It never ceases to amaze how, excepting rare instances, silent films often manage to be delightfully charming even if they don't immediately make a major impression. It helps the case of this one to be an early picture of iconic filmmaker Howard Hawks, one of the few surviving works of silent legend Louise Brooks, and moreover, a Fox Films production that wasn't consumed in the tragic vault fire of 1937. Setting aside the participants this may not be a feature that entirely stands out on its own - yet while perhaps not an absolute revelation, it's very ably made and solidly enjoyable, and a fine credit to all involved. 'A girl in every port' may not be a total must-see, but it's a fantastic classic on its own merits, and well worth checking out if one has the chance.
The writers give us a cheeky story of a womanizing lout cruising through various ports, coming into conflict with a fellow seaman who has the same habits, and ultimately finding brotherhood with him and further adventures. For all the social issues and other more serious notions that one could drum up as related points of discussion, the scenario is strictly played for comedy, and that pure intent makes it a good deal of fun from start to finish. The underlying story is solid and engaging in and of itself, but even more important in this case I think is the strong scene writing that gives us flavorful humor and apt guidelines for the actors, marked all the while with just the right measure of heart to help it to stick. Victor McLaglen and Robert Armstrong lead the cast with terrific performances of glad mirth and commendable expressiveness, and it's honestly a joy just to see them play around. One is rather inclined to think they didn't really need any instruction from Hawks to achieve such gay frivolity (and tinges of sincerity), but let there be no doubt that the man's direction is also wholly superb. Every shot and scene is orchestrated with a buzzing energy, not to mention frolicsome vitality, that squeezes every possible ounce of merriment out of every small moment. In fact, while I can hardly claim as of yet to have seen everything the director made, as far as I'm concerned this easily stands shoulder to shoulder with some of his best.
That excellence absolutely extends to cinematographers Rudolph J. Bergquist and L. William O'Connell, whose contributions reflect an active, dynamic mindfulness exceeding what one broadly associates with the silent era. Some shots in 'A girl in every port' are downright brilliant, for that matter, reflecting not just the gay spirit of the proceedings but an artistry that can't be said of all like fare. Those stunts and effects that are employed come off great, and even details like costume design, hair, and makeup are lovely. The production design and at direction, too, are just dandy, lending to the chipper tenor of the title and further demonstrating just how much skill, intelligence, and care went into it. And I hardly even need say how pleased I am to see Brooks here; she was a performer who was ahead of her time in some ways, particularly in the delicate nuance of her acting, and every opportunity to see her on the Silver Screen is a blessing.
There arguably comes a point in the latter half where the tone somewhat shifts, and the revels are traded in for more story-driven beats in a manner that feels imbalanced; as a consequence the picture might be uneven to some degree. More distinctly irksome, perhaps, is how the ending is a tad too neat and tidy, coming off a bit as Movie Magic more than earnest storytelling. But even at that, at large it's so tremendously smart in its craft, in every capacity - writing, direction, acting, all the work of those behind the scenes - that it forges ahead through the marginal roughness and is all-around stupendously entertaining. To the extent that this is less than perfect, the imperfections are minor.
Flawless it is not, yet while I certainly anticipated liking this when I sat to watch, still I'm taken with just how good it is. Every last trace of the feature conjured and assembled with welcome wit and thoughtfulness, and with a mind only for giving audiences a good time. That goal was very capably met, and between Hawks, McLaglen, and Armstrong, let alone Brooks or anyone else on hand, I don't know who deserves the most credit for its success. One way or another this remains an admirable slice of cinema past, and though as a matter of personal preference it may not appeal equally to all, I'd have no qualms recommending it to just about anyone. Suggested especially for fans of the era, or of those involved, 'A girl in every port' holds up well even more than ninety years later, and is well worth the time it takes to watch.
The writers give us a cheeky story of a womanizing lout cruising through various ports, coming into conflict with a fellow seaman who has the same habits, and ultimately finding brotherhood with him and further adventures. For all the social issues and other more serious notions that one could drum up as related points of discussion, the scenario is strictly played for comedy, and that pure intent makes it a good deal of fun from start to finish. The underlying story is solid and engaging in and of itself, but even more important in this case I think is the strong scene writing that gives us flavorful humor and apt guidelines for the actors, marked all the while with just the right measure of heart to help it to stick. Victor McLaglen and Robert Armstrong lead the cast with terrific performances of glad mirth and commendable expressiveness, and it's honestly a joy just to see them play around. One is rather inclined to think they didn't really need any instruction from Hawks to achieve such gay frivolity (and tinges of sincerity), but let there be no doubt that the man's direction is also wholly superb. Every shot and scene is orchestrated with a buzzing energy, not to mention frolicsome vitality, that squeezes every possible ounce of merriment out of every small moment. In fact, while I can hardly claim as of yet to have seen everything the director made, as far as I'm concerned this easily stands shoulder to shoulder with some of his best.
That excellence absolutely extends to cinematographers Rudolph J. Bergquist and L. William O'Connell, whose contributions reflect an active, dynamic mindfulness exceeding what one broadly associates with the silent era. Some shots in 'A girl in every port' are downright brilliant, for that matter, reflecting not just the gay spirit of the proceedings but an artistry that can't be said of all like fare. Those stunts and effects that are employed come off great, and even details like costume design, hair, and makeup are lovely. The production design and at direction, too, are just dandy, lending to the chipper tenor of the title and further demonstrating just how much skill, intelligence, and care went into it. And I hardly even need say how pleased I am to see Brooks here; she was a performer who was ahead of her time in some ways, particularly in the delicate nuance of her acting, and every opportunity to see her on the Silver Screen is a blessing.
There arguably comes a point in the latter half where the tone somewhat shifts, and the revels are traded in for more story-driven beats in a manner that feels imbalanced; as a consequence the picture might be uneven to some degree. More distinctly irksome, perhaps, is how the ending is a tad too neat and tidy, coming off a bit as Movie Magic more than earnest storytelling. But even at that, at large it's so tremendously smart in its craft, in every capacity - writing, direction, acting, all the work of those behind the scenes - that it forges ahead through the marginal roughness and is all-around stupendously entertaining. To the extent that this is less than perfect, the imperfections are minor.
Flawless it is not, yet while I certainly anticipated liking this when I sat to watch, still I'm taken with just how good it is. Every last trace of the feature conjured and assembled with welcome wit and thoughtfulness, and with a mind only for giving audiences a good time. That goal was very capably met, and between Hawks, McLaglen, and Armstrong, let alone Brooks or anyone else on hand, I don't know who deserves the most credit for its success. One way or another this remains an admirable slice of cinema past, and though as a matter of personal preference it may not appeal equally to all, I'd have no qualms recommending it to just about anyone. Suggested especially for fans of the era, or of those involved, 'A girl in every port' holds up well even more than ninety years later, and is well worth the time it takes to watch.