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LarryR
Reviews
Daddy-Long-Legs (1919)
Rising to the occasion
An oft-told tale's original version, engaging because Mary Pickford's energy and ability draws you in. Her liveliness gives life to this melodrama. The titles act as transitions and some filler with dialogue but don't interfere. Viewers know what's going on during lip movement and the few dialogue titles make sense without insulting pointlessness. Marred only by an inane Cupid scene, Pickford's performance rises above the maudlin April-October romance, as her character elevates herself above her situation and station, by sheer positive effort and force of personality.
Too Wise Wives (1921)
White Elephants on Parade
In this film about two women, one supposedly unselfish and the other selfish, Lois Weber shows greater cinematic storytelling technique than some of her earlier films. But, the self-indulgence of the writer is exceeded only by the self-indulgence of the director. Unfortunately, they are the same person: Lois Weber. For a silent screen writer to overdo titles is a common failing. To say one thing in the titles and portray another in the film is a literary crime. A martyr is most certainly selfish, crying out indirectly for all to "pay attention to me." It is, however, a silent director's crime to show ongoing conversations without titles in lieu of acting and other filmic portrayal. Sometimes, the audience's intelligence is insulted by titles explaining the obvious, which flies in the face of Weber's quoted (see Taylorology) respect for that intelligence. But in this film is a well-produced narrative, having something to say about wives unwilling to look beyond themselves and about husbands inattentive enough to not see their wives' needs. This film's comment on both marriage partners' requirements by Weber, an acknowledged silent film moralist, is engaging when one overlooks the contradictory titles and director's unwillingness to cut lip flapping.
'49-'17 (1917)
Simple tale, well presented
With a few twists and turns, the story unfolds easily, occasionally predictably. Good use of cinematic narration, the titles only representing dialog and transitions. Generous use of appropriate flashback scenes filling in the story. A few story threads left untied, but generally an amiable plot. Sometimes you wonder if the old Judge isn't half-mad.
Where Are My Children? (1916)
Powerful ending; weak movie
This is a heavy-handed, didactic melodrama that nevertheless doesn't descend to mere propaganda. Although a eugenics perspective is introduced in the beginning it is never explored even though it could have presented an excellent opportunity for conflict in Tyrone Power's character and situation. Most of the rest of the film is trite in its portrayal of a pristine young woman whose character and life are destroyed by an evil, sneering, all-but-drooling villain. Missing is an exploration of how such a young woman could succumb to this man. Instead, much time is spent in melodramatic mugging and obvious titles. Too bad, because the final scenes show brilliant early cinematic narration, making all the film's points more dramatically than the entire rest of the film.
Hypocrites (1915)
Strong cinematic narration; POV not plot
Lois Weber, ever the didact, presents heavy symbolism; an academic's dream movie. Plot is dispensed with in favor of moral commentary. Bracketed by a melodramatic schema showing a priest overwhelmed by his inattentive congregation's hypocrisies are a series of vignettes illustrating moral principles. Binding the schema and these vignettes is the concept of naked truth, able and willing to expose the variety of ways people stray from moral rectitude and lie to themselves doing so. Most of the vignettes are beautifully, if heavily, presented, but they never deal with the priest's own failing: self-righteousness. Most telling is the priest's heedlessness in helping his few devoted followers. Cinematic storytelling like this needs few titles.
The Bachelor (1999)
Cute, but predictable
It has its moments, but the film is slow and has no surprises. While watching some scenes I was reminded of Buster Keaton even though I didn't realize this was a remake of Seven Chances, which I've never seen. Mildly entertaining, but don't go out of your way.