De estas dos cintas existe una mínima información que consiste en breves sinopsis publicadas en The Moving Picture World; para la primera en el número del 25 de noviembre de 1911 (Vol. X. No. 8, p. 656) y un anuncio que publicita varias cintas de la compañía Kalem. La película se estrenó el 27 de noviembre de 1911 en Estados Unidos.
THE AMERICAN INSURRECTO (Nov. 27).—Dirk Lennard, a young American soldier of fortune, fighting for Mexican freedom, is pursued by Federal soldiers. Wounded and in sore straits, and his horse finally giving out. Lennard almost gives up hope. While sorely pressed and practically exhausted, he is discovered by Mona, an Indian girl. Believing that the American would be better treated by the white people than by her own tribe, she helps Lennard to the nearby ranch of Don Silvestre, a Federal sympathizer. Dick is recognized by the don’s daughter from descriptions sent broad-cast. She tells her father he is a spy and a messenger is sent after the soldiers. Mona, learning of the white man’s dangerous plight, goes to the chief of her tribe, who has long been a suitor for her hand, and gives him her promise to marry him if he will save the paleface. The rescue is effected and Mona fulfills her promise.
No confundir la anterior cinta con la siguiente. Ambas películas son de la Kalem y fueron filmadas en 1911. A continuación un par de notas sobre The Insurrecto; ambas publicadas en The Moving Picture World del 22 de abril de 1911 (Vol. VIII, No. 16, p. 904):
The Insurrecto – Joe Benton finds his orange crop a failure and foreclosure inevitable. Learning that recruits are wanted for the insurrecto army in Lower California, Joe meets the leaders and is offered a huge sum to help intercept a train carrying ammunition. Their plans are interrupted and the insurrectos flee in all directions. Joe escapes to the mountains. In a lonely miner’s cabin be finds a rifle and determines to put up a stiff fight before being taken. Dick Martin, who has heard of the pursuit of the insurrectos, returning to his home, finds his rifle gone and correctly concludes the fleeing men have passed that way. Learning of the reward offered for their capture he follows their trail. Joe, while climbing a hill through the underbrush, accidentally shoots himself. Dick, who is not far behind, hears the shot and rushes to the scene. Joe tells Dick that he accidentally shot himself and is dying, and gives Dick the money the insurrectos have previously given him, asking Dick to take it to his wife. Dick carries the wounded insurrecto to the nearest settlement, but delivers a dead man to the marshal, who pays him the reward. True to his promise to Joe, Dick calls on his wife and tells her of his sad ending, at the same time giving her the money for which the husband had sacrificed his life. Dick, moved by Mrs. Benton’s sad plight, adds the reward to the young husband’s money and saves the home.
Y del 6 de mayo de 1911 (Vol. VIII, No. 18, p. 1019):
“The Insurrecto” (Kalem) — This story ostensibly represents some of the scenes in the present uprising in Mexico. But the picture presents nothing that would stamp it as connected with the Mexican difficulty except the presence of the ammunition train. Indeed, it might be made at any time and might be also merely a picture of any brush warfare The portion representing the insurrecto wounded and dying, as well as that which shows the sheriff’s posse and the capture of the wounded man by the miner, present none of the pomp of war; yet, perhaps the picture will be more beneficial than interesting for this reason if this represents the Mexican imbroglio accurately there is little inducement for soldiers of fortune to follow the insurrectos further into the Mexican domain.
Por su parte, Emilio García Riera en México visto por el cine extrajero menciona lo siguiente respecto a estas cintas de la Kalem:
Más común en las películas de la Kalem fue la expresión de un wishful thinking — ilusión voluntariosa — alentado por el viejo Destino Manifiesto: en 1911, otras tres cintas de la Kalem — una de abril, The Insurrecto, y dos de noviembre, A Prisoner of Mexico y The American Insurrecto — propusieron a héroes norteamericanos como cabecillas de revoluciones mexicanos. Esta suerte de inversión imaginaria en heroismo y capacidad de mando (leadership), previsora de futuros beneficios políticos y económicos… (p. 49)