jacobs-greenwood
Produced (and directed) by Cecil B. DeMille, and written by Jeanie Macpherson from Arthur Schnitzler's play, this silent comedy-drama features Wallace Reid in the title role; Gloria Swanson plays his wife Vivian Spencer.The film includes several experiments in color, some scenes are tinted and (at least) two appear to have been shot in 2-strip Technicolor. Monte Blue and Bebe Daniels are among those who also appear in the cast; reportedly, William Boyd and Polly Moran also appear, uncredited.Though only recently married, Anatol (Reid) is the type of man who feels compelled to save young women from their poor choices (or fate). Naturally, this displeases his new bride Vivian (Swanson), though she passes the time with her husband's friend Max Runyon (Elliott Dexter), who eventually wants more from the relationship. While out to dinner one evening with Max and his wife, Anatol spots an old grammar school sweetheart, Emilie Dixon (Wanda Hawley), with her 'sugar daddy', Gordon Bronson (Theodore Roberts).After witnessing Emilie's date spiking her drink, Anatol decides to act. He 'rescues' her from him but Bronson laughs and says he'll be ready to 'pick up the pieces' later. When Anatol brings Emilie back to their table, he's greeted coldly by his wife, who asks Max to take her home. Soon, Anatol has set-up Emilie with an apartment and educational opportunities (like learning to play the violin). Though his intentions are pure and honorable, she's clearly taking advantage of him. When Anatol finally recognizes this, he tells Emilie that she must toss the jewelry she'd received from Bronson off a bridge, which she only pretends to do.After supposedly cutting her ties to her past, Emilie wants more from Anatol, but he refuses to leave Vivian and leaves. Upon returning later, he discovers Emilie partying with Bronson, and that she had never really thrown away her booty. Anatol is so furious that he fulfills Bronson's earlier remark by breaking and destroying everything he'd bought for Emilie within the apartment (e.g. so that Bronson can pick up the pieces).Anatol returns to Vivian and pleads (essentially) 'if ever you see me trying to save another woman, please save me by keeping me from doing so'; she takes him back. Later, at a party, a Hindu hypnotist named Nazzer Singh (Theodore Kosloff) is able to compel Vivian to remove her shoes and stockings; he's made her think that she's about to wade into a stream. This prompts Anatol to interrupt the trance and propose to Vivian that they should abandon their current lifestyle, that returning to a simpler life together is what their marriage needs.Meanwhile, out in the country, poor Abner Elliot (Blue) has just discovered that his wife Annie has spent the church's money entrusted to him on pretty clothing for herself. He tells her that she must go. Distraught, she throws herself off a bridge (e.g. to commit suicide) but lands in the water right next to Anatol and Vivian, who had been canoeing in that very river. The couple rescues Annie, pulling her into their boat and then taking her ashore to attempt to revive her. Initially, they are unsuccessful, then Vivian notices that the girl is only faking it. Anatol, refusing to believe it, tells his wife to take the car to go get help.While she's pretending to be unconscious, Annie finds and steals Anatol's wallet full of cash. At the very moment when Annie kisses Anatol to thank him for his assistance, Vivian returns with the doctor. He then discovers and realizes that Annie, who's returned to her husband with the money (enabling her to 'kiss and makeup'), stole his money. Vivian, who's had enough (again), drives away leaving Anatol to walk home alone.Upon returning home, Anatol finds Vivian unwilling to forgive him again. So, he decides he may as well live it up. He goes out on the town and tries to hook up with a creature of sin, the apt named performer Satan Synne (Daniels). But she resists his initial advances until she receives word that her husband, who'd been wounded in the war, needs another expensive operation. Apparently, the reason for her notoriety in this (the oldest) profession is the fact that she'd needed the money to pay for countless surgeries to save his life.Satan is relieved to see that Anatol is still around, and she invites him into her lair. Eventually, he learns the truth yet still agrees to give her the $3,000 she needs, even though she learns from Dr. Johnston that her husband didn't survive. Anatol returns to Vivian, whom he discovers with Max.Coincidentally, Nazzer Singh calls on her again at the same time. Anatol asks the hypnotist if he could put his wife under a trance so that he might ask her an important question. Upon doing so, Max, aware that Anatol is intending on asking his wife if she'd been faithful to him, warns him not to do it. Anatol decides that, regardless, he loves her and wants Vivian back, and tells her so to bring her out of the trance. Based upon Max's reaction, one of relief as he lovingly sniffs the lapel flower she'd given him, the audience is made to know the answer (e.g. that Vivian and he had an affair of their own). The reunited couple embraces as the film ends.
tavm
Checked this rare Cecil B. DeMille silent at my local library intrigued by the premise of seeing a Gloria Swanson silent movie in its entirety for the first time. Turns out she's sort of a supporting character since Anatol is actually a man played by Wallace Reid. He's Anatol, a.k.a. Tony, Spencer whose marriage to Vivian (Swanson) is constantly tested by his involvement in three other women: Emile Dixon (Wanda Hawley), Annie Elliott (Agnes Ayres), and Satan Synne (Bebe Daniels). Emile is an old school friend of Tony's who's now in the company of middle aged rich man Gordon Bronson (Theodore Roberts). Annie is the wife of country pastor Abner (Monte Blue) whose church money she unknowingly stole to buy a dress. Ms. Synne is a nightclub entertainer whose World War I veteran husband is enduring a long hospital stay. About Emile: Tony's just wasting his time trying to get her away from pearls which she loves and is too possessive with her on that front especially since he won't do the same about his wife's picture. And his breaking the furniture that HE bought! Tsk, tsk. That segment's too long anyway, though there's some amusement with Raymond Hatton as a violin teacher. About Annie: I can't believe his kissing her after saving her from a drowning which conveniently happens as his wife shows up with a doctor. And it's obviously a pre-Code movie when Annie gets to keep the stolen money with her husband none the wiser! Short enough in my book. About Satan: This was the most touching segment in the movie with Tony intending to really cheat on his wife (not completely realizing vice versa on Vivian's part) and then finding out the truth about Ms. Synne's husband's illness as he then decides to let her keep the $3000 as charity. Also, Polly Moran is briefly amusing as an orchestra leader. Also liked Elliot Dexter as Max Runyon, friend of the Spencers and Theodore Kosloff as Nazzer Singh, a hypnotist who temporarily casts Vivian under a spell. Not a great movie but it certainly has its merits and DeMille provides some great close-ups in the final segment with some wonderful color tints that took my breath away a little. How "happy" the ending is depends on one's view of how trusting the couple really is but it was satisfactory to my tastes. Worth at least a look for anyone interested in old movies. P.S. Ms. Swanson was born in the same town I was: Chicago, Ill. And the writer of the original story, Arthur Schnitzler, would also pen "Traumnovelle" which would be the source of Stanley Kubrick's final work, Eyes Wide Shut.
arneblaze
The plot and an analysis is elsewhere here well done with Ron Oliver's review. Suffice to say that the hand-tinted titles and the sepia-toned film itself, hinting at reds along with its browns are a real joy to behold. Seeing so many luminaries in one film is also a treat - Reid, Swanson, Moran, Daniels, Ayres.However, the film could easily have been a half hour shorter with less wear and tear on the viewer and with virtually little loss in the morality tale or sense of the work. It's all enjoyable but it does drag a bit.Grapevine and Kino both have excellent prints. Important for its director and his non-epic style as well as for the presence of Reid and Swanson, but far from a great or important film.
