Mid-Channel

"So, in marriage, after the first bright years, there lies a stormy and treacherous period, which, if not staunchly weathered, means darkness and disaster." LOL!

Clara Kimball Young (as Zoe Blundell) stars as a woman bored with her marriage to selfish stock-broker J. Frank Glendon (as Theo Blundell). After ten years of marriage, the restless Ms. Kimball Young is tired of being the dutiful housewife, waiting up until midnight for the workaholic Mr. Glendon. She wants to go out and have fun while she is still young and attractive. Glendon wants the traditional housewife. He also determines the couple will not have children, so they can concentrate on his career, and maximize financial success; Kimball Young is distressed by this, feeling it's against a woman's nature. Will their marriage survive?

This is the story of a decade old marriage in trouble. The Blundells quarrel over traditional husband/wife roles; with an unresolved conflict about having children contributing to the bad feelings. A huge film star, Kimball Young gives the film's finest performance - using her eyes to express emotions excessively. Glendon is okay in the thankless husband role. More interesting is Bertram Grassby (as Lenny Ferris) as the caddish man Young picks to step out with, and Helen Sullivan (as Mrs. Annerly) as the widow Glendon chooses as mistress. Mr. Grassby looks appropriately smarmy in his scenes with Young; sadly, we see no on-screen passion between any of the couples - a Kimball Young/Grassby kiss would have been delightfully creepy. Other silent players include veteran Katherine Griffith (as Mrs. Pierpont), who wants her daughter Eileen Robinson (as Ethel) to marry Grassby; Kimball Young's dad Edward M. Kimball as honorable old Peter, and Jack Livingston as gossipy Claude Roberts.

There are TWO startling events in the film "Mid-Channel" - the first occurs when Kimball Young, Glendon, and Grassby come together to sort out their relationships; the climax very nicely uses Kimball Young's desire to have children to cinematic advantage. THEN, the film postscripts that ending with an even more startling ending, which is very unexpected. You very likely will NOT guess how the film ends, finally - but the overall theme of this old silent is much more ordinary than its promise.

****** Mid-Channel (9/27/20) Harry Garson ~ Clara Kimball Young, J. Frank Glendon, Bertram Grassby

Of silent diva Clara Kimball Young's surviving films, much has been written of Eyes of Youth (1919) and rightly so. It's a compelling, well-wrought story and sensitively acted by the star and her supporting cast, including Rudolph Valentino in his first important screen role.

But Mid-Channel (1920), based on the hit Pinero play in which Ethel Barrymore appeared on Broadway, rivals Eyes of Youth as a highly-charged, penetrating drama and actually surpasses it as an elegant, provocative vehicle for Young, whose beauty and glamour are captured at their height in this picture.

Young may be more sympathetic and allowed a wider range of emotions in Eyes of Youth but her icy hauteur and ferocious petulance as a spoiled, high-strung society wife in Mid-Channel are stunning in their realism, perhaps even evocative of her reputedly difficult personality off-screen.

The spirited succession of marital arguments that culminate in infidelity for Zoe (Clara) and Theo Blundell (J. Frank Glendon) are fascinating to watch, not only for the excellent performances but for the dialogue between the couple, which contains some of the most intelligently witty sarcasm of the silent era.

Mid-Channel's catty carping is relieved by the gentleness of Peter Mottram (Clara's real-life father, Edward M. Kimball), a mutual friend who tries to reunite the warring pair. While the acting of Bertram Grassby, as Zoe's fickle lover Leonard Ferris, is as stilted as his name, Katherine Griffith's portrayal of Ethel Pierpont, Theo's racy mistress, is very convincing.

The lurid nature of this film shows the somewhat surprising extent to which sexual subjects were handled in the silent era. Although no actual physical lovemaking is shown it is implied heavily throughout — in the acting, in the title cards and in Clara's romantic wardrobe of undulating evening dresses and tea-gowns (designed by the ubiquitous couturier Lucile).

As good as the story is, as capable as most of her costars are, and as gorgeous as her clothes are, it's the magnetic appeal of Young's femme fatale part that makes this movie so enjoyable.

Although not a unanimous critical success upon its release, Mid-Channel has stood the test of time and offers a revealing taste of Clara Kimball Young at her most scathing.