Summary
In a shimmering tableau of Jazz Age frivolity and societal artifice, *Upstairs and Down* unfurls the captivating caprices of Alice Chesterton, a designated ‘Baby Vamp’ by the very social stratum she so effortlessly disarms. Betrothed to the stolidly conventional Tom Carey, Alice, a creature of restless charm, finds her true métier in orchestrating a symphony of flirtations amidst the gilded idleness of an Ives' Long Island house party. Her gaze, however, settles upon Terence O’Keefe, an Irish polo player whose ostensible mission to procure equine assets for the British war effort masks a decidedly more cavalier spirit. Their clandestine rendezvous in the city, culminating in a scandalous appearance at the notorious ‘Midnight Frolic,’ ignites a societal brushfire. This indiscretion compels Mrs. Ives to summon Alice’s more demure sister, Betty, as a moral anchor. Betty, with a surprising knack for dramatic intervention, orchestrates an automobile mishap, allowing Terence to play the hero and revive her with a kiss – a cinematic contrivance that paradoxically sparks genuine affection. Their burgeoning romance, however, is swiftly imperiled by Alice’s venomous jealousy; she craftily fabricates a tale of seduction and abandonment, asserting Terence had ‘ruined’ her. Betty, initially distraught, confronts Terence, who, with shrewd resolve, compels Alice to confess her malicious deceit. Meanwhile, Tom Carey, emboldened by Terence’s surprisingly sagacious counsel, sheds his docile demeanor, embracing a 'caveman' assertiveness that ultimately overwhelms and reclaims his wayward fiancée. The narrative culminates with a wry, observational flourish: the household staff, having meticulously absorbed the amorous machinations and social posturing of their upstairs counterparts, begin to mimic their masters’ flirtatious rituals, underscoring the pervasive, almost infectious, nature of these romantic games across the social divide.
Synopsis
Alice Chesterton (Olive Thomas) is described as a "Baby Vamp" by the social set and engaged to boring Tom Carey. She flirts with many of the male guests idling at the Ives' Long Island house party, then encourages Terence O'Keefe, a playboy polo player from Ireland in New York to purchase horses for the British army, to rendezvous with her in the city, they are seen together at the "Midnight Frolic." Because of this, Mrs. Ives convinces Alice's newly-arrived sister Betty to look after Alice. Betty arranges for Terence to find her in an auto wreck where he revives her with a kiss. Genuinely in love with each other, they plan to marry, until the jealous Alice tells Betty that Terence "ruined" her. When Betty accuses Terence, he makes Alice confess her to her lies. Tom, encouraged by Terence's advice, overwhelms Alice with his "caveman" tactics. At the end, the servants, who have observed the upstairs activities, emulate their masters' flirting mannerisms.
Review Excerpt
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A Whirlwind of Whispers and Wiles: Revisiting the Enduring Charm of Upstairs and Down
In the annals of early American cinema, where the silent screen often served as both a mirror and a magnifying glass for the burgeoning social shifts of the nascent 20th century, Upstairs and Down emerges as a particularly piquant example. Released in 1919, on the cusp of the Roaring Twenties, this film is far more than a mere romantic comedy; it is a shrewd, often satirical, observation of c..."
