Boob, The/Why Be Good? (Blu-ray Review)
- Review Date: Jan 16, 2025
- Format: Blu-ray Disc
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Director
William A. Wellman/William A. SeiterRelease Date(s)
1926/1929 (March 26, 2024)Studio(s)
MGM/First National Pictures/Warner Bros. (Warner Archive Collection)- Film/Program Grade: See Below
- Video Grade: See Below
- Audio Grade: See Below
- Extras Grade: F
- Overall Grade: C
Review
Set during the prohibition era, The Boob (1926) tells the story of Peter (George K. Arthur), a young man with his heart set on the beautiful Amy (Gertrude Olmstead), who has unfortunately fallen for big time “city slicker” Harry (Tony D’Algy). Determined to win Amy’s heart, he vows to do anything to win her back. His close friends Cactus Jim (Charley Murray) and Ham Bunn (played by a young unknown African American actor) hypothesize that Harry is a bootlegger, which turns out to be true when Peter takes it upon himself to raid a secret nightclub called “The Booklovers,” where Harry turns up with Amy, as does undercover police agent Jane (Joan Crawford).
The Boob was directed by William A. Wellman, which may be a familiar name to fans of classic Hollywood cinema. He directed many films from different genres throughout his career, including classics like Wings, The Ox-Bow Incident, Nothing Sacred, and the 1937 version of A Star Is Born. The Boob is also notable for featuring a young Joan Crawford, who’s on record as saying that she didn’t care much for the film because it wasn’t the type of film she wanted to make at the time. Things would change for her soon enough.
There’s some real charm to be had from The Boob as it’s a light adventure comedy with some nice romance. Peter is a sweet character and deserves far better than Amy, who’s sweet herself, but in the end, both characters needed to learn lessons about themselves, and they don’t. As the story plays out, you get the idea that Peter might be going through a change of heart and seeing past Amy, going instead for another, more appreciative female character. Sadly, that’s not to be, and he and Amy just wind up in each other’s arms anyway. For a more recent frame of reference, see the disappointing ending to Pretty in Pink and you’ll know exactly what I’m talking about.
On the other hand, there’s some fun to be had here with silly slapstick comedy and some clever camera tricks, including slowing down the film to portray a drunk dog, and a very surrealistic dream sequence. The film’s heart is in the right place, but it’s bogged down with racist stereotyping, treating severe alcoholism as nothing more than a joke, and having a very unsatisfactory finale. But if you can look past all of that, you’ll get some pleasure out of it.
Why Be Good? is a 1927 romantic comedy melodrama about Pert (Colleen Moore), a fun-loving young woman who’s constantly being lectured by her overbearing father about being a “good girl,” while her supportive and loving mother knows too well that she is. During a late night out dancing, she meets the inquisitive Winthrop Peabody Jr. (Neil Hamilton), a more straight-laced and well-to-do young man whom she falls in love with. Unfortunately, Peabody’s overbearing father is also warning him about getting mixed up with the wrong kind of woman. Eager to prove him wrong, Peabody continues courting Pert, but their troubles are just beginning.
Sadly, many of Colleen Moore’s films are currently lost, and Why Be Good? was one of those films for some time. Thankfully, it was re-discovered in a film archive and restored in 2014. It features a Vitaphone soundtrack, which was a record played in sync with the film when it was shown to audiences, complete with music, singing, and occasional sound effects. This soundtrack also survives, and we have what’s essentially a hybrid of a silent film complete with inter-title cards for dialogue, but also synced sound, which is likely more accurate than it was in its day.
Many today will see Why Be Good? as a forerunner to modern feminist thinking, but unfortunately it does send some mixed messages in that regard. Nevertheless, Moore’s performance and her being moved to protest about how men want women to be more than one thing, and when they are they get upset about it, still rings very true. On the other hand, the running time of the film is extended longer than it perhaps should with extended dance sequences and long, drawn out conversations between Pert and Peabody with their respective parents. Yet it’s all worth it as Moore lights up the screen and you find yourself caught up in her dilemmas, wanting her to come out on top.
Directed by William A. Seiter, who helmed a number of silent and synchronized sound films, including several with Colleen Moore, Why Be Good? is a romantic fable about the good girl seemingly from the wrong side of the tracks and the fellow who sees through that facade when no one else does. Most of the comedy is relegated to alcohol-related humor (a staple of this era), but it’s a sweet little film, all said and done.
The Warner Archive Collection presents both The Boob and Why Be Good? on a single, Region A-locked, dual-layered BD-50 Blu-ray disc as a “Silent Classics Double Feature” package.
The Boob was shot by director of photography William H. Daniels on 35mm black and white film, finished photochemically, and presented in the aspect ratio of 1.33:1. Purportedly all that survives of the film are print elements, but it’s still a very satisfactory presentation. Scratches and speckling have been cleaned up, and flicker is kept to a minimum. Bitrates sit between an ideal 35 to 40Mbps for the majority of the film, with solid levels of grain and excellent contrast, allowing for deep blacks and natural gradations. It lacks the obvious depth and sharpness of a camera negative, but this is still a fine presentation regardless.
Why Be Good? was shot by director of photography Sidney Hickox on 35mm black and white film, finished photochemically, and presented in the aspect ratio of 1.33:1. Like the previous film, prints are all that survives, and this presentation comes from a 2014 restoration completed by Warner Bros. and The Vitaphone Project. It’s a rougher-looking film than its predecessor, and definitely appears a little too cleaned up comparatively as grain is mostly absent. A bitrate of 35 to 40Mbps is maintained during the main footage, lowering during the inter-titles, and the opening titles appear to have been digitally re-created. Blacks aren’t always ideal, but being as this is likely sourced from various surviving elements, you have to cut it some slack. Emulsion clouding looks to have been cleaned up as much as possible, as well, but some scratches and speckling remain. A single black frame is visible, but the image is mostly stable and satisfactory throughout.
Audio is included for both films in English 2.0 DTS-HD Master Audio. The Boob features a 2003 piano score written by Arthur Barrow, while Why Be Good? features the original Vitaphone phonograph record soundtrack, complete with score and sound effects. Both tracks offer excellent clarity, supporting their respective soundtrack elements dutifully. The Vitaphone recording has some mild hiss and crackle to it, but has excellent fidelity for what it is.
THE BOOB (FILM/VIDEO/AUDIO): C/B/A+
WHY BE GOOD? (FILM/VIDEO/AUDIO): B-/B-/B
Unfortunately, no extras have been included. A short featurette on these films and their restorations would have sufficed. Even Ben Mankiewicz’s TCM intros would have made for fine extras, but alas, it’s a bare bones experience.
Fans of silent cinema that haven’t seen these little nuggets would do well to seek them out. They’re not masterpieces in league with films like Greed or Metropolis say, but they’re entertaining. As such, they come very much recommended.
- Tim Salmons
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