- Published on
Gloria Swanson’s first talkie.
Screenland, Oct 1929
Date of Release: Sept 9, 1929
Studio: Gloria Productions, distributed by United Artists
Director: Edmund Goulding
Screenplay: Edmund Goulding
Music: Edmund Goulding, Elsie Janis, Sigmund Spaeth, Enrico Toseli, Josiah Zoro
Leading Actors: Gloria Swanson (Marion Donnell), Robert Ames (Jack Merrick), Purnell Pratt (Hector Ferguson), Henry B. Walthall (Fuller), Wally Albright Jr. (Jackie), William Holden (John Merrick, Sr.), Blanche Frederici (Miss Potter), Kay Hammond (Catherine "Flip" Merrick), Mary Forbes (Mrs. Ferguson), Marcelle Corday (Blanche)
Studio: Gloria Productions, distributed by United Artists
Director: Edmund Goulding
Screenplay: Edmund Goulding
Music: Edmund Goulding, Elsie Janis, Sigmund Spaeth, Enrico Toseli, Josiah Zoro
Leading Actors: Gloria Swanson (Marion Donnell), Robert Ames (Jack Merrick), Purnell Pratt (Hector Ferguson), Henry B. Walthall (Fuller), Wally Albright Jr. (Jackie), William Holden (John Merrick, Sr.), Blanche Frederici (Miss Potter), Kay Hammond (Catherine "Flip" Merrick), Mary Forbes (Mrs. Ferguson), Marcelle Corday (Blanche)
The Trespasser is the first movie musical of 1929 to be co-produced by a woman, the first to premier in London, the first to conduct a transatlantic radio transmission of an American performer, and silent film star Gloria Swanson's first talkie.
Swanson was the epitome of silent era Hollywood. Glamorous, wealthy, married multiple times, and constantly in the press. She was one of the greatest film stars of her day and was known not only for her beautiful looks, but her incredible talent as an actor.
Famous Players-Lasky and Cecile B DeMille had made Swanson a star, but at a terrible personal cost. Swanson left the studio when its restrictive morality clause led her to an unwanted abortion. Soon after leaving Famous Players-Lasky, Swanson started her own production company, Gloria Productions. United Artists offered to distribute her films, allowing her the freedom to produce her own films, on her own terms. She was assisted by Joseph Kennedy (father of John F. Kennedy), who took care of the financial side of things, whilst Swanson took care of the creative.
Although Joseph Kennedy claimed The Trespasser was one of the first talkies to have an original script, the film is loosely based on the story of Madame Butterfly.
Swanson was the epitome of silent era Hollywood. Glamorous, wealthy, married multiple times, and constantly in the press. She was one of the greatest film stars of her day and was known not only for her beautiful looks, but her incredible talent as an actor.
Famous Players-Lasky and Cecile B DeMille had made Swanson a star, but at a terrible personal cost. Swanson left the studio when its restrictive morality clause led her to an unwanted abortion. Soon after leaving Famous Players-Lasky, Swanson started her own production company, Gloria Productions. United Artists offered to distribute her films, allowing her the freedom to produce her own films, on her own terms. She was assisted by Joseph Kennedy (father of John F. Kennedy), who took care of the financial side of things, whilst Swanson took care of the creative.
Although Joseph Kennedy claimed The Trespasser was one of the first talkies to have an original script, the film is loosely based on the story of Madame Butterfly.
The Film Daily (Oct 9, 1929)
Screenland (Oct 1929)
Marion Donnell (Gloria Swanson) is a stenographer and deeply in love with Jack Merrick (Robert Ames), the son of a millionaire. They elope, and honeymoon by the lake. Jack’s father, John Merrick Sr. does not approve and tells Jack to give up the girl. Marion tells her father-in-law to stop interfering but Jack proves a spineless husband, and Marion leaves him.
A year and a half later, Marion is back working as a stenographer and is now a single mother. Her stern British nanny, Miss Potter (Blanche Frederici), reminds Marion of all the unpaid bills that are piling up.
Marion has a breakdown. Taking pity, her boss Hector Ferguson (Purnell Pratt), sets her up in luxury, and the pair engage in a less-than-secret affair. Marion is happy, and has a close relationship with her sweet son, Jackie (Wally Albright Jr.).
Ferguson suddenly falls ill, and on his death bed requests Marion to come to his side. Upon meeting Ferguson’s wife, Marion realizes at what a great cost her happiness has come.
