Sadie Thompson

For those who would pigeonhole Raoul Walsh as an "action master" or "man's director", this small-focus drama with a female protagonist might seem at odds with his image. In fact, while he was a versatile director who could turn out a rousing action scene, it was the drama – particularly in the relationships between individuals – that was Walsh's greatest strength. Sadie Thompson in fact shows us his mastery of the technique in its purest form.

Walsh himself made the adaptation from the play "Rain", not as easy a task as it sounds – a play has to convey action through dialogue, while a silent film does the exact opposite. Sadie Thompson begins with a series of autograph mottos from each character, a rather clumsy way to introduce character. This is immediately followed however with a particularly smooth bit of film-making. We are given a point-of-view shot, as Swanson looks down at the group of soldiers on the shore, then we cut back to her, and the camera pulls back as she descends the gang plank. A few shots later the camera is dollying forward, following Swanson and the soldiers hovering around her. In this handful of shots we are subtly informed of Miss Thompson's profession, but also with those attention-grabbing point-of-view shots and camera movements we, the audience, are placed into the position of the characters. Walsh has drawn us into the story at this crucial establishing moment.

Considering it only really revolves around two developing relationships – that between Sadie and Tim, and that between Sadie and Davidson – the main part of the film is like a tour-de-force of different ways to shoot interaction between two people. The scenes between Swanson and Walsh are given the customary tenderness of a regular romance, with some delicate shot compositions that give it a natural, harmonious feel. The relationship between Swanson and Barrymore in contrast is full of intensity – lots of cuts, faces framed in stark close-up. What is particularly neat, is that all of the major dialogue scenes begin with a fair few title cards – getting the unavoidable wordy bits out of the way first – but then the dialogue fizzles out and the interaction continues with just the images, back and forth.

Of course, the effectiveness of the drama would be lost without great acting and, yes, this probably is Swanson's finest performance prior to Sunset Boulevard. I think Swanson was at her best when she was really allowed to let go, and put all her energy into a character, and to say she does that here would be an understatement. Lionel Barrymore is fine as the archetypal repressed Christian, a little hammy perhaps but then, he is a Barrymore. And Walsh himself absolutely acts his socks off, actually turning in the deepest performance of the picture, and the fact that his acting days were soon to be cut short is one of several tragedies regarding his career.

Speaking of tragedies, looming over Sadie Thompson is the unfortunate loss of the final reel, which has since been semi-reconstructed with stills and titles. While what we see today suffers from a very noticeable lack of a climax, the dramatic build up comes close to perfection. Considering its small scale and lack of action, Sadie Thompson was apparently a massive popular success. In his autobiography Raoul Walsh quotes several letters he apparently received from prostitutes of various nationalities which, while they may well have been fabricated or exaggerated slightly, are probably accurate at least in tone. By contrast the 1932 talkie version was a flop, despite an equally great cast, testament to Walsh's talent as a director of powerful cinematic drama.

Sadie Thompson (1928) : Brief Review -

Raoul Walsh's zealous attempt to discover new proportions of human redemption powered by Gloria Swanson's Amazing performance. Walsh was a known name after he made the Magnum Opus 'The Thief Of Bagdad' (1924), before making this film. So it was unlikely to expect another gigantic adventure from him with a female-led film. Sadie Thompson has some issues in the climax, which might have been controversial for that time, but today when I look at the film, I understand his zealousness. Especially in the character played by Lionel Barrymore. It's a Gloria Swanson-led film alright but this character keeps tangling you. One just can't say whether he is a villain or a good soul. The same goes with Sadie's character too. You know she is a prostitute yet you want to see her get reformed. However, one must realise that it's not that easy. You just can't reform yourself just after you have decided, there's a process to test your ability. Sadie Thompson is a well made film in that sense. The way it shows that process and the desperate nature of all three leading actors, but the film gets a little messy and confusing at the end. There could be some valid reasons for that, philosophical or religious ones, but I don't want to get into such conversations. Sadie Thompson tells the story of a "fallen woman" who comes to Pago Pago to start a new life, but encounters a zealous missionary who wants to force her back to her former life. Her love story isn't formed well, too rushed I mean, but okay. The performances of all three leading actors makes it a must watch. Whatever remakes and adaptations are available out there, are not worthy enough. So prefer this first copy. It's no match to Raoul Walsh's best works like 'The Thief Of Bagdad' and 'White Heat', but as good as his 'High Sierra', and better than 'The Roaring Twenties'.

