Tol'able David (1921) User Reviews

They had faces then and Barthelmess was one of the handsomest

[dglink · 8/10 · 1 September 2008]

In Billy Wilder's "Sunset Boulevard," a forgotten silent-film actress, Norma Desmond, explained the appeal of silent stars: "we had faces then!" In the musical version of that classic, the lyric "…with one look I'm the girl (or boy) next door…" expanded on the visual powers of silent film actors. Each of those lines could have been written for handsome, charismatic Richard Barthelmess, the star of Henry King's "Tol'able David." Although his too-short pants vainly attempt to obscure the actor's maturity, Barthelmess manages to convince the audience that he is a boy at the edge of manhood. Through his dark eyes, body language, and facial expressions, Barthelmess literally becomes "the boy next door" without uttering a syllable.

"Tol'able David" may be too sentimental and occasionally too hokey for modern audiences, but, if viewed in the context of the post World War I period, the bucolic Americana story is engaging. Like the United States in the years leading up to the Great War, belligerent outsiders disrupt David's idyllic family life, and the young boy becomes a man in the fight to restore his world. The tale is simple, but universal. Enhanced by location filming in Virginia, "Tol'able David" provides a glimpse of country life in the early 20th century. However, produced in 1921, the film preceded the golden period of silent movies that was reached in the late 1920's, and the technical perfection and acting subtleties of that later period are lacking here. Although Ernest Torrence makes a formidable, frightening villain, neither his appearance nor his performance are subtle, and he owes more to the oft-parodied "grand style" of the early silents than to the nuanced acting that evolved later in the decade. However, Barthelmess and his leading lady, Gladys Hulette, perform admirably, even in a broad comic scene with a barrel that seems to have been taken from another movie.

Henry King keeps the story moving, although his camera did not achieve the fluidity that distinguishes later silents. A transitional film made between the innovative days of Griffith and the heights of Murnau, Vidor, and von Stroheim, "Tol'able David" remains entertaining and affectionate towards a vanished way of life and a lost style of film-making. If the viewer can transport him or herself back in time, a dazzling star and a film with genuine warmth and sentiment will immerse the audience in the days when "sentimental" was not a four-letter word.

The Little Giant

[lugonian · 8/10 · 24 May 2013]

"Tol'able David" (Inspiration/First National, 1921), directed by Henry King, stars Richard Barthelmess in one of his most celebrated roles of his career. Following his previous successes opposite Lillian Gish in D.W. Griffith directorial masterworks of BROKEN BLOSSOMS (1919) and WAY DOWN EAST (1920), this is Barthelmess, like David, on his own and proving himself more than what he can be, in this case, a youth who becomes a man. Taken from the short story by Joseph Hergesheimer, with screen adaptation by Henry King and Edmund Goulding, TOL'ABLE David was so successful that it elevated Barthelmess to the rank of accomplished leading man. Even with these fine credentials, TOL'ABLE David, has become close to becoming a forgotten item of truly great movies from the silent film era.

Following the inter-title opener: "Behind three great ranges of mountains lay the pastorial valley of Greenstream. There the Kinemons had long made their home as tenants on the rich farm of John Galt," comes individual title introductions of its basic characters before the plot gets underway: "Hunter Kinemon (Edmund Gurney) kept the Biblical tradition of a family united by every tie of love and home"; Mrs. Kinemon (Marion Abbott), mother of a home her tenderness helped create"; David (Richard Barthelmess), the youngest son who was called his mother's boy;" Allan (Warner Richmond), the elder son, reckoned the strongest man in Greensteam County"; Rose (Patterson Dial), Allan's wife, loved as a daughter of the house; Esther (Gladys Hulette), the granddaughter of neighbor Hatburn (Forrest Robinson); and John Galt (Lawrence Eddinger), storekeeper, village postmaster, and richest man in the Valley." David is the central character, one many claim to be "tol'able." Aside from "David and Goliath" being his favorite Bible story reading, he wants nothing more than to become like his older brother, Allan, right down to assuming his job of driving the daily hack twenty miles to West Virginia. The family and neighbors live peaceful lives in their own little rural community. All that changes with the arrival of three outlaws ("trouble like the shadow of a black cloud hurried across the countryside toward Greenstream") fleeing from the law of another state: Iska Hatburn (Walter E. Lewis), "chief fugitive of a fugitive family"; Luke (Ernest Torrance), "his elder son whose peculiar humor it was to destroy whatever he encountered"; and Little "Buzzard" Hatburn (Ralph Yearsley), the "baby of the clan." After seeking refuge in the cottage of their Hatburn cousin, the trio begin to make life intolerable for the community, especially for Tol'able David and his faithful dog, Rocket.