Meanwhile, Jack has re-married to a woman chosen by his father, Catherine “Flip” Merrick (Kay Hammond). Following a terrible car accident, Flip is now in a wheelchair.
Fearing Jackie will be tainted by the scandal of being the son of a mistress, Marion calls Jack to ask for help. Upon learning he is a father, Jack is delighted and swears to return to Marion. John Merrick Sr. is less thrilled, but relieved he finally has an heir to his fortune. He threatens to take Marion to court to get custody of his only heir.
Flip, who plays dumb but is savvy to the whole situation, arrives at Marion’s house and offers to leave Jack so that he and Marion can be together at last. Torn between the love for her son, and her desire to what is best for him, Marion decides to give the boy to Jack and Flip. She returns the $500,000 Ferguson has bequeathed to her in his will, and disappears from Chicago.
Later again, John Merrick Sr. is attempting to send a wire and has to repeat the message over and over. We learn that Flip has died the year before, and Jackie is growing and growing. Unable to get sense out of the operator, John Merrick Sr. passes the phone to Jack. Of course the operator at the other end is a sobbing Marion. Thrilled to have found Marion, Jack and Jackie rush to her side and the family is at last happily reunited.
A year and a half later, Marion is back working as a stenographer and is now a single mother. Her stern British nanny, Miss Potter (Blanche Frederici), reminds Marion of all the unpaid bills that are piling up.
Marion has a breakdown. Taking pity, her boss Hector Ferguson (Purnell Pratt), sets her up in luxury, and the pair engage in a less-than-secret affair. Marion is happy, and has a close relationship with her sweet son, Jackie (Wally Albright Jr.).
Ferguson suddenly falls ill, and on his death bed requests Marion to come to his side. Upon meeting Ferguson’s wife, Marion realizes at what a great cost her happiness has come.
Meanwhile, Jack has re-married to a woman chosen by his father, Catherine “Flip” Merrick (Kay Hammond). Following a terrible car accident, Flip is now in a wheelchair.
Fearing Jackie will be tainted by the scandal of being the son of a mistress, Marion calls Jack to ask for help. Upon learning he is a father, Jack is delighted and swears to return to Marion. John Merrick Sr. is less thrilled, but relieved he finally has an heir to his fortune. He threatens to take Marion to court to get custody of his only heir.
Flip, who plays dumb but is savvy to the whole situation, arrives at Marion’s house and offers to leave Jack so that he and Marion can be together at last. Torn between the love for her son, and her desire to what is best for him, Marion decides to give the boy to Jack and Flip. She returns the $500,000 Ferguson has bequeathed to her in his will, and disappears from Chicago.
Later again, John Merrick Sr. is attempting to send a wire and has to repeat the message over and over. We learn that Flip has died the year before, and Jackie is growing and growing. Unable to get sense out of the operator, John Merrick Sr. passes the phone to Jack. Of course the operator at the other end is a sobbing Marion. Thrilled to have found Marion, Jack and Jackie rush to her side and the family is at last happily reunited.
The Film Daily (Oct 9, 1929)
Due to scheduling conflicts in New York, The Trespasser had its official premier in London. Held at the New Gallery Kinema, the event was described by The Film Daily (Sept 11, 1929) as “one of the most brilliant premieres” in London history. According to Exhibitors Herald World (Sept 21, 1929), the premier attracted over 5000 people. After the opening, Variety (Sept 18) reported people were waiting in line “day and night” to see the film, and The Film Daily (Sept 16, 1929) announced that the run was anticipated to bring in $2,000,000, smashing box office records.
In conjunction with the London opening, Gloria Swanson performed the theme song, “Love” (also known as “Love, Your Magic Spell is Everywhere”). The song was recorded on RCA Photophone, and simultaneously relayed live by short wave to the United States - the first live transatlantic transmission by an American performer. According to Exhibitors Herald World (Sept 14, 1929), the unprecedented event required over 100 engineers stationed in four cities, London and Chelmsford in the UK, and Long Island and Manhattan in the USA. The Film Daily (Sept 9, 1929) called it “A great stunt…and [it was] hailed by RVA as a real scientific achievement.”
In the weeks following the London premier, The Trespasser had its American premier in Detroit and San Francisco. As it had in London, the film received rave reviews, and played to packed out houses.
