The Golden Chance

Mary Denby (Cleo Ridgely), a seamstress from the slums, gets a chance at a better life when she is employed by a couple that hopes to woo a young millionaire (Wallace Reid) into a lucrative contract. However, unbeknownst to her employers and would-be-suitor, she has a thieving drunkard husband (Horace B Carpenter) who complicates things. Directed by Cecil B DeMille.

The story is generally engaging, although at times somewhat implausible, and with a rather rushed ending. Cleo Ridgely is quite appealing and sympathetic as the heroine, and Wallace Reid smolders and charms very effectively as the debonair millionaire. The acting by all is generally quite restrained and naturalistic, showing that even in the early days of feature films actors were capable of nuanced performances.

Director Cecil B DeMille and cinematographer Alvin Wyckoff make a very talented team, imbuing the film with distinctive lighting and shadow effects, as well as intriguing compositions (note the shot where Reid and Ridgeley kiss, which is done with the camera looking down briefly from above). By now they had emerged with a distinctive style, consolidating the successful elements at work in CARMEN and THE CHEAT (which also came out in 1915). A nice film, worth watching for silent movie enthusiasts as well as those who may be new to silent film. SCORE: 8/10.

Having worked as an actress with D.W. Griffith, Jeanie Macpherson joined forces with Cecil B. DeMille to write screenplays for his films. She learned her writing skills from Griffith who also started out as an actor and began to write his own material. It seems that via Macpherson, DeMille was tutored by Griffith to write this film.

In watching this early DeMille work, it was once again reinforced to me that early DeMille is far superior to late DeMille. His attention to use of light within scenes is remarkable. His pacing is very good, enabling much to be told in the space of an hour or so. It is a pity that he wasn't as intuitive about the style of his later sound films as he seemed to be in his silent films.

This was the first film in which I had seen Cleo Ridgely. She was remarkable, quite restrained and yet conveyed a broad spectrum of emotions.

The ending is wonderful.

... shot by director Cecil B. DeMille at night after directing another film during the day, but the strain on him failed to weaken his power over performances. Perhaps deep night infected his approach, for the film looks dark with bold "Rembrandt lighting" featuring sharp unfiltered key lights on players that are often set against black backgrounds.

How wonderful is seeing Wallace Reid in his youthful prime four years before the 1919 accident that started him on his morphine decline? Serendipity provided us with a nearly pristine print for study, and the intimate yet predictable story provides many nuances worth savoring, not the least of which are intelligent, subtle characterizations by every player. Jeanie Macpherson's scenario weaves an interesting tapestry out of died-in-the-wool fabrics.

Reid shines with an admirably constrained performance, but the one oddity is his co-star, buxom and pretty Cleo Ridgely, who I swear looks a bit cross-eyed and tends to mainly express hand-wringing angst to an annoying degree. Sharp performances by the five other secondary players provide enough support to divert the viewer from her limitations, and the overall hour, augmented by some sharp, revealing extreme close-ups, puts genuine oomph into the outing. I wouldn't mind seeing it a second time someday, which, in my opinion, is one mark of a good movie.

I enjoyed FORBIDDEN FRUIT, DeMille's Jazz Age remake of THE GOLDEN CHANCE, but I still have to admit CHANCE is the better of the two. Cleo Ridgely is a phenomenal actress with strikingly modern looks and she nails her Cinderella role perfectly. Wallace Reid is also memorable as the love interest, adding a touch of cynicism to his Prince Charming. The blend of grimy urban reality and fairytale Edwardian splendor elevates the drama, making THE GOLDEN CHANCE one of DeMille's best silent films.