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risuola · 7 months

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III — THE UCHIHA KID — F. READER x TOBIRAMA SENJU

The babyboy that asked you for help turned out to be a member of the Uchiha clan and it's safe to say that he was terrified to face your husband. You, on the other hand, were more than willing to help him.

cw: none, just fluff — 3k words

SERIES MASTERLIST

A boy, whose name was Kagami Uchiha, was a six years old orphaned baby of the clan that your husband fruitlessly warned you about many times. It was against your nature to prejudice but you understood his point of view, after reading every document regarding the history of founding Konoha and the warring period. The baby was instructed by the clan members to head to Tobirama, as he was responsible for housing issues in the village, as well as the orphanage. Unfortunately, it was stated strictly that every move or change in the location had to go through the office, because it was needed to be noted. That made it easier to keep the order or act if someone was in danger.

After you knocked, you peaked inside the office, seeing your husband at the desk, reading something.

“What is it?” he asked, not even lifting his head, consumed by the document.

“Sorry to bother you, my dear,” you spoke, drawing his attention to you and as he looked up, his features twisted just slightly in surprise. Last thing he was expecting was to see you with a child in your arms. “If you need to finish reading, I’ll wait outside.”

“No, come in and give me a minute.”

Giving it a nod, you closed the door behind you as he got back to the paper he was analyzing. Approaching the large, full-wall-sized window you showed the view to the boy, admiring the enlarged eyes he made, seeing the whole village and woods around it from here. But even if he was stunned, his little body couldn’t stop shaking and it broke your heart. You gave him a peck to the cheek, whispering that he’s safe here in hope that no more tears will be spilled but you suspected otherwise.

“Alright, you can sit down, I’m done,” Tobirama informed and you went to take a seat in front of his desk, when he got up, circling it and leaning against the top, intentionally placing his hands down on his sides not to scare the child further with his guarded form.

“Would you mind if I present your case?” you asked the boy and he nodded, hiding his little face in your neck. Smoothing his back, you looked up to your husband. “This little gentleman has lost both of his parents and is in need for a place to live. He asked me for help, afraid to come here alone.”

“Is that the Uchiha kid?” Tobirama asked, hinting that he knows something about the situation already.

“Kagami Uchiha, yes.”

“Earlier today I received a notice informing that his parents were assigned for a mission that failed,” he looked back at the scrolls he was reviewing earlier that day, trying to bring some details to his mind and an exhale assisted him coming to terms with the not-so-pleasant part of his work. So many years he wanted to achieve nothing else than peace where children wouldn’t have to suffer the war and yet, still conflicts result in sorrow. “Well, I will contact Uchihas to find a family for him, but I’m afraid it will take few days. Probably weeks. Up until this time, he’ll go to the orpha-“

“Would it be possible that you let me handle this issue and take care of this boy for the time we get an answer? I can pay a visit to Madara, it would be much quicker.”

Tobirama stayed silent for few moments, searching for a solution to the matter, just like he always does and you gave him the time to answer while smoothing Kagami’s back. Sensing the lack of wrath from your husband, he slowly began relaxing in your embrace, soon falling asleep on your shoulder, exhausted by everything that happened to him lately. You couldn’t imagine how distressed was that boy by losing both of his parents, losing his home and being forced to face a man that he was convinced hates him. During your previous talk, he even hinted that he’s afraid that Tobirama will kill him if he goes there alone.

“It might be slightly more efficient if you go to Madara yourself, since he has a soft spot for you,” your man spoke finally, crossing his arms over his chest, like he usually does when thinking about something. “Please, elaborate on taking care of him yourself?”

“Our home has more than enough space for this little one to spend few days in, without stressing him with the orphanage. If you’d agree, I promise I’ll take care of him so he won’t interrupt your routine.”

It was a lot to ask him, you were well aware of that but you were determined to help this baby out. Tobirama was mostly out of the house anyway, it shouldn’t be a problem to have a 5-year-old that would probably be sleeping all the time he’s back. The very thought of weighing this poor little soul with another burden such as orphanage was making your heart clench.