Following an invite-only screening at the Embassy Theatre on October 3, The Trespasser officially opened in New York at the Rialto on November 1. The Film Daily (Nov 6, 1929) stated that “everybody in New York was trying to break in” to the opening. Swanson’s talkie debut was such a success that it became the first film at the Rialto to offer late night or “early morning” screenings, with 1.30am showings throughout the week, and 3am on Sundays.
The film broke the Rialto box office records, grossing $65,158 in its first week alone. The previous record holder had been The Wolf of Wall Street, which grossed approximately $58,000. Despite a previously set Rialto rule “that no picture can remain…for over six weeks,” The Trespasser ran for a total of seven, and delayed the opening of The Virginian for several weeks.
The Trespasser continued its unrivaled success around the country, and internationally. According to John Reid in Movies Magnificent, it was one of the top ten grossing films of 1930 in Australia.
Although considered lost for many years, the complete discs of The Trespasser were uncovered by the diligent work of the Vitaphone Project, and restored. The film is now available on DVD and on YouTube. And thank goodness it is.
In conjunction with the London opening, Gloria Swanson performed the theme song, “Love” (also known as “Love, Your Magic Spell is Everywhere”). The song was recorded on RCA Photophone, and simultaneously relayed live by short wave to the United States - the first live transatlantic transmission by an American performer. According to Exhibitors Herald World (Sept 14, 1929), the unprecedented event required over 100 engineers stationed in four cities, London and Chelmsford in the UK, and Long Island and Manhattan in the USA. The Film Daily (Sept 9, 1929) called it “A great stunt…and [it was] hailed by RVA as a real scientific achievement.”
In the weeks following the London premier, The Trespasser had its American premier in Detroit and San Francisco. As it had in London, the film received rave reviews, and played to packed out houses.
Following an invite-only screening at the Embassy Theatre on October 3, The Trespasser officially opened in New York at the Rialto on November 1. The Film Daily (Nov 6, 1929) stated that “everybody in New York was trying to break in” to the opening. Swanson’s talkie debut was such a success that it became the first film at the Rialto to offer late night or “early morning” screenings, with 1.30am showings throughout the week, and 3am on Sundays.
The film broke the Rialto box office records, grossing $65,158 in its first week alone. The previous record holder had been The Wolf of Wall Street, which grossed approximately $58,000. Despite a previously set Rialto rule “that no picture can remain…for over six weeks,” The Trespasser ran for a total of seven, and delayed the opening of The Virginian for several weeks.
The Trespasser continued its unrivaled success around the country, and internationally. According to John Reid in Movies Magnificent, it was one of the top ten grossing films of 1930 in Australia.
Although considered lost for many years, the complete discs of The Trespasser were uncovered by the diligent work of the Vitaphone Project, and restored. The film is now available on DVD and on YouTube. And thank goodness it is.
Motion Picture News (Oct 3, 1929)
The Trespasser is an astonishing film, and it’s easy to see why the critics were unreserved with their praise. Although light on songs, The Trespasser demonstrates that musicals do not need to be light and fluffy, or set backstage, to make effective use of music. The film features beautiful cinematography, wonderful story-telling, and thrilling performances by the whole cast.
Aside from the terrific performances, much can be attributed to director Edmund Goulding. English born, Goulding was somewhat of a Renaissance man. Not only was he a director, he was also a writer, composer, producer, actor, and sportsman. He directed films in a wide range of genres, working with some of the most highly regarded Hollywood actors including Joan Crawford, Henry Fonda, Greta Garbo, John Barrymore, Nancy Carroll, Ginger Rogers, and Bette Davis.
Goulding worked for all the major studios, and directed forty-one films – three of which were nominated for an Oscar for Best Picture (Grand Hotel won in 1932). He also wrote The Broadway Melody, one of the better musicals of 1929, which won Best Picture in 1930.
According to his biography, Edmund Goulding’s Dark Victory: Hollywood’s Genius Bad Boy, Goulding's infamous bisexuality and promiscuous lifestyle, along with his "sensitive" direction of women, led to him being labelled as a “woman’s director.” The prejudice behind this label may have been the reason Goulding was himself never nominated for an Academy Award.
