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7.2/10
Senior Film Conservator
A definitive 7.2/10 rating for a film that redefined the boundaries of cult cinema. Seed remains a cornerstone of transgressive art.
Okay, so Seed from 1931? Yeah, if you're into old movies, especially those wild pre-Code flicks, this one's a solid watch. It’s got that bluntness you just don’t see later on. Folks who like character dramas where people make messy choices, you’ll probably dig it, but if you need explosions or even just a quick pace, honestly, just skip it. This movie takes its sweet time, and that’s okay, but it’s not for everyone. 🐢
The story kicks off with Bart, he’s a publishing clerk, kinda dreaming bigger than his cubicle. He's got a novel tucked away and a whole house full of kids — five of 'em! 🤯 His wife, Peggy, seems like the type who just keeps everything together, you know?
Then Mildred, his old flame, pops back into the picture. She works in Paris, all sophisticated and smart. And she gets his book published. Suddenly, Bart’s world, it just… opens up. You see how he just lets himself be pulled, first by ambition and then, well, by Mildred.
The shift is quick. One minute he’s a family man struggling, the next he’s divorcing Peggy. The kids, they really are the heart of it, the children. Seeing them lined up, quiet, as their parents talk about splitting up, that really sticks with you. It's pretty heartbreaking without being overly dramatic.
Bart finds success. Big success. But Mildred, she’s got expensive tastes. You watch him churning out what he calls 'trash' just to keep her happy, keep up the lifestyle. It’s a classic Faustian bargain, isn't it? He trades his art for a fancy apartment and a wife who probably loves the idea of him more than him.
Lois Wilson plays Peggy, and man, she just holds it all together. Her quiet strength. She doesn't scream or make a scene. She just accepts things with this resigned, almost noble sadness. There’s a scene where she’s just listening, and her face, it tells you everything.
And then the kids. Bart goes back years later, sees them. They've grown up so well, thanks to Peggy. They’re these confident, smart young people, totally independent of him. That look on his face, a mix of pride and regret, is just *chef's kiss* 🤌.
He wants them back. All five of them. And Peggy, bless her, she agrees. She always puts the kids first. This is where things get messy, really messy, because Mildred is NOT thrilled about becoming a stepmom to a whole brood of teenagers and younger kids.
There's a great moment where the kids are just being themselves, loud and boisterous, in Mildred’s very chic, very quiet apartment. The contrast is fantastic. You can almost feel Mildred’s perfectly coiffed hair starting to frizz from the chaos. You just *know* this isn't going to work out.
Oh, and keep an eye out for a very, very young Bette Davis. She has a small part as Miss Carter. Blink and you might miss her, but it’s cool to see her so early on, even if it's just a few lines. Her presence is already there, even then.
The film doesn't really give you any easy answers. It's not about good guys and bad guys, not really. It's about choices and consequences, and how sometimes what you think you want isn't what you need. And how children, well, they can change everything. 🌱
The pacing is definitely of its time. Some scenes linger a bit long, like when Bart is just staring out a window, thinking. But that's part of its charm, I think. It lets you sit with the characters, stew in their decisions. It’s a slow burn, for sure, but there's a lot to chew on if you let yourself get into it.
IMDb —
1925
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