En un fuerte militar de la frontera con México, Mary, hija del pagador del regimiento, ama al disipado Tom, hijo del coronel. Para pagar una deuda de juego al mexicano Rivera, falso rico y espía, Tom roba 5 mil dólares. Rivera amenaza a Tom con denunciarlo si no le da los planos de unos fuertes del suroeste. Mary oye todo y vende sus joyas para ayudar a Tom. Dispuesto a regenerarse, Tom se enlista. Enviado a la frontera, debe conducir un carro de la Cruz Roja con Mary como enfermera. Atacan los mexicanos de Rivera y sólo quedan vivos Tom y Mary. Mientras él resiste, Mary huye y procura el auxilio de la caballería norteamericana. Herido, Tom se recupera en el hospital gracias a Mary y es ascendido a teniente.
Motography del 4 de enero de 1913 (Vol. IX, No. 1, p. 21)
Por su parte Margarita de Orellana en su libro La mirada circular editado por Cuadernos de Joaquín Mortiz nos proporciona la siguiente información (p. 186):
The Mexican Spy (El espía mexicano). Producción: Lubin. Realizador: Wilbert Melville. Guión: E. C. Hall. Actores: Edna Payne, Earl Metcalf, Edwin Carewe. Bobinas: 3. Fuente: The Moving Picture World, Vol. XV, Ene-Mar 1913, núm. 2, enero 11, 1913, p. 184.
Sinopsis: Tom, el hijo del coronel Loring, es un joven disipado. Mary Lee, la hija del pagador del regimiento, ama a Tom y hace esfuerzos por reformarlo. El señor Luis Rivera, un apuesto mexicano, en realidad un espía, se hace amigo de Tom y le gana 5 000 dólares apostando. Tom roba esa cantidad de la caja del pagador pero Rivera lo amenaza con denunciarlo a menos que robe los planos de los fuertes del suroeste norteamericano y él le regresará el dinero para que lo vuelva a colocar en la caja. Tom extrae los planos, pero antes de entregarlos Mary Lee, que se ha dado cuenta de todo, vende sus joyas y logra obtener 5 000 dólares. Entonces obliga a Tom a desafiar a Rivera a que regrese los planos a su lugar. Nadie sospecha de Tom, pero él se siente culpable. Rivera desaparece. Tom decide alistarse en el ejército. Envía una carta a Mary Lee, en la que promete redimirse. Al regimiento de Tom es enviado a la frontera. Mary Lee entra a la Cruz Roja y es enviada también a la frontera. Un día el cirujano envía a Mary a misión y se lleva una gran sorpresa al encontrar a Tom como conductor de su carreta. Rivera se entera de este viaje y se dispone a perseguir a la misión. Se inicia una lucha terrible y sólo quedan vivos Tom y Mary. Tom sube a Mary a una mula y la manda por refuerzos, mientras él resiste solo. Mary regresa con una tropa y encuentra a Tom herido. Gracias a los cuidados de Mary, Tom sana. Más tarde es ascendido a teniente y se casa con Mary.
The Motion Picture Story Magazine de febrero de 1913 (Vol. V, No. 1, p. 167)
Motography del 4 de enero de 1913 (Vol. IX, No. 1, p. 2); The Moving Picture World de enero 18 de 1913 (Vol. XV, No. 3, pp. 280-281) y The Motion Picture StoryMagazine de febrero de 1913 (Vol. V, No. 1, p. 167):
THE MEXICAN SPY
Jan. 17, 1913. LUBIN. 2 Reels
Tom Loring, a handsome but dissipated youth, loves Mary Lee, daughter of the regiment’s paymaster. In order to pay his gambling debts to the Mexican, Señor Rivera, supposedly rich but in reality a spy, Tom steals $5,000 from the paymaster’s safe. The Mexican threatens exposure unless Tom secures the plans of certain forts in the Southwest, but Mary hears of the situation and pawns her jewels to replace the stolen money. Realizing the sorrow he has caused his father and sweetheart, Tom disappears, leaving a note that he will not return until he has redeemed himself. He enlists under an assumed name, and his regiment is ordered to the Mexican frontier. Mary becomes a Red Cross nurse and is also ordered to the Mexican border. Tom’s bravery and strategy during a desperate encounter with the Mexicans under Rivera wins him promotion to Lieutenant, but he is seriously wounded, and Mary is greatly surprised to find among her patients, her lover. Her careful nursing restores him to health, and having redeemed his former misdeeds by his faithful and heroic service to his country, he claims Mary for his wife.
