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IMDbPro

Why Be Good?

  • 1929
  • TV-G
  • 1h 24min
VALUTAZIONE IMDb
7,2/10
633
LA TUA VALUTAZIONE
Colleen Moore in Why Be Good? (1929)
Commedia romanticaCommediaDrammaMusicaleRomanticismo

Aggiungi una trama nella tua linguaA flapper with a dubious reputation enjoys a vivacious night of dancing and finds herself romantically linked to her boss.A flapper with a dubious reputation enjoys a vivacious night of dancing and finds herself romantically linked to her boss.A flapper with a dubious reputation enjoys a vivacious night of dancing and finds herself romantically linked to her boss.

  • Regia
    • William A. Seiter
  • Sceneggiatura
    • Paul Perez
    • Carey Wilson
  • Star
    • Colleen Moore
    • Neil Hamilton
    • Bodil Rosing
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,2/10
    633
    LA TUA VALUTAZIONE
    • Regia
      • William A. Seiter
    • Sceneggiatura
      • Paul Perez
      • Carey Wilson
    • Star
      • Colleen Moore
      • Neil Hamilton
      • Bodil Rosing
    • 21Recensioni degli utenti
    • 18Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 1 vittoria in totale

    Foto43

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    + 36
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    Interpreti principali22

    Modifica
    Colleen Moore
    Colleen Moore
    • Pert Kelly
    Neil Hamilton
    Neil Hamilton
    • Winthrop Peabody Jr.
    Bodil Rosing
    Bodil Rosing
    • Ma Kelly
    John St. Polis
    John St. Polis
    • Pa Kelly
    • (as John Sainpolis)
    Edward Martindel
    Edward Martindel
    • Winthrop Peabody Sr.
    Eddie Clayton
    • Tom
    Lincoln Stedman
    Lincoln Stedman
    • Jerry
    Louis Natheaux
    Louis Natheaux
    • Jimmy Alexander
    Collette Merton
    • Julie
    Dixie Gay
    • Susie
    Mischa Auer
    Mischa Auer
    • Man Dancing at The Boiler
    • (non citato nei titoli originali)
    Bobby Burns Berman
    • Night Club Show Host
    • (non citato nei titoli originali)
    Phyllis Crane
    Phyllis Crane
    • Salesgirl
    • (non citato nei titoli originali)
    Andy Devine
    Andy Devine
    • Young Man at The Boiler
    • (non citato nei titoli originali)
    Jean Harlow
    Jean Harlow
    • Blonde on Rooftop Bench at Junior's Second Party
    • (non citato nei titoli originali)
    Phil Harris
    Phil Harris
    • Drummer in Band at The Boiler
    • (non citato nei titoli originali)
    Earl McCarthy
    Earl McCarthy
    • Party Guest
    • (non citato nei titoli originali)
    Jack O'Shea
    Jack O'Shea
    • Man at Dance Contest
    • (non citato nei titoli originali)
    • Regia
      • William A. Seiter
    • Sceneggiatura
      • Paul Perez
      • Carey Wilson
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti21

    7,2633
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    Recensioni in evidenza

    8Philipp_Flersheim

    Exellent entertainment

    The other day I was thinking that as an aspiring movie aficionado I could not spend my whole time stuck with 1920s and -30s films but had to see something different for a change. So I tried 'For a Few Dollars More' (1965). Oh dear. What a relief to return to something as enjoyable as this neat little picture! 'Why Be Good?' is not only a great example of late 1920s film making - it has sound but is no talkie -; it is a film with an attitude and message that continue to resonate. Pert Kelly (Colleen Moore) is a sales girl in a department store and a fun loving character - she regularly wins dancing contests. One night she meets a swell guy, played by Neil Hamilton, for whom she quickly develops feelings (which are returned). The next day it turns out that the guy is Winthrop Peabody, the new Human Resources manager of the store where she works, and what is more, he is the son of the millionaire owner. The problem is the store rules don't allow him romantic relations with sales girls, and his dad soon notices what happened and fires Pert. I liked almost everything about this film, most of all the character of the female lead and the stance the picture takes against double standards: Pert knows men like fun-loving girls but at the same time suspect them of a lack of morals, which is why such girls are no marriage material. Colleen Moore is great in this role. The film is very well-paced, with no dull moments or passages where the plot is sagging. If anything, it is a too short: My impression was that whenever Winthrop hurts Pert, the two of them are reconciled amazingly quickly, and the reconciliation always takes place off screen. The final reconcilation, at the end of the film, becomes evident only when it turns out that they have married (the ending is really rather abrupt). Otherwise: great film, excellent entertainment.
    9ArtVandelayImporterExporter

    It'll make you wish you were born in 1905

    With stellar jazz-age tunes this movie starts on fire and never fades.

