When I read about this film, it reminded me of the latter film "Captain January" (in 1924 with Baby Peggy and in 1936 with Shirley Temple). An old man who lives on the water ends up with a child that isn't his and takes care of it while others who think they can do a better job try to take it away from them. This is a bit different. Our main character, played by F.A. Turner lives on a not-very-nice houseboat. One night, during a storm, a lady with child in tow comes in. She dies and F.A. ends up a father. F.A. gets some money from selling his boat (the friend he sells it to allows to stay in it) and down the river they go. F.A. buries the mother out in the woods. Not too long after that he's joined by a tramp named "Booge". The child, Buddy, likes Booge so F.A. allows him to stay. The threat to the child's staying with F.A. comes not too long after that after a justice of the peace comes up with intent of taking the child. Booge, who was there (F.A. was in town), turns the j.p. away. Eventually, Booge is hauled off to jail. F.A. and the kid sleep in a barn that night and then head into town. They see where they can get 10-cent bean soup and who should they meet in there but Buddy's sister, Susie! She's staying with the lady who runs the restaurant. She's not very nice and treats Susie shamefully. Eventually, the j.p. catches up with F.A. and the latter turns over the kid to him. F.A., as the title implies, is mighty handy with a jack-knife and made several toys for Buddy. An influential lady celebrity champions the toys and talks him into making more. F.A. makes a good amount of money and goes over to a widow lady friend (who has both children in her care now) and proposes. The final scene is when Booge comes up and observes the happy scene from a distance. As it turns out, Booge is the children's father and he's pleased to see the scene. Not a perfect film, but a good one.
6 Reviews
Vidor's First Movie For First National Pictures
springfieldrental16 October 2021
First National was so impressed by King Vidor's early work it agreed to an unusual contract for a director to fund his own studio. King's Christian Science beliefs were at core of his new venture's films. He issued a decree, published in Variety, stating a series of personal commitments to his movies, emphasizing in his last point "I will make only those founded on the principles of right, and I will endeavor to draw upon the inexhaustible source of good for my stories, my guidance and my inspiration." It was a principle Vidor strived for throughout the remainder of his movie career.
His first First National movie was August 1920 "The Jack-Knife Man." The William Parker script has a lonely old riverboat clock maker who witnesses a dying mother leaving her young child in his care. Along the lines of Charlie Chaplin's 'The Kid,' Vidor's film has authorities severing the strong bond between the two. A twist at the end dealing with the clock maker constructing wooden toys for the boy with his jack knife was praised by critics. First National, however, informed him its executives loved to see a bit more levity in his forthcoming movies, which Vidor accepted. Judging from his next movies he made at 'Vidor Village.'
His first First National movie was August 1920 "The Jack-Knife Man." The William Parker script has a lonely old riverboat clock maker who witnesses a dying mother leaving her young child in his care. Along the lines of Charlie Chaplin's 'The Kid,' Vidor's film has authorities severing the strong bond between the two. A twist at the end dealing with the clock maker constructing wooden toys for the boy with his jack knife was praised by critics. First National, however, informed him its executives loved to see a bit more levity in his forthcoming movies, which Vidor accepted. Judging from his next movies he made at 'Vidor Village.'
This movie is a little gem, not to be missed
scsu19754 December 2022
Peter Lane lives by himself in an old houseboat. During a storm one night, a woman and her small son Buddy seek shelter with Lane. The woman dies the next day from exposure, and when the attending physician assumes the woman and Buddy are Lane's wife and son, Lane does not correct him. One day, a tramp named Booge tries to take off on the boat while Lane is looking for food. Lane stops him, then decides to take on Booge if he helps with the chores. Together, the two men take care of Buddy. Lane uses his jack-knife to carve wooden animals for Buddy, while Booge amuses the boy with songs and woodwork. Complications ensue when the town's Justice of the Peace, Briggles, tries to take Buddy away from Lane.
This is a sweet film, and highly recommended. It is unfortunate the print on YouTube is mediocre, but the film is still watchable. The acting is solid across the board. Kelso is very cute. All the main performers were in their 40s, 50s and, in the case of Lane, 60s, and yet this seems like a film to be enjoyed by all ages. King Vidor's wife Florence has a small but pivotal role near the end of the film.
There is also an amusing subplot involving the Widow Potter (well-played by Lillian Leighton) and her attempts to hook Lane. An unforeseen twist late in the film makes the final scene at fadeout very poignant and bittersweet.
