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A Range Romance

1911

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Agrega una trama en tu idiomaAfter a quarrel with his wife, Mary, Bob Adams leaves her, taking with him their little girl, Ethel. In order to conceal their identity, he dresses the girl in boy's clothing. Bob and Ethel ... Leer todoAfter a quarrel with his wife, Mary, Bob Adams leaves her, taking with him their little girl, Ethel. In order to conceal their identity, he dresses the girl in boy's clothing. Bob and Ethel finally drift west, the girl still passing as a boy. Ten years go by and Bob secures work ... Leer todoAfter a quarrel with his wife, Mary, Bob Adams leaves her, taking with him their little girl, Ethel. In order to conceal their identity, he dresses the girl in boy's clothing. Bob and Ethel finally drift west, the girl still passing as a boy. Ten years go by and Bob secures work on a ranch, and the foreman becomes strongly attached to Ethel. Her sex is discovered, and... Leer todo

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5.8/10

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Opiniones destacadas

deickemeyer

They give promise of interesting work

One cannot deny that the incidents of this story are possible, yet it takes a very lively fancy to see this picture of a father taking his daughter, aged twelve, away from her mother, who was quarrelsome, and, in the disguise of a boy, permitting her to get a job with him on a ranch in the West, and count the picture a life portrayal. The foreman of the ranch takes a great liking to the girl even before he knows her sex. The mother follows her husband and daughter to the west. There's a chance, dramatic meeting a reconciliation. The girl, and also the mother, are players new in Bison pictures. They give promise of interesting work. We shall probably have the pleasure of seeing them in more significant pictures than this. - The Moving Picture World, December 16, 1911

5boblipton

They Never Notice In The Bunkhouse

The wife throws the husband out. He takes the daughter with him. To keep her safe, he makes her dress as a boy. Ten years later, they are ranching, where one of the other hands offers a fairly handsy friendship to the youth.

The commentary offered in THE CINEMA'S FIRST NASTY WOMEN set insists this is an early example of homosexuality in the movies, slipping one past the censors. There is indeed some of that here, but I also see a reliance on conventions that go back to Elizabethan drama, when the female leads -- aiding the sexual confusion that Laura Horak sees in her introduction to the short, were played by young men, since women were barred from the stage -- would disguise themselves as young men.

There's undoubtedly some truth in Miss Horak's position, but I don't find it as clear as she does.