Film Review: Charley's Aunt

"Charley's Aunt"
  *** (out of ****)

Happy Birthday Jack!

Jack Benny's no lady in the 20th Century Fox romantic farce, "Charley's Aunt" (1941).

No less than the fourth screen adaptation (at the time) of Brandon Thomas' highly distinguished 1892 stage play, of the same title, this version, directed by Archie Mayo, may be the best known and most widely seen version to American audiences.

Although he started in vaudeville in 1911, Jack Benny achieved his greatest fame on radio (in the 1930s) and later on television (in the 50s). Movies however rarely showed him at his comedic best. According to Benny it was because he needed to feed off of an audience for his timing.

In many of his earliest movie roles, he played a variation of himself or was cast in a supporting role as comic relief. Many of the movies played off of the persona he had portrayed on his radio program, that of an egotistical (he always claimed to be 39) cheap man, that fancied himself a great violinist. He was usually the anchor surrounded by a cast of characters even more eccentric than him. Two highlights during this period are "Buck Benny Rides Again" (1940) and "Love Thy Neighbor" (1940), a comedy meant to capitalize on his "feud" with fellow radio comedian, Fred Allen.

"Charley's Aunt" is believed to have been a turning point in his movie career, which unfortunately was nearing its end. Here Benny was given first rate material and allowed to play a character. His next film role would take things a step further in Ernst Lubitsch's "To Be or Not To Be" (1942), generally considered the finest film Benny appeared in.

Benny plays "Babbs" Babberley, a student at Oxford in 1890 England. He is in his 10th year of study and may be expelled after hitting Mr. Redcliff (Reginald Owen), the head of the University, on the head with a ball during a game of cricket and accidentally ringing the university's fire bell. If Babbs can provide witnesses to collaborate his innocence, Redcliff will reverse his decision.

For witnesses Babbs turns to his two best friends; Jack (James Ellison) and Charley (Richard Haydn). They will agree to help Babbs if he agrees to impersonate Charley's aunt, Donna Lucia d'Alvadorez (Kay Francis), who is detained in London and was supposed to serve as a chaperone, so Jack and Charley can spend their with their girlfriends; Amy (Anne Baxter) and Kitty (Arleen Whelan).

And so the comedy chaos begins as Babbs reluctantly agrees to Jack and Charley's demands. Which leads to a wild farce with Babbs having to fight off two male suitors; Jack's own father, Francis (Laird Cregar), who has fallen on hard financial times, and is looking for a marriage of convenience. The real Donna Lucia is a Brazilian millionairess. As well as Amy's guardian and uncle, Stephen (Edmund Gwenn).

The screenplay, adapted by George Seaton, who was behind "The Meanest Man in the World" (1943), also with Jack Benny, initially finds a lot of its humor in differences between Americans and Brits. The movie begins with a cricket game where the score is 88 to 12, those watching the game comment on how close the score is, which to American ears doesn't make a lot of sense. There are also jokes regarding the very casual attitude of the audience, as nothing seems to take them away from their tea, even the suggestion of a fire. Or the difference between "Smith" and "Smythe".

Because Babbs is dressed as a woman, the movie also plays around with themes of gender and sexuality. Babbs deliberately takes advantage of being dressed as a woman when Amy and Kitty are concerned and often gives them friendly kisses, on the lips, to the outrage of Charley and Jack. Since Babbs is a man he really relishes kissing the girls. Of course, to unsuspecting eyes, we are seeing three women kissing each other passionately. But the movie is mostly a commentary on Victorian morals. 

Due to this being a farce it may be the broadest, fastest movie Jack Benny ever appeared in. He spends the majority of the movie in drag, which is kind of strange to see Benny in. That wasn't his style. Milton Berle.Yes. But not Jack Benny. Still, Benny is a good fit for the role. There is a sense of enthusiasm for this material on Benny's part. It may explain why he said this was one of his favorites of his own movies.

Besides Benny's fine comedic performance, the supporting cast is equally effective, especially Edmund Gwenn and Kay Francis. Unfortunately, there really isn't much for Anne Baxter. This was only her third on-screen appearance.