This is a sweet film, and highly recommended. It is unfortunate the print on YouTube is mediocre, but the film is still watchable. The acting is solid across the board. Kelso is very cute. All the main performers were in their 40s, 50s and, in the case of Lane, 60s, and yet this seems like a film to be enjoyed by all ages. King Vidor's wife Florence has a small but pivotal role near the end of the film.
There is also an amusing subplot involving the Widow Potter (well-played by Lillian Leighton) and her attempts to hook Lane. An unforeseen twist late in the film makes the final scene at fadeout very poignant and bittersweet.
Fine performances from all extracted by King Vidor.
rsoonsa25 February 2001
Veteran stage performer Fred Turner portrays Peter Lane, a shantyboat resident who is unexpectedly placed in the position of caretaker for a three year-old boy, due to the death of the boy's mother, and who faces a wide range of challenges in this extraordinarily well-made and scripted 1920 silent, which benefits from the directing and writing skills of King Vidor. Strong acting is in evidence from Turner, Harry Todd as a good-hearted tramp whose role becomes very important, Florence Vidor, Lillian Leighton and James Corrigan, as the film showcases a large dose of clever writing, building to a satisfying and sentimental climax. Most of the work's activity takes place in Lane's houseboat, which possesses the healing powers of home to him, as he attempts to ward off the nuptial blandishments of an attractive widow. The film is marked by a very gentle nature, is graced with delightful moments of humour and is an excellent early example of Vidor's proletarian stylistics and his mastery of montage, all enhanced by the entirely appropriate original organ score performed by Rosa Rio.
You Can't Keep a Good Todd Down!
JohnHowardReid27 August 2012
Warning: Spoilers
A near miss by King Vidor, this remarkable picture's 5-reel Kodascope cutdown is available on a very good Grapevine DVD, accompanied by an excellent music score by Blaine Gale. Actually, Gale provides two alternative scores. Noir in mood, the movie is so grippingly unusual that you'll want to play it twice, first with one score, then with the other. The main strike I have against the film is that it ends somewhat abruptly. No, "abruptly" isn't quite the right word. "Hurriedly" would be better. Yet, despite this unwelcome speed, Vidor (or Kodascope) find time for a lengthy farewell close-up of Harry Todd. Now right up to this very last shot, Todd has given us a very good performance and has mercifully restrained himself from his customary vice of blatant camera-hogging. Maybe Vidor made a deal with him: "Harry, restrain yourself and I'll reward you with a really lengthy close-up right at the end of the picture!" Whatever the deal, this concluding close-up is awful. It's way overdone. Just using the medium shot would have been quite sufficient. Todd's hammy close-up quite ruins the tempo, pace and appeal not only of the concluding scene but of the picture as a whole. In all other respects, what King Vidor presents to us here is a really astonishingly realistic movie with a most unusual yet really engrossing plot that dares to attack religious bogies (both the movie's visuals and especially its subtitles emphasize that the hero's prudishness is directly responsible for the death of Buddy's young mother), law enforcement officers, and even the Dickensian laws themselves (which remain both unchanged and unchallenged at the movie's close. There is a way out, of course, and no doubt this is detailed in Butler's novel. But it's not even hinted at in the movie as we see it today in its Kodascope cutdown). Even in the cutdown version, we are told no less than three times that the hateful Briggles receives a $20 bounty for each orphan he captures, on delivery to the jail – I mean the workhouse. No! No! The orphanage! How could I make such a mistake? Buddy's plight is too fresh in my mind, that's the trouble.
Almost Like Viewing Living History!!
kidboots4 May 2017
Warning: Spoilers
"The Jack Knife Man" was among King Vidor's earliest works and the power of the movie did not escape Frederick James Smith, reviewer for "Motion Picture Classic". He wrote a glowing review praising Vidor for proving that there was an even greater movie in him, as his "Turn in the Road" suggested. Smith felt it was a film of tomorrow with genuine characters and a story you could believe in. Ellis Parker Butler's story was a traditional, homespun yarn which Vidor shot in authentic Mark Twain country along the Mississippi River - the stables, country roads, buggies and little corner stores make this film almost like viewing living history.
