Herman C. Raymaker

T. it.: Attenti alle curve. Sc.: Jean Havez, Lex Neal. F.: Ray June. Cast: Monty Banks (Mario Bianchi), Helen Ferguson (Rosina), Martha Franklin (la madre di Mario), D.J. Mitsoras (il padre di Mario), Lionel Belmore (lo zio di Mario) , Francis McDonald (Tony Mora), William Blaisdell (il proprietario del caffè), Al Martin, Al Thompson, Ad Carliem e Scaduto (gangsters). Prod.: Grand Asher Corporation; 35mm. L. or.: 1681 m. L.: 1230 m. D.: 52’ a 22 f/s. Bn.

T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

In 1924, Monty Banks, (alias Mario Bianchi, born in Cesena) was under contract with Grand Asher, where he starred in a series of short films. He thus decided to try his luck with features. For Racing Luck, he turned to one of the directors of the aforementioned series: Herman C. Raymaker, whom he met while working with Sennett and who directed him in his first big successes with Warner. For the script, he turned to two of Keaton’s collaborators: Jean Havez and Lex Neal (in the driving lesson scene, we can see an «homage» to their former employer). Despite the credentials, what is especially striking about the film is the clear desire to get away from burlesque. With the exception, at most, of the final sequence, the gags function solely as ornamentation for the comedy, if not for the melodrama. If there is one influence which appears determinant, in this case, it is that of Chaplin. Similarly to him, Monty based many scenes solely on the nuances of his own performance. The film ends with a long sequence of a car race, in which actor and director alike find both the light-heartedness and the scorn of verisimilitude, typical of the Keystone period.

Jean Marie Buchet, Cinémathèque Royale de Belgique

Copy From

Restored in 2002 from nitrate positives held at Gosfilmofond and at the Cinémathèque Française