NOW PLAYING (100 YEARS AGO)

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scsu1975
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Re: NOW PLAYING (100 YEARS AGO)

Post by scsu1975 »

laffite wrote: February 1st, 2023, 4:16 pm
I would have liked to have seen this one. What great reviews!

I am great on nostalgia and you are bringing these movie back to life. It just occurred to me that you may be posting these movies on the exact day 100 years later. True, or within a few days maybe?. Either is close enough. To bad Gagman66 isn't still around. He would have loved this. You may remember (he never let us forget it) that The Big Parade (1925) was his absolute fave. In the year 2525, if man is still alive, you could post a treatment (as you do here) of that movie as a memorial that absolutely fine man. He was a long time devotee of the silents, and colorized with much expertise many actors/actresses and I believe even scenes from the great films. I realize, though, that TBP may not have played at the Poli.

Splendid work, Rich

P.S. My understanding is that Gagman66 had a heart ailment and may be deceased. If so, RIP.
With my old thread, I did post films that were running exactly 100 years ago to the day of the post, but not this time ... I'm probably a week or so off with most of them. I do remember gagman66, wish he was still around. Do you think I will still be posting in 2525??
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scsu1975
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Re: NOW PLAYING (100 YEARS AGO)

Post by scsu1975 »

sagebrush wrote: February 1st, 2023, 4:27 pm I love the photos of the crowds waiting to see the film. So exciting. I think crowds waiting to see a film (even a premiere) now is a scene we won't see much anymore.
They're all at home watching Netflix instead.
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laffite
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Re: NOW PLAYING (100 YEARS AGO)

Post by laffite »

scsu1975 wrote: February 1st, 2023, 4:42 pm [ Do you think I will still be posting in 2525??
2525!!!! Are you kidding!!

That's way to long from now.

2469 maybe, let's be reasonable.

https://www.youtube.com/watch?v=zKQfxi8V5FA
Sabine Azema in Sunday in the Country
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scsu1975
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Re: NOW PLAYING (100 YEARS AGO)

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Image

Missing Millions, directed by Joseph Henabery, starred Alice Brady as Mary Dawson and David Powell as Boston Blackie. The film was released in September of 1922 at six reels, and is presumed lost.

Plot: Boston Blackie and Mary Dawson, a pair of crooks, attend a party at the Long Island home of the wealthy Mrs. James Franklin. There, they steal the famous Cyclops diamond, owned by Mrs. Franklin. Her husband, a ruthless Wall Street broker, is informed of the theft and heads home. At the same time, Mary’s father, reformed crook Tom Dawson, returns to New York from a sanitarium. Franklin is attacked by a thug, and Dawson intercedes, chasing away the robber. But Franklin accuses Dawson of the attack, and the man is sent to prison.

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Franklin promises to get Dawson released if the diamond is returned. Mary does so, but Franklin does not keep his side of the bargain. When Dawson dies in prison, Mary swears revenge on Franklin. She and Blackie know that Franklin is being pressed by creditors, so they arrange to steal a consignment of gold which is being shipped to him from England. The pair travel to London, and accustom themselves to the ship. Mary poses as a collector of rare books and gets in the good graces of the ship’s purser, Dan Regan. Regan falls for her.

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As the ship heads to the States, Mary tells Regan she has a trunk filled with rare books. Regan allows her to stow it in the strong room where the gold is kept. Meanwhile, two British crooks, Arthur Cumberland and Donald Gordon, have their sights set on the gold. Just as Blackie and his assistant “Handsome Harry” Hawkes attempt to remove the gold, they encounter Cumberland and Gordon. After a terrific fight, both Cumberland and Gordon are knocked out. Blackie and Hawkes transfer the gold to Mary’s trunk. As the ship nears New York, Mary gets Regan to move the trunk to her state room. There, she is met by six chorus girls, all equipped with bandoliers. When the boat docks, Cumberland and Gordon are arrested for the robbery, while Mary, Blackie, and the six girls walk off with the gold. At Mary’s home, she, Blackie and Hawkes decide how to divide the gold. The police discover that Cumberland and Gordon had nothing to do with the theft. Suspicion then falls on Regan, who had asked the Captain for the key to the strong room. When Mary hears this, she does not want the same fate for Regan that befell her father, and Blackie agrees.

