Lil works for the Legendre Company and causes Bill to divorce Irene and marry her. She has an affair with businessman Gaerste and uses him to force society to pay attention to her. She has ... See full summary »
After accidentally killing the man who raped her and forced her into prostitution, a New Orleans woman flees to a Caribbean island. While she awaits her fiancé, the vicious local police chief sets his sights on her.
William A. Wellman
A young woman is on trial for murder. In flashback, we learn of her struggles to overcome poverty as a teenager -- a mistaken arrest and prison term for shoplifting and lack of employment ... See full summary »
Jerry and Ted are young, in love, and part of the New York 'in-crowd'. Jerry's decision to marry Ted crushes a yearning Paul. Distraught Paul gets drunk and wrecks his car, disfiguring young Dorothy's face in the process. Out of pity, Paul marries Dorothy. Years later, the apparent perfect marriage of Ted and Jerry falls apart from infidelity on both sides. Inwardly unhappy, popular Jerry lives a party life while Ted sinks into a life of alcoholism. Jerry then runs into Paul, who still loves her. After spending time together with Jerry, Paul plans to divorce Dorothy. When Jerry sees Dorothy again, she has second thoughts about where her life is heading. Written by
Gary Jackson <firstname.lastname@example.org>
The beginning of the movie is 1925 shortly before Jerry's marriage, yet, "Singing in the Rain" is playing on the radio. The song was composed for Hollywood Music Box Revue in 1927 and really popularized in MGM's Hollywood Revue of 1929. See more »
Fast, advanced sound and naturalistic acting, and modern themes...terrific!
The Divorcée (1930)
The start of this is such a busy, overlapping party scene in a country house, you can't help but get swept up in it. And if some of the acting or a few of the quips are not perfect, the best moments are really fun and spirited. The naturalism is really refreshing, and pace fast, and the dialog real. Then it spins out of control--the events, not the movie--and before fifteen minutes are up, there's a brief terrible moment that has two or three of the actors exploring an hysteria that a method actor would be proud of. It's intense, great stuff. Get at least that far in.
The rest of the movie follows suit, through quiet and fast moments, and the drama turns to melodrama and back, all pinned together by the ever convincing Norma Shearer. The themes--fidelity and infidelity, love and friendship, the superficial versus the things that matter--give it all something to chew on or laugh at at ever turn.
It's unnecessary to say that this is just two years after the full advent of sound, and it's a very developed, mature element in the movies. In fact, the density of things going on would never have been possible with intertitles, and it must have been a revelation to audiences and movie makers equally. Fast dialog and overlapping events are a natural extension of the theater, of course, but with the ability to shift scenes and zip down wooded roads with the camera is the essence of cinema.
So, in all, for how it's made, for the acting (the best of it), and for the serious, important themes, this is gem, an amazing movie, whatever its hiccups and flaws here and there. I wouldn't miss it.
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