"Charley's Aunt" is a fun, fast-paced comedy featuring a strong performance from Jack Benny with a good supporting cast. It doesn't get enough credit from movie fans but "Charley's Aunt" is worth watching and should be considered among Benny's best movie roles.

Film Review: My Fair Lady

"My Fair Lady"
****  (out of ****)

My feeling towards the movie musical has always been the songs are more important than the plot. I will sit and watch and enjoy a musical with a mechanical plot just as long as the songs are thoroughly enjoyable. "My Fair Lady" (1964) takes steps a bit further. It actually has a good plot and knockout of a musical score.

First, let us dispense with the boring formalities. The movie was an adaptation of George Bernard Shaw's 1913 stage play, Pygmalion, which itself was adapted into a 1938 British movie, of the same title, starring Leslie Howard and Wendy Hiller. The story was then turned into a musical, "My Fair Lady", in 1956 and hit the Broadway stage with a score by Alan Jay Lerner and Frederick Loewe. The original production starred Rex Harrison and Julie Andrews. To this day there are those that claim it was an injustice Julie Andrews wasn't given the opportunity to reprise the role on film. The story goes, Jack Warner didn't want Andrews because she lacked box-office appeal. And yes, Audrey Hepburn does not sing in the movie. Her voice was dubbed by Marni Nixon, the same woman that dubbed for Natalie Woods in "West Side Story" (1961).

Shaw's story and the 1938 movie, are something of a satire on the British class system and the concept of social mobility. The 1938 movie wasn't particularly romantic to me nor did I find it to be a great satire. To judge or compare "My Fair Lady" against the 38 version, much is the same, however there is a greater emphasis on romance here. The addition of songs are not meant to promote the social satire presented in the story but rather are romantic in nature. Take for example the tune "I've Grown Accustomed To Her Face" with lyrics, "I've Grown Accustomed To Her Face / She Almost Makes The Day Begin / I've Grown Accustomed To The Tune / She Whistles Night And Noon".

Professor Henry Higgins (Rex Harrison) studies phonetics and has the ability, with almost pinpoint accuracy, to determine where a person was born based on their accent. This leads him to meet a lowly flower girl, Eliza Doolittle (Audrey Hepburn). He has been following her, writing down everything she says, as part of his studies. During this meeting he claims to be so good at what he does that he bets a fellow phonetics scholar, Colonel Pickering (Wilfrid Hyde-White), who has traveled from India to meet Prof. Higgins, that he could present Eliza at a ball as a duchess, after a few months of training. Dreaming of a better life for herself, Eliza takes him up on his hypothetical offer.

While this sets in motion what could be considered a routine plot. You really should know how events will end between Higgins and Eliza. The two most interesting characters then aren't Higgins and Eliza. Even though this is a love story, the two most interesting characters, and the two that really advance the social message, are Higgins and Eliza's father, Alfred (Stanley Holloway). That was true in the 1938 movie and here again. It may be a minor point but you could look at these two characters as opposite sides of the same coin. With these characters you could say the movie is about men and their feelings towards marriage. Compare and contrast two songs. Higgins sings "I'm An Ordinary Man" with lyrics "Let A Woman In Your Life / And Your Serenity Is Through / She'll Redecorate Your Home / From The Cellar To The Dome / And Then Go On To The Enthralling Fun Of Overhauling You". Later in the movie Alfred, also a bachelor, sings "Get Me To The Church On Time" the night before his wedding. Both songs explain a man's dread and fear of letting a woman in their life and their lost of freedom.

The relationship between Higgins and Eliza fits into the old Hollywood template of opposites attract. Higgins, the professor, and Eliza the uneducated woman. Higgins the man of social standing, and Eliza the flower girl. They have nothing in common. Eliza even becomes so irritated with Higgins and his teaching methods that she wishes him dead. A feeling expressed in the song, "Just You Wait". But whatever their differences we know in the end the fate that awaits them.