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So Mary and Blackie return the gold, and pay for Regan’s defense, leaving them almost broke. Franklin commits suicide. Mary and Blackie get married.

This film was released before The Face in the Fog (reviewed earlier in this thread), but played shortly after it in Bridgeport. This helps explain why the characters were already married in The Face in the Fog but not in this one. However, I cannot explain why Blackie is referred to as “Boston Blackie Dawson” in The Face in the Fog, while his partner, before becoming his wife, is referred to as “Mary Dawson” in Missing Millions.

The Film Daily called the movie a “rather interesting crook picture if you can believe that crooks could ever get away with as much as they do here.” Motion Picture News wrote “there is no let-down in the action. It builds easily and surely and is compact all the way.” Moving Picture World wrote that the film was “a long time unraveling and provokes much suspense,” adding that Alice Brady “gives an unusually convincing performance of a society crook without spoiling her conception of the part by too many soft touches.” Exhibitor’s Trade Review called the film “a good crook story with a steady flow of new and exciting interests,” adding that it “presents a fairly intense plot that is steeped in ever changing situations that successfully mystify the audience and stimulate the enjoyment of the picture.” Exhibitor’s Herald wrote “the action is fast – so fast at times as to cause it to lose the point of continuity – and many of the situations are illogical and disconnected. However, in spite of this “Missing Millions” is better than the average crook picture.” Finally, Photoplay wrote “Alice Brady looks thin and tired and in need of a vacation. But her work is, as always, that of a conscientious and finished young actress. She and David Powell, as two good-hearted crooks, score a personal triumph in a mediocre picture and become so noble, by the last reel, that one expects the orchestra to play “Blest Be the Tie That Binds.”
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LiamCasey
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Re: NOW PLAYING (100 YEARS AGO)

Post by LiamCasey »

scsu1975 wrote: February 8th, 2023, 2:15 pm Missing Millions, directed by Joseph Henabery, starred Alice Brady as Mary Dawson and David Powell as Boston Blackie. The film was released in September of 1922 at six reels, and is presumed lost.
One (or at least this one) is usually apt to think of Boston Blackie solely in terms of Chester Morris. Interesting to know that the character appeared in the movies much earlier than that. Also interesting to know that we can type the word "Blackie" without being automatically censored.
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scsu1975
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Re: NOW PLAYING (100 YEARS AGO)

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LiamCasey wrote: February 8th, 2023, 8:10 pm One (or at least this one) is usually apt to think of Boston Blackie solely in terms of Chester Morris. Interesting to know that the character appeared in the movies much earlier than that. Also interesting to know that we can type the word "Blackie" without being automatically censored.
If I recall correctly, Boston Blackie appears as a supporting character in a William S. Hart film as well.
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Dargo
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Re: NOW PLAYING (100 YEARS AGO)

Post by Dargo »

scsu1975 wrote: February 8th, 2023, 8:46 pm
LiamCasey wrote: February 8th, 2023, 8:10 pm One (or at least this one) is usually apt to think of Boston Blackie solely in terms of Chester Morris. Interesting to know that the character appeared in the movies much earlier than that. Also interesting to know that we can type the word "Blackie" without being automatically censored.
If I recall correctly, Boston Blackie appears as a supporting character in a William S. Hart film as well.
Now there's a strange mix! With of course the mindset that William S. Hart was only in westerns.

However, here's the film that you're referring to, Rich: "The Poppy Girl's Husband" (1919), and one of the handful of films Hart made outside the Western genre.

https://en.wikipedia.org/wiki/The_Poppy ... 7s_Husband

Image
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scsu1975
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Re: NOW PLAYING (100 YEARS AGO)

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Dargo wrote: February 8th, 2023, 9:35 pm
scsu1975 wrote: February 8th, 2023, 8:46 pm
LiamCasey wrote: February 8th, 2023, 8:10 pm One (or at least this one) is usually apt to think of Boston Blackie solely in terms of Chester Morris. Interesting to know that the character appeared in the movies much earlier than that. Also interesting to know that we can type the word "Blackie" without being automatically censored.
If I recall correctly, Boston Blackie appears as a supporting character in a William S. Hart film as well.
Now there's a strange mix! With of course the mindset that William S. Hart was only in westerns.