The lonely riverboat wanderer is played with poignant authenticity by Fred Turner. Claire MacDowall, an early Biograph actress was almost re-discovered by Vidor - not only was she memorable as the homeless dying mother who takes refuge from the storm in Lane's boat, Vidor also used her again in "The Big Parade". Also coming into the story, an old tramp tries to steal the boat and also becomes a rival with Peter for the little boy, Buddy's, affections (a plot similar to the later "Captain January", a big success for Baby Peggy). With all this sudsy plot line you would be forgiven for thinking it would be awash with sentimentality but no - Vidor strove for common humanity.
Peter Lane is content to live out his twilight years on a shanty boat with only his clock tinkering to keep him busy. The only gossip he inspires is how long will it be before the Widow Potter finally drags him to the altar!! Into his ordered life comes a desperate mother anxious to save her little boy Buddy from the hated juvenile authorities. Soon there is only old Peter and "Buddy Boy" left - they travel the river but Buddy, missing his mother is inconsolable, it is to make the little chap smile that Peter picks up his old jack knife and starts to whittle a Noah's Ark.
Booge is a hobo, first he tries to steal the boat then his carefree ways and comical singing almost steals Buddy's affection but with child protection agent Briggles hot on Peter's trail and with Booge proving a good friend, the two decide to split. Peter and Buddy, always only one step ahead of the law, find Susie, Buddy's sister and as much as Peter hates to do it, they must leave her where she is for now, in the hands of a brutal cook who runs a slop house. Little slavey Susie is really only a baby herself. The ending is tidied up in a typical "enteprenarial" way that was to become a fixture of the 1920s. Peter, now left on his own after surrendering Buddy to the authorities is taken up by a beautiful society girl (lovely Florence Vidor) who happens to see his little Noah's Ark figures and thinks he could make many little children smile again. He is set up in his own little store and, now prosperous and able to walk proudly, the finale is set for a reunion and a wedding!!
Fred Turner had been a vaudeville performer, he died in 1923. Harry Todd who played Booge had been a comedian from film's earliest days (notably in Snakeville comedies). What an adorable little boy Bobby Kelso was, his Buddy was a real cutie. Unfortunately this was his only film. Only Florence Vidor (King Vidor's wife at the time) could look forward to a flourishing career in the 1920s.
Very Highly Recommended!!
The lonely riverboat wanderer is played with poignant authenticity by Fred Turner. Claire MacDowall, an early Biograph actress was almost re-discovered by Vidor - not only was she memorable as the homeless dying mother who takes refuge from the storm in Lane's boat, Vidor also used her again in "The Big Parade". Also coming into the story, an old tramp tries to steal the boat and also becomes a rival with Peter for the little boy, Buddy's, affections (a plot similar to the later "Captain January", a big success for Baby Peggy). With all this sudsy plot line you would be forgiven for thinking it would be awash with sentimentality but no - Vidor strove for common humanity.
Peter Lane is content to live out his twilight years on a shanty boat with only his clock tinkering to keep him busy. The only gossip he inspires is how long will it be before the Widow Potter finally drags him to the altar!! Into his ordered life comes a desperate mother anxious to save her little boy Buddy from the hated juvenile authorities. Soon there is only old Peter and "Buddy Boy" left - they travel the river but Buddy, missing his mother is inconsolable, it is to make the little chap smile that Peter picks up his old jack knife and starts to whittle a Noah's Ark.
Booge is a hobo, first he tries to steal the boat then his carefree ways and comical singing almost steals Buddy's affection but with child protection agent Briggles hot on Peter's trail and with Booge proving a good friend, the two decide to split. Peter and Buddy, always only one step ahead of the law, find Susie, Buddy's sister and as much as Peter hates to do it, they must leave her where she is for now, in the hands of a brutal cook who runs a slop house. Little slavey Susie is really only a baby herself. The ending is tidied up in a typical "enteprenarial" way that was to become a fixture of the 1920s. Peter, now left on his own after surrendering Buddy to the authorities is taken up by a beautiful society girl (lovely Florence Vidor) who happens to see his little Noah's Ark figures and thinks he could make many little children smile again. He is set up in his own little store and, now prosperous and able to walk proudly, the finale is set for a reunion and a wedding!!
Fred Turner had been a vaudeville performer, he died in 1923. Harry Todd who played Booge had been a comedian from film's earliest days (notably in Snakeville comedies). What an adorable little boy Bobby Kelso was, his Buddy was a real cutie. Unfortunately this was his only film. Only Florence Vidor (King Vidor's wife at the time) could look forward to a flourishing career in the 1920s.
Very Highly Recommended!!
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