I will not write about this interesting film in general, but will focus on one little aspect of it. Let's begin.
The old mr. O'Day had two kids, Patrick and Patricia. I wonder what would he have called a third child, had he had one. But that's out of the question, now. Well, the young and beautiful Patricia O'Day (Marion Davies) plays almost all the film through en travesti, impersonating her dead brother. And she manages to fool half the population of 1807 New York (the other half didn't have the occasion to meet her). Which is astonishing.
First of all, her new dress: it's quite boy-ish, in the sense that it is different from the dresses the other women wear in the movie, but it's also different from those of the men. Her curly hair is cut and straightened: again, it does not resemble either the girls' or the boys'. She wears make-up, lipstick and all, and, well, she even has quite some boobs! It reminds me of an early personification of Hannah Montana. Younger generations could know who I am referring to: anyways, this miss Montana is a (fictional) girl whom nobody recognizes when she wears a wig, and, apart from that, is absolutely identical to the girl without a wig.
As you can well understand, in a film conceived in that way there must be a moment in which she reveals her identity and her sex: and there is indeed, toward the end. How does she manage the revelation? Boy or girl, she looks almost the same, so there's only one way (compatible with public morality) to do it: she just says it. I'm a girl! In the next scenes she looks as before, only with a more girlish dress and her hair curled again. The overnight perming.
By the by, another little thing: in the middle of the movie an U. S. flag is raised, with 15 stars for 15 states: in 1807 there were two more.
The old mr. O'Day had two kids, Patrick and Patricia. I wonder what would he have called a third child, had he had one. But that's out of the question, now. Well, the young and beautiful Patricia O'Day (Marion Davies) plays almost all the film through en travesti, impersonating her dead brother. And she manages to fool half the population of 1807 New York (the other half didn't have the occasion to meet her). Which is astonishing.
First of all, her new dress: it's quite boy-ish, in the sense that it is different from the dresses the other women wear in the movie, but it's also different from those of the men. Her curly hair is cut and straightened: again, it does not resemble either the girls' or the boys'. She wears make-up, lipstick and all, and, well, she even has quite some boobs! It reminds me of an early personification of Hannah Montana. Younger generations could know who I am referring to: anyways, this miss Montana is a (fictional) girl whom nobody recognizes when she wears a wig, and, apart from that, is absolutely identical to the girl without a wig.
As you can well understand, in a film conceived in that way there must be a moment in which she reveals her identity and her sex: and there is indeed, toward the end. How does she manage the revelation? Boy or girl, she looks almost the same, so there's only one way (compatible with public morality) to do it: she just says it. I'm a girl! In the next scenes she looks as before, only with a more girlish dress and her hair curled again. The overnight perming.
By the by, another little thing: in the middle of the movie an U. S. flag is raised, with 15 stars for 15 states: in 1807 there were two more.