    It's funny. It's sexy. It challenges the boundaries of the day.

    I kept thinking: I was born several decades too late.

    Makes me sad Colleen Moore didn't make many movies after this, before retiring in the mid-30s. Also fun to see ''Commissioner Gordon'' in the silent era. Supporting cast is well above average. And maybe most surprising of all it's all so natural. None of that ham- boned silent-era acting. It's almost as if the actors were delivering their lines in a talkie.

    Thank heavens for TCM, or we'd never see this great movie.I could watch this movie over and over again.
    7boblipton

    Colleen Moore, Flapper

    Colleen Moore is a modern girl. She likes drinking and necking and winning dance cups. One evening, she has just won another dance competition at a speakeasy, only for her boyfriend to fall asleep drunk at their table. She heads over to Neil Hamilton's table. He had tried to pick her up earlier, and now he's going to take her home...at 3AM, which worries her mother enough to ask if she's still a good girl.

    The next morning, Colleen is fifteen minutes late to her job at the department store. Guess who's the owner's son and the new personnel manager? After Hamilton expresses his interest in Miss Moore to his father, his father expresses concerns about girls these days, with "the drinking, the spooning, the kissing - and - and the broad-mindedness."

    Miss Moore's last silent movie has her performing the persona she had established for herself in FLAMING YOUTH. She enjoys the good life, and keeps herself clean, growing angry at the sneers of young men who want the drinking, and the spooning, and the kissing, and the broad-mindedness, but don't want it for their wives. Like many of the flapper movies of the 1920s, it insists that times have changed... but not that much.

    Miss Moore is comfortable in the role, while Hamilton comes off as a stuffed shirt. Director William Seiter shows the easy mix of light comedy and social message that would keep him working through his death, and Sidney Hickox's camerawork shows why he was Miss Moore's favorite cinematographer.

    WHY BE GOOD? Is not novel nor deep. It's still a very enjoyable movie for one of the 1920s' biggest stars before the talkies and the Depression overwhelmed the movies.
    mukava991

    Underneath the paint, you will find a saint.

    "Why Be Good?" is a cultural treasure, not only because it's one of the few extant Colleen Moore features of the silent era, but because it has been crisply restored and boasts one of most voluptuous synchronized soundtracks of any late silent feature. As Leonard Maltin explained in his post-broadcast discussion on Turner Classic Movies which aired Sept. 28, 2015, the soundtrack musicians included such jazz greats as Joe Venuti and Tommy Dorsey. Vintage numbers including "I'm Thirsty for Kisses and Hungry for Love," "If You Want the Rainbow, You Must Have the Rain," "Tall, Dark and Handsome," "Flapperette," "Changes," "Le Chant des Boulevards" and "That's Her Now" as well as era-evocative nuggets by William Axt, Hugo Riesenfeld and others, accompany the jaunty proceedings. If Moore was was ever better I'd like to see evidence. She had the face, the hair and the attitude that have come to epitomize "flapper." In early talkies WBG's leading man, Neil Hamilton had a stodgy presence, but is more palatable in silence; if Moore was the ultimate flapper of her time, Hamilton was her equal in the young WASP romantic lead department. Louis Natheaux as a vainglorious would-be dance hall Casanova is the most entertaining supporting player in the early scenes, while Bodil Rosing and John Sainpolis serve the scenario effectively as Moore's parents.

    The film showcases in a well-appointed and neatly packaged way the controversies about the role of women at the time. Objecting to her father's strictures about dress code and leisure activities, Moore argues that if she works to contribute to household upkeep, then she has a right to look like she wants (bobbed hair, lipstick, revealing dresses) and do what she wants (stay out half the night dancing, drink illegal alcohol, smoke cigarettes and ride around with men she's just met – in moderation, of course). These conflicts had been hashed out in countless films , including Moore's own "Flaming Youth" (1923) before this one was released. WBG then could well be characterized as the Last Word on flappers.

