À chacun sa vie

Mary Pickford claimed Marshall Neilan was the best director she had ever worked with, better than even the legendary D. W. Griffith. The two worked in five straight films, all hits, beginning with late 1917's "Rebecca of Sunnybrook Farm." Their fourth film together, March 1918's "Amarilly of Clothes-Line Alley," was Pickford tackling another dual role, this time as a poor woman who becomes romantically linked with a rich man. Her uneasiness of being elevated to the upper strata is shown visually by director Neilan in such scenes where he frames her several times in the doorway or sitting on windowsills, straddling the two worlds.

The comedy recognizes there are two different customs of behavior between the rich and the not-so-rich. The Pygmalion lessons she has to learn to enter such a monied society is one Pickford tackles with aplomb. With Neilan's direction, just as he crafted in "Stella Marie," his new visual style of fluid editing, naturalist forms of acting and incorporation of symbolic sequences introduced Hollywood to an ever-sophisticated method of movie-making, showcased with the premiers of these two very important motion pictures.

This is a great silent film and I very much liked Mary Pickford in it. Its basically about a working girl with a widowed mother and her siblings, she works as a cigarette girl at a bar and meets a wealthy guy. When he gets in a fight she takes care of him.

This upsets her boyfriend, and she begins to fall in love with the wealthy guy. However things turn sour when he takes her home to his socialite aunt, who wants to "improve" her. This movie is also a satire of wealthy people and makes fun of them.

Things go terribly wrong and she must then decided if its the trouble going through all this just for a guy.

This would've been different had it been in present day America, but this was the 1920's and I think that the film was smartly written.

Spunky little AMARILLY OF CLOTHES-LINE ALLEY has two suitors - her longtime bartender beau and a frivolous society boy. With whom would she be most happy?

This urban fairy tale, with romance, heartbreak & happiness all wrapped-up into a neat package, was exactly the sort of movie that Mary Pickford's legions of fans loved to see her in. America's Sweetheart was only too happy to oblige, constantly replaying the image of a resourceful little girl or adolescent at odds with a cruel world or snobbish society. This is no disparagement or faint praise. By expertly giving the public what it wanted, Pickford became the most powerful person in Hollywood.

Here, she has a fairly straightforward story line, without too many kinks in the plot. As always, Mary is imminently watchable. Whether dancing enthusiastically across a crowded floor, selling cigarettes to the `swells,' or reacting frantically to an accidental shooting, she never lets the viewer forget that the reason we watch a Pickford film is Pickford herself.

William Scott gives excellent support as Terry the bartender; the feelings he has for Mary are palpably real & true. Norman Kerry, full of boisterous high jinks, is fine as the society fellow who wishes to `better' her. Special mention should be made of jolly Kate Price as Pickford's mother, the very picture of an Irish washerwoman. Her round, jovial face bespeaks the goodness of her character's soul.

Pickford produced this film herself and she was ably abetted by screenwriter Frances Marion, her best friend and Marshall Neilan, her favorite director. Neilan had started his movie career as a romantic lead, but eventually moved behind the camera & Pickford considered him to be superior even to the legendary D. W. Griffith. Neilan's major failing were the frequent delays caused by his drinking, however he never failed in charming himself back into Pickford's good graces. This talented trio's collaborations continue to delight audiences today.

In this 1918 film, Mary Pickford plays a down-to-earth Irish working class girl, complete with her washer-woman ma and 5 rambunctious brothers. The plot is perfunctory: she has an equally down-to-earth bartender boyfriend, but gets involved with dashing upper-crust sculptor Norman Kerry (who's handsome even to modern eyes!) until used as a "social experiment" by Kerry's socialite aunt, which she justifiably resents.

No big surprises, but a wealth of small, charming moments. The film is undeniably creaky (it is 82 years old!), but actually flows together quite well. Its age is also, undeniably, part of its charm - it fascinates me to see these products of another era. There is a melodramatic turn at the end that seems to come out of the blue, but perhaps it was a nod to the fact that Amarilly's neighbourhood was undoubtedly a dangerous environment to live in.

Its not difficult at all to see why Mary Pickford was "America's Sweetheart". This was the first complete movie of hers that I've watched, and I hope to see more. She's delightful - warm and sweet, and blessed with a heart-melting smile.

After watching a few films of her, I have to say Mary Pickford is not at her best in this movie. Mainly, this is because of the weak plot, which doesn't always seem to be coherent, especially the triangle love story, when you think about it. Furthermore, the film tries to be moralistic and funny at the same time, which doesn't seem to work really well either. However there are one or two funny scenes, whenever the washer family's mother is depicted. However, even there, it is just about exploiting stereotypes to get a few cheap laughs, or so it seems. In my opinion, one major problem are the monotone settings of the scenes, which do not vary enough to make the whole movie more interesting. All in all, it does only take an hour to watch it, but I think there are better films from 1918 than this one.