Pauline Frederick (Jane Vale), Laura La Plante (Dorothy Vale), Malcolm McGregor (Robert Elliott), Tully Marshall (Scotty), Wanda Hawley (Lucy), Helen Lynch (Kate Brown), George Cooper (Mugsy), Arthur Lake (party guest who dances with Jane), Bert Roach, Bobby Mack, Frank Newburg, Billy Gould, Rolfe Sedan, Jack McDonald, William Orlamond (committee members).
Director: CLARENCE BROWN. Screenplay: Sada Cowan, Howard Higgin, Melville W. Brown. Titles: Dwinelle Benthall. Story: Sada Cowan, Howard Higgin, Margaret Deland. Photography: Jackson Rose. Film editor: Edward Schroeder. Art directors: Leo K. Kuter, E.E. Sheeley. Assistant director: Charles Dorian. Executive producer: Carl Laemmle.
Copyright 25 November 1924 by Universal Pictures. New York opening at the Piccadilly: 30 March 1925. U.S. release: 18 January 1925. 8 reels. 7,356 feet. 80 minutes.
SYNOPSIS: Ageing female factory owner falls in love with one of her young male employees.
NOTES: Re-made by Warner Bros.-First National in 1933 (without acknowledgment) as Female with Ruth Chatterton, George Brent and Ferdinand Gottschalk in the roles here played by Pauline Frederick, Malcolm McGregor and Tully Marshall.
COMMENT: Blessed with outstanding performances from the entire cast and excellent production values including astute direction from Clarence Brown, here's a romantic drama that holds audience interest from first to last, despite its somewhat familiar plot. The acting is both natural and sympathetic and the plot is cleverly augmented with numerous incidents (the dismissal notices that Scotty is always so happy to produce; the showdown on the factory floor; the rope breaking at the cliff edge; Arthur Lake whirling Miss Frederick across the dance floor) that keep our involvement at a consistently high level. In fact, Pauline Frederick is such a magnetic personality, it's impossible to take our eyes from the screen.
OTHER VIEWS: Although she is little-known today, Pauline Frederick was once the most famous actress in the whole world. (By "actress", I mean just that, not "show business personality"). It was a position she achieved by hard work. "People who think the path of a chorus girl is strewn with roses, have a lot to learn," she once declared. "I knew going on the stage would entail hardships. but I now venture to say that a man with a pick and a shovel has a much easier time!"
It was due to her stage reputation, however, that Pauline Frederick was offered the leading role in her first film, The Eternal City (1915). She continued to play the leads in another 56 movies, right up until 1929. In 1931 she graciously accepted a co- starring role for the first time ever in This Modern Age as a personal favor for Joan Crawford and Irving Thalberg at M-G-M. She was billed second to Joan Crawford. For the rest of her 65-movies career, Pauline Frederick generally played the third lead (never less than fourth), and was top-billed in Monogram's Self-Defense (1933).
Director: CLARENCE BROWN. Screenplay: Sada Cowan, Howard Higgin, Melville W. Brown. Titles: Dwinelle Benthall. Story: Sada Cowan, Howard Higgin, Margaret Deland. Photography: Jackson Rose. Film editor: Edward Schroeder. Art directors: Leo K. Kuter, E.E. Sheeley. Assistant director: Charles Dorian. Executive producer: Carl Laemmle.
Copyright 25 November 1924 by Universal Pictures. New York opening at the Piccadilly: 30 March 1925. U.S. release: 18 January 1925. 8 reels. 7,356 feet. 80 minutes.
SYNOPSIS: Ageing female factory owner falls in love with one of her young male employees.
NOTES: Re-made by Warner Bros.-First National in 1933 (without acknowledgment) as Female with Ruth Chatterton, George Brent and Ferdinand Gottschalk in the roles here played by Pauline Frederick, Malcolm McGregor and Tully Marshall.
COMMENT: Blessed with outstanding performances from the entire cast and excellent production values including astute direction from Clarence Brown, here's a romantic drama that holds audience interest from first to last, despite its somewhat familiar plot. The acting is both natural and sympathetic and the plot is cleverly augmented with numerous incidents (the dismissal notices that Scotty is always so happy to produce; the showdown on the factory floor; the rope breaking at the cliff edge; Arthur Lake whirling Miss Frederick across the dance floor) that keep our involvement at a consistently high level. In fact, Pauline Frederick is such a magnetic personality, it's impossible to take our eyes from the screen.
OTHER VIEWS: Although she is little-known today, Pauline Frederick was once the most famous actress in the whole world. (By "actress", I mean just that, not "show business personality"). It was a position she achieved by hard work. "People who think the path of a chorus girl is strewn with roses, have a lot to learn," she once declared. "I knew going on the stage would entail hardships. but I now venture to say that a man with a pick and a shovel has a much easier time!"
It was due to her stage reputation, however, that Pauline Frederick was offered the leading role in her first film, The Eternal City (1915). She continued to play the leads in another 56 movies, right up until 1929. In 1931 she graciously accepted a co- starring role for the first time ever in This Modern Age as a personal favor for Joan Crawford and Irving Thalberg at M-G-M. She was billed second to Joan Crawford. For the rest of her 65-movies career, Pauline Frederick generally played the third lead (never less than fourth), and was top-billed in Monogram's Self-Defense (1933).
