Désirs

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.

Their Own Desire is an example of why I love pre-Code movies so much. While on a cinematic level it's clearly mediocre, its 65-minute runtime provides a fast-paced, thoroughly entertaining story buoyed by Norma Shearer's fun, fresh performance.

The film follows the Marlett family, Lally (Shearer) & her parents (Belle Bennett & Lewis Stone), through her father's cheating, their divorce, and Lally's whirlwind romance with the son of her father's mistress (Robert Montgomery). The plot is totally unoriginal and most of the acting is unmemorable, but the film's strong production values make it highly enjoyable, especially as a 93-year-old time capsule.

The sets and costumes are sleek and tasteful, evoking the life of luxury these characters lead and allowing for some pure escapism. The whole movie felt like a warm summer night, I especially loved that moonlight confrontation scene by the tree. And while the film's structure doesn't allow for any real emotional depth, the dialogue has sharp and satisfying moments.

The acting is very hit or miss, with the only real standout being Shearer - and even then, she can only do so much given the material. She brings infectious energy to the role, sometimes pushing too hard but often pulling surprisingly funny and quirky vocal & facial expressions that feel fresh and almost subversive. For example when she and Montgomery have a rendezvous in the car, she somehow flips the script on the creepiness of the dialogue/setup with her manic eye rolls & expressive face, showing that she is clearly in control and enjoying getting frisky with him, while at the same time being slightly annoyed by his antics. (I'm sure she channeled many women of the time, seeing how one-sided and controlling "courtships" seemed to be in those days. Yikes!)

Shearer also looks absolutely fabulous in all her "modern" fashions, and in the emotional moments she delivers beautifully without overacting (surprising to me given how mannered many of her performances are). The Lake Michigan castaway sequence is so hilariously, entertainingly over the top, but she does the best she can and is very affecting on a superficial level. Oscar-worthy? I'm not so sure, but she acquits herself well for what it is. I am solidly a Norma Shearer fan, and only love her more for this shallow but charismatic, fluid performance.

Montgomery is terrible, although that may be due to the contemptible character vs. His actual acting. As mentioned I'm not sure if this was just considered "normal" behavior for the time, but it was cringeworthy throughout. Belle Bennett is decent as Shearer's mom, and I thought she conveyed well the high-class air of depression surrounding her character. Lewis Stone is surprisingly bland and forgettable as her dad. Finally, shoutout to the actress who played Shearer's mom's loyal maid. She is uncredited and it's no more than a cameo, but her indignation and protectiveness made a relatively substantial emotional impression amid the fluff.

This movie is a treat for anyone who loves pre-Code films & Norma Shearer, and for Oscar completists not a bad way to spend an hour. Just don't dive in expecting anything too deep.

Their Own Desire is quite a melodrama, so be sure to strap on your 1929 goggles securely before watching it. You've got to keep in mind that talkies were new, otherwise you'll never get past the overacting. Women will cover their mouths, wide-eyed, as they exclaim, "What shall I do?" There are no title cards, but there might as well be.

Norma Shearer stars as a daughter caught in the middle of her parents' divorce. Her father, Lewis Stone, has left her mother, Belle Bennett, for another woman: Helene Millard. Belle is distraught and attempts suicide, and Norma takes her side. It's very hard on her, since she and her dad used to be bosom buddies. While recuperating, Norma meets a handsome young man, Robert Montgomery, and falls in love. Just as they become engaged, they find out who each other's parents are. Bob is Helene's son!

I never used to like Norma Shearer. I couldn't see her talent and often cringed while watching her overact. Then I saw her in Marie Antoinette, and everything changed. Most early silver screen movies will fall into two categories: movies about men and movies about women. In the movies about women, most of the plots revolve around fallen women, tramps, prostitutes, or women forced into easy virtue against their will. It's easy to understand why their roles were limited; back in the day, many women didn't work, and since the main goal was to make a respectable marriage, the worst thing that could happen to her-and therefore the juiciest plot for a movie script-would be if she took to the streets and lost her decency. Norma Shearer didn't make those movies. She made regular old dramas, and when she put on the tears, you really felt it. She was nominated for an Academy Award for Their Own Desire, and I understand why. Check her out in this movie, Strange Interlude or Marie Antoinette to see her really shine-and she doesn't take to the streets!

I watched and enjoyed this old first of the talkies. I it always cool for me to think of what life must have been prior to the depression and all of todays discoveries and new way of life. My mother was born in 1921, so I think of her life then. She would have been eight years old at this time. The cars , the actors, the dress is very nice and wonderfully done. I watch quite a lot of these old movies of this era, most were still silent at this point. This must have been one of the first of the 'talkies'. Just think what it was like to have no TV but to basically go to the movies for all you watched including news reals. It must've been great living in these days.

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.