The Godless Girl (1929), Cecil B. DeMille's last silent film, has been lovingly restored by George Eastman House from a print obtained from DeMille's estate, and featuring a powerful and moving soundtrack created by Carl Davis; original themes in addition to some classical religious pieces. I am sure that once more silent film fans get a chance to see this beautiful movie it will increase in reputation, and it certainly deserves more than its current 6.0 average rating out of 10.
Of all of DeMille's silents this one is perhaps the most visionary. The title cards are especially beautiful and impressive and topical for our own time. One doesn't have to go back to Bible times to create a spiritual film which can touch audiences, and to me personally therein lies the real appeal of this motion picture. It goes in directions you don't expect it to and it surprises you at every turn. The film is really a plea for tolerance between believers in God and non-believers. Both groups can display intolerance toward one another and then nothing is gained, because nothing is understood when it is cloaked in anger. Whatever someone's faith is, or lack of it, we are all still part of the human family and should treat each other with respect.
Regarding the cast, I thought all the actors were very good and brought pathos and humor to their roles. I liked seeing Lina Basquette in a silent, there isn't much available for her, and I really enjoyed seeing Marie Prevost in sharp focus, acting her heart out as Lina's character's friend (other silents available for Marie tend to be public domain mangled prints). She gives the best performance of her career in this one! Tom Keene looked slightly old to be playing a teenager but he was a good actor and brought many layers to his performance. Eddie Quillan was comic relief and did a great job. Noah Beery played the villain, something he was noted for, and did another outstanding job. Mary Jane Irving was touching as the young girl who dies, which precipitates the others being arrested for involuntary manslaughter and sent to a reformatory.
From video clips I had seen of this film in a DeMille documentary I didn't think I would like it, but this movie surprised me. It has some beautiful moments and glistening cinematography and thoughtful title cards, many with decorative backgrounds. I suspect DeMille's long time assistant Jeanie Macpherson had a lot to do with the latter. I'm not sure but I can imagine that this film was a hard one for 1929 audiences to take, but for us in 2007 it really hits home.
Of all of DeMille's silents this one is perhaps the most visionary. The title cards are especially beautiful and impressive and topical for our own time. One doesn't have to go back to Bible times to create a spiritual film which can touch audiences, and to me personally therein lies the real appeal of this motion picture. It goes in directions you don't expect it to and it surprises you at every turn. The film is really a plea for tolerance between believers in God and non-believers. Both groups can display intolerance toward one another and then nothing is gained, because nothing is understood when it is cloaked in anger. Whatever someone's faith is, or lack of it, we are all still part of the human family and should treat each other with respect.
Regarding the cast, I thought all the actors were very good and brought pathos and humor to their roles. I liked seeing Lina Basquette in a silent, there isn't much available for her, and I really enjoyed seeing Marie Prevost in sharp focus, acting her heart out as Lina's character's friend (other silents available for Marie tend to be public domain mangled prints). She gives the best performance of her career in this one! Tom Keene looked slightly old to be playing a teenager but he was a good actor and brought many layers to his performance. Eddie Quillan was comic relief and did a great job. Noah Beery played the villain, something he was noted for, and did another outstanding job. Mary Jane Irving was touching as the young girl who dies, which precipitates the others being arrested for involuntary manslaughter and sent to a reformatory.
From video clips I had seen of this film in a DeMille documentary I didn't think I would like it, but this movie surprised me. It has some beautiful moments and glistening cinematography and thoughtful title cards, many with decorative backgrounds. I suspect DeMille's long time assistant Jeanie Macpherson had a lot to do with the latter. I'm not sure but I can imagine that this film was a hard one for 1929 audiences to take, but for us in 2007 it really hits home.