User Reviews

I began "Wine of Youth" (1924) thinking that it was going to be a 20's flapper movie, and it began at a wild, wild, wild party with every kind of Fitzgeraldian occurrence happening before my eyes. Starring Eleanor Boardman, William Haines, Ben Lyon, Pauline Garon, William Collier Jr., Eulalie Jensen, E. J. Ratcliffe, and many others, this seemingly wild, but well done bit of fluff directed by King Vidor turned into anything but a piece of fluff! After having watched in the last few months most of the rather cynical marriage comedy/satire/dramas of Cecil B. DeMille from 1918 to 1922, it was still surprising to find, not a satire at all, and not really a comedy as such, but actually a most serious flapper era drama about the generation gap of three generations of the same family, all the ladies - grandmother, mother, and daughter - named Mary. Based on a play by Rachel Crothers called "Mary the Third", this shows what love and marriage proposals supposedly would have been in Eleanor Boardman's grandmother's day; then what it was in Boardman's mother's day; and now what it's like in 1924. Boardman is courted by Ben Lyon and William Haines, while Pauline Garon is courted by William Collier, Jr. Boardman is very uncertain if she wishes to be married, and both men propose to her. The proposals both sound like the proposals that Boardman's mother and grandmother received, though Haines is very aggressive and Lyon far more sedate, if not cerebral, and their proposals reflect the manner of the man. Eventually, the very long and wild and drunken dancing party comes to a close, but Garon, Collier, Jr., Boardman, Lyon, and Haines come up with a plan. They're going to go to Collier, Jr.'s "camp", evidently a family owned area where camping is done, and they'll all live in tents for a time - without "kissing and love-making" (as Boardman puts it) - and see if living together before being married will prove anything to all of them, and whether or not marriage looks as if it's necessary in the future. When Boardman tells her mother and her grandmother about the scheme, they're fogged and numb. The grandmother explodes; the mother sees herself possibly doing something like that if she had the chance all over again; but both are struck with the idea and know it can't be. How will they tell Boardman's father? Well, of course the plan goes ahead. When things don't work out so well, Boardman comes home, only to discover her parents in a loud and nasty verbal war against each other, something she's never seen before. The parents express how disappointed they both are with their marriage. The argument lasts for a very long time, and it compensates for the long party seen at the beginning of the film. All the sides of marriage and love and lack of love and love after years of being together and the wear and tear of marriage and, and, and...are shown in rather graphic detail. I don't dare give the ending, but suffice it to say that Boardman calls up one of the two boys to please come over: she's ready to settle for - you...

All of this rang very true in some fashion or other, though it's cynical while trying to be ultra-truthful - which makes it somewhat exploitative, if not wholly so. Nevertheless, it's a riveting piece. The only thing I found problematic was that this was 1924; WWI had only ended six years before. Another kind of thinking layer was upon the youth from 18-25. These kids look as if that psychological gauze had never been put upon them. They were simply the rebellious kids that Fitzgerald heralded in This Side of Paradise. They were the exempla of the Roaring 20's.

A truly interesting piece of drama. Don't be surprised by anything. It probably WILL occur.

The common descriptor of silent films as "simpler entertainment for a simpler time" is certainly quite apt in no few instances, for some titles more than others. In regularly depicting olden values, and a culture of a time well removed from what modern viewers know, pictures of the era can often feel as fanciful as high fantasy, and the standards that would decree a gentler brand of humor (and, not infrequently, a gentler variety of drama) kind of reinforce that notion. Yet even if a movie like 'Wine of youth' is more likely to inspire soft smiles rather than hearty laughter, the entertainment is warm and consistent, and the length may even have some sly wisdom to impart. As this feature specifically plays with the similarities and differences between generations, the relationships between parents and children, and dynamics between men and women over time - and above all the constancy of the "brazen," "risky" behavior of "impetuous" youth - it stands primed to hold interest and relevance even for the most stubborn twenty-first century audiences. And truthfully, it's even smarter and more enjoyable that it might seem from the outside looking in. This is a delight!

