1930 production 'The Cheaters' is unusual not only because it is a relatively rare example of an Australian silent film (although a 'talkie' version was also made), but also because it is the work of three sisters: writer/director Paulette McDonagh, lead actress Marie Lorraine (performing name of Paulette's older sister Isabel) and middle sister Phyllis, credited as 'art department'. But there the unusuality ends; as is common in films of the era, there is little original about the plot: staying at a plush hotel to further a nefarious scheme of her criminal mastermind father, Paula (Lorraine) falls for wealthy businessman's son Lee (Josef Bambach). Unfortunately, Paula's father has dreams of revenge on Lee's father, after the latter had him sent to jail two decades previously. Can obstacles be overcome and happiness await these two star-cross'd lovers? (I am referring to Paula and Lee, not their fathers...)
I find silent features a bit of an effort to watch: with no dialogue to help along the action, my attention is at risk of wandering - especially when several scenes are merely of people sitting around talking, as is the case here. But one thing that makes 'The Cheaters' stand out is the subtlety of the acting: Lorraine, especially, conveys her character's emotions without resorting to the anguished gurning of some silent-era movie stars. (Unfortunately Bambach, the so-called 'Australian Valentino', takes this too far: his habit of lowering his head and glancing through half-closed eyes on several occasions makes it seem as if he is nodding off.) I probably will not watch this again, but I am glad to have seen it once, for its novelty value if for nothing else. Seen online as part of the 2020 London Film Festival.
