EssenceStory Well Deserved Praise

TrueJoshNight Truly Dreadful Film

ActuallyGlimmer The best films of this genre always show a path and provide a takeaway for being a better person.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

deickemeyer One of the scenario problems of the day is to write a Civil War story that will not offend that considerable population south of Mason and Dixon's line. There may exist some small question in Swords and Hearts, but that remains to be definitely determined by the real judges. It is a question of whether Southern people will relish the idea of one of their daughters jilting an unfortunate Confederate soldier for a victorious Union officer of means. Southerners may swallow the situation without making a face, on the broad grounds of human nature, but there is another pill to be swallowed when the ruined returning Confederate officer decides to marry a "Cracker" girl, or poor white. A poor white is hardly any more popular in the South than the northern war-time soldier. These two elements are the only ones that can be suggested as possible faults in Swords and Hearts. Aside from these speculative flaws, which may or may not amount to much, Swords and Hearts is an excellent production. It is acted in the usual Biograph way and is full of the gentle pathos peculiar to the Confederate point of view. The picture as a whole is partial to the Southern side. It has more to do with events at home while the able-bodied men are away at war than it has to do with battlefields. As a matter of fact, there are no battle scenes. Neither is there any triumphal parading of the Union flag nor any trailing of the stars and bars. It is a domestic drama resulting directly from a conflict raging elsewhere. There are in this picture some familiar Southern types that are depicted with skill. The old faithful colored manservant is one of these; also the dignified type of elderly Southern aristocratic planter, so ably portrayed in this instance by the late Verner Clarges, one of the last appearances of that venerable and widely known classic actor. The portico of the Southern mansion is a piece of artistic realism that gives the picture the true atmosphere of antebellum gentility. It is a substantially built structure that is later destroyed by a band of marauding ruffians known as bushwhackers, who, after looting the mansion, set fire to it and burn it to the ground. The story centers around the son of a Southern planter and two women. One of them a cold, haughty and calculating young woman of aristocratic birth; the other a "cracker" girl, daughter of a mountain berry- picker. At the outbreak of the Civil War, Hugh Frazier, son of the planter, is engaged to Irene Lambert, the proud beauty, who values him only for his social standing and prospective inheritance. From a distance Jennie Baker, the berry-picker's daughter, has learned to love the dashing young soldier, who was never too proud to notice her when sometimes she came to his home to sell berries. On the day that he left for the war, young Frazier, in his impulsive, debonair way, leaned over in his saddle and stole a kiss from Jennie Baker. He forgot the kiss in the next few minutes, but the sweetness of his compliment lingered forever on her lips. Once during the war Hugh Frazier stole home, to visit his sweetheart, Irene. On this occasion the berry-girl was the means of saving him from capture by using his horse and overcoat as a decoy. She seemed to come as a good angel sent to watch over a brave heart; for by this time things had changed and his old home lay within the Union lines. He escaped this danger, thinking, perhaps, that Irene had been his guardian angel. That night the bushwhackers, led by Jennie Baker's rough father, attacked and burned the home of the man she loved. The faithful old negro servant, divining such an attack, had buried the family treasure and the marauders evidently burned the house out of disappointment. The attack and retreat of the bushwhackers, together with the burning of the mansion, is one of the most thrilling and realistic scenes ever seen in moving pictures. In the fire and fracas Jennie and Hugh each lost their father. Jennie lived alone therein her father's shack until Hugh came back. He made his way in tattered garments to the home of Irene, expecting to be received with gladness. Instead of that, his supposed guardian angel proved to be but a fickle goddess, whose heart had turned to stone. From her he learned that he was a pauper; that home and father were gone forever. Moreover, he found her engaged to a sardonic and prosperous Union officer, and both seemed to regard it as a good joke on Hugh Frazier. Bruised in body and .soul, he shuffled listlessly toward his old home, there to find it a bleak ruin. But there also he found the faithful Jennie, who had waited there day after day for his return. There also he found the faithful negro man-servant. From him he learned how the girl had saved his life, and then the faithful black led them to the buried treasure. The darkest hour of our lives is the hour in which to know our real friends from the fair weather kind. What wonder then that Hugh Frazier should turn to these two lowly creatures and grapple them to his heart with hooks of steel? - The Moving Picture World, August 26, 1911

