The Red Mill (1927) User Reviews

Cute romantic comedy

[overseer-3 · 8/10 · 9 June 2006]

Despite watching this film in a less than ideal print, with a canned soundtrack (as of this writing, I hope TCM eventually airs this film with a good soundtrack based on the public domain music of Victor Herbert for this operetta -- I know they have it in their library, what are they waiting for???), I really enjoyed this romantic comedy. Although still essentially a period piece (Hearst loved those and kept putting Marion in them), Marion Davies' screwball comedy skills brighten up the whole picture, which otherwise would have been just a quaint little programmer, soon forgotten.

Marion is ably supported by handsome Owen Moore (Mary Pickford's first husband), and additional comic relief is provided by wonderful Karl Dane (who looks almost handsome here!), and perky Louise Fazenda, who actually was quite pretty when young, so it was brave of her to agree to look ugly for this film. Not to mention our own little favorite funny man, Snitz Edwards, who is always a barrel of laughs in every film he's in, simply by hamming it up for the camera.

The plot doesn't have much to do with the Victor Herbert operetta; that was more of a serious story, and sometimes the pace of this film seemed a bit fragmented, but overall it really is a crowd-pleaser and needs to be more widely available; just one more example of Marion Davies' astounding comedic abilities. She was so much more than just Hearst's paramour! She was the first screwball comedienne! (Also a woman with a big heart, since apparently she was instrumental in getting Roscoe Arbuckle this directorial job and I'm sure his influence added to the comedy).

8 out of 10.

Update: TCM is airing this film in April 2007 for the first time.

Another comedic gem of a performance from Marion Davies

[Briguy-14 · 7/10 · 19 February 2001]

This is yet another movie that should be shown to anyone who might doubt the talents of Marion Davies. She is delightful in this performance, with some wonderful bits of physical comedy. Director Fatty Arbuckle surely deserves the credit as well. The supporting players are also quite good, but make no mistake - this is her film.

Delightfully restored on TCM, one of Marion Davies' best comedies...

[Doylenf · 6/10 · 9 April 2007]

The good news is that even the title cards have a wit and humor that is carried over beautifully onto film under Fatty Arbuckle's direction for THE RED MILL, based loosely on a Victor Herbert operetta.

Quaint is a good word to describe the costumes and settings of the Dutch tale, which opens with a charming ice skating sequence that is played for laughs and largely succeeds because of the clever acting of MARION DAVIES and OWEN MOORE. The tale that follows is a case of mistaken identity, with Moore confusing Davies with the burgonmaster's daughter LOUISE FAZENDA, who is engaged in a comical relationship with someone else.

Davies has never been better at establishing herself as a comedienne from the start, given lots of bits of business (on and off the ice), including the stay in a haunted mill that occupies that last fifteen minutes of the story and is a good mixture of laughter and fright.

Technically, the film looks great with TCM's restoration and a bouncy score that accompanies rather than distracts (as some of the new scores do). Very worthwhile Marion Davies vehicle shows that she did indeed have promise as more than Hearst's favorite protégé.

Trivia note: The sets and costumes cry out for early Technicolor but only the night scenes are shaded a blue tint.

Another Great Performance by Marion Davies

[drednm · 9 April 2007]

Excellent film. Almost a fairy tale in its story of the downtrodden Tina (Marion Davies) and the her cruel boss (George Siegmann) who tries to keep her from her love (Owen Moore).

Davies is, as always a comic delight as the drudge who works from dawn til dusk. She has a pet mouse that lives in the hole of her wooden shoe. She dares to enter a skating race because Moore will kiss the winner. She wins (thanks to a big dog) but falls into a huge hole in the ice. She has several more adventures that include a haunted mill called the Red Mill before the happy ending.

There's a magical moment when Davies is impersonating Fazenda (so she can see her boyfriend) and decides to try the facial mud on the dresser. Poor plain Tina the kitchen drudge packs on the mud, but when she takes off the hardened mask she emerges as the beautiful (and fully made up) Marion Davies! Only in Hollywood!

Great cinematography and set decoration help make this a fascinating late silent film and a terrific showcase for the marvelous Marion Davies. Moore is also good as "the Irisher." Siegmann was among the best villains in silent films. Excellent comedy support from Snitz Edwards (a favorite of Buster Keaton's) as well as Louise Fazenda and Karl Dane.

