Wealthy cripple Markley finances the education of blacksmith's daughter Ruth. When she returns to their small town he asks to marry her, but she runs off with city worker Jim Dirk who is ... See full summary »
Love, duty, and the scent of narcissus. Theodora, a young and penniless aristocrat, marries a much older man, self-made millionaire grocer Josiah Brown, so that her father and spinster sisters can live comfortably. Soon after the wedding, she finds herself falling in love with Hector, the Tenth Earl of Bracondale, a playboy she encounters on the social circuit of the very rich -- in the Swiss Alps, Paris, London, and the English countryside. Hector is attracted to her as well. Theodora must choose between love and duty, and then Josiah and Hector must make choices of their own.Written by
A story of young hearts, bound by society's convention, struggling and risking all for happiness. -of gay nights of revelry in the Paris world of fashion. - of tingling adventure on the snow-clad crags of the Alps. -of intrigue and coquetry in the gilded resorts of London high society, with Glorious Gloria wearing the 50 latest and most gorgeous Paris gowns. (Print Ad-Omaha Sunday Bee, ((Omaha, Neb.)) 7 May 1922) See more »
In 2005, The Nederlands Filmmuseum copyrighted a restored version of this film with new intertitles (based on the original continuity script) and a new musical score by Henny Vrienten. It ran 80 minutes. which included about 2 minutes of explanatory remarks and restoration credits, was distributed by Milestone and broadcast on the Turner Classic Movies channel in 2006. The IMDb credits are taken from this version, but they probably differ from the original credits. In 1922, Valentino's screen given name was Rodolph and spelled that way in reviews. Cast lists were not common; credited actors were in the intertitles right before they appeared onscreen. If that were the case for this movie, Helen Dunbar, 'Raymond Brathwayt' and Frank Butler would be marked uncredited, since their names and their character names do not appear in the intertitles. See more »
It's great to have this film back after 84 years! It's only a pity it couldn't have been rediscovered while Gloria Swanson was still alive (in her autobiography she named it as one of the three films of hers the "loss" of which she regretted most, along with "Madame Sans-Gêne" and the last reel of "Sadie Thompson"). Elinor Glyn's story is horribly contrived I can't think of another movie until the Beatles' "Help!" that moved its characters so extensively around the world to so little effect and the love scenes are a bit disappointing (Swanson recalled that the Fatty Arbuckle and William Desmond Taylor scandals both broke just before this film started shooting, with the result that the script was given a last-minute rewrite to tone down the adulterous passions of her and Valentino's characters) but what makes this movie truly great is the marvelously understated acting. This is the film to show someone who thinks all silent-film actors swooned, waved their arms like windmills and reacted to traumas like the Statue of Liberty collapsing in an earthquake: the people in "Beyond the Rocks" use simple, economical gestures and facial expressions to get their emotions across. I credit director Sam Wood who made the transition to sound quite successfully and had a long career in the talkies with getting these marvelously realistic performances from his cast. Henny Vrienten's musical score for the restored print is somber and effective, though I could have done without the sound effects and crowd noises and it seems odd to watch a silent film with music whose primary instruments are a flute and a Miles Davis-style trumpet.
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