City Butterfly: Anna May Wong is the only reason you need

If you are looking for a reason to sit through an old silent movie tonight, Anna May Wong is pretty much the only reason you need.

She has this way of looking at the camera that makes you feel like she is the only person in the room who actually knows what is going on.

People who love moody, slow-burn dramas will probably dig this one. If you can't stand grainy black and white footage where nobody talks, you should probably skip it. 🎞️

The story follows Mah, a dancer working the French Riviera. It looks gorgeous, even if the film stock is a bit beat up in the version I watched.

She does this dance at the start that is just... wow. Her hands move like they have a mind of their own.

Then something goes wrong during the act. It is a deadly turn, and suddenly Mah is on the run.

She ends up with this painter guy played by Fred Louis Lerch. He has one of those faces that looks perpetually worried about his taxes.

I like how the movie doesn't rush their meeting. They just kind of exist in the same space for a while.

The lighting in the painter's studio is actually really cool. There are these long shadows that make the whole place feel like a trap and a sanctuary at the same time.

There is a moment where she is just sitting by a window, and the light hits her eyes in a way that feels totally intentional but also very raw.

I noticed that the extras in the club scenes look a bit stiff. Like they were told to 'act rich' and they just decided to stand very still and hold glasses of fake champagne.

It reminds me a little bit of The Whirlpool in how it handles the 'woman in trouble' trope. But this feels more personal because of how the camera stays on Mah’s face.

S.Z. Sakall shows up too! He is so young here, it took me a second to realize it was him.

The pacing gets a bit clunky in the middle. There is a lot of walking around and looking at paintings that doesn't really go anywhere.

I found myself checking my phone once or twice during the long stretches of intertitles. Some of the dialogue cards feel like they were written by someone who was paid by the word.

But then Anna May Wong does something small, like adjusting her shawl, and you’re hooked again. She has this magnetic energy that is hard to explain.

The villain, Gaston Jacquet, is a bit of a caricature. He sneers a lot and wears his hat at an angle that screams 'I am the bad guy.'

I wish the 'deadly turn' part of the plot had more weight to it. It kind of feels like a plot device to get her into the studio rather than a real tragedy.

It is definitely more interesting than Irrende Seelen, which felt way more stiff to me.

There is this one scene where she is looking at a portrait he did of her. The look on her face is so complicated—it’s like she’s seeing a version of herself she doesn't recognize.

The movie doesn't try to be a big political statement or anything. It’s just a story about a girl trying to survive a bad night.

I liked the ending, even if it felt a little bit abrupt. It didn't feel the need to wrap everything up in a neat little bow with a ribbon.

Sometimes the film gets a bit blurry during the fast movements. I think that is just the age of the print, though.

It is way better than some of the other stuff from that year, like The Phantom Honeymoon. That one was a chore to get through.

If you like seeing how fashion looked in the late 20s, the costumes here are incredible. Mah’s outfits are basically characters on their own.

I kept thinking about how much work went into those headpieces. They must have been heavy as lead.

The painter’s house feels very lived-in. There are messy brushes and half-finished canvases everywhere.

It’s a nice contrast to the shiny, fake-feeling world of the Riviera clubs. 🌊

I did notice a weird jump cut during a scene in the garden. It looked like a few frames were missing, or maybe the editor just had a hiccup.

It doesn't ruin the movie, but it makes it feel very human and old. I kind of like those mistakes.

Anyway, if you have 90 minutes and want to see a star at the top of her game, give this a look. Just don't expect a fast-paced thriller.

It’s more of a mood piece. A very pretty, slightly sad mood piece.

I'm glad I watched it, even if the middle part dragged a bit. Anna May Wong is everything here. 🦋