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Cult Review
Senior Film Conservator
In the sprawling annals of silent cinema, certain gems gleam with an unparalleled, if sometimes overlooked, brilliance. Hats, a whimsical odyssey from 1921, stands as a testament to the era's boundless creativity and its penchant for the delightfully absurd. It's a film that, despite its relative obscurity today, encapsulates the very spirit of early cinematic adventure and slapstick comedy, delivering a narrative so outlandish it borders on the surreal, yet remains utterly captivating.
The narrative commences with a scene of delightful domestic discord. Young Sid (portrayed with an endearing blend of youthful exuberance and hapless charm by Sidney Smith), fresh from a night of boisterous revelry, makes his grand entrance atop a hansom cab, surrounded by an equally spirited coterie of companions. The hour is ungodly, the noise considerable, and the reaction from his stern, patrician father (Harry Cornell) predictably frosty. This unceremonious return culminates in an outright refusal of admittance; the paternal threshold becomes an impenetrable barrier, casting Sid out into the nascent dawn. This act of familial excommunication, rather than chastening the young man, ignites a spark of defiant wanderlust. Donning a rather dashing linen duster, Sid resolves to abandon his familial home and embark upon an uncertain future, his destination: the bustling, siren-songed waterfront, gateway to the world beyond. It’s a classic setup for the era, a rebellion against rigid societal norms, but infused with a unique, almost dreamlike quality that distinguishes it from more straightforward melodramas of the time. The immediate shift from domestic drama to impending grand adventure is handled with a swiftness that is characteristic of silent film storytelling, relying on visual cues and the audience's understanding of archetypes to propel the plot forward with delightful momentum.
At the docks, amidst the cacophony of creaking timbers and bustling stevedores, Sid secures passage aboard a magnificent ocean liner. It is here, within the opulent confines of the vessel, that fate intervenes, introducing him to a young woman (Duane Thompson), whose own motivations for travel remain somewhat enigmatic but whose presence immediately adds a layer of romantic intrigue to Sid’s burgeoning adventure. Their initial interactions are deftly handled through the expressive pantomime of silent film, hinting at a budding connection amidst the grandeur of their surroundings. However, the serene beauty of the open sea soon gives way to the less glamorous realities of maritime travel: a prolonged and comically depicted bout of seasickness afflicts many of the passengers, including our intrepid duo. The film leverages this common affliction for genuine laughs, showcasing the physical comedy that was a cornerstone of the era. Just as the passengers begin to recover their equilibrium, the monotony of the voyage is shattered by a thrilling spectacle: the sighting of a majestic whale, an event that stirs widespread excitement and momentary reprieve from their gastric distress. This fleeting moment of natural wonder, however, is but the calm before the storm.
The cinematic ocean, ever a fickle mistress, soon unleashes its fury. A ferocious storm descends upon the liner, transforming the grand vessel into a toy at the mercy of tempestuous
IMDb 5.2
1928
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