Importing Cattle From Mexico to the United States (1913)

Corto metraje educativo de 400 pies producida por la Lubin Manufacturing Co. que se anuncia como “una muy pintoresca y educativa película”. De todas las cintas con alguna referencia a México, ésta es de la pocas que he encontrado que contenga un mensaje educativo sobre México. En este caso se trata de describir cómo cruzan el ganado hacia Estados Unidos. Los inspectores trabajando y las bestias examinadas en cuanto a su salud para luego darles un baño desinfectante para subirlas a los carros del ferrocarril. Junto con la sinopsis, dos anuncios que mencionan la cinta y donde se informa de su estreno para el 25 de febrero de 1913.

Anuncio publicado en The Moving Picture World (Vol. XV, No. 9, Mar. 1, 1913, p. 860)
Anuncio publicado en The Moving Picture World (Vol. XV, No. 9, Mar. 1, 1913, p. 860)

El mismo y breve comentario sobre la cinta que se publicó en The Moving Picture World (Vol. XV, Jan-Mar 1913, p. 804) y en Motography (Vol. IX, No. 4, Feb. 15, 1913, p. 122):

Anuncio de la Lubin en Motography (Vol. IX, No. 4, Feb. 15, 1913, p. 6)
Anuncio de la Lubin Manufacturing Co. en Motography (Vol. IX, No. 4, Feb. 15, 1913, p. 6)

Importing Cattle from Mexico into the United States (Feb. 25). This is an educational picture showing the system of passing cattle across the line into the United States. The inspectors are on the job. The beasts are duly examined as to health and then driven into a disinfecting bath, through which they have to swim before leaving the run, which takes them to the cars. Upwards of fifty steers are shown in the picture.

Fights of Nations (1907)

En México visto por el cine extranjero (Vol. 1, p. 20), Emilio García Riera, con título cambiado del original, comenta lo siguiente sobre esta cinta:

En una cinta de la Biograph, The Fight of the Nations (1907), exaltadora del crisol (melting pot) multinacional y multirracial norteamericano, un spaniard y un mexican enfrentaban sus cuchillos más quizá para definir una índole pintoresca y exótica que una naturaleza violenta.

García Riera en la misma obra, pero en el volumen 2, da una breve ficha filmográfica y sinopsis:

The Fight of Nations / P. EU (Bio) 1907. 8′. Sucesión de combates singulares entre parejas de diversos grupos étnicos y nacionales: escoceses (con espadas), judíos (con gestos y artimañas), irlandeses (con puños), “un castellano y un mexicano” (con cuchillos). Al final, todos desfilan frente a las banderas de las naciones aludidas.

La cinta resulta ser una serie de estereotipos de diversas razas y nacionalidades muy en boga a inicios del siglo pasado. En el primer número de The Moving Picture World publicado el 7 de marzo de 1907 (Vol. I, No. 1, p. 2) se publicó un anuncio de media página para promover la cinta:

The Moving Picture World del 7 de marzo de 1907 (Vol. I, No. 1, p. 2)
The Moving Picture World del 7 de marzo de 1907 (Vol. I, No. 1, p. 2)

La nota que sigue también es del primer número de The Moving Picture World (Vol. I, No. 1, pp. 9-10):

Fights of Nations

Affairs of Honor a la Mode Portrayed by the Biograph.

The Moving Picture World del 7 de marzo de 1907 (Vol. I, No. 1, p. 9)
The Moving Picture World del 7 de marzo de 1907 (Vol. I, No. 1, p. 9)

Our latest production, under six titles, represents various types and nationalities, with comedy and tragedy consistently intermingled. Every scene is beautifully staged and each nationality well represented. “Mexico vs. Spain,” the first scene, shows the rejected Mexican suitor, in a jealous rage, watching the lovemaking between Carlos, the Spaniard, his hated rival, and the beautiful senorita. With drawn stiletto he pounces upon the Don, but the senorita seizes his arm, thus saving her lover from a horrible death. After a terrific hand-to-hand encounter, the Don has the point of vantage over the Mexican, but through the pleadings of the girl releases him and bids him go. Next is shown two of “Our Hebrew Friends,” in a characteristic battle —all talk, but no blows. A third Hebrew is drawn into the argument, in the heat of which a policeman appears and threatens to arrest them. The third Hebrew is made the innocent victim. He offers the officer a bribe of a roll of money, which is accepted, but the Jew steals it back. Then follows “A Scottish “Combat”—a broadsword engagement between two of America’s leading actors in Scotch costumes, showing how quick and accurate these weapons can be handled. A comedy scene, “Sunny Africa,” takes place in a concert hall on Eighth Avenue, New York, frequented by the colored element. Buck dancing, cakewalking, etc., are indulged in. The bully resents the attentions paid to his sweetheart by a dusky gentleman. Immediately razors are drawn, and the affair winds up in a rough house. In “Sons of the Ould Sod” we show a laughable scrap between Haggerty and Fogarty, caused by the accidental dropping of a wet sheet by Mrs. Haggerty from her window upon the head of Fogarty. The men battle furiously, until that soothing balm to hurt feelings—beer—is proffered by the ever-thoughtful Mrs. Haggerty. “America” then serves as an appropriate finale. The scene is magnificently decorated with emblems of all nations, the American eagle surmounting them. In harmony, peace and good-will the characters of the different nations appear, making it an allegorical representation of “Peace,” with Uncle Sam presiding at a congress of the Powers.

La ficha filmográfica esta tomada de Silent Era y resulta interesante que sea el fotógrafo Billy Bitzer el único que se conozca por nombre y quien se hiciera famoso como camarógrafo de D. W. Griffith algunos años después.

Fights of Nations (1907), Norteamericana. B & N: 750 pies. Director e intérpretes desconocidos. Producción: American Mutoscope & Biograph Company; distribución: American Mutoscope & Biograph Company. Fotografía: G.W. Bitzer. Estrenada el 2 de marzo de 1907. Producción Biograph  número 3272. Uno de los duelos está tomado de la escena del duelo en la producción Biograph de “Macbeth” (1905).