A big hit for MGM in 1927 and recently dusted off by TCM and given a new score by Michael Picton. A real treat for Davies fans. And by the way, she plays most of the film without makeup (notice her freckles) but she is just STUNNING in the Irish princess fantasy.

And yes Davies talked William Randolph Hearst (who produced) into hiring Roscoe Arbuckle to direct (as William Goodrich). Davies was one of the most generous and big-hearted women in Hollywood and never forgot a friend.

A real treat!

Pretty good comedy--very light and pleasant

[planktonrules · 7/10 · 9 April 2007]

While this film isn't nearly as good as Marion Davies' best comedy, SHOW PEOPLE, it is still a pretty good silent comedy. It is NOT sophisticated and the humor is rarely laugh out loud funny, but it is nonetheless a sweet movie about mistaken identity as well as a poor and abused girl finally getting a break. Ms. Davies played an abused young lady--much like Cinderella. However, despite her nasty boss, she maintains a sweet disposition and eventually this decency is rewarded when she meets the right man. However, at about the same time, another woman is being forced to marry a man she does not love and so the two briefly change places--creating some mildly amusing moments. All in all, this is a nice movie with a few mild laughs--well made but not exactly life changing.

By the way, Davies' pet mouse is named "Ignatz" in honor of the Krazy Kat cartoons.

Not a note of Victor Herbert

[bkoganbing · 7/10 · 6 June 2016]

The saddest thing about The Red Mill is that it never got a sound adaption so the Victor Herbert-Henry Blossom score was never heard. Watching it I was hoping at least to hear some of the songs on the sound track. But there was nary a note of Herbert's heard in the film.

The Red Mill was a vehicle for the famous vaudeville team of Fred Stone and David Montgomery and ran in the 1906-07 season for 274 performances. The score consisted of such Herbert classics as In Old New York and Every Day Is Lady's Day With Me and Moonbeams. Purportedly there was a planned remake of it that was shelved that would have starred Laurel and Hardy. It might have been a great film.

This version has the plot somewhat altered to fit Marion Davies who plays a Dutch barmaid who falls in love with visiting Irishman Owen Moore. It's a good thing that Roscoe Arbuckle directing under the pseudonym William Goodrich was in charge. He saw that Davies got some nice comedy bits at which she was so much better at than some of the heavy dramatics that William Randolph Hearst her patron and paramour saw as her strength.

MGM spent a lot of money designing some great sets including a Dutch mill where Davies spends the climax trying to elude the villain with Moore trying to rescue her. It's similar to the rather outlandish and funny climax in the rollicking film Many Rivers To Cross that starred Robert Taylor and Eleanor Parker with Davies her own worst enemy in the rescue.

The mill itself is very similar to the one in the Frankenstein movies over at Universal. It's quite remarkable even for today.

I'm disappointed in not hearing any Victor Herbert music, but Marion Davies is quite good in this film.

Marion Davies Shines As Pigtailed Dutch Girl

[movingpicturegal · 9/10 · 9 April 2007]

Very enjoyable silent romantic comedy set in Holland which stars Marion Davies as Tina, pigtailed drudge of the Red Mill Tavern - she cleans the floor by skating around with scrub brushes attached to her feet and has a little pet mouse who lives in her wooden shoe. The man who runs the tavern is a real meanie who goes around with a snarl and a whip and likes to lock local boys in the "Haunted Mill". Handsome Dennis (played by Owen Moore), visiting Holland (attracted by the damsels not the dams) along with his valet, is outside skating where Tina observes him through her window, immediately falls for him, and races right out there to meet him! Well, they are soon skating together while she swoons on his shoulder - but he leaves town before anything can come of this, spring comes, and she dreams of love. Meanwhile, the Burgomaster's daughter Gretchen (Louise Fazenda) is being forced by her father to marry the Governor - and is being locked in her room at the Inn until the wedding day. But Gretchen loves another - so to help her out, Tina gets the idea that they should exchange clothes so Gretchen can sneak out to meet her secret love. Misunderstandings ensue when Dennis, now back at the Inn, meets Marion dressed as Gretchen and falls in love with her.

