The Right Of Way/ The Truth About Youth Double Features
Frequently bought together
Customers who viewed this item also viewed
Customers who bought this item also bought
Loretta Young headlines these two pre-code Warner Bros. melodramas. Myrna Loy co-stars in THE TRUTH ABOUT YOUTH, a gripping tale about a gold-digging cabaret singer who is unaware that her latest love is penniless. Conrad Nagel is cast as Loretta Young's husband in RIGHT OF WAY, whose marriage is put through the ringer after the young man comes down with a case of amnesia.
When sold by Amazon.com, this product will be manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.
Top customer reviews
There was a problem filtering reviews right now. Please try again later.
Based on a turn of the century play, "The Truth About Youth" is a dreadful early talkie, released by Warner Brothers in 1930. The 17 year old Loretta Young stars as the daughter of the housekeeper of confirmed bachelor, Conway Tearle. Tearle is one of a trio who have been the guardians of David Manners, the orphan son of one of their pals. Manners is engaged to Loretta but obsessed with Myrna Loy, a notorious nightclub performer. The plot revolves around who exactly Loretta loves and it is creaky melodrama all the way. The acting is awful with one exception. Tearle was a matinee idol well past his prime and in spite of the blackened hair and heavy eye makeup, manages to be fairly sober in his dreadful part. Loy overacts with a vengeance, all flashing eyes, knowing looks and pouting mouth. She also performs a terrible song with some of the worst lip synching on celluloid. David Manners was always a sappy leading man and while his part gives him a little more acting room than usual, he too is terrible. Young, however, is very good, particularly in a nightclub scene when she is trying to hide her true feelings. The print of the film is very good and there are no extras.
The "Right of Way" is even worse. The credits say it is a "Frank Lloyd" production which implies Mr. Lloyd held some sway when it was released. It confirms that Mr. Lloyd deserves the obscurity he now has. The story is the unbelievably turgid tale of a lawyer, unhappily married, who is beaten up after he attempts to recover funds stolen by his wastrel brother-in-law. He is rescued by a backwoods man who co-incidentally he saved from incarceration. He is nursed back to health by Loretta Young with whom he falls in love. The climax of this morality tale is sheer "fruity melodrama." The filming is incredibly slow, the actors "enunciate" carefully, hands are wrung, eyes dart and there are even intertitles. This film is not simply old, it's a museum piece. Conrad Nagel "acts" every moment, maybe thinking he was John Barrymore, and Loretta Young's french accent comes and gos. Of all the turkies which the Warner's Archive could have resurrected, this gets the booby prize. While the print of the film is mostly good, the soundtrack is noisy and the background music impaired. There are no extras.
The set is expensive.