Back to God's Country (1919) User Reviews

A strong, early Canadian film

[kergillian · 7/10 · 1 June 2002]

I taped this film for three reasons - one) I wanted to see whether an early silent film from Canada would be any good. two) it's a restored print, and though I heard the old print of this was horridly damaged, this one was supposed to be MUCH better (it isn't half bad). And with the freshly recorded piano score, it didn't seem restored, either. three) It's supposed to be a well-regarded but highly underrated (and unknown) film, and that made me curious.

This film should be a classic! (At least in Canada). One of, if not the first Canadian films, and with a fairly low budget, it's actually rather impressive. Yet no one I know has heard of it, or even realizes film was being made in Canada this far back.

The story is a touch cliche, and there's a fair amount of schlock (prevalent in many silent films of the late teens/early twenties), but the story is interesting enough to keep my interest and the scenery is quite taking. And I was most surprised at the cinematography and editing, which is far more advanced then I expected.

It's not Birth of a Nation, it's not Metropolis, it's not Nosferatu. But it's well worth watching, and should really be shown more, if not at the Rep houses, then on TV at least. 7/10.

Canada's oldest feature film still available

[credmond · 5/10 · 24 November 2003]

Hard to rate this thing on anything other than a funny reminder of

how Canada was and will always be renowned for Mounties,

snow, and wildlife. The scandalous "nude scene" where Nell Shipman is bathing

under a waterfall is what gave this film an audience, but definitely

not why it's still around today. It's actually a decent story where the

spirit of a dead Eskimo is incarnated into a husky, but that angle

doesn't really have any significance until the end of the film when

it's revisited. Most surprisingly, I found, was how progressive of a role Nell had

way back in 1919. She drives the plot and essentially rescues

herself from a lot of the danger, something Hollywood is still

reluctant to do. It wasn't actually the first feature film made in Canada

("Evangeline" was in 1913), but it's the earliest one left that has

been preserved. If for no other reason, you gotta check it our just

for that!

Shocking for the time

[GLSmyth · 6/10 · 16 September 2001]

It is interesting to see Dolores LeBeau (Nell Shipman) participate in two roles in this movie, one being the pseudo-nude scene, and other being the role of female heroine. The former was certainly written into the script to draw male viewers to the movie houses. It cannot be seen that she is wearing a body suit, so one is given to their imagination. More importantly, however, is the latter - the female heroine - which was rare during that time.

The movie has several questional elements in the plotline (why does 'Sealskin' Blake have no trouble killing a Canadian Mountie, but cannot bring himself to overtly kill Dolores LeBeau's husband?), but the movie has several special effects (tinted film, scene within a scene) that make it worthwhile viewing.

Your basic snowy melodrama?

[funkyfry · 6/10 · 24 September 2002]

Contrived story surrounds a woman who is being blackmailed by a ship's captain who has killed her father and threatens to kills her ailing husband. She's saved by a dog. This is lifted a level above most of its ilk by the quality of its dark, harsh vision: from the first, we're in an arctic canada wher ruthlessness is the rule, as a dog's owner is killed in a bar for no reason (except that he's a "chinaman") much to the amusement of the bar's denizens. Good atmosphere.

Entertaining Old-Fashioned Melodrama

[Snow Leopard · 12 December 2001]

This is an entertaining old-fashioned melodrama starring Nell Shipman, a good adventure heroine who can do a lot of different things. Here, she is a nature-loving young woman whose husband's work takes her away from the wildlife she loves, but while she is longing to get "Back to God's Country", she must first try to save herself and her husband from some dastardly villains.

There's quite a bit to the story. The drawbacks are that it is a little slow early on while it sets everything up, and then once the action gets going there are some rather implausible developments. But the plot keeps your attention, and Shipman has plenty of energy and is a nice change-of-pace from more conventional heroines. The story takes place in the frozen north of Canada, and the setting is interesting and works well. There are also several good shots of wild animals, a couple of them very funny.