“Such a kind heart you have,” the man exhaled deeply, looking at the child that was sleeping cuddled to your body, feeling safe enough to allow himself to lose consciousness. “Always so keen to help the village.”

“Konoha is also my home now,” you smiled, “and this child did nothing wrong, he’s just six.”

“My schedule is full for the next days so I won’t be able to help you. Can you handle the issue alone?”

“I’m positive. I took care of many children in Yu, they always seem to like me,” you glanced at the boy, your face now stained with a soft smile. “And I’m sure that I can find a loving family to this baby by talking with people myself faster than the documents could.”

“So let be it,” Tobirama straightened up and you got up as well, happy to hear his response. “I should manage to prepare the documents by tomorrow, so they will be ready when you’re done with your search. Up until now, please make sure to provide what’s needed for this boy.”

“Yes, my Lord,” you smiled, giving him a kiss to the corner of his lips, before saying goodbye and leaving.

Tobirama stayed in place for a moment longer, his mind replaying the words you used to address him. It wasn’t out of ordinary for people to call him lord, he was hokage’s brother and arguably one of the most, if not the most important person in the village but you were the only one, who called him your Lord. He loved hearing those words, it made him feel like he was indeed yours and being yours came with pride to Tobirama. From the beginning he was focused on you staying by his side, and now, knowing how loving and pure-hearted you are, he was overjoyed to call himself yours. Your Lord, your husband, your dear. Everything you addressed him with made his heart flutter. You were really an angel sent from above and with that thought, he got back to work.

The night you spent sleeping in the guest room, next to the little boy that was too frightened to sleep alone in the foreign place, but relaxed immediately, feeling your body’s warmth next to him. To know you were a safe space for him, that he was able to find peace and security in you made your heart swell with joy.

The night you stayed alerted, sleeping lightly in order to notice if Kagami was having a calm dream and as the morning struck its light onto your face and you heard your husband getting ready to leave, you raised a little on your elbow. As if Tobirama sensed you’re awake, he peaked into the guest room, quietly approaching your side of the bed and motioning you to not leave the bed.

“Don’t get up, it’s alright,” he told you, taking a mental picture of how tenderly you kept the little boy to yourself. From the moment he’d seen you in his office the day before, he knew he won’t get the peace of mind now, his thoughts constantly circling around the depiction of you caring for your own child. Tobirama was never too keen on having his own spouse, hoping the bloodline will be passed down by Hashirama, but he couldn’t deny the image was tempting.

“I’m sorry, my dear,” you whispered. “I’ll bring you bento to your office.”

“Don’t worry about it. Was the night peaceful?”

“It was, yes”, you gave it a little nod, whilst Tobirama glanced at you two once again.

“I have to go now. You know where to find me.”

“Have a nice day.”

With a soft kiss planted on your temple, he was soon gone.

“He’s not that bad,” Kagami muttered against your chest and you smiled, smoothing his hair.

“Of course, he’s not,” you cooed quietly. “He may look scary, but has a good heart.”

Two weeks it took you to finalize the issue with Kagami and you couldn’t be happier with the outcome. The family you found with the help of Madara was a couple that couldn’t have their own children but dreamt of one. With tears they agreed to open their hearts to the young boy, thanking you, their ancestors and even gods for the gift and it thrilled you to know that he’s safe and sound now, with good people. The two were shinobi, with father that’s mid-ranked officer of Uchiha forces and a mother that’s skilled in ninjutsu, and you believed they can raise Kagami to be a powerful ninja in the future, that got to know parental love.

Collecting all of the documents and sharing few more moments with the boy, you promised him that he’s welcome to your home always and offered your help if he or his family needed anything. It broke your heart just a little to give him away, as you’ve become quite attached to him, but it was better for Kagami to grow among Uchihas, learn about their techniques and sharingan – things that you couldn’t teach him, especially when during the time you learned that a powerful ocular jutsu is coded in his blood line. You hoped that being raised with the clan will allow Kagami to grow into his full potential.

