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None of this is meant to be taken seriously — just another Hollywood studio clucking its tongue at girls gone wild even as it exploited the phenomenon to rake in box office bucks.
What's not to like?
Although technically the film's lead, Crawford winds up playing second fiddle to Page.
Although she had only just celebrated her eighteenth birthday when the movie hit the theaters, Page is absolutely convincing in her ruthless pursuit of the man, first putting on an act of virginal innocence to entice him then exploiting him to the hilt after she lands him.
In the movie's penultimate scene, Page is drunk, evil and standing at the top of a staircase. No prizes for guessing what happens next.
"Our Dancing Daughters was my picture," Page said years later. "I say that because I did the acting. Joan Crawford danced her way through it. I acted my way through it."
Our Dancing Daughters was one of a series of Hollywood movies seeking to both exploit and condemn the Jazz Age flapper phenomenon. The script called for an undercurrent of tension between Page and Crawford and, boy, is there ever.
Years later, Page claimed Crawford physically assaulted her on the set but the mutual hatred didn't hurt their on-screen chemistry any. In fact, despite their mutual loathing, Page and Crawford made two more movies together, Our Modern Maidens and Our Blushing Brides, trading the good girl/bad girl roles back and forth, to great commercial, if not artistic, effect.
Page also starred in the year's Oscar winner for best picture, The Broadway Melody, and received over ten thousand fan letters a week, including nearly a hundred from fascist dictator Benito Mussolini who was infatuated with the young actress.
"Are you starting to believe your own publicity?" director Harry Beaumont asked Page during the filming of one of their six pictures together.
"Of course," she said, "Aren't you?"
In addition to The Broadway Melody and the Joan Crawford flapper trilogy, Page appeared in films with Lon Chaney, Buster Keaton and Clark Gable.
Page's final movie for MGM was 1932's Prosperity, starring Marie Dressler and Polly Moran. On the outs with studio head Louis B. Mayer after twice refusing to sleep with him (the second proposition made in the presence of Page's mother), Page served out the remaining years of her MGM contract on loan to poverty row studios, making such low-budget bombs as Jungle Bride and Hitch Hike To Heaven.
It was an ignominious end for an actress who just a couple of years before had been second only to Greta Garbo as the studio's top draw.
Page left Hollywood and married Navy flyer Herschel House in January 1937.
After his death, she began to make films again, mostly low-budget fare such as The Crawling Brain and Witchcraft XI.
On the 75th anniversary of the founding of the Academy of Motion Picture Arts and Sciences, Page received a standing ovation at a special screening of The Broadway Melody. She was the last surviving attendee of the first Oscar ceremony and died in 2008 at the age of ninety-eight.
Self-sacrifice follows, set to peppy songs and dance numbers which in addition to the title tune, featured future chestnuts "You Were Meant For Me" and "Give My Regards To Broadway."
Out of necessity, sound man Douglas Shearer invented the concept of the "playback" — pre-recording a song that performers would then dance and lip-synch to — when the choreography on a huge dance number that had already been performed and recorded was deemed unsuitable. Rather than bring the orchestra back to the sound stage, Shearer figured out how to reuse the sound from the previous take, and the cast performed the dance number with its new choreography to a playback of the song.
This technique became the industry standard for decades.
The Broadway Melody was the top grossing movie of 1929 and the first sound film to win the Academy Award for best picture. Its success further cemented sound's commercial future.
So after all that, it's got to be a great movie, right? Uh, no, not even a good one.
The Broadway Melody is quite probably the weakest best picture winner ever, and that's saying something. As musicals go, it did feature the aforementioned classic songs, but the story is trite, the pacing is leaden, and the acting, especially among the supporting cast, is too awful to be believed.
And despite Douglas Shearer's technical innovations, the early sound equipment just wasn't up to the task. Lyrics get muddled, shoes hammer like cannon fire and the rustling of the actresses' dresses drown out the dialogue.
Which is a shame because Anita Page is as cute as a bug's ear! (Read more about her here.)
For Oscar historians and masochists only.
January is Joan Crawford month on TCM and they're kicking it off Thursday night with what I call the Flapper Trilogy—Our Dancing Daughters (1928), Our Modern Maidens (1929) and Our Blushing Brides (1930). They are an exploitative hoot, with Hollywood clucking its moralizing tongue at the antics of girls gone wild while raking in box office bucks.
Look for Monkey favorite Anita Page in all three.
The fun starts at 9 p.m. EST on Thursday, January 2, 2014.
Yesterday, I posted a list of my favorite silent era character actors. Today, it's actresses.
