Why Be Good?

Colleen Moore is a modern girl. She likes drinking and necking and winning dance cups. One evening, she has just won another dance competition at a speakeasy, only for her boyfriend to fall asleep drunk at their table. She heads over to Neil Hamilton's table. He had tried to pick her up earlier, and now he's going to take her home...at 3AM, which worries her mother enough to ask if she's still a good girl.

The next morning, Colleen is fifteen minutes late to her job at the department store. Guess who's the owner's son and the new personnel manager? After Hamilton expresses his interest in Miss Moore to his father, his father expresses concerns about girls these days, with "the drinking, the spooning, the kissing - and - and the broad-mindedness."

Miss Moore's last silent movie has her performing the persona she had established for herself in FLAMING YOUTH. She enjoys the good life, and keeps herself clean, growing angry at the sneers of young men who want the drinking, and the spooning, and the kissing, and the broad-mindedness, but don't want it for their wives. Like many of the flapper movies of the 1920s, it insists that times have changed... but not that much.

Miss Moore is comfortable in the role, while Hamilton comes off as a stuffed shirt. Director William Seiter shows the easy mix of light comedy and social message that would keep him working through his death, and Sidney Hickox's camerawork shows why he was Miss Moore's favorite cinematographer.

WHY BE GOOD? Is not novel nor deep. It's still a very enjoyable movie for one of the 1920s' biggest stars before the talkies and the Depression overwhelmed the movies.

recently restored--combined missing disk with footage--Vitaphone Project

This film is a great example of a supposedly lost film that was found due to the so-called 'Vitaphone Project'. Because early Vitaphone sound films consisted of both the film footage AND an accompanying record for sound, many movies seemed to be only available as sound discs or film footage. However, with the internet age, the Vitaphone Project has managed to track down BOTH copies of many films and film shorts--the record and film have finally been reunited! So, although "Why Be Good?" has been considered lost for years, here it is---for the first time in many, many decades.

Like many of these early sound films, it really is NOT a talking picture but a silent with a soundtrack. A few songs in the film also are sung live by the actors. Otherwise, it's a traditional silent film. As for the soundtrack, it's actually at times too invasive and generally too loud! I actually wish, at times, there was no soundtrack!

As for the film, it's a romantic comedy about flappers--in particular, Pert Kelly (Colleen Moore). Pert LOVES to party and goes out all the time with her friends in order to dance. One night, she meets a nice guy, Winthrop Peabody Jr. (Neil Hamilton) and they fall in love. Later, she learns that he's her boss at the department store! The problem is that Winthrop Sr. is worried that Pert might be a bit of a slut. After all, she loves to party, loves to dance and is clearly a flapper. So what's next? See the film.

This is a pretty good film and is one of the last silent-style films from Warner Brothers. The story is good and talks about the double- standard for ladies--the need to be fun, adventurous, rather slutty and yet chaste! My only real complaint is the ending--which seems to come rather abruptly.

Why Be Good? was shown at the Silent Film Festival 2015 in San Francisco, in a 1920's movie house with a live orchestra. You can't get better than that! The line to get in went around the block, but it was sooo worth it: a rediscovered and just-restored silent film at a packed art-house theater which happened to be built a few years before this film's original theatrical release, with live musicians playing along so marvelously, it's hard to top it.

We were given brochures and there was a pre-screening talk. It was there I learned that the film's star, Colleen Moore, died thinking all copies of the movie had been forever lost, including her reels which she'd given to a museum for preservation. But just like with Metropolis recently, someone at a cinematheque found a copy and after years of painstaking restoration work it was brought again to the world.

I loved it. Colleen was so great portraying a flapper, and in a full house she and the other actors sure made us laugh a lot. I was very impressed with the Art Deco sets, the ingenious Boiler Room scene, and the moral of the story which I won't spoil. But yes there was a moral in the midst of all the dancing and comedy, and it was one that made all the women in the theater cheer!

So big kudos to the restoration folks, and the Mont Alto Motion Picture Orchestra for the superb live accompaniment. It makes me wish every movie I attended had live musicians now.

Lost until the late 1990's and then only restored in 2014, this is a real gem to have found. It's a playful film that evokes the era of the roaring 20's as well as any other, and has a nice bit of feminism in it as well. The two young people (the delightful Colleen Moore and dapper Neil Hamilton) push against the boundary of what was considered acceptable, and more importantly, she sticks up for herself, first with her parents and then with him. Her character, Pert Kelly (what a perfect name) the "hot potato", asserts her freedom with this line to her father:

"Pop, listen to me! This is 1929 - not 1899 - I contribute as much money to this house as you do - and as long as I think it is harmless, I'm going to wear what I like, and do what I like! I want to go out, and dance, and have fun, as long as I can, as much as I can!"

She can take care of herself; when a sleazy guy comes on to her, she plays along but is always in control, but when a guy comes along that she does like (Hamilton), she's not afraid to kiss him first. She's confident, saying to her friends, "Sure, I'm good! I'm just naturally too hot for this old folks' home!" At the same time, we see how her having fun and dancing wildly forces her to beware of being considered a "bad girl", or to be taken advantage of by a man. She just wants to be herself and yet has to thread the needle to be acceptable to everyone around her. This leads to this fantastic line:

"You men! You insist on a girl being just what you want - and then you bawl her (out) for being it."

Unfortunately, the feminist message is a little undercut by the women ("girls") in the office who are late to work putting on pouty, little girl airs to try to seduce the boss, though I confess I found the scene amusing.

The plot is simple but it's loaded with fantastic intertitles featuring 1920's slang, and it's got some nice art deco sets to go along with all the flapper outfits and dancing. While the film is a great time capsule of that era, the scenes of the younger generation struggling against the older are timeless. The fathers of both are shown to be too old-fashioned, but her mother (Bodil Rosing, who is wonderful) is more understanding, and has some really lovely scenes with Moore. In an interview for the film, Moore pointed out the hypocrisy of the older generation by saying "Is it any worse for a girl to call kissing 'necking' and admit she does it, than it was for her mother to call it 'spooning' and deny it?" Hamilton added, "It's all in the point of view... Our parents probably scandalized our grandparents, and our kids will probably look back on us as a lot of old fogies." It seems you can repeat these lines for every generation.

This film marked the end of an era not just for America, but for Colleen Moore, who would only appear in a few sound movies afterwards. She's wonderful.

With stellar jazz-age tunes this movie starts on fire and never fades.

It's funny. It's sexy. It challenges the boundaries of the day.

I kept thinking: I was born several decades too late.

Makes me sad Colleen Moore didn't make many movies after this, before retiring in the mid-30s. Also fun to see ''Commissioner Gordon'' in the silent era. Supporting cast is well above average. And maybe most surprising of all it's all so natural. None of that ham- boned silent-era acting. It's almost as if the actors were delivering their lines in a talkie.

Thank heavens for TCM, or we'd never see this great movie.I could watch this movie over and over again.