“Thank you, Madara,” you bowed slightly to the clan leader, when you were about to leave their district. “I think the family will cherish the future.”

“I think so too,” he responded. “I have to admit, it’s bold of you to involve in Uchiha matters, being a wife to Tobirama. You have my respect.”

“The child has nothing to do with the eternal conflict between your clan and the Senju. And I’m neither of those,” chuckling, you secured the scrolls into the pouch on your waist. “But I’m glad Kagami found a loving home, because if that wouldn’t be the case, I’d insist on raising him myself and that would make things a little complicated.”

“I imagine. You have a kind heart, I hope this world won’t corrupt it too quickly,” Madara lowered his head just slightly, in respect towards you. “If that’s all, I’ll return to my duties.”

“Of course. Thank you once again. I’ll leave now too.”

Exchanging quick goodbyes, you got back home to prepare food for your husband and while the rice was cooking, you tidied up a little. It was inevitable that a little bit of mess will set inside, as the child was staying there but it was nothing severe. Already missing Kagami, you sighed. The kid was just too adorable not to grow attached. He was just the right balance between quiet and loud, he loved to be hugged and often fell asleep while being in your embrace. With his little kisses on the cheek, you felt your heart flutter and grow, and even your husband, whom you wouldn’t call the best with children, liked the little Uchiha, although he would never admit it out loud. You noticed he was softer towards him; he even took the boy on his lap while in the office which was one of the most adorable moments you’ve witnessed, probably in your life. You were convinced he would agree if you asked to keep the baby, but that would be selfish of you. It truly was the best for him to be raised by Uchihas and just because you gave him to the new family didn’t mean you won’t ever see him again. You were informed to be welcome in their house whenever you feel like it and you also proclaimed yourself as the official aunt.

With the bento filled and packed, you locked the door and took a walk to the hokage office, where your husband also had his place but, in his workplace, you didn’t find him. Taking the liberty of entering without permission you approached his desk and placed the food and the scroll there, grabbing a piece of paper and a pen you sat down on his chair to write a note.

“Comfortable?” deep, familiar voice reached your ears when the doors opened and your husband entered his office. You looked up, watching him as he went across the room and before you reacted, he already pulled you away from the desk, grabbed your body like it weighted nothing and sat down, situating you on top of his thighs.

“Now I am,” you joked, kissing his cheek. “Good morning, my dear.”

“Good morning,” he took the letter you were writing and glanced over the text before putting it to one of his drawers. “How’s Kagami?”

“Safe in his new home. I already know he’ll be spoiled; they were on cloud nine taking him in. Madara was cooperative as well. I’d say everything went well,” you briefed, smoothing over the back of his neck. “All details and documents are inside those scrolls I brought you. I made sure to fill them to your standards.”

“I’m sure you did,” he chuckled. “Thank you for lunch.”

A smile bloomed on your face. “You’re welcome, my love.”

Love. That was the first time he heard this one specific word coming from your mouth and he wondered for a second if he misheard you, because surely, he had to. Love was a strong word, even though it wasn’t a confession, it still held one heavy emotional impact and Tobirama was convinced that love wasn’t what’s between you two. He loves you, yes. How could he not if you’re such a good person? A great shinobi that was ready to die for the village that wasn’t even your own, a golden heart keen to help everyone, a woman beautiful inside and outside. A perfect human being that he had the luck to marry through the political arrangement. But you had not that much reason to fall for him. You were patient and kind to him, just as you were to everybody else. You touched him, but you told him before marriage that it's your way of showing affection. You got up every day so early only to wish him a great day and make sure he has something to eat, even though you could sleep for a little longer before starting your day. Could that be out of love and not out of wife’s duty?

“I have one more meeting today and it’s possible I’ll be free a little earlier today,” he said finally, breaking out of his own spiral of overthinking, “would you want to join me for a walk this evening?”

“I would absolutely love to,” smiling, you leaned your head over his shoulder, inhaling his scent gently pulling down his collar so you could press your lips against his skin. “I shouldn’t take your time while you’re at work, should I?”

