Each of thirteen chapters covers a filmmaker who released an important work during the time in question. Many of the era’s best-known talents appear: Chaplin, Keaton, Mary Pickford, Gloria Swanson, and Lon Chaney are joined by the likes of Josef von Sternberg and William Wellman. Among the films he analyses in depth are Steamboat Bill, Jr., Sadie Thompson, and The Wedding March. A follow-up chapter briefly discusses another twenty-eight noteworthy films that appeared during the long 1928. Meuel is a highly knowledgeable, authoritative film historian who presents his theses in a clear and accessible style that can be appreciated by scholars and film buffs alike.
Being a longtime admirer of Joan Crawford, I especially enjoyed the chapter that discusses her star-making film Our Dancing Daughters, which makes a slightly unexpected appearance here. Meuel ably assesses the ways in which, throughout a long career, Crawford continued to draw on the techniques of silent film performance that she learned from mentors like Chaney, and cogently explains why she adapted to the coming of the sound era in a way that performers like Clara Bow seemed unable to do. Brushing aside the personal dramas that have many knowing her primarily as “Mommie Dearest,” the author shares his conviction that, for a period between the mid-forties and early fifties, Miss Crawford “was as consistently good as any actress in Hollywood.” Another strong chapter, on director King Vidor and The Crowd, helped me better understand the acclaim this iconic film has received, and how revolutionary it was for the Jazz Age, unlike most other films of its day.
If you’re looking for a thoughtful, engrossing work on a fascinating time in motion picture history, look no further.