This is a really excellent film - well done and full of charm. There are a number of amusing, laugh out loud scenes in this - Marion Davies has a face full of expression and is really wonderful here. There is one very funny scene when she first meets Owen Moore's character - she enters a skating race which he is judging (with the prize of a kiss for the winner!) and ends up with a face covered in ice (and no kiss - ah). Another funny bit shows her with no make-up as she covers up her face with a "mud massage" which magically comes off to reveal her now fully made-up, beautiful face. Snitz Edwards, who plays the valet, also adds a lot of humor to this - I think he's funny when he's just standing there! This film was very reminiscent to me of the type of film that Mary Pickford might have starred in - so it's interesting that Owen Moore stars in this, Mary's first husband. The version of this as shown on TCM featured a gorgeous clear print with a lot of contrast and a really terrific music score that I loved - I thought the music really helped enhance this film. A romantic, funny, and delightful film.

A little silly at times, but touching and entertaining

[gbill-74877 · 7/10 · 29 November 2017]

Marion Davies may not have the highest comedic talent in this film, but she does have a certain girl-next-door appeal, and 'Red Mill' was reasonably entertaining. She plays a Dutch servant who is used cruelly by her boss, a tavern owner played by George Siegmann with appropriate snarl and meanness. In one scene, he's dragging her near-frozen body along the ice back to work; in another, he's literally whipping her. She keeps a little ray of sunshine in a pet mouse who lives in a large hole in one of her clogs, and then soon sees and falls for a young man played by Owen Moore. It's not so straightforward, however, in that her identity is confused with another woman (Louise Fazenda), who has her own troubles, being betrothed to an old man but wanting another (Karl Dane). It gets a bit silly and some of the intertitles are oddly worded, but there are some nice scenes at the end in the "haunted" old mill, especially as the chase moves outside to the windmill blades themselves. There is also a brief scene of riches in the imagination of the young lovers which then returns to the present, a touching reminder of what the important thing is in life – true love.

A humorous fairy tale with unbelievably detailed set

[nowlang · 9/10 · 3 January 2008]

I agree with my predecessor on the beauty and artistry of this masterpiece of the Seventh Art. I offer my hat to TCM for completing an outstanding restoration of a masterpiece of Americana. The musical score that was added this silent film was well chosen and replaces very well the missing dialog.

I would like to bring the attention of the reader on the props and decor used in the movie. The details of the set mimicking the Holland country side complete with its channels, windmills, iced ponds, and buildings are so well detailed with the means of the day. For example, look at at the decoration the bedrooms, the kitchen where Ms. Davis strenuously works, and notice the matching outdoor scenery showing through the kitchen windows. The haunted red mill with it's intricate detail appears right out of a Currier and Yves lithograph. It is fascinating that the director give us such a realistic vision of the set. For example, pay attention to the intricacies of the mechanism powered by the sails (arms) of the windmill as the raging storm shakes the old structure. The entire set is a work of art to preserve as a fine example of the quality and wholesomeness that made Hollywood, the "dream factory", world famous.

I offer my thanks to TCM for preserving such masterpiece and to Michael Picton for such a delightful musical score for generations to enjoy.

PS: The "Burgomaster" or Burgomeester was the town mayor in Holland and a person of considerable power in these small communities.

It's OK

[preppy-3 · 4/10 · 8 March 2013]

This silent takes place in Holland (for some reason). Tina (Marion Davies) is a maid at the Red Mill. Her boss treats her like dirt, she's lonely and has no friends. One day she meets hunky Dennis Wheat (Owen Moore) and falls in love. Naturally he barely knows she exists. It all comes to a head a few months later.

This movie is, to put it mildly, way too plot heavy. The main plot goes all over the place and brings in some wildly improbable turns. There's tons of unfunny slapstick (the part where Davies struggles to put up an ironing board was especially painful to watch) and the movie wavers uncomfortably between romance, comedy and drama. It's well-done and well-directed and the acting helps--Davies is beautiful and full of life and Moore is unbelievably handsome and hunky. But, all in all, I was bored and couldn't wait for it to end. I give this a 4.

Fascinating late silent comedy, directed by Fatty Arbuckle

[audiemurph · 8/10 · 30 July 2012]

This is a mildly astounding film, made by the finest studio (MGM) in a year (1927) by which time silent feature films were incredible works of art; the timing of the actors, cutting, and overall pacing were pretty much perfect; and all of which had to be thrown out and started all over again with the introduction of sound. This film is doubly astounding when we learn that it was directed by Fatty Arbuckle, some years after he (or at least his name) had been banned from movies. Thus we get a 2-part picture: the first third or so focuses almost exclusively on Marion Davies, giving her patient time to explore and demonstrate her comic abilities; the remainder of the picture is given over to plot, with an increasingly frantic and overall quite imaginative screenplay that is quite fun to follow.

