The Boob

Plot

The Boob follows the story of Peter Good, a naive and good-hearted country boy played by George K. Arthur, who is deeply in love with Amy, portrayed by Gertrude Olmstead. When Amy becomes infatuated with Harry, a sophisticated city bootlegger, Peter determines to prove his worth by capturing the local gang of bootleggers himself. With the help of his loyal dog and his own simple-minded determination, Peter stumbles through a series of comedic misadventures while attempting to infiltrate the bootleggers' operation. The film features a young Joan Crawford in an early role as Jane, Harry's girlfriend, adding to the romantic complications. In a classic tale of innocence versus corruption, Peter's earnest efforts ultimately triumph over the sophisticated criminals, proving that sincerity and goodness can overcome worldly cunning.

Historical Background

The Boob was produced in 1926, during the height of the Roaring Twenties and the Prohibition era (1920-1933). This period saw America grappling with the consequences of the 18th Amendment, which banned alcohol production and sales, leading to the rise of organized crime and bootlegging operations. The film's comedic take on bootleggers reflected the complex American attitude toward Prohibition - while officially supporting temperance, many Americans secretly sympathized with or participated in illegal alcohol consumption. The silent film era was also at its peak, with 1926 being a banner year for Hollywood productions. This was also a time of significant social change, with the 'New Woman' emerging as a cultural figure, which Joan Crawford's character subtly represented. The film's rural versus urban theme mirrored the cultural tensions between traditional American values and modern city life that characterized the 1920s.

Making Of

The production of 'The Boob' took place during a transitional period at MGM, as the studio was establishing its comedy division. William A. Wellman, who had primarily worked on action films, was given this comedy assignment to test his versatility. The casting of Joan Crawford was particularly significant - MGM head Louis B. Mayer saw potential in the young actress and strategically placed her in supporting roles to build her experience. George K. Arthur's comedy style relied heavily on physical humor and expressive gestures, which were perfectly suited to the silent medium. The bootlegging sequences required careful choreography to balance comedy with the serious implications of Prohibition-era crime. The film's dog, Prince, became so popular during filming that he received special treatment on set and even fan mail from viewers. Production was completed relatively quickly in MGM's efficient studio system, with filming taking approximately three weeks.

Visual Style

The cinematography was handled by Ira H. Morgan, an experienced MGM cameraman who understood the requirements of comedy photography. The film utilized standard silent era techniques including careful lighting to highlight facial expressions and physical comedy movements. The rural scenes were shot with soft, naturalistic lighting to contrast with the more dramatic, shadowy bootlegging sequences. Morgan employed medium shots and close-ups effectively to capture the actors' expressions, particularly important in silent comedy where facial gestures carried much of the humor. The action sequences featured dynamic camera movement for the period, with some tracking shots during chase scenes. The film's visual style was typical of MGM productions of the mid-1920s - clean, professional, and technically proficient without being particularly innovative.

Innovations

While 'The Boob' was not technically groundbreaking, it demonstrated MGM's high production standards of the mid-1920s. The film utilized multiple camera setups, which was becoming standard practice but still represented a significant investment in equipment and personnel. The bootlegging sequences featured some early examples of action-comedy choreography that would become more sophisticated in later films. The film's preservation of multiple takes and outtakes in the MGM archives has proven valuable for film historians studying the development of comedy techniques. The intertitles were designed by MGM's art department with characteristic studio polish, featuring attractive typography and occasional decorative elements. The film's editing, while not revolutionary, maintained good pacing for a comedy of its length, effectively balancing dialogue intertitles with visual gags and action sequences.

Music

As a silent film, 'The Boob' did not have an original recorded soundtrack. Theaters would typically provide live musical accompaniment ranging from a single piano player to a full orchestra, depending on the venue's size and prestige. The score would have been compiled from standard photoplay music libraries, with selections matched to the on-screen action and mood. Comedic scenes would have been accompanied by light, playful music, while the bootlegging sequences might have used more dramatic or suspenseful themes. The film's intertitles would have been punctuated by musical flourishes. Modern screenings of restored versions often feature newly composed scores by silent film accompanists who create period-appropriate music using authentic 1920s styles and instrumentation.

Memorable Scenes

• The opening sequence where Peter Good tries to impress Amy with his clumsy country charm, featuring physical comedy with farm equipment and animals
• The comedic bootlegger raid where Peter accidentally captures the criminals through a series of fortunate mistakes
• The scene where Peter's dog helps expose the bootleggers' hideout, showcasing the trained animal's impressive performance

What Critics Said

Contemporary critical reception for 'The Boob' was generally positive but not enthusiastic. The Film Daily praised George K. Arthur's comedic performance and noted the film's entertaining qualities, while Variety found it 'pleasant but unremarkable.' Critics of the time appreciated the film's lighthearted approach to the serious subject of bootlegging, finding it a refreshing change from heavier melodramas. Modern critics and film historians view the film primarily as a historical curiosity due to Joan Crawford's early appearance. Retrospective reviews note that while the comedy feels dated by modern standards, it effectively captures the spirit of 1920s silent comedy. The film is often mentioned in discussions of Wellman's early career and Crawford's development as an actress, with most agreeing it serves as an interesting example of MGM's mid-1920s production values and star-building techniques.

What Audiences Thought

Audience reception in 1926 was moderately positive, with the film performing respectably at the box office as a second-feature comedy. Rural audiences particularly appreciated the portrayal of the honest country boy outsmarting city criminals. The presence of the dog character was especially popular with family audiences. Joan Crawford, though not yet a star, began to receive fan mail from viewers who noticed her screen presence. The film's Prohibition theme resonated with audiences who had personal experience with bootleggers, whether through direct involvement or community knowledge. Modern audiences viewing the film through classic cinema channels and archives generally find it charming as a time capsule of 1920s comedy, though the humor doesn't always translate to contemporary tastes. The film has developed a cult following among silent film enthusiasts and Joan Crawford completists.

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