L'éternel problème

Seeing this movie in 2007 makes it twice as funny! I'd like to see the reaction of the wife in the 21st century! I know what my reaction would be. The middle-aged, overweight husband is really funny in thinking somebody would fall for him! I'm not sure what kind of recourse she would have had back then, but I would have told him that he'd better come to his senses or I would drag him through divorce court by his (thinning) hair and skinned him for everything he had and some. The wife is also about twice as big as the floozy, so I would probably have pounded her into the ground. But, that wouldn't been nearly as funny as the melodramatic way the family behaves. It's a good morality tale, however.

"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.

This late jazz age comic morality tale directed by D. W. Griffith is surprisingly good--and its relative sophistication will be a surprise to those who are familiar with Griffith via the standard films such as "The Birth of a Nation," "Intolerance," "Way Down East," or even "Broken Blossoms." This film feels much more modern and far less overtly moralizing than those earlier films, though its 1920s "feel" is a part of its appeal for contemporary viewers.

The new DVD is well scored with period music cues that evoke a consistent, slightly melancholy mood as Jean Hersholt (better known as the villain of "Greed") is thrown into his midlife crisis by gold digger Phyllis Haver. His family is convincingly shown in turmoil--and eventually acts to rescue Hersholt's character from his folly. The film is well structured and altogether charming.

Gold-digging Phyllis Haver (as Marie Skinner) seduces New York real estate tycoon Jean Hersholt (as William Judson), breaking up his happy marriage. After Mr. Hersholt's wife falls into a deep depression, cute and perky daughter Sally O'Neil (as Ruth) takes a gun to shoot Ms. Haver, whom the family has seen out dancing with Hersholt. Then, Ms. O'Neil finds herself prey to handsome jazz hound Don Alvarado (as Babe Winsor), who also serves as Haver's lover.

This curious film was director D.W. Griffith's re-make of his much imitated 1914 hit (presently, a "lost" film). "The Battle of the Sexes" is curious because it's rather well done, and from a period when Mr. Griffith is recalled to have been in sad decline. The film received some good notices, was a box office success, and featured some innovative work from Griffith plus cameramen Karl Struss and Billy Bitzer. Watch for a "fight" scene with Haver hurling objects at Hersholt, then dejected wife Belle Bennett's perilous walk on the couple's rooftop.

Restored in 2000, the film boasts a lively new score, compiled by Rodney Sauer and Susan Hall. The small orchestral soundtrack is excellent, and can be enjoyed on its own; but, it doesn't really match the original. "The Battle of the Sexes" has the look of a film shown with synchronized sound effects (a silent/sound hybrid, favoring the former). The original music and effects are missed. It looks like a couple of scenes went with it - there had to have been an additional encounter between O'Neil and Mr. Alvarado, and a reason why he and Hersholt arrive at Haver's with the same new hat.

If only the waiter who returned with Hersholt's "Reserved" sign could as easily bring back missing film footage...

******** The Battle of the Sexes (10/12/28) D.W. Griffith ~ Jean Hersholt, Phyllis Haver, Sally O'Neil, Don Alvarado

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.