El jardín del Edén

While he made many earlier films, GARDEN OF EDEN is the earliest of director Lewis Milestone's works to survive. I have been waiting for a properly restored version of this movie ever since I saw an abridged version of it on VHS as part of Paul Killiam's SILENTS PLEASE series. Milestone, whose career spanned 40 years from the silent era to the original OCEAN'S ELEVEN and Brando's MUTINY ON THE BOUNTY, was a top notch visual stylist whose best movies remain as interesting today as when they first appeared. ALL QUIET ON THE WESTERN FRONT, THE FRONT PAGE, and RAIN are all part of a remarkable run of films that began with GARDEN OF EDEN.

The film was made as a star vehicle for Corrinne Griffith who was then at the height of her fame. She is perfect as the naive young romantic who believes that talent is all she needs to succeed as a singer only to find out that most people are interested in something else. Louise Dresser (Catherine The Great in Valentino's THE EAGLE) is Rosa the wardrobe mistress who may not be everything she seems, an unlikely fairy godmother to Griffith's modern day Cinderella.

Charles Ray, another popular star from the silent era, makes a charming Prince Charming while Lowell Sherman (the villian in WAY DOWN EAST) is his usual lecherous self. Within this basic story Milestone weaves a magic spell through the use of mood enhancing lighting, polished editing, and his trademark sophisticated camerawork. The sets are fantastic too.

GARDEN OF EDEN is not a great film but it is a highly entertaining one even more so in this splendid transfer to DVD from Flicker Alley. Robert Israel's accompaniment is first rate as usual and the DVD has a number of special features including two short subjects (one of them in Technicolor!). Yet another treat for the silent film enthusiast...For more reviews visit The Capsule Critic.

Impoverished beauty Corinne Griffith (as Toni LeBrun) dreams of becoming a famous opera singer. After getting her diploma, Ms. Griffith is accepted for an audition in Budapest. She finds figures more interested in her beauty than her singing ability. Mannish Maude George (as Madame Bauer) demands Griffith, "Show me your legs", then hires her to sing at the "Palais de Paris". There, leering patrons, like Lowell Sherman (as Henri D'Avril), admire the female form. Griffith bonds with matronly worker Louise Dresser (as Rosa de Garcer), a down-on-her-luck Baroness. When Ms. Dresser's pension check comes in, she takes Griffith on a Cinderella-like adventure; and, she meets princely Charles Ray (as Richard Dupont).

Lewis Milestone (director), John Arnold (photographer), and William Cameron Menzies (designer) are responsible for some stunning, stylish work. Especially, savor Griffith's arrival at the squalid "Palais de Paris", early in the film. Later, watch for the scene with Griffith and Mr. Ray sitting at the grand piano, as the raised lid puts them in a beautiful, reflective "triangle".

Star Griffith receives a lavish, loving production. The cast is very entertaining, especially Dresser and Ms. George, who more often supported Erich von Stroheim. Ray seems a little uncomfortable at times; a decade earlier, he routinely offered superior performances. Although, the story is rather routine, it's nice to have "The Garden of Eden" around; thanks to "Flicker Alley".

