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Broadway After Dark (1924)

A brash young man-about-town is attracted to a Broadway actress, but her flirtatious ways turn him off and make him want to change his life. He takes a room in a quite boarding-house that ... See full summary »





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Cast overview, first billed only:
Rose Dulane
Helen Tremaine
Edmund Burns ...
Jack Devlin
Lenore Vance
Vera Lewis ...
Mrs. Smith
Slim Scott
Carl Fisher
James Quinn ...
Ed Fisher (as Jimmy Quinn)
Edgar Norton ...
The Old Actor
Gladys Tennyson ...
Ethel Browning ...
The Chorus Girl (as Ethel Miller)
Otto Hoffman ...
Norton's Valet
Lew Harvey ...
Tom Devery
Michael Dark ...
George Vance


A brash young man-about-town is attracted to a Broadway actress, but her flirtatious ways turn him off and make him want to change his life. He takes a room in a quite boarding-house that caters to theatrical people. He soon meets Rose, a working girl who has just been fired because of a previous jail sentence, and decides to help her. Written by

Plot Summary | Add Synopsis







Release Date:

31 May 1924 (USA)  »

Also Known As:

Broadway ved Nat  »

Company Credits

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Technical Specs


Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?


The film is presumed lost. See more »

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User Reviews

Broadway After Dark (1924) -- Lost Silent Film
14 July 2015 | by (Canada) – See all my reviews

Sadly this society/drama produced by Warner Brothers Pictures, is now a lost film.

THE SCREEN - May 20, 1924 - "Broadway After Dark," which is at the Rivoli this week, is a pseudo-melodrama lightened with stretches of really good comedy. It was adapted from a play by Owen Davis. The story is of the old variety, but the picture has been so skillfully handled, especially in the injection of funny situations, that one forgets to grieve at the heroine's plight. We venture to say that it is a production which will be immensely enjoyed.

Mr. Menjou's role is not intensely heroic, and therefore as might be expected he employees the same facial expressions in this new part as he did in his previous portrayals. He is tamer, but just as nonchalant, and the director has made the most of the Menjou mannerisms in many of the scenes.

As the narrative is supposed to have something to do with Broadway, one sees flashes of a half dozen theatrical celebrities, including Mary Eaton and Irene Castle.

The story tells of Ralph Norton (Mr. Menjou), who was born with a diamond-studded, platinum spoon in his mouth, tiring of Broadway life when his heart's delight becomes interested in another man. He therefore seeks interest in a West Forty-Seventh Street theatrical boarding house. In one humorous scene one observes the varied histrionic types eager for their morning tub. All are disappointed, as they stealthily open the doors of their respective rooms and see the bathroom door closed. Norton, ignorant of the custom of such places, emerges from his room and goes straight to the bathroom, opens the door and—finds it empty. The irritation on the faces of the other boarders is indeed comic. The director then cuts to a scene showing Norton's valet enjoying himself in his master's tub, reading a newspaper, with a glass of wine on a chair. Another amusing sequence is where Mrs. Vance (Carmel Myers) flirts with Norton while her husband is away. Vance calls her up on the long-distance telephone, and with Norton at her elbow she tells her husband how lonely she is without him. Norton, strangely disappointed with the woman, leaves her and goes home. Mrs. Vance rings him up, and he, after listening to her for half a minute, puts his valet on the wire, while he sits down in a comfortable chair, enjoying a libation, laughing at his servant's nervousness. There is, of course, the poor girl who has been sent to prison, who, like a Merely Mary Ann, turns up as a domestic in the boarding house. Norton eventually sends her as his ward to his home, and one here is reminded of Shaw's "Pygmalion," except that the girl never disappoints her benefactor.

Monta Bell directed this production, which makes an unusually good entertainment. Anna Q. Nilsson is attractive as the aggravating blond. Norma Shearer is sympathetic as the heroine, and although he indulges in too much make-up, Edward Burns is acceptable as the callous young schemer. Willard Louis is astonishingly funny as the fat actor in the boarding house.

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