However, here's the film that you're referring to, Rich: "The Poppy Girl's Husband" (1919), and one of the handful of films Hart made outside the Western genre.

https://en.wikipedia.org/wiki/The_Poppy ... 7s_Husband

Image
Yep, that's the one, I remember writing about that one in my old thread. Thanks.
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scsu1975
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Re: NOW PLAYING (100 YEARS AGO)

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Image

My American Wife, directed by Sam Wood, starred Gloria Swanson as Natalie Chester and Antonio Moreno as Manuel La Tassa. The film was released in early 1923 at six reels, and is presumed lost.

Plot: Natalie Chester, daughter of the owner of a Kentucky racing stable, is in Argentina, where she is about to enter her horse “Scampaway” in a big race.

Image

The favored horse is “Rivadavia,” owned by Manuel La Tassa. Don Fernando De Contas advises Manuel’s mother, Donna Isabelle, to choose a wife for Manuel. The woman selects Hortensia, a Castilian girl. Manuel is indifferent, and is only interested in his horse and the upcoming race. When his horse loses to Scampaway, he seeks an introduction to its owner, and is amazed to find she is Natalie. He invites her to a party at his studio that night. She accepts and they begin a romance.

Image

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During the party, a curtain is drawn aside, revealing Scampaway. Pedro De Grossa, son of the ambitious and corrupt political leader Carlos De Grossa, lifts Natalie onto her horse. When she dismounts, Pedro gives her an unwanted kiss. She frees herself, and Manuel rushes to her aid. He knocks Pedro to the ground, whereupon Pedro challenges him to a duel. The next day, Natalie makes her way to the dueling ground and arrives just as a shot is fired. She sees Manuel fall.

Image

Then she sees Gomez, an assassin hired by Carlos De Grossa, and discovers he had ambushed Manuel.

Image

Image

Since Manuel had been wounded in a duel, it is impossible for him to go to the hospital or any place where the authorities might learn what happened. He is taken to his home, where Natalie acts as his nurse. Manuel’s mother and Hortensia are shocked at Natalie’s presence. Knowing she is unwelcome, Natalie then leaves for her hotel. She receives an invitation to the President’s reception, where the De Grossas are to appear. Natalie exposes Gomez as the one hired to shoot Manuel. Gomez tells De Grossa that unless he is protected, he will make a complete confession. De Grossa, knowing he is beaten, decides to leave the country. At a meeting of the Chamber of Deputies a few months later, Manuel is appointed Ambassador to the United States. Natalie receives an ovation when Manuel promises to glorify the Argentine Republic with the aid of “my American wife.”

The still below could not be placed in context, but it shows Swanson, Walter Long (as Gomez) and Gino Carrado (as Pedro De Grossa):

Image

The still below shows Director Sam Wood watching Moreno and Swanson apply makeup for the duel sequence:

Image

The film contains a fantasy sequence to showcase Swanson in one of her impressive costumes, featuring a bejeweled outfit and headdress. During a scene at Moreno’s home, he points to a portrait on the wall, which represents one of his ancestors. The ancestor (played by Moreno) had come across with the Spanish conquistadors, and had fallen in love with an Inca princess (played by Swanson). IMDb has a few photos of Swanson in her getup. For another of Swanson’s costumes, 3000 ermine tails were used to create a gown. Swanson was so delighted with it that she purchased it for herself.

During the party scene at Moreno’s studio, a satyr dances into the reception room carrying a large oval mirror, and pauses in front of Swanson so she can see her reflection. Contemporaneous reports state that Swanson suggested the scene, after seeing the painting “Eve” by Jean Gabriel Domergue. The painting symbolizes the vanity of women. You be the judge:

