Wikisource:WikiProject Film/Drafts/Archives/It (film)
User: PseudoSkull
File: It (1927).webm
Author: Clarence G. Badger
Publisher: Paramount Pictures
Year: 1927
PD: PD/US|1964
Note:
Cat: Drama film, Silent film
00:00
A
Paramount
Picture
00:06
Adolph Zukor and Jesse L. Lasy
present
CLARA BOW
in
AN Elinor Glyn–Clarence Badger
PRODUCTION
"it"
With Antonio Moreno
B. A. SCHULBERG
ASSOCIATE PRODUCER, WEST COAST STUDIOS
COPYRIGHT—MCMXXVII—FAMOUS PLAYERS-LASKY CORPORATION—ALL RIGHTS RESERVED
00:19
Directed
by
Clarence Badger
Photographed
by
H. Kinley Martin
PASSED BY THE NATIONAL BOARD OF REVIEW
00:26
Story and Adaptation by
Elinor Glyn
Screen play by
Hope Loring and Louis D. Lighton
Titles by
George Marion, Jr.
Editor-in-chief
E. Lloyd Sheldon
00:41
THE PLAYERS
Betty Lou . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Clara Bow | |
Cyrus Waltham . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Antonio Moreno | |
Monty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
William Austin | |
Molly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Priscilla Bonner | |
Adela Van Norman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Jacqueline Gadsdon | |
Mrs. Van Norman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Julia Swayne Gordon | |
and
Madame Elinor Glyn
00:59
"IT" is that quality possessed by some which draws all others with its magnetic force. With "IT" you win all men if you are a woman—and all women if you are a man. "IT" can be a quality of the mind as well as a physical attraction.
01:29
Waltham's
WORLDS LARGEST
STORE
02:02
Leaving his department store to his son, Cyrus P. Waltham has gone to Herrin, Illinois, for the shooting.
02:13
"A gentleman to see you, sir."
02:26
GOOD
LUCK
02:50
"For a good boy—on his first work day."
02:56
"If you ever go to work, Monty, I'll do as much for you."
03:20
03:27
[...] who is divinely good-looking has not "IT" at all. Do you gather what I mean, Grannie? >/b "'IT' is that peculiar quality which some persons possess, which attracts others of the opposite sex. The possessor of 'IT' must be absolutely un-selfconscious, and must have that magnetic "sex appeal" which is irresistible. >/b "It is a magnetic and peculiar force, and you know it as soon as you come in contact [...]
03:49
[...] and a fearless unconquerable flash in the eye which reveals that "IT" is part of his character. >/b Mothers spoil boys with "IT" — women never refuse them favors! >/b But the quality of "IT" is something that is never unrecognizable, even though its pos-
04:18
"Old fruit, you've got 'IT'!"
04:52
"What the devil are you doing?"
05:03
"No—too bad—but you haven't any 'IT'!"
05:12
"Run away, Monty, the keepers are coming."
05:23
"I'm to look over the store. Come along."
06:07
"Hot socks—the new boss!"
06:29
"Sweet Santa Claus, give me him!"
06:35
"Let's have a double wedding—you and him—and me and the Prince of Wales!"
06:46
"Where do you figure? The Prince is going to be our best man!"
06:57
"I've inspected all the lady employees—and not one of them has 'IT'!"
07:34
"You went over big, dearie!"
07:39
"Just you wait—I'll take the snap out of your garters yet!"
08:41
"Look! If I ever saw 'IT', that's 'IT'!"
09:46
"Shall we gnaw a chop at the club tonight?"
09:52
"Thanks, but I have an engagement at the Ritz."
10:54
"Could I—is it asking too much—would it be possible for me to—to drive you home?"
11:07
"I'd be very glad to go with you—if you'd ride in my car."
11:47
Betty lived in that fashionable downtown suburb—Gashouse Gables—
12:08
"Would—could—do you ever dine?"
12:18
"I'd love to—"
12:21
"—at the Ritz!"
12:29
"Shall we dress?"
