Harriet and Queenie Mahoney, a vaudeville act, come to Broadway, where their friend Eddie Kerns needs them for his number in one of Francis Zanfield's shows. Eddie was in love with Harriet,... See full summary »
Mimi Glossop wants a divorce so her Aunt Hortense hires a professional to play the correspondent in apparent infidelity. American dancer Guy Holden meets Mimi while visiting Brightbourne (... See full summary »
The daughter of a struggling musician forms a symphony orchestra made up of his unemployed friends and through persistence, charm and a few misunderstandings, is able to get Leopold ... See full summary »
Kitty Vane, Alan Trent, and Gerald Shannon have been inseparable friends since childhood. Kitty has always known she would marry one of them, but has waited until the beginning of World War... See full summary »
The small kingdom of Marshovia has a little problem. The main tax-payer, the wealthy widow Sonia (who pays 52 0f the taxes) has left for Paris So Count Danilo is sent to Paris, to stop her ... See full summary »
Edward Everett Horton
Songwriters Calhoun and Harrigan get Katie and Lily Blane to introduce a new one. Lily goes to England, and Katy joins her after the boys give a new song to Nora Bayes. All are reunited ... See full summary »
Outstanding cinematography/art direction highlight Mexican romance
This is a fine film romance that has been quite forgotten. Norma Talmadge plays a Mexican saloon singer, known as 'The Dove.' She is romanced by a young caballero, played by Gilbert Roland, and menaced by a Villa-like brute of a dictator, played by Noah Beery. The latter arranges for the kidnapping of his rival and Norma tries to kill herself rather than submit to Beery. Luckily, her love escapes and rescues her.
Talmadge is quite fine in the role, showing a range that encompasses comedy, flirtatious coyness, and deep sadness. Roland is quite handsome sans moustache in this early role. Beery menaces well as his brother Wallace would a few years later playing a similar role in VIVA VILLA.
The cinematography is outstanding - sharp and clear for the most part but deliciously soft-focused in the romantic close-ups. Both composition and lighting are exquisite. The enormous adobe sets are luscious to look at and deservedly won William Cameron Menzies the first Art Direction Oscar (shared with his work on THE TEMPEST).
The only surviving material are four impeccably preserved nitrate reels at the Library of Congress (#1,3,4,8) our of nine. A film that should be sought after for restoration. An enriching romantic experience.
13 of 14 people found this review helpful.
Was this review helpful to you?