With dozens of B’way credits over three decades (including a two month run in this), and a score of silents from 1917 to 1925 (all lost?*), 'distinguished' stage star Elsie Ferguson, now a glamorous 57, returned to the screen for a One-And-Done try at the Talkies. Speaking in the cultured tones of a wised-up lady of accomplishment, she’s a defense attorney with a past (out-of-wedlock daughter given up for adoption 20 years ago), who takes on a murder case her District Attorney boyfriend (John Halliday) warns her against. It’s Marian Nixon, a showgirl who admits to the murder of her own father but won’t tell anyone why. Seems he was pimping her to a mob guy and possibly abusing her himself! But then, he wasn’t her real father; she’s an adopted orphan: father unknown/mother . . . ???? Any guesses? Might 'Mom' be a certain distinguished defense attorney who only discovers the personal connection while trying the case? Yikes! Fortunately, courtroom drama takes well to the restrictions of Early Talkie film technique/technology, and there’s some interest here simply as documentation of grand stage manners from a bygone era. (Specifically, the Morosco Theatre, circa 1929.) If only the play were a bit better! They never do come up with much of reason for introducing the real mother’s name. But with MADAME X an Early Talkie smash for Ruth Chatterton at M-G-M the year before, Warners must have thought reversing that film's formula a sure thing.
DOUBLE-BILL: *A Pipe Dream double-bill as Ferguson, who worked with top directors like George Fitzmaurice, Marshall Neilan & John Robertson was also a favorite leading lady for Maurice Tourneur, four films including a 1918 version of Ibsen’s A DOLL’S HOUSE, all lost.
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