As Aventuras de Anatólio

An interesting document of almost one hundred years ago. Your enjoyment of this will obviously depend on whether you like silents or not. As a look way back to the beginnings of narrative film making and a fashion show of what woman wore then this has some interest. Gloria is unquestionably the star and she holds the screen with no problem. A renown clotheshorse her outfits are bizarre in the extreme to the modern eye but were the height of high fashion in their day. It's also a rare chance to see the doomed Wallace Reid in one of his few existing films. He was deep in the throes of the morphine addiction that would kill him within two years when this was made and looks shockingly old when you realize he was only 29 at the time, he appears 50 minimum.

The usual DeMille mix of sex, sin, and moralizing but with tongue firmly in place. Poor Anatol (Wallace Reid) is always "rescuing" women, much to the consternation of his wife Vivian (Gloria Swanson) who always has Max (Elliott Dexter) hanging around her.

The first rescue is of "a bubble-head jazz girl" named Emilie (Wanda Hawley) who is clearly a gold digger, She has poor old Gordon (Theodore Roberts) in her pocket but decides to go after Anatol who thinks he can redeem the poor girl. Meanwhile all she wants is a new victim. There's a great scene of redemption when Anatol tells Emilie she must throw away all her jewels in order to be cleansed. She immediately empties her jewel boxes and puts the empty boxes in a valise. They drive to the river where she throws away the empty boxes. Foolish Anatol believes her but learns the sad truth when he interrupts a wild dinner party Emilie is throwing.

Off to the country for purity and clean air, Anatol and Vivian are rowing in a river when a simple country girl Annie (Agnes Ayres) throws herself off a bridge. They dredge her out and revive her but Annie finds Anatol's wallet on the ground and steals it. After she is "saved" she runs home to husband Abner (Monte Blue) and replaces the money she stole from his church collection box. So much for country purity.

Back in the city Anatol decides to go out on the town, so Vivian decides to wear her :lowest gown" and "highest heals" and go out as well. Anatol falls into the clutches of the notorious nightclub star Satan Synne (Bebe Daniels) who lures Anatol into her den called "the Devil's Cloister." In the middle of vamping him, she gets a couple phone calls. It seems her husband is undergoing an operation for wounds suffered during the World War. When Anatol learns the truth, he gives Satan the money she needs to save her husband.

But back home, he finds Vivian has not come home from her night of clubbing. When she and Max finally come in a 9 AM he demands to know if she's be unfaithful. She refuses to answer. At that moment, a famous hypnotist (Theodore Kosloff) arrives and is compelled by Anatol to secretly put her in a trance and answer his questions. He does, but Max pleads with Anatol that to do this will forever ruin his marriage no matter what the answer is. Will Anatol force the issue? Reid and Swanson are terrific here as the stars, but the fallen women, Hawley, Ayres, and Daniels, all come off well also. Dexter and Blue have little to do. Roberts fumes and Kosloff looks mysterious. And yes that's Polly Moran as the nightclub entertainer.

The film has beautifully colored title cards and boasts nice tinting throughout. This is a must for silent film fans and was an important film for superstars Gloria Swanson, Wallace Reid, and Bebe Daniels.

Wallace Reid (as Anatol Spencer) is a wealthy newlywed who is oddly attracted to various women other than his wife - specifically: Wanda Hawley (as Emilie), Agnes Ayres (as Annie), and Bebe Daniels (as Satan Synne!). Gloria Swanson (as Vivian) is the wife who seems to develop a roving eye of her own as the running time progresses. BUT, are "The Affairs of Anatol" really affairs, or just a series of titillating temptations?

DeMille's work with mirrors is on display, with the director inserting a skeleton image of Mr. Reid in one scene. Reid was a very big star when this film was released (one of the most popular actors in the world); and, though this isn't really representative, it's nice to see him. Of the leading ladies, I enjoyed Ms. Ayres over the others, because her simple scenes with Monte Blue seem so ORDINARY when contrasted with the rest of the goings-on.

DeMille's unlikely mix of titillation, religiosity, and heavy-handed message is obviously in full flower. While there are no performances for the ages, the scenes with Swanson being hypnotized by Theodore Kosloff are fun. Elliott Dexter (as Max Runyon) is the film's best supporting actor; keep a sharp eye on his closing scenes as he'll reveal, through his performance, the affair you might not have been expecting…

****** The Affairs of Anatol (9/25/21) Cecil B. DeMille ~ Wallace Reid, Gloria Swanson, Bebe Daniels, Elliott Dexter

Cecil B. DeMille, it would appear, had a bit of a thing about ladies' feet. This may partly explain why the first glimpse we catch of Gloria Swanson in the Affairs of Anatol, is a close-up of said body part – bare, exquisitely framed, and being treated to a pedicure.

