Colonel Pepper brings his daughter, Peggy, to Hollywood from Georgia to be an actress. There she meets Billy who gets her work at Comet Studio doing comedies with him. But Peggy is discovered by High Art Studio and she leaves Billy and Comet to work there. For her new image, she is now Patricia Pepoire and ignores Billy when he sees her on location. When she is not longer wanted by the little people who do not understand "ART", she plans to marry Andre to get a fake title. Billy will not let her go without a fight. Written by
Tony Fontana <email@example.com>
A look at carefree Hollywood at the end of the silent era.
This film is loved by many people. It is certainly a document of the carefree days of the end of Hollywood's first golden era - the silents. Everyone in the behind-the-scenes soundstage story seems to be enjoying themselves tremendously. It's a gentle, innocent and good-hearted spoof of the performers who took themselves "too seriously" as artists of the silent screen. Most were there simply to have fun and make lots of money doing it. This is one of the two films of Billy Haines' 54 film career that is available on video. He is now all but forgotten but in 1930 he was voted the most popular of all male film stars. His career in silents looked as though it would convert to talkies but as Hollywood's first openly gay star, he refused to hide his life before the Hays Code purging of the early thirties and Louis B. Mayer ended his career in retribution. He became a famous and wealthy interior designer so did manage to wreak his revenge on society and Hollywood. Marion Davies is amusing here as is Haines. Many celebrities are seen in bit parts: Chaplin, William S. Hart, Fairbanks, Gilbert, Lew Cody, Elinor Glyn, Mae Murray, Louella Parsons - and even director King Vidor himself. (There is a fun moment when Davies as character Peggy Pepper sees Marion Davies get out of a car and expresses she doesn't think much of her as a performer.)
All in all this is just fun, fun, fun. An important look at the very end of an era when films primarily brought mirth to their audiences.
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