10. Miriam Cooper—"The Friendless One" in D.W. Griffith's Intolerance, she was a Method actress before the Method, once staring so intently into a Klieg light during a close-up, her eyesight was permanently damaged.
9. Clarine Seymour—Griffith cast her as the "bad" girl against Lillian Gish's "good" one in True-Heart Susie, but she proved so much more interesting than the heroine, she subverted the whole story. She died a year later on the cusp of stardom.
8. Gladys Brockwell—memorable as a hooker with a heart of stone in 7th Heaven and a homeless women with a pivotal secret in Lon Chaney's The Hunchback of Notre Dame.
7. Zasu Pitts—her quavering, sing-song voice turned her into comic relief during the sound era, but she was the avaricious shrew in von Stroheim's Greed, the love interest in The Wedding March, and Mary Pickford's only friend in The Little Princess.
6. Olga Baclanova—remembered now as the evil seductress in Freaks, she was at her best in Paul Leni's The Man Who Laughs and Josef von Sternberg's The Docks of New York.
5. Anita Page—a personal favorite, she was Joan Crawford's arch-nemesis, on-stage and off, in Our Dancing Daughters and Our Modern Maidens.
4. Edna Purviance—Chaplin's go-to girl in nearly forty shorts and features.
3. Louise Brooks—in Germany, she was a star, but in Hollywood, she was strictly supporting. And if you've seen A Girl in Every Port, The Show Off and It's the Old Army Game, you know she was one of the best.
2. Musidora—her iconic portrayal of spy master Irma Vep in Louis Feuillade's classic serial Les Vampires made crime so appealing, French police temporarily halted production.
1. "The Girl" (Bebe Daniels / Mildred Davis / Jobyna Ralston)—There was always a girl in Harold Lloyd's comedies, almost always named simply "The Girl," but she was, in fact, played by three very different actresses: the spunky Bebe Daniels (1915-1919), the demure Mildred Davis (1919-1923) and the soulful Jobyna Ralston (1923-1927). Daniels went on to bigger and better things with Cecil B. DeMille, Davis married Lloyd in real life and retired, and Ralston, well, she played second fiddle to Clara Bow and a squadron of airplanes in the first Oscar-winning picture Wings. But as "the Girl," they were all just wonderful. (Click here to read Annette D’Agostino Lloyd's essay on "the Girl." And no, she's no relation to Harold.)
Tomorrow: Silent Supporting Players Who Were Better In The Sound Era
Our Modern Maidens was the second leg of Joan Crawford's "flapper trilogy," sandwiched in between Our Dancing Daughters (1928) and Our Blushing Brides (1930). Like its predecessor, Our Modern Maidens centers on girl-gone-wild Joan Crawford, this time playing Billie Brown, a rich, spoiled, Jazz addict. She's engaged to marry Gil Jordan (Crawford's real-life fiance, Douglas Fairbanks, Jr.), but keeps the relationship a secret until he can secure a diplomatic post worthy of her ambitions.
"It's got to be Paris!" she tells him. "The big brass band for me!"
Meanwhile, her school chum, Anita Page as the hopelessly naive Kentucky, dreams of romance—and more.
"Love! Beautiful love!" she writes in her diary. "Will it sweep me away in a cloud of glory or steal upon me ... gently?"
Unfortunately for her, the man she dreams of is none other than Billie's beau, Gil.
When Billie takes up with a powerful Washington insider—ostensibly to help Gil's career, but really to help herself—Gil consoles himself with Kentucky's virginity. When she gets pregnant, things get complicated.
Yes, this is definitely pre-Code. With its emphasis on fast cars, bathtub gin and Jazz music, the film serves as a time capsule, if not of the reality of the Jazz Age then of how America perceived it. Unfortunately, the stock market would crash just two months after the film's release. By the time its follow-up, Our Blushing Brides, hit theaters in 1930, the fun was over and Crawford's carefree flapper had become a careworn shopgirl.
While Our Dancing Daughters was Anita Page's most famous role, and best, this one is her most adorable, and the one I imagine that drove her fans—including fascist dictator Benito Mussolini—to write her mash notes by the bushel-basketful.
Equally fine is Douglas Fairbanks, Jr., in one of his best silent performances, worth seeing, if for nothing else, for his spot-on impressions of John Barrymore, John Gilbert and his own father, Douglas Fairbanks, Sr.
