Reviews

For more than two decades I have been a journalist, with extensive experience writing about historic Hollywood. Along the way, I have read much about this movie: about how horrible it was, the critical reception (quite unpleasant), how it ruined careers, etc.

Last night I finally had the chance to see the beautifully restored version on Turner Classic Movies.

I cannot speak for the world of 1921 (being much too young, of course), but this movie must rank up there with one of the top ten films of the silent era. The acting, while not perfect, exhibits little of the hamminess and showiness that earmarks the typical 1920s silent. Nazimova is spectacular in her performance of the dying woman of ill repute. The design elements are tremendous -- especially considering how unique they were in their time. Beautifully realized sets, costumes, props, etc.

Other versions of this movie have been made before and since, but this version far outweighs the more familiar version with GG (next to whose photograph the word "hamminess" appears in the dictionary).

The only downside to this otherwise marvelous film is the appearance by Valentino -- whose popularity must have been a product of the times, as I still cannot fathom how he ever got more than a bit part in a Hollywood film.

Of special note are the French flashbacks that pop up throughout the film. They bring a special poignance to the finale that is especially touching.

Cineasts jaded and cynical as I might be surprised by the enjoyable nature of this recently restored silent film -- the decision to watch spurred more by the interest in seeing otherwise forgotten John Bowers whose suicide has punctuated many a Hollywood allegory. Imagine my thrill, then, at seeing an overlooked treasure that, while certainly not a classic, demonstrates many of the long unappreciated qualities of early filmmaking.

Filled as it is with the wild gesticulations, grimaces and posturing that define early films, "Doone" also has excellent direction, a swift pace that only occasionally lags, and good performances by the cast. One can easily understand Bowers' rapid rise to fame (making his suicide all the more difficult to understand) with his brooding presence and oddly-handsome face that stands antithetical to the "pretty boys" who were his contemporaries.

If one can overlook the oddities in this film that are a natural part of such early films (the overuse of makeup, the odd lapses in continuity) "Lorna Doone" will certainly hold one's interest as a seldom seem tale that deserves more attention than it has received.

Although this 1930 film is clunky and fraught with (what we now know to be) film cliches, it is worth seeing -- if only for the outstanding performance of one-time silent-film great Blanche Sweet. Without realizing who it was, I kept marveling at her poignant, true portrayal of a washed up silent screen star (clearly, almost autobiographical). What a brilliant choice to cast her. Imagine my surprise after the film when we rewound to the credits!

A fine, unjustly overlooked gem of early filmmaking (that has songs, to boot).