Image

The Film Daily gave a mixed review, noting the movie was “just one more vehicle to show off Paramount’s dazzling star in another series of pictures that include lavish settings, attractive atmosphere, some spectacular effects, and, of course, Miss Swanson in a number of gowns that give her added distinction as a purveyor of thrills from a sartorial standpoint. There are also some more equally bizarre and uncomfortable looking headdresses which will certainly give her feminine admirers something to talk about. She certainly is in a class by herself when it comes to unique modes of hair dressing. Other than the star’s appearance the picture is not especially attractive.” Motion Picture News wrote “the story is extremely old-fashioned - one of those stories made to order. The steady screengoer can anticipate every scene. And there is very little suspense to add to its highlights.” Moving Picture World was more positive, writing “the entire production bespeaks excellent showmanship. In the broad sweep and in the finer scenes of emotional conflict, Director Sam Wood shows a sure knowledge of box-office appeal. The horse race, the pistol duel, the flower festival as well as several brilliant interiors, including an impressive view of an Argentine parliament hall, are some of the material reasons for enjoyment.” Exhibitor’s Trade Review was also positive, writing “Gloria Swanson never fails to live up to her reputation of giving the audiences a treat by wearing stunning costumes. She also does a bit of good acting in this picture and carries through the role of Natalie Chester with honors. Antonio Moreno should readily captivate the hearts of the ladies.” Exhibitor’s Herald called the film “a veritable fashion show,” adding “the dresses of the star represent what seems to be even more than the customary huge outlay. The feminine portion of an audience should be adequately entertained by this phase alone.”
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scsu1975
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Re: NOW PLAYING (100 YEARS AGO)

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Image

Thirty Days¸directed by James Cruze, starred Wallace Reid (in his final film) as John Floyd, Wanda Hawley as Lucille Ledyard, and Charles Ogle as Judge Hooker. The film was released on January 8, 1923, at five reels, and is presumed lost.

Plot: John Cadwalader Floyd, the wealthy son of an indulgent mother, is full of philanthropic impulses. Because of his tendency to flirt, his fiancée, Lucy Ledyard, has put him on probation for one month.

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This period barely starts before John finds himself involved with an Italian beauty named Carlotta Polenta, who is caught in an unhappy marriage. Her husband, who has just knifed a man for flirting with his wife, catches the pair.

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Polenta attempts to kill John. But John uses a table as a shield and makes his escape. Polenta swears to kill John. By coincidence, Polenta is hired as a butler by John’s mother. Carlotta comes to the Floyd home to warn John of her husband’s threats. The conversation between the pair is overheard by Judge Hooker, a friend of John’s, who offers to help. Carlotta informs them that her husband is a reservist and will have to sail to Italy shortly for special work overseas. Polenta enters the room, recognizes John, and then flees because he is wanted by the police.

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Judge Hooker suggests that John go to jail for thirty days, where he will be safe from Polenta. John agrees to this plan, but does not tell his fiancée. In front of the Judge, John attacks Huntley Palmer, a friend of his.

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A policeman is called in and Judge Hooker, holding court in the Floyd home, sentences John to thirty days in prison. While in jail, John discovers a shortfall of $5000 in the warden’s accounts. When the warden orders John to clean the spittoons, John tells him he knows about the missing money. The warden changes his tune, and allows John to live “the life of Riley” while he is in jail.

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But then Polenta is sent to the same jail for beating his wife. When he goes after John, John defends himself with a pair of shears. Polenta is released before the thirty days, and Carlotta brings word to John that her husband is waiting every day for him outside the jail. Meanwhile, the warden has secured a pardon for John, but John decides to stay put. Lucy and two of her girlfriends visit the prison, doing reform work. John explains to Lucy that he had himself arrested so that he could get some inside information about prisons for society.

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Lucy refuses to believe him and leaves. Despite John’s efforts to remain in jail, he is tossed out when the thirty days are up.

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John then explains to Lucy the real reason for his stay in prison. That night he gets a telephone call from Carlotta, who tells him her husband has a plan to kill him. John meets two of his former prison companions in a plan to capture Polenta at the Floyd home. When a man comes through the door, they pounce on him, and roll him up in a rug. In the darkness, they don’t realize the man is Judge Hooker. John’s two friends depart. Then John hears a sound, turns, and sees Polenta coming at him with a knife. Lucy, who had seen Polenta sneak into the house, holds him at bay with a gun.

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John releases the Judge and Polenta is carted off. John and Lucy embrace.