12:32
"Of course—how absurd!"
12:38
"Then I'll pop around at eight?"
14:06
"Toodles is hungry."
14:16
"The doctor says I can't go back to the store for a month—and I can't let you do any more for me."
14:32
"Don't be sill, Molly! I won't go back on a pal!"
14:39
"That pest of a landlady and her friend just left. The baby shouldn't do this—and I shouldn't do that—"
14:52
"If this was my baby, I'd tell 'em where to head in!"
15:01
"I'm dining out tonight—at the Ritz!"
16:36
Every evening in America, eighteen million blondes prepare to dine with gentlemen. One of the eighteen million—
17:09
"Mother, would you approve of my being Mrs. Cyrus T. Waltham?"
17:20
"He hasn't proposed yet—but he's going to!"
18:16
WALTHAM'S
Charming New Dresses at $11.50
19:14
"Mademoiselle's car is without."
19:59
"A nice, quiet table—in the corner, Mr. Montgomery?"
21:00
"I don't crave this table. When I'm in the swim, I want to be with the goldfish!"
21:55
POTAGES
Soup cressonnière . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
2.00 | |
Perles lu Japon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
2.00 | |
Consommé, Croûte au pot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
2.00 | |
Fromage râpé . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
2.25 | |
HORS-D'ŒUVRES
Salade de concombres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
4.50 | |
Salade de Museau de bœuf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
4.00 | |
Harengs, rolmopps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
4.00 | |
Saucisson de ménage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
3.00 | |
Radis roses au beurre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
3.00 | |
Andouille fumée . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
3.00 | |
Anchois de Norvège . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
3.00 | |
22:12
"I'll take the same!"
22:26
"Who is the girl with Monty?"
22:32
"I don't know—but isn't she attractive?"
22:44
"Who's the blonde with Mr. Waltham?"
22:50
"Adela Van Norman—they've been friends for years. Some day they'll marry and end it all."
23:25
"Of course you're reading Elinor Glyn's latest story, 'IT'?"
23:33
"Monty was raving about it today. What is 'IT'?"
23:47
"Here's Elinor Glyn herself! Let's ask her to tell us something about 'IT'."
24:10
"Madame Glyn, we've been talking about your latest story. Just what is this 'IT'?"
24:20
"Self-confidence and indifference as to whether you are pleasing or not—and something in you that gives the impression that you are not all cold. That's 'IT'!"
24:32
"If you have 'IT', you will win the girl you love."
24:43
"Cyrus, do you believe in 'IT'?"
24:55
"I certainly do!"
25:22
"I'm going to get my wish!"
25:38
"Oh, I must telephone!"
26:09
"Who is that charming girl with you?"
26:38
"This is a great pleasure."
26:46
"I'll bet you won't even recognize me, the next time we meet."
26:56
"I'll take the bet—and you can name the stakes."
27:33
In a shopgirl's day, the first thousand customers are the crabbiest.
27:50
"She always takes goods on approval—wears them around for six months—and then finds she doesn't approve!"
28:15
"—and the girl insulted me!"
28:31
"See that the garment is replaced—and send the salesgirl to my office."
29:29
"Young lady, in this store the customer is always right—"
30:03
"I'm the salesgirl! Go on—bawl me out!"
30:18
"Well, anyway, I lose the bet for not recognizing you. What's the forfeit?"
30:25
"Oh, that wasn't a real bet. I don't want anything—"
30:39
"Thanks, Adela, I'll be very happy to dine with you tonight."
31:04
"If you insist on paying your bet, you can take me out tonight."
31:11
"All right! Where?"
31:16
"Let's go to the beach—and do it up right!"
31:48
HOT DOGS!
THAT
Sizzle AND Satisfy!
Best ON THE Beach!
32:30
FUN
HOUSE
32:33
SOCIAL MIXER
33:34
"Hold me tight, Mr. Waltham."
34:33
"Happy?"
34:41
"So you're one of those Minute Men—the minute you know a girl you think you can kiss her!"