Where other early talkies look like awkward stage plays, filmed front-on with little variation in camera angles, The Trespasser is wonderfully cinematic. As reported in Motion Picture News, (July 20, 1929), The Trespasser was filmed with up to ten cameras. The actors were filmed “as they moved back and forth through four and five adjoining sets, instead of having to wait for new camera and microphone set-ups for shooting each scene separately.” The use of sound is also far ahead of its counterparts.
There is little music in The Trespasser and a complete absence of underscoring. The theme song, “Love” is repeated twice; whilst Marion is on her honeymoon, and when she has come home from the opera. In the first instance Marion sings snippets of the song in the bathroom. Her singing is not a performance, but an expression of her happiness. Later, after coming home from the opera, Ferguson implores Marion to sing for him. She starts the pianola, and gives a beautiful rendition of the whole song. Swanson’s voice, much praised by the critics, is a delightful lyric soprano. The songs work to show the warmth and humanness in Marion, as well as being a thrill for audiences who had never heard her speak or sing.
The music was composed by Edmund Goulding, Elsie Janis, and Sigmund Spaeth.
Elsie Janis started out as a child performer and went on to become a highly celebrated and adored vaudeville and Broadway star. She was a talented comedian and impersonator, writer and composer, writing for stage and screen. Janis performed all over the US, in London and in Paris, and toured extensively during the First World War. Thanks to her popularity with the troops, she became known as the “Sweetheart of the AEF” (American Expeditionary Force). Janis appeared in several silent feature films and Vitaphone shorts, but following the death of her mother (with whom she was very close) in 1932, Janis chose to retire from the spotlight.
Sigmund Spaeth was an immensely prolific musician, musicologist, and teacher who became known as “The Tune Detective.” He wrote several books on the history and origins of popular songs, and hosted a popular NBC radio program, Keys to Happiness, which provided piano instruction. Spaeth’s compositions can be heard in a few early talkies, including Show Boat (1929), The Trespasser (1929), and Big Boy (1930).
Aside from the terrific performances, much can be attributed to director Edmund Goulding. English born, Goulding was somewhat of a Renaissance man. Not only was he a director, he was also a writer, composer, producer, actor, and sportsman. He directed films in a wide range of genres, working with some of the most highly regarded Hollywood actors including Joan Crawford, Henry Fonda, Greta Garbo, John Barrymore, Nancy Carroll, Ginger Rogers, and Bette Davis.
Goulding worked for all the major studios, and directed forty-one films – three of which were nominated for an Oscar for Best Picture (Grand Hotel won in 1932). He also wrote The Broadway Melody, one of the better musicals of 1929, which won Best Picture in 1930.
According to his biography, Edmund Goulding’s Dark Victory: Hollywood’s Genius Bad Boy, Goulding's infamous bisexuality and promiscuous lifestyle, along with his "sensitive" direction of women, led to him being labelled as a “woman’s director.” The prejudice behind this label may have been the reason Goulding was himself never nominated for an Academy Award.
Where other early talkies look like awkward stage plays, filmed front-on with little variation in camera angles, The Trespasser is wonderfully cinematic. As reported in Motion Picture News, (July 20, 1929), The Trespasser was filmed with up to ten cameras. The actors were filmed “as they moved back and forth through four and five adjoining sets, instead of having to wait for new camera and microphone set-ups for shooting each scene separately.” The use of sound is also far ahead of its counterparts.
There is little music in The Trespasser and a complete absence of underscoring. The theme song, “Love” is repeated twice; whilst Marion is on her honeymoon, and when she has come home from the opera. In the first instance Marion sings snippets of the song in the bathroom. Her singing is not a performance, but an expression of her happiness. Later, after coming home from the opera, Ferguson implores Marion to sing for him. She starts the pianola, and gives a beautiful rendition of the whole song. Swanson’s voice, much praised by the critics, is a delightful lyric soprano. The songs work to show the warmth and humanness in Marion, as well as being a thrill for audiences who had never heard her speak or sing.
The music was composed by Edmund Goulding, Elsie Janis, and Sigmund Spaeth.
Elsie Janis started out as a child performer and went on to become a highly celebrated and adored vaudeville and Broadway star. She was a talented comedian and impersonator, writer and composer, writing for stage and screen. Janis performed all over the US, in London and in Paris, and toured extensively during the First World War. Thanks to her popularity with the troops, she became known as the “Sweetheart of the AEF” (American Expeditionary Force). Janis appeared in several silent feature films and Vitaphone shorts, but following the death of her mother (with whom she was very close) in 1932, Janis chose to retire from the spotlight.