Reviews were mixed to negative. Exhibitor’s Trade Review was the most positive, writing that the movie “offers an abundance of quick action and odd, amusing situations calculated to keep an audience on the broad grin from beginning to end.” Exhibitor’s Herald described the film as “funny at times, monotonous at times, melodramatic briefly and at wide intervals.” The Film Daily was not impressed, writing “in a way it is good enough but the story is so thin and the treatment so tepid, and the action lacking to such an extent, that excepting for the titles which really are funny and which are exceedingly well illustrated, there isn’t a good deal to the farce, not nearly enough to make it good material for Wally Reid, who incidentally is entitled to a lot better stuff than this.” Moving Picture World wrote “as a whole, it is a mediocre comedy which never arouses any great amount of interest and is only mildly amusing. We do not believe that this picture will enhance the star’s popularity with the fans.” Screenland wrote “this is a “can’t happen” comedy that ventures timorously toward broad farce but hesitates, flounders, flops and expires. The plot is about as intriguing as the first-grade speller.” Finally, Motion Picture News noted that the film “just about reaches the low ebb in the tide of Wallace Reid productions,” ironically adding “Wallace doesn’t look or act himself in this picture. He lacks the old time pep and this picture shows that he was in need of his present rest.”
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LiamCasey
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Re: NOW PLAYING (100 YEARS AGO)

Post by LiamCasey »

scsu1975 wrote: February 22nd, 2023, 9:55 am Finally, Motion Picture News noted that the film “just about reaches the low ebb in the tide of Wallace Reid productions,” ironically adding “Wallace doesn’t look or act himself in this picture. He lacks the old time pep and this picture shows that he was in need of his present rest.”
I hope that line was written before Wallace Reid died. Otherwise that is one nasty reviewer.
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Re: NOW PLAYING (100 YEARS AGO)

Post by EP Millstone »

LiamCasey wrote: February 22nd, 2023, 1:42 pm I hope that line was written before Wallace Reid died. Otherwise that is one nasty reviewer.
From the Internet Movie Database:

"Wallace Reid's final film. It was in theaters in January of 1923 as he struggled through his final weeks of morphine addiction/withdrawal. In what may be the low-water mark for 'crassness' (even by Hollywood standards), the film was billed in newspaper ads with the catchy phrase, 'Come see Wallace Reid's final picture!' -- while he was still alive . . ."

On an altogether different note, Charles Ogle ("Judge Hooker") was the first Frankenstein's Monster (circa 1910) in movies. Ogle appeared in over 300 movies during his career!

"Start every day off with a smile and get it over with." -- W.C. Fields
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scsu1975
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Re: NOW PLAYING (100 YEARS AGO)

Post by scsu1975 »

LiamCasey wrote: February 22nd, 2023, 1:42 pm
scsu1975 wrote: February 22nd, 2023, 9:55 am Finally, Motion Picture News noted that the film “just about reaches the low ebb in the tide of Wallace Reid productions,” ironically adding “Wallace doesn’t look or act himself in this picture. He lacks the old time pep and this picture shows that he was in need of his present rest.”
I hope that line was written before Wallace Reid died. Otherwise that is one nasty reviewer.
Yes, it was written before his death. Some people thought he was being hospitalized for a breakdown, not knowing about his morphine addiction.
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scsu1975
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Re: NOW PLAYING (100 YEARS AGO)

Post by scsu1975 »

Coming in March:

The Leopardess, with Alice Brady
The Man from Hell's River, with Irving Cummings and Rin Tin Tin
The White Flower, with Betty Compson and Edmund Lowe
When Danger Smiles, with William Duncan
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laffite
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Re: NOW PLAYING (100 YEARS AGO)

Post by laffite »

scsu1975 wrote: February 15th, 2023, 1:05 pm Image

My American Wife, directed by Sam Wood, starred Gloria Swanson as Natalie Chester and Antonio Moreno as Manuel La Tassa. The film was released in early 1923 at six reels, and is presumed lost.

Plot: Natalie Chester, daughter of the owner of a Kentucky racing stable, is in Argentina, where she is about to enter her horse “Scampaway” in a big race.

Image

The favored horse is “Rivadavia,” owned by Manuel La Tassa. Don Fernando De Contas advises Manuel’s mother, Donna Isabelle, to choose a wife for Manuel. The woman selects Hortensia, a Castilian girl. Manuel is indifferent, and is only interested in his horse and the upcoming race. When his horse loses to Scampaway, he seeks an introduction to its owner, and is amazed to find she is Natalie. He invites her to a party at his studio that night. She accepts and they begin a romance.

