An attractive dancer is rescued from jail by a rich man, who helps her to have her first big opportunity at a musical play on Broadway. Art Director Cedric Gibbons truly out did himself on this sumptuous set! Comedy Big mistake. The medium had reached a point where the action was silent but synchronized to a score and embellished with occasional sound effects such as knocking on doors, ringing of phones or a spoken word here and there. The film was directed by Harry Beaumont and produced by Hunt Stromberg. Female co-stars Dorothy Sebastian as Joan's faithful friend with a dark past, and Anita Page as a gold-digging shrew also shine. But let's not beat around the bush, the women in this movie are smoking gorgeous, and the guys all look sharp too. 8 out of 11 found this helpful. 0 out of 0 found this helpful. The plot is thus simplistic and formulaic, but it was very well handled by director and cast.

14 out of 20 found this helpful. At the very least it showcases an appeal that Crawford had that was completely gone by 50s. Was this review helpful? Will Ben ever see through Anne's facade and realize Diana's true worth? Both are in love with Ben Blaine, a millionaire. 7,652 feet. She's best friends with Ann, a gold-digging flapper. Was this review helpful? Was this review helpful?

But does the movie hold up to scrutiny when viewed through the old sexual politics lens? Our Dancing Daughters (lensed by George Barnes, who later shot several Hitchcock classics like Rebecca) is a rather joyous production when it isn't commenting on society and gender. There is an undercurrent of the double standard common for the time (how interesting this was made in the same year Woolf gave her 'A Room of One's Own' speeches); Dorothy Sebastian plays another character who must live down her past, and convince her husband to forgive her for it. Directed by Harry Beaumont.

If you have ever stumbled onto one of Joan Crawford's films from the 1950's such as Queen Bee or Sudden Fear, what you see is the caricature of Crawford that she herself seemed to endorse: tough, ballsy and no nonsense. Crawford's legacy would have been completely different had she simply faded away like so many stars of the late 20s and 30s did.

This late silent film with synchronized music score and sound effects made Joan Crawford a star at MGM. Written by three women, Our Dancing Daughters is an interesting example of early female empowerment, teaching women that being true to yourself is better than letting others shape you to their ends. But the younger generation couldn't get enough: they'd found their icon of Flaming Youth. The studio expected it to perform well, but there was no reason for anyone to think it would generate more than passing interest, much less a legendary star.

Wait, that wasn't the point I was going to make, which is that it should surprise nobody this film made Joan Crawford a star. Perhaps it's understandable, since there is a lot of dancing, legs, and playful kissing of guy friends to go around. The films plot is ultra simple but the picture is worth investing a little time into, especially as it portrays an era when young people first began asserting themselves through fashion. Our Dancing Daughters. Was this review helpful? What is fascinating is how completely opposite her later films are.

Both films are rather sophisticated critiques of life among society's elite, the gala balls, the flippant attitudes, and crushing realities of romance, treachery and friendship. Everything you've ever seen in old 1920s footage can also be seen in this movie. Maybe one who had his money parked on the sidelines by October 1929, mind you.

Getting back to Crawford and "Our Dancing Daughters" it's this early appealing side of Crawford that is so interesting.

Not beautiful but very pretty and that's an important distinction: Crawford connected with her female fans (and supposedly her fan mail greatly increased after this movie) because she was accessible, not an aloof, above it all beauty like Garbo. Every time I see a young Joan Crawford I'm shocked by how much her looks hardened once she entered her thirties. Silent movies showcase the intuitive genius of a lot of early filmmakers who seemed to just know what to do with these moving images. A flapper who's secretly a good girl and a gold digging floozy masquerading as an ingénue both vie for the hand of a millionaire. Diana becomes distraught for a while about the marriage of her friends with questionable pasts. 5 out of 6 found this helpful. In Our Dancing Daughters, Joan Crawford stripped to her teddy and tore into a Charleston powered by a zillion watts of sexual energy - and shocked the corsets and cravats off parents who'd heard disturbing rumblings of what their children were up to.

I'll bet not many viewers know where the moniker "FLAPPER" comes from? For a somewhat more contemporary view, take someone like Tom Hanks. Her friend Ann is thoroughly selfish and amoral. Diana (Joan Crawford) is a good girl who passes herself off as a bad girl as she too pursues Ben's affections. It was the short-lived pinnacle of a dying art form. Use the HTML below. Was this review helpful? 1 out of 1 found this helpful. He's much better in "Red Dust" and "It Happened One Night". Rather than take a class studying the 1920s, flappers, silent films, and all the roar of the decade, you can save yourself some time and rent Our Dancing Daughters instead.

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