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Cult Review
Senior Film Conservator
Alright, so 'Love, Live and Laugh' from way back in 1929. Is it worth tracking down today? Well, that depends. If you're someone who genuinely *loves* digging into the early days of talkies, or if you just have a soft spot for that particular kind of earnest, sometimes slightly clunky, old Hollywood feel, then yeah, give it a go. But if you're looking for fast-paced action or a perfectly polished modern narrative, you'll probably find it a bit of a slog. It’s definitely not for everyone, maybe even a bit of a niche thing, but there's a certain charm to it.
It’s a film that definitely feels its age, in a good way sometimes. You can tell they're still figuring out this 'sound' thing. There are moments where the camera just sort of sits there, letting the actors talk, almost like a stage play. Then other times, it’s all quiet, letting the music swell a bit, reminding you of the silent era that just ended.
George Jessel, he's the anchor here. You get this sense of a performer, a real *vaudeville* guy, trying to convey genuine emotion without being too over-the-top, even for the time. There's a particular scene where his character is just humming to himself, maybe polishing a shoe or something mundane. It’s a very small thing, but it kinda sticks with you. Like, it felt real, you know?
And the kids! Oh my goodness, the kids. You had the Watson brothers — Billy, Harry, Garry, Delmar, Coy. Plus Jackie Searl and Mickey Martin. It felt like half the cast was under ten years old. They pop up everywhere, bringing this very specific kind of energy. Sometimes it’s endearing, sometimes you just wonder how many takes they needed. One shot, I remember, just lingers on one of them, maybe Delmar, looking utterly bewildered by something off-screen. It’s almost funny how long it holds.
The whole thing has this very hopeful, yet a little melancholy, vibe. It’s like everyone's just trying to *do their best* with what they've got. The sets feel lived-in, not overly grand. Like a small apartment, or a bustling, but not too busy, street corner. It's got that specific kind of warmth that comes from films trying to be big without a huge budget, if that makes sense.
There's a musical number or two, and they’re definitely of their time. Not super catchy, perhaps, but they serve the story's emotional beats. You can almost feel the movie trying to convince you this moment matters, trying to lift your spirits right along with the characters. It's quite sweet, really.
One odd thing was the way the camera tracks a conversation between Marcia Manon and John Loder. For a minute, it feels like it's struggling to keep up, or maybe it was just a choice. It makes the whole interaction feel a little more raw, less polished. I kinda liked it, actually. It's those little quirks that remind you you're watching history unfold.
It's not a film that hits you with big twists or dramatic revelations. Instead, it's a slow burn, a gradual unfolding of everyday life stuff. You get a sense of characters just *living*. Trying to make ends meet, finding love, having small victories and bigger disappointments. It's very human, in its own way.
The ending, it’s not really a bang, more of a quiet, hopeful fade. It leaves you with this feeling that life just goes on, you know? Good times, bad times, you keep going. That’s the core of it, I think. It doesn't overstay its welcome, but it certainly takes its time getting there.
Overall, 'Love, Live and Laugh' is a curious watch. It's a snapshot of a moment in cinema, a genuine attempt at telling a heartfelt story when everything was still so new. If you like your movies a little rough around the edges, a little earnest, and a lot old-fashioned, this one might just charm you.
IMDb 5.4
1927
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