The difference in social standing, and in turn the effect that has on one's worldview, however is presented directly in the Higgins and Alfred character. When Alfred discovers Eliza is going through with this experiment and will be living with Higgins and Pickering, he sees an opportunity to make some money. When you are poor and in need of the material things, one must take advantage of every opportunity. Even if that means "selling" your daughter. Alfred asks Higgins for five pounds for Eliza to stay with him. Alfred has some of the best dialogue in the movie and speaks of "middle-class morality" and refers to himself as the "undeserving poor". A definite commentary on how we view the poor even today. Why can't these people get a job!? They don't want to work.  All they want is a handout...ect.

The songs and their romanticism "interfere" with the social commentary and stops "My Fair Lady" from making greater social points. But, I felt the 1938 version didn't go far enough either and that didn't have songs. The music here transforms the material into a love story. It wouldn't be difficult to believe someone would only look at "My Fair Lady" as such and never acknowledge any social or economic interpretation. The songs distract us as we hum along.

This may be why Lowe and Lerner ran into obstacles trying to adapt Pygmalion into a musical in the first place. Shaw's story isn't really a love story. In movie terms there isn't even a villain, another man fighting for Eliza's affection, competing against Higgins. Yes, there is the character Freddy (Jeremy Brett), who sings  "On The Street Where You  Live", but, he is not presented as a threat at all. The closet thing to a villain is Zoltan Karpathy (Theodore Bikel), a former Hungarian student of Higgins, who has taken Higgins' methods, and uses them to bribe impostors of high social standing. He will be present at the ball Eliza is to attend. 

Yet, despite the complications in adapting material like this into a musical, the movie succeeds on its own terms. It is an entertaining, rewarding experience. Yes, the songs are great, but so too are the performances given by Harrison, Hepburn, Holloway and Hyde-White. At times the movie has a carefree attitude which allows for a lot of humor. A great example is the Ascot Gavotte number. And listen to the banter between Higgins and Pickering.

"My Fair Lady" was directed by the great George Cukor, who won his only best director Oscar for this movie. It was his fifth and final nomination. Cukor was an incredibly distinguished filmmaker whose credits include "Dinner at Eight" (1933), "Little Women" (1933), "The Philadelphia Story" (1940) and "Adam's Rib" (1949). He was given the nickname a "woman's director" due to the fine performances actresses gave under this direction. Oddly enough, of the 12 Academy Award nominations the movie received, the category it wasn't nominated in was best actress. Even Gladys Cooper, who plays Higgins' mother, was nominated in a throwaway role (!). 

Whenever I personally think of the "golden age" of Hollywood musicals, I think of movies starring Fred Astaire and Ginger Rogers (together and separately), Dick Powell, Ruby Keeler, George Murphy and Eleanor Powell. Movies with a musical score by Cole Porter, George and Ira Gershwin, or Irving Berlin. But, I believe to the general public, some of the most beloved movie musicals include "Singin' in the Rain" (1952), "West Side Story", and any Rodgers and Hammerstein musical of the 1950s. All made after the period I regard as the golden age and yet these movies have stood the test of time too. They have songs that have become standards of the American songbook. Even I must admit some rank among my favorite musicals. And I'm a guy that considers "Top Hat" (1935) to be one of his favorite movies of all-time.

While no one can deny the popularity of the score to "My Fair Lady", I do wonder though, do audiences still acknowledge this movie a masterpiece? Has some of the shine worn off since it won eight Academy Awards in 1965, including best picture? Do you really hear people talk about it anymore? Do people watch it repeatedly? I do. I own it on DVD. But, am I a dying breed? No one, in recent memory, has brought the movie up in conversation with me. Would a movie like this win a best picture Oscar today? I don't know but wouldn't it be loverly if it did?

Film Review: Girl Shy

"Girl Shy"  *** 1\2  (out of ****)

Don't be "shy" about enjoying a Harold Lloyd comedy!

"When I adopted the glasses, it more or less, put me in a different category" says Harold Lloyd "because I became a human being. He was a kid you would meet next door or across the street." The believable quality of his character mixed with the "boy next door" physical appearance would add to the romance aspects of plots, according to Lloyd. That theory was put to the test in "Girl Shy" (1924).