“I have few more minutes before I need to leave for a meeting and I’ll gladly give those to you.”

“In that case, I’ll gladly accept them.”

It didn’t take long for Tobirama’s lips to find yours, locking them in a kiss filled with longing. He himself was surprised of how much his body yearned for the closeness of yours, after two weeks of very limited contact due to a child in your home that consumed all of your attention. You’ve got him so used to your affections that he found himself unable to exist correctly without them. What have you done to him? All of his life, Tobirama believed that emotional attachment was a barrier; that it’s something he cannot afford in order to stay strong and reliable, but you proved him wrong. You proved that not only he needs feelings in his life but also, they make him stronger than he was before. You made him stronger; you made him a better leader; you showed him that softness isn’t synonymous to weakness and the young Senju liked who he’d become with you by his side.

You could feel how hungry your man was, how starved of affection he had become in just those few days and it thrilled you, excitement coursing through your veins as you run your fingers through his silver hair. At the beginning, although agreeing to your touches, he wasn’t keen to reciprocate your gestures. He had to learn how to be physical with you, because before that only contact that involved two bodies was confined to battle. But Tobirama being a smart man, learned quickly that it’s not unusual for couples to share touches, to kiss, to sleep together. He learned that intimacy is first and foremost for pleasure, not only to reproduce. All of it made you happy. It meant he had opened to you, dropped down his guard and let you into his world that before you was strictly restricted to laws and orders.

Biting on his lower lip you smiled, letting your hand brush the nape of his neck. Taking in his little gasp, you broke the kiss, resting your forehead against his and smoothing the light skin of his cheek, avoiding the red dashes he painted on his face every morning.

“What have you done to me?” he whispered, calming his breath.

“You’re welcome,” kissing him once more, you got up from his legs. “When should I expect you?”

“I’ll wrap things up around 8PM.”

“So, I’ll pick you up at 8. We’re set. Now, focus on the meeting and don’t forget to eat, alright?”

“Alright.”

» NEXT PART

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fibula-rasa · 1 year

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Lost, but Not Forgotten: Look Your Best (1923)

[alternate title: The Bitterness of Sweets]

Direction: Rupert Hughes

Scenario: Rupert Hughes

Camera: Norbert Brodin

Choreography: Ruth St. Denis

Studio: Goldwyn

Performers: Colleen Moore, Antonio Moreno, Earl Metcalfe, Martha Mattox, William Orlamond, Orpha Alba, Francis McDonald, Eleanor Boardman (in a bit role)

Premiere: 18 February 1923, Temple Theatre, Detroit, MI

Status: presumed entirely lost

CW: Dieting / Weight Loss

Synopsis (synthesized from magazine summaries of the plot):

On the streets of New York’s Little Italy, Perla Quaranta* (Moore) dances to the music of her father’s (Orlamond) barrel organ. Unfortunately, Perla’s mother (Alba) has a tendency to grab whatever is at hand for use as a projectile in the midst of arguments with Perla’s father. After one particularly raucous fight, her parents are arrested and sentenced to 30 days. Fortunately for Perla, the owner of a dance troupe, Carlo Bruni (Moreno) scouted her dancing on the streets and hires her to replace a recently fired dancer. The previous girl in Bruni’s “Butterfly Act” was let go after gaining too much weight to do the wirework demanded by the routine. Perla’s privation-induced petiteness is desirable for the role.

Bruni’s struggle with his weight has also apparently gotten in the way of his own work as a dancer. Perla takes well to the role and is a success in the act, which features a number of chorus girls dressed as butterflies flitting across the stage by wire. The stagehand, Krug (Metcalfe), takes a liking to Perla and takes her out regularly as the troupe goes on tour. The now gainfully-employed and avidly-courted Perla has access to all the sweets her heart desires and, in a repeat of her predecessor’s difficulties, she begins to put on pounds. Krug makes an advance on Perla, which she rebuffs. In his bitterness, Krug files Perla’s wires, assuming Bruni will blame the broken wires on her weight and fire her. During the next performance, Perla plummets to the stage and is injured.

