| The Awakening | |
|---|---|
Film poster
| |
| Directed by | Victor Fleming |
| Written by | Carey Wilson (screenplay) Frances Marion (story) |
| Produced by | Samuel Goldwyn |
| Starring | Vilma Bánky Walter Byron |
| Cinematography | George Barnes |
| Edited by | Viola Lawrence Katherine Hilliker H. H. Caldwell |
| Music by | Hugo Riesenfeld Irving Berlin (song "Marie") |
Production | |
| Distributed by | United Artists |
Release date |
|
Running time | 90 minutes |
| Country | United States |
| Languages | Sound (Synchronized) English Intertitles |
The Awakening is a 1928 American synchronized sound feature film directed by Victor Fleming and starring Vilma Bánky. While the film has no audible dialog, it was released with a synchronized musical score with sound effects using both the sound-on-disc and sound-on-film process. The film was based on a story by Frances Marion.[1][2]
InAlsace, under German occupation shortly before the outbreak of the First World War, Marie Ducrot is a pretty young peasant woman who falls in love with Count Karl von Hagen, a German army officer. Marie is seen when she visits von Hagen in his quarters. The people suffering under the occupation see Marie as a traitor and assault her physically. Marie disappears and is believed dead. However, she has fled to a monastery where she is accepted as a novice.
The war breaks out and Von Hagen is wounded in fighting near the monastery. Marie nurses him back to health. Von Hagen wants her to go to Germany with him. The French lieutenant Le Bête helps the two to reach the German lines. The couple get to safety, but Le Bête is killed by a sniper's bullet.
The film featured a theme song entitled "Marie" with music and lyrics by Irving Berlin.
The film was nominated for the Academy Award for Best Production Design at the 2nd Academy Awards. The Nominee, William Cameron Menzies was also nominated the same year for the film Alibi.
A review in the trade publication Harrison's Reports summarized the film as "'spotty;' that is, it is good, in fact very good, in spots; on the other hand, in spots it is slow, and even poor."[1] It also commended Banky and Byron for "good work" in their roles and Fleming for his direction.[1]
One reel of the film (approximately 1000 feet of 35mm nitrate film) survives at the BFI.[3]
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