Motography del 4 de enero de 1913 (Vol. IX, No. 1, pp. 21-22):
A Live Lubin Two-Reel
One of the January Specials
Motography del 4 de enero de 1913 (Vol. IX, No. 1, p. 21)
Another of those live Lubin two-reels is on the books for early release—January 17, to be exact. It is to be handled through the General Film Company as a special feature.
The title is «The Mexican Spy.» It was written by Emmett Campbell Hall and produced by Wilbert Melville. The cast is as follows: Earle Metcalf (Tom Loring); L. C. Phillips (Colonel Loring); Edwin Carewe (Señor Luis Rivera); Edna Payne (Mary Lee); William Wells (Paymaster Lee).
The Moving Picture World del 4 de enero de 1913 ( Vol. XV, No. 1, p. 63)
As the story runs, Tom, son of Colonel Loring, is a handsome but dissipated youth, easily influenced to moral transgressions. Mary Lee, the paymaster’s daughter, loves Tom despite his failings, and tries desperately, though vainly, to reform him. Senor Luis Rivera, polished and apparently wealthy (but in reality a spy), becomes intimate with Tom, who, to keep up his end and pay his gambling losses to Rivera, steals $5,000 from the paymaster’s safe. Rivera threatens to expose Tom’s theft unless he steals for him the plans of forts in the Southwest, proposing to give back the money, which Tom may replace in the safe, if he does so. Tom cannot resist the temptation and secures the plans from his father’s office; but before he has delivered the drawings to Rivera, Mary learns of the situation, and by pawning her jewels and using a little legacy, raises enough money to replace that stolen. She then forces Tom to defy Rivera, and replaces the plans.
No one suspects Tom, but he realizes that he is breaking the hearts of his father and the girl, and swears that he will prove worthy of their love. Rivera has gone away. Tom disappears, and under another name enlists in the army, leaving a note for Mary in which he tells her that she will not see him again until he has redeemed his shameful past. Shortly afterward the regiment to which Tom has become attached is ordered to the southwestern border on account of difficulty arising with the Republic of Mexico.
The Cinema News and Property Gazette del 5 de febrero de 1913 (Vol. II, No. 17, p. 73)
In the meantime Mary has applied for and received an appointment as a Red Cross nurse, and is herself sent to the border. One day after her arrival she is sent by the surgeon in charge to a point some distance away from the hospital, and is greatly surprised to find the soldier assigned to drive the wagon furnished for her transportation none other than Tom. The two young folks are overjoyed to see one another again. Tom takes his seat with Mary and the escort inside and the journey starts.
The Cinema News and Property Gazette del 5 de febrero de 1913 (Vol. II, No. 17, p. 73)
Rivera with his troop learns of the trip and seizes an opportunity to secure revenge and the same time deal a blow at the hated Americans. He starts in pursuit of the little party. A running fight follows; and as a result Mary and Tom are the only ones left alive on the wagon. Tom stops the wagon, and hastily mounting Mary on one of the mules, sends her in search of aid while he undertakes to hold back the attacking Mexicans. Upon Mary’s return with a troop of cavalry, they find Tom lying wounded. Tom is taken to the hospital and with Mary’s careful nursing is restored to health. Later Tom is made lieutenant and secures Mary’s hand.
Motography del 4 de enero de 1913 (Vol. IX, No. 1, p. 7)
Motography del 4 de enero de 1913 (Vol. IX, No. 1, p. 7):
The Mexican Spy is a two-reel special to be released by the Lubin Company, January 17th. It is a dramatic story typical of the army life of Mexico and the United States. The scenes are laid on the border and constitute a powerful lesson against gambling, which is only too common among the officers. The picture is made with every attention to the local and military atmosphere of the two republics.
