Reginald Denny plays a hypochondriac who is being bilked out of his inheritance by swindlers. Things go awry when Denny falls for his pretty nurse (Mary Astor) and becomes an adrenaline junkie in order to impress her. What if he dies before the swindlers can collect? Hilarious situation comedy and charming lead actors make this a forgotten gem.
John Barrymore is the famous lover who likes his ladies in both quality and quantity. He genuinely falls for Mary Astor’s virginal damsel and ends up incurring the wrath of the Borgias. The costumes are a visual banquet of the gorgeous and the bizarre. The famous duel is worth the price of admission but there is a lot of hamminess and overwrought love-making to get through as well.
It’s the story of an impoverished teen, a kindly minister, gossipy neighbors and a $10 hat. Griffith spins an alluring confection of small town America that both satirizes and celebrates the culture. Lionel Barrymore and Mary Pickford are excellent as the innocent pair who find themselves the subject of slander.
Henry B. Walthall is a slick miner. Mary Pickford is the local lady of the evening. Lionel Barrymore is Henry’s rootin’-tootin’ pal. Both guys like Mary but who will win the day? This is a short subject from D.W. Griffith extolling the virtues of male friendship. Some very fine acting from Mary.
Douglas Fairbanks is a human hurricane in this action-comedy. Obsessed with adventure novels and too wild for his home in Kansas, he finds adventure and romance in Arizona. Villain to vanquish? Check! Damsel in distress? Check! Things to leap from? Check and check! Fairbanks’ stunts are fun and his personality is first rate! The Grand Canyon scenery is an added bonus. Lightweight but well worth the view.
Textbook Boy meets Girl. Fancy it ain’t but no romantic comedy has been sweeter than this one. Mary Pickford was never spunkier, Budder Rogers was never more adorable. An accomplished supporting cast rounds out this good-natured tale of a shop girl falling for the boss’s son. An ideal silent film for first-timers.
William S. Hart hangs up his cowboy hat in this cops-and-robbers tale of post-War San Francisco. Hart is a veteran and ex-crook who comes back from his doughboy stint a changed man. The robber is now a cop and he is forced to investigate his old friends and his own family. Good enough but no classic. Worth it for vintage footage of San Francisco.
If it were a dessert it would be:
Rocky Road Ice Cream. You got your cool stuff, your dark stuff and your fun stuff. An old hat but welcome all the same.
Note to villains: If you want get the hero out of the way by framing him, just make sure he doesn’t get the cell next to the crazy old guy who knows where to find a fabulous treasure. Cuz, you know, he may come back for revenge.
It has a pre-Great Lover John Gilbert and Estelle Taylor playing a good girl for once. It is a little rushed but overall a pretty dern good adaptation.
It’s Cinderella for the 1920s! Colleen Moore is a put-upon waif who enters a motion picture beauty contest and wins. She finds fun, fame and fortune in Hollywood but who will be her Prince Charming? Colleen has never been cuter. Features some excellent sight-gags (including the famous and acclaimed eye-crossing scene) and a cameo from Harry Langdon. Beloved for a reason.
Cecil B. DeMille-helmed tale of sordid revenge. Fannie Ward dips into the Red Cross funds to gamble on the stock market and loses all. Sussue Hayakawa is her platonic pal who will loan her the money if she becomes… less platonic. Things get nasty very fast. Lean and slick with a star-making performance from Hayakawa. Ward, however, emotes egregiously. Not for the easily offended.
John Barrymore is a gentleman crook out to steal a priceless necklace. Frank Morgan (aka, Oz the Great and Powerful) is his best pal Bunny. Yes, Bunny. A shady lady from John’s past threatens to ruin everything but our hero is clever and intrepid. Fun plot and story done in by plodding pace and way too many intertitles. Morgan and Barrymore are the best things in the film but they cannot save it.
Hobart Bosworth is (and this may shock you) a sadistic ship captain. Bessie Love is the little castaway who warms his heart and awakens fatherly feelings. But when the captain discovers that poor Bessie just may be the daughter of his enemy, things start to get mean. Love and Bosworth are delightful in their father-daughter relationship and the seafaring scenes are swell but predictable plot prevents this film from being a classic.
D.W. Griffith tried to break his slump by casting Mae Marsh and scrumptious Welsh heartthrob Ivor Novello in this tale of single motherhood and spiritual crisis. Minister-to-be Novello seduces and abandons orphan flapper Marsh, who must face the cruel world, etc. etc. Griffith has done all this before (and better) but his leads try their hardest and almost manage to put it over. Almost. A mixed bag.
How does it end? Hover or tap below for a spoiler.
Marsh and her baby wander into Novello’s neck of the woods, where he promptly realizes the error of his ways and he makes an honest woman of our heroine on her sickbed. Happy endings for all.