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Come on Over (1922)

Shane O'Mealia leaves Ireland, promising to send for his sweetheart, Moyna.In the mean time the son of the old lady she lives with, takes them back to America without telling Shane, who ... See full summary »

Director:

Alfred E. Green

Writers:

Rupert Hughes (screenplay), Rupert Hughes (story)
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Cast

Cast overview:
Colleen Moore ... Moyna Killiea
Ralph Graves ... Shane O'Mealia
J. Farrell MacDonald ... Michael Morahan
Kate Price ... Delia Morahan
James A. Marcus ... Carmody (as James Marcus)
Kathleen O'Connor ... Judy Dugan
Florence Drew Florence Drew ... Bridget Morahan
Harold Holland ... Myle Morahan
Mary Warren ... Kate Morahan
Elinor Hancock Elinor Hancock ... Mrs. Van Dusen
Monte Collins Monte Collins ... Dugan
Charles Mason Charles Mason ... Barney (as C.E. Mason)
C.B. Leasure C.B. Leasure ... Priest
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Storyline

Shane O'Mealia leaves Ireland, promising to send for his sweetheart, Moyna.In the mean time the son of the old lady she lives with, takes them back to America without telling Shane, who then must explain a girl he's been seeing in New York. Written by WesternOne

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Genres:

Comedy

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Details

Country:

USA

Release Date:

11 March 1922 (USA) See more »

Also Known As:

Darlin' See more »

Company Credits

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Technical Specs

Sound Mix:

Silent

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

This was the first of several Colleen Moore films directed by Alfred E. Green. See more »

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User Reviews

 
Colleen Moore and More
1 June 2011 | by bobliptonSee all my reviews

Almost every performer gives a winning performance in this grab bag Oirish programmer, with the exception of Ralph Graves; he's a good-looking guy who hits his marks. I can hardly blame him, since he has to contend with Colleen Moore (before she bobbed her hair, but still), J. Farrell MacDonald, Kate Price and half a dozen others doing interesting things. I suspect director Alfred Green told each player that the others were trying to steal the scene, assembled them and blew a whistle. The script, by Rupert Hughes is a mishmosh of all the usual elements and the second half's plot, when Miss Moore gets her hair washed and some good clothes -- in an early scene it looks like someone converted a Hudson's Bay blanket into a skirt for her -- is motivated by misunderstandings and a promise not to say something. But Miss Moore gives her usual fearless mixture of dramatic emotion and comedy, and everything turns out well in the end.

Well worth seeing once, especially if you can find a print less soft than the one I saw at the Museum of Modern Art this evening.


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