Esta cinta tuvo un publicidad exhaustiva con varios anuncios donde la Lubin Co. promovía sus películas. Pero vayamos en estricto orden cronológico.
Iniciamos con la revista Motography del 1 de marzo de 1913 (Vol. IX, No. 5, pp. 174-175) donde, caso raro, incluyen los intérpretes:
Two Reel Film of Mexican Border
A two-reel story coming at an opportune time, is the Lubin release of March 15, entitled «An Adventure on the Mexican Border.» It was written, produced and acted in, by Romaine Fielding. On the United States side of the line dividing Mexico from the United States, the United States soldiers are camped, with a view of protecting the international line and the citizens of the United States. Fifty yards on the other side, the Mexican soldiers are camped to do likewise for their country. One of the bright-eyed señoritas of the southern race captivates two officers, one a captain of her own nationality, the other a lieutenant belonging to Uncle Sam.
Motography del 15 de marzo de 1913 (Vol. IX, No. 6, p. 10)
Both of these men, true and staunch in war and love, have a silent battle to gain the lady’s hand. The captain of the Mexican troops, being the older of the two, wins the maid by his quiet love and kindness. The irrepressible United States trooper tries to take the senorita’s heart by storm, but is repelled. On the spur of the moment, to punish his rival, the lieutenant tells a falsehood to his commanding officer, and nearly causes international complications; but after analyzing the situation, the lieutenant rises above all personal feelings and delivers the captain from jail, returns him to his fiancé across the line, and goes back to take his place and await his punishment.
The parts are taken as follows:
Romaine Fielding (a soldier of Mexico); Robyn Adair (A soldier of the United States); Mary E. Ryan (the señorita); Eleanor Mason (her friend); Richard Wangemann (her father); Lieutenant Rudd (Captain of U. S. troops); Moritz Cytror (U. S. private); Henry Alrich (Mexican lieutenant).
On the Mexican border line troops are camped. A señorita captivates two officers, one a Mexican Captain, whom she favors and the other a U. S. Lieutenant. The latter insenced by jealousy makes a false charge against the Mexican which causes national complications. His better nature however asserts itself and je vindicates his rival and gives himself up for punishment. Motography del 1 de marzo de 1913 (Vol. IX, No. 5, p. 6)
The Moving Picture World del 8 de marzo de 1913 (Vol. XV, No. 10, p. 1018):
An Adventure on the Mexican Border, (Mar. 15). — On the United States side of the line dividing Mexico from the United States, the U. S. soldiers camped, with a view to protecting the international line and the citizens of the United States. Fifty yards on the other side, the Mexican soldiers were camped to do likewise for their country. One of the bright-eyed senoritas of the southern race captivates two officers, one a captain of her own nationality, the other a lieutenant belonging to Uncle Sam. Both of these men, true and staunch in war and love, have a silent battle to gain the lady’s hand. The captain of the Mexican troops being the older of the two wins the maid by his quiet love and kindness. The irrepressible, impassionate United States trooper, tries to take the senorita’s heart by storm, but is repelled. On the spur of the moment, to punish his rival, the United States lieutenant tells a falsehood to his commanding officer, and nearly causes international complications, but after coolly analyzing the situation, the lieutenant raises above all petty personal feelings and delivers the captain from jail, returns him to his fianceé across the line, and goes back to take his place and await his punishment.
En un anuncio publicado en Motography del 15 de marzo de 1913 (Vol. IX, No. 6, p. 10) apareció la siguiente información:
«An Adventure on the Mexican Border»
Lubin Drama in Two Parts. Released March 15, 1913
A timely film story, dealing with the troops encamped on both sides of the border between the United States and Mexico. A lieutenant of the United States army and a captain of the Mexican troops are silently battling for the love of a bright eyed señorita. The captain is successful. The lieutenant in a fit of passionate anger, tells his commanding officer of an alleged breach of the existing martial law by the Mexican Captain. Complications follow, but a careful analysis of the situation prompts the lieutenant to release the imprisoned captain and return to face his punishment.
