Ritorna il sole

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.

The plot is pretty simple and this 65 minute film is in general pretty average, with one exception – Norma Shearer, who is so charming I rounded my review score up a bit. She's the epitome of the 1920's flapper – playful, adventurous, and in control of her own destiny. She's also smart, sexy in a natural way, and has an infectious laugh – truly a delight to watch. She plays the spunky daughter of a couple who divorce, and later finds herself unknowingly falling in love with Robert Montgomery, the son of her father's new wife, setting up inner conflict. I love how we see her character playing polo, diving from a high board, and canoeing in a storm – and also how we see her romantic, and in control of how far she wants to take things. She occasionally overacts but is so natural and spontaneous otherwise that I'm not surprised she was nominated for an Oscar for her performance.

Time travel realized. Its so cool to be able to watch something this damn old. Norma Shearer has a really neat look, pretty but unlike todays starletts, she's believably pretty. Distinctive profile, and sorta googly eyed, and a great body. These films were made before the dreaded Hays Codes, so you get some really sexy shots of her. No bras in those days I guess. The movie is dopey, but on the same level as most of todays television, so its bearable. But again, I study more than watch these old ones, and try to get a feel for what it was like to live back then.

Clunky, episodic early talkie is a good example of the rough edges that film went through in the transition from silence to sound. Most of the performers were silent stars and are obviously still adjusting their performing style to the different requirement of the microphone. Norma, who was inexplicably nominated for an Oscar for this overly emphatic performance, is best in her speechless moments. Robert Montgomery, one of the few actors not moving from silence to sound but still new to films is awkward and fond of practically being on top of the other person in his scenes. To be fair this might have been a requirement of the new technology, and it is better than talking into a flower pot, but he seems more reliant on it than the other actors. He would improve vastly within a short period of time but here comes across as a callow youth. The great silent star Belle Bennett, rather preposterously cast as Norma's mother since they were only eleven years apart in age, is effective though some of her gestures also hark back to a more silent form of pantomime.

The movie overall works best in those passages where dialog isn't required. There is a lovely dancing scene that flows far more smoothly than any other in the film. In another sign of one era giving way to another many of the scenes are introduced via title cards and rather than an easy flow to the film it has a choppy episodic feel.

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.