Flaming Youth (film)
|Directed by||John Francis Dillon|
|Produced by||John McCormick|
|Written by||Harry O. Hoyt (scenario)|
|Based on||Flaming Youth
by Samuel Hopkins Adams
|Cinematography||James Van Trees|
|Distributed by||Associated First National|
|Language||Silent (English intertitles)|
Flaming Youth is a 1923 American silent drama film starring Colleen Moore and Milton Sills. The film was produced and distributed by Associated First National and directed by John Francis Dillon. Flaming Youth is based on the novel Flaming Youth by Samuel Hopkins Adams.
When Mona Frentiss dies, she has her confidante "Doctor Bobs" watch over her family, especially her youngest daughter Patricia. The family has been raised in a most unconventional manner, with Mona having a much younger lover and the father Ralph keeping his own lover on the side. As Patricia grows older, she attracts the attention of her mother's former lover, the much older (than Patricia, who in the book is in her early to mid teens) Carey Scott. Patricia tempts fate with her wild ways, nearly loses her virtue to a musician aboard an ocean-going boat, and is saved in time by Carey. Realizing that he is the man for her, she settles down into an experimental marriage.
- Colleen Moore as Patricia Frentiss
- Milton Sills as Cary Scott
- Elliott Dexter as Dr. Bobs
- Sylvia Breamer as Dee Fentriss
- Myrtle Stedman as Mona Fentriss
- Betty Francisco as Connie Fentriss
- Phillips Smalley as Ralph Fentriss
- Walter McGrail as Jamieson James
- Ben Lyon as Monty Standish
- George Barraud as Fred Browning
- John Patrick as Warren Graves
- Gino Corrado as Leno Stenak
- Gertrude Astor as Annie
- Michael Dark as Sidney Rathbone
There had been several films prior to Flaming Youth which used the flapper as subject matter, such as The Flapper with Olive Thomas, but the financial success of Flaming Youth made it the movie credited with launching a cycle of movies about flappers and helping Colleen Moore be seen as the originator of the screen flapper.
The film's marketing played up the racier aspects of the story, and a "skinny-dipping" sequence shot in silhouette (which still largely survives in the Library of Congress) was used in the films advertising extensively. The ads also boasted "neckers, petters, white kisses, red kisses, pleasure mad daughters, [and] sensation craving mothers." The book contained adult subjects which were largely glossed over in the film. To counter potential negative backlash, a good deal of humor was injected into the film, so that many audiences thought the film was actually a burlesque of the whole flapper movement when, in fact, it was intended to be a dramatic film.
The reaction to the film was enthusiastic, and it firmly fixed in the public's imagination a new kind of female behavior. According to F. Scott Fitzgerald: "I was the spark that lit up Flaming Youth, Colleen Moore was the torch."
While Flaming Youth was successful enough to be held over in most American cities, reactions from film critics were mixed. The December 1923-February 1924 issue of The Exhibitor's Trade Review cites a review from the Chicago News which called the movie "one of the best-told screen novels that has come along," and another review from the Cincinnati Enquirer in which the critic pointed out that the film isn't completely faithful to the book and added that "Throughout the production, scarcely a single admirable character appears, and the audience is regaled with the antics of a lot of childish adults and adulterated children. Consequently, the members of the cast, though many of them are talented, work against unfair handicaps." A reviewer for the Indiana Star wrote, "In spite of an awkward story, Miss Moore contributes much merriment to the occasion and Elliott Dexter and Milton Sills lend the frontier element of the film a certain degree of stability."
A critic for the New York Times wrote, "Colleen Moore gives a vivid performance of the jazz-devoted novice once she gets her hold of the theme. There are moments in the beginning when her rendition is a little artificial. But after her awkward trip downstairs in exotic pajamas—which are not really graceful—she lives the part of a pert young thing, whose hair is cut with a bang on the forehead, whose eyes are full of mischief and whose arms are long and slender." The New York Times critic also described Milton Sills as "sympathetic" and Myrtle Stedman as "charming."
- Flaming Youth at TheGreatStars.com; Lost Films Wanted(Wayback Machine)
- Flaming Youth at silentera.com database
- American Silent Feature Film Survival Database Flaming Youth
- Pitz, Mary Lynne (26 September 2010). "Olive Thomas, the Original 'Flapper' and a Mon Valley native, still fascinates". Pittsburgh-Post Gazette. Retrieved 11 December 2017.
- Ross, Sarah (April 2010). "Screening the Modern Girl: Intermediality in the Adaption of Flaming Youth". Modernism/modernity. 17 (2): 271–290. Retrieved 11 December 2017.
- Savage, Jon. Teenage: The Creation of Youth Culture. New York: Viking, 2007. ISBN 978-0670038374, p.205
- Gebhart, Myrtel. Los Angeles Times (May 18, 1924)
- "Flaming Youth and the First Flapper". The Midnight Palace. Retrieved 11 December 2017.
- "Critics Disagree on 'Flaming Youth'". Exhibitor's Trade Review (December 1923-February 1924). Retrieved 11 December 2017.
- "Marble Hearts and Halls". The New York Times. The New York Times. 26 November 1923. Retrieved 11 December 2017.