Little Old New York

Plot

In 1850s Ireland, young Nora O'Brien learns that her brother Patrick, who had emigrated to America, has died and left her a substantial fortune in New York. Determined to claim her inheritance but knowing that women face significant obstacles in business, Nora disguises herself as her brother and travels to New York. She quickly becomes entangled in the city's high society and business dealings, all while maintaining her male disguise. Complications arise when she falls for a charming young man named Charles Ford, who is unaware of her true identity. The film follows Nora's adventures as she navigates the challenges of her deception, fights to claim her rightful inheritance, and ultimately must choose between revealing her true self and losing the fortune she has worked so hard to secure.

Historical Background

The film was produced during a period of significant social change in America, just three years after women gained the right to vote with the passage of the 19th Amendment. The theme of a woman asserting her independence and succeeding in a male-dominated business world resonated strongly with contemporary audiences. The 1920s were also the height of Marion Davies' popularity, and this film came at a time when she was transitioning from pure comedies to more dramatic roles. The film's setting in 1850s New York provided a nostalgic look back at America's past during a decade of rapid modernization and social upheaval. The production also reflected the growing power of independent production companies like Cosmopolitan Productions in challenging the dominance of the major studio system.

Making Of

The production of 'Little Old New York' was marked by William Randolph Hearst's intense involvement in every aspect of the film, as was customary for Marion Davies' vehicles. Sidney Olcott, though an experienced director, often had to defer to Hearst's creative decisions. The film's location shooting in New York City was ambitious for its time, requiring the cast and crew to work around the bustling city streets. Marion Davies' transformation into her male character was a major production challenge, involving extensive makeup and costume work that had to be convincing enough to fool both the characters in the film and the audience. The production employed several Irish actors as extras to add authenticity to the opening scenes set in Ireland. Despite the film's comedy elements, the cast took their roles seriously, with Davies reportedly studying male mannerisms and movements for weeks before filming began.

Visual Style

The cinematography by Charles Rosher employed both the intimacy of studio work and the grandeur of location shooting in New York City. Rosher, who would later win Academy Awards for his work, utilized innovative camera techniques for the film's numerous disguise sequences, carefully framing Davies to maintain the illusion of her male character. The contrast between the rural Irish scenes and the bustling New York streets was highlighted through distinct visual styles, with the New York sequences featuring more dynamic camera movement to capture the energy of the city. Period-appropriate lighting techniques were used to recreate the 1850s atmosphere, particularly in the interior scenes.

Innovations

The film was noted for its extensive use of location shooting in New York City, which was relatively uncommon for period films of the era. The production employed sophisticated makeup techniques to create Marion Davies' male disguise, which was considered convincing by contemporary standards. The film also utilized complex editing techniques to maintain the continuity of the disguise sequences and to create smooth transitions between the various settings. The costume department created historically accurate 1850s period costumes that had to be specially designed to accommodate Davies' transformation scenes.

Music

As a silent film, 'Little Old New York' would have been accompanied by live musical performances during its theatrical run. The original score was composed by William Axt, a prolific composer of silent film music who created themes for different characters and dramatic situations. The music likely incorporated popular Irish melodies for the opening sequences and more sophisticated orchestral pieces for the New York scenes. The score would have been distributed to theater orchestras along with cue sheets indicating when specific musical themes should be played.

Memorable Scenes

• The opening sequence in Ireland where Nora learns of her inheritance and decides to disguise herself as her brother
• Nora's arrival in New York Harbor, seeing the city for the first time while maintaining her male disguise
• The ballroom scene where Nora, disguised as Patrick, must dance with women while trying to avoid revealing her identity
• The climactic courtroom scene where Nora must choose between revealing her true identity and losing her fortune

What Critics Said

Contemporary critics praised Marion Davies' performance in the dual role, with many noting her convincing portrayal of a young man and her comedic timing. The New York Times particularly highlighted the film's entertainment value and Davies' star appeal. Modern critics have reassessed the film as an interesting example of gender play in silent cinema, though some note that it ultimately reinforces rather than challenges traditional gender norms. The film is generally regarded as one of Davies' better silent vehicles, demonstrating her range beyond pure comedy.

What Audiences Thought

The film was well-received by audiences upon its release, particularly by Davies' loyal fanbase. The combination of comedy, romance, and the novelty of seeing a major star in gender-bending disguise proved to be a winning formula at the box office. Contemporary audience reactions reported in trade publications emphasized the entertainment value and Davies' charm in the lead role. The film's success helped solidify Davies' status as one of the era's major stars and demonstrated her ability to carry more substantial dramatic material.

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