By 1924 Harold Lloyd had appeared in approximately 200 two-reelers. He had created two characters; Willie Work and Lonesome Luke, which by Lloyd's own admission, owed certain characteristics to Charlie Chaplin's  "Little Tramp" character. In 1917 Lloyd changed his screen appearance to create a character that became known as "glasses". It was the character he would play for the rest of his movie career, which ended with 1947's Preston Sturges comedy, "The Sin of Harold Diddlebock", a kind of sequel to Lloyd's "The Freshman" (1925).

The glasses character was defined as having an all-American boy appeal. He was a  go getter. He went to great heights (even climbing atop of buildings) to get the girl of his dreams and make a name for himself. He was associated with "thrill comedies". The most popular of these is "Safety Last" (1923), which features the iconic image of Lloyd climbing up the side of a building, holding onto the hands of a clock. Because his movies did not air on television, the public forgot the name Harold Lloyd and he was given the nickname "The Third Genius", coming behind Charlie Chaplin and Buster Keaton in terms of popularity of silent screen comedians.

"Girl Shy" tries to be something different than the two-reelers and thrill comedies Lloyd had appeared in. Those comedies were about the jokes. Terrific gags assembled together at the sacrifice of an involving plot with character development. Lloyd wanted to create a comedy with a bit more heart. It was something he had attempted in "Grandma's Boy" (1922) and again here. For me, the result is nearly an equal success compared to "Grandma's Boy" with "Girl Shy" nicely fitting into the cannon of Lloyd comedies, as a continuation of the glasses character.

Lloyd plays Harold Meadows, a boy from a small town, who works at his uncle's tailor shop. He is deathly afraid of women and finds himself unable to speak to them, which has caused him to develop a stuttering problem. However, Harold has been diligently writing a novel, The Secret of Making Love, a tell-all book based on his own love affairs. It is meant to serve as a "how to" for young men to learn the art of picking up women and the various "types" they will encounter.

This scenario allows for commentary on two issues. One, the role of the authority figures and advice columns (a la Dear Abby). Who are these people? What makes them authorities? Why should we trust their opinions on love, marriage and dating? Secondly, and more relatable in today's social media world, our perception of ourselves. The world sees us one way and we try to create another persona of ourselves to reflect the person we wish we were. Harold can't speak to women without stuttering yet he is writing a book about his numerous (non-existent) love affairs.

It allows the movie to get some laughs as we see chapters from Harold's book. One concentrates on his approach to picking up a vamp. It plays as a spoof of Theda Bara movies with Harold showing complete indifference to the woman. The more she throws herself at him, the less interested he seems. At one point she pulls out a dagger, threatening to kill herself if Harold leaves. Without missing a beat, Harold takes the dagger from her hand and offers her a sword.

The message behind "Girl Shy" is the sentimental, romantic cliche, the best way to pick-up women is by being yourself. Harold's book, from what we can gather, provides various techniques to use on different women but none of them, we assume, involves just being yourself. Of course, in pure movie fashion, it is when he is being himself that he meets the girl of his dreams, Mary Buckingham (Jobyna Ralston, who appeared in several Lloyd comedies).

Mary comes from a wealthy family and is being pursued by Ronald DeVore (Carlton Griffin, "the kind of a man that men forget"), who has already proposed marriage several times. This leads to another cliche in romantic comedies, where the woman is given two suitors, one wealthy and one poor. Giving us that age old question, should we marry for love or money? You can guess the answer Hollywood has given us movie after movie.

Despite wanting to add more warmth to its story with romantic scenes, "Girl Shy" still has plenty of good visual gags and a great "meet cute" sequence when Harold and Mary meet on a train. No pets are allowed and Mary doesn't want to part with her dog. Harold, already attracted to Mary, goes to creative lengths to help Mary hide her dog from the train's ticket taker.

However, the impulse to stray away from the "thrill comedy" may have been too strong for Lloyd as the movie ends with a near 20 minute chase sequence with Harold desperately trying to reach Mary. Some believe it is not only one of Lloyd's best chases but one of the all-time great comedy chase sequences. I cannot make such as statement as Buster Keaton created a couple of doozies in "Sherlock, Jr." (1924) and "Seven Chances" (1925).