However, it was very much the DeMille way to introduce his characters in bits, summing them up by focusing us on some tiny yet significant feature. Shortly before the entrance of Miss Swanson's foot, we meet Wallace Reid's impatiently shuffling boots and tapping fingers. By doing this DeMille gives us an impression of the man before we even see his face. And throughout this picture, we can see DeMille has a kind of "inside-out" approach to shooting a scene. Cinematic convention, even back then, was generally to start with a master shot, then draw us in on the details. DeMille begins with the minutiae, then gradually reveals the bigger picture. Take the dancehall sequence where Reid meets the subject of his first affair. We first of all see Reid's view of Wanda Hawley, as if she were seated alone at the table. It is only after her character has been established that we see a shot from a little further back, showing us she is in the company of a lecherous old Theodore Roberts! DeMille's process of gradual revelation especially applies to the splendour of a set, such as the giant fan being pulled aside to reveal a stunning backdrop of stars later in the same scene.

The purpose of all this is not only to make the picture visually attractive and smoothly paced. DeMille was one of the best at this time when it came to representing the thoughts of his characters. When Reid first sets eyes on Hawley, she really is all he can see, with Roberts being an unimportant distraction. At any one time, DeMille is showing us the focus of the protagonists, without often resorting to anything so subjective as a point-of-view shot. It is a subtler equivalent to the superimpositions of imagined figures or objects that he employed in his earlier pictures. With this canny cinematic approach you'd hardly know you were seeing an adaptation of a thirty-year old stage play.

Speaking of which, the original Affairs of Anatol was a popular comedy, and the jokes in theatre productions tend to be in the words, so how to translate it to the silent screen and keep in the comedy? DeMille was no master of slapstick, and his cast were certainly no clowns. However what remains from the original is a kind of growing sense of unlikely silliness, as opportunities for adultery continually appear in Reid's path, only to be flattened by unexpected twists. The world in which the story takes place is so shallow and dignified that these daft situations – slight exaggerations of typical melodramatic plot turns – just about pass for humour.

But the fact that it works at all is largely down to the efforts of the cast. Wallace Reid goes through it all with such po-faced seriousness, and the sober and dedicated manner in which he undertakes his infidelity is actually rather funny. The highlight is surely the appearance of Agnes Ayres and Monte Blue, who act out their little slice of melodrama without even a pretence of sincerity. It is perhaps the most frivolous moment of any DeMille film, and given its place among the familiar DeMille trappings, even Ayres jumping in the river in a suicide attempt looks like a gag.

Sadly, the only cast member who does not seem quite at home here is Gloria Swanson. She is essentially an air-headed young bride, giving her errant husband an unfeasible number of chances, and frankly the role is beneath her. Here and there she gets to show her powerful dramatic presence, but she becomes a somewhat marginal figure as the titular affairs take centre stage, and her talents are largely wasted. After giving impressive turns in several of his biggest hits, this was to be the last of her collaborations with the director. It seems that in DeMille's eyes, Swanson had become little more than a beautiful pair of feet.

The Affairs of Anatol (1921)

A long, involved, romantic and slightly moralizing movie about a really good hearted man caught between two women. That's the reason to watch it, that and Gloria Swanson in the lead as the wife. The other woman (Wanda Hawley) is a bit of a siren, and our good fellow is trying to be a charitable fellow with her, and only gets himself in trouble. She plays him like a child.

The year, 1921, is just at the point where the silent film is solidifying and getting sophisticated in a modern sense. There is still a lot of static (fixed) camera in this one (even though one of the photographers was the legendary Karl Struss). This puts the emphasis on the acting, which rises to the occasion. The copy I saw had some great hand colored title cards and some scenes that were toned in rich yellows or other colors, which made it all quite fun. The conflict between the two women, and the intrusion of another man or two, make this a classic soap opera kind of drama, well done and clear enough to follow once you get the basic flow. There are sort of two halves, and the second part out in the country is a nice shift even though the theme remains similar.

Of interest? The director, Cecil B. De Mille, had a hugely influential and long career, and this is toward the beginning, and it shows his tendency to find the popular themes that audiences would connect with, rather than push technical or aesthetic boundaries. Some might call him a populist, interest above all in success, but he was an expert director who knew how to make a movie really coherent, handling the story and actors with precision and a sympathetic feel. And the subject matter here is actually a bit edgy--a married man hanging out with a woman in her most intimate spaces. The play of the "bad" woman against the "good" one is a little expected, of course, but it's such a heartwrenching problem for this nice guy who just wants to help (or so he says), it's painfully enjoyable to watch.