Motography del 8 de marzo de 1913 (Vol. IX, No. 6, p. 10)
En otro anuncio de la Lubin publicado en The Moving Picture World del 15 de marzo de 1913 (Vol. XV, No. 11, p. 1073) se aportan los datos siguientes:
“An Adventure on the Mexican Border”
A timely film story, dealing with the troops encamped on both sides of the border between the United States and Mexico. A lieutenant of the United States Army and a captain of the Mexican troops are silently battling for the love of a bright-eyed senorita. The captain is successful. The lieutenant in a fit of passionate anger tells his commanding officer of an alleged breach of the existing martial law by the Mexican captain. Complications follow, but a careful analysis of the situation prompts the lieutenant to release the imprisoned captain and return to face his punishment.
The Moving Picture World del 15 de marzo de 1913 (Vol. XV, No. 11, p. 1073)
Por último una nota de The Moving Picture World del 15 de marzo de 1913 (Vol. XV, No. 11, p. 1113):
AN ADVENTURE ON THE MEXICAN BORDER (Lubin).
This is a two-reel special of the Lubin Company and a dramatic photoplay showing the heroism of the American soldier. Love drives him to fault, but his manhood prevails and shows him to be «true blue.» It is a story of Romaine Fielding, who is directing the Lubin Company at Nogales, Arizona, and it is safe to say that this excellent actor is giving true atmosphere.
The Moving Picture World del 15 de marzo de 1913 (Vol. XV, No. 11, p. 1113)
On the United States side of the line dividing Mexico from the United States the United States soldiers camped, with a view of protecting the international line and the citizens. Fifty yards on the other side are the Mexican soldiers. One of the bright-eyed senoritas of the southern race captivates two officers, one a captain of her own nationality, the other a lieutenant belonging to Uncle Sam. Both of these men have a silent battle to gain the girl’s hand. The captain of the Mexican troops, being the older of the two, wins the maid by his quiet love and kindness. The irrepressible trooper tries to take the senorita’s heart by storm, but is repelled. On the spur of the moment, to punish his rival, the lieutenant tells a falsehood, but after coolly analyzing the situation the lieutenant raises above all petty personal feelings and delivers the captain from jail, returns him to his fianceé across the line, and goes back to take his place and await his punishment.
A thrilling love story, showing the nerve-raching trials of a Mexican girl choosing between her Mexican lover and one of Uncle Sam’s troopers. The Moving Picture World del 15 de marzo de 1913 (Vol. XV, No. 11, p. 1074)
Emilio García Riera en su multicitada obra México visto por el cine extranjero, tomo I, apunta que:
El director y galán Romaine Fielding, al servicio de la Lubin, advirtió en An Adventure on the Mexican Border (1913) la inconveniencia para los norteamericanos de cruzar la frontera, por mucho que los “ojos brillantes” de una “señorita” (The Moving Picture World, Vol. XV, ene-mar 1913, marzo 8, 1913, p. 1018) lo provocaran, pues eso podía costar un “incidente internacional”. (p. 51)
Remata García Riera que “se admitió incluso en algunas [cintas] la preferencia legítima del amor de un mexicano al de un norteamericano, como ocurría en The MexicanSweethearts (1909), The Señorita (1909), A Knot in the Plot (1910) y An adventure on the Mexican Border (1913). (pág. 55)
Por lo que corresponde a la ficha filmográfica y sinopsis de la película, García Riera da los siguientes datos en el tomo II de su obra citada:
1306 / 15. An adventure on the Mexican Border. Producción: EU (Lubin), 1913. Dirección y argumento: Romaine Fielding. Intérpretes: Romaine Fielding, Mary Ryan, Robin Adair. 2 rollos. En el lado norteamericano de la frontera, unas tropas acampadas protegen a los ciudadanos del país. No muy lejos, en el otro lado, unos soldados mexicanos hacen algo semejante. Dos oficiales, uno mexicano y otro norteamericano, compiten por el amor de una señorita mexicana. Vence el mexicano, mayor que su rival, gracias a su discreción y a su generosidad. El norteamericano, un teniente impulsivo, es rechazado cuando trata de ganar a la mexicana por la fuerza. En venganza, el teniente cuenta una mentira que casi provoca un incidente internacional, pero acaba por recapacitar, poniendo de lado sus intereses personales: saca al mexicano (un capitán) de la cárcel, lo devuelve a su novia y atraviesa la frontera para enfrentar un justo castigo. (p. 34)
Bajo el título de “La marcha del cinematógrafo en México”, José Luis Navarro, corresponsal de Cine-Mundial en Guadalajara dobletea, por decirlo de algún modo, y provee información de la ciudad de México y de Guadalajara. En la parte final de su artículo publicado en el número de febrero (Vol. II, No. 2, p. 87) nos ofrece información sobre el cinematógrafo en Guadalajara:
Debido probablemente a la competencia de los empresarios de cines, hemos visto pasar por la pantalla de los cines «Lux,» «Jalisco,» «Allende,” «Hidalgo,» «Opera» y «Cuauhtémoc,» hermosas producciones cinematográficas.