Bruni suspects Krug of tampering with the wires, and thrashes him. Bruni is arrested and also given 30 days. While Perla recovers in the hospital, another suitor appears in the form of a baker, Cabotto (McDonald), who buoys her spirits by describing all the different delectations he serves. Meanwhile, behind bars, Bruni envisions a new ballet for the troupe with Perla in a starring role.

When Bruni is freed and Perla is recovered, they reunite and commit to dieting and to each other, via marriage. The new act depicts Perla as a white peacock killed by the hunter, played by Bruni, and mourned by an array of forest nymphs.

(At some point before the final dance number, Perla is reunited with her parents, but, from the synopses, I’m not sure of the order of events.)

* or Quaranti or Moroni based on various reviews

As a side note that I cover more in the annotations below: this plot doesn’t make much sense without a heavy dose of satire, right? The reviews didn’t leave me with a clear idea on whether the film lampoons diet culture or not and, unfortunately for us, unless somebody (maybe some sharp Michigander) makes a lucky discovery, we can’t find out for ourselves!

Transcribed sources & annotations below:

Motion Picture News, April 1922

Ruth St. Denis to Supervise Dance Scenes

The noted dancer, Ruth St. Denis, has been engaged by Goldwyn to supervise the dance scenes in Rupert Hughes’ new comedy, “The Bitterness of Sweets,” which he is himself directing.

The beautiful peacock ballet in this film will form the climax of the picture. The featured players, Colleen Moore and Antonio Moreno, are both busy practicing for this dance. Active work on the photography for “The Bitterness of Sweets” will soon be begun by Mr. Hughes. In the cast are William Orlamond, Orpha Alba, Earl Metcalfe and Martha Mattox.

—

Note: “The Bitterness of Sweets” was the working title of “Look Your Best.”

I hadn’t heard of Ruth St. Denis before now, but seeing what an important role she had in the creation of Modern Dance in America—and that she was a teacher of both Martha Graham and Louise Brooks—it’s an insult to injury that this film appears to be lost. I’m not even sure how many films St. Denis worked on! Many of the reviews below cite the dance numbers as a true highlight of the film too.

Exhibitor’s Herald, 8 April 1922

Rupert Hughes Personally Directs Filming of Story

Rupert Hughes’ new Goldwyn photoplay “The Bitterness of Sweets,” is a story of Italian-Americans, instead of the Irish-Americans that he has depicted so frequently in the past. The author has assumed the directorial reins in the making of his own picture.

Colleen Moore is playing the role of an Italian dancer with a craving for sweets, which tend to make her too fat for the dancing art. Antonio Moreno has been signed to Goldwyn to play opposite Miss Moore in this comedy-drama.

Moving Picture World, 13 May 1922

SINCE Rupert Hughes has taken to directing his own pictures at the Goldwyn studios in Culver City he has been swamped by visitors. They like to hear him spouting epigrams through his megaphone. Colleen Moore, who is now being directed by him in “The Bitterness of Sweets,“ already has jotted down the following bits:

You can’t use imitation silk before the motion picture camera. The lens is even quicker to detect imitation emotion.

Horace said: “He who would make others weep, must first have wept himself.” Every motion picture director should have that on his wall.

Ever since I was six years old people have been prophesying that I was going to kill myself with overwork. All the prophets are now dead.

We could make some very fine motion pictures if we didn’t have to bother with cameras and lights.

The censors are going to stop crime by censoring the films. Why don’t they put an end to diseases by burning the medical books which describe them?

When an actor loses control of himself he loses control of his audience.

—

Note: the timeline for the production to release of this movie is really something. They commenced filming somewhere around the end of April/early May 1922, but it wasn’t released until late February of 1923.

Motion Picture Magazine, June 1922

On the Camera Coast

[excerpt]

Things are stirring down at Goldwyn’s once more, with Rupert Hughes at work on his own story, “The Bitterness of Sweets,” Colleen Moore. Colleen made such an impression in two of the Hughes pictures that she will be retained as the featured player in all of his productions into which she can possibly be fitted.