"Back to God's Country" combines some of the usual features of silent melodrama with Shipman's distinctive approach. Most of it works pretty well, and it's worth a look for those who like silents.

Derivative of Jack London's "arctic" novels, but interesting

[fisherforrest · 7/10 · 11 January 2003]

This story is based loosely on a novel, not by Jack London, but similar to his "White Fang" and "Call of the Wild" in genre. It has been freely adapted to give most exposure to Nell Shipman who even in the flat lighting usual in the 1919 era comes across as a very capable "Jane Alexander" type. The simple story of villainy stemming from single-minded lust is confusingly told. That may be the result, though, of the difficulties of "restoration" of the old film. There are some excellent scenes that evoke the dreadful loneliness of the arctic winters. It's not a great old museum piece, but interesting and worth a watch.

Rousing adventure with a great heroine

[MissSimonetta · 7/10 · 31 May 2019]

The plot is pretty uneven in terms of structure and some of the supporting performances are a touch on the hammy side, but BACK TO GOD'S COUNTRY is too much fun to dismiss. Nell Shipman plays a nature-loving woman who is as far from the damsel-in-distress cliche as you can get. (Yes, there were strong female characters before the 21st century!) She's no fool, able to hold her own when pursued by villains. In fact, her husband's more of a distressed damsel (or in this case, distressed dude, I suppose) than she!

Contrived Stupidity

[Cineanalyst · 2/10 · 20 July 2005]

Some 40 minutes into "Back to God's Country", Nell Shipman's character Dolores makes a decision. She has discovered that the villain--the man who murdered her father and tried to rape her--is the captain of the ship her and her husband are aboard. What's a heroine to do? She decides not to inform her husband and--somehow--fight for her honor alone. Even with his help, it would seem unlikely they'd be able to defeat the captain and his crew. But, Dolores's reason for not telling her husband is that he'd likely die. At least one character in this film is stupid. Is it her husband, who's too foolhardy that he'd get himself killed if told of this unfortunately strained turn of events? Or, is it Dolores, who thinks keeping him in the dark will save him--although he nearly dies anyhow?

This witlessness is merely manufactured so that we'll get a chase finale preceded by melodramatic suspense. And, it's obvious that the dog will save the day, what with the otherwise irrelevant crosscutting to his barking. Speaking of contrived stupidity, the villain is severely inept; surely, he could have found some easier way to off the hubby and get the girl. One would think he could at least shoot straight and not let the dog save the day. I'm used to labored plots for the purpose of some exciting end, but this is especially absurd--turning the characters into nincompoops. Furthermore, the climax is laughable rather than exciting. Not even technically competent film-making or a nude bathing scene could save this scenario. Shipman did better with "Something New" (1920).

"Back to God's Country" is notable for being an early Canadian feature-length film. It's also indicative of the shared relationship between America's film industry--and everything else economic or otherwise--and Canada's. Not until after 1939 with The National Film Board would Canada have its own stable film industry.

Nell Shipman melodrama with some scenes worth seeing, including animals

[jacobs-greenwood · 5/10 · 15 December 2016]

Directed by David Hartford, this Nell Shipman drama is about an animal-loving woman and her struggles against a murderous brute that invades the peaceful home she shares with her father, and later a "back to nature" author, in the Pacific Northwest.

As far as the plot is concerned, I think contrived might be the kindest thing to say, though there is an advanced film technique to see during the dream sequence, and there are some pretty good shots of animals.

An Eskimo and his dog enter an establishment where neither are welcome. The Eskimo is killed by a bully (Kewpie Morgan, uncredited) and his dog is "adopted" by Blake (Charles Arling), who treats the dog cruelly, using a whip on it to keep it in line. Elsewhere, Dolores LeBeau (Shipman) has an idyllic life, living with various woodland animals, in and around their cabin, out in the sticks of the Canada, with her father (Roy Laidlaw, uncredited). Author Peter Burke (Wheeler Oakman), seeking experiences for a book he's writing, comes upon their simple home, where he's invited to stay. Meanwhile, in another part of the forest, the murderer Rydal (Wellington Plater) is captured by a Mountie (William Colvin, uncredited), who is then shot by a half-breed (Charles Murphy, uncredited). Rydal dons the Mountie's clothing and, with the half-breed, makes his escape deep into the country.

