The Big Parade (1925)

Those of you who read this blog faithfully most likely noticed that I did not post a review last week for "The Thief of Bagdad".  I wish I had a more noble excuse for this, but the truth is that I fell asleep numerous times during the film from sheer boredom and consequently felt awkward trying to write a review or response to something I mostly slept through.  :P

The same cannot be said for last night's film, "The Big Parade".  I will admit that this movie was not at all what I expected from the title.  Call me naive, but I rather figured the movie would be about...a parade.  War didn't even enter my imagination.  I knew this was the highest grossing film of the 20s, so I was expected a light-hearted, feel good movie about a parade complete with floats, marching bands, and excited crowds.  Upon further reflection though, there's really not much plot to be had with that kind of setting, is there?

The Big Parade (1925)

The Big Parade tells the story of a rich American boy, Jim Apperson, who goes to war.  Or does it?  The opening goes to some lengths to make clear that he is both rich and idle.  It also introduces two other men - who will become his buddies - one a bartender and the other a gangly construction worker.  The class distinctions here are obvious, so it's noteworthy that the film does nothing further with them.  You might expect some sort of friction to be caused, at least at first, whether dramatic or comical, but there's nothing.  Once they're all packed into their uniforms and sent to France (this is WWI of course), they're all the same.  Which I'm sure is the point.

The Thief of Bagdad (1924)

Finally we've reached the first film on this list that I've seen before, although it's been a long time.  And unfortunately it wasn't quite as good as I remember.  There were few things objectively wrong with it, but it just seemed... a little full of itself.  I thought I remembered a spirited adventure flick, but actually most of The Thief of Bagdad is quite sober and grandiose.  It's an Epic, and a Timeless Classic, with a clearly stated Moral Lesson.  A little too clearly stated, in fact.  Often these things are couched in flowery, period language.  "Happiness Must Be Earned" is so naked and straight-forward it pounds you in the gut like the butt-end of a pike.

The Kid (1921)

I'm going to write a different sort of review this week.  It occurs to me that my past few attempts have basically just been summaries of the films, with little personal reaction.  So this week I'm taking the opposite tack - no summary, and all personal reaction.  That way if you want to see the film, you won't have the whole thing spoiled for you by reading these reviews.  :)

The Kid (1921)

If our previous films flew coach, this one came in first-class leather seats.  The print was so clean and crisp it looked three decades newer.  And 5.1 surround?  In a silent film?  Better to simulate a live orchestra, I suppose, so we went with it.  Only the best for renowned actor Charles Chaplin.  Actor/director Charles Chaplin.  Well, actor/director/producer actually.  And writer.  And editor.  And composer, eventually.  Probably would have cranked the camera too, if he could...

Don't Change Your Husband (1919)

Well, couldn't make it through the 'teens without at least one all-out morality play, could we?  In Don't Change Your Husband, Gloria Swanson (in her star-making role) does exactly that and learns to regret it.  The movie is equal-opportunity however - her husband (the first one) is in many ways the real main character as he must learn to improve his ways in order to win her back.  Perhaps the overall thesis is that all men are scum, but some men are scum down to the soul, while others do genuinely care, and can, to a reasonable extent, be made presentable.  Pretty close to the mark, I have to admit.  This is a morality play, but one that gets considerable mileage - and humor - from modest expectations.

Bonus movie - Sunset Boulevard (1950)

This week we actually watched two movies.  "Don't Change Your Husband" was the official 4th pick for the project, but we decided to throw in "Sunset Boulevard" as a bonus since it ties in so nicely.  It's another Gloria Swanson movie, about an aging silent film star who didn't survive the transition to talkies and has gone insane in her dilapidated Hollywood mansion.

The truly interesting bit about this movie is how many references to real silent film are in it.  Had I seen this movie by itself without the background I've had these past few weeks I don't think I'd have enjoyed it as much.  But since I do have that background, every time some little reference was made I felt like I was privy to a hidden gem of knowledge.  One of my favorite references was a cool prop telephone that we had literally just seen in "Don't Change Your Husband"!  We commented on the phone while watching that movie, so to see it pop up again in this one was just a gleeful little nod to Gloria Swanson's own silent film past.

Don't Change Your Husband (1919)

This was another charming movie; a comedy about the trials and tribulations of married life.  This movie was chosen because it's the first pairing of Gloria Swanson and Cecil B. DeMille, who went on to do at least five movies together during their respective careers.  In this movie, Swanson plays an unhappy wife named Leila.  She's married to a slob (James Porter) who's addicted to onions and goes to sleep each night with a lit cigar in his hand.  She grows increasingly annoyed with his slovenly ways but never says anything about it except in snide little complaints.