35:47
Poverty is no disgrace——until meddling neighbors hear of it.
36:02
"There's no use arguing! We're going to take that baby to the Home, until you're well!"
36:45
"Get that story."
37:07
"If women like you would stay home and have babies of your own, we'd all be better off!"
37:16
"We're doing our duty. The mother is ill—and she has no means of support."
37:27
"This is my baby!"
37:34
"I don't believe it."
37:37
"I'm the baby's mother—I'm not sick—and I've got a job! Laugh that off!"
37:58
"Haven't I a job, Monty—at Waltham's? Tell 'em!"
38:13
"Is that the baby's father?"
38:19
"Him? He couldn't even give birth to a suspicion!"
38:28
"Who is your husband? Have you a husband?"
38:37
"None of your business!"
39:01
"I say, Betty, this isn't really your child, is it?"
39:12
"Are you blind? Can't you see the resemblance?"
39:46
[...] and I was not able to wave. >/b Will you forgive me for the other night, Betty, and go to the theatre this evening? I promise not to misunderstand again. >/b so do [...] in any case [...]
40:09
"I have tashted the milk of human kindnesh—an' it's a lot of Fermillac!"
40:21
"B'lieve it or not—my baby is its mother!"
40:28
GIRL MOTHER BATTLES
BITTERLY FOR BABE
LIKE TIGRESS AT BAY, ROUTS
WELFARE WORKERS
Within the drab walls of a second-floor flat on Nolan Street, [...]
40:42
[...] session of the tiny child. >/b A man about town, clad in the height of fashion, testified that the girl had ample means and was able to meet all obligations in connection [...]
40:55
"I'm the chappie—the man about town—I'm the ample means!"
41:10
PRIVATE
41:19
"We are investigating the case of a girl who says she's employed here—"
41:27
"—she—she—there's a baby."
41:35
"She gave the name of Betty Lou Spence."
41:53
[...] floor flat on Nolan Street, the young mother clasped her babe to her bosom and defied all who sought to gain possession of the tiny child.[1] >/b A man about town, clad in [...]
42:24
"Thank you. You see, we had to verify her story."
42:39
"She's the one. She told me it's her baby—told me with her own lipsh!"
43:01
"Will you issue the bonus checks now, Mr. Waltham?"
43:49
Betty Lou Spence
ASSURED
TWENTY
DOLLARS
IN
45:13
"Are you mad at me because I slapped you?"
45:35
"I'm sorry—but a girl has to do that. You know how those things are!"
45:51
"Let's forget it. We've got each other straight now, haven't we?"
46:04
"Yes—we have!"
46:28
"It's a star sapphire."
46:37
"It's pretty—but I like diamonds better."
46:47
"Would you like some diamonds for yourself?"
47:16
"Betty, I'm crazy about you—"
47:34
"I love you, too."
48:01
"I'll buy you diamonds—clothes—everything you want—"
48:29
"What are you trying to do? Offer me one of those left-hand arrangements?"
48:43
"I'm crazy about you! Isn't that enough?"
49:00
"I suppose that's what you men call love!"
49:23
"Cancel my appointments, please. I'm leaving town for a week."
49:47
Betty was too poor to quit her job—and too proud to stay. So she quit!
50:13
The Daily News Dispatch
FEMALE HELP WANTED
—Must be experienced, neat ⟨appearing⟩
51:23
"I—I've come to forgive you."
51:45
"You don't mean you thought the baby was really mine?"
51:56
"There's its mother! Can't you see the resemblance?"
52:21
"What a joke on Waltham—I told him it was your baby!"
52:38
"He thought it was mine?"
52:52
"And he wouldn't even give me the benefit of the doubt!"
52:13
"I'll make him propose to me—and when he does, I'll laugh in his face! And you're going to help me do it!"
53:27
"But—he's going on a yachting cruise and—and I'm going with him!"
53:43
"Fine! I'll yacht with you."
53:54
"But, I say—what about your clothes?"
54:01
"That's the joke on you—you're going to buy them for me."