While other movies have been inspired by the success of TOL'ABLE David, with the Harold Lloyd feature, THE KID BROTHER (Paramount, 1927) told through comedy with serious overtones, the basic premise itself of TOL'ABLE David was remade as a talkie by Columbia (1930) with Richard Cromwell, Joan Peers, Henry B. Walthall and Noah Beery under John G. Blystone's direction. Virtually forgotten, the 1921 original, under Henry King's leisurely paced direction, ranks one of the finer retelling of good versus evil stories captured on film. It's a fine example of a movie tailor-made for Barthelmess that also gives a well-produced account of rural West Virginia mountain farmers from another time frame. Though Barthelmess in true essence was older than his David of under twenty, he's youthful appearance is enough to make his David believable. The brutal beating of David's brother that leaves him paralyzed (scene eliminated in some prints) and wife with newborn baby in total shock, is quite grim and startling, but nothing compared to what's to follow with David and those responsible.

The film itself must have made an great impression on producer/director William Castle to insert TOL'ABLE David as part of a movie within a movie sequence for his classic "scream" feast of THE TINGLER (Columbia, 1959) starring Vincent Price. Once seen, it's hard to forget such an impressive scene set in a neighborhood silent movie house consisting mostly of teenagers mesmerized through the piano scoring action of young Barthelmess up there on the screen before something occurs to distract them. Unlike many well notable silent film classics, television showings of TOL'ABLE David have been extremely limited. It's only known broadcast (and rebroadcast) was on New York City's own public television station, WNET, Channel 13, for its "Million and One Nights of Film" (1965-66). As with the scene lifted from THE TINGLER, TOL'ABLE David did become part of the revival theater generation, including a presentation from New York City's Museum of Modern Art around 1980 to an attentive audience. Thanks to home video and later DVD format, TOL'ABLE David has become readily available through various distributors. The best and more accurate form (99 minutes as opposed to slightly shorter prints) was from Grapevine Video equipped with satisfactory orchestral score. Other prints include those scored by Robert Israel, or a bargain basement edition with no scoring at all.

In conclusion, TOL'ABLE David may look primitive to the modern eye, but remains quite tol'able for it's melodramatic theme and believable performances by entire cast. (****)

Tol'able david review

[JoeytheBrit · 7/10 · 29 June 2020]

Richard Barthelmess plays the title role in Henry King's tale of dark clouds in late-19th Century small-town Americana. He's the gawky youngest of two sons, wearing ill-fitting clothes and impatient to be looked upon as a man, who suddenly finds himself burdened with huge responsibilities when his older brother is crippled by three heavies and his father dies of a heart attack. Nothing more than a modern retelling of David and Goliath, but it's told with pace and vigour - and with lumbering Ernest Torrence stealing every scene he's in as the brutish thug with a leery eye on David's sweetheart.

Great Performance by Richard Barthelmess

[drednm · 26 February 2006]

Tol'able David is a superb piece of Americana, a great film that reproduces a long-lost time in America as well as long-last attitudes.

Richard Barthelmess is superb as David, the younger son in a sharecropping family in Virginia around 1900. The town of Greenstream is idyllic in its beautiful country setting and harmony reigns. David is interested in Esther Hatburn (Gladys Hulette) who lives on the neighboring farm. And they perform the mating ritual of innocents without even knowing it.

Into this peaceful valley comes a trio of thugs on the lam. They decide to "visit" their cousins and lay low a while til the heat is off. As soon as they move in on the Hatburns they take over the lives of everyone they come into contact with. The lead thug (Ernest Torrence) is pure evil. His idea of fun is to squash a cat with a big rock.

