Souls for Sale

Tonight "Souls for Sale" premiered on Turner Classic Movies with a wonderful new score by Marcus Sjowall, winner of the TCM 6th Annual Young Film Composers competition.

I cannot say if this is the best available print of this long-forgotten film, but it's (relatively) clean, and the hand-tinting ranges from obvious, (in the desert scenes), to moody and evocative, (in the train sequence that opens the film and the fire later on). Its director and screenwriter, Rupert Hughes, was the uncle of Howard Hughes. He based the screenplay on his own novel, and if any of the other six films he directed are as good as this, I'd like to see them.

Eleanor Boardman was a lovely actress, whose character in "Souls for Sale" is improbably named Remember Steddon, nicknamed "Mem." Boardman was adept at both comedy and drama, and tended to "emote" far less than was the style of the era. Compare her performance with that of Barbara LaMarr in this film, who was far better known at the time. (And LaMarr is a little more restrained than usual here.) Boardman has a dream role in "Souls for Sale": she literally tumbles off a train into the midst of a big budget Hollywood production being filmed in the desert, unexpectedly becoming an actress in the process.

This gentle lampooning of the Valentino sheik pictures sets in motion a series of send-ups of various Hollywood genres of the silent era: historical and costume dramas, burlesques and action films. Boardman's parts grow steadily larger while she gains more and more confidence in herself and her talents. It's a lovely transformation to watch as she grows from a sheltered, small-town minister's daughter to a queen of the silent screen.

Along the way, Mem rubs shoulders with countless Hollywood stars of the period and at least a half-dozen directors, including Charles Chaplin (filming "A Woman of Paris") and Erich Von Stroheim, who was filming "Greed." Since its earliest days, one of Hollywood's favorite subjects has been itself. Some movies about the Dream Factory come across as heavy-handed ("The Day of the Locust"), others as cynical and knowing ("The Player"), and still others as a pleasing blend of cynicism and comedy ("Singing in the Rain"). "Souls for Sale" seems to me to have all the best elements of a Hollywood on Hollywood movie. It's funny, warm, entertaining and engaging all the way, with a breathtaking climax.

More and more silent films are lost every year. Each time I discover one as good as "Souls for Sale," I know there are probably a half a dozen more films just as good that are gone forever. Thank heaven for the painstaking work of film preservationists. As a silent film enthusiast, I am so grateful for opportunities like the one TCM viewers got this evening.

For a modern audience, Souls for Sale (1923) is nothing we have not seen before. It's the small-town girl becomes big star overnight story, with healthy helpings of romantic melodrama thrown in. It's a story that can be done well, but here it's done with little to distinguish it from other movies of its kind.

Eleanor Boardman, a truly underrated talent, does well in the lead, with all the other actors giving solid performances. Silent film mavens will enjoy the topical humor and cameos of famous directors and stars of the early 1920s. (My favorite inter-title takes a jab at The Sheik (1921), a masterpiece of old time kitsch.) In the end, silent film geeks will get more out of this than casual viewers will.

Souls for Sale (1923)

** 1/2 (out of 4)

A young woman, Remember Steddon (Eleanor Boardman) is on a train, hours after her wedding to an evil man (Lew Cody) when she decides to jump overboard. She walks through the desert only to be rescued by a movie actor and his director (Richard Dix) who eventually falls for the woman and swears to make her a star. This Goldwyn Pictures release has become quite famous over the years due to several famous cameos that pop up throughout the running time. The most famous is a scene with Erich von Stroheim directing a scene from GREED and one of Chaplin directing A WOMAN IN Paris. We also gets scenes from THE ETERNAL THREE and THE FAMOUS MRS. FAIR, which is important as both of these films are now lost so seeing the footage here is the only thing we have left. We also get cameos from various other famous faces but in the end, all this sidetrack really takes away from the actual story trying to be told. That story itself really isn't all that interesting or entertaining as it's quite bland and straight-forward even for 1923 standards. The entire subplot with the husband being a serial killer really seems out of place and leads to some rather silly drama. What does work are the performances with Boardman coming off extremely good here. She's very believable in the "ordinary" role and the young Dix is also quite good as the leading man. Mae Busch, Barbara La Marr and Frank Mayo are also nice in their roles. Cody is good as the serial killer even though his character wasn't needed. Back in the 20's and 30's Hollywood was great at making movies about itself. This one here isn't one of the best but there are enough curious aspect for film buffs to give it a shot.

So reads a title card in this not brilliant but enormously entertaining comedy-drama from 1923. Rupert Hughes did the screenplay and the direction from his own novel and he has a great main cast, including Eleanor Boardman, Richard Dix, Mae Busch, William Haines, Lew Cody.... well, the list goes on and on, because there are dozens of cameos here, including shots of Chaplin directing A WOMAN OF Paris and von Stroheim directing GREED, in this kindhearted look at Hollywood. It is a feast for lovers of old movies who love to play spot the stars, and everyone seems to be having a fine old time.

True, the print is a bit battered, but in compensation TCM has just had a new score commissioned for it, part of their Young Composers series. I must say it is the best score they have had done since they started this, and it does what a score should do: underline and intensify the mood of the movie and, in the sentiments of Charlie Chaplin, give the audience something nice to listen to if the movie is a stinker.

It's not a must see movie if you're looking for great film making, but if you're looking for a great popcorn movie, this is one from 1923. It's well worth the time of any film buff.

I don't normally enjoy silent movies and watch only about halfway through BUT "Souls for Sale" 1923 was a delight! It was fun for me to actually see some of the famous names I'd only read about.You get the feeling that you are visiting Hollywood of yesteryear. As a matter of fact my niece commented "it looks like a commercial for Hollywood".If you are like me, you are fascinated by OLD Hollywood; I love the gossip, the scandals, the old cemeteries, etc. What's amusing is that they are "poking fun" at their own foibles and it was still such an innocent place!Keep your eyes on the "dastardly womanizer" who repeatedly turns women's hearts and heads because he is a HOOT!Modern women of 2006 would never fall for his silliness but I assume a lot of his "dramatics" are on purpose and over the top so we can hate him but still find pity for his character. I saw it on TMC the Turner classic movie channel. It wasn't in perfect shape but very good for it's age and the restoration is wonderful. The musical score was so fitting even to a scene where the orchestra was playing on a movie set and the score was playing the same instruments as the actors/musicians on the screen. It's an admirable job that is being undertaken to restore these real "time capsules" of Hollywood history. So pop yourself some corn, sit back, and watch with delight!