The Flapper

The radiantly beautiful Olive Thomas is just about believable as sixteen- year-old Genevieve King, although she was actually 24 or 25 at the time. It seems certain that the common, early movie practice of chest-strapping was used here. In the movie, in spite of the title, Olive plays what was known as a 'Baby Vamp'.

Genevieve is a bored upper-crust girl, who lives in a classic plantation mansion, well provided with colored servants. Unfortunately, the flighty, potentially vampish, teenager, was prone to disappearing with a male friend, and, after being double-crossed by a governess, father packs her off to a girl's boarding school. Here she falls in with some unsavory schoolgirls, and is easily led into being a naughty girl….one who is keen to attach herself to a particular adult man whom she informs that she is 'about twenty' and not sixteen as she's meant to be in the film.

After many adventures and a ridiculous suicide attempt, Genevieve decides to transform herself into a flapper, although, in her new garb, she is not girly enough to be a flapper of the 1920s. It seems 1920 was a transitional year during which the line between vamp, flapper and even diva was blurred. Flapper, however, was the 'in' term.

Snow scenes always work well in black and white film, and the scene with the horse drawn sleigh and girls sledging is no exception. The scene where the girls turn over their sledges at speed on a downhill run is not as comical as it seems. These extras were in fact badly injured in the shoot, and they filled the local hospital with their broken bodies.

Ginger-haired, violet-eyed Olive Thomas (nee Duffy) was of Irish descent, and became the wife of Jack Pickford (brother of Mary). She had been in the Zeigfield Folies before entering the movies, but it was while on a European tour with Jack that she somehow ingested a solution of bichloride of mercury. It may have been accidental or, perhaps, suicide. She died five days later, leaving Jack devastated, although sister Mary seemed unconcerned for the 'World's Sweetheart' (Mary was only 'America's sweetheart'). One person who was concerned was Mabel Normand, a good friend of Jack. It seems Mabel never met Olive, but had a signed photo of the Baby Vamp in her dressing room and an album of her photos at home. After Olive died, Mabel spent many hours sitting with her grieving mother, and always remained very angry about the circumstances of Ollie's death. Jack Pickford built a mausoleum in New York and had Ollie interred within it. This had the Pickford name inscribed over its doorway, but no other Pickford was ever buried there. We can assume that the sweet Mary, who didn't bother to attend the funeral, saw to that.

Olive seems very modern-looking in her films, and very unlike, say, Mabel Normand who was an entrenched Edwardian. Ollie could easily be cast in a picture today, whereas Mabel is clearly the face of the 1890s (producers have never found any modern actress Mablescent enough to portray her accurately). The World's Sweetheart would undoubtedly have gone on to play more mature, womanly roles had she lived, while Miss Normand and Miss Pickford were hamstrung by their child-like appearance (off-screen as well as on-screen).

Dame Ginger is a youngster who lives in a boring provincial town, Orange Springs; due to her behavior and yearnings for a thrilling life, her father decides to send her to a boarding school, the kind of place where the upper class girls of the 20's learn to do important things like skiing or flirting, the last habit always with the supervision of a chaperon. In such an idle but strict place, and thanks to some adventures ( she falls in love with a mysterious adult man and will be involved in a robbery ) Ginger will have finally the chance to make her most inward dream come true, to be a genuine flapper.

Herr Alan Crosland 's direction of this film is remarkable ( even though Crossland later will betray the rules of the silent cinema, by directing the first talkie in film history ) because in this early 20's film the technique, continuity and rhythm are developed in an especially suitable way for a romantic comedy. The star is Dame Olive Thomas, an actress who died early and who shows in this film her versatility by playing a character with different shades, an innocent girl transformed into a flapper. In this excellent film restoration there are is also a collection of witty, funny and politically incorrect intertitles that were enjoyed by this stiff German aristocrat thanks to their irony and longhaired impudence.

And now, if you'll allow me, I must temporarily take my leave because this German Count has an appointment with a vamp, a more dangerous woman than a flapper.

Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/

this is the best film Olive Thomas ever did IMHO. Easily!, Im won over now on her persona. It's directed by one of the best directors of the silent era Alan Crosland. This is a wonderfully preserved homage to both Thomas as an actress & Crosland as director. The original & wonderfully drawn Selznick intertitles are intact in this wonderful story by Frances Marion. The film is so well preserved and crystal clear with almost no nitrate deterioration whatsoever. Early scenes are shot in Florida & we se Olive in an expressive traveling shot proceeding up a canal in a motor launch. Olive Thomas is a cross between both Mary Pickford & Marguerite Clark in girlishness. What a pity that Thomas died not long after wrapping this movie. Without giving any plot away, Thomas is sent to a girls school in snow country in the mountains. A boys school is nearby. Shenanigans continue with the beautiful mountain scenery as a back drop. Alan Crosland was as much a pictorilist as Rex Ingram or Ernst Lubitsch. A previous film of Crosland's thats on home video is "The Unbeliever" from 1918 made at the Edison Studios. Both films exhibit his visual style soon to be famous in films like "Don Juan", "The Beloved Rogue" & "The Jazz Singer". Norma Shearer, later a famous MGM star, is visible in this film and is only 17 years old. This movie has nothing to do with Flappers as personified later in the 20s. No bathtub gin or any of that. Frances Marion who wrote this story seems to have chosen a random word for the title of the story.

