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[[Category:Silent comedy-drama films]] |
[[Category:Silent comedy-drama films]] |
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[[Category:Silent American drama films]] |
[[Category:Silent American drama films]] |
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[[Category:Silent American comedy films]] |
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| The Patsy | |
|---|---|
Lobby card
| |
| Directed by | King Vidor |
| Written by | Agnes Christine Johnston Ralph Spence |
| Based on | The Patsy 1925 play byBarry Conners |
| Produced by | Marion Davies William Randolph Hearst King Vidor |
| Starring | Marion Davies Marie Dressler |
| Cinematography | John F. Seitz |
| Edited by | Hugh Wynn |
| Music by | Vivek Maddala |
Production | |
| Distributed by | Metro-Goldwyn-Mayer |
Release date |
|
Running time | 78 minutes |
| Country | United States |
| Language | Silent (English intertitles) |
| Budget | $272,000[1] |
The Patsy is a 1928 American silent comedy-drama film directed by King Vidor,[2] co-produced by and starring Marion Davies for Cosmopolitan Productions, and released by Metro-Goldwyn-Mayer. It was Marie Dressler's "comeback" film after a long slump in her film career. In February 2020, the film was shown at the 70th Berlin International Film Festival, as part of a retrospective dedicated to King Vidor's career.[3]
The Patsy saw Marion Davies starring in her 27th film, a comedy that has been recognized as a classic. This was Davies' first film (of three) with director King Vidor and the only time she appeared with Marie Dressler. Once again, Davies bobbed her hair, this time to play the dowdy and downtrodden Patricia, the younger daughter in a household ruled by an imperious mother (Dressler) and selfish sister (Jane Winton). Vidor encouraged Davies to cut loose and use her comedic talents to their fullest, and the result was a joyous Davies who runs and somersaults and cavorts like a mad woman after she decides to "get some personality." The highlight of the film is the extended sequence where she tries to get the attention of the sleepy Billy Caldwell (Lawrence Gray). Davies resorts to impersonating Lillian Gish, Mae Murray, and Pola Negri in an effort to get Billy's attention. The transformations are truly remarkable. The reviews were rapturous and the film was a huge hit. Hearst and MGM were so impressed, they immediately assigned Vidor to begin working on another vehicle for Davies. The Patsy also served as a big comeback vehicle for Dressler.[4]
