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Coquette (1929)

Unrated | | Drama, Romance | 6 April 1929 (USA)
A flirtatious southern belle is compromised with one of her beaus.

Director:

Writers:

(based on the stage production by), (based on the stage production by) | 3 more credits »
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Won 1 Oscar. See more awards »
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Cast

Complete credited cast:
...
...
Michael Jeffery (as John Mack Brown)
Matt Moore ...
Stanley Wentworth
John St. Polis ...
Dr. John Besant
William Janney ...
Jimmy Besant
Henry Kolker ...
Jasper Carter
...
Robert Wentworth
Louise Beavers ...
Julia
Rest of cast listed alphabetically:
Jay Berger
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Storyline

Norma Besant, daughter of a Southern doctor, is an incorrigible flirt and has many boys on her string. She begins to favor Michael Jeffrey, who, shiftless and hot-tempered but fundamentally honorable, is warned off by her father. When Michael returns after a long absence, the pair are innocently compromised, and Dr. Besant's old-South paternal rage brings tragedy. Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

A new Mary with boyish bob and flirty eyes - Coquette is the crowning achievement of her career. (Newspaper ad). See more »

Genres:

Drama | Romance

Certificate:

Unrated | See all certifications »
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Details

Country:

Language:

Release Date:

6 April 1929 (USA)  »

Also Known As:

Coqueta  »

Box Office

Budget:

$489,106 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(MovieTone)

Aspect Ratio:

1.20 : 1
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Did You Know?

Trivia

Mary Pickford's performance received universally negative reviews but she secured winning the Oscar by inviting members of the Academy's judging committee to her Pickfair mansion for luncheons. Outrage over her being given the award forced the Academy to change its procedures for selecting the winners. See more »

Quotes

Norma Besant: Michael, I heard about your fight at the post office this afternoon. It was about me, wasn't it?
Michael Jeffery: Why, no, I...
Norma Besant: Why, yes it was. Mae Grandham called me and told me all about it. Hugh Gaston said I was nothin' but a silly little coquette, didn't he? And you thrashed him for it.
See more »

Connections

Spoofed in Twentieth Century (1934) See more »

Soundtracks

MY OLD KENTUCKY HOME, GOOD-NIGHT!
(1853) (uncredited)
Written by Stephen Foster
Played as background music
See more »

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User Reviews

 
Much maligned film is actually quite charming.
13 December 1999 | by (Canberra, Australia) – See all my reviews

Mary Pickford won the Best Actress Oscar for her performance in this film - and this fact has dominated the way people have treated it over the years. Yes, perhaps her award had more to do with her power than her performance - but the performance is actually pretty good. At times she rises to great emotional heights - the death scene is quite extraordinary and the court-room sequence powerful. Of course she's too old for the role - but she was too old for nearly every part she ever played, and just a few years later Leslie Howard and Norma Shearer played Romeo and Juliet to great acclaim - so such age issues were probably not issues in 1929.

It is true that she talks a little like an adult Shirley Temple (did Shirley model herself on Mary - they certainly played many of the same roles?)- but her silent acting is excellent - her looks can really kill.

The supporting cast is not very good, except for the wonderful Louise Beavers, - but Johnny Mack Brown is devastatingly handsome as Mary's love interest. The script betrays its stage origins, and the film suffers the same problems most early talkies suffer - inadequate use of music, poorly synchronised sound effects, completely absent sound effects (eg doors opening and closing silently), and limited movement of both actors and camera.

But all things considered this is a worthwhile little film - certainly not great but not as bad as myth would have it. And the ending is really gorgeous. Watching the great silent stars struggling in early talkies, I always feel that they were learning a new craft, just as the cameramen, directors and writers were. Sadly the audiences were less forgiving of their beloved stars than they were of those unseen behind the camera, and rejected them before they had a chance to develop a new acting technique. I can't help thinking that, if they had been given the chance, many of these actors would have been great talkie actors. The technicians were allowed to develop but, by the time they were skilled enough to make the actors look and sound good, most of the old stars had gone. The supreme example of a silent star who was allowed to develop is, of course, Garbo - and, to a lesser extent, Ramon Novarro (but he could sing - which helped). Is it possible that, given the same opportunities as Garbo, we may have seen Fairbanks, Pickford, Talmadge, Swanson, Bow, Brooks, Gish, Gilbert, Colleen Moore, Leatrice Joy etc for many more years than we were allowed? But within ten years of this film being made Gilbert and Fairbanks were dead, Gish was carving out a new career on the stage, Pickford, Swanson, Bow, Talmadge, Brooks and Moore had retired, Joy was doing the occasional character role and even Ramon Novarro was out of work. What a waste!


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