Angela maintains a coastal lighthouse in Italy, where she awaits the return of her brothers from the war. She learns they are casualties and takes solace in the arms of an American sailor ...
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Ida May Park
Angela maintains a coastal lighthouse in Italy, where she awaits the return of her brothers from the war. She learns they are casualties and takes solace in the arms of an American sailor washed ashore. However, the sailor turns out to be a German spy, and she is torn between her love for him and her realization that he is part of the enemy force that has destroyed her family.Written by
Jim Beaver <firstname.lastname@example.org>
Who shall say that she is not the bravest soldier of them all?
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An 89-minute version restored by the UCLA Film and Television Archive and released by Milestone Film & Video was copyrighted by The Mary Pickford Foundation in 2000. The Viklarbo Chamber Ensemble plays the music score written by Maria Newman. See more »
This film was a rare departure from little-girl roles for Mary Pickford, who almost succeeds in giving a perfectly moving performance. The script, by Frances Marion, throws Pickford's Angela so many curves that it becomes tiring watching her sometimes-hammy reactions. Marion was Pickford's best friend, and she hand a hand in as many as seventeen of America's Sweetheart's movies. One can hope these were more successful.
Marion, director as well as writer, crammed so many melodramatic topics into The Love Light that one feels as if she thought she'd never work on a film again. Spies, unrequited love, blindness, war, betrayal, death, theft, natural disasters, insanity, and a lynch mob on top of everything else. These are enough concepts to deal with comfortably in at least two movies, but they are all unhappily jammed into about 90 minutes.
Marion's husband Fred Thomson is easy on the eyes and natural on camera as the American that Italian Angela takes into her home. The other players are mostly standard overactors, with the possible exception of Edward Philips as Angela's charming younger brother Mario.
Another thing to beware: the all-too-modern score recently imposed upon it by Maria Newman. At times it seems as if she hadn't even seen the movie.
There are some good moments ("Stewed Chicken", for instance), but overall it's only for fans of the star and writer/director.
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