User Reviews

Earlier in the century, Mary Pickford made a ton of short films for Thomas Ince and D.W. Griffith. They were well made for that time period, but frankly, today they are rather preachy and simplistic. The truly great films Pickford was to make wouldn't be made until the late teens and 1920s. AMARILLY was made just before all these amazing full-length films. She was definitely a star, but was just on the verge of mega-stardom. You can easily see that this film has much of the style of these later films but isn't quite the same stellar quality. Because of this, I see it as a bit of a transitional film. For her best stuff, try watching DADDY LONG LEGS (just one year later) or her great films of the twenties (such as SUDS, MY BEST GIRL and SPARROWS).

AMARILLY is a moralistic story due to its direction and style. The film cuts back and forth between the sweet but poor folks (Amarilly and her family) and the stuck up rich folks. It is all very "black and white" and really wasn't subtle at all. Such a style would be all but dead by the twenties--it was just too preachy and unrealistic.

Amarilly is dating a guy for three years in the most chaste relationship in film history--three years and not even a kiss between them!! However, a shallow rich guy discovers this plucky girl (is Pickford anything other than plucky??) and he is captivated by her. Eventually, he even wants to marry her but it all falls apart because his rich aunt and her friends look down on Amarilly and her family's simple ways. In the end, she goes back to her sweet boyfriend and lives happily ever after--thus illustrating the message that people should stick to their own social class!

Overall, it is entertaining but I don't recommend it to those who aren't acquainted with Pickford's work. That's because the film isn't particularly artistic or well made by later Pickford standards. Try watching the films I previously mentioned first. For those who are familiar with her films, then by all means see this movie--it is worth seeing and entertains.

"Amarilly of Clothes-Line Alley" is a somewhat interesting film technically and is rather representative of its times. Francis Marion and Mary Pickford departed from Pickford's persona as a child character for this one, which I consider a good thing. And, Marion's scenario involving two characters from opposing social classes, two story-lines that begin separately but are destined to collide, is something that was becoming more common in cinema as a means of making social commentary. The rapid crosscutting, in addition to the extensive scene dissection (changes of camera placement within a scene), was also cutting edge.

The print quality isn't the best now, the look of the images (the tinting and such) probably alters too frequently, and the editing and construction seems rather unpolished at times, but the film does remain fresh today compared to the slower films from around this time and before. This film isn't especially innovative in any of this, as D.W. Griffith probably deserves the most credit, but it is representative of the way Hollywood films were going. Future films would be less hasty in their montage, creating images that are more lasting.

The social commentary isn't particularly enlightening: the rich ones come off badly, and the film mostly explores contrasts. Much in the intertitles is vernacular, too. Nevertheless, "Amarilly of Clothes-Line Alley" is entertaining enough, although the film's conclusion is odd, including Marion drawing attention to herself as the film's author. That was more up fellow screenwriter Anita Loos's alley; she unraveled Douglas Fairbanks's (soon to be Pickford's husband) comedies in clever, self-referential ways. Anyhow, Pickford is fun to watch as a lower-class hoyden in her lighter vehicles, and Kate Price is especially amusing in the supporting role of her mother in this one.

Mary Pickford gives a most delightful performance in this story about a young girl living with her mother and younger brothers. Her mother is an Irish laundrywoman and supports the family by taking in wash, while Amarilly is a working-class girl who works hard scrubbing and cleaning. When the theater she cleans is burnt down, Amarilly takes a job as a cigarette girl at the popular Cyclone Cafe, where her boyfriend works as a bartender. When a wealthy young man is injured during a brawl at the Cafe, the caring Amarilly takes him home to nurse his wounds. Unfortunately Amarilly's beau misunderstands and believes she is in love with the wealthy fellow. The young man is very interested in the spunky girl and offers her a job cleaning his apartment, where his rich, snobby Aunt takes it upon herself to experiment with Amarilly, and tries to teach her high-class manners needed to live among the wealthy high-society. Knowing her nephew is in love with Amarilly she invites her family to a social party to embarrass the girl. Amarilly is proud of her hard-working Irish family and always having good sense, she realizes she will always be a great deal happier married to the Irish lad she loves. This story works so well due to the charming script written by Frances Marion that is enhanced by director Marshall Neilon's typical clowning humour. The conflicts dealing with the upper class reformers in this story are cleverly examined with light comedy and satire. Pickford gives an especially lovely performance, along with Kate Price who is extremely delightful as the Irish mother. All of the supporting actors deserve praise for the fine performances they give of their characters. I really enjoyed this story of a young girl who gives up the opportunity to marry into wealth, and stays faithful and proud in the end to her one true love. Amarilly of Clothes-Line Alley is one of Mary Pickford's underrated gems, but stands out as one of her most brilliant films. I highly suggest this film is worth watching.