****** The Garden of Eden (2/4/28) Lewis Milestone ~ Corinne Griffith, Charles Ray, Louise Dresser, Maude George

A pretty amazing artifact of the pre-code area, Garden of Eden features Corrinne Griffith as an opera singer wanting to make it big. She leaves a note to her Mom and Dad Bakers ("I don't want to make pretzels any more!" and heads of to Budapest (!!) to a theater who she got a telegram from. Little does she know that the telegram is from a speakeasy joint with dancing girls, headed by a lesbian manager! After being fooled by wearing a see through dress and pawed by one of the fans, her and a sympathetic dressmaker hightail it out of there. The first half, quite amazingly, is VERY similar to 'Showgirls', so much that I am sure that Paul Verhoeven watched this film for ideas. We almost take a 180 degree turn as the action switches to Monte Carlo, to this Parlor Room comedy. The woman, in a hardly believable turn of events, uses her war pension every year to stay at one of the swankiest joints in Monte Carlo, and spends the next 50 in squalor in Budapest. This, I think, is a woman in serious need of an accountant. Anyways, her and the girl sign in as Mother and Daughter (somehow, in the 2 weeks they stay there, she legally adopts her), and the girl is wooed by 2 suitors. The rest is pretty much of the "hiding behind doors when he's not supposed to" Three's Company company variety. But the end wedding scene is a whooping hi-light, when the lead actress rips off her wedding dress and hightails it out of there as the wedding march plays!

Pretty amusing, nicely directed and beautifully photographed. Check this one out if you can!

The Garden of Eden is a charming but obscure silent comedy from 1928 and was an important film for both its talented director Lewis Milestone, a two-time Academy Award Best Director winner, and its beguiling star Corinne Griffith, a once-popular and now nearly-forgotten star of silent cinema.

It's adapted to the screen by Avery Hopwood and Hans Kraly from the play by Rudolph Bernauer and Rudolf Österreicher. It features marvelous art-direction courtesy of William Cameron Menzies, who later became a director of films. It also stars Charles Ray as the sophisticate who falls in love with Griffith who he thinks has a title. Ray's specialty was playing country bumpkins, and this Cinderella tale offered him a chance to go against type and perhaps revive his sagging career. However, comeback attempts were hampered by the advent of the sound picture.

Griffith as always shines and gives a capable and graceful performance. Her beauty has not been missed by Mr. Milestone in his direction of the scenes. Louise Dresser and Lowell Sherman do well by their parts and Edward Martindel is sympathetic as a love-sick uncle. Ray escapes his normal hick role even if the naive innocent aura still hangs over him.

Structurally the film is divided into three sub-movies which could almost be played independently. The first portion is Toni LeBrun's experience at the "Palais de Paris," a cabaret that she naively thinks is an opera hall. The next movie segment concerns the wooing of Toni by rival uncle and nephew. The last section of the film is also set in the Hotel Eden, however, the plot of this section deals with Toni's wedding.

On occasion, there are some visually dazzling shots, such as Toni and Richard seated at a grand piano, perfectly reflected in the raised lid, while the room slowly rotates around them. But overall The Garden of Eden is fun and moves briskly enough. The pacing is aided by a slight under cranking that provides a slightly sped-up feeling that boosts the comic effect. However, it's not overdone to the point of ridiculousness. Sadly a Technicolor dream sequence of Toni as a great opera star, prefiguring her later assumed wealth, remains unfortunately lost.

This is a delightful film based upon a play by Avery Hopwood, an adaption of a work by Rudolph Bernauer and Rudolf Oesterreicher, featuring a radiant and vivacious Corinne Griffith as Toni LeBrun, a would-be diva who is adopted as ward by a baroness (Louise Dresser) who takes her to Monte Carlo where romantic adventures then take place. The work is directed by Lewis Milestone, one of the few Americans who may be described as a cinematic auteur, predicated upon his clear stylistic methods, in evidence here in this leisurely paced effort, in particular with clever establishing, long and detail shots used in the seamless decoupage typical of silent filmmaking at its best, and certainly present in this influential picture. The keen expressivity of art director William Cameron Menzies and the technically flawless cinematography of John Arnold are absorbed by Milestone as this trio combine in presenting a stream of interesting imagery, some of which has been copied but not bettered in the sound era. A highly polished supporting cast backs Griffith, notably Charles Ray as her romantic favorite, Lowell Sherman as a knavish would-be nobleman, Maude George, who portrays an androgynous stage manager and Dresser in a typically well-defined performance as Toni's adoptive mother. Rosa Rio, at the Wurlitzer, plays the original score with a great deal of wit and neatly interpretive passage-work; a perfect aural mating with a sublimely visual feast.