ie was not a "talkie" at all. It was a silent film, with a soundtrack of music and sound effects. It was a very early example of the silent film, and it was also a very early example of the silent film genre. The film was made in the early 1930s, and it was the first film to be made in the United States, and it was also the first film to be made in the United Kingdom. The film was made in the United States by the studio of the same name, and it was released in the United States in 1936. The film was a very successful film, and it was a very successful film in the United States. It was also a very successful film in the United Kingdom, and it was released in the United Kingdom in 1937. The film was a very successful film in the United States, and it was also a very successful film in the United Kingdom. It was also a very successful film in the United Kingdom, and it was released in the United Kingdom in 1938. The film was a very successful film in the United States, and it was also a very successful film in the United Kingdom, and it was released in the United Kingdom in 1939. The film was a very successful film in the United States, and it was also a very successful film in the United Kingdom, and it was released in the United Kingdom in 1940. The film was a very successful film in the United States, and it was also a very successful film in the United Kingdom, and it was released in the United Kingdom in 1941. The film was a very successful film in the United States, and it was also a very successful film in the United Kingdom, and it was released in the United Kingdom in 1942. The film was a very successful film in the United States, and it was also a very successful film in the United Kingdom, and it was released in the United Kingdom in 1943. The film was a very successful film in the United States, and it was also a very successful film in the United Kingdom, and it was released in the United Kingdom in 1944. The film was a very successful film in the United States, and it was also a very successful film in the United Kingdom, and it was released in the United Kingdom in 1945. The film was a very successful film in the United States, and it was also a very successful film in the United Kingdom, and it was released in the United Kingdom in 1946. The film was a very successful film in the United States, and it was also
Despite later claims, this early-talkie melodrama has very little in common with "Citizen Kane": It's a biopic of a ruthless but human fictional plutocrat, told in flashback but hopping around time. The scriptwriter, Preston Sturges, shows none of his later gift for sparkling dialog, and none of the myriad cinematic innovations of "Kane" are evident. Still, it's very watchable, with a young Spencer Tracy (his old-man makeup makes him look just like, well, an old Spencer Tracy) showing depth and authority, and Colleen Moore -- a little past her prime, and not physically well matched -- playing a multifaceted woman-behind-the-man. There's also Helen Vinson as one of the most treacherous femmes fatales in movie history, sending the final third into ecstatic soap-opera reverberations. The surviving print is jumpy and has missing audio snippets, and there are some plot holes left open (how would she know whose son it was if she's sleeping with both of them?), and the music is awfully hokey. For all that, I was quite fascinated.
Despite later claims, this early-talk
ie melodrama has very little in common with "Citizen Kane": It's a biopic of a ruthless but human fictional plutocrat, told in flashback but hopping around time. The scriptwriter, Preston Sturges, shows none of his later gift for sparkling dialog, and none of the myriad cinematic innovations of "Kane" are evident. Still, it's very watchable, with a young Spencer Tracy (his old-man makeup makes him look just like, well, an old Spencer Tracy) showing depth and authority, and Colleen Moore -- a little past her prime, and not physically well matched -- playing a multifaceted woman-behind-the-man. There's also Helen Vinson as one of the most treacherous femmes fatales in movie history, sending the final third into ecstatic soap-opera reverberations. The surviving print is jumpy and has missing audio snippets, and there are some plot holes left open (how would she know whose son it was if she's sleeping with both of them?), and the music is awfully hokey. For all that, I was quite fascinated.
 ie melodrama has very little in common with "Citizen Kane": It's a biopic of a ruthless but human fictional plutocrat, told in flashback but hopping around time. The scriptwriter, Preston Sturges, shows none of his later gift for sparkling dialog, and none of the myriad cinematic innovations of "Kane" are evident. Still, it's very watchable, with a young Spencer Tracy (his old-man makeup makes him look just like, well, an old Spencer Tracy) showing depth and authority, and Colleen Moore -- a little past her prime, and not physically well matched -- playing a multifaceted woman-behind-the-man. There's also Helen Vinson as one of the most treacherous femmes fatales in movie history, sending the final third into ecstatic soap-opera reverberations. The surviving print is jumpy and has missing audio snippets, and there are some plot holes left open (how would she know whose son it was if she's sleeping with both of them?), and the music is awfully hokey. For all that, I was quite fascinated.<|endoftext|>
Despite later claims, this early-talk ie melodrama has very little in common with "Citizen Kane": It's a biopic of a ruthless but human fictional plutocrat, told in flashback but hopping around time. The scriptwriter, Preston Sturges, shows none of his later gift for sparkling dialog, and none of the myriad cinematic innovations of "Kane" are evident. Still, it's very watchable, with a young Spencer Tracy (his old-man makeup makes him look just like, well, an old Spencer Tracy) showing depth and authority, and Colleen Moore -- a little past her prime, and not physically well matched -- playing a multifaceted woman-behind-the-man. There's also Helen Vinson as one of the most treacherous femmes fatales in movie history, sending the final third into ecstatic soap-opera reverberations. The surviving print is jumpy and has missing audio snippets, and there are some plot holes left open (how would she know whose son it was if she's sleeping with both of them?), and the music is awfully hokey. For all that, I was quite fascinated.<|endoftext|>
Despite later claims, this early-talk