Always Faithful (1929) review: A sweaty, nervous office drama

If you have twenty minutes and enjoy watching people look *incredibly* guilty in black and white, this is for you. People who want a big, sweeping romance with a happy ending will probably hate it. 🎬

It is a very short movie. The plot are just a mine operator’s wife and his secretary trying to hide that they are totally in love.

William B. Davidson plays the husband. He looks like every boss from a movie made before 1940—just a big guy in a vest who is way too busy for his own good.

Blanche Sweet is the wife, and she is easily the best part of the whole thing. She has these eyes that look like she is constantly checking for an exit sign in the room.

The whole thing takes place mostly in one office. It feels a bit like a stage play where the actors are trying really hard not to trip over the heavy furniture.

There is this one moment where the secretary, played by John Litel, stares at her for way too long. It is one of those 'how does the husband not see this?' moments that becomes almost funny if you think about it.

The tension isn't exactly high-octane. It is more like a slow leak in a tire that you know is going to go flat eventually.

I kept thinking about A Lost Lady while watching this. They both have that specific 'unfaithful wife' vibe that was everywhere back then.

The lighting in the office is a bit flat. Sometimes the shadows on the wall are more interesting than what the characters are actually saying to each other.

One shadow in the second scene looks like a giant bird. I think it was just a lamp or maybe a boom mic, but it really distracted me for a good minute.

It is definitely better than Heebee Jeebees, which is just a weird trip. This one at least has a story you can follow without getting a headache.

The ending feels sort of abrupt. It is like they just stopped filming because they ran out of film or someone knocked on the studio door and told them to wrap it up.

John Litel has this very specific guilty guy posture. His shoulders are always hunched up like he expects someone to throw a book at his head.

I have seen this kind of thing before in Is Divorce a Failure? but this is much shorter. It gets to the point a lot faster, which I appreciate.

The mine operator plot are barely there. It is just an excuse for the husband to be 'busy' while the affair happens right under his nose.

I noticed the phone on the desk is one of those old candle-stick ones. I wonder if it actually worked or if it was just a wooden prop they found in the back.

The way they stand so close to each other in the office is almost uncomfortable. You can practically feel the heat coming off the studio lights in every shot.

It reminds me of The Humdinger in a weird way. Just that specific 1920s energy where everyone is always slightly overdressed for the situation.

The music—if you can call it that—is just sort of there in the background. It doesn't really add much to the mood, it just fills the silence.

I liked how Blanche Sweet handled her gloves. She takes them off so slowly it feels like a whole plot point on its own, which is a nice touch.

There is a scene where the husband shuffles his papers and it sounds like he is fighting a deck of cards. The foley work back then was really something else.

If you enjoy The Masks of the Devil, you might find this interesting. It’s a lot smaller, but the internal conflict is basically the same.

The secretary's tie is also slightly crooked for half the movie. It drove me crazy wanting to reach into the screen and fix it for him.

It’s not a masterpiece, but it’s a neat little slice of history. Worth a watch if you like old Vitaphone shorts and messy office drama that doesn't overstay its welcome. ☕

Actually, I think the secretary might have been wearing too much makeup. He looks a bit like a ghost in some of the close-ups.

Overall, it is just okay. It’s better than That's My Wife if you want something with a bit more bite to it.

The final shot lingers on a door for about five seconds too long. You keep waiting for someone to walk through it, but they never do.