David's brother is the local mailman and one day as he is passing the Hatburn place the dog (great little dog) goes after a cat in the front yard. Torrence grabs a board and clunks the dog dead. When the brother confronts him, Torrence throws a boulder at his head, leaving the brother a hopeless vegetable.

The family reacts in anger but as David and his father argue over revenge, the old man keels over from a heart attack. David races out to kill all the Hatburns but the mother runs after him in a great scene where she (Marion Abbott) is dragged through a mud puddle while holding his legs.

The climax of the film is exciting as David takes on the Goliath.

Tol'able David is pure melodrama, and the 1930 talkie version was a flop. But in 1921 with this cast and Henry King directing, it's a simple tale about simple people and is superbly done. The film is filled with great little scenes and bits of business: The drunk dancing alone outside the town hall where a dance is taking place. Barthelmess dancing alone in the moonlight because he is too shy to ask Esther. David and his dog fishing.... Just terrific little bits of innocence and whimsy from a long-gone time.

Richard Barthelmess is the heart of this film and his performance ranks as one of the best I've ever seen in a silent film. At 26 he has no trouble convincing that he is 16-ish. He was a very natural actor who always knows where to find the humor in simple situations. Gladys Hulette is also good as is Marion Abbott as the mother. Ernest Torrence is a memorable villain...

Tol'able David was another smash hit in Barthelmess' early silent carer, joining Broken Blossoms, Way Down East, and The Patent Leather Kid. He was also hugely popular in early talkies, winning two Oscar nominations.

Not for Everyone

[Cineanalyst · 6/10 · 7 September 2005]

I've seen this silent film thrice now, and its flaws seem more apparent to me with each subsequent viewing. "Tol'able David" is a sappy, idyllic melodrama about the simplicity of rural life and a boy on the verge of manhood (Richard Barthelmess), who is emasculated by everyone and whose dream is to drive the mail hack. The influence of D.W. Griffith is readily apparent, and Griffith, in fact, was first offered to adapt the novel, but he chose to make "Orphans of the Storm" instead, and Barthelmess (Broken Blossoms, Way Down East) left Griffith's company amicably and gave Henry King his big opportunity. The result is a film much in imitation (or in the style) of the kind of pictures Griffith made in between his grand epics--films such as "True Heart Susie", for instance.

For my second viewing of "Tol'able David", I sat in on a film class screening. I was annoyed when during the film's climax the students burst out in uproarious laughter. I suppose that's common for those uninitiated in appreciating silent films, except for the comedies, for which many presumably mistake all silent films to be. But, my point is that "Tol'able David" isn't for everyone. Even those who appreciate silent films and cinema in general might consider this film flawed, perhaps even ridiculous. I do to an extent.

It is a sappy melodrama, predictable and contrived, with a hokey story-line about mail delivery heroics (which reminds me of the awful Kevin Costner movie "The Postman"). One intertitle reads, "He must deliver the mail." Nevertheless, its sentiment and the excellent montage in its finale continues to affect me. I've never forgotten even the small moments, such as the comedy bit involving a barrel and Barthelmess's pants, or when the mother dives in the mud to stop her son from revenging their family. As well, the villains are very typical, but I still think the tall Ernest Torrence is effective. There's been numerous melodramas like it, and I've been bored with many, but, perhaps for its age or complete simplicity, this one worked on me.

Fine, if troubling, silent classic

[mgmax · 9/10 · 31 January 2000]

In many ways this silent classic reminded me of what I liked-- and didn't like-- about a much more recent film, Sling Blade. Both are sensitively observed movies that not only depict but genuinely seem to embody the simpler rhythms of country life. And both ultimately end in a way that may satisfy an audience's bloodlust-- but left me somewhat dismayed that the story had taken that turn. (The violence makes the movie seem much more modern than most films of its time.) That said, there's no denying that this was one of the most accomplished movies of its time; Barthelmess's portrait of eager juvenility is beautifully observed and completely charming, and King's handling is quite sophisticated in the way it tells a story through the eyes of a character who is really secondary to the action through the first half or so.

