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Claire Tree is a singer/dancer who goes after what she wants in a straight-forward, no-nonsense manner, so when she finds herself in the New York City hotel-suite, in fashionable Peacock Alley, of Stoddard Channing, she wastes no time. Claire wants to get married. But, Stoddard, whom she cares for very much, has several proposals directed at her, none of which sound remotely like a marriage proposal; Claire tells him, in her straight-forward, no-nonsense manner that she wants to get married because, in her words: "I'm running away from the doubts and uncertainty and problems of a woman who isn't married." Stoddard thinks that nuptial bonds is a stupid old-fashioned tradition and fatal to romance. She says any man who says that is lying, and when she departs his suite at the crack of dawn, she seems convinced Stoddard indeed believes what he said he believed. But Claire has another option awaiting her...a Texan from home, and she promptly accepts his marriage proposal. But the house ... Written by
Les Adams <email@example.com>
Completed in the fall of 1929, and copyrighted in November 1929, the film was not released until 1930; it was never reviewed in either weekly Variety or the New York Times, indicating that it never had a New York City opening. See more »
My research about TIFFANY STUDIOS has revealed that initially they were a production house for Mae Murray films directed by her husband Robert Z Leonard. In 1924 when the three separate Metro and Goldwyn and Mayer studios amalgamated to form MGM, many tech and crafts persons and actors where not included. These outcasts reformed at a grander more ambitious Tiffany and released their films thru the MGM distribution network. However MGM did not want Mae Murray (too much Norma Desmond for their liking) but did want her husband Robert Z.
As a result Mae and Z divorced and his career continued at MGM and she was cut loose. When Thalberg rival John Stahl took over Tiffany in 1925 his plan was to be an MGM equal and produce sophisticated glossy urban dramas cluttered with expensive props and costumes and out dazzle and out tech MGM. For a while his ambitions were successful and Tiffany began to produce some very good films like THE LOST ZEPPELIN and MAMBA. However they also gambled again with Mae Murray and this film, a remake of her 1922 opus was produced as a glamorous talkie, all set in a hotel full of snazzy dazzling props. Mae unfortunately must have dominated the whole proceedings as her first super style talkie and spends the entire film posing and looking towards Jupiter. At the 30 minute mark, dull proceedings liven up considerably in a very dramatic exchange about who spent the night where and some good direct dialog erupts. There is also a very well dressed deco apartment which now is almost the entire reason to see the film. A short satirical color sequence is inserted where Mae badly dances whilst believing she is funny. This is a laborious creaky talkie but intermittently fascinating for its ambitious glamor by a studio which folded in 1932. Robert Z had a successful career at MGM again and Mae faded into poverty and obscurity until SUNSET BOULEVARD was made based on Mae's enduring belief she that would make another comeback.
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