The Beauties (1928?): A Quick Skip Down Slapstick Lane

Alright, so if you’re someone who genuinely enjoys digging into the very early days of film, particularly the silent stuff, then *The Beauties* might give you a small, quiet chuckle today. It’s definitely not for folks who need talking, color, or a plot that makes a whole lot of sense. You’ll probably just feel a little bored if you’re expecting anything modern.

This little picture, probably from the late 20s, is pretty much what it sounds like: a bunch of guys chasing after some ladies. It’s got that classic silent film vibe where everything is over-the-top. The boys, especially Charles Kaley and Billy Gilbert, are just *so eager* to catch an eye. You can almost feel the sweat.

One thing that really stuck with me was Billy Gilbert’s presence. He’s got this incredible physicality, even when he’s just standing there. There’s a scene where he’s trying to adjust his tie in a reflection, and it just keeps getting *worse*. His frantic hand gestures are hilarious. It’s pure, unadulterated physical comedy.

Cinematic perspective: Exploring the visual vocabulary of The Beauties (1930) through its definitive frames.

The women, Bessie Hill and Ruth Hiatt, are often just there to be chased or to look disapproving. But sometimes, they get a little moment to shine. There’s a bit where Ruth Hiatt gives Kaley this look, a real eye-roll, that just cracks me up. It’s like, ‘Oh, *another one* of these guys.’

The whole thing feels like a staged play rather than a movie, you know? The sets are simple, and the action mostly happens in one or two main spots. There’s a park scene that feels particularly open, but also a bit empty. Like they couldn't quite fill it up with enough background chaos.

There’s a gag involving a hat that gets passed around, or maybe it’s a prop that keeps falling off. I can’t quite remember the specifics, but it felt like the central visual joke for a good minute or two. It’s the kind of thing where you see it coming, but it still gets a small smile.

Cinematic perspective: Exploring the visual vocabulary of The Beauties (1930) through its definitive frames.

Hugh Cummings, the writer, really leaned into the simplest forms of humor here. No grand statements. Just pure, silly fun. It's almost refreshing how uncomplicated it all is.

And those chase scenes! Man, they’re always the best part of these old shorts. Everyone running around, flailing their arms. There’s a moment where one of the guys almost trips over his own feet trying to keep up. It’s such a small, human detail.

It’s clear the goal was just to entertain for ten minutes, not to leave you pondering life’s mysteries. And in that, it mostly succeeds. It’s a little window into what made people laugh a century ago. 🎞️

Little Things I Noticed:

• The way Harry Masters, even in a small role, has this really specific strut. Like he owns the place, even if he’s just delivering a letter.
• Someone in the background of one shot looks directly at the camera. Happens often in older films, but it still makes you smile.
• The music (if you’re watching with a standard silent film score) really does all the heavy lifting for the mood. It gets *really dramatic* when someone just spills a drink.
• Muggins Davies gets this one great reaction shot. Just one! And it’s gold.
• Did anyone else notice that one backdrop that looked suspiciously like a painted sheet? Very charmingly low-budget.

So, yeah, *The Beauties*. It's a short, sweet, and simple watch if you’re in the mood for some historical giggles. Don't expect to be blown away, but you might find a bit of joy in its innocent silliness. It’s kind of like finding an old, dusty toy that still works. And you remember why you liked it in the first place.