MartinHafer D.W. Griffith's most infamous film was "Birth of a Nation". Why was it so famous for all the wrong reasons? Because this Southern director re-wrote history and in this film showed the South to be the victim in the Civil War and its aftermath--a victim of 'uppity' blacks intent on defiling white women as well as evil Yankees. Well, while "Swords and Hearts" isn't quite this bad (and doesn't feature the KKK as the heroes!), it does have many elements you'd later see in "Birth of a Nation". Slavery in this film is a good thing and blacks adore their masters. And, interestingly, the black men are played by whites in black makeup! This is possibly because no black would agree to work on such absurd projects! Still, in spite of all this, "Swords and Hearts" is a pretty good film.The film begins with rich Master Hugh going off to fight for his beloved South in the Civil War. He's in love with Miss Irene--not realizing that the poor girl, Jenny, also loves him. What he also doesn't know is that Jenny nearly gets herself killed saving his life. Later, when the war is over, Irene proves to be evil, as she now has a Yankee boyfriend (Oh, my!!). And, Hugh finally realizes that Jenny is one hot tamale.Well acted and with some nice action, if you can ignore all the happy 'blacks' and accept the movie on its own terms, you'll likely enjoy it.

wes-connors Dorothy West (as Jennie Baker) is of the "poor white class" in old Virginia; she longs for the love of Wilfred Lucas (as Hugh Frazier), the son of a wealthy tobacco planter; but, he only has eyes for the beautiful, calculating Claire McDowell (as Irene Lambert). After going off to join the Civil War, Mr. Lucas steals away from the fighting - to take in some relaxation time with Ms. McDowell. Ms. West has observed the tryst, and unselfishly saves Lucas from a bushwhacking by Union soldiers. Later, Lucas loses his estate in the war, so McDowell rejects him. When all seems lost, Lucas notices West's worth; and, they receive a pleasant surprise from slavishly loyal William J. Butler (as Old Ben). The performances in D.W. Griffith's "Swords and Hearts" are nice; especially that of West, they help convey much of the characters' feelings. The story, and use of the loyal "black-faced" Caucasian slave, drag the film down, however. *** Swords and Hearts (8/28/11) D.W. Griffith ~ Dorothy West, Wilfred Lucas, Claire McDowell

aimless-46 "Swords and Hearts" is the last and the best of the seven Civil War shorts Griffith directed over a three-year period. This group nicely illustrates his tracking along a very steep learning curve as he becomes ever more technically and creatively proficient with the new art form of film-making. "Swords and Hearts" is billed as a wartime story in old Virginia and entertainingly alternates between domestic and battle sequences.The chapter captions pretty much tell the story: 1. Hugh Frazier (Wilfred Lucas) son of a wealthy tobacco planter 2. His neighbor-Irene Lambert (Claire McDowell) beautiful but calculating 3. Jennie Baker (Dorothy West) and her father (Francis J. Grandon) of the "poor white class" 4. Promise me you will be mine 5. To join his company in the confederate army 6. We shall marry when you return 7. Months later, unknown to Hugh, Jennie's chance to prove her love 8. To steal a visit with Irene 9. Old Ben (William J. Butler) anticipates the bushwhackers' attack 10. Defeated in war, rejected in love 11. Hugh realizes her loyalty and worth. The story incorporates Griffith's favorite themes, the superior virtues of the poor white class and the loyalty of good Negro slaves to their masters. It is quite ambitious as at times Griffith cross-cuts between three different events occurring simultaneously. Unfortunately the use of white actors in black-face in several scenes is disconcerting.Dorothy West was arguably the most contemporary looking and natural of all the silent film stars. Consequently her films from 1910-1917 have held up better even than stuff made years later at the end of the silent film era. West combines the seemingly contradictory qualities of adolescent femininity that fascinated Griffith; a virginal unworldliness and a plucky practicality. In the film's best action sequence Jennie demonstrates her practicality by taking Hugh's uniform and horse, then leading the Yankee cavalry away from her love (during his liaison with Irene). An accomplished rider, West does her own stunts and even shoots a Yankee from horseback. Then again, what do I know? I'm only a child.