A Lady of Chance

Lady of Chance, A (1928)

** 1/2 (out of 4)

MGM silent film about a con artist known as "Angel Face" (Norma Shearer) who lures rich, married men to her apartment so that she can blackmail them. After a con goes wrong she flees from the police and meets her next target (Johnny Mack Brown) but after marrying him she lears that he's actually poor, which doesn't sit well with her partners who want cash. This is a pretty typical story of a bad girl falling in love and then trying to go straight. What sets the film apart is the performance from Shearer who is very good as both the good girl and the vamp. There are several pre-code elements ranging from her lifting her skirt up to show off her legs to some other heated moments, which makes the film somewhat better. The biggest flaw is that we've seen this type of film countless times even before this one was released.

Norma Shearer's final silent is an amiable lightweight romantic comedy in which she plays a con woman who marries for money only to discover that her new husband lives in a shack with his mother and kid brother. Lowell Sherman and Gwen Lee provide fun support as a rival pair of grifters who try to horn in on Shearer's mark.

In a "ritzy" hotel, seductive Norma Shearer (as Dolly "Angel Face" Morgan) uses her job as telephone operator to connect with wealthy gentlemen. Recently paroled, Ms. Shearer shows off her thighs under torn stockings while sharing a hard luck story, then lures the men to her apartment. There is, of course, a high price to be paid; in case on screen, Shearer makes out with a tidy $10,000. The plot thickens when Shearer's crooked cohorts Lowell Sherman (as Bradley) and Gwen Lee (as Gwen) want a piece of her solo action. Shearer successfully scams the pair, but they turn up to cause more trouble when she sets her sights on handsome cement tycoon Johnny Mack Brown (as Steve Crandall), who has a surprise of his own to reveal...

This was Shearer's last "silent" film; though MGM seemed reluctant to move their stars into talking pictures, several of them became even bigger stars, so the delay worked out very well for those. Curiously, this film has been shown without its "Synchronized Musical Score and Sound Effects" (SSE) on "Turner Classic Movies" (TCM). TCM premiered "A Lady of Chance" with an "all-new" music score in 2001, but had host Robert Osborne discussing the original soundtrack before a 2012 "Silent Sunday" airing, apparently unaware TCM was not showing the original version. Late 1920s "silent films" (which were never "silent") were typically released with SSE. Hopefully, the original soundtracks will be restored; the present trend needs reversing.

***** A Lady of Chance (12/1/28) Robert Z. Leonard ~ Norma Shearer, Lowell Sherman, Johnny Mack Brown, Gwen Lee

This is Norma Shearer's last silent. She plays "Dolly", a con artist who, predictably, falls for her victim (Johnny Mack Brown). It is a hackneyed plot, since done better by more than one film maker. The joy here, though, is simply a treat for the eyes. (There are those who claim she was't beautiful - They've got to be kidding) and there are those who claim she wasn't even a good actress. I'm afraid one could not use this film to prove otherwise. There is nothing remotely subtle about her mugging her way through the part. She learned to be a passable actress with time and the advent of sound, though. Johnny Mack Brown is more than adequate in the part of her "mark". He was a very good actor, and is rarely given his due. Lowell Sherman, as her nemesis, (a fop, bent on blackmail over Dolly's past) is a delight to watch, as he preens, leers and struts his way through the role. He is accompanied in his nefarious task by Gwen Lee, a capable character actress who never really got a shot at lead roles. Her height is in stark contrast to Shearer's small stature. This film is well worth watching, as the photography and processing produced a crisp, visual delight.

Story of female con artist who falls for her scam victim is just a backdrop for Shearer, who photographs beautifully and shows a remarkable range without uttering a word (check out the "wedding veil" scene, where she moves from mocking the idea of marriage to momentarily embracing the idea, all within a few seconds of subtly-evolving facial gestures). Entertaining, even if plot takes a couple of slightly unbelievable twists, with nice balance of comedy and drama (again, Shearer's range of emotion in the last scenes of the film are impressive and engaging). Clearly shows why Norma Shearer was a major MGM star even before the advent of sound.