Though it's hardly a matter exclusive to this title, within the silent era or beyond, there's something to be said for the fact that this feature plays very fast and loose with its conceptions of peoples and cultures outside the purview of white western Europe, including a degree of both condescension and dubious fetishizing (especially as to titular "siren" Papitou). Furthermore, whether or not one is a fan of cinema of the timeframe I don't think there's much disputing that the acting, and more so the scene writing and plot development, is marked by a tinge of forthrightness that reflects a somewhat common description of older movies as "simpler entertainment for a simpler time." Be all that as it may, however, even keeping these qualities in mind, I believe the strengths of the picture well outweigh any subjective faults or weaknesses. In fact, even with such marginal issues, I think this rather stands just as tall if not taller than many of its contemporaries. 'Siren of the tropics,' or 'La sirène des tropiques,' may not be an absolute must-see, but this is surprisingly well-rounded and entertaining, and holds up pretty well even almost 100 years later.
Writer Maurice Dekobra penned a story that's earnestly engaging and compelling, with welcome nuances and multiple detailed facets that are all important to the whole. Characters feel a tad more fleshed out than we've seen elsewhere (again, silent era or otherwise), and the scene writing is thorough and robust both in building the narrative and in keeping viewers invested with action, drama, and character moments of significance. There are distinct airs of colonialism and racism coursing through the tale as part and parcel of it (and how this dovetails into values of the 1920s, particularly in regards to race, well, that's a longer discussion), but more substantial still are themes of love, manipulation, exploitation, underhanded scheming, and hard-boiled determination - culminating, of course, in requital, the triumph of the good and virtuous over those of ill intentions, and hearts prevailing. Truly, Dekobra fashioned a strong screenplay, and filmmakers Mario Nalpas and Henri Étiévant, co-directing, did a fine job of realizing that screenplay with an unexpected vibrancy, infusing a minor sense of adventure and low-key thrills into this drama. The direction may not be entirely remarkable, but the pair orchestrated shots and scenes with a keen attentiveness to all the moods the saga carries in turn, including of course romance and light humor. Kudos all around!
All this excellence is furthered by the capable contributions of both cast and crew. It's very noteworthy that this marks the film debut of Josephine Baker, an icon both on-screen and off, and she gives a wholehearted, energetic performance that's altogether invigorating. Co-stars including Pierre Batcheff, Regina Thomas, or Kiranine may not completely stand out as much, but still everyone involved demonstrates fine acting skills of range and physicality (if flavored to an extent by the more straightforward tack of silent film-making). Moreover, 'Siren of the tropics' looks great from top to bottom, making use of superb filming locations, sets, costume design, and hair and makeup. Those few stunts and effects that are employed look terrific, not to mention aspects of choreography. And still we're not quite done, because there's one thing more: yes, as stated, in some measure the movie capitalizes in an unfavorable fashion on race, tawdrily misusing or abusing Baker as a woman of color. Yet I don't think there's much disputing that, if unevenly, 'Siren' also takes time to meaningfully elevate Baker as a black woman by the same token. She's the first black woman to be given a major, starring role in a major motion picture; though Papitou is written with stereotypes in part, she's also granted agency and personality befitting an actual lead character. The feature even smartly, cheekily takes a knock at those conventions that put white actors in blackface, earning the biggest laughs of these ninety minutes - and wittingly or not, slyly connotes how white culture pointedly steals from black culture. And through it all, Baker dominates with a presence that far outpaces that of anyone else in front of the camera.
Beyond even what I've already mentioned it can hardly be said that this is totally perfect, as the narrative ultimately follows a thrust that's kind of tiresome specifically for the way that the key character is undervalued. Nonetheless, what the title does well and gets right notably outweighs what it does less well, or gets wrong. Characterized by admirable writing, direction, acting, and craftsmanship, and leaping out not least with Baker's newborn star power, this isn't 100% essential, but it earns a high, solid recommendation, and is well worth anyone's time. 'Siren of the tropics' is well balanced between the good and the questionable, and in all elements of the storytelling, and above all is really fun. Both on its own merits and as a bit of a landmark in cinema, this is a classic that deserves recognition and remembrance.
Writer Maurice Dekobra penned a story that's earnestly engaging and compelling, with welcome nuances and multiple detailed facets that are all important to the whole. Characters feel a tad more fleshed out than we've seen elsewhere (again, silent era or otherwise), and the scene writing is thorough and robust both in building the narrative and in keeping viewers invested with action, drama, and character moments of significance. There are distinct airs of colonialism and racism coursing through the tale as part and parcel of it (and how this dovetails into values of the 1920s, particularly in regards to race, well, that's a longer discussion), but more substantial still are themes of love, manipulation, exploitation, underhanded scheming, and hard-boiled determination - culminating, of course, in requital, the triumph of the good and virtuous over those of ill intentions, and hearts prevailing. Truly, Dekobra fashioned a strong screenplay, and filmmakers Mario Nalpas and Henri Étiévant, co-directing, did a fine job of realizing that screenplay with an unexpected vibrancy, infusing a minor sense of adventure and low-key thrills into this drama. The direction may not be entirely remarkable, but the pair orchestrated shots and scenes with a keen attentiveness to all the moods the saga carries in turn, including of course romance and light humor. Kudos all around!
All this excellence is furthered by the capable contributions of both cast and crew. It's very noteworthy that this marks the film debut of Josephine Baker, an icon both on-screen and off, and she gives a wholehearted, energetic performance that's altogether invigorating. Co-stars including Pierre Batcheff, Regina Thomas, or Kiranine may not completely stand out as much, but still everyone involved demonstrates fine acting skills of range and physicality (if flavored to an extent by the more straightforward tack of silent film-making). Moreover, 'Siren of the tropics' looks great from top to bottom, making use of superb filming locations, sets, costume design, and hair and makeup. Those few stunts and effects that are employed look terrific, not to mention aspects of choreography. And still we're not quite done, because there's one thing more: yes, as stated, in some measure the movie capitalizes in an unfavorable fashion on race, tawdrily misusing or abusing Baker as a woman of color. Yet I don't think there's much disputing that, if unevenly, 'Siren' also takes time to meaningfully elevate Baker as a black woman by the same token. She's the first black woman to be given a major, starring role in a major motion picture; though Papitou is written with stereotypes in part, she's also granted agency and personality befitting an actual lead character. The feature even smartly, cheekily takes a knock at those conventions that put white actors in blackface, earning the biggest laughs of these ninety minutes - and wittingly or not, slyly connotes how white culture pointedly steals from black culture. And through it all, Baker dominates with a presence that far outpaces that of anyone else in front of the camera.
Beyond even what I've already mentioned it can hardly be said that this is totally perfect, as the narrative ultimately follows a thrust that's kind of tiresome specifically for the way that the key character is undervalued. Nonetheless, what the title does well and gets right notably outweighs what it does less well, or gets wrong. Characterized by admirable writing, direction, acting, and craftsmanship, and leaping out not least with Baker's newborn star power, this isn't 100% essential, but it earns a high, solid recommendation, and is well worth anyone's time. 'Siren of the tropics' is well balanced between the good and the questionable, and in all elements of the storytelling, and above all is really fun. Both on its own merits and as a bit of a landmark in cinema, this is a classic that deserves recognition and remembrance.