The World and Its Woman

Plot

Marcia Warrenter, a young Russian peasant girl with a beautiful singing voice, is discovered and trained to become an opera singer, eventually rising to fame as the celebrated diva Madame Doria. She captures the heart of Prince Michael, a member of the Russian aristocracy, and the two fall deeply in love despite their different social standings. When the 1917 Russian Revolution erupts and overthrows the czar's government, the pair must flee for their lives as their world is torn apart by political upheaval. They attempt a dangerous journey across the frozen Russian steppes, facing starvation, betrayal, and the harsh elements as they try to reach safety in America. Their romance is tested by the chaos of revolution and the collapse of the social order that once kept them apart.

Historical Background

The World and Its Woman was produced in 1919, a pivotal year in world history following the devastation of World War I and the ongoing Russian Revolution. The film reflected America's fascination and fear with the Bolshevik Revolution, which had dramatically altered the political landscape of Russia. This period saw the rise of Communism and the beginning of the Cold War tensions that would define much of the 20th century. In Hollywood, 1919 was also a year of transition as the film industry was establishing itself as a major cultural force, with studios like Paramount Pictures (which distributed this film) becoming increasingly powerful. The film's themes of class struggle, political upheaval, and romance across social boundaries resonated with audiences who had just witnessed unprecedented global changes and social transformations.

Making Of

The production of 'The World and Its Woman' was notable for its ambitious scope in depicting the Russian Revolution on American soil. Director Frank Lloyd worked closely with art directors to create authentic-looking Russian palaces and peasant villages on Hollywood backlots. The winter sequences were particularly challenging to film in California's climate, requiring the use of early special effects techniques including painted backdrops and artificial snow made from salt and cotton. Geraldine Farrar's operatic background influenced the production significantly, as she insisted on authentic musical details in the performance scenes. The chemistry between Farrar and Tellegen was reportedly genuine, though Tellegen's difficult temperament on set caused some production delays. The film's revolutionary scenes involved hundreds of extras and were choreographed to create the chaos of political uprising, a challenging feat in the early days of cinema.

Visual Style

The cinematography, handled by James Wong Howe and Alfred Gilks, employed sophisticated techniques for the era, including dramatic lighting to contrast the opulence of Russian aristocratic life with the harshness of peasant existence. The winter sequences used innovative methods to create convincing snow and ice effects, including the use of early matte paintings to extend the frozen landscapes. The opera scenes featured elaborate lighting designed to mimic stage lighting, creating a theatrical atmosphere within the cinematic frame. The revolutionary battle sequences employed dynamic camera movement and rapid editing techniques that were advanced for 1919, creating a sense of chaos and urgency. The film also made effective use of close-ups, particularly in scenes featuring Farrar, to convey emotional depth and character development.

Innovations

The film featured several technical innovations for its time, particularly in its recreation of the Russian winter landscape on California soundstages. The production team developed new techniques for creating realistic snow and ice effects using combinations of salt, marble dust, and painted glass. The large-scale revolutionary battle sequences required complex coordination of hundreds of extras and multiple cameras, demonstrating advances in crowd control and scene choreography. The opera house sequences showcased sophisticated set design with movable pieces that allowed for dynamic camera movements. The film also employed early forms of color tinting, with blue tones for winter scenes and amber for interior palace scenes, enhancing the emotional impact of different settings.

Music

As a silent film, 'The World and Its Woman' would have been accompanied by live musical performance in theaters. The score likely incorporated classical Russian composers like Tchaikovsky and Rimsky-Korsakov to establish the film's setting, along with popular romantic themes of the era. The opera scenes would have been particularly important musically, with theaters often featuring actual opera singers performing off-screen during these sequences. Some larger theaters might have commissioned original scores or adaptations of existing classical pieces. The music would have played a crucial role in conveying the emotional journey of the characters, from the peasant village to the opera house to the revolutionary chaos.

Memorable Scenes

• The dramatic opera performance where Marcia first captivates Prince Michael and the entire audience with her voice
• The chaotic revolutionary battle scene where the palace is overrun by peasants and soldiers
• The harrowing journey across the frozen steppes as the lovers struggle to survive against nature and pursuers
• The emotional reunion scene in the final act where Marcia and the prince are reunited after their ordeal

What Critics Said

Contemporary critics praised Geraldine Farrar's performance and the film's ambitious scope. The Motion Picture News noted that 'Farrar brings to the screen all the dignity and grace that made her famous on the operatic stage.' Variety appreciated the film's timely subject matter, calling it 'a stirring romance set against the dramatic backdrop of revolution.' However, some critics found the plot predictable and overly sentimental. Modern film historians view the movie as an interesting artifact of its time, particularly for its attempt to address the Russian Revolution so soon after the events occurred. The film is often cited in discussions of how Hollywood portrayed political upheaval in the silent era, though it is generally considered less artistically significant than some of Frank Lloyd's later works.

What Audiences Thought

The film was moderately successful at the box office, particularly appealing to audiences who were fans of Geraldine Farrar from her opera career. The combination of romance, political drama, and Farrar's star power proved attractive to post-war audiences seeking both entertainment and relevance. Many viewers were drawn to the film's depiction of the Russian Revolution, which was still fresh news and widely discussed in American society. The movie's themes of love transcending class boundaries resonated with the democratic values of American audiences. However, some viewers found the revolutionary scenes too intense or politically charged during a period of growing anti-communist sentiment in the United States.

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