The silent era never ceases to amaze in one way or another. The vast trove of early cinema that has been lost is a tragedy - and efforts to restore other films, so that they may survive, are truly remarkable. So it is, apparently, with 'The glorious lady,' as text preceding the feature relates damage to what may be the only remaining print - and as one begins watching, the dire severity of the corruption is plainly evident. Deeply unfortunate as it is, though, this can hardly be said to dampen one's enjoyment. The same can't necessarily be said of the regrettably stilted plot development as the story commences. Early exposition, the introduction of characters and background, greets us with veritable walls of intertitles, among which are interspersed brief shots with sparse activity. True, this facet gradually diminishes, and moreover, it's an indelicacy that to an extent comes with the territory of silent pictures. (Though others even among and preceding this one's contemporaries nonetheless managed to be more natural and fluid in their progression.) Even with that in mind, however, this movie is still quite worth checking out - for its place in cultural history, yet also most assuredly on its own merits.
The story isn't particularly extraordinary, playing with timeless themes - love, tragedy, dastardly scheming, betrayal - yet is satisfying all the same in its rendition. Curt and brusque though the narrative advancement may be, scenes are written well such as they are, and George Irving's direction seems capable in orchestrating each passing moment and guiding his cast. Character writing folds in neatly with the screenplay generally - not revelatory, but well considered. Each role is devised with specific personalities to serve the tale, yet there is enough room within each for the cast to explore their parts. This is true despite the constraints of the editing and structure that would seem to undercut their performances. Perhaps owing to one factor or another, not every display is equal, but Huntley Gordon and "Mrs. Henry Clive" embody delightful smarm as Lord Chettington and Hilda Neuman. Matt Moore, as The Duke of Loame, is maybe a little less even in his portrayal, as some instances seem to be marked with underwhelming heart or overacting exuberance, but on the balance he comes across as suitable. Whatever the quality of the acting otherwise, however, star Olive Thomas definitely outshines her costars. This isn't to denigrate her fellows, but I reckon Thomas to illustrate admirable nuanced range as protagonist Ivis, and otherwise skills denoting her as a super leading lady. Her casting here, front and center, was no mistake, and it's a joy to watch her.
For all that - 'The glorious lady' is a little curious. It sometimes carries the distinct feeling of being forced and contrived in its storytelling. For one example, to paraphrase a few successive intertitles: "What did you want to tell me?" "I can't..." "You must!" Another example, the unconvincing ease with which some characters demonstrate a change of heart. And again, the slightly staggered plot development also doesn't help to alleviate the touch-and-go sense of artifice. Moreover, there's no mistaking that the title is built on old-fashioned values - the type that upholds the maintenance of lineage to be paramount, and the utmost duty of married women, and the failure or inability to do so as a terrible tragedy. Still, despite it all - for whatever inelegance or shortcomings there may be here in one form or another, this is honestly quite charming, and enjoyable. Only the first two-fifths (the first two reels, accordingly) are marked with obvious substantial loss of integrity, and difficulties of plot development are largely smoothed out as the abbreviated length progresses. The film rather becomes engrossing leading into the climax, Irving has a keen eye for some fine shots, and I appreciate the attentive consideration for details like costume design, and set design and decoration.
One hardly wishes for it to overshadow the worth of the feature itself, but one would also be remiss not to observe that 'The glorious lady' is one of Thomas' few surviving films. Sincerely - in light of that fact, it's especially deserving of viewership. Would that she had not died so young; I see great skill in what we have of her performances, and I would so like for there to have been more. Alas.
It's not perfect; I begrudge no one who engages with the film and finds it a lesser movie than I do. Rough as the structure is at the start, my expectations dipped, and I admit I was pleasantly surprised at the growing turnaround. Ultimately, faults and all, I very much like 'The glorious lady.' One perhaps needn't go out of their way to find it, but it's a slice of cinema history - and a small monument to a promising career cut short - that's absolutely worth watching if one has the opportunity.
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