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7.3/10
Senior Film Conservator
A definitive 7.3/10 rating for a film that redefined the boundaries of cult cinema. Modern Love remains a cornerstone of transgressive art.
"Modern Love" (1929) is a little slice of silent era silliness. If you're into old-school screwball antics and don't mind a lack of sound, you might actually get a kick out of this one. Folks who need snappy dialogue or modern pacing will probably be baffled, maybe even bored. 🎬
The premise, a wife (Kathryn Crawford as Mary) hiding her marriage to keep her job, feels pretty standard for the era. Her boss, Mr. Crosby (Edward Martindel), has this rule about single employees, which just sets everything up for trouble.
Then Gaston Duval (Jean Hersholt) shows up from Paris, a big deal client. For some reason, Mr. Crosby thinks Mary's house is the perfect spot for a fancy dinner party. It’s an oddly specific choice for a boss, isn't it?
Mary's husband, Stanley (Charley Chase), finds out Gaston wants to take her to Paris. Suddenly, it’s not just a work trip, it's a *crisis*. You can almost feel his immediate panic.
So, Stanley decides to serve at the party, secretly, to keep an eye on things. His disguise is… well, it’s a uniform. Not exactly a master of disguise, bless his heart.
The humor largely comes from Stanley’s clumsy attempts to be a suave waiter. He spills stuff, he bumps into people, his facial expressions are just priceless through it all. You can really feel him trying not to get caught.
One moment that sticks with you is Stanley trying to pour drinks with this really forced, awkward elegance. He's trying so hard to look like he belongs, but he's clearly out of his depth. 🍷
Jean Hersholt as Gaston mostly just looks amused or slightly confused by the chaos. He’s not a villain, just a catalyst for Stanley's antics, which is kind of refreshing.
The whole 'Paris for study' thing is a classic misunderstanding trigger. It’s not really about the study, it’s about the idea of Mary going off with another man. The film plays into that jealousy beautifully.
Charley Chase really carries the film with his physical comedy. His reactions are so big, but they feel earned for a silent picture. He’s got this knack for making even the simplest pratfall funny.
This movie doesn't overstay its welcome. It's short, sweet, and to the point. No deep messages here, just some light laughs and a peek into what passed for romantic comedy almost a century ago.
It’s a quaint little time capsule. Not a masterpiece, but definitely not a chore if you're in the mood for some old-fashioned, silent-era charm. It’s got a certain *je ne sais quoi* about it, even if that quoi is just silly.
IMDb 6.4
1928
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