Mary Lee, the daughter of the paymaster, is in love with Colonel Loring’s son, Tom, he is a reckless chap given to gambling and other bad habits. Marv endeavors to reform him, but unsuccessfully. At last Tom steals $5,000 from the paymaster’s safe to pay a gambling debt to Senor Luis Rivera, who is a Mexican spy. Rivera offers to return the money if Tom will steal the plans of the fortifications from the office of the Colonel. The deal is made and Tom secures the plans. Mary discovers the treason and by pledging her jewels gives her lover the money, and forces him to return the papers. Tom later joins the army on the border and Mary receives an appointment as a Red Cross nurse. One day she is sent to a distant point and when the wagon pulls up for the trip she finds that Tom is the driver. The wagon is attacked by Mexicans with Rivera in command. A battle ensues in which Tom is badly wounded, but Mary nurses him back to life. For bravery he is made a lieutenant, and for love wins his old sweetheart.
The Moving Picture World del 4 de enero de 1913 (Vol. XV, No. 1, p. 20)
The Moving Picture World, Vol. XV, No. 5, Feb. 1, 1913, p. 464:
THE MEXICAN SPY (Lubin), Jan. 17-—A two-part story of the recent war with the Republic of Mexico, which we didn’t have. E. C. Hall wrote the scenario which Wilbert Melville produced seemingly at some army post in the West. It is a fair story, but somewhat conventional with a few added novelties which give it an apparent freshness. It is charitable not to say too much about the acting; but there is much to interest in a good many scenes where no acting was required, such as the fight between the Mexicans and the United States troops that come to the rescue of the hero who has been a thief and almost a traitor, but now bravely rehabilitates himself. Some of the backgrounds also are very acceptable.
The Moving Picture World del 18 de enero de 1913 (Vol. XV, No. 3, pp. 280-281)
Variety del 28 de febrero de 1913 (Vol. XXIX, No. 13, p. 15):
Siege of Mexico Film
It looks like the movies were in for a deluge of Mexican films both dramatic and otherwise according to the plans of some of the film manufacturers. Several uptown houses have been playing up Mexican dramas for several weeks. The Lubin Co. releases “The Mexican Spy” in two reels March 9.
With the dailies running columns about the Mexican revolution the pictures will get all the publicity the managers want.
Ficha Filmográfica: Producción: Kalem. Director: George Melford. Intérpretes: Carlyle Blackwell, Carl Rhys Price, Alice Joyce, Karl Formes, Jr., Knute Rahm. Existe una copia en el Nederlands Filmmuseum, Amsterdam (35 mm., 273 metros) y se puede ver en línea en Thought Equity.
The Colonel’s Escape. Featuring General C. Rhys Pryce, an insurgent officer, for whom the Mexican Government has offered a reward of $25,000, dead or alive. General Pryce was especially engaged by the Kalem Company for this production. The Moving Picture World del 15 de junio de 1912 (Vol. XII, No 11, p. 1002)
The Moving Picture World del 22 de junio de 1912 (Vol. XII, No. 12, p. 1154) publicó la siguiente sinopsis:
THE COLONEL’S ESCAPE (June 24).–Rhys Pryce, a soldier of fortune, finds James Boyd, a Mexican Custom officer, who has been thrown into a cave by a band of smugglers. A few days later Boyd receives word to intercept arms and ammunition that are being smuggled across the border into Mexico by the insurrectos, whom Pryce has incited to fight for the freedom of their country. Pryce, being hard pressed by the Federals, seeks shelter in Boyd’s house. Boyd readily recognizes the fugitive as the man who befriended him while in distress, and in gratitude he helps Pryce to escape. Boyd’s action, however, has been witnessed by a Federal spy, who reports the affair to the commanding officer. He is court-martialed and sentenced to be shot. Before the execution can take place, however, Boyd’s sister rides with all speed to the insurrecto camp and urges Pryce to save her brother. In answer to her entreaty, Pryce, at the head of a strong part of insurrectos, arrives just in time to save Boyd and defeat the Federals.
THE COLONEL’S ESCAPE. An incident of the recent Mexican revolution featuring General C. Rhys Pryce, for whose body, dead or alive, the Mexican Government offers a reward of $25,000. The Motion Picture Story Magazine de julio de 1912 (Vol. III, p. 141)
Los dos anuncios que se reproducen arriba mencionan que el protagonista de la cinta, Carl Rhys Pryce, es buscado por el gobierno mexicano, vivo o muerto, además de ofrecer una recompensa de $25,000.