Sigmund Spaeth was an immensely prolific musician, musicologist, and teacher who became known as “The Tune Detective.” He wrote several books on the history and origins of popular songs, and hosted a popular NBC radio program, Keys to Happiness, which provided piano instruction. Spaeth’s compositions can be heard in a few early talkies, including Show Boat (1929), The Trespasser (1929), and Big Boy (1930).
The undeniable highlight of The Trespasser is, of course, Gloria Swanson. Several trade magazines made use of the alliterative and figurative “Glorious Gloria” in their headlines and reviews. It’s easy to see why. Swanson is utterly glorious in the role of Marion Donnell. Her performance of the hard-working, devoted mother is powerful and heart-wrenching, and her ability to portray raw emotion without falling into melodrama or cliché is truly astonishing to watch. Not surprisingly, Swanson was nominated for an Academy Award for Best Actress in a Leading Role, though Norma Shearer took the award for her performance in The Divorcee.
Mordaunt Hall was just about the only reviewer to make mention of the supporting cast, dishing out high praise to each cast member. Their performances are just as powerful as Swanson’s and deserve a mention.
Torn between his loyalty to his new wife, and his strong father, Robert Ames delivers a sincere performance as Jack. Ames was a successful stage and screen actor, and in an early stage appearance, performed in a production of the The Great Divide. He appeared in nearly thirty films, successfully transitioning to talkies. His career was tragically cut short when he died unexpectedly (possibly from alcohol withdrawal) at the age of 42 in 1931.
Purnell Pratt is charming as Marion’s older boss. He appeared in the earlier 1929 musicals On with the Show! and Is Everybody Happy?, Pratt was a prolific actor who worked on stage and screen. He worked on Broadway for nearly thirty years, and appeared in over 100 films.
Blanche Frederici is brilliant as the English nurse, Miss Potter, and I was surprised to learn she was not actually English. Frederici was a stage and screen actor, famous for playing tight lipped characters. She appeared in over sixty films, both silent and talkies, and performed on Broadway and around the United States.
Following the huge success of The Trespasser, several critics’ claimed that Swanson’s career was just beginning. Unfortunately, her star faded throughout the 1930s. She appeared in a few poorly received films, went on to perform on stage. Swanson's performance as Norma Desmond in Sunset Boulevard in 1950 was heralded as an incredible comeback. Over the course of her career, Swanson appeared in over seventy films, on television and on Broadway.
Swanson's New York Times obituary in 1983 described Swanson as “perhaps the most glittering goddess of Hollywood’s golden youth in the 1920s.”
The Trespasser is an astonishing testament to her abilities.
Mordaunt Hall was just about the only reviewer to make mention of the supporting cast, dishing out high praise to each cast member. Their performances are just as powerful as Swanson’s and deserve a mention.
Torn between his loyalty to his new wife, and his strong father, Robert Ames delivers a sincere performance as Jack. Ames was a successful stage and screen actor, and in an early stage appearance, performed in a production of the The Great Divide. He appeared in nearly thirty films, successfully transitioning to talkies. His career was tragically cut short when he died unexpectedly (possibly from alcohol withdrawal) at the age of 42 in 1931.
Purnell Pratt is charming as Marion’s older boss. He appeared in the earlier 1929 musicals On with the Show! and Is Everybody Happy?, Pratt was a prolific actor who worked on stage and screen. He worked on Broadway for nearly thirty years, and appeared in over 100 films.
Blanche Frederici is brilliant as the English nurse, Miss Potter, and I was surprised to learn she was not actually English. Frederici was a stage and screen actor, famous for playing tight lipped characters. She appeared in over sixty films, both silent and talkies, and performed on Broadway and around the United States.
Following the huge success of The Trespasser, several critics’ claimed that Swanson’s career was just beginning. Unfortunately, her star faded throughout the 1930s. She appeared in a few poorly received films, went on to perform on stage. Swanson's performance as Norma Desmond in Sunset Boulevard in 1950 was heralded as an incredible comeback. Over the course of her career, Swanson appeared in over seventy films, on television and on Broadway.
Swanson's New York Times obituary in 1983 described Swanson as “perhaps the most glittering goddess of Hollywood’s golden youth in the 1920s.”
The Trespasser is an astonishing testament to her abilities.
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