The Tresspasser (1929) :
Brief Review -
Gloria Swanson's Talkie debut is problematic but not a passable flick. Perhaps, her only Sound film to remember after "Sunset Boulevard". Gloria Swanson's stardom was at its peak during the 1920s decade. Most of her silent features by the mid-20s were hits and received well. She began to lose something by the end of the 30s, possibly due to the new girls' arrivals after 1925 (not taking any names to avoid competition). The Treespasser makes a watchable romantic melodrama, but one cannot overlook the misled plot or, better said, conflicts. Marion elopes with her boyfriend, Jack Merrick, a wealthy businessman. He is not ready to quit his father's property, despite his refusals to their marriage, and then Marion, high on self-respect, leaves him. She gives birth to his child and lives with her employer as his "kept woman". As expected, Marion and Jack meet again after 3 years when Marion wants her son to have the protection of his father, and all of a sudden, they both rekindle their lost love. That part was too dramatic and unacceptable. I lost half the interest in the film there, but then it had some good things, dramatic I mean, planned for the climax and ended up being a watchable melodramatic pulp. The film was released in both sound and silent versions, and you can notice the irregular lip sync and mismatched dialogues caused by it. Swanson looked convincing with those first-time dialogues, but I couldn't convince myself to like her character. The same goes for Robert Ames, because none of them play an intelligent part. Well, you can say who wants love to be intelligent. That's right too. I have seen many of Edmund Goulding's films from the 30s and 40s, so I don't think this film can end anywhere in my top 10 list. But, yes, it can be watched to get to know contemporary cinema, especially the earliest days of sound cinema.
RATING - 6/10*
Gloria Swanson's Talkie debut is problematic but not a passable flick. Perhaps, her only Sound film to remember after "Sunset Boulevard". Gloria Swanson's stardom was at its peak during the 1920s decade. Most of her silent features by the mid-20s were hits and received well. She began to lose something by the end of the 30s, possibly due to the new girls' arrivals after 1925 (not taking any names to avoid competition). The Treespasser makes a watchable romantic melodrama, but one cannot overlook the misled plot or, better said, conflicts. Marion elopes with her boyfriend, Jack Merrick, a wealthy businessman. He is not ready to quit his father's property, despite his refusals to their marriage, and then Marion, high on self-respect, leaves him. She gives birth to his child and lives with her employer as his "kept woman". As expected, Marion and Jack meet again after 3 years when Marion wants her son to have the protection of his father, and all of a sudden, they both rekindle their lost love. That part was too dramatic and unacceptable. I lost half the interest in the film there, but then it had some good things, dramatic I mean, planned for the climax and ended up being a watchable melodramatic pulp. The film was released in both sound and silent versions, and you can notice the irregular lip sync and mismatched dialogues caused by it. Swanson looked convincing with those first-time dialogues, but I couldn't convince myself to like her character. The same goes for Robert Ames, because none of them play an intelligent part. Well, you can say who wants love to be intelligent. That's right too. I have seen many of Edmund Goulding's films from the 30s and 40s, so I don't think this film can end anywhere in my top 10 list. But, yes, it can be watched to get to know contemporary cinema, especially the earliest days of sound cinema.
RATING - 6/10*