    Though not a part of the soundtrack, the popular song of the time "She's a New Kind of Old Fashioned Girl" perfectly suits the Moore character ("Underneath the paint / You will find a saint…")
    6wes-connors

    Silent Sounds Spectacular

    On the 50th floor of a modern skyscraper in New York City, handsome young millionaire Neil Hamilton (as Winthrop Peabody Jr.) has a wild party to celebrate a new job managing his father's department store. In a poorer section of town, perky flapper Colleen Moore (as Pert Kelly) dances at fast-motion to "Sweet Georgia Brown" in a Charleston contest. A clear winner, Ms. Moore is also one of the thousand "cuties" employed as a clerk at Peabody's department store. Later, she hooks up with Mr. Hamilton at a hot roadhouse called "The Boiler". Moore angers her parents by arriving home late, but she really lives a virtuous life. However, Moore is late for work and ordered to see the new store manager...

    Moore's last silent is very nicely produced, for its star, by John McCormick. Director William A. Seiter and his crew present Moore in a flattering light, and give us a tasteful peak at her underwear in a couple of scenes. Trying to make time with Moore before she meets Hamilton, amorously greasy Louis Natheaux (as Jimmy Alexander) is a stand-out. Carey Wilson's story was a standard for the time. A pretty clerk getting attention from an (ideally, department store) millionaire was a common fantasy. The plot was well-worn, and doesn't fit the "flapper" girl. Mary Pickford and Clara Bow had released finer films on the topic. Moore's best rags-to-riches story is, appropriately, "Ella Cinders" (1926)...

    This was Moore's final "silent" film. She transitioned to the "talkies" as well-spoken, but without distinction. Moore was likely hurt by being so closely associated with a bygone era. She was #1 in the industry's "Quigley Poll" of box-office stars for 1926. "Why Be Good" finds its star acting almost purely with the exaggerated silent mannerisms associated with silents. In the past, Moore demonstrated some of the subtly and style which would prove useful in all-talking pictures; but, here, she makes her preference known. The recently re-discovered print of "Why Be Good?" is spectacular, and it survives with its beautifully rendered "Synchronized Musical Score and Sound Effects" track. Let's see more...

    ****** Why Be Good? (1929-02-28) William A. Seiter ~ Colleen Moore, Neil Hamilton, Louis Natheaux, Bodil Rosing

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      The film was lost for decades until it was found in the late 1990s. The sole known 35mm nitrate print was discovered in an Italian archive. The print had been donated by actor Antonio Moreno who starred in Colleen Moore's L'albergo delle sorprese (1929). The following message is included at the end of the newly preserved film: "Warner Bros. gratefully acknowledges the following people who made the re-discovery and preservation of this film possible: Joseph Yranski, Ron Hutchinson, The Vitaphone Project, Matteo Pavesi of Cineteca Italiana de Milano, Gian Luca Farinelli of Cineteca de Bologna."
    • Blooper
      When Peabody, Sr. enters the Store Manager's office, he calls him Ralph, but the name on the Manager's door is H.B. Lewis.
    • Citazioni

      Jimmy Alexander: Well, Mama - now that I'm tea'd up - let's neck.

    • Connessioni
      Featured in Why Be Good? Sexuality & Censorship in Early Cinema (2007)
    • Colonne sonore
      I'm Thirsty for Kisses - Hungry for Love
      (uncredited)

      Music by J. Fred Coots

      Lyrics by Lou Davis

      Sung during the opening credits, beginning scenes and at the end by Eddie Willis, Carlton Boxeil, Stanley McClelland and Fred Wilson

      Played often throughout the picture as Pert and Junior's theme

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    Dettagli

    Modifica
    • Data di uscita
      • 23 maggio 1929 (Danimarca)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • That's a Bad Girl
    • Luoghi delle riprese
      • Warner Brothers Burbank Studios - 4000 Warner Boulevard, Burbank, California, Stati Uniti(Studio)
    • Azienda produttrice
      • First National Pictures
    • Vedi altri crediti dell’azienda su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      • 1h 24min(84 min)
    • Colore
      • Black and White
    • Proporzioni
      • 1.33 : 1

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