Silent Film of the Month: Tillie's Punctured Romance (1914)

 

Run Time: 82 minutes. Studio: Keystone. Director: Mack Sennett. Writer: Hampton Del Ruth. Based off of the stage play Tillie's Nightmare by Edgar Smith and A. Baldwin Sloane. Producer: Mack Sennett. Cast: Marie Dressler, Charlie Chaplin, Mabel Normand, Mack Swain, Charles Bennett, Douglas Banks, Chester Conklin, Edgar Kennedy, Charles Parrott, Glen Cavender, Harry McCoy, Phyllis Allen, Gordon Griffith, Rube Miller, Billie Bennett, Frank Opperman, Nick Cogley, Fritz Shade, Morgan Wallace, Charlie Murray, Minta Durfee, Hampton Del Ruth, Hugh Saxon, Fred Fishback, Ted Edwards, Hank Mann, George "Slim" Summervillie, Al St. John, Edwin Frazee, Bill Hauber, Dan Albert, Billy Gilbert, Robert Kerr, Alice Howell, Eva Nelson, Dixie Chene, Wallace McDonald, Alice Davenport, Eddie Nolan, Grover Ligon, Josef Swickward, Frankie Dolan, Dick Smith, Meiklejohn and Hazel Allen, Helen Carruthers. 

Often referred to as the first feature length comedy, Tillie's Punctured Romance is far from an obscure film. Yet at the same time, I often feel that it gets too overlooked. Many tend to just view it as a footnote in film history. Even with Charlie Chaplin in it, dedicated Chaplin fans tend to not discuss this movie and instead prefer to look at Chaplin's later features that he directed and wrote. This may not be on the same level as such masterpieces as The Gold Rush (1925) or City Lights (1931). However, it is a comedy that is over a century old and is still quite entertaining. That definitely accounts for something.

In this film, a con man (Charlie Chaplin) from the city tricks a naïve country woman (Marie Dressler) to flee to the city with him. As soon as the con man gets her money, he leaves her flat. When he discovers that the woman is heir to a large fortune, he comes back to her having had "a change of heart."

The storyline for this film is pure melodramatic hokum. This is not by accident nor is this lazy writing. From its very start the Keystone studio made short films that were parodies of melodramas, using these familiar storylines that were often taken seriously and use them as an excuse for slapstick comedy. It is no wonder that the studio's first feature length movie would also parody melodramas. Adapting the stage play Tillie's Nightmare was a perfect idea for the studio's first feature length movie as the stage play didn't take these melodramatic conventions very serious either. 

For fans of silent comedy, this movie is a delight. Of course, one of the treats is to see so many silent comedy greats in one film. Cinephiles can have a great time seeing just how many silent comedy stars, they can catch and name. Another delight is to see Charlie Chaplin play against type. He is wonderful as the villainous conman here. His performance is a bit more over the top than he often is as his famous Tramp character. However, this is just what the movie calls for, and he does a great job. He commands the screen every time he appears. 

While most of the gags here may not be as laugh out loud funny as some later silent comedies, many of them do get some good chuckles and there is a great sense of comic momentum that lasts through the whole movie. Many of these gags may be simplistic and crude but they are delivered with such dedication, and zest that they actually work. There is such a lighthearted playful spirit here, that even when you don't laugh at a gag, you still enjoy it. The comedic highlight however is the whole climatic chase with the Keystone Kops getting involved. This chase is silent comedy making as its finest. There are so many slapstick gags in this finale and many of them are quite funny and creative. This climatic scene alone would make this movie essential watching for silent comedy fans. 

Another creative and charming scene involves Charlie Chaplin and Mabel Normand's characters sitting in a movie theater watching a film that greatly resembles what has been happening in their lives. This scene is not especially funny, but it is still delightful. I have always been a sucker for a well-used film in a film, and this is an early example of just that. Not only is the film in a film quite entertaining in its own right but it is a delightfully fun and creative way to express what is going on the characters' minds.  For cinephiles, it is also a delight to get a glimpse into what the movie going experience was like in the 1910's.

