One of those nice stories to hear about: a film starring two of the most glamorous and true-blue STARS (in caps) of the 1920s was lost for the greater part of the last century and then discovered in a Dutch museum, and then restored for viewing on DVD and TCM. Viewing it any way you can is delightful, but really, if it's at all possible, the best way to watch it is in a theater preferably projected from 35mm with a live piano accompaniment. It is rare to happen but well worth the while, especially with the right organist; the material begs to be given lush and melodramatic rhythm to go with the lush and melodramatic storyline. It might not be the very best silent film you've ever seen, but as far as these old-fashioned romantic will-she-or-wont-she movies go it could be a lot worse.
It's one of those stories: a girl needs to betroth a rich gentlemen to help out her family, and she does reluctantly, but her heart is soon to be linked to a man who saves her not once but twice, first time from drowning after falling out of her rowboat and again when she slips and nearly falls off a cliff. There's a few of those moments where one laughs at something kooky being played straight- the honeymoon is spent in the mountain where there's clog-dancing or other- but it's really about these two characters, Lord Bracandale and Theodora, coming together.
Moreover, it's about the stars playing would-be lovers on screen, with *the* sexy symbol of his time Valentino substituting for all those lonely women who would love to be in Swanson's shoes. You could guess that so many in the audience would yell out "just leave with him already, he's friggin' Valentino!" Granted, Sam Wood is no master of cinematic drama, but he's a strong craftsman who directs his stars extremely well, getting some restrained and touching performances filled with those little gestures or those sad or loving looks that make up so much of what makes silent films tic. And there's also a supporting performance Robert Bolder that has its moments. Only once did I get slightly fidgety, which is right in the scene where he's deciding on whether or not to go off on the expedition (it dragged slightly, even for just its few minutes as one wants to get back to the stars). The rest of his performance, however, was splendid, particularly when he discovers by a misplaced letter about the love affair between the Lord and Theodora. The final desert scene is also a knockout of melodramatic proportions.
It's always something nice when a good film is unearthed for all cineastes to take in, and Beyond the Rocks provides its audience a match-up comparable to the likes of Brad Pitt teaming up with Angelina Jolie or Roberts with Owen in the recent Duplicity. It's engaging to watch the story and yet it's not the reason we're watching: there's something to the chemistry between Swanson, a beauty who doesn't hide her curves and tender but knowing exchanges, and Valentino, who could melt the right girls face with a glance. It's a fine little relic meant to be seen on a big screen.
It's one of those stories: a girl needs to betroth a rich gentlemen to help out her family, and she does reluctantly, but her heart is soon to be linked to a man who saves her not once but twice, first time from drowning after falling out of her rowboat and again when she slips and nearly falls off a cliff. There's a few of those moments where one laughs at something kooky being played straight- the honeymoon is spent in the mountain where there's clog-dancing or other- but it's really about these two characters, Lord Bracandale and Theodora, coming together.
Moreover, it's about the stars playing would-be lovers on screen, with *the* sexy symbol of his time Valentino substituting for all those lonely women who would love to be in Swanson's shoes. You could guess that so many in the audience would yell out "just leave with him already, he's friggin' Valentino!" Granted, Sam Wood is no master of cinematic drama, but he's a strong craftsman who directs his stars extremely well, getting some restrained and touching performances filled with those little gestures or those sad or loving looks that make up so much of what makes silent films tic. And there's also a supporting performance Robert Bolder that has its moments. Only once did I get slightly fidgety, which is right in the scene where he's deciding on whether or not to go off on the expedition (it dragged slightly, even for just its few minutes as one wants to get back to the stars). The rest of his performance, however, was splendid, particularly when he discovers by a misplaced letter about the love affair between the Lord and Theodora. The final desert scene is also a knockout of melodramatic proportions.
It's always something nice when a good film is unearthed for all cineastes to take in, and Beyond the Rocks provides its audience a match-up comparable to the likes of Brad Pitt teaming up with Angelina Jolie or Roberts with Owen in the recent Duplicity. It's engaging to watch the story and yet it's not the reason we're watching: there's something to the chemistry between Swanson, a beauty who doesn't hide her curves and tender but knowing exchanges, and Valentino, who could melt the right girls face with a glance. It's a fine little relic meant to be seen on a big screen.