Wild girls at a college pay more attention to parties than their classes. But when one party girl, Stella Ames, goes too far at a local bar and gets in trouble, her professor has to rescue ... See full summary »
A wealthy but neurotic Southern belle finds herself trapped in the hideout of a gang of vicious bootleggers. The gang's leader lusts after her, and is determined not to let anything stand in the way of his having her.
Jack La Rue
It is sad that the demons in Clara Bow's life curtailed a career in talking motion pictures that would have seemed promising. She positively sizzles in Call Her Savage.
The film has Clara cast as one wild child Texas heiress, granddaughter of Willard Robertson and daughter of Estelle Taylor. Robertson has his hands filled with her and finally sends her off to school in Chicago.
After that the post flapper era men just flock to her. But Clara sets her sights on dissolute playboy Monroe Owsley, taking him away from Thelma Todd. Owsley is brutally frank about his male privilege telling Todd in no uncertain terms as he's allowed to stray because after all he pays the bills. The chick fight that Bow and Todd engage is one for the books, much better than Marlene Dietrich and Una Merkel in Destry Rides Again.
Clara's ride goes up and down from the wild child to the degradation of prostitution to back up on top again. Through it all the reason for her wildness is given in the explanation of her heritage. Her one true friend in the end is grandfather's faithful ranch hand Gilbert Roland and what they have in common.
I agree with another reviewer that the film is both sexist and racist and glories in it. It's also brutally frank and no wonder Joseph Breen and his crowd got such fits over films like Call Her Savage.
A great before the Code film and a sad reminder in what we lost when Clara Bow couldn't make more films like this.
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