The Runaway Bride

I didn't see this film from the beginning. If you miss the first few minutes of most films of this vintage, you're lost from then on. This film is worth watching, not because it is a good film or has a good cast. The only one worth seeing here is Mary Astor, and she's a far cry from her Brigid O'Shaugnessey days still to come. This film is worth watching from a filmmakers' vantage point. The plots and characters are virtually negligible. However, Leo Tover's expressionistic photography and angles are exceptional for the period. There are lots of dark images a la Welles ( though still a few years prior to his appearance). The images are silhouetted in this pre-Citizen Kane vehicle, and there is even an early attempt at 'deep focus', which was said to be fathered by Toland, but Tover stops just short of deep focus 1930 in several scenes. The situations are somewhat steamy...there's one scene where the villains are looking for loot that's worth $80,000. Astor has to stand for an off screen frisk at the hands of these desperate men, and the result also suggests that the frisk is full of sex, with the moans and groans and Astor's pleadings off screen suggesting that which cannot be judged otherwise. Not a thrilling movie, nor necessarily a great watch. But viewing can give you insights into where movies were headed as of 1930. Artistically, not a great watch; technologically a worthwhile and informative watch.

Old films are always worth watching, if you want to be a student of films. It has a young Mary Astor, very beautiful indeed. Donald Crisp is the director. He was a much better actor. The performances are very wooden and stiff which is typical for early talkies. They were still learning how to say dialog. The emotions are overdone physically, because most of the actors came from the silent era where facial expressions and gestures had to replace dialog. Watch Mary Astor in one of her later silents and watch her early talkies. But watching these old films gives us a window into the past that we cannot get any other way.

Wealthy young Mary Astor (as Mary Gray) and tall playboy David Newell (as Richard "Dick" Mercer, Jr.) leave New York for Atlantic City, intending to elope. But, when Mr. Newell says he'd rather travel than work, Ms. Astor gets cold feet. Newell locks her in their hotel room, hoping a scandal about the couple running off and not marrying will make Astor change her mind. But, Astor prefers likewise attractive Lloyd Hughes (as George Edward Blaine), who is not only more responsible, but also rich.

While Astor is locked in her hotel room, a jewel thief enters through the window and secretly stashes some pearls in her handbag. The thief dies in a shoot-out, while Astor screams. Then, lead thug Francis McDonald (as Barney Black) arrives, looking for the jewels, which are secretly stolen by moll and maid Natalie Moorhead (as Clara Muldoon). Local lawman Paul Hurst (as Daly) investigates. Astor is wanted by the police, then kidnapped and molested by thugs. Mr. Hughes must save her in time…

This thick-plotted "talkie" was directed by actor Donald Crisp, who did some impressive work with D.W. Griffith, Douglas Fairbanks, and Buster Keaton. Though a success directing silent films, Mr. Crisp decided to concentrate solely on acting, after turning in one all-talking film. This turned out remarkably well, in the long run. "The Runaway Bride" does have some good locations, featuring 1920s automobiles - those old tires wore out quickly. Astor has a fun rapport with Hughes and Newell.

***** The Runaway Bride (5/4/30) Donald Crisp ~ Mary Astor, Lloyd Hughes, David Newell, Paul Hurst

Wow...this is one of the strangest first half hours of any film I have ever seen. Believe it or not, the first 15 minutes of the film have just about NOTHING to do with where the film goes next--and in the process, it strains credibility WAAAY past the breaking point! The film begins with Mary Astor being driven by a fiancé who is an irresponsible thrill-seeker. Again and again, he nearly gets them killed by his reckless and super-high speed driving. Yet, despite this, she STILL plans on marrying the jerk--which irritated me quite a bit.

Eventually, Mary starts to have doubts about following through with the marriage--but his driving (oddly) didn't seem to be the final straw. Here is where things get really, really contrived--and rather crazy!! The fiancé steps out of the room they rented and Mary somehow gets locked in the place. In the meantime, a detective stops by and demands to be let in--and she lies that she's not dressed when all she really needed to say was she couldn't get out of the room! And, by the way, did he stop by and why did she lie?! This made no sense--nor did it make sense when, out of the blue, a criminal climbs into the room between the time the detective knocks on the door and before he returns with a pass key!! What are the odds?!? And, in the process, the criminal shoots a cop who is chasing him!!! So, Mary is locked in a room, a detective stops by BEFORE there is a crime committed, a real crime is then committed and the criminal chooses this particular room for a hideout, the crook shoots and kills another cop before he is also shot dead, but before dying he hides the loot in Mary's bag!!!! If all this doesn't sound utterly ridiculous, it gets worse! After the detective leaves but before he returns with the pass key, the maid arrives and lets Mary out of the room. Now what would any SANE person do? Well, according to this film, you pay the maid a fortune (for 1930) and take a job the maid was going to take in another part of town--going undercover to avoid the cops even though you'd done NOTHING (other than appear in a bad film). All this mess involving the police occurred in only about eight minutes in the film!! The next portion of the film is like yet another film crammed into one very, very busy movie.

Mary is now a cook and the bachelor for whom she is working is very taken by her--and it's PAINFULLY obvious that they will fall in love by the end of the film. Why couldn't they have just kept the first portion of the film with the irresponsible fiancé and this section where she becomes the cook for this swell guy? After all, the intervening portion is just too goofy and stupid...and really undoes the entire film. Overall, the impact is very poor--and a movie that isn't really worth your time unless you LIKE 3rd rate films with occasionally bad sound (which was not terribly uncommon for an early talking picture). It's a bad film for so many reasons...but rarely is it boring!!

Mary Astor is "The Runaway Bride" in this early talkie directed by Donald Crisp - and not very well, I might add. The young and beautiful Astor is Mary Gray, who is eloping with her fiancée (David Newell). He drives too fast, is wealthy, and doesn't want to work. Mary wants a husband who will make something of himself. For unexplained reasons, Mary doesn't seem to realize what this man is like until they elope.

Mary breaks off the engagement, and he leaves the suite they've rented to make arrangements for the wedding because he's determined to marry her. While he's gone, a robber enters her room and, unbeknownst to her, hides $80,000 worth of stolen pearls in her purse. He's killed by someone else, and then the police show up. With the help of a maid, Mary makes a run for it and winds up as a cook in the home of a wealthy bachelor (Lloyd Hughes). But the gang still wants their pearls.

Convoluted and directed in a meandering fashion, this film suffers from ETS (early talkie syndrome). The dialogue is said slowly, with pauses in between, throwing the rhythm of the film off. I just saw "Paid" from around the same time, and for some reason, that film doesn't suffer from this. But so many early talkies do, with the actors not used to speaking.

Dated, draggy, and predictable, this film is only worth seeing for Astor, who in spite of the problems, manages to do quite well. Actually the performances aren't bad. But the story! Ouch.