The influence of Buster Keaton (old comic partner of Arbuckle) is clearly in evidence in the opening scene: we start with a picturesque vision of Dutch citizens enjoying ice skating on a frozen canal; we cut to a shot of Marion Davies from the waist up, also apparently skating; but as we pull back, we see she is actually "skating" on two scrub brushes that are attached to her shoes, careening around a soapy floor. Very Keatonesque!

More bizarre is the bewildering variety of incredibly fat males sprinkled throughout the film. This includes children: in a scene with a couple dozen Dutch kids, we are treated to a dizzying array of really roly-poly boys. And the diminutive Ed Snitzer is several times comically contrasted to the Dutch bohemoths around him. I wonder what Fatty was thinking here...

Back to Marion Davies. Now I went through a period in my teens when I was infatuated by the Three Stooges. Now, 30 years later, I am astounded to see a silent female version of Curly Howard, fighting for 5 minutes with an uncooperative ironing board, complete with facial grimaces alternating between frustration and joy. Its proto-Curly! And when Davies tries to solve the problem of an uncooperative cow who keeps whacking her in the face with its tail as she tries to milk it, by tieing a brick to its tail, with the predictable result of the cow whacking her on the head with the brick - well this is a specific gag used by Curly and the Stooges in later films. Now I can't prove who copied who, but the connection from early silent comedy (Arbuckle) through late silent comedy (Davies) to sound slapstick (the Stooges) is fascinating.

The only inexplicable thing here is that the Dutch characters speak (through title cards) in English to each other, but because they don't speak English well, their sentences are quite fractured; thus, for example, one girl speaks of having "dislocated" her boyfriend, when she lost him. Get it? If they were meant to be talking in Dutch, the "translations" would be in proper English.

Overall, a fun and intriguing comedy, and smooth as silk.

Amateur, at the best.

[sb-47-608737 · 3/10 · 2 May 2018]

Even at the late 1920s standard, (This is a 1927 movie.) this is a very amateurishly made movie. Except showing of the beauty of Marion Davies, and she was beautiful, one can't blame Hearst for falling head over heels in love, there is nothing in the movie worth mentioning.

If I limit myself to Hollywood, it may not be that low scoring, but if I move out, in to European masters Sjostroms, Murnau, Stiller, Sternberg or even Renoir, this is an infantile effort. In fact it is interesting to compare the quality of Hollywood with European movies and then see the situation reverse somewhere around thirties. Probably migration associated with environment that strangled the art there ?

There is no doubt of Marion's talent, but that talent could be unearthed only when she was out of Hearst's complete control. Well she remained under emotional control, but not the financial one, after the depression wiped off his fortunes. And the quality of her movies then had a dramatic change, and especially once she moved into talkies.

This movie is supposed to have Romance, Drama, Horror and Comedy, unfortunately one has search to appreciate depiction of either of these factors. Probably Arbuckle has over-stepped in capability. Not worth the time, unless one just wants to watch Marion at her full youth and beauty (that too in last quarter).

Haunted Revolver

[tedg · 25 March 2008]

Here's the thing.

If you love film, you'll love the experiments in cinematic narrative of "Citizen Kane," but at the same time wonder why he chose Hearst and Davis to pick on. You would think that the choice in subject would be every bit as nuanced, especially as the choice is popularly credited with destroying him in Hollywood.

And that might lead you to some of Marion Davis' films, especially this one directed by a similarly blacklisted Fatty Arbuckle. This is such a gem. Actually, its quite ordinary, but she is so special in it, it will glow forever. It seems that she would have been better off without Hearst's interest in her. She had the stuff.

The climax of this has something of a different flavor than the rest of it, which pretty much follows the formula of the day. It has a pacing that was unusual for the time. Hard to notice today when such things seem like the way the world breathes. But Fatty knew his stuff, and so did Marion. And so did Orson but he actually relied on them.

Ted's Evaluation -- 3 of 3: Worth watching.

