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Strictly Unconventional (1930)

Passed  -  Drama  -  3 May 1930 (USA)
5.4
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Ratings: 5.4/10 from 62 users  
Reviews: 4 user

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(based on the play: "The Circle" by), (talking version by), 1 more credit »
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Title: Strictly Unconventional (1930)

Strictly Unconventional (1930) on IMDb 5.4/10

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Cast

Complete credited cast:
Catherine Dale Owen ...
Paul Cavanagh ...
Ted
Tyrell Davis ...
Lewis Stone ...
Ernest Torrence ...
Alison Skipworth ...
Mary Forbes ...
Wilfred Noy ...
Butler
William H. O'Brien ...
Footman (as William O'Brien)
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Storyline

Add Full Plot | Add Synopsis

Plot Keywords:

horse | vase | party | orchestra | nobility | See All (19) »

Genres:

Drama

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

Release Date:

3 May 1930 (USA)  »

Also Known As:

The Circle  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The play opened in London, England on 3 March 1921. It opened on Broadway in New York City on 12 September 1921 and closed in February 1922 after 175 performances. The opening night cast included John Halliday as Ted, Estelle Winwood as Elizabeth and Walter Soderling as the Butler. There were 2 revivals of the play: in 1938 with Tallulah Bankhead and John Emery, and in 1989, with Stewart Granger, Rex Harrison and Glynis Johns. See more »

Quotes

Elizabeth: You're awfully nice, Ted.
See more »

Connections

Version of The Circle (1925) See more »

Soundtracks

Kunstlerleben (Artist's Life), Op. 316
(1867) (uncredited)
Music by Johann Strauß
Played as dance music by the orchestra at the party
See more »

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User Reviews

Talk Loud! Louder!
15 November 2005 | by (New York City) – See all my reviews

This turgid screen version of Somerset Maugham's "The Circle" suffers not only from the dated story, but from performances by seasoned silent performers who seem absolutely overwhelmed by the sound equipment. The first scene suffers as the juveniles insist of making sure their emotions can be read in the second balcony. Even Lewis Stone seems ill at ease, until Ernest Torrence and Alison Skipworth come on.

Torrence is a delight, complaining about his dentures, and Skipworth is wonderful. The camera is not quite immobile, but it does move leadenly -- quite appropriately in following Torrence, but it does move rapidly when needed to maintain composition -- something that modern film makers don't seem to think important But Lewis Stone's register runs all over the place, overacting in antique style even for 1930 with the youngsters, and fairly natural with Torrence and Skipworth. The total effect is bad.


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