne con su gente para atacar Guadalajara y liberar a Manuela y a su padre. Dos meses después, Juan y Manuela se casan.

1206/34. The Revolutionist. Producción: EU (Lubin), 1912. 1 rollo. Todo ocurre entre mexicanos. Cuando su amada Juanita se casa con el oficial federal don Guille, el médico Dr. Busso se une a la revolución. Tiempo después, enferma el bebé de Juanita y es salvado por Busso, que se ha metido por una ventana a la casa de ella para huir de los federales después de una batalla en la montaña. Al saber lo ocurrido, don Guille permite la fuga del médico.

Según Emilio García Riera las dos cintas son un par de los muchos filmes norteamericanos que entre 1911 y 1914 mostraron benevolencia con los revolucionarios mexicanos.

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