"You'll look gorgeous in an officer's uniform. I'll love you even more then." Justyn Reed (Claire Adams) to Jim Apperson (John Gilbert)
For me, this is one of the most significant lines in this very, very "big" movie. Contrast these silly and superficial words against Justyn's disgusted reaction to the sight of a seriously disabled Jim when he returns from the war. This contrast from the beginning to the end of the movie summarizes its very serious and somber message about the unrealistic glorification of war as it compares with the very real experience of those who are called upon to do the actual fighting. As Jim endures the horrors of battle, Justyn doesn't even wait for his return before she takes a passionate interest in his own, nerdy brother, of all people.
More than any other silent director, King Vidor's exceptional work in both this picture and "The Crowd" succeeded to awaken my appreciation to the very special beauty and value of the silent film. I can't say that all silent films are of this caliber, but, after so many years and so many technological advances in the movie business, they both steadfastly maintain their viewing appeal and their relevance to our lives.
The battle scenes rank among the most impressive portrayals of combat that I have witnessed on film and are the successful results of painstaking efforts not only by director Vidor but of the uncredited MGM production manager, Irving Thalberg. While they are not as graphic as such modern films as "Saving Private Ryan", they nevertheless strongly convey the nearly impossible challenges of serving on the front lines of physical conflict. Beyond these striking battle scenes, so far ahead of their time, I was very moved by the scene of Jim with his parents, played by Claire McDowell and Hobart Bosworth. I don't believe that this scene would have been as potent without the outstanding directing ability of Vidor. Also, the image of Mrs. Apperson standing at the front door as her son departs for war in a faraway land depicts the pain and torment of all mothers in this dreaded predicament as well as any that I have ever seen, and it will linger in my mind for a very long time.
Although the first 75 minutes could have been shortened, I believe that the director wanted to develop the human characters of the three central soldiers as fully as he possibly could, and the result is that the viewer even more strongly empathizes with them and their excruciating circumstances on the battlefield. The growth and transition of Jim Apperson's character during the course of the film is a remarkable achievement by both Vidor, the director, and Gilbert, the actor. The performance of Renee Adoree as Melisande is delightful, and I regret that her film career was so tragically cut short as the result of her fatal illness at age 35. While some reviewers disliked Karl Dane's performance as Slim, I found him to be a very likable personification of Disney's Goofy who is suddenly placed in the midst of a major war, facing it with admirable, almost inhuman, bravery and fearlessness. Slim, even as a humanized Goofy, is the one you want with you in a foxhole. He is man's fearless, loyal, and best friend.
The 1988 musical score of Carl Davis contributes significantly to the emotional impact, successfully communicating what spoken dialogue obviously cannot achieve in a silent movie. This is one silent movie that will hopefully enhance an appreciation for this very important era of film-making in other viewers as it did for me.
For me, this is one of the most significant lines in this very, very "big" movie. Contrast these silly and superficial words against Justyn's disgusted reaction to the sight of a seriously disabled Jim when he returns from the war. This contrast from the beginning to the end of the movie summarizes its very serious and somber message about the unrealistic glorification of war as it compares with the very real experience of those who are called upon to do the actual fighting. As Jim endures the horrors of battle, Justyn doesn't even wait for his return before she takes a passionate interest in his own, nerdy brother, of all people.
More than any other silent director, King Vidor's exceptional work in both this picture and "The Crowd" succeeded to awaken my appreciation to the very special beauty and value of the silent film. I can't say that all silent films are of this caliber, but, after so many years and so many technological advances in the movie business, they both steadfastly maintain their viewing appeal and their relevance to our lives.
The battle scenes rank among the most impressive portrayals of combat that I have witnessed on film and are the successful results of painstaking efforts not only by director Vidor but of the uncredited MGM production manager, Irving Thalberg. While they are not as graphic as such modern films as "Saving Private Ryan", they nevertheless strongly convey the nearly impossible challenges of serving on the front lines of physical conflict. Beyond these striking battle scenes, so far ahead of their time, I was very moved by the scene of Jim with his parents, played by Claire McDowell and Hobart Bosworth. I don't believe that this scene would have been as potent without the outstanding directing ability of Vidor. Also, the image of Mrs. Apperson standing at the front door as her son departs for war in a faraway land depicts the pain and torment of all mothers in this dreaded predicament as well as any that I have ever seen, and it will linger in my mind for a very long time.
Although the first 75 minutes could have been shortened, I believe that the director wanted to develop the human characters of the three central soldiers as fully as he possibly could, and the result is that the viewer even more strongly empathizes with them and their excruciating circumstances on the battlefield. The growth and transition of Jim Apperson's character during the course of the film is a remarkable achievement by both Vidor, the director, and Gilbert, the actor. The performance of Renee Adoree as Melisande is delightful, and I regret that her film career was so tragically cut short as the result of her fatal illness at age 35. While some reviewers disliked Karl Dane's performance as Slim, I found him to be a very likable personification of Disney's Goofy who is suddenly placed in the midst of a major war, facing it with admirable, almost inhuman, bravery and fearlessness. Slim, even as a humanized Goofy, is the one you want with you in a foxhole. He is man's fearless, loyal, and best friend.
The 1988 musical score of Carl Davis contributes significantly to the emotional impact, successfully communicating what spoken dialogue obviously cannot achieve in a silent movie. This is one silent movie that will hopefully enhance an appreciation for this very important era of film-making in other viewers as it did for me.