Suds

SUDS is one of Mary Pickford's finest hours, a multi-faceted comedy-drama that runs the gamut from slapstick to heart-touching poignancy. Set in 1800s London, Mary stars as Amanda, a homely little laundress in a dump of laundry. Her only friends are the boy and an old, half-dead horse that deliver the cleaned clothes. Amanda gets through her grim existence nursing a crush on a well-dressed if smug customer, her only link to a better world, who eight months earlier dropped off a shirt to clean which he's never returned to pick up. Twice weeks she washes the shirt in hopes of his eventual return. The other women laugh at her delusions as she claims he's her boyfriend and they are both from the upper classes, her father having kicked her out for their romance to see if anyone will love her for herself and not her inheritance. It's all baloney, of course, but it seems Amanda half believes it herself. There's an enchanting segment where Amanda tells her coworkers her story that allows Mary to be beautiful and glamorous (her faux boyfriend's looks and clothes also having improved from reality) as she is shown in her castle of her home, with Amanda, the beau, and her father all speaking via screen titles in the broken Cockney English of Amanda and her earthy associates. Misfortune continues to plague Amanda and when she least expects it, the phantom "boyfriend" returns for his shirt at long last (or rather, comes in with another shirt to clean).

Mary is wonderful in this charming movie often compared to a Chaplin vehicle but perhaps more of a realistic fairytale with touches of D. W. Griffith and Mack Sennett, often wearing a tight grin that suggests a poor girl hiding bad teeth and also force optimism. The supporting cast has only small parts but then Mary never did really need any help to make a movie an extraordinary experience.

Amanda Afflick, a poor laundress, works in London, where she is taunted by her co-workers and called "Sudsie." She has all sorts of misadventures. She then makes up a story that she is really the daughter of the "Arch-dook," and is hoping to find a man who will love her for who she is. Benjamin Jones, another commoner, shows fondness for her, but Amanda tries to hold out for the well-off Horace Greensmith, who had left his shirt to be laundered. (Note: in an alternate ending, according to contemporaneous reviews, Amanda cries her heart out on the steps of the laundry. This scene is included in the version I watched, but a more satisfying conclusion is added.)

It took me a while to warm up to this film. For one thing, Pickford is almost unrecognizable in her role; I kept wondering if I was watching the right movie. I was almost jolted during the scene where she imagines she is the daughter of royalty. We get a nice close-up of Pickford, and she appears stunningly beautiful, in contrast to her homely appearance for most of the film.

Some of her early predicaments were not too funny; some seemed downright painful to watch. Eventually, the story did grow on me. There are also some good laughs involving a horse she rescues. For me, Pickford's talent is on full display when she realizes that Albert Austin (as Horace Greensmith), who has just invited her out, is actually ashamed to be seen with her. One can see the pain in her face, even as she smiles at the man who is beyond her station in life.

This is not a classic by any means, but a chance to see Pickford playing an interesting character.

A not-entirely-successful, offbeat, change-of-pace for America's alleged Sweetheart, Mary Pickford. Playing a Cockney laundress in an excellently re-created London, she is at her best with the comedy: falling in and out of laundry bins, hiding under baskets, keeping a horse in her apartment, etc. As for the pathos, our heroine is less sympathetic here than usual, mainly because most of the character's problems are brought on by herself and her own unhealthy fantasy life (some of which is depicted in a lengthy, but wonderfully loopy, imaginary flashback). There is no real villain to overcome but herself -- and she fails to manage a victory. The ending (or endings -- three different final scenes were filmed) is abrupt and not terribly convincing. The supporting cast, though competent, is unmemorable -- except, perhaps, for Lavender, the horse, who gets a couple of good bits, including a final sight gag in one of the endings: pulling a chair, and the movie, out from under poor Mary.

Not wanting to be pigeon holed in little girls' roles, Mary Pickford immediately took on the part of a laundress working in a dingy laundry in the January 1920 film "Suds." She's constantly picked on by co-workers because of her fantasies associating with handsome men and members of the upper class. Pickford makes her character, Amanda, look as plain as possible by wearing worn out clothes and hunching her shoulders. Saving an old white work horse from the glue factory by taking it to her apartment opens doors of opportunities for Amanda in potentially realizing her dreams.

The studio was criticized for using the play's original ending and immediately filmed and tacked on an upbeat conclusion that still leaves today's viewers a bit confused.

"Suds," based on the 1904 English play 'Op o' Me Thumb," was revamped into a musical opera in the late 1990's using 1960's songs such as 'Please Mr. Postman' and 'Chapel of Love.'

A Mary Pickford vehicle. I've seen a small handful of her films, and this is probably my favorite of them so far. It's no great work of art, but it's a cute little comedy and Pickford's performance is quite funny. Here she plays a Cockney laundry girl. She dreams of being wooed by a nobleman, and has even told stories to her teasing co-workers about her dream man being real. A subplot about a horse Pickford saves from the glue factory leads her to find true romance. While that description sounds more like typical silent melodrama, it's really lightly handled and goofy, with a lot of slapstick. It never reaches the kind of brilliant humor of the great silent clowns, but it's quite enjoyable.