Burke has finished his manuscript and leaves to return to civilization. Shortly thereafter, Rydal and the half-breed happen upon Dolores by a pool in the stream. She jumps into the pool to get away from them. The men walk a little further and arrive at the cabin where, because of the Mountie uniform, both are welcomed. Rydal conspires to get Dolores alone, placing the half-breed on watch outside the cabin when her father goes out. Once alone, Rydal attacks Dolores, who struggles loud enough to be heard by her father, who then fights with the half- breed outside. The half-breed is killed and Rydal decides to charge the father with the crime and marches him out towards civilization. The path he takes is high, over the river, so Rydal decides to push the old man over the cliff. Dolores, who'd been tailing them, rushes down to the river's edge and jumps in to save her father. Burke, who had forgotten his manuscript and returned, was tailing Dolores, so he comes to their aid. Rydal escapes.

Her father dies, and Dolores returns to civilization and marries Burke, though she longs for (dreams of) her former life in the woods with the animals. The two of them decide to return by ship. Once aboard, and too far to turn back, the Captain reveals himself to be Rydal (yeah, right!). Not long after that, Rydal has a crewman drop a sail on Burke, disabling him. While he's confined to recovering in his cabin, Rydal makes advances on Dolores, who gets him drunk to avoid his clutches. It turns out the ship's destination is to a friend of Rydal's, who coincidentally is Blake. Dolores tries to get Blake to help her and her husband, but of course he's only interested in helping Rydal. However, Dolores does have an opportunity to meet, and befriend, the "mad" dog Blake got from the Eskimo.

The film's climax is a harrowing chase through the snow covered sea and land by sled dog, with Dolores and her prone husband trying to escape Rydal, she'd shot Blake, with the "mad" dog's assistance. Somehow, they make it through impossible conditions and another Mountie later catches up with Rydal, who falls through the ice and drowns. Burke and Dolores live happily ever after in their former setting with animals, which includes the former "mad" dog.

Slightly imperfect, but generally outstanding, and rather ambitious

[I_Ailurophile · 9/10 · 29 February 2024]

For as worthy as any given film may be, sometimes reading about their history, from conception to execution, can be just as gratifying. In learning about this 1919 feature one quickly gains a sense of how special it is in various ways, bolstering our anticipation of watching. It should be mentioned that as soon as we do we're greeted with evidence of how early cinema doesn't always age well, for there is some outdated language that today we plainly recognize as racist, and there's a smidgen of blackface employed here, too. One would be remiss not to also observe that early exposition is decidedly gawky as scenes and intertitles clumsily bounce to and fro to impart tidbits of foundational information; the incidence within the first several minutes is unfortunate. Then, of course, there are the customary questions of different film-making techniques and storytelling sensibilities, facets which can be obstacles for some modern viewers when regarding the silent era; in no few instances this at least means direction, acting, and/or narrative flow that are less fluid and natural. All this is to say that whatever else is true of this picture, it might not be the one to change the minds of those who have a hard time engaging with older cinema.

The good news, however, is that however much we may him and haw about various aspects, by and large 'Back to god's country' is splendidly well made and a fine credit to those involved. Reflecting the interests of author James Oliver Curwood, scribe behind root short story "Whapi, the Walrus," and star and screenwriter Nell Shipman, it's readily apparent that this movie was made in no small part with a mind for showcasing the splendor of the natural world. The production makes a point of putting a number and variety of animals in front of the camera, and moreover the filming locations for this Canadian gem are utterly gorgeous. The surrounding environs play a crucial, meaningful role in the saga, not unlike what we'd see in filmmaker David Hartford's later Curwood adaptation 'Nomads of the north,' and for my part I'm reminded somewhat of a similar yet even more intense approach taken by Swedish legend Victor Sjöström (see 'Terje Vigen' or 'The outlaw and his wife,' among others). The sets, costume design, and hair and makeup were all rendered with great care and detail, and those stunts and effects that we see are terrific - not to mention unquestionably more dangerous at this point in the medium than if they were to be attempted in subsequent years with developing techniques, technology, and standards.