Make no mistake, iconic filmmaker King Vidor's 1924 comedy-drama still reflects in some measure values and a culture that are distinctly "old-fashioned" when standing next to the comparatively liberated society of almost 100 years later. Yet just as Carey Wilson adapted Rachel Crothers' play for release in the Roaring Twenties, it would take little for the same concept to be updated for subsequent decades. Similarly, though techniques and technology of the film industry have advanced over time there's nevertheless much to admire here, and it's very easy to appreciate the craftsmanship for exactly what it is. The scene writing and overall narrative alike are penned with a mind for equal parts fun and heart, and we get plenty of both as the picture more or less centers itself around protagonist Mary as she chooses for herself between two suitors. I surely can't speak to Crothers' stage play, but Wilson's screenplay is a joy, shaped with wonderful, abundant wit and intelligence to help it hold up so marvelously well even after all this time. If anything, this is much more shrewd and merry than I could have expected, and it provides ample amusement throughout.

It's definitely well made, too, with every last facet being plainly terrific. The sets, costume design, hair, and makeup are all lovely, and very easy on the eyes. The editing and cinematography show themselves to be unexpectedly keen at some points as they help to give form to the whole, and Vidor's direction is terrific in orchestrating every shot and scene to achieve the maximum desired effect. In fairness, his job is undoubtedly made easier by such a splendidly strong cast; while chief star Eleanor Boardman is especially charming, frankly everyone else in front of the camera is just as dandy. The acting is marked by hearty personality and giddy spirit across the board, not to mention fine illustration of the players' range and nuance even within the bounds of such levity, and the cast alone do much to make 'Wine of youth' the fabulously good time that it is. Stir all these elements together with Wilson's sharp, mirthful writing, and when all is said and done I have a hard time imagining anyone not walking away from this feature having enjoyed themselves. The storytelling and humor may be modest and restrained relative to what followed in all the subsequent years, but that doesn't truly diminish the high quality of the viewing experience.

If there's any earnest criticism to be made, it's that the last one or two reels swerve a tiny bit toward affirming after all those very same values that it initially set out to let crumble in their decrepitude. Yet it remains true that Wilson's writing is so sage and adept that even this subjective fault, a stumbling block that has hamstrung many other titles, is somewhat subverted and in the very least comes off substantially better than it has anywhere else that comes to mind. Even at a juncture like this the film proves itself to be uncannily clever and rather forward-thinking, further demonstrating the lofty stature it can boast compared to many of its contemporaries. With all this having been said, I can understand why some folks have difficulty engaging with older movies, but at length I think 'Wine of youth' carries a strength in every capacity that allows it to stand out and above the crowd. I still don't know if I'd say it's an outright must-see, but suffice to say that if one is receptive to the silent era and all the best, enduring worth it still holds, this is a classic that absolutely continues to be deserving of recognition on its own merits. If you have the chance to watch, I'm happy to give it my very high recommendation!

The path to marriage is probably the most important road a person can take in the journey called life. In September 1924's "Wine of Youth," the film looks at three marriage proposals within three generations of one family, the grandmother, the mother and her daughter. Adapting a Rachel Crothers' 1923 play, 'Mary the Third: a Comedy in Prologue and Three Acts,' director King Vidor examines the deliberate way Mary the Third (Eleanor Boardman) approaches matrimony, departing from the more male dominated approach in the previous two generations.

When people today think of the Roaring '20's, they think of fast cars, fast women who visibly smoke cigarettes, and, despite Prohibition, plenty of booze. Vidor stages one of the wildest Jazz Age private parties put on celluloid, complete with a 10-piece band. The contrast between the contemporary 1920s younger set's style of living versus previous generations is stark right after the "Wine of Youth's" opening credits. Vidor immediately unfolds the grandma's and ma's marriage proposals before jumping into modern times. But Mary the Third wants to be more deligent in her decision towards marriage. She tells her shocked parents she's spending a 14-day trip with two of her suitors to determine which one she likes best.

"Wine of Youth" proved to the executives at Goldwyn Pictures that Vidor was one of his most reliable directors after the corporation signed him to a contract in early 1923. Vidor's ability to adapt simple stories and present them in a crisp manner with precise continuity enabled his reputation to rise. Goldwyn execs favored literary works that were transferable to the screen. Vidor possessed the uncanny ability to select stories showcasing contemporary issues that emerged as table-talk around families' suppers.