Nell Gwyn

I'm glad I got to see "Nell Gwyn" from the Kansas Silent Film Festival. The recording is somewhat dark and surely from a reduction print, but it's better than an almost-unwatchable copy that I've had for years but never got around to finishing. Dorothy Gish in the titular role is a delight, and it's one of the sexier silent films I remember seeing. One begins to suspect early on that the British production may've been something of a joke on the American Gish as a semi-exotic sex kitten to be objectified but a poor actress. Indeed, she plays an impoverished wannabe theatrical actress in this one, based on a true story though it is. Such suspicions are quickly swept away, however, by her commanding performance in a mostly humorous and light romp of a historical costume drama involving a dying king and a brief love triangle. Instead, Gish is even employed to mock the stereotypical stuffiness of British royalty and aristocracy. The play-within-the-play of her mocking a rival countess' hat with a ridiculously-sized one of her own is a hilarious highlight here.

Lillian Gish may've been the greatest actress, but the other Gish sister, Dorothy was the more bubbly and a fine actress in her own right and with a good sense of comedy. I love her eyes and facial expressions in this one. She was a scene stealer in her supporting part in the Lillian-starring "Hearts of the World" (1918). This, though, is some of the best I've seen from her. Although, near the top of my wish list for lost film discoveries would be Dorothy starring under the direction of Lillian, her only film as director, in "Remodeling Her Husband" (1920), but, alas.

The sexual playfulness is evident early on, with cleavage galore as Gish's dress is perpetually practically slipping off her and including in the opening scene her appearing to begin juggling the oranges she sells before she realizes her male friends may be enjoying the spectacle for her bouncing breasts instead. Her Nell Gwyn embraces her sexuality, though, from groping her bosom after a first kiss from the king, showing off her legs more than a new pair of shoes at another moment, discovering the uses of soap during a bath scene, doesn't mind the king blatantly gazing down her blouse, and the picture is quite obvious in its fade to Gish in bed post-coital that sex is a part of her and the king's relationship.

Besides Gish, the reflexivity of her playing an actress, and the sex appeal, "Nell Gwyn" also features costumes well. It's not just that it's a period piece with elaborate 17th-century attire, either. Clothing is prominently placed in the narrative. Gish's Gwyn complains about the poor state of what she wears from the beginning, and her new clothes and footwear recognize her blossoming relationship with the king and her rags-to-riches Cinderella story. Plus, there's her more boyish, swashbuckler outfit she puts on for one party where she slides down a staircase bannister and duels while pretending to ride a costume horse and, of course, that hat scene. Odd that I also reviewed today "Those Awful Hats" (1909), from Gish's former director D.W. Griffith, but there are worse ways to spend the day than laughing at hats.

The first of three films by Herbert Wilcox featuring Nell Gwyn; at least this silent version lacks Anna Neagle's attempt at a cockney accent in the later films. All the women wear plunging preCode necklines; even Sydney Fairbrother, whom I would like to have seen more of as Nell's impecunious mother.

This is quite an entertaining romp with Dorothy Gish playing the eponymous orange seller who captivates and captures the heart of King Charles II (Randle Ayrton) much to the chagrin of one of his other "companions" - Juliette Compton ("Lady Castlemaine") and of his ill-fated brother James, Duke of York (Gibb McLaughlin). Some of this borders on the burlesque with an enjoyable, and occasionally provocative, bawdiness from the star that would surely have challenged the censors had it been made just a few years later. Aside from providing this rather rakish King with some pleasures of the flesh, she also proved to be a decent influence on him - and even today, his former palace at Chelsea in west London is still the home for retired soldiers she inspired him to establish. Gish is on great form here, she plays her part with gusto and vigour, tempered with a degree of sensitivity as the plot follows the declining health of her Royal patron. Unfortunately, the remainder of the cast are pretty static, indeed McLaughlin looks like he has been sucking on a lemon for most of his scenes, but the comedy - of which there is plenty - raises a smile as the rivalry between the two women gathers pace. The production is basic, but I rather enjoyed it.

"A Character Study" of a lowly orange-selling Englishwoman, who uses her cleavage and humor to captivate the King of England. Director Herbert Wilcox would remake the story, more successfully, as an Anna Neagle talking picture. This production catches Dorothy Gish (as Nell Gwyn) nearing the end of her successful career as a major silent star, unfortunately; her comic sex appeal is prominently displayed.

Ms. Gish and others are directed to cavort and/or emote excessively. After Gish moves into the castle, as King Randle Ayrton (as Charles)'s mistress, she uses her "power" to do good deeds (presumably, showing the "character" promised earlier). A relatively good scene features Gish and low-cut dress rival Juliette Compton (as Castlemaine) fuming over the King.

The ending suggests this "Nell Gwyn" might have been intended as a love story. Earlier, "Nell" states she loves the King, and a sexual relationship is certainly presumed; however, the two never appear to be "in love". More importantly, what happened to "Nell", and her career as an actress, after the end of the movie? In the end, she seems only to have been important as a King's play-thing.

*** Nell Gwyn (7/18/26) Herbert Wilcox ~ Dorothy Gish, Randle Ayrton, Juliette Compton

England's movie industry was reeling after The Great War when its filmmakers were decimated by personal loses as well as a public whose concentration was focused on just surviving the war. At the same time, the United Kingdom's theaters were overwhelmed by a deluge of popular movies from Hollywood. Of all the motion pictures shown in Britain's cinema houses in 1926, only 5% were UK product. Rare was a British movie shown outside the kingdom's commonwealths, which included Australia and Canada. The Slump of 1924 resulted in a number of UK film studios to go bankrupt.

In a rarity during that span, one of England's films drew good crowds in oversea's markets upon its release: British National Pictures' July 1926's "Nell Gwyn." Part of the explanation for its success worldwide, especially in the United States, was that it was a darn good picture portraying an orange seller becoming one of King Charles II's favorite mistresses in the 17th century. Another reason is that the movie features Dorothy Gish, Lilian's younger sister. Adapted from Marjorie Bowen's 1926 novel 'Mistress Nell Gwyn,' the bio pic portrays a vivacious lower-class wanna-be actress whose personality engages everyone who is lucky to be near her.

The New York Times was highly praising of the film. "Whatever may be the shortcomings of English motion picture producers," the paper's reviewer wrote, "If they can put together other pictures as simply and with as much dramatic effect as this story of Nell Gwyn, they should have no difficulty obtaining a showing for them anywhere." Dorothy was different from her more serious sister Lilian by her more light-hearted roles. Director/producer Herbert Wilcox knew the story of Nell Gwyn afforded the plot's central character to be expressively jubilant. Wilcox felt there could be no better actress to portray her than Dorothy Gish, despite her American background. As one reviewer wrote, "I've never seen a Gish perform with such abandon and must observe that filming must have been delayed by regular wardrobe malfunctions." Dorothy's top apparel could not possibly be any lower, as seen on the screen. It's been noted that her appearance in such a costume would not be permitted on the United States screen after the new Movie Moral Code was enacted in the summer of 1934.

The success of "Nell Gwyn," however, didn't stop the United Kingdom Parliament from enacting the 'Cinematograph Films Act 1927' to support its faltering industry. The Act established a quota for its UK's theaters to show 7.5% commonwealth-produced movies, filmed in the kingdom's studios containing a British subject or theme comprised of a 75% film crew from the UK. That quota of UK-produced films to be shown in the kingdom's theaters was raised to 20% in 1935. The Act lasted until 1960 when it was repealed.