Works featuring "fighting" (70)

Stop Thief!

Thief steals, boy and dogs chase. All end up in a barrel. Ends abruptly, as if ending was lost. One of the earliest known surviving chase films, it's a good film to show critics that claim that movies have degenerated into gratuitous violence: this shows violence was there from the beginning. Strips the dude's clothes off, and then goes down to the mud to wrestle with him - kinda kinky...

Desperate Poaching Affray

'Alas, my hat...'. Desperate, gun-toting, upper-class posse chases desperate, gun-toting, hat-fetishist poachers.

Pioneering, popular, and influential, this is a fast-paced no-frills thriller. Fight scenes are not the stylized choreography of today, but rough-and-tumble brawls more suitable to men who are “desperate”.

The one distraction comes from one poacher's hat, that naturally takes flight in its own direction. Instead of leaving it behind, as his partner wisely did, the poacher repeatedly pauses from his flight to recover his beloved hat - leaving audiences with a clear message: crime in hats doesn't pay.

The Moonshiner

Remember the last time you saw a movie in tribute to a heroic family man (and his gun-totin' wife) who made a clean living producing and selling illegal recreational drugs, until killed in a police raid? Well, if you missed that one, just turn your clock back to pre-Hollywood, and dig this sympathetic look at one of America's outlaw folk heroes (featuring an MMA-style fight scene!)

Revenge!

This revenge is not so sweet - quite nasty, in fact - showing that producers learned early that exploiting human fascination with viewing violence can be profitable.

1904 seems to have been the year that the fledgling film industry made an important but unheralded discovery: audiences also like to root for outlaws - even when they know those outlaws are doomed to fail.

Just look at Revenge, and compare it with another crime film by the same director, released just ten months earlier: The Pickpocket. Although the titles might lead one to believe The Pickpocket is a character study while Revenge is not, actually neither reveals anything about the protagonist.

But although both begin with commission of the crime that sets off the action, nothing in the portayal of the pickpocket garners audience sympathy for the outlaw or his crime. On the other hand, the protagonist of Revenge is shown committing his crime as a victim of betrayal, his life ripped apart by those in power and authority. Finally, the film industry had tapped into an archetype that cinema audiences never seem to tire of identifying with: the protagonist who feels wronged by the powers that be, so sets out for to make things right by slaughtering everything in sight.

The White Caps

The two men renown as pioneers of early US cinema, Edwin S. Porter and D.W. Griffith, shared another claim to fame/infamy: each created a work inspired by Thomas Dixon Jr.'s 1905 The Clansman. Griffith's 1915 film The Birth of a Nation was adapted from the stage version of the novel. Edwin S. Porter was inspired by the novel to create this film. According to Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company, Edison advertisements held a pro-vigilante view, proclaiming: A lawless and criminal element almost invariably accompanied the advance guard of civilization and to keep this element in check the law abiding citizens were compelled to secretly organize themselves for their own protection...We have portrayed in Motion Pictures, in a most vivid and realistic manner, the method employed by the “White Caps” to rid the community of undesirable citizens.

While the White Caps role here as Morality Police may seem relatively benign compared to the lynch justice in The Birth of a Nation, the book also points out: This film narrative exactly parallels an earlier account of “White Cap” activity in a turn-of-the-century newspaper. In the newspaper account, the tar clogged up the man's pores and he eventually died.

The Zulu's Heart

The 1906 Bambatha Rebellion, a Zulu revolt against British rule and taxation in South Africa, put "Zulu" in the headlines and, consequently, in the minds of filmmakers scrounging for new conflicts to exploit. This one is less overtly political and certainly more polished than "How A British Bulldog Saved The Union Jack" - so it is not as funny, other than the standard comic relief of the helpless damsel flailing about.