Amarilly of Clothes-Line Alley

After watching a few films of her, I have to say Mary Pickford is not at her best in this movie. Mainly, this is because of the weak plot, which doesn't always seem to be coherent, especially the triangle love story, when you think about it. Furthermore, the film tries to be moralistic and funny at the same time, which doesn't seem to work really well either. However there are one or two funny scenes, whenever the washer family's mother is depicted. However, even there, it is just about exploiting stereotypes to get a few cheap laughs, or so it seems. In my opinion, one major problem are the monotone settings of the scenes, which do not vary enough to make the whole movie more interesting. All in all, it does only take an hour to watch it, but I think there are better films from 1918 than this one.

Mary Pickford claimed Marshall Neilan was the best director she had ever worked with, better than even the legendary D. W. Griffith. The two worked in five straight films, all hits, beginning with late 1917's "Rebecca of Sunnybrook Farm." Their fourth film together, March 1918's "Amarilly of Clothes-Line Alley," was Pickford tackling another dual role, this time as a poor woman who becomes romantically linked with a rich man. Her uneasiness of being elevated to the upper strata is shown visually by director Neilan in such scenes where he frames her several times in the doorway or sitting on windowsills, straddling the two worlds.

The comedy recognizes there are two different customs of behavior between the rich and the not-so-rich. The Pygmalion lessons she has to learn to enter such a monied society is one Pickford tackles with aplomb. With Neilan's direction, just as he crafted in "Stella Marie," his new visual style of fluid editing, naturalist forms of acting and incorporation of symbolic sequences introduced Hollywood to an ever-sophisticated method of movie-making, showcased with the premiers of these two very important motion pictures.

This Mary Pickford film is pleasant enough, though the script is kind of weak, and the storyline very predictable. The film only lasts an hour, so if you are a Pickford fan you will probably enjoy it. People new to the genre of silent film may not be overly impressed if they view this film first. I would suggest they start with Pickford in Daddy Long Legs instead.

The cast here is fun to watch, Norman Kerry very handsome and wonderful to see Wesley Barry as Mary's little brother. Love those freckles. He gets one good scene, where he has to fight in an alley way, encouraged by his tough Irish "Ma".

I give this film 7 out of 10.

This is a great silent film and I very much liked Mary Pickford in it. Its basically about a working girl with a widowed mother and her siblings, she works as a cigarette girl at a bar and meets a wealthy guy. When he gets in a fight she takes care of him.

This upsets her boyfriend, and she begins to fall in love with the wealthy guy. However things turn sour when he takes her home to his socialite aunt, who wants to "improve" her. This movie is also a satire of wealthy people and makes fun of them.

Things go terribly wrong and she must then decided if its the trouble going through all this just for a guy.

This would've been different had it been in present day America, but this was the 1920's and I think that the film was smartly written.

This is a charming old-fashioned story, featuring a delightful performance by Mary Pickford, two good male leads, and a plot that includes a good variety of material. The lead character makes it a perfect star vehicle for Pickford, and the rest of the film also complements her talents nicely.

The story is about Amarilly, a girl from a working-class Irish family. She has a boyfriend, Terry, who works at a cafe, but she also meets a sculptor from a rich family and becomes involved with his circle. There are some very funny moments, some (melo)dramatic parts, and some thoughtful social commentary as well. All of these come together nicely in a key scene when Amarilly's family mingles with the upper crust.

Besides Pickford, charming as always, the two make leads (William Scott and Norman Kerry) are very good, presenting believable and interesting characters who form a nice contrast with each other and a good complement to Amarilly. They all help a fairly simple story come to life. This is the kind of old-fashioned film that unfortunately does not get a lot of attention today, but it's a real pleasure for those who enjoy the silent classics.