For all the advances in technique and technology that we saw in the silent era, even up to the advent of talkies some titles continued to reflect what some modern viewers describe as "simpler entertainment for a simpler time," with comparatively unsophisticated storytelling and film-making. Of course, the same could be said of no few movies in subsequent years, but the point is that even from the start this 1928 picture seems to carry that ethos. 'Doomsday' makes more significant use of intertitles than some of its contemporaries, especially to convey - perhaps unnecessarily - every small idea and line of dialogue that could and maybe should instead be communicated by the image alone. The cinematography also feels more than not like the application of a basic "point and shoot" method. And of course the narrative itself, for any additional thoughts that flesh it out, certainly sits on the uncomplicated side of things: a woman living a humdrum life falls in love with one man, but is impelled to marry another who will offer her a more comfortable life. Rich and captivating narrative fiction this is not.
Of course, not every film needs to be a revelation. None of this is an inherent mark against Rowland V. Lee's film, though it's safe to say that this is something less likely to appeal to those who aren't already enamored of the silent era. In fairness, though nothing here is especially remarkable, there are some smart moments nonetheless. Every now and again Lee sets his sights on a small detail that demonstrates some swell shot composition, and which is endearing in and of itself. In the first half of the feature, as protagonist Mary weighs the pros and cons of wealthy Fream versus hard-working Furze, there's a wonderful subtlety to a scene of a few minutes where Mary realizes the life Furze seems to be offering her, and the shrewd sequencing alone is very revealing without any need for explanatory intertitles. And while of anyone here Gary Cooper obviously has the lasting star power and name recognition, I really think it's Florence Vidor who stands out most in 'Doomsday,' performing with splendid nuance and emotional depth that handily outshines her fellow cast members.
In other regards, though, the picture is just less impressive. The story is suitably compelling, with classic themes of love versus luxury, superficiality versus substance, and how women are treated by the men who would claim to admire them. These themes and story ideas are so classic, in fact, that we've seen them time and again before and since, and when you get right down to it the iteration here feels quite stripped down and straightforward. Some moments, or lines of dialogue (as expressed in intertitles) are more notably appreciable than others, but the broad tenor of the movie remains, and it's rather narrow. Moreover, it doesn't seem to me as though 'Doomsday' truly knows the values it wishes to communicate; Fream and Furze are both unlikable in different ways, and Mary is stuck in the middle because obviously a woman who isn't attached to a man has no worth of her own. (Since tone doesn't easily come across in the written word, please note that the last bit was sarcastic.) And for as ably made as this is in a very general sense, I don't think it's unreasonable to say that Lee's direction may sadly be the weakest element of all. It's not outright bad, and it bears repeating that he illustrates some keen intelligence in that capacity. Too many scenes are just distinctly flat, however, bereft of the feeling and weight that would make them matter, or simply bear a spark of vitality. Elsewhere, Lee makes use of close-ups or other relatively novel inclusions that come off as, well, empty novelties, and meaningless embellishments. A film was successfully made, but it's not one that challenges or inspires in any way.
I don't think this is bad. There is value here. I just don't believe there's enough to allow this to stand particularly tall, or to stand out in a crowd. The intent is earnest, but the execution lacks the vibrancy to let that earnestness be felt, and despite some bright spots the whole comes off as too unworked and unpolished to specifically earn one's favor. There are far worse ways to spend one's time, by all means, yet there's no major reason to check it out unless one is either a diehard fan of those involved or a moviegoer who loves early cinema - and even then, this is a lesser creation, or at least a middling one. 'Doomsday' is okay, but its flaws and shortcomings stack up and drag it down, and this is something best left to the curious for a lazy, quiet day.