Another Mexican war film from Kalem. C. Rhys Pryce (apparently playing himself) is a soldier who is on the side of the Mexican rebels. He rescues Carlyle Blackwell, apparently on the side of the Federales, and takes him to a house where Alice Joyce gives him some water. When the rebel man is chased and hides in Alice’s house, Blackwell recognizes him and lets him go (with an interesting shot of them watching the escape through a window. Unfortunately the federales arrest Blackwell and are about to execute him for treason when Alice rides to the rebel camp and informs the man, who leads the rebels in an attack on the federales, in a large confusing battle with lots of men and gunpowder. Apparently Blackwell then changes sides and they go back to Alice’s house. Interesting that Kalem films sided with the rebels in the Mexican war and that this film stars a soldier of fortune appearing under his own name.
Margarita de Orellana en La mirada circular (p. 147) menciona que:
En El escape del coronel (1912), el comercio ilegal de armas a través de la frontera vuelve a ser patriótico porque los contrabandistas han sido influenciados por un buen norteamericano que los convence de luchar por la libertad de su país.
Por su parte, Emilio García Riera en México visto por el cine extranjero (Vol. 1, p. 49) comenta:
Más común en las películas de la Kalem fue la expresión de un whishful 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 ofMexico y The American Insurrecto– propusieron a héroes norteamericanos como cabecillas de revolucionarios mexicanos. Esa suerte de inversión imaginaria en heroísmo y capacidad de liderazgo (leadership), previsora de futuros beneficios políticos y económicos, también fue hecha en The Colonel’sEscape, cinta presentada por la Kalem en junio de 1912.
Las razones por las cuales Carl Rhys Pryce era buscado por la justicia mexicana son explicadas por Doralicia Carmona en Memoria Política de México donde documenta la toma de Tijuana por fuerzas magonistas:
El «soldado de fortuna» Carl Rhys Price en Tijuana
Carl Rhys Pryce y J. L. Hopkins marchan de Mexicali, B. C. N., a Tijuana, para expropiar tierras, industrias y demás medios de trabajo, para entregarlos al pueblo. La acción se enmarca dentro de la expedición floresmagonista a Baja California.
Los grupos armados que combatieron en Baja California por la causa magonista, bajo la dirección política de los liberales de Los Ángeles, eran extranjeros, la mayoría: norteamericanos o europeos que se solidarizaron con los liberales; algunos con convicciones como Jack Mosby; otros, resultaron ser simples aventureros como Carl Rhys Price, que desapareció con los fondos recaudados.
El 9 de mayo los revolucionarios al mando de Sam Wood y Sam Pryce tomarán Tijuana, después de un día de combate; controlarán Tecate, Los Algodones y Tijuana, pero no podrán tomar Ensenada.
The Moving Picture World del 28 de diciembre de 1912 (Vol. XIV, No. 13, p. 1325) publicó una sinopsis de la película y anuncia como fecha de estreno el 31 de diciembre:
The Bravery of Dora (1912)
THE BRAVERY OF DORA (Dec. 31).—Dora Miller and her father together with Juan, a young half breed, live peacefully at their ranch along the Rio Grande. Juan is in love with Dora and she is not averse to him. One morning while the little family is seated at breakfast, shots are heard outside. A party of U. S. soldiers has been attacked by Mexican troops and retreating as they fight, finally taking refuge in the Miller homestead. The doors and windows are barricaded and a sharp fight ensues. Juan, the half breed, at first to fire against the people whose blood runs in his veins, but at last infuriated by the sight of a wound received by Dora, he grabs the rifle and begins firing furiously. Ho is thus engaged as the Mexican troops break into the house and is captured by them and locked in an upstairs room.
The commanding officer of the Mexican forces promises to shoot Juan the next miming. That night, however, Dora manages to get into the room where Juan is confined and smuggles to him a rope with which he escapes. The next morning, the Mexican officer sends for Juan to carry out his threat of shooting him and much to the surprise of the guard when the room is opened, out steps Dora. Furious at the escape of his victim, the Mexican promptly arrests Dora’s father and tells her that should her half breed lover not return by afternoon, the father will take his place in, front of a firing squad.
In the meantime, Juan is hastening at breakneck speed on a horse taken from the Mexicans, to secure aid. Arriving at the camp of an American patrol, he gets the sergeant in charge to accompany him and with the entire troop cavalry rushes back to the Miller homestead, arriving just in time to prevent the execution of the old man by the Mexicans.
