Hellen I like the storyline of this show,it attract me so much

Cathardincu Surprisingly incoherent and boring

Sameer Callahan It really made me laugh, but for some moments I was tearing up because I could relate so much.

Bessie Smyth Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

drednm This late silent film with synchronized music score and sound effects made Joan Crawford a star at MGM. The film was a huge hit at the box office. Crawford stars as wild Diana Medford, a rich rich who is a leader in her set of young wealthy country club types. She's a real life-of-the-party type but is actually "good." Her rival is Ann (Anita Page), a beautiful blonde who has been raised as a mantrap. She's a deceitful liar just like her mother (Kathlyn Williams). There's also Bea (Dorothy Sebastian) who's made a few "mistakes" but is a decent young woman.Into this swirl of country club dances and rivalries comes a handsome young millionaire (Johnny Mack Brown) who's taken with Crawford's high spirits, but as soon as she learns how rich he is, Page moves in on him.Brown seems helpless against Page's simpering helpless act, and with the help of her grasping mother, they corner Brown into marrying Page. Crawford is devastated. Meanwhile, Sebastian's new husband (Nils Asther) is having trouble accepting his wife's "past."A year later, the marriage between Page and Brown in rocky, especially since she's now dallying with Freddie (Edward Nugent). They show up drunk at a party where Crawford is, and the sparks fly. Brown discovers exactly how he was tricked by Page and admits if was really Crawford he loved ... and still does.Things come to a violent climax.Crawford and Page are excellent. Crawford does a couple of wild dances and Page excels in a drunken hysterics bit. Brown is suitably handsome. The film is also famous for its spectacular Art Deco sets and snappy jazz baby costumes. This film established Joan Crawford as a star at MGM where she joined Marion Davies, Norma Shearer, and Greta Garbo as a queen of the lot. It also positioned Anita Page, Johnny Mack Brown, and Dorothy Sebastian at MGM as it transitioned to talkies. This is one of the great surviving flapper films from the jazz era.

McL-Cassandra Art Director Cedric Gibbons truly out did himself on this sumptuous set! Wow! Crawford and the gang spill from one stunning Art-Deco room to another. From the wallpaper and murals, to furniture and fittings, this movie is a riot of cool sleek decor. The screwball inter-title lingo alone is worth a gander. 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. I'll bet not many viewers know where the moniker "FLAPPER" comes from? Well. back in the 1920's, the VERY FIRST fashion "craze" began to spread across the youth of America and soon young ladies actually enjoyed being considered overtly wild, and loved vigorously dancing to the hip new sounds of jumping jazz music. They sported stylish short bobbed hair cuts and donned their brothers galoshes. If you're unfamiliar with galoshes, ..they are rubberized winter boots that usually fit OVER the shoe with a zipper or buckles in front to hold them in place. Well these gals decided to wear their brothers galoshes DELIBERATELY UNZIPPED/ or UNBUCKLED so that when doing the Charleston, (and other aberrant dance steps), their boots would FLAP around! They also wore dropped waist dresses to appear more straight up and down like a male and even bound their breasts to be as flat chested as possible! The whole idea was to shock society and the girls loved scandalizing their parents by trying to look like boys! Must have seemed OUTRAGEOUS at the time given that the Edwardian period was still clinging to the decade? Of course the boys egged on this behaviour and swooned over this "new" girl who seemed far more approachable and therefore touchable! Not surprising. Anyway the fad of flapping boots rather quickly faded away but the "FLAPPER" designation stuck. Our Dancing Daughters is a somewhat forced time capsule of the era but Joan Crawford gives a frantic flapper film performance for the ages.

Antonius Block The movie that launched Joan Crawford's career, and which so nicely captured some of the spirit of the flappers in the late 1920's. The scenes of her cutting loose with the Charleston amidst art deco furnishings are certainly the highlight. The plot itself is a pretty thin morality tale. Crawford and Anita Page pursue the same newly minted millionaire, who confuses who is "the pure one" and of course gets it wrong. Perhaps it's understandable, since there is a lot of dancing, legs, and playful kissing of guy friends to go around. 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. The movie is silent and not in the greatest shape anymore, but that might have added a little to its charm. It's also interesting to see the short hairstyles, cloche hats, and the dialog:Offering a drink: "Li'l hot baby want a cool li'l sip?"After a big kiss: "What a service station *you* turned out to be!"By the shoreline, to a pretty song; ah youth: "It's such a pleasant thing – just to be alive!" "You want to taste all of life – don't you?" "Yes – all! I want to hold out my hands and catch it – like the sunlight."

MartinHafer When I give this movie a score of 8, it is relative to other silents of the era. Seen today, viewers might be a little less charitable, though it is still a good and involving film.The first portion frankly did not impress me. You had lots of party animals dancing about and the wildest among these was the flapper, Joan Crawford. She was uninhibited and not exactly the girl you'd take home to meet your folks--although deep down she really was a nice girl. She and the other two ladies featured in the film were trying to balance having a good time with finding a good husband. Unfortunately, Joan didn't play the game so well--convincing the man of her dreams that she wasn't exactly pure and innocent.After Joan's love is taken, the movie moves into high gear. Up until then, the movie looked more like somewhat random film footage of flappers partying--with very little in the way of plot. However, the second half is much more plot driven and interesting. Some of this was because of how frankly the film dealt with sex for 1928 and some was because the overall messages were quite interesting. Joan, while a wild flirt, was a basically honest and decent flirt. Her rival was much more coy and "nice" but a liar through and through--leading to a dandy and rather amazing conclusion scene on the stairs (you have to see it to believe it).An excellent silent Pre-Code film, though you may notice that the film moves too fast and jerky. While this isn't always noticeable, when the people are dancing, they appear to be hyperactive, amphetamine-pumping gerbils!!! This is because someone forgot to adjust the film speed to compensate for the differing frame rates for silents (between 16 and 22 frames per second) and talkies (always 24 frames per second). If the film were restored, the film could be slowed slightly and the occasionally dirty print could be cleaned (there are some hairs stuck on the print in a couple scenes, for instance). TCM or some film archive, I hope you are reading this!!