Ironically, the least convincing performance in Our Modern Maidens is Crawford's own. Personally, I find it disconcerting to see her so wide-eyed and overeager, much preferring the world-weary cynicism of her best-known work. Although already a big star—a well-publicized marriage to Fairbanks, Jr. during filming didn't hurt—she wouldn't really hit her stride as an actress for another couple of years with such films as Dance, Fools, Dance and Grand Hotel.
Still, Our Modern Maidens is a frothy bit of fun and highly recommended for fans of Jazz Age frivolity. Mix yourself a gin rickey and enjoy.
Postscript: Our Modern Maidens was Crawford's last silent film, and if you haven't seen a silent film from this period, you may be surprised to discover it featured a synchronized score, sound effects and even some incidental dialogue.
Beginning at 3:45 a.m. (EDT) this evening/tomorrow morning, Turner Classic Movies is showing three of my favorite silent movies. From the TCM website:
3:45 AM The Thief Of Bagdad (1924)
An Arabian thief sets out on a magical adventure to win a beautiful princess.
Dir: Raoul Walsh Cast: Douglas Fairbanks, Snitz Edwards, Charles Belcher. BW-140 mins,
6:15 AM The Sheik (1921)
An Arabian sheik kidnaps a beautiful Englishwoman to win her heart.
Dir: George Melford Cast: Rudolph Valentino, Agnes Ayres, Ruth Miller. BW-86 mins
7:45 AM Our Modern Maidens (1929)
In this silent film, a flapper offers herself to a diplomat to advance her fiance's career.
Dir: Jack Conway Cast: Joan Crawford, Rod La Rocque, Douglas Fairbanks Jr. BW-76 mins
By the way, the description of Our Modern Maidens neglects to mention some stellar supporting work from Anita Page. Now you're sold for sure!
Set your recorders boys and girls. Or better yet, stay up very, very late.
I've chosen a best picture in three different categories (drama, comedy/musical and foreign language) but make no mistake, The Passion of Joan of Arc is the best picture of the year. It's not only the most modern looking movie of the silent era, it's the most modern looking movie of any era, and its subject matter—torture, capital punishment, political corruption and religious fanaticism of every stripe—is probably more relevant today than when Dreyer made it.
Not to mention it's the most gripping courtroom drama ever made—better than Perry Mason, better than Law and Order, better than Witness for the Prosecution, Twelve Angry Men and A Few Good Men put together. It really is that good.
As for my choice of the year's best comedy, I'll grant you that Steamboat Bill, Jr. and The Cameraman are funnier. But Steamboat Willie had a much bigger impact. Not only did it give us Mickey Mouse, in practical terms, it gave us Walt Disney, too, because without this desperately needed hit, his fledgling studio would likely have gone under.
In any event, if The Simpsons can spoof it (as "Steamboat Itchy") without needing to explain the source, you know it is deeply embedded in the cultural conscience.
But Buster Keaton takes home the acting honors, as well he should. As thespians go, I'd stack him against a cartoon rodent any day.
PICTURE (Drama)
winner: The Wind (prod. Victor Sjöström)
nominees: Blackmail (prod. John Maxwell); The Docks Of New York (prod. J.G. Bachmann); The Iron Mask (prod. Douglas Fairbanks); The Wedding March (prod. Pat Powers and Erich von Stroheim)
Must-See Drama: Beggars Of Life; Blackmail; The Docks Of New York; The Iron Mask; Our Dancing Daughters; Piccadilly; The Wedding March; The Wind
PICTURE (Comedy/Musical)
winner: Steamboat Willie (prod. Walt Disney)
nominees: The Broadway Melody (prod. Irving Thalberg, Harry Rapf and Lawrence Weingarten); The Cameraman (prod. Buster Keaton); Show People (prod. Marion Davies and King Vidor); Steamboat Bill, Jr. (prod. Joseph M. Schenck);
Must-See Comedy/Musical: The Broadway Melody; The Cameraman; Show People; Steamboat Bill, Jr.; Steamboat Willie; Two Tars
PICTURE (Foreign Language)
winner: The Passion Of Joan Of Arc (prod. Société générale des films)
nominees: Un Chien Andalou (prod. Luis Buñuel); The Fall Of The House Of Usher (prod. Jean Epstein); Man With The Movie Camera (prod. VUFKU)
Must-See Foreign Language Pictures: Un Chien Andalou; The Fall Of The House Of Usher; Man With The Movie Camera; The Passion Of Joan Of Arc
ACTOR (Drama)
winner: George Bancroft (The Docks Of New York)