A thrilling story of ranch life, in which a skirmish between Mexicans and U. S. troops and the quick wit of a sweetheart play important parts. The Moving Picture World del 4 de enero de 1913 (Vol. XV, No. 1, p. 20)
En el Betzwood Movie Database se consigna sobre la cinta la siguiente información:
The Bravery of Dora
An elderly father and his daughter Dora discover Juan falling down by the side of the road and bring him back home to recover. Described as a half breed in the inter-titles [for unknown reasons], we are given to understand that Juan is half Mexican. The film seems to be set during the later Mexican Revolution, specifically in American territory in the Mexican Border War, which was fought between independence fighters, federals, and the various U.S. armed forces. Soon a U.S. Army division finds refuge in Dora’s family home, and there is a shoot-out with Mexican forces, in which the Mexicans prevail. Juan refuses to shoot at the Mexican side, citing mixed loyalties. Soon he is captured by the Mexican soldiers who nonetheless brand him a traitor and sentence him to death on the morrow. Dora hatches a plot to rescue Juan, as they have become attached, and helps him to escape. Juan races off to the US forces, who race back to the scene, saving Dora and her father who has now become a replacement for the missing Juan in punishment to Dora. According to the added titles, at the end Juan saves the day and wins Dora for his own.
Lubin Manufacturing Company, 1912. Running time: 17 minutes. Produced by Siegmund Lubin. Featuring Earl Metcalfe, Edna Payne and E.J. Phillips.
Library copy: DVD transfer of library VHS copy of Betzwood Archive 16mm film print, as restored by the Museum of Modern Art. Please note that the final scene featuring the rescue is missing, as noted in the inter-title added by the Museum of Modern Art at the time of their restoration of this film.
El periódico Colonist de Nueva Zelanda en el ejemplar del 25 de octubre de 1913 (Vol. LV, No. 13842, p. 7) en su columna Permanent Pictures dedicada a los espectáculos, publicó:
… On Monday (Labour Day) a special holiday matinee will be given, commencing at 2:30, when a complete new programme will be screened, headed by the Nat Pinkerton detective story, «The Secret Cupboard.» Other items are: «The Misunderstood Boy,» A. B. drama; «Calamity Anne’s Beauty,» Flying A. comedy; «Bravery of Dora,» Lubin. drama…
El periódico neozelandés Marlborough Express del 8 de diciembre de 1913 (Vol. XLVII, No. 288, p. 5)
En La mirada circular (p. 169), Margarita de Orellana apunta que:
Una de las formas en las cuales el cine de ficción redimía a los mexicanos era cuando éstos se subordinaban a los estadounidenses, traicionando a sus paisanos. En El valor de Dora (1912), un personaje chicano se encuentra en un rancho norteamericano en medio de una batalla entre mexicanos y estadounidenses. Se niega a disparar contra los suyos, pero al ver cómo una bala hiere a Dora Miller, de quien está enamorado, dispara. Es al fin atrapado por los mexicanos y condenado a muerte por traición. Pronto lo salvan los militares norteamericanos.
Emilio García Riera en México visto por el cine extranjero (p. 54) menciona que:
Los defectos mexicanos eran naturalmente resaltados por el contraste con las virtudes anglosajonas, y si alguna virtud mexicana mereció aprecio, fue sobre todo la propiciadora de una conducta favorable y amistosa con los norteamericanos; así, por ser buenos con los gringos, algunos mexicanos se salvaron de la denigración en A Mexican’s Gratitude (1909), The Thread ofDestiny (1910), The Mexican’s Faith (1910), Tony the Greaser (1911 y 1914), The Bravery of Dora (1912), The Greaser (1915) y The Good in Him (1915).
La película fue producida por la Lubin Manufacturing Company; sin que sepamos quién la dirigió. Los intérpretes fueron Earl Metcalfe (Juan, el mestizo), Edna Payne (Dora) y E. J. Phillips (padre de Dora).
Una sola sinopsis publicó The Moving Picture World junto con un anuncio de varias cintas de la Lubin. En el ejemplar del 20 de abril (Vol. XII, No. 3, p. 258) se publicó la sinopsis:
CAPT. KING’S RESCUE (April 20).—In anticipation of probable trouble along the border, two troops of cavalry, in command of Captain King, are ordered to Douglas, Arizona, a little town along the Mexican border and a port of entry into Mexico.
