Forget for a moment that this was made in 1929 and logically shouldn't be this good. It's a thoroughly engaging gritty drama beautifully capturing the atmosphere of New York before even the Empire State Building was built. Helen Morgan, a big musical star of the 20s plays a fading star in the seediest of seedy vaudeville clubs. Her character, Kitty lives in a world of denial and tries her best to be oblivious to how terrible her life has become. The one glimmer of light in her life is her daughter in whom she vicariously invests all her love and hope for a life better than hers.
A similar story was used in STELLA DALLAS nearly a decade later but this a a much grittier, graphic, less sentimental and realistic rendition of that story. Even without that gooey sentimentality which spoils Barbara Stanwyck's film, this picture, with real, believable people engenders in you so much more emotion and pulls you deep into Kitty's murky quagmire. It's a world so real that it leaves a taste in your mouth hours after watching it. An excellent example of a movie being your own personal time machine
This film has two great assets. The first is Helen Morgan. She clearly drew inspiration for this role from her own life which sadly mirrored that of Kitty. There's a song by Genesis called 'Duchess' : ...And then there was the time that she performed, when nobody called for more... that kind of sums up the sad life not just of Kitty but of Helen Morgan herself. She gives one of the most natural and authentic performances you'll ever see in any 1930s pictures.
The other obvious superstar here is director Rouben Mamoulian. If you've watched any films from this era you might expect static camerawork, wooden acting and people just taking it turn slowly enunciating their lines whilst standing still in just one or two sets. This is the total opposite. I can confidently say that this is the only film you will ever watch from 1929 which you will enjoy as much as anything made years later. Incredibly, this was his first picture - he was an absolute genius. Unlike most directors who's response to the coming of sound was to forget how to make movies, Mamoulian embraced sound making it part of his rich tapestry. By 1929, many silent films had evolved into spectacular, sumptuous beautifully acted works of art. Sound turned most films into turgid stagey tedium but Mamoulian, being new to movies wasn't inhibited whatsoever by the arrival of the microphone. His film simply adds that extra layer of sound, voices, effects, even a musical score to a spectacularly impressive visual work of genius.
Although I can't stop gushing about how technically brilliant and (relatively) modern this picture is, don't just think it's interesting as academic study. It honestly is thoroughly entertaining. It's not just something to watch because it was made in 1929, you should watch this because it's a great film.
A similar story was used in STELLA DALLAS nearly a decade later but this a a much grittier, graphic, less sentimental and realistic rendition of that story. Even without that gooey sentimentality which spoils Barbara Stanwyck's film, this picture, with real, believable people engenders in you so much more emotion and pulls you deep into Kitty's murky quagmire. It's a world so real that it leaves a taste in your mouth hours after watching it. An excellent example of a movie being your own personal time machine
This film has two great assets. The first is Helen Morgan. She clearly drew inspiration for this role from her own life which sadly mirrored that of Kitty. There's a song by Genesis called 'Duchess' : ...And then there was the time that she performed, when nobody called for more... that kind of sums up the sad life not just of Kitty but of Helen Morgan herself. She gives one of the most natural and authentic performances you'll ever see in any 1930s pictures.
The other obvious superstar here is director Rouben Mamoulian. If you've watched any films from this era you might expect static camerawork, wooden acting and people just taking it turn slowly enunciating their lines whilst standing still in just one or two sets. This is the total opposite. I can confidently say that this is the only film you will ever watch from 1929 which you will enjoy as much as anything made years later. Incredibly, this was his first picture - he was an absolute genius. Unlike most directors who's response to the coming of sound was to forget how to make movies, Mamoulian embraced sound making it part of his rich tapestry. By 1929, many silent films had evolved into spectacular, sumptuous beautifully acted works of art. Sound turned most films into turgid stagey tedium but Mamoulian, being new to movies wasn't inhibited whatsoever by the arrival of the microphone. His film simply adds that extra layer of sound, voices, effects, even a musical score to a spectacularly impressive visual work of genius.
Although I can't stop gushing about how technically brilliant and (relatively) modern this picture is, don't just think it's interesting as academic study. It honestly is thoroughly entertaining. It's not just something to watch because it was made in 1929, you should watch this because it's a great film.