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Sally of the Sawdust (1925)

 |  Comedy  |  2 August 1925 (USA)
6.9
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Ratings: 6.9/10 from 394 users  
Reviews: 17 user | 8 critic

Judge Foster throws his daughter out because she married a circus man. She leaves her baby girl with Prof. McGargle before she dies. Years later Sally is a dancer with whom Peyton, a son of... See full summary »

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Title: Sally of the Sawdust (1925)

Sally of the Sawdust (1925) on IMDb 6.9/10

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Cast

Complete credited cast:
...
...
Alfred Lunt ...
Peyton Lennox
Erville Alderson ...
Judge Henry L. Foster
Effie Shannon ...
Mrs. Foster
Charles Hammond ...
Lennox, Sr.
Roy Applegate ...
Detective
Florence Fair ...
Miss Vinton
Marie Shotwell ...
Society Lady
Glenn Anders ...
Leon - the Acrobat (as Glen Anders)
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Storyline

Judge Foster throws his daughter out because she married a circus man. She leaves her baby girl with Prof. McGargle before she dies. Years later Sally is a dancer with whom Peyton, a son of Judge Foster's friend, falls in love. When Sally is arrested McGargle proves her real parentage. Written by Ed Stephan <stephan@cc.wwu.edu>

Plot Summary | Add Synopsis

Plot Keywords:

circus | based on play | See All (2) »

Taglines:

D.W. Griffith's circus comedy.

Genres:

Comedy

Certificate:

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Details

Country:

Release Date:

2 August 1925 (USA)  »

Also Known As:

Poppy  »

Filming Locations:

 »

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Technical Specs

Runtime:

| (DVD) | (Ontario)

Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

D.W. Griffith had good reason not to use the name or title "Poppy" for this movie -a movie titled "Poppy" with a character by that name had come out in 1917. See more »

Goofs

When Sally and Eustache were lying on the railway, after get wet on the train, you can clearly see that the railway ends on the film studio wall, right behind them. See more »

Connections

Referenced in Hollywood Hist-o-Rama: W.C. Fields (1961) See more »

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User Reviews

 
"Entertainers use the side entrance"
23 April 2011 | by (Ruritania) – See all my reviews

It's not often realised how strong the links were between silent cinema and the theatrical entertainment world of Vaudeville. W.C. Fields, like many Vaudeville comedians started out in pantomime – juggling, pratfalling and other staples of silent comedy. Fields would later add dialogue to his act and cultivate his now familiar persona, eventually progressing onto full-length comic dramas. Sally of the Sawdust, his first feature-length movie creates an odd shift in his career. It is adapted from his most recent stage hit Poppy, and yet the very different medium of pre-talkie cinema meant he had to rely upon the old routines from his pantomime days.

The picture sees him teamed up with pioneer director D.W. Griffith, now sadly long past his glory days. Griffith was never really much of a comedy director. He doesn't seem to have the confidence in his performers to let them do their stuff and allow the scenes to play out. Instead he seems stuck in the Keystone Cops mode of slapstick, which is always very frenetic, with lots of cuts. In a way this works out well because Griffith could at least direct a good action sequence, and scenes like the punch-up at the circus even if not very funny are at least nicely timed and escalated. Besides, even if the comedy fails the general air of irreverence stops the picture from getting too mawkish.

It is also rather nice to see Griffith returning to a simple, human story, as his usual epics with ride-to-the-rescue finales had been getting a little stale of late. Sally of the Sawdust more than any other harks back to the short films he made in the early teens for the way he focuses on individuals rather than wider social processes. There are some good examples of the way he builds up an emotional story. In the prologue, when the daughter is kicked out, we see the mother and father turn away from each other to face opposite walls, the camera well back in the large space, a perfect evocation of this cold, fractured household. And Griffith is still so good at expressing a feeling with the most delicate of close-ups, showing us for example Carol Dempster's hand clutching at the grass as she canoodles with Alfred Lunt. Acting performances vary immensely across Griffith's body of work, but the relatively restrained turns from Dempster and Elfie Shannon as old Mrs Foster add immensely to the poignant final scenes.

But what of W.C. Fields himself? We here and there see him going off into some bit of comedy business, but the truth is as a slapstick comic he is nothing really exceptional. He doesn't have the energy or flexibility to keep up with the wilder slapstick, and sequences like the one where he keeps knocking off his own hat just look out of place. Of course there is a lot more for him to do in Sally of the Sawdust, and Fields is at his funniest when simply acting out bits of the play (presumably kept intact from the original stage version) in his own characteristic manner. When trying to evade the police, he emerges from his hiding place wrapped in a cloak disguised as an Indian, and it is the way he strolls towards the camera, nonchalantly puffing on a cigar, that makes the moment funny. Still, there is clearly something missing from the act – the delivery, the voice, not to mention the opportunity to develop a curmudgeonly character without having to occasionally play the clown. It is no wonder his screen career never really took off until the arrival of the talkies.


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