Their Own Desire

Plot

Lally Marlett is a privileged young woman whose father, a successful author and polo player, decides to divorce her mother after 23 years of marriage to marry Beth Cheever, a woman who is also in the process of divorcing her husband. This betrayal leaves Lally deeply cynical and distrustful of all men. While vacationing with her mother in an effort to escape the family turmoil, Lally meets Jack Cheever, a charming and handsome young man who gradually breaks through her emotional defenses and wins her heart. The romance blossoms until the devastating revelation that Jack is the son of Beth Cheever, the woman who is set to marry her father, creating an impossible situation where the lovers are now step-siblings-to-be. The film explores their struggle to reconcile their feelings with the complicated family dynamics that threaten to keep them apart forever.

Historical Background

Their Own Desire was released in November 1929, just one month after the devastating Wall Street Crash that triggered the Great Depression. The film emerged during Hollywood's chaotic transition from silent to sound cinema, a period that saw many silent stars' careers end while new talent emerged. The movie's frank treatment of divorce and family dysfunction reflected changing social mores in the late 1920s, as divorce rates increased and became less stigmatized. The pre-Code era (1929-1934) allowed filmmakers to explore more adult themes than would be possible just a few years later when the Production Code was strictly enforced. This film captured the uncertainty and social upheaval of its time, both in its subject matter and in its production during the technical revolution of sound. The economic downturn that began with the 1929 crash would soon influence film content, with audiences seeking both escapist entertainment and stories that reflected their own struggles with financial and emotional hardship.

Making Of

The production of 'Their Own Desire' took place during a pivotal moment in Hollywood history as studios rushed to convert to sound technology. MGM invested heavily in new sound stages and recording equipment for this and other early talkies. Director E. Mason Hopper, who had primarily directed silent films, had to adapt his techniques to accommodate the limitations of early sound recording. The cast underwent extensive voice coaching to ensure their speaking voices would record well on the primitive equipment of the era. Norma Shearer, in particular, worked diligently to overcome the tendency of many silent actors to over-emote when speaking their lines. The film's polo sequences required specialized camera setups to capture the action while maintaining audio quality, presenting unique technical challenges for the production team. The chemistry between Shearer and Montgomery was so apparent during filming that MGM immediately planned future projects to capitalize on their on-screen pairing.

Visual Style

The cinematography by William H. Daniels reflects the transitional nature of early sound films, with more static camera work than late silent films but still showing artistic composition. Daniels, who frequently worked with Greta Garbo, brought his signature lighting techniques to create glamorous yet naturalistic images of the stars. The film features the soft, diffused lighting characteristic of MGM productions of the era, particularly in the romantic scenes between Shearer and Montgomery. The polo sequences demonstrate more dynamic camera movement, taking advantage of outdoor locations where sound recording was less restrictive. The interior scenes often feature medium shots and two-shots to accommodate the microphone placement requirements of early sound recording. Despite these technical limitations, Daniels managed to create visually interesting compositions that enhanced the emotional content of each scene.

Innovations

Their Own Desire demonstrated several technical achievements for early sound cinema. The film successfully integrated location shooting with sound recording, particularly in the polo sequences which required innovative microphone placement strategies. The production team developed techniques to minimize the visual impact of microphone placement, using furniture and props to conceal recording equipment. The film's sound mixing represented an advancement over earlier talkies, with better balance between dialogue, music, and sound effects. The movie also showcased improvements in post-production dubbing, allowing for cleaner audio tracks than many contemporaneous films. The cinematography department developed new lighting techniques that accommodated both the needs of sound recording and the aesthetic requirements of the scenes. These technical innovations contributed to the film's overall polish and helped establish standards for subsequent MGM sound productions.

Music

The film's musical score was composed by William Axt, one of MGM's house composers during the early sound era. The soundtrack included both diegetic music (music within the story, such as at social events) and non-diegetic underscoring to enhance emotional moments. As was common in early talkies, the film featured musical interludes that allowed for visual storytelling without dialogue. The sound design represents the state of the art for 1929, with relatively clear dialogue recording despite the technical limitations of the period. The film used the Western Electric sound-on-film system, which was MGM's preferred technology for early sound productions. The soundtrack also included sound effects that were innovative for the time, particularly in the polo sequences where the sounds of horses and crowds were integrated into the narrative.

Memorable Scenes

• The polo match where Lally first sees Jack, capturing the excitement and glamour of high society sports
• The emotional confrontation scene where Lally discovers Jack's true identity as Beth Cheever's son
• The tender beach scene where Jack and Lally declare their love before the truth is revealed
• The tense family dinner where the complicated relationships between all characters become apparent
• The final scene where Lally and Jack must decide whether to follow their hearts or bow to family pressure

What Critics Said

Contemporary critics praised Norma Shearer's performance, with many noting her successful transition from silent to sound films. The New York Times review highlighted Shearer's 'natural and convincing' portrayal of Lally, while Variety commended the film's 'adult treatment of a delicate subject.' Critics were generally impressed with Robert Montgomery's debut, noting his easy charm and screen presence. Some reviewers found the plot melodramatic but appreciated the film's sophisticated approach to family relationships. Modern critics have re-evaluated the film as an important example of early sound drama, particularly praising Shearer's performance and the film's pre-Code frankness. The movie is often cited in film scholarship as a key work in Shearer's career and as representative of MGM's early sound production values.

What Audiences Thought

Audiences in 1929 responded positively to Their Own Desire, particularly drawn to the chemistry between Norma Shearer and the newcomer Robert Montgomery. The film's adult themes resonated with viewers experiencing social changes in their own lives. The movie performed well at the box office, especially in urban areas where divorce was becoming more common and less scandalous. Contemporary audience letters and reviews in fan magazines expressed appreciation for the film's realistic portrayal of family conflicts and its refusal to provide easy answers to complex emotional situations. The film's success helped establish Montgomery as a bankable leading man and reinforced Shearer's status as one of the era's most popular actresses. Modern audiences who have seen the film through revival screenings or home video have often commented on its surprisingly contemporary treatment of family dynamics and relationships.

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