Karry Best movie of this year hands down!

Fluentiama Perfect cast and a good story

ReaderKenka Let's be realistic.

Dirtylogy It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

Rainey Dawn Divorces were getting popular in the 1920s - yes they were happening - but it was still a taboo subject for some people to talk about or even accept as being "okay". Films like this one were made with the taboo subject of divorce in mind to help bring divorce to mainstream discussion and acceptance. Divorces were considered to be a "problem" during the 1920. Films like "Easy Virtue" really helped with shedding light on the subject in the social consciousness/awareness and divorces became socially acceptable.I'm not big on most "romance" films but there are a few of them I really enjoy and this Hitchcock film is one of them. I found this one pleasant to watch since it deals with a subject that was still considered to be taboo during the time era this film was made in.A good film if you like romance films, the history of films in general or simply love Alfred Hitchcock.7/10

Dan Franzen (dfranzen70) In Alfred Hitchcock's Easy Virtue, a woman has some explaining to do when the family of her second husband finds out there was a first husband. That's because back in the day, divorced women were considered damaged goods, and upstanding families would steer well clear of such flighty harlots. Easy Virtue's tagline asks "Can she be blamed for a past she didn't create?" And the answer is yes, because she did create her past when she started making eyes at the man painting her portrait. But perhaps I am getting a little ahead of myself.Larita Filton (Isabel Jeans) is married to an unnamed guy. Well, he probably has a name, but the movie doesn't tell us. Anyway, they're rich, and she's having her portrait done by a professional artist. One day the artist notices marks on Larita's wrist, and she mentions that her husband sometimes drinks too much. Thus a relationship is born, at least as far as they went in the 1920s, which meant it's possible Larita and the artist smooched once. Anyway, one fine day the husband comes home to find the two of them in an embrace. A gun is presented, and a shot is fired, and the artist dies. This is all told to us in flashback at the divorce trial, where the jury quite naturally finds in favor of the husband. Larita is shamed and shunned.She finds herself chillaxing on the Mediterranean, and a chance encounter with a tennis ball leads Larita to meet John Whittaker (Robin Irvine), who's from a well-to-do family himself. They romance, yadda yadda, and soon they're wed. He brings her home to meet his parents and his two sisters for dinner. The stern matriarch is fairly sure she recognizes Larita, and eventually she pieces it together. Haughty hilarity ensues.This is a silent film, obviously very early in The Master's career, and much more of a melodrama than a thriller with a twist. There's no twist, and because there are few sight gags one must rely on the intermittent title cards to follow the mouthed dialog. That's all well and good, but there was just too much predictability afoot, and the quality of the print did the movie no favors, either. That all makes Easy Virtue a curio in Hitch's long, long career, and little more.

jt_3d I dosed off. There wasn't really anything in the first hour. You can skip to the last 30 minutes and get all this movie has to offer. Even then, there's not much there. Good dialog may have made something out of this mess but there wasn't any, being a silent film. I found myself sitting there wondering what was being said but there weren't any cards to tell me. I guess I was supposed to get something out of the expressions but I couldn't. Most of the cards were at the end and by then I didn't care what was being said.Apparently some woman got divorced because she got her portrait painted by some artist who disappeared after shooting her husband....or something. She's miserable with her new husband, on her new estate because the mother-in-law doesn't like her or something. Does her new hubby like her or not? Don't ask me. He doesn't seem to care either way. And neither do I.A big fat who cares to this one. 2 stars because I know there's something worse out there.

MARIO GAUCI This sophisticated melodrama from a Noel Coward play is clearly unsuited to Hitchcock's particular talents: the initial court-room sequence is the best, allowing the director to experiment with camera technique (especially his creative use of the dissolve to jump from the present into the past and back again); the rest is a succession of clichéd situations, making it a rather tedious whole. The most notable cast member is Ian Hunter, though leading lady Isabel Jeans did go on to play prominent roles in GIGI (1958) and HEAVENS ABOVE! (1963). With this, I've only 3 more extant Hitchcock Silents left to watch - THE PLEASURE GARDEN (1925), DOWNHILL (1927) and CHAMPAGNE (1928); his second film, THE MOUNTAIN EAGLE (1926), is believed lost.