The direction and cinematography here may be slightly less refined, but Hartford again demonstrates a keen mind for getting the most out of any given moment, whatever the mood, and Dal Clawson and Joseph Walker's eyes ensure that we get eyefuls of all the minutiae to be had. Meanwhile, it's sometimes been said of the silent era, if not also early talkies, that such fare boasts less complex storytelling and is marked by "simpler entertainment for a simpler time." Given the relative forthrightness and crudeness of some of the plot in this instance, and the comparative lack of polish, I don't think it's unfair to say that 'Back to god's country' generally represents an example of this. Yet this is no inherent mark against the title, and still I think Shipman is to be commended for a fine screenplay. To whatever extent we might note some inelegance in the doing, the characters and scene writing are strong and pronounced, and the overall story is firmly compelling in its own right. It's also definitely noteworthy that by Shipman's hand her character Dolores is made to be the protagonist, playing an increasingly bold, heroic role, in sharp contrast with the opportunities presented to women in many contemporary works. I would even say that as the length progresses the tale finds more strength and cohesion, and as if it weren't already before, the back end is compelling and satisfying, with more discernible cleverness and nuance in every way. Not just the storytelling but even the direction and cinematography find their feet and make the most of it when their power is needed most, with marvelous results.

Rounded out with flavorful tinting, and acting that is admirable (if not specifically remarkable), when all is said and done the film really is a minor treasure, and it's easy to see why it's held in such high esteem, especially in Canada. I don't think it's perfect, for among other little elements Curwood's titular figure Whapi is reduced to a bit part; Shipman very slyly reconfigured the plot to center Dolores, but it's still obvious that Whapi is somewhat shortchanged, and in turn, in some measure, the whole. As much as the flick ultimately stands tall on its own, and comes into its own in the last stretch, one can't help but feel that there's a level of ungainliness to the construction that means the sum total doesn't carry the full weight that it ideally should. Nevertheless, part of me even feels bad for suggesting imperfection, because it's hard not to be a tad impressed: I don't think there's much arguing that the production was rather ambitious, taking a woman-led tale of adventure to far-flung destinations and enacting somewhat complex stunts and sequences at a time when the very enterprise of film-making was still finding its proverbial legs. For any manner in which the feature could be said to bear a weakness or shortcoming, far more than not there is so very much to love in these seventy-some minutes, and its lasting value and the stamp that it left on a growing medium far outweigh any faults we might pinpoint. Criticisms are reasonable, but I sit here after watching and can only think of how superb it was.

We all have our personal preferences, and I can understand how the silent era won't appeal to all comers; I'd have said the same myself at one time. If you're receptive to all that cinema has to offer, however, and looking for something a little off the beaten path, then I firmly believe that 'Back to god's country' broadly holds up (with footnotes) as an excellent picture that remains well worth exploring. Be aware of those ways in which it may not be totally flawless, but I quite love it and I'm happy to give my very high and hearty recommendation!

A thrilling outdoor adventure restored

[Dsosin · 6 August 2000]

It's a thrill to see this excellent film on video (Milestone, 2000). Nell Shipman was an extraordinary woman and it's great to see her work being made available to a wide audience. The scenes of her with wild animals, part of the menagerie she kept in northern Idaho, are extraordinary, and the climactic chase is very suspenseful. The restoration by D.J. Turner of the National Archives of Canada is wonderful, and the music by Phil Carli is appropriate. Alternate piano scores for this and Something New, Shipman's wacky car chase film, from live performances, available from me.

For an old Silent Movie I Thought it was quite good.

[JK-12 · 18 June 2001]

A very good plot and exciting action throughout. Most of the silent movies have little to offer but this one seems to present good direction and production. I saw this movie on Turner Classic Movies, which gave detail before it came on.