Okay, so if you’re the kind of person who finds comfort in the dramatic, sweeping gestures of old silent films, *Come Across* might just be worth your time today. It’s a very particular kind of melodrama, all about a high society girl finding herself in a shady New York cabaret. If you’re looking for a brisk, modern story, or anything with actual sound, you'll probably want to give this one a wide berth. But for those who appreciate a good, old-fashioned tangle of love and deceit, it has its moments. 🎭
Lina Basquette plays Mary, our society girl. Her decision to just *up and become* a cabaret dancer feels a bit sudden, even for a whim. One minute she’s probably at some fancy ball, the next she's doing these energetic, almost frantic little dance numbers. You can practically see the intertitle flashing, “_A thirst for adventure!_” She throws herself into it, though.
The nightclub itself is just what you'd picture from a silent movie trying to portray something a little illicit. Lots of dark corners and flickering lights. The extras in the background often seem a touch unsure, like they’re waiting for their cue to react dramatically. It’s got a certain charm, this idealized version of a dangerous place.
Then there’s Harry, played by Reed Howes. He’s the club guy who falls for Mary, and he’s got this wonderfully earnest, almost naive look about him. You sort of wonder how he ever got mixed up with Gustav von Seyffertitz’s crooked club owner in the first place. Seyffertitz, by the way, *really* chews on his cigar. It’s a subtle thing, but it tells you everything about his character without a single word.
Mary agreeing to help with the millionaire bunco scheme? It’s less about her character making a real choice and more about the plot needing to get moving. But her idea to bring in her old friend, George (Crauford Kent), to pose as the rich victim, that’s where the film finally sparks. You know, you just *know* this plan is going to go sideways because George has this look in his eye. It’s a look that screams, “I will betray everyone.” 👀
There’s this one scene where Mary is trying to pass a message to Harry. She just barely glances his way, a tiny nod, almost imperceptible. But you catch it. It’s one of those blink-and-you-miss-it details that makes you lean in. The film has these little pockets of careful acting amidst the broader melodrama.
The pacing can be a bit… languid. A reaction shot of someone’s worried face might linger a good five seconds longer than you’d expect. It builds a kind of tension sometimes, or other times, it just feels like the film is taking a deep breath. You really have to settle into the rhythm of silent cinema here. It’s not
The Cocoanuts with its fast-paced antics, that’s for sure.
When George's jealousy finally boils over and he starts his double-cross, it’s not exactly a shock. The film telegraphs it pretty clearly. But the way everything unravels, with misunderstandings piling up and everyone getting caught in their own web, that’s where the story really gets its hooks in. You feel the characters spiraling, trapped by their own bad decisions and even worse plans.
I kept thinking about Mary’s 'high society' background. Did she just ditch it entirely? The movie doesn't really dwell on it. Once she's in that cabaret dress, her past is pretty much forgotten. It’s all about the immediate drama, the immediate mess.
*Come Across* is an interesting look at a bygone era of filmmaking. It’s not perfect, some parts drag, and the logic can be a bit thin. But it’s got heart, even if it’s a melodramatic one. If you’re a fan of silent-era drama, it’s a solid entry. If not, well, there are plenty of other fish in the cinematic sea. 🤷♀️
