Désirs

This film is sociologically fascinating but dramatically rather weak. It also would make a good case study for a psychology class, as Norma Shearer's character (Lally) has to deal with others who are variously manipulating, controlling and irresponsible (I won't spoil it by telling you who does what). The sociological fascination comes from the depiction of the idle rich who ride polo ponies, go to Lake Michigan resorts, dress smartly and tolerate `modern' young women like Lally - and from the dynamic between men and women. The dialogue seems unusually terse by 1929 standards - much is left unsaid, and the film is better because of it. Shearer is quite good; she carries the film with apparent ease. Unfortunately, Belle Bennett is clearly ill at ease with sound. She was quite popular and acclaimed for her silent work, especially Stella Dallas, but here she brings little life to her role.

You know that old 'truth' that films made in 1929 were terrible, that nobody could act and speak at the same time, that they were stagey static bores? Well this proves all that wrong.

Veteran silent movie maker, Mason Hopper clearly hadn't read the memo that making talkies were difficult. He didn't know that the coming of sound meant just to position the camera in the corner of a set and tell the actors to speak very slowly as though they were doing a play in an old people's home. Considering when this was made, it's exceptionally good. The acting is natural with lively dialogue making what you're watching seem real and authentic, almost modern. But what this does have in abundance is a story, and attitudes gloriously drenched in late twenties atmosphere.

About half the picture is filmed outdoors; in the streets, in parks, in cars, in boats, you couldn't find a less stagey film than this beautifully made melodrama. The direction is uncharacteristically fluid for an early talkie - it could have been made years later. Norma Shearer is completely natural and instantly endearing. Whilst not having dazzling looks, as in most of her films, she again manages to exude more sensuous sexuality than seems possible for one person to exude. Robert Montgomery, in his first leading role seems like he's been a star for years and is equally as likeable. Lewis Stone is Lewis Stone and in this is Shearer's father with a peculiar penchant for middle aged ladies who can't act (no, not everyone is brilliant in this!)

For a soppy, if rather racy melodrama to hook cynical old me like this did can only be because it's such a well made, well written story. It's not what you'd expect from such an old film.

The movie has a somewhat overheated, strained quality to it, much like a soap opera and is primarily of interest for Norma Shearer's performance, which received a nomination for Best Actress for the 1929-30 Academy Awards, which she lost to herself, winning instead for her performance in The Divorcee, a better role in a much better film. Ms. Shearer was THE actress at the time and did quite well for many years. A good movie that could have been better and largely a curio now.

I rate this movie highly not because it's all that great but because it's a fascinating piece of movie history. There are no seamless edits - the end of one take often doesn't match up with the beginning of the next. Scriptwise, more is implied than said. In one conversation, Norma Shearer is clearly about to say the word "mistress", but bites her lip and spits out the name of her father's paramour instead. Yet fifteen minutes later she's standing in a slip while brushing her hair, and her nipples are clearly outlined through the fabric. Shocking, I tell you! My favorite scene was the dance sequence, which features a wonderful, haunting piece of music called "Blue Is The Night" by Fred Fisher.

Overall this movie was interesting as an exercise in contrast and comparison with modern films. There are better films from that era - there were probably better films made that week - but I didn't mind spending 65 minutes with these people. I was duly entertained.

Their Own Desire is an example of why I love pre-Code movies so much. While on a cinematic level it's clearly mediocre, its 65-minute runtime provides a fast-paced, thoroughly entertaining story buoyed by Norma Shearer's fun, fresh performance.

The film follows the Marlett family, Lally (Shearer) & her parents (Belle Bennett & Lewis Stone), through her father's cheating, their divorce, and Lally's whirlwind romance with the son of her father's mistress (Robert Montgomery). The plot is totally unoriginal and most of the acting is unmemorable, but the film's strong production values make it highly enjoyable, especially as a 93-year-old time capsule.

The sets and costumes are sleek and tasteful, evoking the life of luxury these characters lead and allowing for some pure escapism. The whole movie felt like a warm summer night, I especially loved that moonlight confrontation scene by the tree. And while the film's structure doesn't allow for any real emotional depth, the dialogue has sharp and satisfying moments.

The acting is very hit or miss, with the only real standout being Shearer - and even then, she can only do so much given the material. She brings infectious energy to the role, sometimes pushing too hard but often pulling surprisingly funny and quirky vocal & facial expressions that feel fresh and almost subversive. For example when she and Montgomery have a rendezvous in the car, she somehow flips the script on the creepiness of the dialogue/setup with her manic eye rolls & expressive face, showing that she is clearly in control and enjoying getting frisky with him, while at the same time being slightly annoyed by his antics. (I'm sure she channeled many women of the time, seeing how one-sided and controlling "courtships" seemed to be in those days. Yikes!)

Shearer also looks absolutely fabulous in all her "modern" fashions, and in the emotional moments she delivers beautifully without overacting (surprising to me given how mannered many of her performances are). The Lake Michigan castaway sequence is so hilariously, entertainingly over the top, but she does the best she can and is very affecting on a superficial level. Oscar-worthy? I'm not so sure, but she acquits herself well for what it is. I am solidly a Norma Shearer fan, and only love her more for this shallow but charismatic, fluid performance.

Montgomery is terrible, although that may be due to the contemptible character vs. His actual acting. As mentioned I'm not sure if this was just considered "normal" behavior for the time, but it was cringeworthy throughout. Belle Bennett is decent as Shearer's mom, and I thought she conveyed well the high-class air of depression surrounding her character. Lewis Stone is surprisingly bland and forgettable as her dad. Finally, shoutout to the actress who played Shearer's mom's loyal maid. She is uncredited and it's no more than a cameo, but her indignation and protectiveness made a relatively substantial emotional impression amid the fluff.

This movie is a treat for anyone who loves pre-Code films & Norma Shearer, and for Oscar completists not a bad way to spend an hour. Just don't dive in expecting anything too deep.