The Unbeliever

Plot

The Unbeliever tells the story of Philip Landicutt, a wealthy young American from an aristocratic family who has been raised with deep-seated class prejudices and racial intolerance. When World War I breaks out, Philip impulsively enlists in the United States Marine Corps, bringing his privileged attitudes with him into the brutal reality of military training and combat. Through his experiences in the trenches of France, Philip is forced to confront his prejudices as he fights alongside and against men from all walks of life. After being wounded in battle, he finds himself hospitalized alongside German soldiers, where he begins to see the humanity in his former enemies. This transformative experience leads Philip to reject his earlier beliefs and embrace a new understanding of human equality and brotherhood, fundamentally changing his worldview and his relationship with both his comrades and his former enemies.

Historical Background

The Unbeliever was produced and released during the final months of World War I, a period of immense social and political upheaval globally. In 1918, the United States had been fully engaged in the war for over a year, and American society was experiencing significant changes as a result of the conflict. The film reflected the growing anti-war sentiment that was emerging even as the fighting continued, as well as the progressive social movements that were questioning traditional hierarchies and prejudices. The timing of its release in September 1918, just two months before the Armistice, gave it particular resonance with audiences who were weary of war and beginning to envision a post-war world. The film's message of human equality and brotherhood aligned with President Woodrow Wilson's vision for the League of Nations and a new world order based on cooperation rather than conflict.

Making Of

The production of 'The Unbeliever' took place during a unique period in American cinema when the film industry was rapidly establishing itself as a major cultural force. Director Alan Crosland, then a rising talent at Fox Film Corporation, brought a sense of realism to the war sequences that was unusual for the period. The cast and crew worked under the constraints of wartime production, with some resources being diverted to the war effort. Erich von Stroheim, who had recently immigrated from Austria, brought authentic European sensibility to his role as a German character. The film's production coincided with the Spanish Flu pandemic, which affected filming schedules and required health precautions on set. The battle sequences were choreographed with military precision, using actual drills and formations taught by Marine Corps advisors who were temporarily assigned to the production.

Visual Style

The cinematography of 'The Unbeliever' was handled by Lucien Andriot, a respected French cinematographer who brought European sensibility to American productions. The film employed the visual language of late silent cinema, with careful attention to lighting and composition to convey emotional states. The battle sequences utilized dynamic camera movements for the period, including some tracking shots that followed the action through the trench systems. The contrast between the opulent world of the protagonist's wealthy background and the gritty reality of trench warfare was emphasized through visual juxtaposition. The hospital scenes featured softer lighting to create a more contemplative atmosphere, while the training sequences used harder, more direct lighting to convey the harshness of military life. The film's visual style was characteristic of Fox Film Corporation's production values of the period, with clear, well-composed images that served the narrative effectively.

Innovations

While 'The Unbeliever' was not a groundbreaking film in terms of technical innovation, it demonstrated solid production craftsmanship typical of Fox Film Corporation's output during this period. The film's battle sequences featured impressive miniature work and practical effects that created convincing representations of trench warfare. The production design effectively contrasted the different social environments depicted in the story, from luxurious mansions to military barracks to field hospitals. The makeup effects for the wounded soldiers were considered realistic for the time. The film's editing, particularly in the action sequences, maintained good pacing and clarity despite the technical limitations of the era. The use of location shooting combined with studio work showed the growing sophistication of American film production methods in the late 1910s.

Music

As a silent film, 'The Unbeliever' would have been accompanied by live musical performance during its original theatrical run. The specific musical score is not documented in surviving records, which was typical for many films of this period. However, based on Fox Film Corporation's practices, the film likely had a compiled score using popular classical pieces and original thematic music composed specifically for the production. The musical accompaniment would have varied by theater size and location, with larger theaters employing full orchestras and smaller venues using piano or organ accompaniment. The emotional arc of the film, from prejudice to enlightenment, would have been supported through carefully selected musical cues that enhanced the narrative progression. Battle scenes would have featured dramatic, martial music, while the more introspective moments would have been underscored with more contemplative melodies.

Memorable Scenes

• The protagonist's first exposure to trench warfare, where his privileged background clashes with the brutal reality of combat
• The hospital scene where the wounded American protagonist shares a ward with German soldiers, leading to his moment of epiphany
• The training sequence where the wealthy young man struggles to adapt to military discipline and equality among ranks
• The final confrontation where the protagonist rejects his former prejudices and embraces his new understanding of human brotherhood

What Critics Said

Contemporary critical reception for 'The Unbeliever' was generally positive, with reviewers praising its timely message and earnest performances. The Motion Picture News noted that the film 'handles a delicate subject with admirable tact and sincerity' while Variety highlighted Raymond McKee's 'convincing transformation from prejudiced youth to enlightened man.' Critics particularly appreciated the film's balanced approach to its anti-prejudice message, noting that it avoided heavy-handed moralizing while still delivering its point effectively. Modern film historians have recognized the movie as an unusually progressive work for its period, with some scholars citing it as an early example of American cinema's engagement with social justice themes. However, like many silent films of its era, it has received limited attention in contemporary film criticism due to its status as a partially lost work.

What Audiences Thought

Audience reception to 'The Unbeliever' in 1918 appears to have been positive, particularly among viewers who had personal connections to the war. The film's release timing, coming during the final push of WWI, resonated with Americans who were experiencing war fatigue and beginning to hope for peace. Moviegoers appreciated the film's authentic military sequences and its relatable story of personal transformation. The progressive message about overcoming prejudice seems to have been well-received, possibly reflecting a growing desire for unity and reconciliation as the war drew to a close. However, as with many films of this era, detailed audience reaction data is limited, and much of what we know comes from theater reports and newspaper reviews of the period rather than systematic audience surveys.

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