Friday, February 25, 2005
Male and Female (1919)
Director: Cecile B. De Mille
* Warning the following analysis contains a discussion of the entire film – including the ending.
A fairly ridiculous upstairs downstairs silent film romance/cast-away adventure.
There are two parts to this film – the first two hours and the last 20 seconds. Those final 20 seconds color all which come before it in a most surprising manner.
But first, the initial two hours. We begin in Victorian England. Virtuous, intelligent, hard working servants must wait on inept, frivolous and decadent aristocracy. Lady Mary Lasenby, Gloria Swanson’s character, is the most conceited of them all – haughtily lounging, extravagantly bathing in rose scented water, and obnoxiously ridiculing Crichton, the intelligent and industrious butler, about her morning toast.
After establishing this social dynamic, De Mille turns everything on its head by having the group’s ship wreck on a deserted island while out on a pleasure cruise (a la Gilligan). Castaway on the island the ‘law of nature’ prevails over Victorian hierarchy and Crichton is soon established as the group’s leader because of his bravery, industriousness and intelligence. Crichton is the leopard-skin wearing king, building a little village on the island equipped with numerous contraptions even The Professor would marvel at. Further, previously vain and bratty Lady Lasenby falls in love with Crichton. They are to marry, but mid “I do” a ship arrives to save them. Instantly, before the first English sailor has disembarked to rescue them, the Victorian hierarchy demands all of them return to their previous roles. After years as the leopard-skin king Crichton is instantly the butler again. Victorian social rules supercede Crichton’s natural skills and he must return a servant; Victorian social rule supercede Lady Lasenby’s love, and she knows they can never marry. To drive home the point of how disastrous their marriage would be despite their love, Lady Lasenby’s friend, who stooped to marry her chauffer, arrives for a visit pennyless and shunned, the proof of society’s condemnation of those who break the rules.
And here is where the first movie ends – a tragic love story about the constraints of Victorian society - not unlike Age of Innocence or many other comedies of manners.
But then you have the final scene in the last 20 seconds. Previously we learned Crichton is leaving for America and marring Tweeny, the maid, to escape the unbearable condition he has returned to in England. Cut to the final scene. There is a startling change of scenery – a little wood house out on the American prairie. Crichton is just coming home from plowing the fields of their farm and Tweeny is out to meet him. They embrace and kiss, the film ends, and the poignancy of De Mille’s final statement reworks everything in the previous two hours. De Mille’s statement is about the promise and opportunity of America, and its effect is more powerful than just about any political speech I can recall. Crichton is happy and will be happy because here in America we reward based on natural ability and hard work. We have seen what Crichton is capable of, and De Mille wants us to imagine his accomplishments in a land that will allow him to flourish. It is American democratic propaganda second only to It’s a Wonderful Life in effectiveness. An astounding political accomplishment considering America is not even a thought in this film until the final scene. The single stationary shot of Crichton walking from his field to his wife is a stirring, persuasive tribute to the American dream.
Regardless of whether you buy the propaganda or not, it is worth a viewing to see how effectively De Mille presents it.
This film is also noteworthy because it is the first time De Mille directed Swanson, a collaboration made famous by Sunset Blvd.
Should you see it? If only to compare it with It’s a Wonderful Life as an endorsement of the American dream.
* Warning the following analysis contains a discussion of the entire film – including the ending.
A fairly ridiculous upstairs downstairs silent film romance/cast-away adventure.
There are two parts to this film – the first two hours and the last 20 seconds. Those final 20 seconds color all which come before it in a most surprising manner.
But first, the initial two hours. We begin in Victorian England. Virtuous, intelligent, hard working servants must wait on inept, frivolous and decadent aristocracy. Lady Mary Lasenby, Gloria Swanson’s character, is the most conceited of them all – haughtily lounging, extravagantly bathing in rose scented water, and obnoxiously ridiculing Crichton, the intelligent and industrious butler, about her morning toast.
After establishing this social dynamic, De Mille turns everything on its head by having the group’s ship wreck on a deserted island while out on a pleasure cruise (a la Gilligan). Castaway on the island the ‘law of nature’ prevails over Victorian hierarchy and Crichton is soon established as the group’s leader because of his bravery, industriousness and intelligence. Crichton is the leopard-skin wearing king, building a little village on the island equipped with numerous contraptions even The Professor would marvel at. Further, previously vain and bratty Lady Lasenby falls in love with Crichton. They are to marry, but mid “I do” a ship arrives to save them. Instantly, before the first English sailor has disembarked to rescue them, the Victorian hierarchy demands all of them return to their previous roles. After years as the leopard-skin king Crichton is instantly the butler again. Victorian social rules supercede Crichton’s natural skills and he must return a servant; Victorian social rule supercede Lady Lasenby’s love, and she knows they can never marry. To drive home the point of how disastrous their marriage would be despite their love, Lady Lasenby’s friend, who stooped to marry her chauffer, arrives for a visit pennyless and shunned, the proof of society’s condemnation of those who break the rules.
And here is where the first movie ends – a tragic love story about the constraints of Victorian society - not unlike Age of Innocence or many other comedies of manners.
But then you have the final scene in the last 20 seconds. Previously we learned Crichton is leaving for America and marring Tweeny, the maid, to escape the unbearable condition he has returned to in England. Cut to the final scene. There is a startling change of scenery – a little wood house out on the American prairie. Crichton is just coming home from plowing the fields of their farm and Tweeny is out to meet him. They embrace and kiss, the film ends, and the poignancy of De Mille’s final statement reworks everything in the previous two hours. De Mille’s statement is about the promise and opportunity of America, and its effect is more powerful than just about any political speech I can recall. Crichton is happy and will be happy because here in America we reward based on natural ability and hard work. We have seen what Crichton is capable of, and De Mille wants us to imagine his accomplishments in a land that will allow him to flourish. It is American democratic propaganda second only to It’s a Wonderful Life in effectiveness. An astounding political accomplishment considering America is not even a thought in this film until the final scene. The single stationary shot of Crichton walking from his field to his wife is a stirring, persuasive tribute to the American dream.
Regardless of whether you buy the propaganda or not, it is worth a viewing to see how effectively De Mille presents it.
This film is also noteworthy because it is the first time De Mille directed Swanson, a collaboration made famous by Sunset Blvd.
Should you see it? If only to compare it with It’s a Wonderful Life as an endorsement of the American dream.
