
"He Wanted to Die... Until He Met the Girl of His Dreams!"
In a fit of melancholy despair after losing his fortune, wealthy young Winthrop Peabody (Douglas Fairbanks) hires a professional assassin to murder him, giving the killer specific instructions about when and how to carry out the deed. However, his depression soon lifts when he meets and falls instantly in love with the beautiful Gloria (Jewel Carmen), completely forgetting about his death contract. When Winthrop realizes he has a hired killer still actively pursuing him, he must use all his wit and athletic prowess to evade death while simultaneously courting his newfound love interest. The film becomes a frantic comedy of errors as Winthrop desperately tries to cancel the contract and outsmart the persistent assassin, leading to a series of hilarious chase sequences and narrow escapes.
This was one of Fairbanks' early starring vehicles that helped establish his athletic screen persona. The film featured elaborate stunt sequences that Fairbanks performed himself, including dangerous falls and acrobatic escapes that would become his trademark. Production was relatively quick, typical of the era, taking only a few weeks to complete.
1916 was a pivotal year in American cinema, occurring during the silent film era's golden age and while World War I raged in Europe. The film industry was rapidly consolidating, with major studios like Triangle Film Corporation (which produced this film) attempting to create prestige productions to elevate cinema's cultural status. Douglas Fairbanks was emerging as one of the era's biggest stars, known for his athletic performances and optimistic screen presence that provided audiences with escapist entertainment during turbulent times. The film's production coincided with D.W. Griffith's 'Intolerance' and other ambitious projects that were pushing the boundaries of cinematic art. The relatively light-hearted tone of 'Flirting with Fate' contrasted with the increasingly serious tone of many contemporary films, reflecting the diverse tastes of movie audiences during this period. The film also emerged during a time when comedy was evolving from simple slapstick to more sophisticated narrative-driven humor.
'Flirting with Fate' represents an important milestone in Douglas Fairbanks' career development, showcasing the unique blend of athleticism, charm, and comedy that would make him one of silent cinema's biggest stars. The film helped establish the template for the action-comedy genre, combining physical stunts with romantic elements in a way that would influence countless future films. Its success demonstrated the commercial viability of films featuring charismatic leading men performing their own dangerous stunts, paving the way for later action stars. The movie also reflected changing attitudes toward mental health and depression in popular culture, treating the subject of suicide with unexpected levity while ultimately celebrating the life-affirming power of love. The film's preservation and continued study provide insight into early Hollywood's production methods and the development of cinematic comedy techniques.
The production of 'Flirting with Fate' took place during a pivotal moment in Douglas Fairbanks' career, as he was transitioning from character actor to full-fledged movie star. Director Christy Cabanne, who had worked extensively with D.W. Griffith, brought a level of technical sophistication to the film that elevated it above typical comedies of the era. Fairbanks insisted on performing all his own stunts, including several dangerous falls and acrobatic sequences that required careful planning and coordination. The film's chase sequences were particularly challenging to film, requiring multiple locations and elaborate camera setups. Jewel Carmen, who played the female lead, was reportedly difficult to work with during production, creating tension on set despite her on-screen chemistry with Fairbanks. The assassin character, played by Howard Gaye, was intentionally cast against type to create an unexpected villain presence. The film's darker comedic elements were somewhat controversial during production, with studio executives initially concerned about the suicide-hiring premise, but Fairbanks' charm ultimately won them over.
The cinematography by William F. 'Billy' Bitzer and Victor Fleming employed the relatively sophisticated techniques of the period, including dynamic camera movement during chase sequences and careful composition of action scenes. The film utilized location shooting around Los Angeles to create visual variety, contrasting interior sets with outdoor action sequences. The camera work during Fairbanks' stunt sequences was particularly notable for its ability to capture the full range of his athletic movements while maintaining clear narrative focus. The film's visual style reflected the growing sophistication of Hollywood cinematography in 1916, moving away from the static camera work of earlier cinema toward more dynamic and engaging visual storytelling.
While not groundbreaking in technical terms, 'Flirting with Fate' employed several notable techniques for its time, including elaborate stunt coordination and location shooting that went beyond typical studio productions. The film's chase sequences required careful planning and timing to achieve the desired comedic effect while maintaining narrative coherence. The production made effective use of multiple locations and sets to create visual variety and enhance the storytelling. Fairbanks' athletic performances pushed the boundaries of what was considered possible in action-comedy sequences of the era, requiring innovative camera setups and editing techniques to fully capture his movements.
As a silent film, 'Flirting with Fate' would have been accompanied by live musical performance during its original theatrical run. The typical score would have been compiled from classical pieces and popular songs of the era, with music cues provided by the studio to theater organists or orchestras. The romantic scenes would have featured sweeping, melodic themes, while the chase and action sequences would have employed more frantic, rhythmic music. No original composed score was created specifically for the film, which was standard practice for productions of this scale in 1916. Modern screenings of restored versions often feature newly composed scores by silent film specialists.
Life is too precious to throw away when love is waiting around the corner
I hired a man to kill me, but I never expected to find a reason to live
Death follows me, but love keeps me running
In the pursuit of life, I found myself running from death
The greatest adventure is finding a reason to live
Contemporary critics praised 'Flirting with Fate' for its inventive premise and Fairbanks' energetic performance. The Motion Picture News called it 'a thoroughly entertaining picture with plenty of action and comedy' while Variety noted Fairbanks' 'remarkable athletic abilities and screen presence.' Modern critics and film historians view the film as an important stepping stone in Fairbanks' career, showing the development of his signature style before he became the swashbuckling adventure star of the 1920s. The film is often cited in retrospectives of early American comedy as an example of the genre's evolution beyond simple slapstick. However, some modern viewers find the treatment of depression and suicide dated and potentially problematic by contemporary standards.
The film was well-received by audiences in 1916, proving to be a commercial success for Triangle Film Corporation. Moviegoers particularly enjoyed Fairbanks' physical comedy and death-defying stunts, which were heavily promoted in the film's marketing campaign. The combination of romance, danger, and humor appealed to the broad audience base that Fairbanks was cultivating during this period. Contemporary newspaper reports indicated that theaters showing the film experienced good attendance, with many patrons returning for repeat viewings of Fairbanks' athletic sequences. The film's success helped solidify Fairbanks' status as a bankable leading man capable of carrying a feature film on his own.
The film is partially preserved with some elements missing. A complete version does not survive in archives, though fragments and key sequences exist at the Library of Congress and the Museum of Modern Art. Some reels are believed to be lost, making it one of the many incomplete silent films in existence. The surviving elements have been preserved on 35mm film and digitized for archival purposes.