The movie that launched Joan Crawford's career, and which so nicely captured some of the spirit of the flappers in the late 1920's. The scenes of her cutting loose with the Charleston amidst art deco furnishings are certainly the highlight. The plot itself is a pretty thin morality tale. Crawford and Anita Page pursue the same newly minted millionaire, who confuses who is "the pure one" and of course gets it wrong. Perhaps it's understandable, since there is a lot of dancing, legs, and playful kissing of guy friends to go around. There is an undercurrent of the double standard common for the time (how interesting this was made in the same year Woolf gave her 'A Room of One's Own' speeches); Dorothy Sebastian plays another character who must live down her past, and convince her husband to forgive her for it.
The movie is silent and not in the greatest shape anymore, but that might have added a little to its charm. It's also interesting to see the short hairstyles, cloche hats, and the dialog:
Offering a drink: "Li'l hot baby want a cool li'l sip?"
After a big kiss: "What a service station *you* turned out to be!"
By the shoreline, to a pretty song; ah youth: "It's such a pleasant thing – just to be alive!" "You want to taste all of life – don't you?" "Yes – all! I want to hold out my hands and catch it – like the sunlight."
The movie is silent and not in the greatest shape anymore, but that might have added a little to its charm. It's also interesting to see the short hairstyles, cloche hats, and the dialog:
Offering a drink: "Li'l hot baby want a cool li'l sip?"
After a big kiss: "What a service station *you* turned out to be!"
By the shoreline, to a pretty song; ah youth: "It's such a pleasant thing – just to be alive!" "You want to taste all of life – don't you?" "Yes – all! I want to hold out my hands and catch it – like the sunlight."