The Mad Parade

1931
Passed
1 h 3 min

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Louise Fazenda and Lilyan Tashman in The Mad Parade (1931)

Adicionar um enredo no seu idiomaThe story of eight women and how they served their country during World War I.The story of eight women and how they served their country during World War I.The story of eight women and how they served their country during World War I.

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AVALIAÇÃO DA IMDb

6,8/10

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Veja as informações de produção no IMDbPro

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- 1 vitória no total

Fotos4

Avaliações de usuários7

6,878

Avaliações em destaque

3ferulebezel

The Whole Might Have Been Good but It's not Likely.

These women are written like men and that makes them unbelievable. A couple of them might as well have been Edward G. Robinson and James Cagney in drag. I don't know of what I saw was the from the only surviving print that has decayed and been worn or if it was a low budget production. The audio quality is especially poor but this is from a time when competing technologies offered different levels of quality so again I don't know if it was a bad artistic choice or just limitations of budget or access to technology. It's only an hour long so I'm assuming that parts are lost.

I don't know if I've ever seen a movie where the only men are off screen voices but this is the first of which I'm aware.

A better and complete print might move this to above average stars.

9boblipton

THE WOMEN at War

At a field first-aid station that is staffed solely by women, the personnel bicker about men, get drunk, and try to do their jobs.

It's another early talkie with Evelyn Brent, so far as I am concerned, and in the period from about 1926-1936, she could do no wrong, even as her career began to decline. Mostly, though, it struck me as a pre-code version of THE WOMAN, caught up in the random events of war. It looks like it was opened out slightly from a stage-play, since almost all of it takes place at and ambulance-and-aid station near the front. That, however, appears not to be the case; it's from a story with the ambiguous title of "Women Like Men."

This seems to have begun production with Dorothy Arzner as director and an entirely different cast. Then suddenly Arzner was replaced by William Beaudine. Those who are familiar with both directors may think that's like replacing William Wyler with Sam Newfield. However, in this era, Beaudine was a respected and able director and Miss Arzner, while very capable, was known to be predatory on set.

Although the different registers of the actresses may make some of the performances stagier and less compelling, it's how people act under stress. Some try to outshout the guns, while others turn into themselves. This pre-code movie does what a movie of that era could. It is frank, shocking, well produced and almost unique in depicting a small part of the Great War that denounces the standard ideas of its time.

superlulofs

Pre-Code gem; war is real.

I saw the 1936 re-release (Forgotten Women) at the Library of Congress Mary Pickford Theater. Pre-Code film always amazes me with the sex, sass and overall message, but this one really got me. Most war films have a good side, a bad side, and in the end the good side wins. FW shows no particular side, but focuses on the individuality of war, specifically the uniqueness of the female experience. The opening screen of the '36 version has a written thank you to the women who served in WWI, but after seeing the film, the thank seems almost absurd. You don't just say thank you for permananent psychological damage, alcoholism, love and utter loss in 45 seconds. FW is a beautiful testament to the reality of war, especially for women, and especially at the time it was made. My total approval.

tashman

Don't Get Monica Mad!

Seven of my very favorite film actresses, and all in an unusual tale of WWI - as told through the experiences of the hard-working, dedicated, heroic women who served right in the thick of battle. Regal yet warm Captain Irene Rich issues a final warning to tough Sargent Evelyn Brent, a war and world-weary vet who cannot help living life in the fastest way, to the point of falling for the upright good girl's betrothed flyer! The first half is slice-o-life with the women going about their day; second half takes them by truck into the line of fire. Despite a performance that mainly illustrates Louise Brooks' assessment of Brent's acting "style," I believe today's audiences can at last appreciate her straightforward, contemporary aggressiveness. Before there was Sigourney, there had to have been Evelyn Brent. In the films at least, you didn't push Brent around or you got pushed back twice as hard, and there's plenty of that going on in THE MAD PARADE (aka FORGOTTEN WOMEN). There's nothing particularly notable about Wm. Beaudine's direction, but the interplay of the actresses elevates the script a notch or two above average. And what actresses! June Clyde makes a smartly modern upright good girl, proving nobody's fool. Delicate silent beauty Marceline Day suffers sweetly, absorbing more bad breaks than any character deserves. Sennett vet Louise Fazenda reigns in her mug to offer a surprisingly effective yet free-spirited performance. All are nicely balanced by "regal yet warm" Irene Rich (a mature beauty, a marvelous cross between a Gibson Girl and Margaret Dumont). Best of all is that underrated American original, Lilyan Tashman as the "best pal," and a robust, fearless turn by rarely seen Fritzi Ridgeway, both expertly spinning gold out of often straw dialogue, and providing the most entertaining and stirring moments in an unexpectedly interesting yarn.

