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Silent movie with music soundtrack is best known today for being the movie that made Joan Crawford a star. She's good here but shown up by Anita Page, whose drunken histrionics provide the movie with its life. The lack of vocal dialogue greatly helps the presence of Johnny Mack Brown, possessor of one of the worst Southern accents the big screen ever saw. First half hour is a little tedious. It's a series of scattered scenes showing flappers hoofing it up and bickering with their mothers who don't want them to be tramps. The rest of the film deals with love triangle between Crawford, Mack, and Page. The over-the-top ending is the best part. Good for curiosity's sake.

Wealthy and flashy Diana falls hard for Ben Blaine--who unjustly interprets her vivacity as looseness and in turn falls hard for prim and proper Anne--who is in fact a vicious gold digger with a heart of stone. Will Ben ever see through Anne's facade and realize Diana's true worth? Directed by Harry Beaumont with sets by the legendary Cederick Gibbons, OUR DANCING DAUGHTERS was bright, sharp, pretty to look at, and just sexy enough to make the censors fume--the type of film that MGM seemed to produce by the bushel during the late silent era. The studio expected it to perform well, but there was no reason for anyone to think it would generate more than passing interest, much less a legendary star. But it did.

Born in 1904, Lucille Le Sueur endured a hardknocks childhood to become a popular chorus girl in New York night spots before signing with MGM in 1925--and renamed Joan Crawford she churned out some two dozen films in three years without setting the world on fire. Until, that is, MGM allowed her dance on table tops and despair of winning her true love in this slickly produced, well acted, but essentially formula melodrama. And even today it is still possible to see what all the fuss was about: not only was she bursting with youthful energy and appeal, it was the first film in which Joan Crawford really LOOKED like Joan Crawford, and although still limited her acting chops weren't half bad either.

The overall cast is particularly strong, with Anita Page turning in a memorable performance as the pretty but wicked Anne and Dorothy Sebastian as Bea, a good girl with a few missed steps in her past; male leads Johnny Mack Brown, Nils Aster, and Edward J. Nugent provide solid support as various love interests; and Kathlyn Williams proves memorable as Anne's manipulative mother. While OUR DANCING DAUGHTERS will never rival the truly great films of the late silent era, it is still a lot of fun, and those who want to see Crawford's first cinematic hurrah will not be disappointed.

GFT, Amazon Reviewer

The movie that launched Joan Crawford's career, and which so nicely captured some of the spirit of the flappers in the late 1920's. The scenes of her cutting loose with the Charleston amidst art deco furnishings are certainly the highlight. The plot itself is a pretty thin morality tale. Crawford and Anita Page pursue the same newly minted millionaire, who confuses who is "the pure one" and of course gets it wrong. Perhaps it's understandable, since there is a lot of dancing, legs, and playful kissing of guy friends to go around. There is an undercurrent of the double standard common for the time (how interesting this was made in the same year Woolf gave her 'A Room of One's Own' speeches); Dorothy Sebastian plays another character who must live down her past, and convince her husband to forgive her for it.

The movie is silent and not in the greatest shape anymore, but that might have added a little to its charm. It's also interesting to see the short hairstyles, cloche hats, and the dialog:

Offering a drink: "Li'l hot baby want a cool li'l sip?"

After a big kiss: "What a service station *you* turned out to be!"

By the shoreline, to a pretty song; ah youth: "It's such a pleasant thing – just to be alive!" "You want to taste all of life – don't you?" "Yes – all! I want to hold out my hands and catch it – like the sunlight."

OUR DANCING DAUGHTERS (Metro-Goldwyn-Mayer, 1928), directed by Harry Beaumont, is memorable today mainly because it made an overnight star of an MGM contractee named Joan Crawford, a resident performer at MGM since 1925. In spite of Crawford's recognition with this particular silent melodrama focusing on three happy-go-lucky party girls out for a wild time finding men, Dorothy Sebastian and Anita Page being the other two dames in question, it is Page, the third party of the trio, who practically gets the most attention due to her immorality and selfishness in her character. It is this, and Page's performance in MGM's first talkie, "The Broadway Melody" (1929) that will be most remembered by film historians for years to come, so long as this, and other films like these, continue to exist on television and appreciated by a new generation of classic movie lovers.