The play, Tillie's Nightmare, itself was very popular. At the Herald Square Theatre (1331 Broadway (29 W. 35th St.), New York, NY), it ran from May 05, 1910, to Jul 09, 1910. At the Manhattan Opera House (30 Lincoln Center Plaza, New York, NY) (now Manhattan Center), it ran from Dec 18, 1911, to Dec 23, 1911.  Director, producer and studio head, Mack Sennett stated in his autobiography, King of Comedy, that scenario editor Craig Hutchinson had suggested to make an adaption of the play. The play was a musical, well-known at the time for the song Heaven Help the Working Girl, and naturally a lot had to be changed from stage to screen. Sennett recalled that Hampton Del Ruth and a team of other writers used only the play's story as a loose guideline.     

The star of stage play was Marie Dressler. Dressler was a very popular stage actress, and Tillie's Nightmare had been her greatest stage success. Mack Sennett mostly planned to fill the movie's cast with Keystone regulars, but he did want Dressler to reprise her role on screen. This had not been Sennett's first interaction with Dressler. When Sennett was a young novice in the entertainment industry, Dressler had helped the young man. She wrote him a letter of introduction to David Belasco (a popular theatre producer and playwright). Later Sennett would claim that Dressler moved to California to make this movie. Dressler however denied such claims, stating that she moved to California because of her nerves after a recent failure in her stage career.  

Sennett would meet Marie Dressler outside a movie theater. They agreed to meet a hotel to discuss the film project. During the hotel meeting Marie Dressler agreed to work for $2,500 a week (for comparison Charlie Chaplin was being paid $200 a week). During this meeting there seemed to be a verbal agreement that Dressler would own half the film and her husband, James Dalton, would distribute it. This is not how things worked out. Though Sennett was in charge of the studio's production, the Keystone company was actually created and owned by Adam Kessel and Charles Bauman from the New York Film Company. Kessel and Bauman would sell the distribution rights to the Alco Film Corporation. Because of this, Dressler took legal action against the Keystone Studio, but this was ultimately unsuccessful. 

Filming began in late April 1914 and wrapped up late July of the same year. There would be some delays in filming. Of these delays Glenn Mitchell writes in The Chaplin Encyclopedia, "The main difficulty lay in Miss Dressler's memory of him [Sennett] as an unknown, rather than as the boss of a studio, and consequent unwillingness to take direction until baffled by the techniques of filmmaking." 

Much of this movie was filmed on location in Hollywood. Anyone has been to Hollywood recently will find it unrecognizable watching this film. At the time, Hollywood was not the major city that it is today. However certain buildings can still be seen today. 

One of these is The C.E. Toberman Building (6410-6146, Hollywood Boulevard), which can be seen when two cops meet Tillie in the middle of the street after Tillie gets drunk as well as when Charlie falls in the middle of the street and Tillie picks him up. The same building can be seen in the classic Harold Lloyd feature, Why Worry (1923), when Harold announces to his giant friend that he is going to be a father. A shot of the back of this building can be seen in Buster Keaton's classic comedy short, The Goat (1921). 

When Tillie waves to a cop flirtatiously, she is standing on the porch of the Hollywood Hotel. This hotel was located on the northwest corner of Hollywood and Highland. At one time this hotel was a center for the social life in Hollywood. However, it would be demolished in 1956. There today is the Hollywood & Highland Retail and Entertainment Center. 

 When two cops are escorting a drunk Tillie into the police station, they are actually taking her to the entrance door for the Keystone Studio. This was also used as an entrance to a police station in the Roscoe "Fatty" Arbuckle short, Fatty's Plucky Pup (1915). It even appeared as the entrance to a dentist's office in the Charlie Chaplin short, Laughing Gas (1914). 

