Only reel one survives of this eighth entry of ten Davidson releases produced for the 1927-28 season. As a silent, politically incorrect, black and white, incomplete subject, this one is not likely to be booked for theatrical or television exhibition any time soon during the current millennium, so the 2007 Cinefest affords yet another rare and perhaps unique screening opportunity.

Following shooting dates of December 18, 1927 through January 3, 1928, M-G-M issued CAME THE DAWN to movie theaters on March 3. Then within months, at least two of Metro’s Jewish executives – increasingly uncomfortable with Davidson’s ethnic and stereotypical “Papa Gimplewart” characterization – discouraged Hal Roach from continuing with this wonderfully entertaining series.

The print to be screened was manufactured from the original nitrate foreign camera neg, so what survives looks sensational. Flash titles were stretched during preservation efforts, but the main title and production credit cards had already deteriorated a decade ago when this work was performed. The continuity is straightforward: Max buys a new home for his family, but their suspicions are raised because it cost only $1,500. Turns out a saxophone player (inside joke directed at Charley Chase) was assassinated there, so the place is jinxed. The shooting script – at home somewhere – is presently eluding detection so the story’s resolution in reel two remains a mystery. But stills posed in the wee hours reveal the young lovers (Gene Morgan and the exceedingly vivacious Viola Richard) are costumed respectively as a skeleton and a chicken – not a “chick,” but an actual and pretty-kinky-looking chicken. PASS THE GRAVY had been made only weeks previously so studio scenarists were perhaps yet preoccupied with conceiving chicken gags for the genial but perennially henpecked Max Davidson.

Richard W. Bann