It's nice to finally see thos silent film version of the Eugene O'Neill play and compare it to the early talkie starring Garbo. Both feature George S. Marion as Anna's father, and having originated that role on Broadway, he knew how to play this part inside and out. Blanche Sweet is Anna, the daughter he hasn't seen in years, and after meeting the initially spiteful Marthy (Eugenie Besserer), she's ready to leave New York, feeling abandoned that Marion has apparently skipped out on her once again to go to sea.
But Marthy lied, and Anna ends up on the ship with her father and the amorous muscle man William Russell falls in love with her right from the start. Anna's past though threatens her happiness and she has to try to figure out a way of revealing her secret without losing everything.
I liked the fact that you get to see a bit of Anna as a little girl back in Sweden, although a letter from her mother's sister indicates something that obviously never happened. Still the production design is excellent and the performances all around multi-layered and quite good. No use comparing this to the 1930 film because it stands up very well with its own qualities, definitely one of Sweet's best.
But Marthy lied, and Anna ends up on the ship with her father and the amorous muscle man William Russell falls in love with her right from the start. Anna's past though threatens her happiness and she has to try to figure out a way of revealing her secret without losing everything.
I liked the fact that you get to see a bit of Anna as a little girl back in Sweden, although a letter from her mother's sister indicates something that obviously never happened. Still the production design is excellent and the performances all around multi-layered and quite good. No use comparing this to the 1930 film because it stands up very well with its own qualities, definitely one of Sweet's best.