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The Belle of New York (1919)

Director:

Julius Steger

Writers:

C.M.S. McLellan (play) (as Hugh Morton), Eugene Walter (scenario)
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Cast

Credited cast:
Marion Davies ... Violet Gray
Etienne Girardot
L. Rogers Lytton L. Rogers Lytton ... Amos Gray
Franklyn Hanna Franklyn Hanna
Raymond Bloomer Raymond Bloomer ... Jack Bronson
Rest of cast listed alphabetically:
Christian Rub
Barbara Sabin Barbara Sabin ... Little Girl
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Storyline

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Plot Keywords:

new york | based on play | See All (2) »

Genres:

Drama

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Details

Country:

USA

Release Date:

27 March 1919 (USA) See more »

Also Known As:

A Bela de Nova Iorque See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Sound Mix:

Silent

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Trivia

The two reels of this Marion Davies film that exist are fragmented and out of sequence. Several scenes are repeated, and decomposition exists. See more »

Connections

Remade as The Belle of New York (1952) See more »

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User Reviews

 
An Almost Vanished Movie Shows What Would Have Happened to A Career Without Support
27 November 2017 | by bobliptonSee all my reviews

Having looked at the 20 minutes of this movie that survive, and are an extra on Ed Lorusso's DVD of BURIED TREASURE (1921), I am forced into a reappraisal -- of William Randolph Hearst.

Raymond Bloomer is a rich man's son who cares for two things: moral show girl Marion Davies and the bottle. When Marion and his valet, Etienne Giradot, warn him off the latter, he goes on a toot, winding up at the blind pig run by the mob about to close down the Salvation Army office across the street -- where Marion is now banging the tambourine, and looking absolutely fetching, of course. That, and a brief bit of Ziegfeld showgirls doing a routine -- supposedly shot on the roof of the New Amsterdam by Ziegfeld himself -- are all that survive.

The problem is that it's all a stately bore. No one moves. Oh, the camera occasionally pans five degrees to follow a character across a composition, but the composition, composed of ten or so people, doesn't change. Occasionally a trolley will come into view in the background, which just emphasizes that things are happening -- but this movie doesn't care about them. All movement in the movie is achieved by editorial cuts. It's dead and dull.

It might do at a factory like Universal, where they turned out cheap movies that played the neighborhood circuit, two days at one theater, then across town for a day at another. You want your name in lights, Marion? You want to be a star? That's why I've been forced to reappraise Hearst. We who are fans of Miss Davies have long said that she would have become a star without him. Having seen the remnants of this movie, my conclusion is she would have lasted two years, another three in supporting roles, then gone. Because a star needs two things: luck, a string of hits to put her name at the top of the bill; and some one interested in her career to keep it there. Hearst was the one who wanted to keep it there and he did what he did so well: he spent money and hired the best. Anita Loos and John Emerson to write; Alan Dwan to direct; and, as Marion gained in confidence and the returns justified the costs, eventually he spent a million dollars on WHEN KNIGHTHOOD WAS IN FLOWER. Here's a block-long set, Marion. Clown your way out of that!

And she did. But she never would have done it without Hearst. She would have been in more dreadful little soapers like this one and we never would have heard of her, not even as the butt of Orson Welles' ill-humored joke in CITIZEN KANE.


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