Generally good, but at times the script made no sense...

[planktonrules · 7/10 · 22 August 2010]

"Tol'able David" is a good film, but it also suffers from some script problems that keep it from being anything other than a better than average time-passer---and I DO love silent films and I did want to love this film.

Richard Barthelmess plays David--the youngest member of his family. While this is believable, what isn't is how in the movie EVERYONE treats him like he's an 11 year-old! Again and again, David is told he's too young--too young to go to work delivering mail, too young to defend the family's honor and too young to do anything other than run errands for Mama. However, he looks to be about 20--way too old for such a role. Seeing everyone treating him like a kid just seemed dumb.

A trio of evil ruffians soon arrive to the tiny country town. They force themselves on their cousin--a nice but VERY ineffectual man who lives nearby. Eventually, one of these ruffians viciously attacks Barthelmess' brother--causing him to become an invalid. The father, upon learning of this, has a heart attack and dies! So, it's up to David to go to work to support his family--and avenge his family's honor. But, as David is 'only a boy' his mother convinces him NOT to seek out the jerks who paralyzed his brother---and, bizarrely, though there are witnesses to this unprovoked attack, no one does anything to arrest the attacker! Since when was an unprovoked assault okay in the sight of the law?! And so, despite his mother's protest, it's up to David to eventually take on all three of these career criminals in a conclusion that's fun to watch--but is unconvincing.

Barthelmess and the rest try their best and the direction and cinematography is very good. The problem is that the writing often just made little sense. As I said above, Barthelmess was simply too old for the role and the whole need for revenge made no sense either--there was a sheriff and yet no one seemed to take much note of three violent criminals living among them. Enjoyable but quite flawed.

Tol'able movie and much more

[Venarde · 10/10 · 5 March 1999]

Prepared to find this silent feature mawkish and slow, I got a pleasant surprise. This story of a boy's coming-of-age in rural America before the age of the automobile is somewhat sentimental and melodramatic, but never gratingly so. (And I can't sit through the 1934 "Little Women.") Richard Barthelmess is simply superb as the hero, capturing the changing moods, the giddy grandeur, silliness, and seriousness of the adolescent male. It's superb silent acting: his face goes from boyish to mature as the scenes demand. Also excellent is Ernest Torrence as the chief villain, who plays his outlaw not as just mean or greedy but genuinely creepy: he revels in the suffering of other creatures. Thus the movie suggests interesting things about the nature of criminality. It looks great, too: shot on location, beautifully composed, and with effective use of tinted film stock.

Return of a former favourite

[Igenlode Wordsmith · 7/10 · 28 November 2006]

"Tol'able David" is routinely described as 'an old warhorse'; a staple of film societies in days gone by, now fallen out of the canon with the restoration of long-lost masterpieces to more general circulation. Having seen it... I suppose I can see why.

It's clearly an accessible film with appeal to an audience unfamiliar with silent cinema, thanks to a healthy dose of introductory comedy and a good-looking boyish lead: Richard Barthelmess, playing a very convincing sixteen. It's a straightforward 'coming of age' story in which an adolescent proves himself to Be a Man, and wins the heart of the girl he loves. It boasts a tastefully-shot nude bathing scene for the ladies' benefit, and a lengthy no-holds-barred fist fight for the men. The characters are all well cast and played, from the hissable villains to the heroine as girl-next-door, and Barthelmess's performance in his role is extremely good.

On the other hand, compared to later features from the final flowering of the silent era, the film really has no great pretensions to subtlety or depth; this is an unsophisticated melodrama, a slab of rustic Americana that might have been helmed by Steven Spielberg, and by modern standards the weepy ending is perhaps a little saccharine to swallow. The David and Goliath fight (foreshadowed in the opening) between boy and brutal killer would be done better by Harold Lloyd in the action finale to "The Kid Brother"; here, I found it went over the top to a degree that cut out the actual sense of danger, going on and on in multiple cut-away scenes where the hero neither outwits his enemy nor credibly out-slugs him. The language of the intertitles isn't quite Elinor Glyn, but it's highflown enough to seen quaintly 'dated'.