nominees: Warner Baxter (In Old Arizona); Douglas Fairbanks (The Iron Mask); John Gilbert (A Woman Of Affairs and Desert Nights); Erich von Stroheim (The Wedding March)
ACTOR (Comedy/Musical)
winner: Buster Keaton (Steamboat Bill, Jr. and The Cameraman)
nominees: William Haines (Show People); Stan Laurel and Oliver Hardy (Two Tars)
ACTRESS (Drama)
winner: Lillian Gish (The Wind)
nominees: Louise Brooks (Beggars Of Life); Betty Compson (The Docks Of New York); Maria Falconetti (The Passion Of Joan Of Arc); Greta Garbo (The Mysterious Lady, A Woman Of Affairs and Wild Orchids)
ACTRESS (Comedy/Musical)
winner: Marion Davies (Show People)
nominees: Bessie Love (The Broadway Melody)
DIRECTOR (Drama)
winner: Carl Theodor Dreyer (The Passion Of Joan Of Arc)
nominees: Victor Sjöström (The Wind); Josef von Sternberg (The Docks Of New York); Dziga Vertov (Man With The Movie Camera); Erich von Stroheim (The Wedding March)
DIRECTOR (Comedy/Musical)
winner:Luis Buñuel (Un Chien Andalou)
nominees: Ub Iwerks (Steamboat Willie); Edward Sedgwick (The Cameraman); King Vidor (Show People)
SUPPORTING ACTOR
winner: Ernest Torrence (Steamboat Bill, Jr. and Desert Nights)
nominees: Wallace Beery (Beggars Of Life); Donald Calthrop (Blackmail); Lewis Stone (A Woman Of Affairs); Gustav von Seyffertitz (The Mysterious Lady and The Docks Of New York)
SUPPORTING ACTRESS
winner: Anita Page (Our Dancing Daughters)
nominees: Olga Baclanova (The Docks Of New York); Mary Nolan (West Of Zanzibar); Zasu Pitts (The Wedding March); Anna May Wong (Piccadilly)
SCREENPLAY
winner: Frances Marion; from a novel by Dorothy Scarborough (The Wind)
nominees: Jules Furthman; story by John Monk Saunders; titles by Julian Johnson (The Docks Of New York); Joseph Delteil and Carl Theodor Dreyer (The Passion Of Joan Of Arc)
SPECIAL AWARDS
Walt Disney and Ub Iwerks (the creation and marketing of Mickey Mouse); Douglas Shearer (The Broadway Melody) (Special Achievement In The Use Of Sound); "The Broadway Melody" (The Broadway Melody) (Best Song); Un Chien Andalou (prod. Luis Buñuel) (Best Short Subject); John Arnold (The Wind) (Cinematography)
I've been cleaning up my blog's appearance lately, including trimming the gargantuan list of "labels"—you know what "labels" are in the blogging context, right? that list of names and subjects at the end of a post that with a click of the mouse will connect you with every other post I've written on that subject.
When the number of labels reached 500, I thought, this is ridiculous, especially since there are better ways to search this blog for past posts—either the "search this blog" gadget at the top of the right hand column; or you can scroll down just beneath that, and click on the "here" link under "What are the Katie-Bar-The-Door Awards" or the "Silent Oscars" link under the heading, wait for it, The Silent Oscars, after which you can click on any highlighted link and go to the post about that person or movie.
You can still click a "label" at the end of a post to see what else I've written on a subject, but the list of labels on the right hand side of the page will no longer be six feet long. So long and God speed, boys.
But because I am a compulsive fussbudget, and because my essay about Buster Keaton is nowhere near ready, I thought before this information disappears forever, I would share with you photos of the ten movie personalities I have mentioned the most since I began writing this blog. (Included is a link to my favorite post about that person.)
Starting with number ten:
10. Louise Brooks
9. Cary Grant
8. Anita Page
7. D.W. Griffith (with the Gish sisters)
6. Joan Crawford
5. Greta Garbo
4. Douglas Fairbanks (with Mary Pickford)
3. Buster Keaton
2. The Marx Brothers
1. Charles Chaplin
The only real surprise on the list is Joan Crawford since I haven't actually written about her before. But she made movies with everybody and was willing to say something nasty about all of them so she makes for a great quote to spice up somebody else's entry. Fret not, though—I'll be writing about her at length when I finally get to Mildred Pierce, sometime around the turn of the next century.
Since I'm working my way through the silent era, there's bound to be a lot more Chaplin, Keaton and Douglas Fairbanks on the horizon. But eventually I'll return to the sound era and, assuming I live long enough, Cary Grant will surge to the top of the list. Something to look forward to.
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