Secrets

Yes, it's dated now, but it has moments that are riveting by any standard. Both Mary Pickford and Leslie Howard are very good, and give the film an authenticity that is rare indeed.

Pickford goes from somewhat naive young Eastern girl to frontier housewife in convincing manner, endures the hardships, bolsters the reticent Howard, and raises her family that over the roughly 50 years, transitions to success.

Her scenes in the cabin, under attack, are not to be missed. I think her experience in silents helped her in these, because even without dialogue, she conveyed panic, terror, resolution, grief, yet determination within seconds. Not many actors could have done it.

One terrific part, is that all the costumes and armaments were original. None of the hats had the silly "cowboy roll" of later years, the gun-belts I hope made it to collections.

Secrets (1933)

** (out of 4)

Mary Pickford's final film isn't nearly as bad as its reputation but at the same times it's way too dated and I'm sure people in 1933 felt this way as well. In the film she plays a rich girl who turns her back on her father's money and an arranged marriage so that she can run off with the poor boy (Leslie Howard) she loves. The two head out West where we see the next fifty-years, which includes many highs and lows including an attempt for him to run for Governor only to have a lover come out to try and destroy the family. When you bring this film up to film buffs a big fight usually starts as to whether or not Pickford should have called it quits after this. Some will argue that her voice and acting style didn't blend well in sound pictures and others will say that she was perfect in this picture and will bring up the fact she won her Oscar for a sound movie. I'm somewhere in the middle because I feel she has some incredibly wonderful scenes here but the majority of them are during silent moments. There's a heartbreaking scene she has with her kid during a shoot out that is among the best work I've seen from her. The part of her performance that doesn't work is early on when the star, who was pushing 40, tries to act like a teen. I know American loved this but it was clearly out of style by 1933 and her voice, also trying to act younger, just doesn't work and comes off very silly. Howard is very good in his role and manages to handle the comedy as well as the drama. C. Aubrey Smith plays Pickford's rather silly father and seems to be having a great job with it and especially in one sequence where he calls Howard's character countless bad names. The biggest problem with the film is its pacing, which is extremely slow for the first hour but finally picked up in the last thirty-minutes. The original director was fired by Pickford so I'm not sure how much of this might be his fault. Another problem is that the film seems to want to be an epic but it's cut down to a rather brief 84-minutes, which means we're jumping around way too much. We go from the two of them being happily married and then cut to nearly twenty-years in the future when Pickford learns that her husband has been cheating on her. There's not too much character development and things just happen way too fast. With that said, there's still enough here to make this worth viewing as fans of Pickford and Howard will certainly want to check it out.

Pickford's screen swan song is her best talkie, admittedly not a high bar, that moves at breakneck speed through its tale of the romance, marriage, struggles and ultimate success of its main couple. It crams too much into its 83 minute running time but as early sound films go it's not bad.

At 42 she's unconvincing as a young belle at the beginning of the film but after about ten minutes she's out of that guise and from then on her performance is quite good. Unsurprisingly her strongest moments, as well as the film's, are the one's without dialog. It gives a peek at why she was one of the queens of silents and it seems regretful that just as she was adjusting to sound she chose to withdraw.

The film wasn't a hit on release and Mary, nothing if not canny, sensed that though the parade had not passed her by as of yet it was just around the corner. So she retired, enormously wealthy and a power broker behind the scenes.

For reasons best known to posterity this thoroughly delightful comedy-drama has been almost totally forgotten despite starring none other than Mary Pickford, (it was her last film), and a young Leslie Howard, (before he grew stiff). It was directed by the great Frank Borzage who already had two best director Oscars under his belt and it was written by Francis Marion who also had two Oscars under her belt by the time this came along. Everyone is at their best here, whether it's in the full-blown comedy of the early sequences or in the melodramatics that follow as the somewhat over-egged plot progresses. Something of an undervalued gem and a well-kept secret.

An odd film, but it has several terrific moments thanks to the great Mary Pickford.

She plays a sheltered New England girl who runs off with Leslie Howard rather than marry the stuffy Englishman her father has picked out for her. We see the couple trek across the country in a covered wagon and set up ranching in California, and finally we see Howard run for political office. The film covers 50 years of their lives together, all in 3 acts (as was done on the Broadway stage).

The film is uneven but Pickford gives a tremendous performance in her final film. She's very funny in the undressing scene before the elopement and she has an Oscar-worthy moment in the final scene where they are being attacked by cattle rustlers. Truly remarkable. Howard is also very good.

Co-stars include C. Aubrey Smith, Ned Sparks, Blanche Frederici, Doris Lloyd, and Mona Maris.

Pickford's talkie career was brief and not very successful despite her Oscar win for COQUETTE. But she is excellent in this film and also in KIKI.