"Tol'able David" is good, of its kind, but I didn't find it great -- and I have to admit that at a number of points I found it hard to get immersed in the story. (Part of my problem, I strongly suspect, is that it's a very American tale in more ways than just its setting: it simply isn't aimed at me.) The old warhorse still flares its nostrils and stamps the ground; but it has justly earned occasional trips out of peaceful retirement, rather than the regular duties that were once its fare. I'd certainly recommend it to a friend... but I wouldn't recommend him to expect too much.

David Battles Goliath in Blue Grass, Virginia

[JohnHowardReid · 10/10 · 7 May 2008]

Although it starts off seemingly on the wrong foot with one of my favorite heroes, Richard Barthelmess, forced to take part in some embarrassingly farcical scenes with a rain barrel, the movie soon settles down into high drama once the Hatburns come to roost at a neighboring farm. A vicious threesome, ostensibly led by Walter P. Lewis, the Hatburns are in fact dominated by a towering sadist, unforgettably played by hulking Ernest Torrence.

Although director Henry King does a lot of admirable scene setting with both his well-chosen locations and his hand-picked cast, this is a movie in which the minor players are just that: Minor! All play their parts most convincingly, but only Marion Abbott makes a lasting impression. Otherwise, this is strictly (as the script itself makes plain), a David versus Goliath confrontation. Even the sweet little heroine is relegated to the background once the action really starts. But that is all to the good, as that climactic fight-to-the-finish still packs a wallop that is unmatched in the cinema.

The above review, as published in my book, "Silent Films & Early Talkies on DVD", was based on the 94 minutes Image DVD version. I have just seen the 99-minute Grapevine version which is superior in a number of respects. For one thing, it throws more attention on Gladys Hulette who really comes to the fore in the beautifully tinted and toned dance sequence, which Image presents far less attractively in a faded, dull-as-ditch-water tint. And I must admit I greatly prefer the superbly synchronized canned music in the Grapevine disc to Robert Israel's adequate but by no mens riveting original score for Image.

shines through the decades

[mukava991 · 9/10 · 29 January 2010]

This pastoral melodrama still packs a punch after nearly a century, mostly thanks to a lovingly produced scenario concocted by director Henry King with screenwriter (and future director) Edmund Goulding, from a Joseph Hergesheimer short story, and featuring a nearly flawless cast led by the charismatic Richard Barthelmess.

There is nothing fancy here except perhaps some overdone Griffith-style editing flourishes at the climax which artificially prolong the action, stretching its essential slam-bang quality into something resembling the slow motion stylization that caught on in the Sixties (Bonnie & Clyde's ending, for instance).

Generally, the pacing, setup and unfolding of the story are smooth and sure; the characters are authentically embodied and intelligently cast; the acting is subtle and for the most part realistic; the photography reveals all of the necessary information without ever calling attention to itself. The full spectrum of human emotional and spiritual states are covered. The themes are as old as the Virginia hills in which the story takes place: God, family, home, good vs evil, kindness vs cruelty, mother love, personal responsibility, coming of age, the cycle of birth, aging and death.

Ernest Torrence, in real life as civilized and cultivated a man as one could hope to encounter, plays a despicable criminal, who with his father and younger brother comprise a trio of sociopaths. The way he is photographed and choreographed heavily underscores his wickedness, but this kind of heightened presentation was a staple of silent cinema both in the US and abroad. The height and body language of the three bad-guy actors is in marked contrast to the families they afflict, adding a visual dimension to their essential natures. The least satisfying acting comes from Warner Richmond, who too often substitutes stupid grinning for characterization as the title character's strapping older brother. But Marion Abbott never cloys as the emotionally ravaged mother, and Gladys Hulette is the perfect country girl next door. Barthelmass is the soul of the film and perhaps never equaled this performance.

Richard Barthelmess Is Gorgeous

[overseer-3 · 9/10 · 29 January 2004]

This lovely and poignant silent film is almost lyrical and poetic in its construction. The cinematography is wonderful, since it was actually filmed on location in a little town in Virginia, and the cast is perfect, with the two leads, Richard Barthelmess and Gladys Hulette, simply breathtakingly beautiful to watch. One can easily see why Lillian Gish stated that Richard had the most beautiful male face in the movies.