Fotografía publicada en Cine-Mundial de julio de 1917 (Vol. II, No. 7, p. 357)
En esta capital se ha inaugurado con muy bien éxito la famosa «Carpa París,» de la cual es propietario el conocido empresario de cines Sr. José Carpio.
El cine «Hidalgo,» del cual es propietario nuestro buen amigo Dn. Salvador Villalobos, ha presentado últimamente al público películas que vale la pena verlas. El Sr. Villalobos se propone presentar próximamente películas de gran metraje como «Soborno,» «El diamante celeste» y otras de no menos éxito.
José Luis Navarro. Enero de 1917.
Más adelante, en el número de correspondiente a abril (Vol. II, No. 4, p. 189) José Luis Navarro dedicada su columna íntegramente a Guadalajara:
De Guadalajara, México
Pasada la temporada invernal en que por algún tiempo se mantuvieron los teatros y salones de cine un poco fríos, parece que el calor ya reanimando a los amantes de la escena muda, que se disponen a admirar las últimas producciones que nos llegan de los Estados Unidos y Europa. El material norteamericano ha sido objeto de muy favorable acogida por parte del público mexicano y algunas de las cintas recientemente estrenadas han llamado poderosamente la atención.
El cine «Opera,» uno de los principales en la Perla de Occidente, ha presentado obras notables y de interés general. Está de plácemes el empresario actual, Sr. José Carpió, que ha sabido corresponder al favor del público. «La tigresa,» «Corazón rebelde» y «Por una hora de amor» se destacan entre los fotodramas de méritos que han cruzado por el lienzo de este cine.
Las empresas de los cines «Opera,» «Hidalgo,» carpa «París» y «México» no escatiman gastos en todo lo que tiende a satisfacer al público. Recientemente han ofrecido «La llave maestra» y «La caja negra,» cintas en serie de 15 y 30 episodios respectivamente, ambas de la marca Universal, y «Su majestad el príncipe Enrique,» en ocho partes.
El cine «Hidalgo» tampoco se queda atrás. Ha pasado los tres primeros episodios de «La llave maestra» con éxito extraordinario.
El cine «Jalisco» ofreció las siguientes películas: «La sonámbula,» cuatro partes; «El secreto de Monte Cario,» tres partes; «El robo de un millón,» cuatro partes.
El teatro «Cuauhtémoc» exhibió la exquisita cinta «Protea,» en cinco partes, así como la de asunto histórico titulada «Cleopatra,» en seis partes.
José Luís Navarro. Marzo de 1917.
Para el número de julio (Vol. II, No. 7, pp. 356-357), Navarro, bajo el título de “Crónica de México”, vuelve a darnos información sobre el cinematógrafo en la capital de Jalisco con un par de apuntes sobre la ciudad de México:
Crónica de México
De las industrias de creación reciente, la que más ha prosperado, y la que mayor auge toma cada día, es la del cinematógrafo. Nadie es capaz de suponer siquiera a dónde irá a parar en su constante desarrollo.
A medida que la industria cinematográfica ha venido perfeccionándose, la afición del público ha ido en aumento y el triunfo del cine sobre los demás espectáculos ha sido enteramente definitivo.
Prueba de ello es que tanto la prensa capitalina como la de los Estados, dedican una sección especial para el arte hablado por la escena muda; los principales periódicos de la capital, semanalmente, lanzan un suplemento en colores, dedicándolo exclusivamente al cinematógrafo, y a veces hasta a las artistas que sobresalen por sus grandes dotes y éxitos.
No cabe duda que el cine es el espectáculo más favorecido por esta bella «Perla de Occidente,» y hay razón de que así sea, pues que los empresarios en abierta competencia, tratan a porfía de ganarse público, ya sea exhibiendo películas enteramente desconocidas para nosotros, tanto italianas como americanas, que son las que mayor éxito han alcanzado, como combinando el cine con «variedades.»
