Charleston-Girls

Mildly interesting story of 3 friends who are showgirls in the evening and party girls late at night, which inevitably turns into morning. They are from different backgrounds; Bennett, a seasoned veteran of the after-hours scene, O'Neil a naive newcomer, and Crawford, a 'decent' girl trying to stay virtuous. O'Neil is appealing in this seedy story of flaming youth of the 20's, who dance, party and dance some more.

The picture holds your interest but the underlying message, that finding some guy with deep pockets can really augment a meager salary, does not speak well for the lack of a sense of morality and decency, which are apparently needed to get with the 'in crowd'. I imagine it was a popular film in its time. Movie veteran Henry Kolker stands out among the supporting cast. Shown at Capitolfest, Rome NY, 8/19.

***** 5/10 - Website no longer prints my star rating.

For decades this film was unavailable due to rights issues, but Capitolfest screened it in 2019. Because of the build-up over time, the reality is disappointing, but it is an entertaining film overall.

Three showgirls fill the various types: Sally (Constance Bennett) is cool and confident, Irene (Joan Crawford) is sincere and virtuous (I know), and Mary (Sally O'Neil) is flighty and young. Mary is the newest member of the troupe and toggles between her old life and her flame with beau Jimmy (William Haines) and her new prospects with Sally's wealthy keeper. It all builds to a reasonably exciting climax (featuring dubious special effects). Although this is a movie about dancers, relatively few of the scenes take place on stage. Instead we are treated to scenes at lavish parties in Sally's deco apartment, complete with an ornate butterfly decal on her bedroom wall, and scenes backstage.

It is funny that O'Neil was cast in the role as the fresh desirable dancer because she is the least-known today, and certainly less beautiful than Bennett and Crawford. I suppose her antsy personality better embodies the "modern" flapper type, but her type quickly went out of fashion and ushered in a new standard of beauty.

Edmund Gouldling is without a doubt one of the greatest filmmakers in the so-called "Golden Age" of Hollywood, and this silent film is a great testament to his abilities as a director.

The cinematography is ever beautiful, and it is very splendidly put together in terms of both cutting and editing. The imagery is great and very characteristic for Gouldling as well.

The actors all do an incredible job, and utilizes the silent medium to perfection. Truly an art lost in time in some ways.

Overall, a great film that is very much recommended for any lover of film and fans of Gouldling. Definitely a given watch!

Constance Bennett is the big star of the revue; Joan Crawford a established dancer and Sally O'Neal s Joan's friend, new to the show, and dazzled by it all: the lights, the costumes, the parties, Miss Bennett's 'friend' Henry Kolker, who begins a play for her.

I expected this to be one of those three-girls-on-the-town comedies, but it turned out to be a serious drama about what happens to the three young women. Unfortunately, given this is MGM with its new-found gloss thanks to the designers, cameraman John Arnold (who would retire from the set to run Metro's camera department) it takes itself far too solemnly for me to take it seriously. The three ladies are fresh-faced and lovely. But this version is too title-heavy from Eddie Dowling's play for the early direction by Edmund Goulding to work its magic.

This 1925 MGM film helped make mega-stars of Constance Bennett, Joan Crawford, and William Haines. A Jazz-Age story of Broadway and three chorus girls in a show at the Dainties Theater, writer/director Edmund Goulding mines what was already a cliche in 1925 in the story of the good, the bad, and the innocent.

Bennett plays Sally, the lead chorus girl at the Dainties and the long-time girlfriend of Marcus Morton (Henry Kolker), a rich millionaire who collects chorus girls. Her cushy life is threatened when sweet young thing Mary (O'Neil) shows up as the "new girl." But she already has a boyfriend (Haines). Then there's Irene (Crawford), who dreams of a great love.

The plot follows jealous Sally trying to dump Mary and hold on to Marcus while Crawford tries to keep the peace. Jazz parties at Sally's wild apartment include loud music and lots of girls and men. Set and costume designs by Cedric Gibbons, Merrill Pye, and Erte, perfectly capture the era.

Subplot has Haines mooning over the loss of Mary to the wild life while their mothers (Kate Price, Aggie Herring --billed as Herrin) squabble. Everything is resolved by an unforeseen tragedy.

The three stars are all terrific, with Crawford getting to do her famous Charleston in the stage show. Haines is also a standout. Price and Herring are funny as the squabbling mothers, and Kolker is appropriately slimy as the cad.

The only bad news is the "special effects" in the climax, which seems pretty cheap and obvious for an MGM film.