6planktonrules

An interesting tribute to the women who served during WWI.

The cover to the DVD for "Forgotten Women" (an alternate title for "The Mad Parade") makes the film look a bit more salacious than it really is, as it's emblazened with the phrase "Shocking Pre-Code classic!". But it's really not all that shocking...even for 1931. Aside from some cursing, a trampy character and the fact that it's about women serving in the war, there isn't that much shocking content. Of course, if it was shown after the toughened Production Code of 1934, then these story elements might have been removed in order for the film to be allowed to be seen in theaters.

The story is a bit hard to follow, as there are a lot of women and at first it's easy to mix them up. It's a very episodic story....and shows how these women coped with the hellish conditions. While it seems very gritty, no film comes close to capturing the horrors of the war...and this one isn't as realistic as, say, "All Quiet on the Western Front". Essentially, the film is mostly about how these women cope...or don't cope...with death and destruction all around them.

Overall, a modestly interesting story...with a dandy finale. Not exactly a must see but a decent and watchable story nevertheless.

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Curiosidades
Although made by independent Liberty Pictures, Paramount bought the film and distributed it as a Paramount production. According to director William Beaudine, Paramount recut the film so badly that it made little if any sense, contributing to the generally bad reviews it received.

Citações
Mrs. Schuyler: Captain Lawrence just left. You got us in another jam.
Monica Dale: I have? How?
Mrs. Schuyler: Your conduct on your last leave.
Monica Dale: Oh, what's the matter with my conduct? Why can't I have a little fun?
Mrs. Schuyler: Fun? Huh! The other girls seem to manage.
Monica Dale: You wait until they've been up as long as I have.
Mrs. Schuyler: I understand all about that and I've been pretty lenient. Next time, it won't be up to me. Now, Captain Lawrence has agreed to pigeon-hole this complaint on one condition... .
Monica Dale: Yes?
Mrs. Schuyler: ...at its first reoccurrence of this sort of thing, the girl's gonna be sent back.
Monica Dale: Back to the Base? Oh, you'd never stand for that. Can't run the outfit without a top sergeant.
Mrs. Schuyler: Who's talking about "Base"? It's back to the States, Monica.
Monica Dale: The States? You mean they'd ship me out of here? Out of France?
Mrs. Schuyler: You wouldn't like that would you?
Monica Dale: Like it? I, I couldn't stand it. What would I do in the States?
Mrs. Schuyler: You'd better snap out of it then.
Monica Dale: Snap out of it, why? I do my job don't I?
Mrs. Schuyler: Yes, but you...
Monica Dale: You bet I do - like a man. Does Headquarters check up on every man in France that wants to live for a minute? No. It makes allowances for them. It knows it's war.
Mrs. Schuyler: There's nothing new about war, Monica. And women have to carry on.
Monica Dale: Women? Yes. Women! We're not women anymore. I'm not. You don't suppose I can go through it, living in mud, smelling the dead and still come out of it like I was? Betty, I kissed a man once. He was dying. He'd got in the way of a shell. I'll never forget the sight. Just a thing with two blind eyes. He was off his nut and thought I was his wife. I kissed him and heard the rattle. I went on my first bender after that. I got cock-eyed, for the first time.
Mrs. Schuyler: Aw, I know, Monica. You've had more than your share. But you've got to pull yourself together, Monica. Realise that this war isn't going to last forever.
Monica Dale: Oh, yes is it - for me. I couldn't stand peace now. That part of me is dead. That's why I can't go back to the States. I simply can't.