As they approach the town, the captain halts his column and goes to a near-by ranch house seeking directions as to his course. He finds standing at the gate watching his troop, the owner of the ranch, his wife and daughter, a girl of about eighteen, and a suave young Mexican, evidently in love with the ranchman’s daughter. The captain gets the information he seeks and invites the family to visit the camp which the soldiers will make at Douglas. They accept the invitation. The officer quickly succumbs to the charms of the ranchman’s daughter, Pearl, much to the distaste of the Mexican, Pedro. Later captain King rescues a poor Indian who is being ill-treated by Pedro. Pearl’s father, who is a witness to the Mexican’s cruelty, forbids him to again come to his house. The Mexican plots to get the captain out of his way and thus secure revenge. With some of his gang he waylays the soldier, knocks him senseless and throws him down a deserted well. He had previously witnessed the departure of the ranchman and his wife from their home and knew that Pearl was alone at her home. The Indian who had been befriended by Captain King witnessed the action of the Mexican, and mounting his pony, rushes to the camp for aid.
He reports what he has seen to the commanding officer and a detail of troopers go back with him to the abandoned well. They rescue the captain and, with him at their bead, the party proceeds to the ranch in time to rescue the girl from the clutches of the Mexican.
También en el mismo semanario, pero en la página 198 se publicó el siguiente anuncio, donde la cinta comparte espacio con otras obras de la Lubin Manufacturing Company. La cinta se estrenó el 20 de abril de 1912:
Capt. King, is command of a column of cavalry at Douglas, Arizona, becomes acquainted with the family of a ranchman and falls in love with Pearl, the eighteen-year-old daughter. He has , however, a rival, a suave Mexican, named Pedro. One day the captain sees the Mexican ill-treating a poor Indian; he rescues the Indian and Pedro is driven from he ranch. The Mexican in revenge seeks the life the captain, but the Indian gets aid from the camp and the would-be murderer is secured. The Moving Picture World del 20 de abril de 1912 (Vol. XII, No. 3, p. 198)
Por su parte Margarita de Orellana y Emilio García Riera en La mirada circular y México visto por el cine extranjero respectivamente, publican la misma traducción del escrito que se reproduce al inicio publicado en The Moving Picture World.
De esta cinta, Emilio García Riera en su obra México visto por el cine extranjero, comenta lo siguiente:
Más común en las películas de la Kalem fue la expresión de un whishful thinking — ilusión voluntariosa — alentado por el viejo Destino Manifiesto: en 1911, otras tres cintas de la Kalem — una de abril, The Insurrectos, y dos de noviembre, A Prisoner of Mexico y The American Insurrecto — propusieron a héroes a norteamericanos como cabecillas de revolucionarios mexicanos. Esa suerte de inversión imaginaria en heroísmo y capacidad de mando (leadership), previsora de futuros beneficios políticos y económicos, también fue hecha en The Colonel’s Escape, cinta presentada por la Kalem en junio de 1912. Después, los acontecimientos verdaderos de la revolución mexicana debieron desalentar tales fantasías, pero no al grado de cancelarlas; se preferiría, como veremos en el siguiente capítulo, ubicarlas en países latinoamericanos utópicos, inventados, pero muy parecidos a México. (p. 49)
The Moving Picture World del 7 de octubre de 1911 (Vol, 10, no. 1, p. 99)
Por su parte, Margarita de Orellana en su multicitada La mirada circular menciona:
El lado mexicano de la frontera, en las películas norteamericanas, es un lugar donde se respira un aire de anarquía y de confusión. La zona fronteriza que separa a Estados Unidos de México está llena de aventuras y peligros. Durante la Revolución esa zona se vuelve aun más salvaje para quienes la miran desde el lado norteamericano. El que intenta cruzar esa línea divisoria se pone inmediatamente en peligro. En Prisionera de México (1911), Ethel queda accidentalmente atrapada en un tren que la lleva del otro lado de la frontera. Cae en manos de soldados federales mexicanos y su vida corre peligro hasta que es salvada por su novio norteamericano, quien la regresa de nuevo a San Diego, volviendo a cruzar esa zona de peligro para refugiarse en su tierra natal donde reina la libertad y la tranquilidad. (pp. 157-158)
The Motion Picture Story Magazine de noviembre de 1911 (Vol. II, No. p. 66)
Continúa De Orellana con una breve sinopsis:
Cuando se inició la Revolución Mexicana un norteamericano, Paul Mason, simpatizante de la causa, decidió reunir a un grupo de jóvenes compatriotas y lanzarse a luchar con los mexicanos dejando atrás a su novia, Ethel Davis.