The plot revolves around the coming of age of the lead male character, and how evil circumstances creep up on a simple country family, which force the youngest son (Barthelmess) to grow up quickly.

The only negative in my experience of watching the film came from the Robert Israel soundtrack. On the DVD version I watched much of the soundtrack sounds like it was recorded at 100% volume and a grating, blasting hum can be heard through many scenes, in the beginning especially. I don't know if the video version has the same fault. Whenever the piano played solo this wasn't a problem. I had to keep the volume really low so I wouldn't notice the blasts.

A lovely film otherwise. I rated it 9 out of 10.

Silent Treatment of the David and Goliath Story

[sunlily · 9/10 · 26 November 2005]

I just adored this homespun little movie with a rural twist on the David and Goliath story. It reminded me a lot of a Mary Pickford movie, it was sweet, entertaining and left you feeling good afterward! The Kinemon family are a loving, religious and close-knit family who really find out through a series of tragedies what it means to pull together! And Tol'able David is forced to grow up fast and find out to his delight that he's more than just tol'able! There are some funny scenes in this movie. One of my favorites being when Richard Barthelmess's David is sitting on a fence imagining that he's driving the mail cart complete with a fancy top hat and whip and then he wakes up and the fence breaks and he falls! There's another cute scene where his dog steals his pants and David's running around in a barrel.

But the movie has plenty of tragedy too! One of the most poignant scenes is when David is going off to revenge the crippling of his older brother and the death of his father, and his mother literally grabs him by the legs to stop him. The look on his face! What a wonderful actor Richard was! If the Academy Awards had been around then, he surely would've won! This movie is not for people who don't like early, sentimental silent cinema. They might find it trite and some of the story unrealistic.Watch for the wonderful Ernest Torrence playing the creepiest villain ever!

Richard Barthelmess gives another great performance

[raskimono · 8/10 · 2 November 2004]

Richard Barthelmess is a strange actor, an actor who performed in silent movies without pantomime. An actor who acted as if he were speaking dialogue. He was so natural an actor that in an era that that needed big gestures and flamboyance to convey emotion, he succeeded in doing this without the need. It is said he could have won many an Oscar if they had them in his hey days but it was not to be. He was nominated though, once. He wasn't one of those stars who died out because his voice didn't match the image when talkies came because his first sound picture was a hit. Rather, it was because he started to choose non-commercial or artsy movies so to speak. I watch them now and wonder who expected them to be hits. There is one movie he made that plays like a "new wave" picture of the sixties. Now to the movie in question. This picture itself is not complex. In some ways, make that lots of ways, it's heavy handed melodrama from Henry King, a man who survived to direct many a big budget sound picture and make one or two really good pictures. Easy to guess, this is a retelling of the David and Goliath story set in a small town where a bunch of really nasty escaped convicts who scream evil come to town. David is a cheerful boy who nobody expects much from. He is just so t'olable. As the nasties bring gloom to the cheeriness of the town, they also end up killing David's father and David is forced to sell the farm because he cannot tend it now that his Dad is dead. His mom in the death scene of his father has the longest heart ache scene I ever seen. She sits still staring into nothingness as her husband is dying for what seems like ten full minutes of screen time. Of course, there is the girl who ignores David because he isn't a man and David must prove himself to his family and the girl and save the town. What happens? Note: Watch for the scene where a sick David drives the horse cart.

Watch Barthelmess and learn the meaning of acting. I watched this movie at a revival house with a live piano score and it heightened a lot of the action and I felt as if I was back in the twenties. Not a great movie, passable entertainment but a good introduction to one of the forgotten silent greats. (If you care to know, this movie was a big hit.)

Idealized but highly appealing.

[JOHNAMI · 9/10 · 23 July 2008]

This famous 1921 movie is skillfully directed by Henry King. Richard Barthelmess is energetic, complex, and completely likable as the title character. There are a number of other fine performances as well which contributes greatly to the success of the film, the reality of the portrayals drawing us into the simple, mildly interesting story.