Miscelánea
«Susana»… la mimada del público, ha reaparecido en la pantalla de nuestros cines, con la incomparable y bien montada película «Susana» en 8 grandes partes, de la casa Eclipse. «Susana» se ha exhibido en los cines «Lux,» «Jalisco» y «Allende,» habiendo alcanzado como 12 representaciones seguidas.
& & &
El Teatro Sada, después de corta temporada, acaba de clausurarse. Los actores del Sada están dando ahora sus funciones en nuestro primer coliseo «Degollado.»
El Gobierno, viendo el éxito alcanzado por el cinematógrafo en México, ha establecido una escuela para cine, dependiendo de la Dirección de Bellas Artes.
& & &
El Sr. Pablo Vázquez Schiaffino se hizo cargo del «Cine-Hidalgo,» introduciendo en él notables mejoras; entre las principales vistas que ha exhibido el Sr. Schiaffino, descuellan por su interés y largo metraje: «La caja negra» y “Aventuras de Catalina» en 15 episodios y 30 partes cada una, de la acreditada marca Universal.
& & &
Cine-Mundial de julio de 1917 (Vol. II, No. 7, p. 356)
El activo y laboroso empresario de cines, José Carpio, que bajo la Empresa París tiene controlados los cines «Opera,» «México» y «Carpa París,» próximamente inaugurará el mejor Cine en Guadalajara, con el nombre de Salón París. Dicho salón será el primero que en esta ciudad se construye exclusivamente para el arte mudo, teniendo capacidad para 3.500 personas.
Las películas que mayor éxito han alcanzado son: «El Doctor Mefistófeles,» 8 actos; «Las aventuras de Catalina» (Universal), 15 episodios y 30 partes; «Cadáver viviente,» interpretada por María Jacovine, en 6 partes; «La caja negra» (Universal), en 15 episodios y 30 partes; «Susana» (Eclipse), en 8 grandes partes; y «El 3 de corazones,» película en series.
& & &
El Sr. Ramón Delgado, activo explotador de películas, nos manifestó que no obstante haber salido electo Diputado, seguirá la productiva carrera del cinematógrafo. Buenos éxitos deseamos a nuestro buen amigo Delgado.
& & &
«Excélsior,» periódico de México, dedicará cada domingo un suplemento a todo lujo y a colores, al cinematógrafo. El último número viene dedicado a las bellas artistas Susana Grandais y Regina Bedet.
José Luís Navarro. Junio 1917.
Es en el número correspondiente a octubre (Vol. II, No. 10, p. 519) se publica la última nota sobre el quehacer cinematográfico en Guadalajara ese año:
CRÓNICA DE GUADALAJARA (MÉXICO)
Bajo el dombo, antes azul, de este hermoso cielo, se mecen constantemente densos nubarrones que se disuelven ya en furiosa tormenta, ya en apacible, pero pertinaz y diminuta lluvia; y de tal modo se convierte la ciudad en perenne pluviosilla, que los citadinos apenas si osan asomar la cara por los balcones de sus calientes hogares, y de ahí que todos los salones de «cines» y demás espectáculos se hallen un poco desiertos.
Las películas que más se han distinguido fueron presentadas al selecto público que concurre al Cine Lux, confortable salón que por su higiene y elegancia es favorecido por lo más granado de nuestra sociedad—descollando entre todas, por el éxito alcanzado, la película nacional «Triste crepúsculo,» de la casa Álvarez Arrondo y Ca., la cual fué editada bajo los auspicios y dirección de nuestro amigo el Sr. Manuel de la Bandera, siendo protagonista la simpática artista Srta. Aurelia Quiñones. La ejecución de esta cinta pone muy en relieve las grandes facultades artísticas de sus autores, y no se sabe qué admirar más en ella, si la irreprochable labor de los artistas o el de positivo donde se desarrollan las escenas.
Además, se anuncian con gran bombo otras películas nacionales como «En Defensa Propia,» argumento de la notable artista de «cines» Mimí Derba, en 10 grandes partes, y «Amor Que Triunfa,» en 5 grandes partes, por la bella artista María Caballé. Como se ve, la producción nacional de cintas va tomando un desarrollo que no podemos asegurar a donde irá a parar; basta mencionar la casa Azteca Film que se ha formado en una verdadera fábrica productora de cintas, que a no dudar puede competir con cualquiera extranjera por el elegante confort y lujo con que está montada.