Caminando con su perro por la estación de ferrocarril, Ethel queda atrapada en un carro al intentar sacar a su perro que se le había escapado.
Doce horas más tarde el tren que había salido del pueblo se detiene en el interior de México donde se hallan soldados federales. Uno de ellos encuentra a Ethel y ella ruega al general Álvarez que la regrese a su país. Éste le explica que los insurgentes tienen controlada toda la vía del tren y pone a Ethel bajo el cuidado de su esposa.
En otro lugar los insurgentes suben carga en un tren para conducirlo a un pueblo que han tomado. Paul está en la escolta y es descubierto por unos federales. Después de una escaramuza los rebeldes son tomados prisioneros. En la prisión federal Ethel reconoce a su novio y juntos logran escapar, pero son atrapados nuevamente por los federales. Finalmente son rescatados por los norteamericanos y Paul lleva a Ethel a casa. (pp. 181-182)
The Motion Picture Story Magazine de noviembre de 1911 (Vol. II, No. 10, p. 67)
En The Moving Picture World del 21 de octubre de 1911 (Vol. X, No. 3, p. 226) se publica una sinopsis, la cual toma De Orallena para la suya:
A Prisoner of Mexico (Oct. 23). – When the Mexican Revolution stroke out Paul Mason’s sympathies for the Insurgents led him to volunteer his services in assisting their cause. Gathering a number of adventurous young Americans, he took leave of Ethel Davis, his sweetheart, and started for Mexico.
A few days after Paul’s departure, Ethel meets with a peculiar accident. As she walks past the railroad yards in her San Diego home, her pet dog becomes attracted by something within an open box car, which he proceeds to Investigate. Ethel follows her pet, but no sooner enters the car than the door is closed by a railroad employee, who knows nothing of what has taken place. The train is made up and starts on its journey with Ethel a prisoner within the closed box car.
Twelve hours later the train halts at a small town In the Mexican interior where Federal soldiers are quartered. In passing the train a soldier hears a cry within one of the cars. The door is opened and Ethel, weak and exhausted from her imprisonment, is lifted to the ground. She begs to be returned home, and General Alvarez explains that the Insurgents have control of the railroad line. Ethel is placed in care of the wife of the Federal jailer.
Just at this time the insurgents’ pack train starts out to carry supplies to a besieged town nearby. Paul gathers his men and escorts the train. A troop of Federals discover the party and overtake them after a sharp fight. Paul is led away a prisoner. At the jail he is recognized by Ethel, who affects his escape. The two fugitives are discovered and followed by the Federals, whose rifle shots are heard by the Insurgents. The Insurgents come to the rescue of the two Americans and put their pursuers to rout. The end of hostilities enables Paul to conduct Ethel to their American home.
The Motion Picture Story Magazine de noviembre de 1911 (Vol. II, No. 10, p. 69)
Y en la misma revista, pero la correspondiente al 4 de noviembre de 1911 (Vol. X, No. 5, p. 380) aparece un muy breve comentario de la cinta:
«A Prisoner in Mexico» (Kalem), October 23.—A very romantic adventure during the recent disturbances in Mexico. Both the hero and the heroine of the picture are Americans. The man is an insurrecto and captain of the «American Legion,» a troop of adventurous horsemen. The story tells how both he and his old sweetheart happened to be in the hands of the Mexican Federals. The girl helps the man to escape from his prison. In the pursuit, over the nearby hills, the two are nearly retaken, but are saved. The «leader» reads: «The American Legion to the Rescue.» It is not a very ably designed picture, but it is not dull. The audience watched it in silence, but it seemed to be following it, which isn’t done always when conventional «Westerns» are on the screen.
The Motion Picture Story Magazine de noviembre de 1911 (Vol. II, No. 10, p. 71)
Cabe mencionar que The Motion Picture Story Magazine de noviembre de 1911 (Vol. II, No. 10, pp. 65-71) publicó una narración basada en la cinta y escrita por Emmett Campbell Hall con varios fotogramas de la película, los cuales aparecen publicadas aquí.
CINE SILENTE MEXICANO / MEXICAN SILENT CINEMA 