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5.3/10
Archivist John
Senior Editor
A definitive 5.3/10 rating for a film that redefined the boundaries of cult cinema. Anybody Here Seen Kelly? remains a cornerstone of transgressive art.
Okay, so 'Anybody Here Seen Kelly?' — it’s an old one, a silent film from 1928. Is it worth tracking down today? Probably not for everyone, unless you've got a soft spot for silent era romance and don’t mind a bit of melodrama. If you’re into movie history or just curious how love stories played out nearly a century ago, you might find some charm here. But if you need snappy dialogue or big explosions, run far, far away. 💨
The premise itself is kinda wild, right? A French girl, Bessie Love playing Mitzi, meets an American soldier, Tom Moore's character, during World War I. Then, after the armistice, she just *decides* to pack up and go to New York to find him. *No social media, no cell phones, just pure gumption.* 😲
There’s this early bit where Mitzi is all wide-eyed, captivated by the soldiers. You can almost see the director yelling, "Bigger eyes, Bessie! More longing!" It's very much of its time, really.
Tom Moore, as the soldier, feels a bit… wooden sometimes. He's got that classic strong, silent type thing going on. You wonder if he even *remembers* Mitzi after the war. His reaction shots are often just him looking vaguely stoic.
The whole New York section is where it gets interesting, or at least, *more* interesting. Mitzi arrives, a stranger in a strange land, clutching her little bag. The shots of her wandering through what's supposed to be bustling city streets have this interesting mix of wide-eyed wonder and genuine confusion.
There's a scene, I think it's in a diner or something, where she's trying to order, and the language barrier is played for laughs. It feels a bit dated, sure, but Bessie Love really sells the frustration with her expressions. Her shoulders slump, and her eyebrows do a lot of work there.
The movie does this thing where it sets up all these near-misses. She’s walking past him on the street, or he’s just around the corner, maybe just a hat brim away. You just wanna shout at the screen, "Look up! He's right there!" It drags just a *touch* in these moments, making you a bit impatient for them to finally connect.
And then, of course, she finds him. He's a cop! Which, honestly, feels like a pretty convenient plot point. How many soldiers from France ended up being beat cops in New York? 🤔 It’s a bit of a stretch, even for a romantic flick.
The reunion itself… it’s a lot of intense staring. And then a big hug. No big speeches, obviously, because it’s silent. But the *emotion* is there, even if it feels a little forced after all that build-up. You kinda wish for a more impactful title card at that moment.
Rosa Gore as the nosy landlady is a hoot. She just pops up in scenes, all disapproving glances and crossed arms. A tiny part, but she steals her few moments, especially when she’s silently judging Mitzi’s unconventional quest.
It’s a simple story, really. *Very* simple. A testament to a certain kind of innocence in filmmaking, maybe. No big twists, just a girl chasing a dream. It feels almost like a fable.
The pacing is what you’d expect from a silent film. Sometimes it feels a little too fast, then a little too slow. There's a sequence where Mitzi is just walking around, looking lost, and it goes on about 10 seconds too long. You start to check your watch. 🕰️
The title itself, "Anybody Here Seen Kelly?" — it's repeated a few times through title cards. It’s almost like a running gag, or a desperate plea. Which, I guess, it is. It sticks in your head after the movie, for sure.
The supporting cast, like Addie McPhail, doesn't get a whole lot to do. They're mostly there to react to Mitzi’s antics or push the plot along in small ways. Their characters are pretty much one-note.
You can feel the film trying to evoke that post-war sentiment, that yearning for normalcy and love. It succeeds mostly, even if the execution is a bit clunky now and then. There’s a sincerity to it that shines through the aged film stock.
Overall, it’s a curious piece. Not a masterpiece, not by a long shot, but it has this *earnestness*. It’s trying its best to tell a sweet, if slightly improbable, love story. It feels like a postcard from a different time.
It made me think about other films of the era, like Fires of Youth, which also had that straightforward, almost naive approach to dramatic storytelling. There's a simplicity to it all, a directness you don't always see today. It’s worth a look if you’re ever in the mood for some old-school heart. ❤️
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