Debido al impuesto de un tanto por ciento que ordenó el Gobierno sobre entrada bruta a toda clase de espectáculos, se han clausurado temporalmente los «Cines» «Opera,» «Hidalgo,» «Carpa París» y «Salón París.»
De esta cinta, Emilio García Riera menciona en el volumen I de México visto por el cine extranjero que:
Otros norteamericanos viajaron a México para filmar en junio de 1914 The War Extra, cinta de cuatro rollos sobre las aventuras de un periodista (del diario The Herald) en la revolución. Para esa película, su productor Herbert Blaché aprovechó el trabajo de un camarógrafo que había filmado 2,700 pies de batallas mexicanas, según The Moving Picture World del 4 de julio de 1914 (citado por Margarita de Orellana). La cinta incluía escenas de la batalla de Monclova y de buques norteamericanos de guerra en camino a Veracruz. (pp. 69-70)
Por su parte, Orellana en su multicitada obra La mirada circular nos ofrece una sinopsis de la cinta tomando la información de The Moving Picture World del 22 de agosto de 1914:
El editor del periódico The Herald está desesperado porque no recibe noticias de México. Fred Newton, un ambicioso reportero, le pide que lo envíe a cubrir esa fuente. Sube a bordo del barco Key West y en la travesía encuentra a la flota que se dirige a Veracruz. Se comunica por telégrafo con uno de los buques de guerra y así envía su primera noticia. Atraviesa la frontera en Eagle Pass, Texas, y llega al centro de las actividades de los constitucionalistas en Monclova, donde construye una barraca y conecta su telégrafo a la línea más cercana. Dolores, la hija adoptiva de un comerciante, le lleva alimentos y es salvada por Fred de unos villanos que la raptan. Sin autorización para acompañar al ejército, Fred presencia la batalla de Monclova con unos binoculares y da la noticia antes que nadie a su periódico. En las oficinas de The Herald toda la maquinaria de impresión está funcionando. Se está asegurando el futuro de Fred como reportero. Sin embargo, Fred es tomado por espía y atacado por federales. Lo salva Dolores que llega con unos vaqueros reclutados en la frontera. Ella se va con Fred a Nueva York, donde les dan una gran bienvenida. (p. 199)
During the staging of «THE WAR EXTRA,» the BLACHÉ players suddenly found themselves in the midst of the bloody battle of Monclova. Cameraman Charles Pin succeeded in photographing the terrible onslaught of the Constitutionalist army upon the doomed city, the smoking ruins of which are also seen in this remarkable photodrama. Following the battle, the BLACHÉ Actors were placed in a special train by General Francisco Murguia and sent under heavy guard to the United States Border Post at Eagle Pass, Texas. The Moving Picture World del 22 de agosto de 1914 (Vol. XXI, No. 8, pp. 1160-1161)
La revista The Moving Picture World del 22 de agosto de 1914 (Vol. XXI, No. 8, p. 1110) nos ofrece datos sobre la filmación:
THE WAR EXTRA (Blaché)
Actual scenes of the bloody battle of Monclova. Combined with a strong story of love and adventure, staged in the very atmosphere of war which it demanded, places the four part drama, «The War Extra,» produced by Blaché Features, in a class by itself.
In order to stage this remarkable drama in the most effective manner it was necessary to send a company of Blaché players to Eagle Pass, Texas, and thence across the border into the middle of the Mexican war zone. During their stay in Monclova the great battle which left that city a mass of smouldering ruins took place around them and was made a part of the photodrama.
The leading character of the story is a war correspondent sent by «The Herald» to get «war news,» and to get it at any cost. The battle of Monclova gives him his great opportunity, and in spite of the fact that he is attacked by Mexican outlaws as a spy and finally driven to the United States border, where he is rescued in the nick of time by a large band of cowboys and the U. S. Border Patrol, he succeeds in wiring his great news to the paper and scoring a «scoop» which gives him both fame and fortune.
Intimate and interesting scenes connected with the publishing of a war extra by a great American newspaper, follow the arrival of the war correspondent’s account of the great battle in New York. Every department of the paper is immediately set in motion and the excitement is intense from the time the first news of the battle reaches the editorial rooms until the «extras» are sent broadcast throughout the country.