The chase sequence feels a little out of place for me and inconsistent with the tone the movie had established. Yes, there are laughs, but because of this chase and the amount of time devoted to it, I  feel we don't get a satisfactory conclusion to some of the sub-plots. The "villain" of the story doesn't properly get his comeuppance. A female character, introduced late in the movie, doesn't have a satisfactory end to her story either.

Co-directing credit is given to Fred C. Newmeyer, who had directed a number of Lloyd's two-reelers and a couple for feature length comedies, including "The Freshman" (1925). He also directed another forgotten comedian, Larry Semon in "The Perfect Clown" (1925). And, Sam Taylor, who was also associated with many Lloyd comedies. Taylor though would direct some serious movies such as "Tempest" (1928) with John Barrymore and "Coquette" (1929) with Mary Pickford, giving an Oscar winning performance.

"Girl Shy" is an effective character driven comedy with a heart. Lloyd and Ralston make a believable couple displaying great chemistry. Watching a comedy like "Girl Shy" shows you how instrumental Harold Lloyd was to the development of the romantic comedy as we know it. You can see "Girl Shy"'s fingerprints on a lot of today's so-called comedies.

Film Review: Lonesome

"Lonesome"
*** 1\2 (out of ****)

They are two lonely people, living in a big city. They each deal with the daily struggles of life, caught up in the meaningless rituals of the day; get dressed for work, ride the train...ect.

It is not a fulfilling life however. How can you be constantly surrounded by people yet feel alone? They both want to find love. Love will give their life meaning. Having someone by their side, as they take on the world, will bring joy to them.

The boy's name is Jim (Glenn Tryon) and the girl is Mary (Barbara Kent). They are you. Don't deny it. You've been in their shoes. Maybe you still are. The search for love is all consuming. Oh, I know, you are an independent person. You say you don't need someone in your life to be happy. Blah, blah, blah. You have your moments. Those moments when your head hits the pillow and you wish someone else was in the bed. You may not say it out loud (you have too much pride), but, the thought has crossed your mind.

This is "Lonesome" (1928), the rarely seen, imaginative, melodramatic, romantic, surreal, gem of a love story. It is simplistic in its plot but rich in every other detail. Its simplicity in fact is what makes it so enjoyable. It is about ordinary people and finds magic in their simple lives.

Our story takes place on a scorching summer day, July 3rd. Everyone is getting ready to celebrate the holiday after work. That is everyone but Jim and Mary. Their friends all have dates and plan to do fun couple activities. Neither wants to tag along and be a third wheel. So, they each go back to their apartments. They sulk. They try to cool off. Try to take their mind off of their loneliness. Listen to music? Play cards? Read a magazine? Suddenly uptempo music is heard from the street. A jazz band is playing advertising festivities going on at the beach. The beach! That could be fun. And so Jim and Mary get ready to go to the beach.

Jim and Mary both catch the same bus that will take them to the beach. Mary doesn't notice Jim, as she sits next to a man that gets a bit "fresh" with her, but Jim notices Mary. He is going to make his move at the beach. He takes a rather dumb approach, pretending to be a millionaire - he decided to go to the beach instead of spending time on his yacht. She spins her own yarn too. But, something is happening between them. Better to be honest, just in case this is the real deal.

After their time in the sun and sand the two hit the rides at Coney Island's amusement park. Through some unfortunate events on one of the roller coasters, Jim and Mary get separated. Neither knows the other's last name or where they live, despite dreaming about future plans together. Can they find each other in the hustle and bustle of the crowd? Will they go back to being two lonely souls in the big city?

"Lonesome" was directed by Pal Fejos (credited as Paul Fejos), a Hungarian filmmaker who found his way to America in the 1920s. His life would make quite the movie. He started out studying medicine and after World War I began making films in Budapest. After only staying in Hollywood for a few years, he left for Paris, went back to Hungary and then to Austria and Denmark. Eventually he stopped making films altogether to work in anthropology back in America.

