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5.7/10
Archivist John
Senior Editor
A definitive 5.7/10 rating for a film that redefined the boundaries of cult cinema. Una nueva y gloriosa nación remains a cornerstone of transgressive art.
Una nueva y gloriosa nación is a tough sell today, let's be honest. If you're not already deep into silent cinema, especially historical epics from that era, you'll probably find it a bit of a slog. But for those who appreciate the raw, sometimes baffling energy of early filmmaking, there are some genuinely fascinating moments here. If you're looking for a smooth, modern narrative, just walk away. This is for the curious, the patient, the ones who get a kick out of seeing how they used to tell stories.
The story, about Belgrano's fight for Argentine independence and his sweetheart Monica spying for him, has all the melodrama you'd expect. And it delivers. Jacqueline Logan as Monica is... a lot. Her wide-eyed terror, the way she clutches her chest every other scene – it’s classic silent film performance. You can almost feel the director telling her to "emote bigger!" with every frame.
Then there's the whole spy plot. Monica, daughter of a loyalist, somehow slips information to Belgrano. The film doesn't spend much time on how she does this, just that she does. It's all very convenient. Her capture, though, when it finally happens, is genuinely tense, if a little drawn out. The scene where she's sentenced to beheading? The headsman, with his big axe, just standing there, looking menacing, for what feels like an eternity. That shot lingers so long it almost becomes darkly funny.
The battle scenes are where the film really shows its age, and sometimes, its ambition. You see these poor, "badly equipped" soldiers, but then they're somehow inflicting "stunning defeats." The choreography is rudimentary, lots of flailing and dramatic falling. But there's a charm to it, a kind of earnestness. You can tell they're trying. The crowds in these scenes often feel a bit thin, like they only had so many extras. It's not a grand army, it's more like a particularly enthusiastic local militia.
Belgrano, played by Francis X. Bushman, has this very stoic, almost unreadable presence. He's the hero, obviously, but he doesn't have a lot of range in his expressions. He looks determined, then a little more determined. When he hears Monica is in trouble, it's conveyed more by the frantic pacing of the other actors around him than by anything he's doing. The chemistry between him and Logan is... well, it's there in the title cards. You're told they're sweethearts. You don't necessarily feel it beyond the standard hero-rescues-damsel setup.
One particular shot sticks with me: a close-up of a Spanish officer's face as he realizes a battle is lost. It's a quick, almost throwaway moment, but the actor actually manages a flicker of genuine despair without overdoing it. A surprising bit of subtlety in a film full of broad strokes.
The pacing in the middle section, before Monica's capture, does drag a bit. There's a lot of back-and-forth, establishing the conflict, but it could have been tighter. Then it picks up dramatically for the rescue sequence. That's where the film gets noticeably better, once it commits to pure, unadulterated pulp. The urgency, the galloping horses, the last-minute arrival – it’s all very satisfying in a straightforward, old-fashioned way.
The costumes are generally period-appropriate, if a little pristine for a revolutionary army. Everyone looks a bit too clean, even in battle. It's a minor thing, but it always pulls me out a little. Like, did they have a dry cleaner on the battlefield?
This isn't a film that's going to change your life or redefine cinema. It's a relic. But it's a relic with some heart, some very earnest performances, and a few truly memorable, if unintentionally humorous, moments. It reminds you how much effort went into these early epics, even with all their limitations. And sometimes, seeing those limitations laid bare, the awkwardness, the sheer effort, is more interesting than a perfectly polished modern film.
IMDb —
1915
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