ThiefHott Too much of everything

VeteranLight I don't have all the words right now but this film is a work of art.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

binapiraeus In the beginning we are introduced to a genuine old British aristocratic family: the spoiled, lazy Lady Mary, her quirky father and her younger sister. And, of course, Lady Mary is engaged to another aristocratic parasite, Lord Brockelhurst. And, on the 'other side of the fence', are the servants: butler Crichton, who is secretly in love with Lady Mary (although this is of course 'impossible': you can't break out of your 'caste'...), and maid Tweeny who in turn is in love with Crichton. A typical picture of old aristocratic England...... Until one day, when the blue-blooded clan starts out on a South Sea cruise - and are stranded there on a lonely island; without luxury, without lodgings, even without food. And NOW it shows WHO is able to survive when being put to the test: Crichton with his energy and inventive spirit soon becomes the leader of the 'Swiss Family Robinson', while Lady Mary, completely helpless on her own, must admit that now HE's the strong man, HE's the 'King' (he even dreams of being the King of Babylon and she his Christian slave...) - and falls in love with him, while Tweeny jealously has to stand by and watch... BUT if they'll ever be rescued and return to England, will everything be as it was before?? This early work of Cecil B. De Mille already shows pretty clearly his vivid fantasy and love for ancient settings and costumes, as well as his belief in old-fashioned morales and institutions. The best part is, of course, when Crichton becomes the 'King', wild and strong, far away at last from his stiff butler image (Thomas Meighan, with his cocksure and almost a little menacing expression, somehow seems to look here like a kind of Rudolph Valentino 10 years older...), and Lady Mary alias Gloria Swanson, in the new surroundings of the wilderness, at last becomes a REAL woman. But - will it last??

sraweber369 Male and Female is a delightful tale of class relationships mixed with a little Gilligan's Island. The story is an old one that shows the relationship between birthed aristocracy and the peasants or in this case the servants.The story starts off showing how shallow and frivolous the family that owns the manor are. The head off the family is a bumbling father type Lord Loam (Theodore Roberts) and his two daughters Marry (Gloria Swanson) and Agatha (Mildred Reardon) both pampered and spoiled and the many servants the two main ones being William Chrichton (Thomas Meighan) and Tweeny (Lila Lee).^The film shows the relationships of the masters and servants with Marry getting ready for her bath and the having breakfast and complaining that nothing is done correctly while Chrichton just stands there and takes it, Tweeny has a real eye for Chrichton but he looks at Marry a relationship that could never be in proper London.Well the family takes a sea voyage on their private yacht and the become shipwrecked. This island is more like Gilligan's Island then a real south seas island. On the Island Chrichton shows himself able to survive and find food, The manor family meanwhile refuses to work until hunger drives them to Chrichton and they are humbled and he assumes a role as leader. In the meanwhile Marry falls in love with Chrichton and this id OK with the more egalitarian social structure of the island. Well the group is rescues and things revert back to the way the were.Cecil B. DeMille did a fine job directing this film. The film has high production value and is well acted and photographed. The story while simplistic is delightful to watch the acting is will done and the characters say a great deal through emoting. This movie gets a grade of B

kidboots J.M. Barrie's "The Admirable Crichton" opened on London's West End in 1902 and ran for a staggering 828 performances, the next year it came to Broadway. The play differed from the film in that (in the play) Lord Loam considered class division artificial and during tea parties, servants were expected to mingle with the guests as equals - only Crichton, the butler disapproves, feeling everyone should know their place.The Loam family are introduced as upper class twits with more money than sense. The house is run by the servants - in particular, Crichton (Thomas Meighan), the Loam's dignified butler, who is always at the ready to show people the right way of doing things (especially adoring scullery maid Tweeny (Lila Lee) and boot boy, Buttons (Wesley Barry)). The family beauty - Lady Mary (gorgeous Gloria Swanson) is completely spoilt and has servants to cater to her every whim, from seeing her bathwater is just the right temperature to making sure her toast is not too soft. There is a wonderful bathroom scene, with all the most modern conveniences, including luxurious rose water spraying from a fountain.The Loams go on a South Sea cruise but disaster strikes as their boat hits a rock and they have to make their way to an uninhabited island. True characters come to the fore, the family are lazy and expect their servants to obey their every whim. Crichton soon shows himself a true leader and everyone in the party turns to him for guidance. Two years pass and everyone is living together as equals and pulling their weight, there is no master or servant - all except Crichton, who is now the supreme leader. Mary and Tweeny now fight for the opportunity to serve him supper. Being a DeMille production, there is a spectacular Biblical scene (maybe his first) with Meighan as a bored, callous King, Bebe Daniels as a saucy slave girl and Gloria Swanson as a beggar maid, who goes to the lion's den rather than put aside her Christian principles.They are eventually rescued and Crichton and Lord Loam are the first to remember their "places" in the world. Lady Mary can't forget her love, they were just about to be married when the rescue boat is seen. Back in civilization, Lord Brockelhurst resumes his courting of Mary - all through the film he has shown himself to be pretty flirtatious with Mary's maid - you know when Mary accepts his proposal - her life will not be a happy one. Crichton hides his true feelings about Mary and when she is visited by an old friend who has defied her family, married her chauffeur and lived to regret it - he impulsively asks Tweeny to marry him. They will leave service and sail for America, where everyone is equal (the last scene is particularly sweet as Crichton walks to a farmhouse after finishing ploughing for the day, to find Tweeny waiting for him.)I do agree, I think the titles are profuse and flowery and excessive - they would do credit to a William S. Hart western!!! I also think Thomas Meighan was born for this role - he was manly and masterful. He was also excellent in "Why Change Your Wife?" - Cecil B. DeMille obviously liked him a lot as he popped up in quite a few of his movies. Although Barrie had considered ending his play with Crichton and Mary continuing their affair, even after Lady Mary is married, he decided on a more conventional ending as he thought "the stalls wouldn't like it"!!!Highly, Highly Recommended.

