This was Marion Davies’ ninth film and she was still only
23, with an established stage career begun in 1914 leading into films starting
with the lost Runaway Romany in 1917 and a further 19 silent films until
her move into the talkies. It’s the earliest I’ve seen her and already she’s a
steady presence with dramatic certainties as well as on screen energies that
hold your attention more than any of those around her. Believably, she is a “restless”
woman who wants to experience everything in life and on her own terms.
The source material, Robert W. Chambers’ 1918 novel of
the same name, was considered “feminist” in the way it addressed the life of
Stephanie Quest whose drug-addicted parents set her on a life of precarious
fortunes until she adopted by a wealthy widower, John Cleland. There’s no
mention of her parents’ habits at the start of the film – not in Hollywood, not
in 1920 – just that she is an orphan with a winning personality who is adopted
by Cleland (Charles Lane) who is – perhaps – trying to rebuild his family. Frances
Marion scripts and gives Stephanie, known to all as Steve, plenty of
agency even though she will become trapped by circumstance and formality.
Steve is played by Etna Ross as Steve as a child and is delighted to meet her new brother Jim who is played by Stephen Carr a teenager with plenty of pep who not only featured in Davies’ Little Old New York (1923) but who went on to have a long career including the original Superman serial and Congo Bill. Jim is slightly awkward with his newly acquired sibling but she is nothing if not forthright and we sense a future romance, and, as the years pass, this looks more likely as Steve has grown into Marion Davies and Jim is now Ralph Kellard. Everyone is gathered for the end of term production of Jim's play - his crowning achievement - and Steve is even more excited when she spots his pal Oswald Grismer (Carlyle Blackwell) in the cast.
Marion Davies
The adopted siblings are deeply bonded though and talk
excitedly of what they will do with their lives, Jim aiming to write and she
with a broader scope involving the arts and adventure – “the restless sex” (it’s
unclear as to whether this is an attribute of her sex of just nature?). All
dreaming comes to a shuddering halt when they find their father dead in his
office having quietly passed away. Cleland has planned for the eventuality and
has left instructions for both: Jim to study in Paris and Steve to take nursing
training (I’ve known quite a few “restless nurses” of both sexes though, and am
married to one…). Cleland has also placed Steve’s financial affairs in the acre
of his trusted friend Chilsmer Grismer (Robert Vivian) who is also father of
Oswald.
This removes the two from each other’s immediate company and as the years pass they keep in touch only via letters as Steve, having qualified as a health professional, takes up painting in Greenwich Village bohemian society with Oswald chipping away at sculptures in the same block and Steve sharing an airy studio with Helen Davis (Corinne Barker). Steve spends a lot of time with Oswald and whilst they are out driving upstate, they narrowly avoid colliding with a steam train. Oswald’s car is a wreck though and 90 miles from NYC, they take refuge in a hotel – in separate rooms. This out of the way refuge proves unexpectedly problematic when the police raid to stop partying youth and find the two wrapped only in quilts in the same room…
Carlyle Blackwell and Marion
Soon after Steve and Oswald marry and we soon learn that
this is not entirely to the couple’s satisfaction. Jim hightails it from Paris
to investigate and meets Steve’s room-mate as well as a young model Marie (Vivienne
Osborne) posing on a horse with very little on. Helen explains the strangeness around
the newly-weds and that Oswald has fallen on harder times and had to move to
run-down ol’ Bleeker Street to find a studio.
Things come to a head with the film’s startling set
piece, a huge ball celebrating Greek culture with Steve as Pallas Athena ushered
into the hall by a host of choreographed dancers. Joseph Urban designed a
two-storey set for this sequence with costumes from Erté and all would not have
looked out of place in a Cecil B DeMille epic. Among the extras are Norma Shearer
but no one’s spotted her yet. Steve and Jim renew their relationship whilst Oswald
looks on askance before order is restored and he whisks his wife off leaving
Jim to dance the light fantastic with Marie.
But… what is the secret of the marriage and will what we all expect to happen, happen? You’ll just have to seek this film out and find the answers for yourself.
The wild party
Directed very effectively by Leon D'Usseau and Robert Z.
Leonard, this shows the burgeoning status of Marion Davies and in a film which
is dramatic with some light-heartedness. Edward Lorusso quotes a positive
review from Motion Picture World, which says “In the charm of life’s
romantic comedy Marion Davies seems to have been born for the part she plays…”
and also praised her naturalism “… instead of strutting, eye-rolling and
attempting to tear passion to tatters.”
That we can see the film on home media is entirely down
to the efforts of Mr Lorusso who Kickstarted this in 2015 getting a decent
digital copy from elements housed by the Library of Congress. This is now available
from Grapevine Videos complete with a smashing score from Donald Sosin who uses
piano and keyboard improvisations to greatly enliven proceedings including that
grand set-piece ball.
Throughout Marion is every inch a star in waiting, Allen
G. Siegler camera loves her and so do the audience as she draws the eye from
the rather one-paced Kellard and even the more effective Mr Blackwell who would
head to Europe after this film and never make another Hollywood film. That’s a
story for another day.
Ralph Kellard
You can buy the Blu-ray from the Grapevine website and
check Ed Lorusso’s Kickstarter page for his ongoing project to make as many of
Marion’s films available as possible. Latest project involves The Cardboard
Lover (1928) which I and over 630 others backed: can not wait to see it.
*Also recommended is Ed’s book, The Silent Films of Marion Davies – no silent home should be without one!
