The Show Off, featuring Louise Brooks, was released on this day in 1926. The film a satiric comedy about an insufferable braggart who disrupts the life of a middle-class family. While remembered today as a Louise Brooks film, The Show-Off is really a vehicle for Ford Sterling, a comedian best remembered for his starring work as a member of the Keystone Kops. As a broad comedian, he is the perfect choice for the role of the titular blowhard Aubrey Piper. Brooks plays a supporting role as the love interest of the boy who lives next door.
More about the film can be found on the Louise Brooks Society website filmography page.
Based on a popular stage play by an acclaimed playwright, The Show-Off was considered a prestige project — and thus drew a significant amount of critical attention along with inevitable comparison to its Broadway namesake. Motion Picture News proclaimed, “The picture is funnier than the play.” However, Billboard magazine disapproved, stating the film “has emerged considerably worse for the wear in its trip from the legit to the silver screen.” The critic for the San Jose Evening News countered, adding “The Show-Off is undoubtedly one of the biggest comedy hits of the year.”
John S. Cohen Jr. of the New York Sun wrote, “Directed by Malcolm St. Clair, the film boasts of exceptional naturalistic acting on the part of Ford Sterling, Lois Wilson, Claire McDowell, C. W. Goodrich, Gregory Kelly and – in one sequence – Louise Brooks . . . . Miss Brooks is best in the scene where she burlesques the pantomime employed by Mr. Sterling to describe his automobile experience.”
Famed author Robert E. Sherwood, named it a “recommended” film in McCall’s magazine. Writing in Life, he said the director “has taken a simple play of average American life and made a genuinely tender, touching, sympathetic picture of it”. Sherwood went on to call the film “a worthy reproduction of a great comedy.” Later, in Mirrors of the Year, an annual published in 1927, The Show-Off was deemed “a remarkable artistic achievement” and one of the best films of 1926.
Along with comparison to the play, criticism of The Show-Off also focused on Brooks. The critic for the Ann Arbor Times News thought Brooks almost “ran away with the picture.” While Peggy Patton of the Wisconsin News said Brooks “adds a dash of color to the offering with her daring personality.”
Other critics, however, disagreed — and a number found fault with her appearance. Dorothy Herzog of the New York Daily Mirror wrote “Louise Brooks spitfires, prisses, oogles and calls it a day of heavy emoting. Miss Brooks is a distinct type, but she seems to suffer from inefficient direction and miscasting. She also appears a trifle rounded, for and aft, in this opera, but this may be due to her skin-tight dresses.”
Norbert Lusk of Picture-Play echoed Herzog’s comments, stating “Lois Wilson tossed aside opportunities for shrewd characterization by wearing Paris frocks as a daughter of the Philadelphia poor. Louise Brooks, another little sister of poverty, likewise offended.” Frank Aston of the Cincinnati Post added an exclamation mark with a bit of snark when he noted, “And henceforth and forever when we think of The Show-Off we shall picture Louise Brooks and her display of hosiery.”
Under its American title, documented screenings of the film took place in Australia (including Tasmania), Bermuda, British Malaysia (Singapore), Canada, China, Cuba, Czechoslovakia, Hong Kong, Jamaica, New Zealand, Panama, and the United Kingdom (England, Isle of Man, Northern Ireland, Scotland, and Wales).
The Show-Off was shown elsewhere under the title Moi; Moi… (Belgium); O Mostrador and O Fanfarrão (Brazil); El Fachendoso (Cuba); Se chlubit (Czechoslovakia); De Windbuil (Dutch East Indies); Aubrey, sa oled kangelane! and Rahamehest (Estonia); Storskrytaren and Suurkerskuri (Finland); Moi; Moi… (France); Il Vanitoso (Italy); 駄法螺大当り or Dabora dai tōri (Japan); El Fachendoso (Mexico); Før og efter Byllupet (Norway); El Fachendoso (Spain); and Moi (Switzerland).
SOME THINGS ABOUT THE FILM YOU MAY NOT KNOW:
— The Show-Off (1924) was authored by Philadelphia-born George Kelly (1887–1974), an American playwright, screenwriter, director, and actor. Besides being the uncle of the Oscar winning actress Grace Kelly (the future Princess Grace of Monaco), George Kelly was considered by some (Robert Benchley, Alexander Woollcott, and others) as one of the finest dramatists of the 1920s — alongside the likes of Sherwood Anderson and Elmer Rice. Besides The Show-Off, Kelly was best known for Craig’s Wife (1925), which won the Pulitzer Prize and was made into a motion picture on three occasions. His first play, The Torch Bearers, was also highly regarded.
— The Show-Off is one of two films that co-starred the popular Broadway actor Gregory Kelly (no relation), who died shortly after The Show-Off finished production. Gregory Kelly was the first husband of actress Ruth Gordon.
More about The Show-Off can be found on the newly revamped Louise Brooks Society website on its The Show-Off (filmography page).
THE LEGAL STUFF: The Louise Brooks Society™ blog is authored by Thomas Gladysz, Director of the Louise Brooks Society (www.pandorasbox.com). Original contents copyright © 2024. Further unauthorized use prohibited. As an Amazon Associate, I earn from qualifying purchases.
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