En el mismo número de The Moving Picture World del 22 de agosto de 1914 (Vol. XXI, No. 8, p. 1152) se publicó un extenso comentario sobre la película:
THE WAR EXTRA (Four Reels—August)
Twenty minutes before press time the Herald has received no news from the front in Mexico, where the interest of the nation is centered, and the editor is desperate. He listens to the pleading of the ambitious cub reporter, Fred Newton, and orders him to Mexico, with instructions to send back real news, regardless of the censors.
Accompanied by a telegraph operator assistant, Fred boards a steamer for Key West. He is fortunate enough to pass a battleship and transports bound for Vera Cruz, and communicating with them by wireless he gets some live news for his paper before he has reached the Mexican border. Flushed with success he pushes into Mexico by way of Eagle Pass, Texas, and succeeds in reaching the center of the Constitutionalist activities at Monclova where he builds a shack and runs a wire of his own to the nearest telegraph line.
The Moving Picture World del 22 de agosto de 1914 (Vol. XXI, No. 8, p. 1110)
While delivering supplies to the shack, Dolores, the adopted daughter of a Mexican storekeeper, is set upon by outlaws and her rescue by Fred makes her his devoted friend, but also causes him to be hated by the men he opposed. Prevented from accompanying the main body of the army, Fred and his telegrapher go on a scouting trip. They hear firing and, climbing a tree, witness the great battle of Monclova through field glasses. When the defeat of the Federals by the Constitutionalists is assured, they ride back to the shack and wire the important news direct to their paper.
At the Herald office all of the machinery of the issuing of a great daily paper is set in motion as the news of the battle is received from Fred. The story is edited at the copy desk, set up by linotypes, made up in the forms, and stereotyped and placed on the presses. As the papers are distributed and the bulletin boards announce the scoop of the «young reporter on the firing line,» Fred’s future as a newspaper man is assured.
But, as the dispatch is being received and published in New York, the outlaws, reinforced by Mexican irregular troops who have been told that the Americans are spies, attack the shack which is vigorously defended. Dolores attempts to stop the bandits and, failing, rides to the border to summon assistance. She enlists the aid of a large band of cowboys who arrive at the shack in time to engage the bandits in a fierce battle and rescue the now wounded Fred and his companion and make a dash for safety over the American line. A wild chase, in which many shots are exchanged, is about to end disastrously for the Americans just as they begin to cross the Rio Grande to United States soil, but the American regulars appear upon the scene and fire a volley across the river which sweeps a score of Mexicans from their horses and drives the rest to cover.
As Dolores dare not return, Fred persuades her to accompany him to New York and an enthusiastic welcome by his newspaper friends is quickly followed by his marriage to the beautiful little maiden, who is received with open arms by his mother and sister.
Publicidad para la cinta The War Extra
Por su parte, Motography del 29 de agosto de 1914 (Vol. XII, No. 9, p. 322) nos da un listado de los lugares de filmación:
Herbert Blaché of Blaché Features, Inc., has announced a four-reel picture entitled “The War Extra” which contains scenes taken at Fort Lee, N. J., Herald Square, The Mallory Line Steamship Docks and The Statue of Liberty in New York, Key West, Florida, Galveston, El Paso and Eagle Pass, Texas and Piedras Negras and Monclova, Coahuila, Mexico.
Y para el número correspondiente al 24 de octubre de 1914 (Vol. XII, No. 17, p. 556), Motography desliza el siguiente dato:
In a four-reel drama entitled “The War Extra,” Blaché gives a peep behind the scenes of a newspaper.
Margarita de Orellana también nos da algunos datos para la ficha filmográfica:
Productor: Blaché Features. Director: Harry Schenck. Intérpretes: Vinnie Burns, Kenneth D. Harlan y Edgar de Pauw.
Este periplo de la Solax Feature Co. fue con el afán de filmar la cinta The War Extra. The Moving Picture World del 6 de junio de 1914 (Vol. XX, No. 10, p. 1389) comienza con la información del viaje:
BLACHÉ SENDS COMPANY TO MEXICAN BORDER.
Under the experienced eye of Harry Schenck, former trumpeter of Troop D, Third Cavalry: vaudeville star, motion picture actor, director and born adventurer, Herbert Blaché has forwarded a large company including Vinnie Burns, Kenneth D. Harlan and Edgar De Pauw to Fort Clark, Texas, one of the important Mexican border posts.
Director Schenck, who is armed with the scenario of a well-known war correspondent novel, the title of which is being jealously guarded at present writing, will be very much at home in the territory where the scenes of the picture are laid as he spent two years at Fort Clark.
