This is a bit of a tricky one. The film tells a compelling story of a woman seeking happiness despite a sordid past. That sordid past is one in which she literally did nothing wrong, but a judgmental and patriarchal society nonetheless decides she's to blame, and must be greeted with suspicion. More than 90 years later the film holds up quite well, and the surviving print seems to be in great shape - though any instances in which the camera focuses on typed or handwritten notes show how the movie was perhaps not made to endure, as the words aren't easy to discern. I really like the costume design, set design and decorations, and filming locations. I'm less keen on Claude L. McDonnell's cinematography: perhaps it's only a reflection of degradation of the print before it was digitized, or the mere limitations of technology at the time, yet even compared to other silent films there's a nondescript fuzziness to the image I do like 'Easy virtue,' and I think it remains a worthy feature, but I wouldn't begrudge anyone who looks upon it less favorably.
It's very easy to sympathize with protagonist Larita in light of how abhorrently and unreasonably she is treated by those around her. That abuse does make the film a tad difficult to watch out of sheer empathy, as the harassment is the most common through-line from start to finish - though to the credit of screenwriter Eliot Stannard, I think his adapted screenplay is mostly pretty swell. Larita is the only character given any especial depth, but all are written with harsh personality that allows the cast to embrace their roles with a certain intensity. Dialogue, as imparted through intertitles, both advances the plot and magnifies the themes in the picture. 'Easy virtue' ends too curtly for my tastes, but otherwise - even at its most sympathetically infuriating - the narrative is fairly strong, with drama that keeps one engaged. And Stannard's scene writing is solid, filling every passing instant with slick little details to highlight character's mindsets, or the broad mood.
There's not a lot more to possibly say, is there? Utmost fans of Alfred Hitchcock, or of the silent era, will get the most out of 'Easy virtue.' There are many other more actively engrossing films you could check out, even among this one's contemporaries, yet there's sufficient value here that if one has the opportunity to watch, it's not a bad way to spend 80 minutes. 'Easy virtue' isn't essential, but it's duly entertaining. Take that as you will.
It's very easy to sympathize with protagonist Larita in light of how abhorrently and unreasonably she is treated by those around her. That abuse does make the film a tad difficult to watch out of sheer empathy, as the harassment is the most common through-line from start to finish - though to the credit of screenwriter Eliot Stannard, I think his adapted screenplay is mostly pretty swell. Larita is the only character given any especial depth, but all are written with harsh personality that allows the cast to embrace their roles with a certain intensity. Dialogue, as imparted through intertitles, both advances the plot and magnifies the themes in the picture. 'Easy virtue' ends too curtly for my tastes, but otherwise - even at its most sympathetically infuriating - the narrative is fairly strong, with drama that keeps one engaged. And Stannard's scene writing is solid, filling every passing instant with slick little details to highlight character's mindsets, or the broad mood.
There's not a lot more to possibly say, is there? Utmost fans of Alfred Hitchcock, or of the silent era, will get the most out of 'Easy virtue.' There are many other more actively engrossing films you could check out, even among this one's contemporaries, yet there's sufficient value here that if one has the opportunity to watch, it's not a bad way to spend 80 minutes. 'Easy virtue' isn't essential, but it's duly entertaining. Take that as you will.