The story opens with three youthful girls getting themselves ready for another Saturday night on the town: Beatrice (Dorothy Sebastian), a simple-minded girl; Ann (Anita Page), a cute, peppy blonde who's not only immoral and immature, but an out-and-out gold digger; and Diana Bedford (Joan Crawford), a fun-loving socialite noted for her love for fast cars, dancing and wild parties, trying to live her life according to her parental upbringing, on high moral principals. At the party, Diana amuses her friends by stripping off her dress and dancing step-ins. Later, she comes upon Ben Blaine (Johnny Mack Brown), a handsome young man and an heir to millions. Diana becomes very much interested in him, but Ann decides to step in herself, giving Ben the impression that she is pure and innocent. She tricks Ben into marriage, which leaves Ben blind of the fact to what kind of girl Ann really is. As Beatrice finds a partner in marriage with Norman (Nils Asther), Diana remains single, keeping only to herself until sometime later, the unhappily married Ben comes back into her life again, causing friction between Diana and Ann.

As it appears, OUR DANCING DAUGHTERS is a routinely made silent drama that rises above similar stories made during the bygone roaring twenties era. Watching Joan Crawford as a "jazz age" baby in the vogue of Paramount's own Clara Bow, is interesting to see, but unlike Bow, who retired from the screen in 1933, Crawford adapted to the changing of times, presenting herself in costumes and headdress accordingly to the new era, and improving with each passing decade her skillfulness as an actress, which is why she remained in the public eye of motion pictures until 1970.

For quite some time, OUR DANCING DAUGHTERS became the only known silent movie starring Crawford from the silent era to circulate either in revival movie houses or on commercial television before becoming part of cable television decades later, namely Turner Classic Movies. Interestingly, as in many silent movies of the late twenties, OUR DANCING DAUGHTERS is currently available two ways, in either 97 minutes (video cassette) or a shorter version (TCM) at 85 minutes. The video presentation from the late 1980s, labeled on its storage box "including original musical score," is, in actuality, consisting of orchestral score used for the public television 13-week film series 50th anniversary to MGM, MOVIES GREAT MOVIES (1973), where OUR DANCING DAUGHTERS premiered in on WNET, Channel 13, in New York City, October 19, 1973, as hosted by Richard Schickel. The 85 minute version shown on Turner Classic Movies is the one with the original 1928 soundtrack consisting of crowd noises, sound effects and off-screen singing by an unknown vocalist crooning to "I Love You Then as I Love You Now." A sharp ear will also hear Diana's name being yelled out amongst the crowd. Watching the movie currently available in both these versions with different underscoring is quite acceptable, but it's the original 1928 soundtrack that gives more of the feel, capturing the mood from that jazz age.

Also seen in the supporting cast are Eddie Nugent, Dorothy Cumming, Huntley Gordon, Evelyn Hall and Sam DeGrasse. Fans of Universal's SHERLOCK HOLMES film series of the 1940s starring Basil Rathbone and Nigel Bruce will take notice that the character actress who played their landlady, Mrs. Hudson, can be spotted as one of the three scrub women at the bottom of the stairs in one of the more memorable highlights involving the drunken Ann (Anita Page).

The success of OUR DANCING DAUGHTERS paved the way to sequels in name only, all featuring Crawford and Page: the silent OUR MODERN MAIDENS (1929) with Douglas Fairbanks Jr; and the early talkie, OUR BLUSHING BRIDES (1930) with Robert Montgomery and Dorothy Sebastian. With all three being shown occasionally on TCM, the original, which started it all, remains the best known of the trio. (***)

The Roaring Twenties has come down to us in history as an era of good times and continual partying until that stock market crashed and one could no longer afford to party. Joan Crawford got her first taste of first billing and stardom with Our Dancing Daughter where she does the ultimate Charleston of the Twenties.

Crawford at first glance is one wild child, but it's just a pose. Down deep she knows when to put on the brakes. She's got two friends she parties with, Dorothy Sebastian who's reticent now, but at one time was the wildest child of all. Sebastian knows that those loose morals of the past have irreparably damaged her reputation. She'd like to really settle down, but whomever she dates is expecting only one thing.

Then there's Anita Page who comes off to her friends as prim and proper, but is really the wildest child of all. She's got a nice image, but when she parties, she really parties.

Both are after young Johnny Mack Brown who is playing what he was in real life, a recently graduated All American halfback from the University of Alabama. He likes them both and wants a wife to settle down with, but he's not a good judge of character. In fact he's a bit of a dope. He rejects Crawford and marries Page and regrets it soon enough.

MGM was stepping into the age of sound ever so cautiously. Sound effects are heard and several songs of the era are interpolated into a soundtrack either sung or played instrumentally. All these players would be talking soon enough on screen.

Our Dancing Daughters is a must for Joan Crawford fans and it's a great look at the culture of the Twenties, the Flapper Culture.