Olivia de Havilland eyes the baby she was forced to give up in
To Each His Own.
Tess of the Storm Country:
(I saw the 1922 version of this film, starring the incomparable Mary Pickford, thinking it was the only one. However, upon further investigation, it appears that this film alone has been made and re-made several times, the first of which was in 1914, also starring Ms. Pickford. Future versions were made in 1932 with Janet Gaynor and in 1960 with Diane Baker. As it is based upon a novel by Grace Miller White, I suppose the continued use of the story makes sense. However, I will refer to the 1922 version, as this is the only one I have viewed).
Tess and Fred, played by Lloyd Hughes, fall in love.
The plot of the film is quite bold in that it makes the unwed mother a sympathetic character, however it is still the innocent Tess that is lauded as the true hero. Yet, what she symbolizes also speaks volumes: the hypocrisy of prejudice. Tess is labeled as something she is not, and is shunned by the man she loves. The world looks down on her, but considers her behavior typical of a woman of "her kind," meaning poor, uneducated, and uncouth. By the end, we learn the age old lesson, "don't judge a book by its cover." Tess not only possesses more grace than the upper classes that are judging her, but it is also one of their own that is the true culprit of immoral behavior, Teola. The guilt of blaming one woman for another's crimes, and the imminent death of Teola, who dies shortly after her revelation of motherhood, causes people in the community to open their eyes and rethink the harshness of their own criticisms. If you live in a glass house, don't throw stones. So, the movie preaches open-mindedness, while at the same time being church-friendly in suggesting that we all try to be "good"-- it is much better to be a Tess than a Teola. The movie itself is an entertaining silent, and one of The best of Mary Pickford's remaining gems.
"It":
This time around, Clara stars as Betty Lou, a single working girl trying to get by, who has a job behind the counter of a posh store. Brimming with energy despite her financial woes, Betty is Miss Congeniality as far as her friends are concerned, but her low class keeps her from her recent crush-- the store Manager, Cyrus Waltham, Jr (Antonio Moreno). Cyrus is already involved with another woman, but when he finally notices the lovely Betty Lou, he can't help but be taken in. She takes him out for a night of fun at Coney Island, where for once he gets to let his hair down. However, things turn sour when he leans in for a kiss only to receive a slap-- Betty Lou isn't that kind of girl! Cyrus is a bit shocked, but still intrigued. However, any of Betty Lou's plans are foiled when her roommate gives birth to an illegetimate child, only to have welfare workers threaten to take it away. Betty Lou steps in, claims the child as her own, and insists that she is able enough to take care of it. Now, Betty has to walk around with a scarlet T on her face (T for Tramp), and any chances of love between her and Cyrus are ruined-- the heir to a fortune can't be swindled by some hussy who's clearly only out for a good time, particularly when she teased him with that left hook!
Clara shows her sales skills (to William Austin).
Instead, Cyrus offers a compromise: since she's obviously a loose woman, Betty can settle for being his mistress. She does not take well to this suggestion, believing that his love for her should be enough to see through any alleged past mistakes she's made, and at the very least he should not insult her with such an offer! Cyrus chooses appearances over love and kicks Betty to the curb, but she's not to be outdone. She shows up at a party on his yacht, seducing him with her innocent wiles once again, and she gets her sweet revenge when he finally proposes marriage. She tosses it back in his face with a defiant "Thanks, but no thanks" and secures her pride once more. Afterward, she and Cyrus are thrown overboard, and they find themselves in each other's arms. Now that Betty Lou has taught Cyrus a lesson, and he knows the truth about the baby, they reconcile and live happily ever after. Again, the same themes of upper class hypocrisy and lower class... class. We see that Betty is more moral than those financially and socially superior to her in that she refuses Cyrus's attempts to make a whore of her, consequently making him the true embarrassment. Compassion for the unwed mother is too explored, but just as Tess, Betty Lou is put on a pedestal for her ability to be both decent and demure. Her raw sexual magnetism too makes a statement that a woman can be sexy without being a mere sex object. In both this and the aforementioned film, the baby and its destiny is less important than how it effects others' lives or at least the images of them. A silent classic, this too is one of the leading lady's best.
Bachelor Mother:
Bundle of Joy:
Modern family: David and Ginger play house.
The alterations in the script in these latter films make the male character a bit more likable in that he tries to become a part of the child's life from the beginning, even if just as a make-shift uncle, rather than turning up his nose in disgust and running away. The relationship between the leading actor and actress comes about because of and not in spite of the baby, as opposed to the first two films, and a sense of family is professed over that of romance, (though in Bachelor and Bundle the writers would have us believe that the two go hand in hand). In the enforced production code era, it should come as no surprise that the ideal set-up of husband, wife, and baby be extolled, and in both movies the sad mother who abandoned her child is never even seen by the audience. It is much nicer to just pretend that she doesn't even exist, and that no out-of-wedlock sex was ever engaged in. The child, therefore, just dropped from the sky. Indeed, sex is not an issue, especially in Bundle, where innocent kisses between Eddie and Debbie take the place of the sexual propositions of It. Thus, with the first two films, we are taught more of a lesson about social hypocrisy and moral prejudice and with Bundle we are taught "family first." Bachelor is somewhere in between. Also, the theme of mistaken identity plays a much bigger part to the central plot of the movie in the last two features than in the first two, wherein it was just another log on the fire to much bigger shenanigans.
It is difficult to recommend just one of these films, for they all have good points and are equally entertaining. However, as I am an obvious Clara Bow fan, It remains my favorite. If I were to suggest one of the latter two, I would offer up Bachelor Mother, if only for performance's sake. It is interesting to investigate these films, to watch them chronilogically, and to witness how clearly social attitudes changed with the times. The silent duo are more free and uninhibited, if only because they arrived before 1934's production code and the disarming alterations of the great depression. They too are a bit more ballsy, with Mary being brazen and almost naively heroic, and Clara pushing the envelope further by adding a dash of sex appeal into the mix. Their heroics were done not necessarily for any great moral stance, but simply because it was the right thing to do. The latter two films come after the end of the hooplah twenties, but Bachelor maintains a little more naughtiness than Bundle, which is pretty much family fun from concentrate. In Tess we were taught to stand for something, in It we were taught to stand up for ourselves, in Bachelor Mother we're encouraged to simply try to stand still while the chaos ensues around us, and in Bundle of Joy we're lectured to stand as a family unit. I guess the film you relate to the most, will equally tell you where you stand.
Have a Happy New Year!!!