When Tillie flirts with a cop after being released from jail, she is on Duane Street by the back corner of the wall for the Selig studio (the first permeant movie studio in Los Angeles). You can also see two homes in these shots. The homes were 2212 and 2216 Duane Street, both of which are now apartment buildings. 

The entrance to Tillie's wealthy uncle's place is Castle Sans Souci, which had formerly been located at 1901 Argyle. It was torn down in 1928 and the Castle Argyle Apartments, which are still standing today. 

During the climax, you can see in the background the original Los Angeles Fire Engine Co. No. 20, which was located at 2144 Sunset. You can also see this in the background of the Charlie Chaplin short, Cruel, Cruel Love (1914). 

Comedian Milton Berle often times claimed to be a newsboy in a brief scene. This has been greatly disputed with many historians crediting the role to child actor Gordon Griffith. Later Griffith approached Charlie Chaplin and described the scene he claimed they made together, while Chaplin was filming A Countess from Hong Kong (1968). Chaplin just unenthusiastically stated, "oh I see ... exposition" and then went back to work. 

Moving Picture World, 1915

Moving Picture World, 1915

This film was reissued to theaters in 1920. The following is an article about this reissue from an issue of The Moving Picture World (dated January 17, 1920).

"From W.H. Productions comes information that 'Tillie's Punctured Romance' is being revived by Tower Film Corporation. This Mack Sennett favorite, featuring Charlie Chaplin, Marie Dressler, Mabel Normand, Mack Swain and Chester Conklin, has a great reputation to be revived with the showings. 

"It early accomplished what the 'glooms' argued couldn't be done - that the screen could make people laugh. Yet thousands laughed at 'Tillie's Punctured Romance.' This production mad history for screen comedy and records for exhibitors and exchange men.

"A special exploitation campaign, unique in character and destined to put the picture over in an even bigger way than heretofore is being planned. This will include new advertising material of every description, new posters, lobby photos and displays. 

"'Tillie's Punctured Romance' is one of the pictures which serves as sort of a high watermark in box office receipts by which others are measured. 'As big a winner as 'Tillie'' or 'as good as 'Tillie,'' are expressions of motion picture exchange men and exhibitors. Seldom does the independent market get unusual money makers, and when they do, they are not soon forgotten. 

"A special exploitation and press sheet is now being prepared for 'Tillie,' containing copies of newspaper cuts, special advertisements, press stories, catch phrases, exploitation ideas, suggestions and special 'stunts.' Every aid that can be given to the exhibitor to put this picture over as provided."

 

Moving Picture World, 1920

The movie was so popular that it spawned three sequels Tillie's Tomato Surprise (1915), Tillie Wakes Up (1917), and The Scrub Lady (1917), all of which featured Dressler reprising her role. The film would also be remade in 1928 with the same title. That remake would star Louise Fazenda, W.C. Feilds and Chester Conklin. Unfortunately, that remake is considered lost. 

You can watch this movie on YouTube below. 

Resources Used

The Chaplin Encyclopedia by Glenn Mitchell.  

A-Z of Silent Film Comedy by Glenn Mitchell

Chase! A Tribute to the Keystone Cops edited by Lon and Debra Davis

https://silentlocations.com/2012/12/27/front-and-back-cameos-100-years-of-a-hollywood-landmark/

IBDB | The Official Source For Broadway Information

https://lantern.mediahist.org/

Movie Review: Lucky Strike

 

Michael's Movie Grade: B+

An excellent WWII thriller. 

This film tells the true story of a man who found himself alone behind German lines after all his me die. 

