'The flapper' is definitely an instance in which watching a silent film feels like stepping into another world. True, the movie plays with timeless themes - the rigidity of tradition, discipline, and conservative cultural norms, sharply contrasting with the willful independence and much sought-after freedom and autonomy of spotlighted figures - and the trouble that arises from that conflict. Yet the social sensibilities and customs of the era are so unfamiliar, to say nothing of the structural compartmentalization of the film into distinct scenes as divided by intertitles. Instead of being alien and uninviting, however, these differences from all that has followed in the past 100 years only makes the feature all the more intriguing and engaging.
Lighthearted early exposition feels a bit too common and unbothered to make an immediate impression; amusing though it may be to watch the actors and crew practice their craft, I found myself a bit impatient for the story proper to begin. Thankfully, even at that, there's sufficient care rendered in defining the convivial tone of the picture that every aspect seems rather built for it, and attention is kept. That includes imaginatively stylized intertitles, characterized by fancy lettering, eye-catching illustrations, and a bit of cheeky humor in the related dialogue. And the performances of the cast are nothing if not full of considerable charm, doing much to hold our interest and keep us invested. This emphatically goes most of all for star Olive Thomas, managing the lively lead role with admirable poise, physicality, and nuanced range. It's rather a pleasure to watch her, and one can't help but wonder what audiences have missed with her films that were lost, and those that may have been made had she not died so young. Of course, this isn't to count out her co-stars, as all involved turn in fine displays of acting to bring their roles to life and form the tableau.
The narrative transitions seamlessly into the second act, and as it does, concerns about initial pacing evaporate. More daring acts of adventurous rebellion lead to a more robust sense of entertainment, with Thomas skillfully bearing the camera's eye and carrying the picture all the while. Through it all, there's noteworthy focus on exceptional costume design, hair and makeup, and set decoration. If imperfect, Frances Marion's screenplay is broadly filled with terrifically dynamic and absorbing scene writing, building a narrative that was developed well. And director Alan Crosland demonstrates his strong abilities with a keen eye in orchestrating each passing beat, and a dexterous hand to guide his players.
'The flapper' isn't without shortcomings, in part owing to antiquated social values that framed the story from the start. In particular: maybe I'm just too cynical, but I detect a hint of sexism in the moralizing portrayal of protagonist Ginger's naïveté and freewheeling. But honestly, by and large this is really pretty fantastic. If the critiques that most come to mind are a slow start, and indelicacies perceived in viewing a feature of long decades past - indelicacies which frankly remain all too common even today? Well, then I dare say Marion and Crosland did pretty well for themselves.
Ably made and generally enjoyable as the picture is, I don't know that there's much about it so remarkable as to demand viewership. We've seen this story before and since, after all. Still, for anyone who appreciates the silent era, this is a fine example of the sweeping quality of the early years of cinema. Moreover, there's no missing the film's apparent role in flapper history, nor the fact that it's one of the few surviving and widely available titles among Olive Thomas' credits. When all is said, perhaps one needn't go out of their way to see 'The flapper,' but it's certainly worth checking out if you have the opportunity.
Lighthearted early exposition feels a bit too common and unbothered to make an immediate impression; amusing though it may be to watch the actors and crew practice their craft, I found myself a bit impatient for the story proper to begin. Thankfully, even at that, there's sufficient care rendered in defining the convivial tone of the picture that every aspect seems rather built for it, and attention is kept. That includes imaginatively stylized intertitles, characterized by fancy lettering, eye-catching illustrations, and a bit of cheeky humor in the related dialogue. And the performances of the cast are nothing if not full of considerable charm, doing much to hold our interest and keep us invested. This emphatically goes most of all for star Olive Thomas, managing the lively lead role with admirable poise, physicality, and nuanced range. It's rather a pleasure to watch her, and one can't help but wonder what audiences have missed with her films that were lost, and those that may have been made had she not died so young. Of course, this isn't to count out her co-stars, as all involved turn in fine displays of acting to bring their roles to life and form the tableau.
The narrative transitions seamlessly into the second act, and as it does, concerns about initial pacing evaporate. More daring acts of adventurous rebellion lead to a more robust sense of entertainment, with Thomas skillfully bearing the camera's eye and carrying the picture all the while. Through it all, there's noteworthy focus on exceptional costume design, hair and makeup, and set decoration. If imperfect, Frances Marion's screenplay is broadly filled with terrifically dynamic and absorbing scene writing, building a narrative that was developed well. And director Alan Crosland demonstrates his strong abilities with a keen eye in orchestrating each passing beat, and a dexterous hand to guide his players.
'The flapper' isn't without shortcomings, in part owing to antiquated social values that framed the story from the start. In particular: maybe I'm just too cynical, but I detect a hint of sexism in the moralizing portrayal of protagonist Ginger's naïveté and freewheeling. But honestly, by and large this is really pretty fantastic. If the critiques that most come to mind are a slow start, and indelicacies perceived in viewing a feature of long decades past - indelicacies which frankly remain all too common even today? Well, then I dare say Marion and Crosland did pretty well for themselves.
Ably made and generally enjoyable as the picture is, I don't know that there's much about it so remarkable as to demand viewership. We've seen this story before and since, after all. Still, for anyone who appreciates the silent era, this is a fine example of the sweeping quality of the early years of cinema. Moreover, there's no missing the film's apparent role in flapper history, nor the fact that it's one of the few surviving and widely available titles among Olive Thomas' credits. When all is said, perhaps one needn't go out of their way to see 'The flapper,' but it's certainly worth checking out if you have the opportunity.