—

Note: This doesn’t appear to have come to fruition?

Motion Picture Magazine, September 1922

…There were long waits between the scenes of the new Rupert Hughes production “The Bitterness of Sweets,” but Colleen Moore didn’t mind them. She provided musical relaxation…

Exhibitor’s Trade Review, October 1922

Colleen Moore Sets New Record

Will Be Featured by Five Different Distributing Companies Within Space of Two Months

A record unique in the annals of the motion picture business is being set this fall by Colleen Moore, beautiful and talented young star. Exhibitors who stand by one or another distributing company and who have therefore not had the opportunity to play any of these pictures in which Miss Moore has been featured will note with interest that no less than five distributing companies will offer productions in which she is featured during the coming fall months.

First National will shortly present “Slippy McGee,” the Oliver Morosco production of Marie Conway Oemler’s well known story, in which Miss Moore plays the leading feminine role.

Goldwyn will soon release two pictures in which Miss Moore will be featured. The first will be Rupert Hughes’ production of “The Bitterness of Sweets,” which was personally directed by the author. Tony Moreno plays opposite Miss Moore in this production. The second Goldwyn feature will be “Broken Chains,” the widely advertised $10,000 prize story which was transferred to the screen under the capable direction of Allen Holubar.

Hodkinson has already delivered to its exchanges the prints of “Affinities,” a picturization of the Mary Roberts Rhinehart story of the same name. This is a Ward Lascelle production in which Miss Moore is starred.

Universal announces that Miss Moore will soon be seen in the featured feminine role in “Forsaking All Others,” a drama which has just been completed under the direction of Emile Chautard. It will be released as a Jewel special.

Rounding out the quintet, Vitagraph is now nearing completion of a picturization of the famous old stage success “The Ninety and Nine,” with Miss Moore in the featured role and directed by Dave Smith. This production will also be a special release.

—

Note: Slippy McGee (premiered June 1923, status unknown) , Broken Chains (premiered December 1922, extant), Affinities (premiered October 1922, status unknown), Forsaking All Others (premiered December 1922, status unknown), The Ninety and Nine (premiered December 1922, only 10 minutes of the film survive (available on Undercrank Productions’ Accidentally Preserved Vol. 4))

This item implies that LYB was intended for release in the fall/winter of 1922, though an exact date isn’t given.

Moving Picture World, October 1922

Moreno Signs to Act for Paramount

Antonio Moreno has signed with Paramount. This announcement was made during the past week in Hollywood where the popular “Tony” already has started work as leading man with Gloria Swanson in Sam Wood’s new production, “My American Wife,” which Monte M. Katterjohn has adapted from an original screen story by Hector Turnbull.

Moreno is admittedly one of the handsomest and most able actors on the screen. Recently he has been featured by Goldwyn and will soon be seen in two of that company’s new productions, “The Bitterness of Sweets,” a Rupert Hughes production, and “Passions of the Sea.”

The new Paramount picture in which Moreno will play opposite Miss Swanson is described as intensely romantic, the locale being Argentina. Moreno’s role is that of a handsome young aristocrat and politician, descendant of one of the old Spanish conquistadores, who falls in love with a beautiful American girl from Kentucky (Miss Swanson) whose horse out-races the valued track champion of the Latin nobleman.

—

Note: My American Wife (premiered February 1923, status unknown), Passions of the Sea (premiered in February 1923 as Lost and Found on a South Sea Island, extant)

Motion Picture News, February 1923

Pre-release Reviews of Features

“Look Your Best ”

Goldwyn—Six Reels

(Reviewed by Charles Larkin)

TO EAT, to grow fat, to spoil one’s career. To starve, to keep thin, to become a great artiste. That is the choice given Perla Quaranta, a little Italian girl portrayed by Colleen Moore, who is one day noticed dancing in the streets by Carlo Bruni, manager of a small theatrical troupe, and who is given the place of the chorus lady who has fallen to the temptation of too many sweets, with the result that the perfect 36 has developed into an imperfect 40 or so. Perla is a success in the act but as she goes from town to town, accepting invitations from Krug, a stage hand, to dine, she also begins to take on weight. Krug, maddened at her coldness, when he makes advances, weakens the wire that holds Perla aloft in a butterfly stunt and she falls to the stage. Krug thought he could tell the folks Perla’s avoirdupois was to blame. Bruni, however, knocks Krug for a goal and gets thirty days for his gallantry. However, thirty days pass soon in some jails, and Bruni is soon out and starting a new ballet with Perla.

