Review: ‘Sally, Irene and Mary’

Transplanted to the screen, this book for a musical show is rather trashy chorus-girl stuff. It's not a good picture.

Transplanted to the screen, this book for a musical show is rather trashy chorus-girl stuff. It’s not a good picture.

Dealing with Broadway’s back-stage angle, the script doesn’t ring true. Director Edmund Goulding has given the production one lavish stage setting for a full-stage Charleston number, but has fallen into the pitfall of having every member of the audience applaud as soon as the curtain starts to ascend.

Sally is the ‘kept woman’ of the trio; Irene can’t make up her mind whether to choose a ‘chaser’ or a boy with honorable intentions, and Mary is the innocent miss who nearly loses Sally her de luxe flat when the latter’s money man takes a tumble in her favor.

Constance Bennett gives the one genuine performance in the picture as Sally, and suffers because of an unsympathetic role. Joan Crawford makes a silly girl of Irene, with whom interest is lost when she falls for he of the evil intent, and it’s doubtful if there ever has been a chorus girl such as Sally O’Neill has been instructed to play in depicting Mary, fresh and too dizzy.

Sally, Irene and Mary

Production

M-G-M. Director Edmund Goulding; Screenplay Edmund Goulding; Camera John Arnold; Editor Harold Young; Art Director Cedric Gibbons, Merrill Pye

Crew

Silent. (B&W) Extract of a review from 1925. Running time: 58 MIN.

With

Constance Bennett Joan Crawford Sally O'Neill William Haines Henry Kolker
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