Why Be Good? (1929)

A flapper with a dubious reputation enjoys a vivacious night of dancing and finds herself romantically linked to her boss.

Director:

William A. Seiter

Writers:

Paul Perez (titles), Carey Wilson (screenplay)

Stars:

Colleen Moore, Neil Hamilton, Bodil Rosing

Cast

Cast overview:
Colleen Moore	...	Pert Kelly
Neil Hamilton	...	Winthrop Peabody Jr.
Bodil Rosing	...	Ma Kelly
John St. Polis	...	Pa Kelly (as John Sainpolis)
Edward Martindel	...	Winthrop Peabody Sr.
Eddie Clayton	...	Tom
Lincoln Stedman	...	Jerry
Louis Natheaux	...	Jimmy Alexander
Collette Merton	...	Julie
Dixie Gay	...	Susie

Storyline

A young shop girl is dance mad, even winning prize cups in competitions. Circulating with lots of people gives her a dubious reputation, but we see it's unwarranted. The son of the owner of the department store she works in falls for her without realizing her status. at length, he puts her to a test to see just what kind of girl she is.

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Plot Keywords:

reputation | department store | flapper | dance contest | persona | 

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Taglines:

A whoopee picture about the wild younger set. The real low down on flaming youth-right from the shoulder, right to your heart. You are the loser if you don't see "Why Be Good." (print ad- Anniston (Ala.) Star, 24 March 1929)

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Genres:

Comedy | Drama | Romance

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Details

Country:

USA

Language:

English

Release Date:

10 April 1930 (Finland)

Also Known As:

That's a Bad Girl

Filming Locations:

Warner Brothers Burbank Studios - 4000 Warner Boulevard, Burbank, California, USA

Company Credits

Production Co:

First National Pictures

Technical Specs

Runtime:

84 min

Sound Mix:

Mono (Vitaphone) (Western Electric Equipment) (musical score and sound effects) Silent (alternate version)

Color:

Black and White

Aspect Ratio:

1.33 : 1

Did You Know?

Trivia

In September 1928 Warner Bros. Pictures purchased a majority interest in First National Pictures, and from that point on all "First National" productions were actually made under Warner Bros. control, even though the two companies continued to retain separate identities until the mid-'30s, after which time "A Warner Bros.-First National Picture" was often used.

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Goofs

When Peabody, Sr. enters the Store Manager's office he calls him Ralph. But the name on the Manager's door is H.B. Lewis.

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Quotes

Pa Kelly: My own daughter accepting clothes from a man like a common strumpet.

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Connections

Featured in Why Be Good? Sexuality & Censorship in Early Cinema (2007)

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Soundtracks

When Erastus Plays His Old Kazoo
(uncredited)
Written by Sammy Fain, Sam Coslow and Larry Spier
Played when Junior sees his dad at the second party and they have a talk

User Reviews

Underneath the paint, you will find a saint.

"Why Be Good?" is a cultural treasure, not only because it's one of the few extant Colleen Moore features of the silent era, but because it has been crisply restored and boasts one of most voluptuous synchronized soundtracks of any late silent feature. As Leonard Maltin explained in his post-broadcast discussion on Turner Classic Movies which aired Sept. 28, 2015, the soundtrack musicians included such jazz greats as Joe Venuti and Tommy Dorsey. Vintage numbers including "I'm Thirsty for Kisses and Hungry for Love," "If You Want the Rainbow, You Must Have the Rain," "Tall, Dark and Handsome," "Flapperette," "Changes," "Le Chant des Boulevards" and "That's Her Now" as well as era-evocative nuggets by William Axt, Hugo Riesenfeld and others, accompany the jaunty proceedings. If Moore was was ever better I'd like to see evidence. She had the face, the hair and the attitude that have come to epitomize "flapper." In early talkies WBG's leading man, Neil Hamilton had a stodgy presence, but is more palatable in silence; if Moore was the ultimate flapper of her time, Hamilton was her equal in the young WASP romantic lead department. Louis Natheaux as a vainglorious would-be dance hall Casanova is the most entertaining supporting player in the early scenes, while Bodil Rosing and John Sainpolis serve the scenario effectively as Moore's parents.

The film showcases in a well-appointed and neatly packaged way the controversies about the role of women at the time. Objecting to her father's strictures about dress code and leisure activities, Moore argues that if she works to contribute to household upkeep, then she has a right to look like she wants (bobbed hair, lipstick, revealing dresses) and do what she wants (stay out half the night dancing, drink illegal alcohol, smoke cigarettes and ride around with men she's just met – in moderation, of course). These conflicts had been hashed out in countless films , including Moore's own "Flaming Youth" (1923) before this one was released. WBG then could well be characterized as the Last Word on flappers.

Though not a part of the soundtrack, the popular song of the time "She's a New Kind of Old Fashioned Girl" perfectly suits the Moore character ("Underneath the paint / You will find a saint…")