54:18
"Give me your word you won't tell him—anything!"
55:21
"Is Mr. Waltham aboard?"
55:24
"Not yet, sir."
55:30
"The party's off. We might as well go back."
55:39
"Oh no, sir! Mr. Waltham's expecting you—he'll be here any minute."
55:51
"Shall I show you to your cabins?"
56:25
"Something I can get for you, Mr. Montgomery?"
56:32
"No, thanks—I'm just prowling about."
56:51
"Just going for some—some—cigars."
57:14
"Everything ready, Captain?"
57:25
"Let's get under way."
57:45
"I'm not feeling so well."
58:22
"Tea, sir?"
58:35
"Feeling better, Monty?"
58:39
"I feel so low, old chap, that I could get on stilts and walk under a dachshund!"
58:55
"Shall I call Miss Van Cortland, sir? She's in her cabin."
59:13
"I say, I almost forgot about Miss Van Cortland."
59:22
"Miss Van Cortland—the—the girl I asked when you asked me to ask someone."
59:42
"Monty, who is Miss Van Cortland?"
59:50
"You—you tell them, old thing."
1:00:00
"She's a very nice girl. I—I believe Monty met her in Paris last summer."
1:00:21
"You idiot! Who is this girl?"
1:00:28
"She's a ripping sort, really! She's positively topheavy with 'IT'."
1:00:51
"Oh, Monty, am I late for tea? I'm so sorry."
1:01:25
"Mr. Waltham! It's been years, hasn't it?"
1:01:40
"Won't you have some tea?"
1:02:17
"Haven't I seen you some place?"
1:02:24
"In Paris, perhaps. I'm there so often."
1:02:37
"Desirez-vous du sucre?"
1:03:29
"What do you mean by bringing her?"
1:03:45
"You know what sort she is—with her fatherless child!"
1:03:53
"But, I say—it isn't fatherless—"
1:04:06
"I won't have her on board! We'll put back to port."
1:04:45
"Do you think we'll have as nice a day as this all day, Captain?"
1:05:06
"That's the last time I'll get you out of a scrape!"
1:05:58
"Miss Van Cortland seems to be rather lacking in reserve, doesn't she?"
1:06:09
"Personally, I think she has plenty—in reserve!"
1:06:43
"Betty, I've something to say to you."
1:06:52
"Won't it wait until morning?"
1:07:01
"I've been thinking things over, Betty. I want to talk to you—seriously."
1:07:10
"Be serious—with you? How silly!"
1:07:26
"I don't care what you've been—I want you to marry me!"
1:07:40
"I'd rather marry your office boy!"
1:08:30
"He asked me—and I laughed at him—and now it doesn't seem so darned funny, after all!"
1:09:18
"It was a ghastly joke, old man—her baby's just a moth—I mean a myth!"
1:09:32
"It's her friend's baby! And she's crying for you—I mean Betty, not the baby—"
1:09:41
"But you said yourself it was her baby—"
1:09:53
"Take the wheel, Monty—I'm going to find her."
1:11:06
"The ballast has shifted to port, sir—but there's no danger!"
1:11:29
"Silly of me, but I'm afraid I overdid it—made a left-hand turn and what not—"
1:12:08
"Take your girl friend. I had to knock her cold—but maybe it'll do her good."
1:12:31
"Betty, where are you going?"
1:12:37
"I'm going home!"
1:12:49
ITOLA
1:13:00
"Monty will get you."
1:14:39
"Monty, I wonder if there's anything between them?"
1:14:54
"I'm afraid there is."
1:15:03
"We're just a couple of It-less 'ITS'!"
IT
THE END
Paramount
Picture
FAMOUS PLAYERS-LASKY CORPORATION
- ↑ While the newspaper at 40:42 is the same newspaper as this one according to the film's story, the prop designers clearly used two different papers for these two shots. This is clear because 40:42 gives "[pos]session of the tiny child." and this one ends in "[posses]sion of the tiny child." (Wikisource contributor note)