Charity's Place

WILD ORCHIDS

REVIEWED BY ELIZABETH CHANCELLOR

Our rating: 4 out of 5

Because of: thematic elements

Rated:

As Mr. and Mrs. John Sterling (Lewis Stone and Greta Garbo) boarded the steamer waiting for them in San Francisco Bay, even the seagulls flapped their wings in fond goodbye. Lillie was overcome by excitement as the ship got underway. With a glimmer of tears in her eyes, she studied the rooms that would carry her to Java, to the adventure of an unknown land. But a frown furrowed her brow as she entered the common hallway, finding there a man whose cruel handling of a whip caused his servant to grovel on the floor. The tyrant’s smoldering gaze followed Lillie as she scurried past in disgust. One needn’t try hard to read his thoughts and the Prince de Gace (Nils Asther) looks like a man bound and determined to get anything he goes after.

To her great dismay, Lillie will find her path much entwined with that of this devilish rogue. Under his rule is the largest tea district in Java; John Sterling’s profession is that of a tea merchant. As such, the two form an immediate acquaintance. When the prince extends to him an invitation to stay in the palace, John is more than willing to accept – that is not to say the same of Lillie. She pleads with her husband to refuse this offer. She does not wish to be near the man who has brought upon her a secret shame by stealing a kiss that still burns on her lips. Yet, for all her desperate pleas, her request goes unfulfilled. Unwittingly, John has placed himself and his bride in the clutches of a veritable tiger, one that will lead them on a path of jealousy and revenge through the untamed jungles of Java.

Though an avid fan of classic film, Wild Orchids is my first silent picture. Seeing that it clocks in at one hour and fifty-nine minutes, I wondered whether I could sit still through its entirety. Much to my surprise and delight, it is utterly fascinating. Dazzling camerawork is made all the more intriguing by the presence of a beautiful score as well as early sound effects, and the stunning, though twice quite daring, fashions of 1929. When I kept my focus on the film, I did not notice the lack of dialogue at all, but every time I looked down for just a moment, I found myself expecting to hear the lines spoken. Just by watching the actors, one can understand the storyline perfectly. Dialogue cards are helpful in the trickier scenes, though twice do they contain abuse of Deity.

Crucial to the understanding of the movie is the performance of its leading lady. Greta Garbo does not disappoint; more than that, she is amazing; absolutely mesmerizing! She can express more with a look or a pose than others could ever hope to convey with words. For instance, in her scenes with the Prince, she adapts an icy stare, but with the flutter of an eyelash, her gaze turns to tenderness as she looks upon her husband. We know, then, her character’s feelings about the leading men and she doesn’t utter a sound. As the movie progresses and the Prince’s pursuit of her has become all the more fierce, a hint of fear can be found in her eyes. We sympathize with her as her husband’s attentions dwindle; we agonize with every stolen kiss; we feel her deep regret when once her determination slips and she kisses the prince in return. Lillie’s plight is one familiar to this lust-driven human race: to remain faithful to a cold, business-driven husband or allow herself to be lured away by the excitement of a passionate affair.