Before It, Clara Bow was A Hollywood actress. After It, Clara was THE Hollywood actress. The film catapulted her into super stardom, and it's easy to understand why. The film itself is just Hollywood popcorn fare for it's time---but Clara is an absolute sensation.
This film was like so many other Bow films---it was a vehicle specifically to show her off. Clara is unfortunately not remembered by many today, but she was the prototype for women like Harlow, Monroe, and Madonna. In other words, Clara was the very first mass-marketed sex symbol. She was one of the first 'personality' stars, incredibly popular with the average movie-going public because of her vibrant, bubbly, magnetic and photogenic screen persona. Most of her films were rather cheap, shoddily-made affairs put together solely to show her off and make as much money as cheaply as possible. The difference with this one is that it had a competent director, competent script, and competent actors to surround her with. Even so, she still out-shines everything else around her.
The dynamics between the characters in the film are confusing to us now, but were quite obvious and simplistic for the time. A lot of people today see Monty as gay. He wasn't written that way; he was a common stock character of silent comedies, the silly young man. He's interested in Clara, but willingly helps her snag his friend instead, because that's what friends are for. He's there for comic effect and to contrast with the male lead, Cyrus, who to us seems rather stodgy and dull, but needed to be this way in order to be above reproach: the man worthy of Clara's heart had to be a perfect specimen of propriety. Otherwise, he didn't deserve her. Clara's character today can come across as somewhat scheming and manipulative, but to the 1920's audience, she was a refreshing change from the movie heroines that preceded her; no shrinking violet or sexless schoolgirl, but a girl who would go after what she wanted, and get it.
The film is actually a pretty routine Cinderella story, except for one thing: instead of being pursued, Clara becomes the pursuer, chasing her boss and ensnaring him with her 'It'. The movies made during the roaring 20's helped free Western culture from the restrictive Victorian morals of the late 19th Century. For the first time, it was acceptable for women to pursue men, to openly acknowledge their sex appeal, and movies like this helped society grapple with these concepts. In those days, the word 'sex' was considered unsuitable to be uttered in polite company---hence the euphemism 'it'. The Glyn cameo---while serving her decidedly large ego---actually served an important function here: Glyn looks like the ultimate respectable dowager. If it was okay for someone like her to talk about 'it', well, then it must be okay for us as well! This is where the true genius of the film lies: while not a classic, timeless piece of celluloid, it did fundamentally alter American culture, as did Clara herself. Clara did not play exotic, dangerous characters, the way that Theda Bara or Rudolph Valentino did. She played everyday girls---the kind you might run into while spending the day at Coney Island sucking down hot dogs and hanging with your friends. It was this changing of the idea of the sex symbol, from exotic foreigner to everyday American gal, which was one of the real catalysts for the sexual revolution that occurred during the 20th Century.
This is one of the earliest examples of a concept film. The idea behind the marketing was that after watching this film, people would go home, look in the mirror, and wonder if they had 'it'. If they didn't, they'd wonder how they could get 'it'. They would then pay good money for things that would give them 'it': a new hairstyle, snazzy clothes, a nice car, etc. This, of course, has had an incredible effect on our culture in the last 80 years; we now have entire industries that revolve around us trying claim 'it' for ourselves, and a galaxy of people who's sole purpose is to be professionally beautiful: models of 'it' for us to aspire to.
To sum this up, this film has an important place in cultural history, and it's enjoyable to watch. If you like old movies, I recommend you see it. At the very least, Clara's exuberant and coy performance will enchant you.
This film was like so many other Bow films---it was a vehicle specifically to show her off. Clara is unfortunately not remembered by many today, but she was the prototype for women like Harlow, Monroe, and Madonna. In other words, Clara was the very first mass-marketed sex symbol. She was one of the first 'personality' stars, incredibly popular with the average movie-going public because of her vibrant, bubbly, magnetic and photogenic screen persona. Most of her films were rather cheap, shoddily-made affairs put together solely to show her off and make as much money as cheaply as possible. The difference with this one is that it had a competent director, competent script, and competent actors to surround her with. Even so, she still out-shines everything else around her.
The dynamics between the characters in the film are confusing to us now, but were quite obvious and simplistic for the time. A lot of people today see Monty as gay. He wasn't written that way; he was a common stock character of silent comedies, the silly young man. He's interested in Clara, but willingly helps her snag his friend instead, because that's what friends are for. He's there for comic effect and to contrast with the male lead, Cyrus, who to us seems rather stodgy and dull, but needed to be this way in order to be above reproach: the man worthy of Clara's heart had to be a perfect specimen of propriety. Otherwise, he didn't deserve her. Clara's character today can come across as somewhat scheming and manipulative, but to the 1920's audience, she was a refreshing change from the movie heroines that preceded her; no shrinking violet or sexless schoolgirl, but a girl who would go after what she wanted, and get it.
The film is actually a pretty routine Cinderella story, except for one thing: instead of being pursued, Clara becomes the pursuer, chasing her boss and ensnaring him with her 'It'. The movies made during the roaring 20's helped free Western culture from the restrictive Victorian morals of the late 19th Century. For the first time, it was acceptable for women to pursue men, to openly acknowledge their sex appeal, and movies like this helped society grapple with these concepts. In those days, the word 'sex' was considered unsuitable to be uttered in polite company---hence the euphemism 'it'. The Glyn cameo---while serving her decidedly large ego---actually served an important function here: Glyn looks like the ultimate respectable dowager. If it was okay for someone like her to talk about 'it', well, then it must be okay for us as well! This is where the true genius of the film lies: while not a classic, timeless piece of celluloid, it did fundamentally alter American culture, as did Clara herself. Clara did not play exotic, dangerous characters, the way that Theda Bara or Rudolph Valentino did. She played everyday girls---the kind you might run into while spending the day at Coney Island sucking down hot dogs and hanging with your friends. It was this changing of the idea of the sex symbol, from exotic foreigner to everyday American gal, which was one of the real catalysts for the sexual revolution that occurred during the 20th Century.
This is one of the earliest examples of a concept film. The idea behind the marketing was that after watching this film, people would go home, look in the mirror, and wonder if they had 'it'. If they didn't, they'd wonder how they could get 'it'. They would then pay good money for things that would give them 'it': a new hairstyle, snazzy clothes, a nice car, etc. This, of course, has had an incredible effect on our culture in the last 80 years; we now have entire industries that revolve around us trying claim 'it' for ourselves, and a galaxy of people who's sole purpose is to be professionally beautiful: models of 'it' for us to aspire to.
To sum this up, this film has an important place in cultural history, and it's enjoyable to watch. If you like old movies, I recommend you see it. At the very least, Clara's exuberant and coy performance will enchant you.