More Than Just a Footnote

[richardchatten · 8/10 · 18 June 2016]

The title 'The Red Mill' is familiar to most film scholars as the film Fatty Arbuckle directed under the pseudonym "William Goodrich" after several years blacklisted by Hollywood following a widely reported sex scandal in 1921. But it proves to be a delightful film in its own right, full of vintage sight gags in which Arbuckle's hand is evident, and further confirming Marion Davies' talent for comedy.

Set in an amiable Hollywood caricature of Holland, as a skivvy in a tavern called 'The Red Mill' Ms Davies is made to look comically plain in freckles, pigtails and a Dutch bonnet which we never see her without; even when she decides to glam herself up by applying a mudpack to her face - with hilariously surreal results. Handsomely produced, played as farce and supported by an excellent cast of comic supporting actors (including a mouse called Ignatz), it veers off course towards the end with a sequence set in a haunted windmill that really belongs in a different film. But the film was a big hit in its day and deserves to be better known on its own merits and not merely as a footnote to the Arbuckle scandal.

A Classic Silent Comedy

[wes-connors · 9/10 · 6 January 2008]

Poor barmaid Marion Davies (as Tina) is the drudge of the "Red Mill Tavern"; she is always "in Dutch", meaning (wittily) both "in trouble" and "in Holland" (this comedy's setting). Ms. Davies' only friend is Ignatz, a little white mouse, who lives in her shoe. One day, Davies sees Owen Moore (as Dennis Wheat) ice skating; and, she is attracted to him. She ventures out to find Mr. Moore surrounded by female admirers, but manages a meeting. Davies must struggle to win Moore's heart, after she learns he is a Governor, betrothed to a wealthy maiden.

"The Red Mill" is a very funny silent comedy, which still works, today, thanks to expert work by director Roscoe "Fatty" Arbuckle (incognito as "William Goodrich"). Davies and Moore are a winning comic team; and, Davies' starring performance is particularly fine. Louise Fazenda, Snitz Edwards, and Karl Dane are perfect in supporting roles. And, Ignatz is a delightful mouse. Many of the title cards, by Joseph Farnham, from Henry Blossom's original play, are hilarious:

"My name's Tina"

"Mine's Wheat. Wheat-Tina. We ought to get together for breakfast."

"She's got a beautiful chassis."

"Never mind the chassis. Wait till you see what she's got under the hood."

"I never believed in love at first sight until I took a second look at you."

"I'm through! There's too much traffic on your ladder."

"You must be twins. No one man could be so dumb!"

Of course, the visual situations are necessary to fully enjoy the comedy. "The Red Mill" is also extremely well-photographed, by Hendrik Sartov, who worked with D.W Griffith and Lillian Gish. The exciting finale, with George Siegmann whipping Davies, and locking her in the windmill, is almost an "homage" to Griffith and Siegmann's similar treatment of Ms. Gish, in some well-known Griffith films. But, what happened to poor Ignatz? A final pan should have revealed the mouse was alive and well.

********* The Red Mill (1/29/27) Roscoe Arbuckle ~ Marion Davies, Owen Moore, Louise Fazenda, George Siegmann

Four's Company down at The Red Mill

[ArtVandelayImporterExporter · 5/10 · 2 February 2023]

Owen Moore x Marion Davies x Louise Fazenda x Karl Dane = one mixed-up wacky love story of mistaken identities. With a set piece involving an ironing board tossed in for good measure. Is it funny? Not particularly, though I can see the line from here to I Love Lucy to Three's Company.

On the other hand, Snitz Edwards as Moore's valet gets a lot of funny lines. Or title cards, as it were.

Like other reviewers, I have no idea why the movie was set in The Netherlands. Did the goofy hats add to the mistaken identity hijinks? If so, that's a lot of money spent on set design and costumes for a one-note joke.

Overall it was fine to watch once but it won't make Davies fans forget The Patsy or Beverly of Graustauk.

A postscript: It says in Owens' bio section that his body was found in his bedroom smeared in blood and surrounded by whiskey bottles. Coroner's conclusion? He died of a heart attack!!! Kinda surprised he didn't die of C0hv!hd.

My only beef is the score!