Fejos' films aren't readily available for American audiences. Of the few Americans can see, "Lonesome" is generally considered the best. The sad part is not many have seen the movie, even though it has been put on DVD and blu-ray as part of the Criterion Collection.

That audiences are able to see "Lonesome" at all is something of a cinematic miracle. After its release, the movie was rarely seen or heard of again. Some believed it was a "lost movie", Fejos first American movie, "The Last Moment" (1927) is lost. As they say, please check your attic. "Lonesome" was rediscovered and restored in the 1980s. The Criterion blu-ray (which I own) does not have a crisp and clear imagine. It is rather grainy. But, again, to be able to see the movie at all is a pleasure.

The movie was originally intended as a silent movie but with the success of "talkies" sound was added to the picture with three dialogue scenes included. These scenes are out of place. Two of them are set on the beach. In the first one, Jim and Mary speak their first words to each other. Whether it was done for artistic reasons or because of equipment issues, only their voices are heard. There is no background noise despite seeing the crowd on the beach. Yet, the scene works. It is as if the rest of the world doesn't exist. They have each blocked out all sound. All that matters in this moment is each other. The other scene takes place as the beach closes. It is supposed to be night. We have gone from the actual location of a beach to a sound studio. The background is pitch black with only the two characters. It creates a surreal effect, intentional or not. It is as if it is all a dream. It has a charming quality to it.

If there is a downfall to the film it is the dialogue and, at times, acting. While both Barbara Kent and Glenn Tryon have likeable on-screen personalities, and Kent a sweet smile and innocent quality, they seem to be giving performances and don't have the necessary chemistry between them to make you think they really are in love. The dialogue on the other hand just sounds flat out phony. But, because dialogue was new to the medium, viewers can be a bit forgiving. It is the visuals that steal the show.

Interestingly "Lonesome" was released the same year as King Vidor's "The Crowd" (1928), a similarly themed movie with lead characters named John and Mary. Is it a coincidence? Both movies try to find poetry in everyday life. Both movies have characters face a hectic, mad world. Both even have scenes take place at Coney Island. Although both movies are worth seeing, "The Crowd" is ever so slightly the more impressive of the two. Also interesting, it is the third movie I can think of, made in 1928, to show a couple on a date at Coney Island; "Lonesome", "The Crowd", and the Harold Lloyd comedy, "Speedy" (1928).

When first released, reviews in the New York Times and Variety were not kind to this movie. They complained about the movie's simplicity and Variety pointed out the dialogue and lack of. Were reviews in 1928 too harsh? Has nostalgia clouded our judgement as modern viewers? Maybe "Lonesome" is just a good movie. 

"Lonesome" works for me because of its characters. Yes, the acting is a bit stiff, but, it is what they represent (the working man and woman) that I find appealing. Fejos understands the daily grind we go through. That are needs are simple. Yes, many talk about wanting great fame and money, but, just sitting next to someone you love can be as exciting. As I say, he finds the magic in our simple lives. I don't know what critics in 1928 were expecting, but, if they couldn't relate to it back than, boy, what does it say that 90 years later its ideas hit home?

Film Review: True Heart Susie

"True Heart Susie"  *** (out of ****)

If you wanna be happy for the rest of your life / Never make a pretty woman your wife / So from my personal point of view / Get an ugly girl to marry you

Lyrics to song "If You Wanna Be Happy" written by Joseph Royster, Carmella Guida and Frank Guida

Lillian Gish follows her heart in D.W. Griffith's "True Heart Susie" (1919).

"True Heart Susie" is a silent dramatic love story following in the footsteps of Griffith's previous film, "Broken Blossoms" (1919), one of the screen's first interracial love stories, which also starred Lillian Gish.

Gish plays Susie, a so-called plain looking girl, who is in love with William (Robert Harron), an attractive, somewhat dim-witted, neighbor. There seems to be an attraction between the two, as they walk home together, though not holding hands but with Susie walking behind William, a perfect visualization of the power dynamic in the relationship. William has to be kind of sweet on Susie as he carves their initials in a tree but can't bring himself to kiss her, even as Susie is all puckered up.