And so it goes. It isn’t much of a picture and there is a fight between Perla’s mother and father which takes up much footage and could be eliminated much to the improvement of the story. In fact, the dropping of these two characters throughout would not be missed in the least. To see a boisterous hurdy gurdy grinder jump from jail into a theatre box in a dress suit is not being done these days. There is a very artistic ballet scene toward the end of this picture.

This is not the best thing Rupert Hughes has written and adapted for the screen. Neither is it his best directed picture. Of course, one can’t expect any company to continue releasing masterpieces all the time. We can’t have a “Christian” every day. There have got to be some program pictures once in a while. This is one. It will serve its purpose and is suitable for second-class downtown houses, and there may be many who may find much humor in its fat and thin theme—especially those who are fighting either evil.

The Cast

Perla Quaranta…Colleen Moore

Carlo Bruni…Antonio Moreno

Pietro…William Orlamond

Nella…Orpha Alba

Krug…Earl Metcalfe

Mrs. Blitz…Martha Mattox

Alberto Cabotto…Francis McDonald

By Rupert Hughes. Directed by Rupert Hughes. Scenario by Rupert Hughes. Photographed by Norbert Brodin.

The Story—Deals with the horror in which some folks hold plain good old fat. A chorus girl having attained this terrible state, is fired and Perla, a daughter of Little Italy, is given her place in Bruni’s “Butterfly Act.” Perla made good and went on the road with the show. She also went out to dine with one Krug and began to put on flesh. Krug, a disappointed suitor, filed one of the wires which held Perla aloft in the butterfly stuff. During the act she crashed to the stage. Bruni beats up Krug and gets 30 days. Emerging from jail he starts a new ballet, engages Perla and the two rise to fame.

Classification—One of Rupert Hughes’ problem plays—the problem of keeping thin.

Production Highlights—Colleen Moore’s characterization of the role of the little Italian girl. The crashing of Perla to the stage floor as a result of the villain weakening the wire which holds her.

Exploitation Angles—The title. The eat and grow thin or fat as you will theme offers a chance to tie up with the health department, Y. W. C. A. women’s walking clubs, etc.

—

Note: “Deals with the horror in which some folks hold plain good old fat.” There’s only so much I can assume about the movie’s treatment of weight gain and dieting, as it is lost, but from all the synopses I read, I gotta say as a plot device it doesn’t seem to make much sense? Like, obviously in the performing arts, the expectation to stay at one precise size is stricter than in other fields, but it seems like there is no real logic at play here? I’m glad this reviewer points out that it comes off as Rupert Hughes just hating fat people. Another reviewer mentions a noteworthy lack of satire in the film, and, from the details in the synopses, it seems like this plot would only really make sense if it were a satire or critique on diet culture.

Exhibitor’s Trade Review, February 1923

Look Your Best

Goldwyn Photoplay in six parts. Author and Director, Rupert Hughes. Cameraman, Norbert Brodin. Running time, seventy minutes.

CAST AND SYNOPSIS

Perla Quaranta, Colleen Moore; Carlo Bruni, Antonio Moreno; Pietro, Wm. Orlamond; Nella, Orpha Alba; Krug, Earl Metcalfe; Mrs. Blitz, Martha Mattox; Alberto Cabotto, Francis McDonald.

