Coquette

The chief flaw of Coquette is the generally poor quality of the sound which sometimes fades entirely, making it difficult to follow the plot which is propelled mostly by spoken exposition as opposed to purely cinematic techniques. The play on which it is based was a hit for Helen Hayes on Broadway but was sanitized and oversimplified for the screen (not at all unusual in those days). Dialogue and acting are florid and broad but nevertheless the story does manage to hold the attention. A doctor's daughter (Mary Pickford) outrages her tradition- bound father (John St. Polis) by falling in love with an uncultivated fellow from "the hills" (John Mack Brown). A fatal shooting results, but I won't give away the exact circumstances here.

Although she was in her mid-30's at the time of filming, Pickford is convincing, if somewhat mannered, as the maiden with one foot still in girlhood, displaying wide emotional range and a masterful command of her body, no surprise considering the physicality of her long silent film career. Her diminutive stature also works in her favor. When she sits in the maid's lap for consolation she really does look like the little girl she had played for so many years. Sadly, she is made to spend a great deal of time sobbing hysterically. (Vivien Leigh had to deal with the same requirement in Gone with the Wind ten years later.) Although not much of an actor, John Mack Brown has a kind of animal appeal, with a relatively deep, strong voice which registers clearly; one can understand why he became a popular player in talking films. Here, he seems to seesaw between menace and tenderness and you just have to give him the benefit of the doubt. Otherwise you cannot believe Pickford's feelings towards him. St. Polis has a stately presence and a sonorous, trained voice and seems the most comfortable of the supporting players in his role. The character of the black maid played by Louise Beavers departs from the norm; she moves torpidly and even talks back to the master's teenage son when he tries to rush her through her chores.

There is a lively scene at a country club featuring a jazz band and young revelers stomping to the hotsy-totsy musical numbers with wild abandon, suggesting that the later jitterbug and sixties dances did not come out of nowhere. The courtroom climax is hard to swallow – did judges in the South or anywhere else ever allow witnesses to sit in the laps of defendants for long personal dialogues while on the stand?

I caught this film on TCM recently. This was actress Mary Pickford's first 'talkie.' At times, the acting is rather wordy and staged, but then it was a stage play before the film. But Pickford does shine in certain scenes, showing us why she was a superstar. In the film, Pickford plays Norma, a southern belle type whom we assume can have her pick of any beau in town. But she falls hard for handsome working class Michael (Johnny Mack Brown)someone her father considers beneath her. Things come to a boil when Norma spends the night with Michael at his cabin, and her father explodes with anger, killing Michael. Pickford is riveting in the death scene, and the courtroom scenes later where her father is on trial for killing Michael. This is not a perfect film by any means, and at times the actors' voices fades - not certain is this is the age of the film or the creaky new sound technology of the day. Either way, I had to crank up my television to hear what the actors were saying from time to time. Pickford's Oscar for this film was probably a way of honoring her for her many films and stardom rather than for her actual performance here. Still, the film is worth catching - despite its flaws.

The Broadway play COQUETTE ran for a year in the late 20s, starring Helen Hayes. Mary Pickford hoped that this vehicle would be a solid entrance into the new sound medium as well as scuttle her "little Mary" image that had plagued her for the last decade.

At age 37, Pickford is too old to play Norma Besant, BUT she looks great so the age factor is not really a problem. The problem is the play. It's creaky and far-fetched and doesn't work as a late 20s film. The fault is not with Pickford, who turns in a terrific performance although in a few spots it all gets rather stagy.

Also very good is Johnny Mack Brown as Michael. He exhibits some real fireworks in the argument scene with Pickford's father (John St. Polis). But these 2 good performers can't save the film from the rotten acting of St. Polis (he plays a despicable character) and William Janney who plays brother Jimmy. Matt Moore plays a sad-sack suitor to no great effect, and Henry Kolker is over the top as the prosecuting lawyer.

The screenplay is probably too close to the stage play, and director Sam Taylor seems to have absolutely NO ear for dialog or eye for composition.

Despite the antiquated story about southern pride and the value of truth, Pickford and Brown are well worth watching. Louise Beavers is also good as the maid. The court room scenes are solid with Pickford giving a terrific performance as the irony of the murder become clear. Her final scene, walking from the court house and down the street is quite memorable in its beauty and simplicity.

Yes, Mary Pickford won an Oscar for this performance, but the award is likely for the 20 years of films and superstardom she brought to this talkie debut. She was the biggest star in films for many, many years and deserved the Oscar for this brave performance, even if the film itself is not terribly good.

"Coquette" is an overrated picture, to be sure, but it is nevertheless worth seeing for its place in Hollywood's early history. It was Mary Pickford's first talking picture and for which she won an Oscar (probably weren't many nominees, this being 1929). Let's just say that there have been many better acting performances since then.

Have you ever seen a movie set in the 19th century which contains a live stage play, for instance, "Showboat"? That is what "Coquette" resembles, with exaggerated, overdone performances and the story confined to just a couple of indoor sets - there is only one outdoor shot in the film. The overacting in "Coquette" is a sight to behold, led by Miss Pickford, who chews the scenery in a hammy, overwrought performance. Yes, she is attractive but looks older than her boyfriends - which she was. Her main squeeze is the old buckaroo, Johnny Mack Brown, who does the best he can. Best acting honors, such as they are, go to John St. Polis, who plays her father.

It is a story of honor and customs in the Old South in the early 20th century, and some elements of the plot are tough to swallow, especially in 2011. The story is simple enough to follow, but the consequences of situations which would be easily solvable today leave the viewer perplexed.

But as I said, it's a famous picture and it has historical significance, so watch it if you get a chance and see what you think.

It's rather unfortunate that this is the only film for which many current movie fans remember Mary Pickford, because of the neglect of silent films and because of the undue weight given to well-known but arbitrary motion picture awards. While she is often unfairly blamed for the mediocre quality of "Coquette", the fault really lies elsewhere. Without a thorough adaptation of the material to make it more suitable for the screen, hardly anyone could have performed well enough to make this much better.

The story did hold possibilities, but it's the kind of familiar, rather routine melodrama that needs interesting characters, unusual situations, or snappy dialogue to make it work. There is none of that here - only a talky and generally predictable script, which would work better as a stage play or even a radio play. Neither Pickford nor Johnny Mack Brown has much of a chance to give it life. They do their best, and they simply perform their roles as they were written. Nor is it one of the worst movies ever - it does contain some stretches of genuinely good acting, and the story is at least a little better than the warmed-over scenarios of so many recent movies.

Pickford deserves to be remembered for her many fine performances during the silent era. She could also have made top quality talking films if she had been given the chance, but she was never given roles that allowed her to use her greatest strengths. Further, in the early sound era, producers and directors were overly interested in dialogue-heavy pictures like this, which seemed impressive at the time only because talking pictures were still a novelty. Audiences of the day enjoyed them, but now they look as dated and dull as today's over-praised computer-imagery extravaganzas will look in fifty years or so. None of that is the fault of the actors and actresses of the era.