Motion Picture Classic (1923, 1924, 1926)

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The real "Old Ironsides" was built like a racing sloop, a tremendous innovation in naval ships in those days, and designed fur speed — speed, which America has lived up to ever since. It was her speed, her seamanship, her tough old hide, that defeated the pirates at Tripoli in 1804 A. 1). and started magnificent tradition for the great United States Navy that was to be. Her copper sheeting was made by Paul Revere, and her first flag by Betsy Ross herself. I have just spent a week-end with the "Old Ironsides" company on that Isthmus end of Catalina Island, which has been transformed for the occasion. Here James Cruze, director, is king. There is an old home, built years ago by an old California family, perched high on a hill. Here King James and the stars of the company are accommodated, with a first-class cook to take care of their precious innards. Swift machines race up and down the perilous winding road at meal-time and bed-time. Below in an amazing camp created for the purpose, are accommodated all the lesser persons of the cast, the cameramen, electricians, carpenters, plumbers, ships' crews, etc. Their meals are served in a large mess hall — and incidentally their cooking is no less worthy. I ate with both the stars aloft and the crew beneath, and I know. On Location I^ing James wears a bright scarlet coat of the English hunting order during the relaxation period. But for the out-atsea shots he has provided himself with a pair of violently new seaman's overalls. He is more impressive, either way, than the Admirable Crichton of Barrie's play of that name — when reigning over his island. Wally Beery keeps in his rascally old bo'sn character most of the time, grinning wickedly thru a week's growth of beard, and from beneath a shaggy, ill-kept wig with one of those funny pigtails. His wide and willowy old pants and the disreputable-looking short coat of the day, and the screamingly funny blob of a sailor cap are his regular attire while on this "location" stunt. He spends all his spare time fishing for tuna, which hadn't bitten to date. George Bancroft, too, has an amazing growth of his own hair, a weird orangoutang beard, and what we should now consider a child's round straw sailor hat on his head. Esther Ralston, whose new husband, Mr. Webb, accompanies the party, is droopingly adorable in a long empire gown to her ankles, a queer little poke bonnet, a funny little puffed sleeve coat and a huge muff — but she dons a cute modern sport costume for the evening dinner and the dancing to the company's orchestra afterwards, up in that stylish house aloft on the hill. For the rest, the island seems peopled with a vast company of amazing ruffians, with a few civilized modern workmen thrown in — for they wear their wild and ancient costumes most of the time, and the men have all grown fierce hair for the picture. One can imagine the emotions of an uninformed visitor to the island upon striking this astonishing-looking band. But in spite of the hair and the funny pigtail wigs, in spite of the fact that all the picturesque old boats are respectfully and nautically called "she," the whole place reeks of dominating, virile masculinity, looks, listens and smells masculinity. It feels like Eugene O'Neill's earlier days, reeking of hard-boiled, realistic he-man stuff, of John Masefield's raw-meat sea poetry, of Captain Marryat's salty old yarns, of Conrad and McEee. And this young Ferrell that plays The Get Business by Maul 60 pages of vital business facts and figures. Who, where and how many your prospects are. 8,000 lines of business covered. 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