The action takes place in a rural setting in a romanticized America of the past. Filmed in the state of Virginia, the natural locations and produced sets evoke a twilight zone between the uncivilized old west and – what may have been considered in 1921 - the too civilized modern world of the Roaring 20's.

Splendid, sometimes exciting images and heart-felt performances make the story come alive on the screen. It is easy to identify with the character's joys and sorrows and, in turn, to find satisfaction in their achievements.

If melodrama can be masterful, then this is it

[MissSimonetta · 10/10 · 19 January 2022]

The term "melodrama" is rarely ever used positively. We associate melodrama with cheapness and simplistic notions of good and evil. And yet, people have gobbled up melodrama for centuries. Even modern superhero films rely on melodrama for their plots, even though their champions would never term them as such. At heart, melodramas are serious conflicts between good characters and evil characters, and they are as capable of showcasing beauty and genuine artistry as any other genre. Case in point: TOL'ABLE DAVID, which is among the greatest melodramas of all time.

There is no ambiguity in its characters: the Kinemons are good and virtuous, while the three Hatburn convicts are depraved and malicious. Despite the dark elements of the story, which involve revenge and violence, the ending is a happy one in which David triumphs over his adversaries and restores peace to his community. So, what elevates this film above lesser melodramatic movies? Two things.

1) Barthelmess' naturalistic performances mitigates the usual melodramatic excesses. A lesser actor might have turned David into a caricature, but Barthelmess makes David seem like a real teenage boy. This is impressive considering Barthelmess was in his mid-20s when he did the movie.

2) The film presents a vanished way of life. Even in its time, TOL'ABLE DAVID was borderline nostalgic in its loving depiction of rural America. There is nothing of the phony soundstage in the production. You can almost smell the grass coming through the mute black and white image.

Altogether, TOL'ABLE DAVID remains a powerful movie, even removed a century from its original premiere. Few straight-up dramas from the silent era so simply and effectively showcase the emotional power of pre-talkie cinema. I've been a silent film fan for over a decade now and I'm still hitting myself over the head for not acquainting myself with this amazing classic sooner.

An Instant Masterpiece

[springfieldrental · 9/10 · 24 October 2021]

It's rare as soon as a movie is released it is labeled as an 'instant masterpiece.' Such was November 1921's "Tol'able David." Reviewer Carl Sandburg wrote such glowing reports for the Chicago Daily News after he had seen the film. And Robert Sherwood, in a Life Magazine article, said "It is the first motion picture to achieve real greatness without placing any reliance on spectacular effect."

To think "Tol'able David" takes place in a land few urbanites were familiar would draw so much praise. Director Henry King, born and bred in the Appalachian Mountain town of Christiansburg, Virginia, was attracted to the story of a border West Virginian community who was visited by three ruffians escaping the law. Richard Barthelmess, 27 at the time, plays an 18-year-old in a family whose members treat him like a child. His coming of age story involves a theft of a mailbag he was transporting stolen by one of the outlaws. Facing insurmountable odds, the youngster has to decide whether to cut and run without the mail or stand up to them and forcefully retake the bag. The movie was helped by the locales the film was shot: Blue Grass, Virginia (on the border with West Virginia) and in Staunton, Virginia.

Because of the rousing reviews, "Tol'able David" gained a famous crowd of devotees. Mary Pickford said about one of her favorite films, "When I first saw this picture, I felt I was not looking at a photoplay but was really witnessing the tragedy of a family I had known all my life." Director John Ford listed the film as one of his top ten movies he had seen. One modern day film critic, David Thomson, mentioned "Tol'able David" as the forerunner to movies where an ordinary person fends for himself against a number of desperados, similar to 1952's 'High Noon' and 1971's 'Straw Dogs.' By the time he directed "Tol'able David," Henry King was establishing himself as one of Hollywood's more talented directors. Helming his first film in 1915, King went on to direct movies into the early 1960's, his last being 1962's 'Tender Is The Night' with Jennifer Jones and Jason Robards. Nominated twice by the Academy Awards for Best Director, he was the first to receive the Golden Globe Award for Best Director in 1943's 'The Song of Bernadette.'