Souls for Sale

Tonight "Souls for Sale" premiered on Turner Classic Movies with a wonderful new score by Marcus Sjowall, winner of the TCM 6th Annual Young Film Composers competition.

I cannot say if this is the best available print of this long-forgotten film, but it's (relatively) clean, and the hand-tinting ranges from obvious, (in the desert scenes), to moody and evocative, (in the train sequence that opens the film and the fire later on). Its director and screenwriter, Rupert Hughes, was the uncle of Howard Hughes. He based the screenplay on his own novel, and if any of the other six films he directed are as good as this, I'd like to see them.

Eleanor Boardman was a lovely actress, whose character in "Souls for Sale" is improbably named Remember Steddon, nicknamed "Mem." Boardman was adept at both comedy and drama, and tended to "emote" far less than was the style of the era. Compare her performance with that of Barbara LaMarr in this film, who was far better known at the time. (And LaMarr is a little more restrained than usual here.) Boardman has a dream role in "Souls for Sale": she literally tumbles off a train into the midst of a big budget Hollywood production being filmed in the desert, unexpectedly becoming an actress in the process.

This gentle lampooning of the Valentino sheik pictures sets in motion a series of send-ups of various Hollywood genres of the silent era: historical and costume dramas, burlesques and action films. Boardman's parts grow steadily larger while she gains more and more confidence in herself and her talents. It's a lovely transformation to watch as she grows from a sheltered, small-town minister's daughter to a queen of the silent screen.

Along the way, Mem rubs shoulders with countless Hollywood stars of the period and at least a half-dozen directors, including Charles Chaplin (filming "A Woman of Paris") and Erich Von Stroheim, who was filming "Greed." Since its earliest days, one of Hollywood's favorite subjects has been itself. Some movies about the Dream Factory come across as heavy-handed ("The Day of the Locust"), others as cynical and knowing ("The Player"), and still others as a pleasing blend of cynicism and comedy ("Singing in the Rain"). "Souls for Sale" seems to me to have all the best elements of a Hollywood on Hollywood movie. It's funny, warm, entertaining and engaging all the way, with a breathtaking climax.

More and more silent films are lost every year. Each time I discover one as good as "Souls for Sale," I know there are probably a half a dozen more films just as good that are gone forever. Thank heaven for the painstaking work of film preservationists. As a silent film enthusiast, I am so grateful for opportunities like the one TCM viewers got this evening.

Beautiful Eleanor Boardman (as Remember "Mem" Steddon) has just married amorous Lew Cody (as Owen Scudder). But, contemplating her coming honeymoon nights makes Ms. Boardman recoil from Mr. Cody. Suddenly, Boardman jumps off the train carrying the unhappily married couple through the desert of early Los Angeles, California. Almost dead from struggling through the Hollywood sand, Boardman collapses on the location setting for a movie directed by Richard Dix (as Frank Claymore). Boardman reluctantly decides to bloom where she is planted; and, she becomes a movie star. Boardman is romanced by "director" Dix and matinée idol Frank Mayo (as Tom Holby). Meanwhile, estranged husband Cody plans his "comeback"…

The melodramatic "Souls for Sale" moves way too quickly, and is not structured for easy viewing. For example, details about the characters played by Boardman and Cody are revealed too late for full dramatic impact. The story is more interesting during a second viewing. Writer Rupert Holmes (uncle of eccentric Howard Hughes) didn't direct many movies, but he does exceptionally well, helming his own "Souls for Sale". The direction of the "circus" scenes is filled with exciting, memorable moments. And, the calmer scenes aren't bad either, like the scene wherein Cody holds framed photographs of his handsome rivals (Dix and Mayo) up to Boardman's mirror. Big names in 1923 filmdom appear in supporting and cameo roles.

******* Souls for Sale (3/27/23) Rupert Holmes ~ Eleanor Boardman, Lew Cody, Richard Dix, Frank Mayo

So reads a title card in this not brilliant but enormously entertaining comedy-drama from 1923. Rupert Hughes did the screenplay and the direction from his own novel and he has a great main cast, including Eleanor Boardman, Richard Dix, Mae Busch, William Haines, Lew Cody.... well, the list goes on and on, because there are dozens of cameos here, including shots of Chaplin directing A WOMAN OF Paris and von Stroheim directing GREED, in this kindhearted look at Hollywood. It is a feast for lovers of old movies who love to play spot the stars, and everyone seems to be having a fine old time.

