Lally is a rich girl whose Father who writes books and plays Polo. After 23 years of marriage, Father decides to divorce Harriet, his wife, and marry Mrs. Chevers who is also divorcing her ... See full summary »
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Lally is a rich girl whose Father who writes books and plays Polo. After 23 years of marriage, Father decides to divorce Harriet, his wife, and marry Mrs. Chevers who is also divorcing her husband. This sours Lally on all men, but on vacation she meets Jack, who succeeds in stealing her heart. The trouble begins when Lally discovers that Jack is the son of Beth Chevers, the woman who is to marry her father. Written by
Tony Fontana <tony.fontana@spacebbs.com>
[Lally, having just learned from her father that he is divorcing her mother to marry another woman, enters her mother's room.]
Lucia 'Lally' Marlett:
Well, he's washed us up...given us the air.
[Mother weeps inconsolably as Lally lights a cigarette.]
Lucia 'Lally' Marlett:
Oh, Mother, haven't you any pride?
Harriet Marlett:
[between sobs]
Oh Lally! What's pride when you care for a man--when you...when you...really...really care?
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This film is sociologically fascinating but dramatically rather weak. It also would make a good case study for a psychology class, as Norma Shearer's character (Lally) has to deal with others who are variously manipulating, controlling and irresponsible (I won't spoil it by telling you who does what). The sociological fascination comes from the depiction of the idle rich who ride polo ponies, go to Lake Michigan resorts, dress smartly and tolerate `modern' young women like Lally - and from the dynamic between men and women. The dialogue seems unusually terse by 1929 standards - much is left unsaid, and the film is better because of it. Shearer is quite good; she carries the film with apparent ease. Unfortunately, Belle Bennett is clearly ill at ease with sound. She was quite popular and acclaimed for her silent work, especially Stella Dallas, but here she brings little life to her role.
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This film is sociologically fascinating but dramatically rather weak. It also would make a good case study for a psychology class, as Norma Shearer's character (Lally) has to deal with others who are variously manipulating, controlling and irresponsible (I won't spoil it by telling you who does what). The sociological fascination comes from the depiction of the idle rich who ride polo ponies, go to Lake Michigan resorts, dress smartly and tolerate `modern' young women like Lally - and from the dynamic between men and women. The dialogue seems unusually terse by 1929 standards - much is left unsaid, and the film is better because of it. Shearer is quite good; she carries the film with apparent ease. Unfortunately, Belle Bennett is clearly ill at ease with sound. She was quite popular and acclaimed for her silent work, especially Stella Dallas, but here she brings little life to her role.