Male and Female (1919)

Very solid Cecil B. DeMille production of JM Barrie's play, "The Admirable Crichton" with a few DeMille flourishes.Crichton (Thomas Meighan) is a very proper butler in a staid British home. Of course he has a distant crush on Lady Mary (Gloria Swanson), a very pampered and spoiled young lady. Tweeny the household maid (Lila Lee) has a crush on Crichton.The family, headed by a silly old man (Theodore Roberts) decides to take a sailing trip to the South Seas and gathers up a party of family and friends. Of course they run the yacht into a rock and are washed ashore on a deserted island. The rich are all nitwits and haven't a clue how to do anything for themselves. They assume Meighan and Lee will continue to wait on them. Wrong.Slowly it occurs to everyone that there is a new order on the island. The crafty and self-sufficient Meighan sets out to build a shelter, a fire, harvest food, etc. while the rich sit and watch. Their attempts to copy him are sadly disastrous. Eventually they "join" the former butler's group with Meighan as a sort of king.Among the items that have washed ashore after the wreck is a book of poems that talks about a Babylonian king. In a typical DeMille moment, Swanson daydreams about her life in a Babylonian court. The sequence that follows ranks among the most famous in silent film history as Meighan becomes the Babylonian king who sentences the reluctant maiden (Swanson) to the lions' den as his jealous courtesan (Bebe Daniels) gleefully watches. The scene is much shorter than I remembered as the fabulously gowned Swanson walks in among the lions. The famous scene of the bare-backed Swanson with the roaring lion atop her was very real (no double).And so the merry band of islanders, under King Crichton, goes on for a few years until, just before the marriage of Swanson and Meighan), they are "rescued" and returned to their former lives (and stations).Meighan and Swanson are terrific. Roberts is funny as the old man. The supporting cast includes Julia Faye (as a maid), Robert Cain (as Swanson's boring suitor), Edmund Burns (as the vicar), Raymond Hatton (as the silly ass Ernie), Mildred Reardon (as Lady Agatha), and Rhy Darby (as the pitiful Lady Duncraigie who marries her chauffeur).Logic aside, this is a stylish and solid film and features a ravishing 20-year-old Gloria Swanson in one of her first big hits for DeMille. Another famous scene is early in the film as Swanson prepares to taker her morning bath, a ritual that includes several maids, gallons of rose water, and another of DeMille's groundbreaking interior designs.A must see for fans of silent films.

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.

"Male and Female" is another of Producer/Director Cecil B. De Mille's comedy/dramas. This one is about role reversal and makes one think of "Gilligan's Island" the farcical TV series that was popular in the 60s.The Loam family is a group of spoiled upper crust British nobles which include Lord Loam (Theodore Roberts), his daughters Lady Jane Lasenby (Gloria Swanson) and Agatha Lasenby (Mildred Reardon) along with Agatha's husband or suitor (I'm not sure which) The Honorable Ernest Wolley (Raymond Hatton). They are served by the butler Crichton (Thomas Meighan) and maid Tweeney (lila Lee). Crichton is secretly in love with Lady Jane but despises her spoiled antics ("The toast is too soft, Crichton"). Tweeney is in love with Crichton and so it goes.Lady Jane becomes engaged to marry the stuffy Lord Brockelhurst (Robert Cain) much to the dismay of Crichton. The family plans a south seas cruise and brings along Crichton, Tweeney and a young minister named Treherne (Edmund Burns). The party is ship wrecked on a remote island. Being of the spoiled upper class, the family is unable to cope with living in the wilderness. Crichton steps up and gradually takes command of the situation.The family at first rejects the idea of taking orders from their servant, but soon hunger and the need for shelter prevail. The family members gradually pitch in and learn to live off the land. Crichton seems to enjoy the role reversal where Lady Jane and Agatha are now forced to serve him. Two years pass.After Crichton rescues Lady Jane from a leopard, we are transported in Crichton and Lady Jane's imagination to ancient Babylon where Crichton is the King and Lady Jane a Christian. The King has a favorite (Bebe Daniels) who languishes at his feet in a web like head dress. When the Christian refuses to be a slave to the king, she walks into the lion's den and is eaten.Cut back to the present where Crichton and Lady Jane plan to be marries by Treherne. Just as the ceremony is being performed, Tweeney spots a passing ship and the party is rescued. They return to England where..............................................................Its hard to imagine that no hanky panky went on during the party's two year odyssey but that's what we're supposed to believe. The flashback sequence though lavishly staged is really unnecessary.The performances are generally good. Gloria Swanson was born to play the spoiled rich girl and looks lovely doing so. Lila Lee is equally beautiful as the love lorn Tweeney. Theodore Roberts and Raymond Hatton are mere cartoon characters. But it is Thomas Meighan who stands out. Being head and shoulders taller than the diminutive Ms. Swanson, he exudes leadership, authority and male virility as Crichton.It's not a bad movie but I challenge you not to think of "Gilligan's Island" when watching it.

With "The Cheat" and "The Whispering Chorus", Cecil B. DeMille demonstrated talent and a willingness to experiment. For me, watching "Male and Female" was like witnessing the death of an artist, because with this film, he never looked back. I don't mean to say he never made a worthwhile film again, but those films, for the most part, are fundamentally based on the same principles: sex sells and so does exotica. He used biblical stories later because it's an obvious way to have sex and exotica without it seeming so trashy."Male and Female" looks lovely, of course, but that's as shallow as the rich family in the film. I doubt anyone at this time knew more about how tinting glosses a picture than DeMille and his crew. His earlier film, "Carmen" (1915), is another exercise in that. He and his then usual cinematographer Alvin Wyckoff were also masters of lighting. "Male and Female" contains such beautiful shots as a silhouette of Crichton carrying Lady Mary to shore. Unfortunately, there's not much beyond it.This film seems to be social commentary, but there's so many holes in it that it seems DeMille barely gave it any thought. Crichton is as superficial as his masters are; he loves the helpless, spoiled fool Lady Mary rather than the devoted maid, who loves him. Gloria Swanson is beautiful, after all. The ironic twist is that Crichton has his former masters become his servants. What's the moral here, if any? Is it that class distinctions are largely arbitrary? I didn't need a movie to tell me that. The many intertitles try to find a moral--repeatedly--until we might think we did learn something.Plot holes are frequent, as well. Where are the yachtsmen in sailor outfits after the shipwreck? And, the drinking place of the leopards must be a dangerous spot--because they sit there and he tells her a story! This is merely a silly romance. This film isn't making a statement, or commenting on reality (or showing it); the purpose of this film is to get all the sizzle it can out of a relationship between a dominating male and submissive female (of course one that's stubborn at first), to have an exotic Babylonian fantasy sequence, and to have a bath scene. It's usually about money, but that's all these moves attain.By the time of the Babylonian fantasy, all the social commentary is lost. I don't care much for films of social commentary; it's the disingenuousness of "Male and Female" that I find condescending. The film left me wondering whether the characters understand the difference between reality and illusion: the real character of a person and the illusion of right to social status. Crichton and Lady Mary imply that they believe the Babylonian fantasy to actually be a past life. What's clear is that DeMille would make a career out of blurring such distinctions in the cheapest of ways.