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Cult Review
Senior Film Conservator
So, Ambitious People. Is it worth tracking down today? Well, that really depends on what kind of movie watcher you are. If you’re one of those folks who gets a kick out of really old films, the kind that feel like a snapshot of a different time, you might find some quiet charm here. But if you're someone who needs fast pacing, big surprises, or really polished productions, then honestly, you can probably skip this one. It’s definitely not for everyone. 🤷♀️
The whole thing really boils down to this: Herman Timberg, playing a Broadway director, is trying to get his musical off the ground. He’s got his eye on Barbara Blair for the star role. She seems like she’s got the voice, the look, the whole package.
But then there's the 'angel' — the guy with all the money. And, of course, *he* wants his own sweetheart in the spotlight. It’s a classic setup, really, a bit of a tug-of-war between art and, well, personal favors.
Timberg, as the director, has this wonderful, almost frenetic energy. You see him pacing during rehearsals, hands on his hips, totally absorbed. He’s clearly got a vision, and he’s trying to make it happen, even with all the politics swirling around.
Barbara Blair, when she gets a chance to sing, actually shines. There's a scene where she's just running through a number, and you can almost feel her presence. Her voice, even through whatever recording tech they had back then, just cuts through. You can see why Timberg is so convinced.
Then we get the angel’s sweetheart. Bless her heart, she tries. She’s enthusiastic, yes. But you watch her, and it’s like watching someone trying to fit into shoes that are just a little too big. The movements are stiff, the smiles a bit forced. It’s endearing in a way, but also makes you cringe just a tad. 😬
The tension during the tryouts is actually pretty good. Timberg tries to be diplomatic, but you can practically see the steam coming out of his ears when the angel’s girl misses a cue. There's this one moment where he just sighs, a tiny, almost imperceptible thing, but it says *everything*.
Wilbur Mack, who plays a sort of a weary producer or something, is great in the background. He has these quick glances, a roll of the eyes when the angel starts boasting about his sweetheart’s 'talent.' It’s a small detail, but it sells the whole cynical vibe of showbiz. He’s seen it all before.
The film’s pacing is, well, it’s from another era. Some scenes just kind of sit there. You get a lot of shots of people reacting, or just standing around while someone else talks. It’s not exactly thrilling, but it lets you soak in the atmosphere a bit.
There’s a part, I recall, where a stagehand actually walks through the very edge of the frame during a rehearsal. Just a flash. Totally unintentional, I'm sure. But it adds this weird, human touch to the whole thing. A little peek behind the magic, before they had all the tight controls.
And the dialogue, it’s pretty straightforward, no big flowery speeches. It’s all about the immediate problem: who gets the part. 'She's a star!' versus 'But *my* girl is a natural!' The arguments are simple but effective, driving the very thin plot forward.
One thing that sticks out is how much this film relies on facial expressions and body language to tell the story. Since everything is a bit slower, you really get to focus on what the actors are *doing* with their faces. Timberg's frowns, Blair's hopeful looks, the angel's smug smiles.
It’s a movie that takes its simple premise pretty seriously, which is kind of charming. It doesn't try to be anything more than what it is: a backstage drama with a straightforward conflict. No big twists, no shocking revelations, just a director fighting for his artistic vision against money.
In the end, it’s an interesting historical piece. Not a must-see for everyone, but if you’re into the origins of Hollywood and how stories were told back then, it’s worth a look. It offers a glimpse into a time when the drama was often as simple as 'who gets the part?' And sometimes, that's enough. ✨
IMDb 5.3
1921
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