[benoit-3 · 8/10 · 3 August 2009]

Great film. Great direction. Great writing. Great acting. Awesome production values. Great Davies. Great Arbuckle. Great sets. Great restoration. By why did the reissue choose to almost ignore the fact that this film is basically the screen adaptation of a Victor Herbert stage operetta and not pay homage to the composer in its score? Michael Picton's vaguely impressionistic score is admirable in itself. But in all this running time, I only detected three recognizable bars from one of the original songs (in the Irish Princess dream finale). Maybe there are more but they totally escaped me and were buried under too much generic scoring. I think it's definitely a sin against American music history, a great composer and a timeless piece of music. The Herbert songs are so good they can bring joy to any audience on their own.

Arbuckle

[Michael_Elliott · 28 February 2008]

Red Mill, The (1927)

** 1/2 (out of 4)

Newspaper tycoon William Randolph Hearst produced this MGM film, which was directed by Roscoe Fatty Arbuckle, which is news itself but more on that later. In the film Marion Davies plays a poor bar cleaner who falls head over hills with a rich man (Owen Moore) but she fears he won't have her. Then she swaps identities with a rich princess and goes after the man, which leads to all sorts of trouble. I was surprised to see how much I enjoyed most of this film but it does fall apart in the final act with some over the top situations, which aren't that funny. Arbuckle does a pretty good job directing the early part of the film and he does very well with the romantic flirting between the two people. There's a scene where she gets her first kiss where Arbuckle just shows her body motions and not the actual kiss, which is an incredibly beautiful shot. This is the first film I've seen with Davies and I was very impressed with what I saw. She's got a natural charm and beauty, which just leaps off the screen and she's also very funny. Moore is also good in his role and Snitz Edwards adds plenty of laughs as well. The interesting thing about the production is that Arbuckle was forced to use his made up name William Goodrich due to his rape/murder trial, which was just a handful years earlier. The rather strange thing is that his career was really ruined by the newspapers owned by Hearst because Hearst saw money to be made by turning the Arbuckle story into tabloid material. It's said that Hearst felt so guilty about it that he hired Arbuckle to direct this film but half way through production the tycoon got nervous and had King Vidor come on set to supervise but Arbuckle made it through the shoot.

Maid in (not Manhattan) but Old Amsterdam

[svaihingen · 9/10 · 3 January 2008]

Great silent movie shown in a beautifully restored version on TCM.

Plot summary: Dutch servant girl falls for an Irish Prince during his vacation in Holland - circumstances prevent their coming together.

Later, the Irish Price is back in Holland to be married off to the local rich Burgomaster's daughter. The Burgomaster's daughter, however, is in love with a peasant. The servant girl helps the Burgomaster's daughter dress as a peasant to woo the peasant - meanwhile she dresses as the Burgomaster's daughter.

The Prince mistakes the servant girl for the Burgomaster's daughter, falls in love - and madcap hilarity ensues.

Will the rich guy get his Maid in Old Amsterdam??? Will the rich Burgomaster's daughter get her peasant??? The story plays out in too many mistaken identity plot devices to count - but the story is fun, clever, charming and actually pretty funny. Recommended viewing.

A delightful comic melodrama. Silly and suspenseful.

[mark.waltz · 9/10 · 21 June 2022]

While I would love to have a film version of the Victor Herbert musical "The Red Mill" (or a TV version of which sadly there was none), I'll take this lavish MGM comedy starring Marion Davies as the hard-working and greatly abused scullery maid who works in the inn run by the evil George Siegmann in Holland. She falls in love with the visiting Irishman, Owen Moore, and because of mistaken identity, is confused with the rather plain Louise Fazenda, who is being forced to marry someone she doesn't love against her will. Davey's sets out to fix not only her problems but Fazenda's, and for all her good deeds, gets locked in the so-called haunted windmill where apparitions make her convinced that she's surrounded by spooks.

I first became aware of this movie by looking through a book on MGM's contract players and seeing a picture of Davies with her face covered in ice, smiling as it cracks off. Daisy's is an absolute delight in this, whether being done in the ice while skating or falling into a well to hide from her boss. She also has a pet mouse who lives in her shoe, utilized in several important plot devices and quite amusing. This has a fabulous set created directly for the movie, and one I'm sure that MGM would utilize into the sound era.

The photography is fabulous, and while the score added for the restored print is not Victor Herbert's, it perfectly fits the mood. I always enjoyed Davies in her sound films, and she's even more exquisite as a silent star. Definitely a gem of the late silent era, wonderfully directed by none other than fatty Arbuckle using a pseudonym due to his bad publicity at the time.