
A plummet in family fortunes forces Bill Billings (Kenneth Harlan) to become a race-car driver. His wife Pamela (Marie Prevost) has been carrying on a bold flirtation with a wily philanderer, but he tires of her and turns his attention to a younger girl.


The camera’s iris opens on Marie Prevost’s kohl-ringed eyes, two onyx exclamation points that dare the Hays-less era to blink first. From that first close-up, The Married Flapper announces itself as more than a curio of speakeasy cinema; it is a nitrate fever dream where combustion engines replace chaperones and sexu...

publicity


Comparing the cinematic DNA and archive impact of two defining moments in cult history.

Stuart Paton

Stuart Paton
Community
Log in to comment.
" The camera’s iris opens on Marie Prevost’s kohl-ringed eyes, two onyx exclamation points that dare the Hays-less era to blink first. From that first close-up, The Married Flapper announces itself as more than a curio of speakeasy cinema; it is a nitrate fever dream where combustion engines replace chaperones and sexual politics wear fringe that whips like a cat-o’-nine. Kenneth Harlan’s Bill Billings—né billboard-ready blue-blood—begins the picture swaddled in velvet smoking jackets, only to b..."
Martha Mattox
Doris Schroeder, Bernard H. Hyman
United States


Deep dive into the cult classic
Discover similar cinematic experiences
A Directorial Spotlight on Stuart Paton