Image

Image

Image

During the party, a curtain is drawn aside, revealing Scampaway. Pedro De Grossa, son of the ambitious and corrupt political leader Carlos De Grossa, lifts Natalie onto her horse. When she dismounts, Pedro gives her an unwanted kiss. She frees herself, and Manuel rushes to her aid. He knocks Pedro to the ground, whereupon Pedro challenges him to a duel. The next day, Natalie makes her way to the dueling ground and arrives just as a shot is fired. She sees Manuel fall.

Image

Then she sees Gomez, an assassin hired by Carlos De Grossa, and discovers he had ambushed Manuel.

Image

Image

Since Manuel had been wounded in a duel, it is impossible for him to go to the hospital or any place where the authorities might learn what happened. He is taken to his home, where Natalie acts as his nurse. Manuel’s mother and Hortensia are shocked at Natalie’s presence. Knowing she is unwelcome, Natalie then leaves for her hotel. She receives an invitation to the President’s reception, where the De Grossas are to appear. Natalie exposes Gomez as the one hired to shoot Manuel. Gomez tells De Grossa that unless he is protected, he will make a complete confession. De Grossa, knowing he is beaten, decides to leave the country. At a meeting of the Chamber of Deputies a few months later, Manuel is appointed Ambassador to the United States. Natalie receives an ovation when Manuel promises to glorify the Argentine Republic with the aid of “my American wife.”

The still below could not be placed in context, but it shows Swanson, Walter Long (as Gomez) and Gino Carrado (as Pedro De Grossa):

Image

The still below shows Director Sam Wood watching Moreno and Swanson apply makeup for the duel sequence:

Image

The film contains a fantasy sequence to showcase Swanson in one of her impressive costumes, featuring a bejeweled outfit and headdress. During a scene at Moreno’s home, he points to a portrait on the wall, which represents one of his ancestors. The ancestor (played by Moreno) had come across with the Spanish conquistadors, and had fallen in love with an Inca princess (played by Swanson). IMDb has a few photos of Swanson in her getup. For another of Swanson’s costumes, 3000 ermine tails were used to create a gown. Swanson was so delighted with it that she purchased it for herself.

During the party scene at Moreno’s studio, a satyr dances into the reception room carrying a large oval mirror, and pauses in front of Swanson so she can see her reflection. Contemporaneous reports state that Swanson suggested the scene, after seeing the painting “Eve” by Jean Gabriel Domergue. The painting symbolizes the vanity of women. You be the judge:

Image

The Film Daily gave a mixed review, noting the movie was “just one more vehicle to show off Paramount’s dazzling star in another series of pictures that include lavish settings, attractive atmosphere, some spectacular effects, and, of course, Miss Swanson in a number of gowns that give her added distinction as a purveyor of thrills from a sartorial standpoint. There are also some more equally bizarre and uncomfortable looking headdresses which will certainly give her feminine admirers something to talk about. She certainly is in a class by herself when it comes to unique modes of hair dressing. Other than the star’s appearance the picture is not especially attractive.” Motion Picture News wrote “the story is extremely old-fashioned - one of those stories made to order. The steady screengoer can anticipate every scene. And there is very little suspense to add to its highlights.” Moving Picture World was more positive, writing “the entire production bespeaks excellent showmanship. In the broad sweep and in the finer scenes of emotional conflict, Director Sam Wood shows a sure knowledge of box-office appeal. The horse race, the pistol duel, the flower festival as well as several brilliant interiors, including an impressive view of an Argentine parliament hall, are some of the material reasons for enjoyment.” Exhibitor’s Trade Review was also positive, writing “Gloria Swanson never fails to live up to her reputation of giving the audiences a treat by wearing stunning costumes. She also does a bit of good acting in this picture and carries through the role of Natalie Chester with honors. Antonio Moreno should readily captivate the hearts of the ladies.” Exhibitor’s Herald called the film “a veritable fashion show,” adding “the dresses of the star represent what seems to be even more than the customary huge outlay. The feminine portion of an audience should be adequately entertained by this phase alone.”
Wow, never knew of her fascination with fashion to this extent. Reminds me of Kay Francis who loved wearing top gowns. No mention of the close-ups, I see. :D
Sabine Azema in Sunday in the Country
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