beyond the call of duty
by Douglas Messerli
Mack Sennett (screenplay), F. Richard Jones
(director) Yankee Doodle in Berlin / 1919
Basically a US propaganda film about the
Yankee battles against the Germans in World War I, the Mack Sennett silent film
from June 29, 1919, directed by F. Richard Jones, Yankee Doodle in Berlin was
Sennett’s most expensive film to date.
Quite preposterously, given the populist propagandistic intentions of
Jones’ work, the plot of this film is devoted almost entirely—when the movie
isn’t concerned with representing the silly presumptions of the Prussian army
and the German leaders, Crown Prince Freddy, The Kaiser, and Von Hindenberg—to
the exploits of the Yankee volunteer Captain Bob White (Bothwell Browne) who is
sent into the heart of the German headquarters to spy, dressed primarily as an
alluring female singer/dancer who manages to get all three of the major
figures, Freddy (Malcolm St. Clair), Von Hindenberg (Bert Roach), and Kaiser
Wilhelm, King of Prussia (Ford Sterling), to take her into their arms and in
the instance of the latter into his bed.
Early in his volume The Celluloid Closet Vito Russo argues that
it is was inevitable that the numerous early crossdressing films were not
actually sexual; the humor and its social significance arose simply from the
fact of a male dressing as a female which would eventually become simply part
of the stock comic repertoire of many a heterosexual actor that today’s
audiences recognize in figures such as Milton Berle, Tyler Perry, or Barry
Humphries (Dame Edna). These characters were not meant to be truly sexual
beings but existed, Russo argues, in the category of sissies, males who simply
did not perform as males should or, in the case of crossdressing, mocked both
the ridiculousness of males attempting to become females or satirized those of
the female gender itself.
Consequently, after the early teens of the 20th century, we do not see
full movies dedicated to their art. The wonderful crossdressing performances by
Charles Chaplin, Roscoe “Fatty” Arbuckle, Buster Keaton, and Stan Laurel are
brief representations of the “abnormality” of male behavior simply dedicated to
making us laugh.
Browne, openly gay, did not like being
called a female impersonator. He insisted that “A female impersonator is a man
who puts on women’s clothes and prances about. I go much deeper into the role
than that. I study women, I am an actor of feminine roles.” And in this, his only film role, Browne makes crossdressing an
extraordinarily powerful
At
some points Freddy appears to peep out between Bob White’s crotch, and at
various other times White makes true physical contact
with men, not only knocking them out, but falling across and under their
bodies.
Not only does White capture his lovers’ hearts, but he obtains the
Kaiser’s general war plan which, through a series of hand signals, he is able
to convey to his co-conspirator, portraying a scarecrow in a nearby field,
which results with the Allied command forces quickly engaging in huge land
battles and air force bombings that help to defeat the Germans.
If there was ever an example of the power of being ambi-genderous
Browne’s White reveals it, turning what is otherwise a cornball comedy vision
of German World War I incompetency into a wartime sexual outing that matches
Marlene Dietrich’s male drag portrayals in Morocco or stands equal to
the dancing, song-miming trio of Priscilla, Queen of the Desert as they
capture the Aussie Outback.
Los Angeles, October 9, 2021
Reprinted from World Cinema Review (October
2021).
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