By the tone it carries and the scenes of the most significant silliness one can suppose that this was originally intended to be a comedy, or at least a comedy-drama. Just shy of one hundred years later, however, it doesn't come off quite the same way. Protagonist Aubrey is a recklessly self-important, boastful, lying buffoon with such an extraordinarily inflated sense of self that he puts everyone around him at risk of home and hearth and life and limb. Most any given instance of his incredible, dangerous arrogance is intended to be funny, but instead it simply comes off as appalling as he believes himself incapable of doing any wrong, and those around him to be at fault for his every folly. Rest assured that 'The show-off' is well made and appreciable, but even before the more plainly dramatic turn in the latter half, "entertaining" is perhaps an inappropriate descriptor for how it looks in 2023.
Whether or not one perceives the humor with which it may have been shaped, the story is firmly compelling - if decidedly dour - as we follow the woes of the wholly vexing protagonist, and of the unfortunate family into which he has somehow been able to marry. The scene writing, and dialogue as imparted through intertitles, relate one bad turn after another, ever lowering the depths to which Aubrey sinks and drags down his betters. Even at that the writing is generally smart, rich, and flavorful, including some choice language in the dialogue, and one can see the wit that would feasibly earn laughs if the feature were built that way. With that said, the most distinct problem with this also lies in its writing, whether that's attributable to playwright George Kelly or adapting screenwriter Pierre Collings. It's one matter to say that the protagonist's oafish behavior and attitude is intended to funny, even if it's not. Far worse than this, however, is that we are supposed to believe that Aubrey has learned something at the end, yet not only has his behavior not meaningfully changed, but the same behavior that has made him a wrecking ball all the while is now what allows him to succeed and come off as a hero. Excuse me? I guess the producers wanted a happy ending, but the one we get is neither realistic nor sensible from a storytelling perspective, and establishes a very backwards, ill-considered "moral" for the tale.
To be perfectly honest, the climax and ending makes my favor take a substantial hit. I still think this is worthwhile on its own merits for the strength of everything else about it, but it's hard to give 'The show-off' an especially recommendation when it shoots itself in the proverbial foot right when it matters the most. Those who do come across this and choose to watch, however, will at least be greeted by excellent cinematography and direction. The cast give commendable performances of emotion and personality, with no one necessarily standing out above another - though as I've seen Claire McDowell elsewhere and admired her, and am already a huge fan of Louise Brooks, naturally I'm most inclined to look to them. The sets, costume design, and hair and makeup are all lovely, and it's worth observing that in terms of its production values the title has scarcely aged a day since 1926 - the image is as crisp and clear as could be. All this is well and good. I just wish that we were given a resolution to the plot, no matter how depressing, that was reasonable for what the narrative had otherwise been building for the entire rest of these eighty-two minutes.
In light of that final fatal flaw I'm likely being more generous in my assessment than I should be. Still, if one is a fan of the silent era, or of those involved, this retains value both for what is mostly done well and as a surviving movie of the time - and especially of Brooks, whose list of credits is all too few. 'The show-off' deserves a look if you have the chance, but don't go out of your way for it, and keep in mind that it is much less than perfect.
Whether or not one perceives the humor with which it may have been shaped, the story is firmly compelling - if decidedly dour - as we follow the woes of the wholly vexing protagonist, and of the unfortunate family into which he has somehow been able to marry. The scene writing, and dialogue as imparted through intertitles, relate one bad turn after another, ever lowering the depths to which Aubrey sinks and drags down his betters. Even at that the writing is generally smart, rich, and flavorful, including some choice language in the dialogue, and one can see the wit that would feasibly earn laughs if the feature were built that way. With that said, the most distinct problem with this also lies in its writing, whether that's attributable to playwright George Kelly or adapting screenwriter Pierre Collings. It's one matter to say that the protagonist's oafish behavior and attitude is intended to funny, even if it's not. Far worse than this, however, is that we are supposed to believe that Aubrey has learned something at the end, yet not only has his behavior not meaningfully changed, but the same behavior that has made him a wrecking ball all the while is now what allows him to succeed and come off as a hero. Excuse me? I guess the producers wanted a happy ending, but the one we get is neither realistic nor sensible from a storytelling perspective, and establishes a very backwards, ill-considered "moral" for the tale.
To be perfectly honest, the climax and ending makes my favor take a substantial hit. I still think this is worthwhile on its own merits for the strength of everything else about it, but it's hard to give 'The show-off' an especially recommendation when it shoots itself in the proverbial foot right when it matters the most. Those who do come across this and choose to watch, however, will at least be greeted by excellent cinematography and direction. The cast give commendable performances of emotion and personality, with no one necessarily standing out above another - though as I've seen Claire McDowell elsewhere and admired her, and am already a huge fan of Louise Brooks, naturally I'm most inclined to look to them. The sets, costume design, and hair and makeup are all lovely, and it's worth observing that in terms of its production values the title has scarcely aged a day since 1926 - the image is as crisp and clear as could be. All this is well and good. I just wish that we were given a resolution to the plot, no matter how depressing, that was reasonable for what the narrative had otherwise been building for the entire rest of these eighty-two minutes.
In light of that final fatal flaw I'm likely being more generous in my assessment than I should be. Still, if one is a fan of the silent era, or of those involved, this retains value both for what is mostly done well and as a surviving movie of the time - and especially of Brooks, whose list of credits is all too few. 'The show-off' deserves a look if you have the chance, but don't go out of your way for it, and keep in mind that it is much less than perfect.