RATING - 7/10*

By - #samthebestest.

Religious hypocrisy is the main theme of 'Sadie Thompson', based on a short story by W. Somerset Maugham. Sharing the same hotel in Pago Pago, a religious reformer (Lionel Barrymore) takes a dim view of a 'loose' woman (Gloria Swanson), and after failing to get her to change her ways, lobbies the local governor to get her shipped back to San Francisco.

I liked this version a bit better than the 1932 version with Walter Huston and Joan Crawford because Barrymore is so brilliant, so harshly upright but at the same time, hinting at a demonic side as he glowers away. Despite the movie being silent, director Raoul Walsh (who also plays Swanson's love interest) delivers a couple of compelling scenes with Barrymore trying to exert his will, Swanson resisting, and the rain coming down, unrelenting. Swanson also lets loose with her anger, and in one funny moment it's obvious she's cursed a blue streak, as the ladies around her cover their ears and scamper off. 1928 was the first year for the Oscars and Swanson would be nominated for her performance. I admire her for it, but admire her more for producing the movie despite pressure because of its content, and considered a slightly higher rating.

The film itself is not in that great a shape, and while the last couple of minutes are mostly gone forever, we're fortunate that Dennis Doros restored it as best possible mostly with carefully selected stills. Watching this one has you clearly thinking you're getting a window into the past, but at the same time, aren't these themes of religious overreach still so prevalent today? Thank you Gloria Swanson.

I had only seen Gloria Swanson in her more mature role in Sunset Boulevard and not in her heyday. She is gorgeous downright hot and very convincing as Sadie Thompson. The version of the W. Somerset Maugham story is superior to the better know Joan Crawford version Rain. Lionel Barrymore does a fantastic job as the self serving preacher. Raoul Walsh the well know director appears here as the serviceman who is in love with Sadie.

It's sad that we don't have on film Jeanne Eagels and her performance from Broadway of the classic Rain. I'm told there was something truly special about it. But having said that Gloria Swanson has given us one riveting performance as Sadie Thompson, the girl that gets everyone thinking from below decks in the South Seas.

With the exception of Rita Hayworth's version, I have something nice to say about all the screen Sadies. You've got to be both one sexy dish and an extraordinary actress to pull this role off. In Gloria Swanson and Joan Crawford we've had both.

W. Somerset Maugham long before Tennessee Williams was writing about taboo sexual subjects and people bought his books and saw the plays and movies from them. Rain is the granddaddy of them all. Maugham as a gay man just asks a simple question, why don't people just let people alone to do their thing if it doesn't harm anyone?

That's the attitude in rollicking Marine sergeant Raoul Walsh who is stationed on the tropical south sea paradise that Sadie Thompson finds herself stranded. Walsh who directed also gives us an opportunity to see him before he lost an eye a couple of years later.

Also there is Lionel Barrymore and his wife Blanche Frederici, the Reverend Davidson. One of the most uptight people in literature it's like he's got to destroy the thing he lusts for, but can't have because of convention and the beliefs drummed into him. In a nutshell you have a ton of religious and political figures, closeted gays who are outwardly rightwing homophobes. Maugham knew them well.

So with one look, Barrymore takes a most personal interest in the 'salvation' of Sadie Thompson. But it's all a cover and in the end when his world is exposed it's the end for him.

Rain will be getting productions ad infinitum although they might be underground productions as per the local mores until the end of time. Sadie Thompson got two Oscar nominations in the first Oscar ceremony, one for Gloria Swanson as Best Actress and one for cinematography.

Not a film to be missed.