The Cheaters

1930 production 'The Cheaters' is unusual not only because it is a relatively rare example of an Australian silent film (although a 'talkie' version was also made), but also because it is the work of three sisters: writer/director Paulette McDonagh, lead actress Marie Lorraine (performing name of Paulette's older sister Isabel) and middle sister Phyllis, credited as 'art department'. But there the unusuality ends; as is common in films of the era, there is little original about the plot: staying at a plush hotel to further a nefarious scheme of her criminal mastermind father, Paula (Lorraine) falls for wealthy businessman's son Lee (Josef Bambach). Unfortunately, Paula's father has dreams of revenge on Lee's father, after the latter had him sent to jail two decades previously. Can obstacles be overcome and happiness await these two star-cross'd lovers? (I am referring to Paula and Lee, not their fathers...)

I find silent features a bit of an effort to watch: with no dialogue to help along the action, my attention is at risk of wandering - especially when several scenes are merely of people sitting around talking, as is the case here. But one thing that makes 'The Cheaters' stand out is the subtlety of the acting: Lorraine, especially, conveys her character's emotions without resorting to the anguished gurning of some silent-era movie stars. (Unfortunately Bambach, the so-called 'Australian Valentino', takes this too far: his habit of lowering his head and glancing through half-closed eyes on several occasions makes it seem as if he is nodding off.) I probably will not watch this again, but I am glad to have seen it once, for its novelty value if for nothing else. Seen online as part of the 2020 London Film Festival.

This is a fine example of silent film-making by a trio of enterprising sisters. The McDonagh sisters made a number of films together in the late 1920's and early 1930's, all self-funded. "The Cheaters", in its full 95 minute silent version, is magnificently and imaginatively directed and photographed. The acting is mostly strong and naturalistic and the plot entertaining.

I felt it lost pace in the long middle section in which the love story takes place, particularly after a spectacular "sting" sequence in a jewellery store. But it moves to a strong finale, before petering out into a standard happy ending. But it is the use of light and shadow, the tracking shots, the excellently filmed close-ups, stirring dissolves, and the imaginative settings that make this film so exciting.

And just look at that shot with the incomplete Sydney Harbour Bridge as a back-drop, and when they complete the bridge through animation! Marie Lorraine, who was really Isobel McDonagh,is good in the lead role and is matched well by the broodingly handsome Josef Bambach. And Arthur Greenaway is very strong as the vengeful thief - and check out his groovy wall-safe!

A very satisfying film experience of great originality (eg the Fates spinning away in a cave as an opener!). I think Paulette McDonagh could have been a really great film-maker given the opportunity.

The video version from Screensound Australia also shows a few scenes from the hastily re-shot talkie version. With obvious continuity problems this version looks vastly inferior - re-takes were done almost 2 years after the original was completed. It didn't need words - they had faces!

John Faulkner has Arthur Greenaway arrested for some undefined betrayal and theft. Greenaway pleas for mercy; he did it for his sick wife. It is for naught, and he goes to jail. His wife dies, and he swears vengeance on Faulkner.

Twenty years go by and he is the wealthy head of the biggest criminal gang in the city. His daughter, Marie Lorraine, is an accomplished confidence woman. He sets her to ensnare Josef Bambach, Faulkner's son.

It's the third feature of the McDonough sisters, released at the time in silent and sound versions. I looked at the recent restoration of the silent version, and while it is a very good effort - I enjoyed the nice con game played early on - it looked to me as if it was the sound version, presented without sound - except for a charming live piano accompaniment. Unfortunately, this presentation wound up being very slow, with people talking, talking, talking, and then titles appeared. Once I realized this and compensated for it, it ran better, but the essential problem with the presentation remained.

There is also one of those Astonishing Revelations in the last ten minutes, entirely unprefigured, which resulted in a happy ending. It's one of the problems with commercial films of the era. I have recently seen the 2019 version of LITTLE WOMEN; in it, the publisher tells Jo Marsh that he female characters must wind up either married dead; the public will accept nothing else.

Despite these restrictions on story, I found it a well-produced and shot effort, with nice character details, acting, and set design - the last provided by Phyllis McDonagh. The niece of the sisters, who introduced the movie at New York's Museum of Modern Art this afternoon, explained that much of it was shot in the family home, and that some of the furniture is still in the family's possession.