Steffi_P The silent films of Cecil B DeMille, scripted by his long-time collaborator (and mistress) Jeanie MacPherson were often bizarre, overwrought and sometimes just plain silly. Once in a while however they hit the nail right on the head. Male and Female, heavily adapted from JM Barrie's play The Admirable Crichton, is a powerful drama with some strong performances, DeMille's direction at its most lyrical, and MacPherson's storyline only occasionally veering off the rails.The majority of DeMille films from this part of his career begin with a lengthy title card with some kind of moral or motto. However, Male and Female opens with images – the crashing sea, a sunset – before getting onto the intertitles. The typical DeMille silent would then follow this up by introducing us to each of the main characters with a title followed by a shot of them. Male and Female is no exception, but it works these introductions into the film's world and draws the audience in by making them point-of-view shots of a young servant peeping through the keyholes into his masters' and mistresses' bedrooms.The acting style that DeMille had encouraged and developed in his silent pictures since the mid-1910s was largely naturalistic, but with the occasional broad theatrical gesture to highlight a dramatic moment. It was a style that reduced the need for intertitles, without resorting to ridiculous pantomiming. The two leads, Gloria Swanson and Thomas Meighan are both perfectly suited to this style. Meighan was probably the finest male actor DeMille had worked with since Sessue Hayakawa (in 1915's The Cheat), and his performance here is mesmerising. Swanson is also great as usual, although I have to say that although it was her run of pictures with DeMille that made her name, she didn't do her best work with him. Her talent was put to far better use in later features such as Queen Kelly and Sadie Thompson.Aside from the performances, it's the dramatic story and its presentation that makes Male and Female so memorable. Only the basic plot of Barrie's play remains, and this is a typical DeMille/MacPherson story of the reversal of fortune and forbidden love – probably the strongest of this kind that they did before the slant in DeMille's films became increasingly moralist (and, of course, religious). Although DeMille loved these tales of class and inequality (he was at that point a socialist as well as a Christian), it is the impossible love between the two leads that is at the heart of this story. The real tragedy of Male and Female has nothing to do with the selfish pomposity of the aristocrats – it is the fact that the love between the rich woman and the poor man can only exist in this fantasy world of the remote island. This is set up from the beginning with the subplot of Swanson's friend who marries her chauffeur and becomes a social outcast. The final scenes in which the various love triangles are resolved are incredibly moving.The only significant wrong note in Male and Female is a brief and rather pointless flashback to ancient Babylon. These historical inserts had been en vogue since Griffith's Intolerance (a more influential film than some would have us believe), but this one is rather lacklustre and it's hard to see exactly how it fits the main story. It appears more of an excuse for DeMille to work in some epic grandeur (from 1918 to 1922 he only made contemporary dramas and comedies) and MacPherson to explore her interest in reincarnation. The story does need a dramatic highpoint at the stage where the flashback comes in, but they could have done better than the Babylon sequence. Overall however Male and Female is free of much of the preachiness, questionable morality and plot holes that mar many of Jeanie MacPherson's screenplays.Male and Female was Paramount's highest grossing film of 1919, which is no surprise. DeMille's steady flow of captivating images and his emphasis on acting performances are at their best here. In certain aspects it may appear dated, but as with many of DeMille's films we have to suspend our dependence on realism and plausibility. Of course, the island where the action takes place, with its convenient abundance of edible wildlife, sailing distance from England yet remote enough to be shipwrecked for two years, could never really exist – but it's an unreal place created to serve the story. Taken as the silent melodrama that it is, this is a stunning motion picture.