Kiki

The transition from silent to talkies was a killer for most silent screen actors and actresses. The more they talked, the more audiences realized their acting abilities were pretty dramatically shallow. Some who had survived learned to say less and display more of a physicality between them and their co-stars.

It's a lesson Mary Pickford should have learned. Right out of the gate, 'America's Sweetheart' became enamored with dialogue. Her first talkie, 1929's "Coquette," taken from a 1927 Broadway play, features her adopting a southern accent. The film is filled with dialogue. But she was awarded an Academy Award Best Actress, where she lobbied the organization's judges for the win. Her next talkie was 1929's "Taming of the Shrew," co-starring her husband, Douglas Fairbanks. Another failure. Next came March 1931 "Kiki," yet another Pickford stage adaptation, this one from an Andre Picard 1918 play. In it, the actress adopts a French accent while the feature film is equally filled with lots of talking.

Pickford plays a chorus girl who has trouble learning her steps. She falls in love with producer Victor Randall (Reginald Denny), who still is in touch with his ex-wife. "Kiki" failed miserably in the theaters, partly because Pickford's loyal fans weren't used to her playing a brash, provocative showgirl who constantly wears tight shorts, who takes off her bra underneath her blouse while standing in front of Victor, and who sits in front of a male theater assistant in only her underwear slowly pulling up long nylon stockings one leg at a time. Her new on-screen persona failed to deliver box-office magic, creating a loss for United Artist studio she and her partners owned.

Today's viewers cite one particular scene where Pickford shines. Early in "Kiki" she gets a chance to display her comical dancing talents. The musical number, choreographed by Busby Berkeley following his Hollywood debut in 1930's "Whoopee!" consists of the 'Goldwyn Girls' and Pickford. The actress' physicality is a pure delight to see, especially her athleticism at the age of 39. She performs several pratfalls and stunts, amusing the on-screen theater audience, but causing much angst to the show's managers and the band's drummer. The 10-minute sketch, which is likened to a Lucy Ball skit, serves as a reminder why Pickford's silent screen movies were so popular. But once the number concludes, she descends back into a dialogue-filled yapper.

"Kiki" was Pickford's second-to-last film. An era was quickly closing in on one of early Hollywood's most influential actresses. For one brief sequence, "Kiki" viewers in 1931 were able to capture the enormous talents of Pickford, a trademark that earned her the nickname "America's Sweetheart."

In spite of its notoriety amongst Mary Pickford fans, "Kiki" is far from the disaster it is reputed to be.

Legend has it that this film was an attempt to sex up the Pickford image, with results so catastrophic that she appeared in only one more film. That "Kiki" was a resounding box office flop is irrefutable. But it proves to be an entertaining, fast moving comedy with a dazzling tour de force from its star.

There is nothing at all embarrassing about Pickford's performance. She may not be at her most subtle, and there is notable absence of pathos, but she gives a credible performance and seems much younger than her 39 years. Her French accent may not be all that authentic, but it is consistent.

And she has clearly not lost her knack for physical comedy. Indeed her entrance - being hurled into a room flat on her posterior - is as memorable as anything in the Pickford body of work.

The supporting cast is not up to much, and the direction flags at the mid point - though Sam Taylor does offer a fine opening backstage sequence. "Kiki" may not be the best comedy of its type, but its very far from a write off.

As we are now removed from the Pickford mystique, its much easier to see her performance for what it is, rather than as a violation of a hallowed image. Its far too late for "Kiki" to find a popular audience, of course, but it is certainly due for a reevaluation.

Iam not a Pickford fan,and i have only seen her sound films.So i came to this with no precoceived notions.I thought that the first half an hour was fairly entertaining particularly the musical number.However when the scene changed to Reginald Dennys flat the film eventually dissolved into a tedious bore.Wildy overacted by Pickford clearly in a failed attempt to give herself a new screen image.Denny must have been chosen as a leading man as he would provide no competition in the acting stakes.After all who would want to fight over his affections.I see that 54 viewers out of 73 have given this film a score of 10.Well all i can say is that you must have been watching a different film.All i will say is if this film is so good why has it remain largely unseen.Even Halliwells description is "long unseen musical".I have given it a rating of 3 because of the first half hour.Otherwise it would have been a single digit!

A total delight! This famous flop for Mary Pickford is VERY funny and totally fun.

Pickford plays a French chorus girl in New York trying to make good and survive. Pickford's French accent may not be as good as Marion Davies' in "Marianne" but she's wonderfully funny in this role. It's a talkie extension of all the great comic parts she played in silent films.

Pickford was a great comic and proves she had what it takes to make it in talkies. KIKI is a terrific comedy and she's better in this than in her other three talkies. KIKI was based on the Norma Talmadge silent film which was based on the Broadway play. Oddly I just read in the Valentino biography that he had seen Lenore Ulric in New York and then Gladys Cooper in London in the stage versions.

The film opens with a LONG panning shot of backstage doings all in time to the song the chorus girls are stomping away to. Pickford gets fired but insinuates her way back into the chorus via the producer (Reginald Denny). On opening night she makes a shambles of the big number starring Margaret Livingston as the vain star. Pickford is hysterically funny.

Not realistic at all but great fun. Co-stars include Joseph Cawthorn, Phil Tead (funny as the butler), Edwin Maxwell, and Fred Walton.

The sets for the apartment are atrociously ugly. Not to be believed! An explosion of Victoriana and Art Deco.

Mary Pickford was definitely one of the greats!

Mary Pickford had made 240 films before the advent of sound movies. She was the darling of filmdom until then. But from 1929 to 1933 she made just six films. Although she won the second Oscar as leading actress for "Coquette" in 1929, her last films bombed. "Kiki" is one of those. The plot isn't very good, and Pickford 's role was probably the worst possible thing she could have had. She had a squeaky voice, and in this film she has a French accent and talks, whines, talks, whines, and talks. She quickly becomes tedious and agitating.

Pickford is the classic example - and perhaps the most prominent, of the big name stars of Hollywood whose careers soon ended with talking pictures - mostly due to the sound of their voices. Audiences of her day must certainly have reacted the same way to "Kiki" as most would in modern times. The image of the darling and coquettish actress certainly changed with sound.

Pickford supposedly downplayed the prospect of movies adding sound. It's not hard to imagine that someone with such a squeaky voice could realize that it would soon end her acting career. But, while sound was her undoing in front of the camera, Pickford stayed in Hollywood producing films for another 16 years before calling it quits at age 57.

Reginald Denny is the male lead here. He too had a long run in silent films since 1915, but he was able to transition well with his voice in sound films and he made movies into the mid-1960s. Denny had some lead roles, but most were in a variety of supporting roles.

The production and technical qualities of this United Artists film still show some of the raw techniques of silent films. Pickford was a 1919 co-founder of United Artists, along with Charlie Chaplin, D.W. Griffith, and Douglas Fairbanks who was soon to become her husband.

Except for curiosity of movie buffs who might like to see Pickford in a sound film, this one isn't worth the time.