La battaglia dei sessi

"The Battle Of The Sexes" (1928) starts out as an airy comedy, but soon wallows into melodrama. Although it is "personally directed" by .D. W Griffith, perhaps the most important pioneer of the cinematic art in the 1910s, it has little to offer in terms of visual innovation. In fact, there is literally only ONE great camera shot: simulating a jump from a high-rise bulding. Other than that, the film is tame in its "risquè" content, and extremely predictable; several sequences run too long. Perhaps the one thing of note is how Griffth makes the daughter of the family (Sally O' Neil) the strong, feisty character while the son is completely unimportant. ** out of 4.

'The Battle of the Sexes' might be one those lesser seen (and known) films by D.W. Griffith, and it falls far from his greatest Works, but still it's worth to watch. Though it is typical Griffith's morality tale it somehow seems to avoid becoming too preachy like the great master loved to do. The story is simple tale about gold digger who seduces real estate tycoon, and the man abandons his family for younger woman.

Otherwise quite mediocre film, but there was some nice sweeping shots at the beginning of the film, and of course the marvelously directed rooftop scene.

Conventional wisdom says that D. W. Griffith didn't make a good movie after he lost his Mamaroneck studio in 1924. Between SALLY OF THE SAWDUST with W. C. Fields (1925) and THE STRUGGLE (1931), Griffith made 6 feature films for United Artists and Paramount. Most of these have been dismissed out of hand since they first appeared and a few are no longer available. THE BATTLE OF THE SEXES (1928) garnered him some of the worst notices of his career (to be outdone by his last film THE STRUGGLE) although preview audiences loved it. I have seen a restored version of the film and am hard pressed to understand all the negative reviews.

The settings by William Cameron Menzies are lavish, the photography by Karl Struss is top notch, and the editing, normally Griffith's Achilles heel, is smooth and polished. It clearly shows that Griffith could take advantage of the Hollywood studio system when given the chance. So why all the bad press? Part of the problem lies in the way the film was promoted. BATTLE OF THE SEXES was billed as a Jazz Age comedy when it was actually a domestic drama with several comic moments. Although the story is melodramatic and features the required happy ending, the emotions of the characters ring true. This was Griffith's greatest strength as a filmmaker. No matter how trite or objectionable the plot you believe his characters even when you don't agree with them.

Best known for his epics, Griffith was essentially a miniaturist as his Biograph shorts clearly demonstrate. His feature films are more successful when done on a smaller scale and while dealing people and their relationships (BROKEN BLOSSOMS, ISN'T LIFE WONDERFUL). Jean Hersholt gives one of his finest performances as a philandering husband. His encounter with a reducing machine in order to make himself look younger is both comic and pathetic. Phyllis Haver is the ultimate Jazz Baby and she lights up the screen with a performance that is both funny AND sexy. The robe she wears to seduce Hersholt must be seen through to be believed. Belle Bennett (THE IRON MASK) as the spurned wife also deserves special mention. Her near suicide is one of the film's highlights. THE BATTLE OF THE SEXES proves that Griffith had not lost his touch after he lost his independence. Thanks to Image Entertainment for upgrading this title to DVD as part of their D. W. Griffith collection...For more reviews visit The Capsule Critic.

Battle of the Sexes, The (1928)

** 1/2 (out of 4)

D.W. Griffith film about an older, rich man (Jean Hersholt) who leaves his wife and two kids when he meets a young, beautiful blonde (Phyllis Haver). The man thinks this younger woman loves him but she's actually just a gold digger. Having been accused of not being able to connect with modern crowds, Griffith made this light weight film but the change of direction really didn't help his career any. Movie crowds, while small, enjoyed the film but the critics gave this the worst reviews of his career up to this point. I think time has been fairly kind to the film, which has some wonderful stuff but sadly the story is just way too predictable, even by 1928 standards. The direction is tight throughout and the performances are all very good. Hersholt is terrific as the dumb old man, Haver plays the gold digger perfectly but it's Sally O'Neil who steals the show of the man's daughter. The highlight of the film is a wonderful scene taking place on a dance floor. The film has a strange mix of comedy and drama that really don't mix well but it's nice seeing Griffith doing a film in modern settings.

Conventional wisdom says that D.W. Griffith didn't make a good movie after he lost his Mamaroneck studio in 1924. Between SALLY OF THE SAWDUST with W.C. Fields (1925) and THE STRUGGLE (1931), Griffith made 6 feature films for United Artists and Paramount. Most of these have been dismissed out of hand since they first appeared and a few are no longer available. THE BATTLE OF THE SEXES (1928) garnered him some of the worst notices of his career (to be outdone by his last film THE STRUGGLE) although preview audiences loved it. I have seen a restored version of the film and am hard pressed to understand all the negative reviews. The settings by William Cameron Menzies are lavish, the photography by Karl Struss is top notch, and the editing, normally Griffith's Achilles heel, is smooth and polished. It clearly shows that Griffith could take advantage of the Hollywood studio system when given the chance. So why all the bad press? Part of the problem lies in the way the film was promoted. BATTLE OF THE SEXES was billed as a Jazz Age comedy when it was actually a domestic drama with several comic moments. Although the story is melodramatic and features the required happy ending, the emotions of the characters ring true. This was Griffith's greatest strength as a filmmaker. No matter how trite or objectionable the plot you believe his characters even when you don't agree with them. Best known for his epics, Griffith was essentially a miniaturist as his Biograph shorts clearly demonstrate. His feature films are more successful when done on a smaller scale and while dealing with people and their relationships (BROKEN BLOSSOMS, ISN'T LIFE WONDERFUL). Jean Hersholt gives one of his finest performances as a philandering husband. His encounter with a reducing machine in order to make himself look younger is both comic and pathetic. Phyllis Haver is the ultimate Jazz Baby and she lights up the screen with a performance that is both funny AND sexy. The robe she wears to seduce Hersholt must be seen through to be believed. Belle Bennett (THE IRON MASK) as the spurned wife also deserves special mention. THE BATTLE OF THE SEXES proves that Griffith had not lost his touch after he lost his independence. Thanks to Image Entertainment for upgrading this title to DVD as part of their D.W. Griffith collection. Now if they could just rescue ISN'T LIFE WONDERFUL and THE STRUGGLE from VHS oblivion as well.