There may have been many movies about a solider behind enemy lines, but this movie manages to stand out due to very strong filmmaking. The film pulls you into the emotion of the story in surprisingly subtle ways at times. One of the most effective ways this is shown is shown through the film being in three different color pallets. The opening prologue is in black and white to reflect how gloomy and foggy the setting is. The scenes with our main character behind enemy lines are in muted colors to emphasis the horror he is going through. Meanwhile the non-war scenes in the U.S. are in bright colors as a contrast. Even if you don't notice this while watching the film, it is something you will feel. Another clever bit of filmmaking is that after the prologue, we see everything from our main character's point of view. This allows us to experience the tension of what he is going through. This is even shown through the lack of subtitles. Subtitles are under characters speaking in German in the prologue. However, once we start following our main character, we no longer see any subtitles when characters speak German or French. This works perfectly as we do not have any information that our main character (who doesn't speak German or French) has. Since we on the same level of understanding as him, it becomes easier to see things from his eyes. One of the film's greatest assets is Scott Eastwood who is wonderful in the lead role. 

This movie does have moments of corny dialogue and moments that stretch believability too far for a movie based off a true story (this is especially true of the playing dead scene). Still these flaws can't ruin this very well-made movie. 

 

Movie Review: Gail Daughtry and the Celebrity Sex Pass

 

Michael's Movie Grade: B-

An uneven but sometimes hilarious comedy.

In this film, a young couple in conversation talks about who their celebrity sex passes (a celebrity they would be allowed to have sex with without it being considered cheating) would be, just for fun. The guy decides that he would have sex with Jennifer Aniston and our heroine, Gail Daughtry, decides she would have sex with John Hamm. When the guy actually ends up having sex with Jennifer Aniston, Gail decides she needs to find a way to have sex with John Hamm. 

This movie is full of proudly juvenile humor. The dumb and silly comedy comes fast and furious. As soon as one gag end, another one follows it immediately. With these constant gags throughout, naturally not all of them hit. In fact, as this film starts, it seems like it is going to be painfully unfunny. It is always hardest for a comedy to be funny, while it is setting up its story. Yet there are still constant gags in the story's set up and nearly all these jokes really fall flat. However, as the story gets going the movie gets funnier. This starts happening gradually with more and more gags working as the film went on. When it got to the last act, I was laughing out loud regularly. As much as the humor can really fall flat at times, when the movie is funny it is completely hilarious. That the humor gets better as the film goes on is heavily due to the cast of eccentric characters (especially John Slatery playing himself). As the movie's story becomes a sex joke filled retelling of Wizard of OZ, our main character meets more friends who join her for her journey. Zoey Deutch as the main character is very purposely over the top with her wide-eyed wonder and naive optimism. This type of character is frankly funnier, when given someone strong to play off of. When a strong supporting cast is given to this character, it is no wonder that she gets funnier. This main group of characters plays off each other so well and this is where the best humor often times comes from. When the humor drifts away from this group and on to other characters (the mail man as the narrator is painfully unfunny) and celebrity cameos, that is when it falls flat. 

While a lot of the humor doesn't work, this is still a comedy that made me laugh out loud multiple times.  

Cowboy Church #273

 Hello my friends and welcome back for another service of Cowboy Church. 

 Today's musical selection begins with Roy Rogers and Dale Evans singing In the Sweet By and By. This song came about because of a friendship between composer, Joseph Webster and poet, Dr. Sanford Fillmore Bennett. One day Webster was depressed and Dr. Bennett recognized this. Dr. Bennett asked his friend what was wrong. Webster replied, "Oh nothing. Everything will be alright by and by." These words brought up an idea in Bennett and he wrote down three verses and a chorus to this song as soon as he could. He handed it to his friend saying, “Here is your prescription, Joe.” Webster loved the lyrics and wrote music for them in practically no time at all. Dr. Bennett later said, “It was not over thirty minutes from the time I took my pen to write the words before two friends with Webster and myself were singing the hymn.” The hymn was first published in 1868 and went on to great fame since. This version of the song comes from Roy and Dale's 1973 gospel album, In the Sweet By and By.

This is followed by Jim and Jessie with Wait a Little Longer Please Jesus. 

