The Mexican Tumblers (1910)

Film Index (Vol. VI, No. 13, Sep. 24, 1910, p. 18)
The Film Index (Vol. VI, No. 13, Sep. 24, 1910, p. 18)

Curiosa la fotografía publicada en The Film Index que muestra a estos acróbatas mexicanos. Sobresalen las dos mujeres, miembros de la compañía. La vista The Mexican Tumblers (Los acróbatas mexicanos) fue producida por la Pathé en 1910. Este grupo de mexicanos no proviene de México y lo más probable es que sean oriundos de Estados Unidos y pertenezcan a la misma familia.

Esta troupe, que conforman ocho miembros y es conocida como la Compañía de Ramón García, ha ejecutado algunas notables hazañas para el beneficio de las audiencias afectas al cinematográfo. La película muestra la agilidad y energía de sus saltadores con asombroso efecto y probará ser un gran éxito.

En la revista Nickelodeon de 1 de diciembre de 1910 (Vol. IV, No. 11, p. 315) viene una muy breve descripción de la vista:

The Mexican Tumblers

An acrobatic film in which some remarkable feats exemplify the agility and sprightliness of the renowned Ramón García troupe. Released December 5.

Sin embargo en el Nickelodeon del 8 de diciembre (Vol. IV, No. 12, p. 335) se publica una descripción más detallada de las acrobacias del grupo:

The Mexican Tumblers (Pathé)

Here we see some spirited acrobatic work done by the Ramón García troupe. There are about ten of them, and each does some unusual stunt. The star performer is a young girl who allows herself to be tossed about in daring style. Some of the men turn cart-wheels so fast that the camera couldn’t keep up with them, the motion looking jerky in consequence. These acrobatic subjects please all classes, and make excellent fillers.

On the Mexican Border (1910)

De la película On the Mexican Border (1910) transcribo dos breves recuentos de la cinta, así como dos anuncios de la Lubin Manufacturing Company, productora de la película. En el anuncio publicado en The Film Index se menciona su estreno para el 5 de diciembre de 1910.

Emilio García Riera hace un escueto comentario sobre la cinta en su obra México visto por el cine extranjero (Vol. 1, p.53):

Donde hay una lujuria desaforada, hay raptos y secuestros, y más en un cine primitivo que pasaba con gran rapidez de las intenciones a los hechos. Así, los mexicanos se dedicaron al acarreo violento de vírgenes espeluznadas o de esposas ajenas en The Pony Express (1907), The Greaser’s Gauntlet (1908), On the Mexican Border (1910), The Indian Scout Revenge (1910)…

En el volumen 2 de la misma obra se constata una brevísima ficha filmográfica:

On the Mexican Border. EU (Lubin) 1910. ¿1 rollo? Western. La hija de un ranchero es raptada por un malvado mexicano, pero su novio la rescata con ayuda de unos cowboys.

The Nickelodeon (Vol. IV, No. 11, Dic. 1, 1910, p. 300)
The Nickelodeon (Vol. IV, No. 11, Dic. 1, 1910, p. 300)

La siguiente nota esta tomada de The Nickelodeon (Vol. IV, No. 11, Dec. 1, 1910, p. 314):

On the Mexican Border (1910)

It all started when the transcontinental railroad decided to run a branch line up through the wild country right to the Mexican border. Phil Scott had charge of the survey and he met and fell in love with Bessie Davis, whose father was a small rancher. Bessie and her sister, Nell, often came to the survey line to watch the young engineer and they came under the notice of Pedro Ramirez, a Mexican whose reputation was decidedly evil. To Ramirez’s admiration for Bessie was added a desire to be revenged upon Phil, who had resented the Mexican’s insolence on more than one occasion. By abducting Bessie a double purpose would be served and Pedro sent his sister to tell Bessie that her sweetheart had been hurt and was calling for her. All unsuspecting, Bessie follows the girl and unhesitatingly enters the abandoned shack where Pedro is waiting for her. Bound, gagged and lashed to a beam Bessie is left alone to break her spirit while the plotters take themselves off. Meanwhile she had been missed and Nell finds Manuelita’s gaudy scarf that the girl in her haste forgot. This gives the clue and she and her father, together with Phil, start out in search. Nell goes in search of the Sheriff and the father to the round-up camp of Bar-B-Bar ranch while Phil follows Bessie’s tracks. He reaches the old cabin and his eye is attracted by a bit of white fluttering from a stove pipe hole. Bound as she was Bess was able to push the short length of pine from the hole and tearing a ruffle from her skirt, she waves it as a signal. In a moment Phil is inside the hut releasing his sweetheart and a moment later the boys come up and capture Pedro as he is returning to hi« victim. There is promise of short shrift but the Sheriff and his posse ride up in time to rescue the Mexican and lead him away to stand trial for his offense and the cowboys turned their attention to congratulating Bess and Phil.—Released December 5.

La anterior sinopsis también se publicó en The Moving Picture World del 10 de diciembre de 1910 (Vol. VII, No. 24, p. 1367).

The Film Index (Vol. VI, No. 23, Dic. 3, 1910, p. 33)
The Film Index (Vol. VI, No. 23, Dic. 3, 1910, p. 33)

A continuación la nota publicada en The Moving Picture World (Vol. VII, No. 25, Dec. 17, 1910, pp. 1416 & 1418):

“On the Mexican Border” (Lubin)

What may be termed a typical border drama, with the jealousy of a Mexican as the cause for a good deal of disturbance. A girl is carried away and tied to a post in a shanty, while her kidnapper goes out, expecting to come back and work his pleasure with her. She manages to tear a piece from her white skirt and waves it through the stove-pipe opening. She is rescued and her kidnapper is captured and would have been lynched but for the timely arrival of the sheriff. As has been pointed out before, the pictures representing girls carried away by ruffians should be kept out of every program. Such scenes are much too suggestive. Girls struggling with ruffians or carried away to their lairs smack too much of the former methods of carrying away women whenever they chose. The restraint which led the producers to turn the villain over to the sheriff instead of showing a lynching is to be commended. So much, at least, of the old type of bloodthirsty ruffianism has practically disappeared from the screen, to the great improvement of the pictures. If the carrying away of women and girls is suggested instead of shown producers will take another forward step.