Well, this early talkie netted La Swanson an Oscar nomination for Best Actress -- her second AA nod in her first "talkie." This melodrama was later remade with Bette Davis as That Certain Woman. which I recognized after about an hour into it. It was recently screened on TCM as a part of their showcasing of films restored by the George Eastman House in Rochester New York -- a few miles from where I'm typing this.
Here Swanson is cast in a then-popular clichéd role of a working girl trying to make good in the world who is left disappointed by a wealthy lad. Along the way she manages to bear his child, and has hopes to raise it alone. Story lines like this abounded in those Depression years, and young women and girls just loved to wallow in this stuff. Apparently after the debacle of the unfinished Queen Kelley, Swanson wanted some quick cash, and enlisted Goulding to helm it for her.
And she ended up with an audience-pleasing success, and showed in her first talking role that she was truly a talent, and not simply a fashion icon of the day. Swanson actually got incredibly real in this, showing both a feisty quality and a soft, sensitive one that's surprising. And bravely, she sings too. To the accompaniment of a player piano according to the script. And her voice is fine, even if the recording equipment was primitive and distorted. of course, she looks fantastic, and wears some spectacular costumes throughout. Star quality abounds in this woman certainly.
And kudos should go to the fantastic photography, which sometimes became cloaked in shadows and darkness. I was pleasantly surprised at how appealing the movie looked. At times it almost reminded me of Dracula (1932).
And yes, there's a down side provided by many of the supporting players who mug and overact in ways popular in silent movies. But on the bright side, an honorable mention goes to the sweet and adorable little child who played Swanson's son. Whoever coached this little boy did a great job, because the kid was extremely natural and also poignant when the story required it.
I'm sure The Trespasser had the shop girls of 1929 crying buckets of tears.
**** out of *****
Here Swanson is cast in a then-popular clichéd role of a working girl trying to make good in the world who is left disappointed by a wealthy lad. Along the way she manages to bear his child, and has hopes to raise it alone. Story lines like this abounded in those Depression years, and young women and girls just loved to wallow in this stuff. Apparently after the debacle of the unfinished Queen Kelley, Swanson wanted some quick cash, and enlisted Goulding to helm it for her.
And she ended up with an audience-pleasing success, and showed in her first talking role that she was truly a talent, and not simply a fashion icon of the day. Swanson actually got incredibly real in this, showing both a feisty quality and a soft, sensitive one that's surprising. And bravely, she sings too. To the accompaniment of a player piano according to the script. And her voice is fine, even if the recording equipment was primitive and distorted. of course, she looks fantastic, and wears some spectacular costumes throughout. Star quality abounds in this woman certainly.
And kudos should go to the fantastic photography, which sometimes became cloaked in shadows and darkness. I was pleasantly surprised at how appealing the movie looked. At times it almost reminded me of Dracula (1932).
And yes, there's a down side provided by many of the supporting players who mug and overact in ways popular in silent movies. But on the bright side, an honorable mention goes to the sweet and adorable little child who played Swanson's son. Whoever coached this little boy did a great job, because the kid was extremely natural and also poignant when the story required it.
I'm sure The Trespasser had the shop girls of 1929 crying buckets of tears.
**** out of *****