Afterwards is Ricky Skaggs with Waiting at the Gate. This comes from his 1999 gospel album, Solider of the Cross.

Then comes The Sons of the San Joaquin singing The Boss Is Hangin' out a Rainbow. This is a cover of a Sons of the Pioneers song, and the sing was written by Bob Nolan, one of the founding members of that group and one of my favorite songwriters. This version of the song come from the Sons of the San Joaquin's 1992 album; A Cowboy Has to Sing. 

Next is Roy Drusky with a medley of Have a Little Talk With Jesus and Turn Your Radio On. 

Now comes  The Sons of the Pioneers with their 1937 recording of Leaning on the Everlasting Arms. This hymn began with a man named Anthony Showalter. As a fan of gospel music and an elder in a Presbyterian church, he held many "singing schools" at various churches in the south. One day he received two letters from former students who were struggling after their wives had passed. To respond to these letters, Showalter consulted scripture. He came across Deuteronomy 33:27, "The eternal God is thy refuge, and underneath are the everlasting arms." After reading this verse lyrics for a song chorus went through his head and he wrote down, "“Leaning, leaning, safe and secure from all alarms; Leaning, leaning, leaning on the everlasting arms.” After using this in the letters to his former students he sent this chorus to his friend hymnist, Elisha Hoffman. In the letter he also wrote, “Here is the chorus for a good hymn from Deuteronomy 33:27, but I can’t come up with the verses.” Hoffman then wrote the rest of the lyrics to which Showalter put to music. The hymn was published in 1887.

Today's musical selection ends with Porter Wagoner and The Blackwood Brothers with I See a Bridge. This comes from their 1966 gospel album, The Grand Old Gospel. 

Now for the 17th episode of The Lone Ranger TV show. 

Now for a message from the Reverand Billy Graham.

Psalm 51

For the director of music. A psalm of David. When the prophet Nathan came to him after David had committed adultery with Bathsheba.

1 Have mercy on me, O God,

    according to your unfailing love;

according to your great compassion

    blot out my transgressions.

2 Wash away all my iniquity

    and cleanse me from my sin.

3 For I know my transgressions,

    and my sin is always before me.

4 Against you, you only, have I sinned

    and done what is evil in your sight;

so you are right in your verdict

    and justified when you judge.

5 Surely I was sinful at birth,

    sinful from the time my mother conceived me.

6 Yet you desired faithfulness even in the womb;

    you taught me wisdom in that secret place.

7 Cleanse me with hyssop, and I will be clean;

    wash me, and I will be whiter than snow.

8 Let me hear joy and gladness;

    let the bones you have crushed rejoice.

9 Hide your face from my sins

    and blot out all my iniquity.

10 Create in me a pure heart, O God,

    and renew a steadfast spirit within me.

11 Do not cast me from your presence

    or take your Holy Spirit from me.

12 Restore to me the joy of your salvation

    and grant me a willing spirit, to sustain me.

13 Then I will teach transgressors your ways,

    so that sinners will turn back to you.

14 Deliver me from the guilt of bloodshed, O God,

    you who are God my Savior,

    and my tongue will sing of your righteousness.

15 Open my lips, Lord,

    and my mouth will declare your praise.

16 You do not delight in sacrifice, or I would bring it;

    you do not take pleasure in burnt offerings.

17 My sacrifice, O God, is a broken spirit;

    a broken and contrite heart

    you, God, will not despise.

18 May it please you to prosper Zion,

    to build up the walls of Jerusalem.

19 Then you will delight in the sacrifices of the righteous,

    in burnt offerings offered whole;

    then bulls will be offered on your altar.

 

Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again. 

Some Cartoons For Saturday Morning #286

 Hello my friends and happy Saturday morning. Once again, it is time for some classic cartoons. 

Today's cartoon selection starts with the Noveltoons short, The Old Shell Game (1948). This is the first solo cartoon for the character Wolfie, who had previously only worked with Blackie Sheep. He proves to be just as inept at catching turtles as he is at catching sheep. 