True, the print is a bit battered, but in compensation TCM has just had a new score commissioned for it, part of their Young Composers series. I must say it is the best score they have had done since they started this, and it does what a score should do: underline and intensify the mood of the movie and, in the sentiments of Charlie Chaplin, give the audience something nice to listen to if the movie is a stinker.

It's not a must see movie if you're looking for great film making, but if you're looking for a great popcorn movie, this is one from 1923. It's well worth the time of any film buff.

I don't normally enjoy silent movies and watch only about halfway through BUT "Souls for Sale" 1923 was a delight! It was fun for me to actually see some of the famous names I'd only read about.You get the feeling that you are visiting Hollywood of yesteryear. As a matter of fact my niece commented "it looks like a commercial for Hollywood".If you are like me, you are fascinated by OLD Hollywood; I love the gossip, the scandals, the old cemeteries, etc. What's amusing is that they are "poking fun" at their own foibles and it was still such an innocent place!Keep your eyes on the "dastardly womanizer" who repeatedly turns women's hearts and heads because he is a HOOT!Modern women of 2006 would never fall for his silliness but I assume a lot of his "dramatics" are on purpose and over the top so we can hate him but still find pity for his character. I saw it on TMC the Turner classic movie channel. It wasn't in perfect shape but very good for it's age and the restoration is wonderful. The musical score was so fitting even to a scene where the orchestra was playing on a movie set and the score was playing the same instruments as the actors/musicians on the screen. It's an admirable job that is being undertaken to restore these real "time capsules" of Hollywood history. So pop yourself some corn, sit back, and watch with delight!

Movie buffs and anyone interested in Hollywood history will find much to enjoy in the silent comedy/drama Souls for Sale, that is, if they can find it at all. Last time I checked, this film is not available on video or in any other format for home viewing, and may never be unless some serious restoration work takes place: the print I saw at the Museum of Modern Art last year was badly tattered in places, with a confusing turn in the plot at one point which suggested that a chunk of footage must be missing. But even allowing for its battered condition, this is an enjoyable, unusual and engaging movie which offers modern viewers a priceless time trip back to 1920s Hollywood. It was directed by the multi-talented Rupert Hughes, who adapted the scenario from his own novel. The story concerns a young woman named Remember Steddon (known as "Mem"), who runs away from an impulsive marriage, finds herself in the movie capital, and eventually becomes a star almost by accident. Leading lady Eleanor Boardman, perhaps best remembered for her later work in King Vidor's The Crowd, makes a charming and attractive -- if oddly named -- heroine, giving a performance that is nicely understated for the era. Her character's failed screen test is a highlight, and also demonstrates genuine skill on Boardman's part: it isn't easy to simulate "bad" acting so convincingly.

The tone is melodramatic one moment and comic the next, yet somehow the shifts in mood feel natural and never jarring; author Hughes' witty title cards help keep the transitions smooth. Viewers familiar with Colleen Moore's 1926 comedy Ella Cinders may notice some similarities between the two films, each of which is a rags-to-riches tale with lots of backstage atmosphere and inside jokes. However, Souls for Sale distinguishes itself with an amazing parade of star cameos featuring some of the era's top personalities. Charlie Chaplin, without his familiar make-up, can be briefly glimpsed staging a scene from his landmark feature A Woman of Paris, and Erich Von Stroheim, looking suitably grim, is seen on the set of the wedding feast from his legendary drama Greed. Meanwhile, the featured performers constitute a veritable Who's Who of prominent screen personalities of the time, including Richard Dix, Mae Busch, Barbara La Marr, and a very young William Haines, in an early role as an assistant director. Lew Cody is especially memorable as a sleazy con man who turns out to be even worse than he appears. Also noteworthy for history-minded viewers are the satirical digs at the contemporary craze for 'Sheik' movies (poor Rudolph Valentino was much parodied during his lifetime), and several oblique but unmistakable references to the sex scandals then rocking Hollywood. The story builds to an exciting finale on the set of a circus picture, but unfortunately the print I saw was especially choppy during this climactic sequence, and the action was difficult to follow at times.

P.S. January 2006: Good news for silent film fans! A beautifully restored, newly scored print of Souls for Sale has been broadcast on TCM, giving this undeservedly forgotten movie a new lease on life. The restoration gives us an opportunity to savor the exceptional cinematography of John J. Mescall, complete with period color tinting effects, while Marcus Sjöwall's score complements and supports the action admirably. Unfortunately, there is still a portion of lost footage at a key juncture in the story (we lack the moment when Mem learns about her husband's criminal past), but the wild and woolly circus finale has been properly reconstructed, and concludes the movie on a rousing note. The newly restored version of this film is a delight, and an absolute must for viewers interested in the silent era.