'A Girls Folly' is a film that de-mists the glamour of filmmaking, breaking the fourth wall by showing scene rehearsals, sets erected, 'star' autographs signed by black attendants, and starlets frightened of a mouse (I'm guessing they were starlets, though I really don't know for sure - the scene felt pretty random otherwise, and them being starlets is about the only way I can see it having any relevance.) A title card informs us many actors didn't even know the plot of the film they were working on!
It shows us that to those on the inside, the day to day life of a movie star could be just as much a drag as anywhere else. The final scene is a clever wink. "Gee, but ain't that romantick!" one man says to another as the couple and mother walk off down the leafy lane. "Romantick, nuthin!" replies the other, "That's moving pictures!"
It is somewhat ironic then that the scenes critiquing the film industry shine brightest, but that's the way it is, and the vehicle taking us from the outside to inside of this hidden world is aptly handed to a young lady from the countryside, who is bored with her uneventful life and desires romance and excitement. In the countryside we spend most of our time outdoors - the natural surroundings no doubt representing the purity that will be lost on her journey as she leaves for the city. A film is being made on her property, and the lead actor, desiring her love, uses his influence to land her a test role. When her test fails however, it is then she learns that all the excitement of her dreams could be just as crushing or mundane as her life in the countryside. We are given a happy ending however in that her failures have taught her to embrace and see the virtue in her homeland. Her folly of the title is most likely referring to her early naivety. It is a growing wise tale.
IMDb bills this 'comedy' which is a bit strange to me. It has some chuckles, but nothing like the endless running gags of a Keaton or Chaplin film. It plays out somewhat more like a Griffith - minus the pretence - which is much to its advantage. If the film suffers a little though its that the characters of Vivian and Kenneth are underdeveloped, and we never really form an emotional attachment to anyone - there is little pathos. The film takes an objective viewpoint, and although the subject matter is interesting, I was largely unmoved. Perhaps early cinema's limitations are responsible, though I must say it felt quite advanced for its time and was easy to watch.
It is not often Hollywood turns such an unflattering spotlight on itself, but this felt like prime material for a remake - in the hands of someone who could magnify both the glamorous expectations and the crushing blow of failure, without losing the objective themes.
I watched the 58 minute version. The print suffers from heavy nitrate deterioration in a few places, but I can't image it will deter the silent film fans who have done enough digging to find themselves in this forgotten corner.
It shows us that to those on the inside, the day to day life of a movie star could be just as much a drag as anywhere else. The final scene is a clever wink. "Gee, but ain't that romantick!" one man says to another as the couple and mother walk off down the leafy lane. "Romantick, nuthin!" replies the other, "That's moving pictures!"
It is somewhat ironic then that the scenes critiquing the film industry shine brightest, but that's the way it is, and the vehicle taking us from the outside to inside of this hidden world is aptly handed to a young lady from the countryside, who is bored with her uneventful life and desires romance and excitement. In the countryside we spend most of our time outdoors - the natural surroundings no doubt representing the purity that will be lost on her journey as she leaves for the city. A film is being made on her property, and the lead actor, desiring her love, uses his influence to land her a test role. When her test fails however, it is then she learns that all the excitement of her dreams could be just as crushing or mundane as her life in the countryside. We are given a happy ending however in that her failures have taught her to embrace and see the virtue in her homeland. Her folly of the title is most likely referring to her early naivety. It is a growing wise tale.
IMDb bills this 'comedy' which is a bit strange to me. It has some chuckles, but nothing like the endless running gags of a Keaton or Chaplin film. It plays out somewhat more like a Griffith - minus the pretence - which is much to its advantage. If the film suffers a little though its that the characters of Vivian and Kenneth are underdeveloped, and we never really form an emotional attachment to anyone - there is little pathos. The film takes an objective viewpoint, and although the subject matter is interesting, I was largely unmoved. Perhaps early cinema's limitations are responsible, though I must say it felt quite advanced for its time and was easy to watch.
It is not often Hollywood turns such an unflattering spotlight on itself, but this felt like prime material for a remake - in the hands of someone who could magnify both the glamorous expectations and the crushing blow of failure, without losing the objective themes.
I watched the 58 minute version. The print suffers from heavy nitrate deterioration in a few places, but I can't image it will deter the silent film fans who have done enough digging to find themselves in this forgotten corner.