Next comes Donald Duck in Officer Duck (1939). This is the first time that Donald went up against Mickey Mouse's nemesis Pete in one of the duck's solo cartoons. It was far from the last as during World War 2, the two would be paired together in a series of shorts with Pete as Donald's long-suffering sergeant in the army. A good portion of animation for the character Pete was done by Norm Ferguson and John Lounsberry. Released to theaters on October 11, 1939, this was the last Donald Duck cartoon of the 1930's.  

Now for Bugs Bunny in Bushy Hare (1950). 

Anyone familiar with the Columbia Krazy Kat cartoons knows they bear little to no rebalance to the George Herriman comic strip on which they were supposedly based. Krazy was turned into a Mickey Mouse clone and the supporting characters disappeared completely. There was however one exception to this and that was the cartoon, Lil' Ainjil (1936). This film does a surprisingly good job at capturing the feel of the classic comic strip. This is especially true of the background art, which had the same distinct look that appeared in the comic strip. The cartoon also features other characters from the strip including Ignatz Mouse, Offissa Pup and Mrs. Kwack. Much of the story also revolves around the idea of Krazy enjoying Ignatz hitting him/her with bricks. Cartoon buffs may recognize Offissa Pup's voice as that of Billy Costello, the first voice of Popeye.  Interestingly with how this cartoon was so different from any other in the Columbia cartoon series a review in The Film Daily called it "The usual troubles of Officer Pup while trying to keep Ignatz Mouse from socking Krazy Kat with bricks." The same review called this film "Just fair." This is not a perfect cartoon, but it is quite fun to see how this series could have been had it been more faithful to the strip.

Now it is time for a commercial break. 

Next is the Fleischer Stone Age cartoon, The Fulla Bluff Man (1940). 

Now for one of my favorite early Mickey Mouse cartoons, The Karnival Kid (1929). This movie is famous for featuring Mickey Mouse's first spoken words. Though Mickey's earlier shorts had been sound pictures, they mostly revolved around music instead of dialogue. Though Walt Disney was excited about moving in this direction, his distributor, Pat Powers was not. Powers felt that an English-speaking mouse would have less appeal in countries where English is not the common language. To be fair the mouse does not receive a great deal of dialogue in this movie. His first words are the immortal, "Hot Dogs! Hot Dogs!" (in a scene animated by future Donald Duck director, Jack King). The voice is not the familiar high pitch falsetto, but a plainer undistinguished voice. I do not know who provided this voice. Carl Stalling speak about the early voices of the mouse in a 1969 interview, “all the animators were taking a shot at it, those who wanted to.” Of course, later on Walt himself would become the voice of Mickey. The cartoon features some men who would soon have a great input on Disney's animated films. Ben Sharpsteen (supervising director on the Disney features Pinocchio (1940) and Dumbo (1941)) animates the opening shots of the fairgrounds, the monkey playing all the instruments and the barker (a fore-runner of Kat-Nip from the Mickey Mouse comic strip) pulling Mickey's nose. Burt Gillet (who would direct the most popular Silly Symphony, Three Little Pigs (1933)) animates the scene with the merry-go-round, Mickey playing the hot dogs like musical instruments, the emergence of Minnie and Mickey tipping his ears to her ("The Big Mooseketeer" Roy Williams stated that this scene inspired the Mickey Mouse ears that all of TV's The Mickey Mouse Club wore). Les Clark (one of Walt's nine old men and one of the greatest Mickey Mouse animators) receives very little footage in the cartoon. He animates Mickey catching a runaway hot dog and giving it a spanking, Mickey briefly strumming the guitar and the final shot of the movie. Les Clark's ending was originally going to be longer with Mickey riding the bed like a horse. The legendary Ub Iwerks (who co-created Mickey with Walt) animates the two cats' duet. Despite the forward-looking ideas in this cartoon borrowed a major gag from a previous Disney short. Mickey chasing and spanking the hot dog was originally done by Oswald the Lucky Rabbit in All Wet (1927). 