The moral of Griffith's story, told in the opening inter-titles, questions whether men fall for women based on their looks ("the net of paint, powder, and suggestive clothes") or what is inside (their "true heart")? Women, on the other hand, are not given many options, and must idly wait for men and love to come their way. The movie claims to be dedicated to women "and their pitiful hours of waiting for love that never comes".

That sounds like a back handed compliment and one of the problems with Griffith's movie. On one hand it wants to offer a rather progressive message about women and their independence yet on the other hand it engages in all kind of gender stereotypes concerning games women play to attract men and the idea that women "trap" men. The men are presented as clueless simpletons not in touch with their emotions and unable to recognize true love.

So what type of man is William? Is he one that goes after looks or something deeper? In "True Heart Susie" of course, seeking something deeper means going after a "plain girl" (another back handed remark). Only homely looking women have hearts of gold? Susie has hopes William is the kind of man not interested in looks and thus will be interested in her.

Of course, Susie has standards too. She wants to be with an accomplished man. William is not the sharpest tool in the shed. He loses a spelling bee question to Susie, and comes from a poor family. This will make it impossible for him to afford going to college. God may have answered Susie's prayers when a wealthy businessman, wanting to flaunt his wealth, tells William, in his face he sees a great man. He will call William with an employment opportunity.

Unfortunately, this leads to one of many disappointments for Susie. The wealthy businessman never calls William and so it will now be up to Susie to step in and help. Susie decides to sell her dearly beloved cow and mail all the cash to William, pretending to be the businessman, as an offering to pay for his schooling.

A rather obvious issue with "True Heart Susie" is the casting. Lillian Gish was not a flapper. She wasn't a sex symbol. But, to imply she was a "plain girl" is a bit hard to swallow. Gish was as attractive or more attractive than the so-called better looking women in the movie. Which leads to another issue. Does this not contradict Griffith's message of the two camps women fall in? The ones looking to trap men and the plain girls. Because, Susie is just as sneaky, working behind the scenes, trying to "capture" William.

If the viewer can get pass Lillian Gish playing a "plain girl", unnoticed by men, the movie does get one thing right. It understands unrequited love. It reminds me of my high schools years, and to be honest, college too, when I was attracted to women that were "out of my league". There was a lot of wishing and hoping that goes into that scenario and this delusional wishful thinking preoccupies our thoughts. Whether the person is "plain" looking or not doesn't matter. It becomes a universal message. One we can all relate to. We have all been Susie at one time in our life.

Naturally, Susie's scheming will be put to the test, as will William's declaration that men marry plain looking women not flappers. A new woman comes to town, Bettina (Clarine Seymour, who sadly died a year later at age 21). Will she catch William's eye? This is a another universal truth the movie hits on. Never listen to a person describing their "type". While some people may stick to their description, in my experience, others have no clue what they are talking about and end up with people that are the complete opposite of their type.

There are some critics that actually believe "True Heart Susie" is one of Griffith's best films. I personally don't share that view but admit "True Heart Susie" is a well made movie and despite its age, 100 years old, hits on elements of human nature still relatable today. When it comes to matters of love, not much has changed. It has its flaws and seems to contradict its message. It is also rather predictable plot-wise and miscast. And, it leaves one wondering, what does Susie see in William?

But, one has to praise Lillian Gish's performance. She was always a likeable figure on-screen that audiences could relate to. By any standard she was a good actress and an important figure in the history of cinema. She fares much better than Robert Harron, who would also died one year later, from a self-inflicted gun wound. Gish is required to express more of an emotional range, going from moments of comedy to melodrama.

Griffith does some things here I prefer over "Broken Blossoms", which is too melodramatic (this is the movie Gish has lead such a hard life, she doesn't know how to smile) but nothing that can top "Way Down East" (1920), one of his best. Movie lovers should see "True Heart Susie". There is no such thing as exposing yourself to too much D.W. Griffith.

Also, spot Carol Demoster in a bit part. She would go on to replace Gish as Griffith's leading lady. It has even been said she was Griffith's mistress. You can see her in a much bigger role opposite W.C. Fields in Griffith's "Sally of the Sawdust" (1925).