We shouldn’t celebrate the “first” of anything, really; we can celebrate the best of it, but the two are not necessarily equal. Groundbreaking technology or a story that has been told in a certain way for the first time is worth noting, but not celebrating. Insofar as humans are concerned with chronicling history, it matters that In Old Arizona was the first talking western, the first iteration of O. Henry’s “Calico Kid,” and the first instance of the singing cowboy motif so that we can compare any future iterations against these: we innovate because we don’t want to repeat the past.
In all other instances, we can ignore innovation for the sake of progress. In Old Arizona is not a movie worth watching more than once, but it will remain on the List of Important Things forever.
That the film seems both longer and shorter that it is demands a deep dive into its editing. Sacrosanct firstness aside this movie is too long: the story is simple by design and follows an arc borne by stage and silent film – so why the 100 minutes? Director Irving Cummings and his editor, Louis Loeffler, must have thought that the valence of each scene maketh lean movie. Or, the financial reality left this team unable to make many cuts in post-production because refilming wasn’t an option. Or, actors’ contracts required a certain percentage of screen-time (or somewhat similar).
Or, and most likely, the editing techniques that audiences may know, but likely don’t see, were not yet developed yet. Loeffler relied too heavily on the cut-and-paste with room to insert dialogue cards used exclusively in silent film until that point. The hack job makes this film tiresome with what could have been a tight, 65 minute caper. This film speaks nothing necessarily of his ability as an editor, as he was nominated for Oscars over 30 years later for his work on 1960’s winner, The Apartment, and on The Cardinal.