Critical Moments

“Viva Villa” which Metro-Goldwyn brought into the Criterion Theatre for a two-a-day run is not a picture for the chicken-hearted. It is the goriest, most sadistic film to come, uncut out of Hollywood but for those who do not mind a maximum of bloodshed and a minimum of sentiment “Viva Villa” will titillate you thoroughly.

Personally I liked the picture. I thought it had zest, interest, movement, excitement and color, It is a full-bodied variation of one of the most exciting episodes in modern history. Historically, Ben Hecht, who wrote the picture, went far a field. Instead of following chronologically and faithfully the career of the Mexican bandit, Hecht embellished the myths that have arisen about this unlettered gusty savage. With his talents as a dramatist Hecht cleverly emphasizes the more obvious characteristics of the bandit chief. He shows him as being cruel, ruthless, ignorant, yet hearty and often well meaning. To make the picture complete he uncovers Villa’s weaknesses–his indecision, his man-like fear of his wife’s nagging. These human touches do much to make the entire film more believable.

A BREAK FOR MADERO

After all these years Madero, the Jewish president of Mexico and one of the few rulers of that turbulent country who ever really concerned himself with the lot of the peons, comes in for a few kind breaks, at the hands of M-G-M. Villa was already on his career of terror when Madero called him away from banditry and convinced him to throw in his lot with the people. It was his loyalty to Madero whom he helped elevate into the presidency, that really removed Villa from the scoundrel class and the picture very wisely features these incidents in his career.

After Madero was treacherously murdered Villa carried on, but his intellectual limitations were brought out as clearly and he finally died from a bullet fired by a brother of one of the countless girls he had outraged. The Hollywood touch is introduced early in the film and concerns the friendship of Villa for an American newspaper man. Through this medium a good deal of the comedy and humanism of Villa’s actions are introduced. It adds a nice touch.

The directing and camera work in “Viva Villa” is unusually good and the acting is striking. Wallace Beery as Villa will satisfy even his most rabid admirer. He is perfectly fitted for the role and acts it with evident enjoyment and feeling. That old veteran of “The Birth of a Nation” days, Henry B. Walthall, as Madero, turns in a fine and sensitively acted performance. Joseph Schildkraut, as Madero’s enemy, is likewise authentic. The lesser roles are handled well and cast with intelligence.

“Viva Villa,” despite its horrendous moments, is as stirring a film as has come East since the “Golden Days” of the silents. It must be seen!