The River

Plot

The River tells the story of Allen John Spender (Charles Farrell), a naive young man from a rural background who falls deeply in love with Rosalee (Mary Duncan), a sophisticated and worldly woman who works as a cafe entertainer. Their passionate romance blossoms along the banks of a river, which serves as both a literal setting and metaphorical backdrop to their relationship. As their love intensifies, they face moral and social obstacles stemming from their different backgrounds and life experiences. The narrative explores themes of redemption, sacrifice, and the transformative power of love as Allen must confront his innocence and Rosalee must reckon with her past. Ultimately, the river becomes a symbol of their journey toward purification and new beginnings, culminating in a dramatic resolution that tests the boundaries of their commitment to each other.

Historical Background

The River was produced and released in 1929, a pivotal year in both American history and cinema. This was the year of the Great Stock Market Crash in October, which marked the beginning of the Great Depression and would dramatically change American society and the film industry. In cinema, 1929 represented the height of the transition from silent films to sound pictures, a technological revolution that was reshaping the art form and ending the careers of many established stars and filmmakers. The Jazz Singer (1927) had already demonstrated the commercial potential of sound, and by 1929, most major studios were rushing to convert to sound production. Fox Film Corporation was at the forefront of this transition with their Movietone system. The film's themes of innocence versus experience, and the search for redemption, reflected the anxieties of a society on the brink of profound economic and social change. The romantic escapism offered by films like The River would become even more valuable to audiences seeking relief from the harsh realities of the Depression era.

Making Of

The production of 'The River' took place during one of the most turbulent periods in Hollywood history. The transition to sound was causing chaos in the industry, with many studios scrambling to convert their facilities and retrain their personnel. Fox Film Corporation, under the leadership of William Fox, had invested heavily in the Movietone sound system and was pushing forward with sound-on-film technology. Director Frank Borzage, who had built his reputation on silent films, had to adapt his visual style to accommodate sound recording requirements. The cast, particularly Charles Farrell, faced the uncertainty that many silent actors experienced during this transition. Filming along actual rivers presented technical challenges, as the sound equipment of the era was bulky and sensitive to environmental conditions. The production team had to carefully plan shots to minimize water noise that could interfere with the musical score and sound effects. Despite these challenges, Borzage maintained his signature romantic visual approach, using the natural settings to enhance the emotional depth of the story.

Visual Style

The cinematography of The River, handled by Ernest Palmer, exemplified the visual sophistication achieved by late silent cinema. Palmer utilized natural lighting extensively, particularly in the outdoor scenes along the river, creating a romantic, ethereal atmosphere that enhanced the film's emotional impact. The camera work employed fluid movements and carefully composed shots that took full advantage of the natural settings. Soft focus techniques were used to create dreamlike sequences, particularly in the romantic moments between the leads. The river itself was photographed to serve as both a literal setting and a symbolic presence in the narrative, with shots that captured its flowing surface and reflective qualities. The cinematography also employed innovative techniques for the time, including subjective camera angles that conveyed the emotional states of the characters. Despite the technical limitations of filming on location with the bulky equipment of the era, the visual results were remarkably sophisticated and contributed significantly to the film's romantic mood and thematic depth.

Innovations

The River demonstrated several technical achievements typical of late silent cinema, particularly in its use of location filming and visual effects. The film employed sophisticated matte painting techniques to enhance the natural river locations and create seamless transitions between studio and location shots. The synchronized musical score and sound effects represented Fox's commitment to their Movietone system, even for films without spoken dialogue. The cinematography utilized advanced lighting techniques for the time, including the use of reflectors and diffusion to create soft, romantic lighting in outdoor scenes. The film also featured some early examples of camera movement on location, using dollies and cranes to create fluid tracking shots along the river. The special effects team created convincing sequences showing the river at different times of day and in various weather conditions. The film's editing employed rhythmic cutting techniques that matched the musical score, creating a unified audiovisual experience. While not revolutionary in technical terms, The River represented the refinement of silent film techniques just before the complete transition to sound cinema.

Music

The River was released with a synchronized musical score and sound effects using Fox's Movietone system, though it contained no spoken dialogue. The musical score was composed by a team of Fox studio musicians and was designed to enhance the emotional impact of the visual storytelling. The music incorporated popular songs of the era as well as original compositions that reflected the romantic and dramatic elements of the story. Sound effects were carefully synchronized with the action, including the flowing water of the river, ambient sounds of nature, and environmental noises that added realism to the scenes. The soundtrack also included occasional musical motifs associated with the main characters, a technique that helped establish their emotional states and relationships. The use of music and sound effects rather than dialogue maintained the film's connection to silent cinema traditions while taking advantage of the new audio technology available to Fox studios. The score was performed by the Fox studio orchestra and recorded using the Movietone sound-on-film process.

Memorable Scenes

• The romantic boat sequence where Allen and Rosalee drift down the river at sunset, surrounded by golden light and reflected in the water's surface
• The climactic scene where Allen must choose between his moral convictions and his love for Rosalee while standing at the river's edge during a storm
• The opening sequence establishing the river as a character in itself, with sweeping shots of its journey through different landscapes

What Critics Said

Contemporary critical reception of The River was generally positive, with reviewers praising Frank Borzage's sensitive direction and the visual beauty of the film. Critics noted the effective use of natural locations along the river and the romantic atmosphere that Borzage created. Charles Farrell's performance was appreciated for its sincerity and emotional depth, while Mary Duncan was praised for bringing complexity to her role as the worldly woman. The film's visual storytelling was highlighted as exemplary of the best qualities of silent cinema. However, some critics noted that the film felt somewhat dated in 1929, as audiences were increasingly drawn to sound pictures. Modern film historians and critics have come to appreciate The River as a fine example of Borzage's romantic style and as an important transitional work in cinema history. The film is often studied for its visual techniques and its representation of late silent cinema aesthetics.

What Audiences Thought

Audience reception of The River in 1929 was moderate, reflecting the changing tastes of moviegoers during the transition to sound. While fans of Charles Farrell and admirers of Frank Borzage's work appreciated the film's romantic qualities, many viewers were increasingly drawn to the novelty of talking pictures. The film's release timing—mid-1929—meant it was competing with an increasing number of sound productions, which were drawing larger crowds. Nevertheless, audiences who attended screenings of The River responded positively to its emotional story and visual beauty. The film's themes of love and redemption resonated with viewers seeking romantic escapism. In retrospect, The River has developed a cult following among silent film enthusiasts and Borzage scholars who appreciate it as a representative example of late silent romantic cinema. Modern audiences who have had the opportunity to see the film at revival screenings or through home video releases have generally praised its visual poetry and emotional depth.

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