I viewed the Eastman House print of this film, which unfortunately is missing the original opening credits and inter-titles from the first reel. From the second reel onwards, there are some clever visual gimmicks in the titles -- at one point, part of a caption is replaced by footage of a boy riding a hobby-horse while the rest of the caption remains in place; at another point, a title flips over on its vertical axis when the villains enter the room, turn round, and go out again -- so I wonder what pleasures I might have missed in those first-reel inter-titles.

The title of 'The Flapper' is ironic, as this movie's heroine is an innocent ingenue who merely pretends to be a jazz-baby flapper. The beautiful Olive Thomas (age 25) plays 16-year-old Genevieve King, and in nearly every sequence she is believable as a teenager. Genevieve (nicknamed 'Ginger' for her high spirits) is sent off to the girls' seminary run by strict disciplinarian Mrs Paddles (hmm...), where the students wear Peter Thompson sailor uniforms. Two of Ginger's schoolmates are played by Norma Shearer and her sister Athole, but they have no dialogue or specific business.

Distinguished older man Richard Channing rides past the seminary every day, prompting romantic fantasies among the schoolgirls. When 16-year-old Ginger connives a sleigh ride with Channing, she tells him she's 'almost twenty'. To Channing's credit, he dumps her toot-sweet when he learns the truth.

This is one of those ladies' seminaries that has a safe full of jewellery. A student named Hortense (who definitely looks to be in her mid-20s) heists the swag and runs off with her henchman Thomas Morran, played by Arthur Housman. This actor had a long career playing funny drunks, so I was pleased to see him in a dramatic role that let him stay sober. Director Alan Crosland stages one scene cleverly, with Housman on-camera aiming a revolver at Olive Thomas, who is seen only as a reflection in the mirror. Our little Ginger has got herself involved in the jewel heist. She behaves very implausibly.

Among this film's pleasures are some beautiful wintry exteriors (filmed near Ithaca, NY) and some shots of Fifth Avenue in Manhattan. There are a few continuity errors. Among others: Olive Thomas boards an omnibus as it travels south in Fifth Avenue's west carriageway below 42nd Street. A moment later, as she steps off the 'bus, it's now travelling north in Fifth Avenue's east carriageway above 42nd Street.

African-Americans are seen quite prominently in this film, but only as musicians and waiters with no dialogue. I was very impressed by a dramatic device at nearly the very end of this movie, when events in the lives of Ginger King and another character are presented as incidents in a (non-fiction) newsreel. This same device was later used in 'Citizen Kane', but I doubt that Orson Welles ever saw 'The Flapper': he was only five years old when this movie was released.

Despite some implausible motivations, 'The Flapper' is mostly a realistic comedy, so I was annoyed by an 'impossible' gag in which a stuffed elk's head winks its eye at Olive Thomas. Even more distressing were two sequences with Ginger King in drama-queen mode: in the first, she attempts suicide; in the second, she vows to become 'a dope fiend'. The beautiful and talented actress Olive Thomas died shortly after this film was released, from what appears to have been an intentional drugs overdose. (It was ruled an accident ... but the facts indicate that it was a suicide, hushed up to avoid scandal.) Because these sequences foreshadow Olive Thomas's tragic death, they manage to cast a sombre tone over the entire film. I'll rate 'The Flapper' 6 out of 10.

The first film to feature an actress as a flapper and the first film to portray the flapper lifestyle, "The Flapper" is a modest romantic comedy on the craze that would soon take over a nation and the world. Olive Thomas is a young girl from palmy and breezy Florida whose irreverent, "flapper" attitude sends her into quite the whirl of travel, romance, intrigue and redemption. With her round drooping peepers, porcelain skin and mop of red hair Thomas' looks transcend her time with her fine acting and natural charm enhancing her appeal. The excellent restoration work gives the film a clarity highlighting its age while making it viewable. The marvel of seeing a film over a century old with the clothing, cars, acting and people of the time is a plus. Nice scenes of New York too. Viewing the film has a calm and soothing effect. Lightweight and common "The Flapper" is nonetheless a charming and watchable flick from the dawn of the Jazz Age.