Up next is the Noveltoons cartoon, Space Kid (1966). 

Now let us close with a song. 

Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry.

Resources Used

Donald Duck: The Ultimate History by J.B. Kaufman and David Gerstein

Walt Disney's Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein

https://cartoonresearch.com/index.php/mickey-mouse-in-the-karnival-kid-1928/

https://mediahistoryproject.org/

 

Movie Review: Jackass: Best and Last

 

Michael's Movie Grade: B

Crude, juvenile, stupid and a heck of a lot of fun. 

The last film for these lovable overgrown frat boys is a mixture of footage from the previous movies as well as the TV show and new stunts filmed for this movie. These stunts both old and new appeal perfectly to the immature middle schoolers in all of us. Some of them are so crazy, we wonder how these guys could have possibly lived through the last 26 years. Others are full of pure gross out humor that works because these guys are so dedicated to the bits that it is hard not to get caught up in their immaturity. The best bits are often a delightful mixture of pure gross out comedy and dangerous stunts. There are also some practical jokes on others as they go out. I admit I find these less funny or entertaining than the dangerous or gross-out bits. However, the theater was laughing very hard along with these practical jokes, so I am in the minority there. 

However, what really makes this movie and this franchise as a whole work is the loveable people performing these stunts. Often times the banter between them is funnier than the stunts themselves. We have really grown to love and care about these guys over the course of these five movies and the TV series that began it all. It is almost sad to say goodbye to these people who have grown to feel like friends to us. They themselves actually get pretty emotional about this themselves. In-between the old clips and the new stunts are scenes with them reminiscing about the last 26 years. There is a real sweetness to these scenes where we see just how much these guys love and care about each other. One doesn't expect to feel touched watching a movie where a guy sits in a porta potty which is flung into the air by a giant slingshot and finds himself covered in crap, but here we are. It is hard for a movie where a good portion of it is simply a clip show to stand out. However, these scenes give it a bit of a unique feel. 

A strong ending to this franchise. 

     

Movie Review: Supergirl

 

Michael's Movie Grade: B+

An excellent superhero adventure. 

The film's story (based on Supergirl's comic book story, Woman of Tomorrow) may not offer anything particularly new or groundbreaking for the superhero genre. However, this does not stop the story from being very well told. The heart of this story rests heavily in the title character. In many ways she is very different from her cousin Superman. She is much more cynical and hides her pain behind a lot of partying and an outwardly apathetic demeanor. Yet none of this can hide that like her cousin, she is deep down a very good person. When it comes to doing the right thing, she can't help herself. It is hard not to love a character like this. Her outward demeanor makes her come off as very cool, while her good heart makes her easily to care about emotionally. The scenes dealing with her backstory are very well done. These emotionally effective scenes make us fully understand why this character is the way she is. Also endearing this character to us is Milly Alcock's fantastic performance (she brings a real charisma to this character) as well as her relationship with the young girl (played by Eve Ridley) she goes on this journey with. How Kara (Supergirl's real name) cares for this young girl really captures the heart of this character. She may get annoyed or exasperated with the young girl and even loses her temper at times. However, when push comes to shove Kara always has the girl's back. 

As well as a great lead character, this movie also features some very good comedy and action scenes. The comedy is often very funny, while (unlike some recent superhero movies) never distracting from the drama or the characters' arcs. This is because all of the humor flows naturally from the story and characters. Jason Momoa as Lobo gets many of the film's greatest laughs. The action scenes are fantastic. They are very exciting and well-paced. The use of rock music on the soundtrack is also a great asset as it perfectly fits the main character and the tone of the movie. 

What keeps this movie from getting a higher grade is the villain. This is a very bland, generic and forgettable villain with nothing to make him stand out from so many similar movie villains.

A delight for superhero fans.