Mr. Blaché has formed a valuable connection with a cameraman now in Mexico City, who has forwarded 2700 feet of interesting war scenes to the Fort Lee studio and claims to have several hundred feet more ready for immediate shipment. This is for use in the war feature, which will also include special scenes staged at Fort Clark in which between eight and nine thousand United States soldiers will appear.
Publicidad de la Blaché Features
The Moving Picture World del 4 de julio de 1914 (Vol. XXI, No. 1, p. 80):
Mexican War in Solax Features.
Manager Joseph Shear, of Solax and Blaché Features, has returned from Mexico with Director Harry Schenck and a large company of Solax players, including Miss Vinnie Burns. Miss Burns proudly exhibits a bullet which ploughed up the ground within three feet of her, passing between her horse and the horse of Mr. Schenck, who rode beside her.
The company entered Mexico by way of Eagle Pass, Texas, and made their way under a strong guard furnished by General Francisco Murguía of Villa’s army to Monclova. They not only succeeded in getting motion pictures of the battle of Monclova, but also several hundred feet of film showing the departure of trains loaded with the troops bound for Mexico City where the decisive battle of the war is in preparation. The stories they tell of the terrible sights they were compelled to witness easily explains the fact that no other motion picture company has ventured into the same locality.
The company’s departure from Monclova was hastened by the punishment of two soldiers who were severely beaten for insulting the Americans. The insults were hurled at Director Schenck, whose inability to understand Spanish kept him in blissful ignorance of the affair until he was invited to witness the flogging of the culprits with the flat of a sword.
The news of this incident caused such bitter feeling that the company was placed upon a special train and escorted across the border into Texas. Several days were then spent in making scenes in which Mexican and American cowboys posed in battle scenes staged especially for the benefit of the camera. Two of the Mexicans became enraged because the story called for their capture by the Americans and fired their guns into the faces of their opponents. The guns were only loaded with blank cartridges, but the affair started a fight which took the combined diplomatic’ services of Manager Shear and Director Schenck to settle.
The Moving Picture World del 4 de julio de 1914 (Vol. XXI, No. , p. 80)
Miss Vinnie Burns is the only member of the company who is anxious to return to the land of strife. She brought back to the Fort Lee studios a little Mexican dog which bears the name of Jesus Carranza and says that as soon as she can have a rubber stamp made she is going to return to Mexico with a pad and a pen and make a million dollars in Mexican money. As a proof of the value of her scheme, she has a choice collection of Mexican legal tender (Constitutionalist) which any school girl ought to be able to make with the aid of a twenty-five cent rubber stamp. But as the million dollars «Mex» is only worth about two dollars and thirty-two cents (Broadway), making Mexican money is not as attractive as it might seem to the casual observer.
The Moving Picture World del 18 de julio de 1914 (Vol. XXI, No. 3, p. 453) continúa las noticias del viaje:
Kenneth D. Harlan, who accompanied Harry Schenck, Charley Pin and Vinnie Burns into the heart of Mexico, playing the part of the cub reporter who witnessed the Battle of Monclova, has made arrangements with Madame Alice Blaché whereby he will be seen in coming Solax releases. Dan Barker, the well-known comedian is also appearing before the camera under Madame Blaché’s direction.
Picture Stories Magazine de octubre de 1914 (Vol. III, No. 14, p. 80) repite la información de The Moving Picture World:
The Moving Picture World del 4 de julio de 1914 (Vol. XXI, No. 1, p. 80)
Manager Joseph Shear, of Solax and Blaché Features, has returned from Mexico with Director Harry Schenck, and a large company of Solax players, including Miss Vinnie Burns. Miss Burns proudly exhibits a bullet which ploughed up the ground within three feet of her, passing between her horse and the horse of Mr. Schenck, who rode beside her.
The company entered Mexico by way of Eagle Pass, Texas, and made their way under a strong guard furnished by General Francisco Murguía, of Villa’s army to Monclova. They not only succeeded in getting motion pictures of the Battle of Monclova, but also several hundred feet of film showing the departure of trains loaded with troops bound for Mexico City, where the decisive battle of the war is in preparation. The stories they tell of the terrible sights they were compelled to witness easily explains the fact that no other motion picture company has ventured into the same locality.
CINE SILENTE MEXICANO / MEXICAN SILENT CINEMA 