Woman to Woman (1929) Review: The Good, The Bad & How to Watch

 

 Woman to Woman (1929) Review: The Good, The Bad & How to Watch 

British Film, Drama, Romance

Early All-Talkie Film

The 1929 British drama Woman to Woman stands as a poignant example of the early "talkies" era, a time of cinematic transition as the industry embraced synchronized sound. Directed by Victor Saville, the film is a sound adaptation of Michael Morton's 1921 stage play of the same name and is also a remake of a now-lost 1923 silent film version. More on Wikipedia or Mubi

The story centers on a heart-wrenching romantic dilemma set against the backdrop of the First World War. Betty Compson stars as Deloryse, a French dancer and cabaret artist, often known by the stage name Lola. During a brief leave from the trenches in Paris, British officer David Compton, played by George Barraud, meets Deloryse. Their connection is immediate and passionate, leading to a hasty proposal of marriage. However, fate intervenes when David is suddenly recalled to the front, unable to return to Deloryse or complete their wedding plans.

The Tragic Romantic Triangle of Woman to Woman (1929)

The conflict deepens dramatically when David suffers shell shock in battle, resulting in complete amnesia regarding the last four years—wiping all memory of his time with Deloryse from his mind. Believing he is still single, David returns to his wealthy, privileged life in England and marries Vesta Compton, a British socialite portrayed by Juliette Compton (George Barraud's real-life sister). Vesta is characterized as cold and unwilling to have children, leaving David deeply unhappy in their separate, affluent lives.

Years later, the two worlds collide when Vesta arranges for the now-famous Deloryse/Lola to perform at one of her London charity events. While on stage, Deloryse spots David in the audience. In a powerful, dramatic moment, she sings the same song from their brief Paris romance. The melody and the sight of her trigger a devastating flashback, restoring David's memory and forcing him to confront the truth of his forgotten love and the secret Deloryse has kept: the son, Davey, conceived during their wartime liaison.

The film reaches its emotional peak in the confrontation between the two women—Deloryse and Vesta—the core dynamic implied by the title. David, longing for the son Vesta refuses to acknowledge or adopt, plans to leave his wife for Deloryse. However, the childless Vesta attempts to persuade Deloryse to renounce David, arguing that their scandalous union would not only ruin David's standing in society but also forever taint their son with the stigma of illegitimacy.

Ultimately, Deloryse, facing a serious heart condition that prohibits the strain of performing, makes the ultimate sacrifice. She gives up her son to David to ensure his future and tragically dies after one last performance. The 1929 version preserves the central plot device of amnesia, which was introduced in the 1923 silent film to avoid the censorship issues surrounding the adultery present in the original play.

Woman to Woman offers a fascinating glimpse into the nascent sound era, featuring performances that critics noted were often quite "stagey" due to the new requirements of the microphone. Nonetheless, it remains a surviving example of early sound cinema, telling a powerful, melodramatic tale of love, duty, and sacrifice.

 The Good and the Bad of Woman to Woman (1929)

As a product of the transitional period in cinema, the 1929 all-talking British drama Woman to Woman possesses both significant historical value and certain drawbacks common to early sound films.

The Good: Melodrama and Historical Significance

• Emotional Intensity and Sacrifice: The film offers a powerful, tear-jerking melodrama centered on profound personal sacrifice. The character of Deloryse/Lola (played by Betty Compson) makes the ultimate tragic choice—giving up her son and performing one last fatal dance—which elevates the story’s emotional stakes and delivers a potent dramatic punch.

• Betty Compson's Performance: Compson, reprising her role from the lost 1923 silent version, was often singled out for her compelling portrayal. She successfully navigates the technical challenges of the new sound era while conveying the character's depth of emotion, both as the passionate cabaret dancer and the heartbroken mother.

• Early Sound Cinema Milestone: The film is a valuable surviving example of a British "talkie." It demonstrates the early adoption of synchronized sound and the complex production efforts of the time, produced by Gainsborough Pictures and Tiffany-Stahl Productions.

• Costume and Set Design: Certain production elements, particularly Deloryse's opulent cabaret costumes and the atmospheric Parisian settings, were noted for their lavishness and artistry, showcasing a cinematic effort to compete with the spectacle of its American counterparts.

The Bad: Technical and Performance Limitations

• "Stagey" Acting and Static Camera: This is the most frequently cited criticism of early talkies. Because sound equipment was bulky and microphones were sensitive, actors had to remain close to the recording devices, resulting in static camera work and overly theatrical, wooden performances. The acting often felt more suited to the broad gestures of the stage than the subtlety of the screen.

• Melodrama and Amnesia: While the plot is emotionally engaging, the central conceit—the officer's complete amnesia from shell shock—is an extreme plot device used to sanitize the story for censors (avoiding the topic of pre-marital infidelity from the original play). This device is often viewed as dramatically flimsy and overly contrived.

• Flimsy Characterizations: Outside of Deloryse, some supporting characters, such as the distant and cold society wife Vesta, are thinly characterized. The drama relies more on the grand tragic events than on deeply developed or realistic personalities.

• Dated Elements: The movie's style, including certain musical numbers (like Deloryse's "snake charmer" dance), are reflective of the 1920s aesthetic and may appear awkward or dated to a modern viewer.
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