Perla Quaranta, an Italian girl, dances in the streets to the music of her father’s barrel organ. Her grace attracts Carlo Bruni, manager of a small theatrical troupe. He hires her to take the place of a dancer who has grown too fat through overindulgence in food. Perla makes good, but the temptation of plenty of pies, cakes and other pastry is too much for her, besides the fact that Bruni is also given to overeating, through which his figure suffers and his dancing powers are impaired. Perla begins to take on weight like her predecessor. A stage hand named Krug plays court to her but is repulsed. In revenge he tampers with a wire which upholds Perla while doing a butterfly act. The wire breaks and she is injured. Bruni suspects Krug and thrashes him. Bruni gets thirty days in jail for assault. Meanwhile Perla, during her convalescence, is almost won by a baker who describes the tempting pastries he makes. But Bruni serves his sentence, returns and he and Perla resolve to diet steadily and win fame as dancers. They do so and are married into the bargain.

Stout patrons who find it difficult to resist the lure of fattening foods may benefit by the moral pointed by this picture—that salvation is only to be found by exercise of will power and faithful dieting. And they, as well as those of slenderer build, will probably be amused by many of the farcical situations which result when hero and heroine yield to the temptation of rich victuals, suffer accordingly, but eventually conquer the hunger fiend and attain fame and marital happiness. Yet, “Look Your Best” cannot be listed as quite up to the high quality mark of Goldwyn productions. Its humor is a bit forced at times, the plot of exceedingly thin texture, and Mr. Rupert Hughes, who is responsible for both story and direction, did not improve matters by stretching out the film to its present length. The “diet and grow thin” theme is funny in spots but likely to weary the average spectator when spread beyond the five reel limit.

Points of Appeal.—The love interest is fairly well sustained. The revenge of Krug, the disappointed suitor, when he tampers with the wire on which Perla is performing and brings her crashing to the ground, provides a distinct thrill and the beating administered to him by Bruni is another realistic bit of work which balances the picture’s comedy trend. The ballet scene in the final reel is elaborately staged and very effective.

Cast.—Colleen Moore is bewitchingly pretty in the role of the Italian heroine and her performance is notable for its dash and ginger. Antonio Moreno furnishes an excellent character sketch of the redoubtable Carlo Bruni, who wins a desperate battle against encroaching fat and a wife whom he also initiates into the trick of waxing slender. Earl Metcalfe scores as the designing villain, Krug and the support is adequate.

Photography, Lighting, Direction.—Exteriors and interiors are well filmed, there are some artistic long shots and the lighting throughout is satisfactory. The continuity is even and tolerably fast action prevails.

Motion Picture Magazine, March 1923

Comments on Numerous Productions

LOOK YOUR BEST — GOLDWYN

Rupert Hughes gets off on a different tack in this, his latest expression. He makes a plea to be on the look-out for adipose tissue as a destroyer of beauty. And he argues his point thru a weirdly melodramatic story of a chorus girl who develops obesity and is discharged as a result. A slender girl is taken on and proves a sensation. Comes then a bit of Italian jealousy when a disappointed lover files the wires in the ballet number, causing the little “butterfly” to crash to the stage. Mr. Hughes’s satiric vein is missing here. In fact you wouldn’t recognize his style here at all. It’s breath-taking, now and then, but many of the scenes are clumsily executed and the characters are not deftly drawn. Colleen Moore succeeds in being genuine, as usual, in her portrayal of the ballet girl. And Tony Moreno is a satisfactory lover—of the hot Italian school.

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Note: Interesting point here that there is a lack of “Hughes’ satiric vein.” I haven’t seen much of his work as of yet, so I don’t know what sort of satire would be typical of Hughes’ work. However the plot details laid out across various reviews and synopses don’t just strain credibility they tear it to shreds, UNLESS the whole thing was a satire on diet culture, but as far as I can tell, it’s just straight-up fatphobia. A shame, for sure, because this sort of story told as a lampooning of diet culture honestly sounds pretty darn entertaining.

Motion Picture Magazine, March 1923

Rupert Hughes went out to the Palm Springs on the edge of the desert to make the opening scenes of the film version of his novel “Souls for Sale.” It suddenly began to rain in the way rain comes down in the desert and the company was stuck there in idleness for a week. Claire Windsor, Richard Dix, Frank Mayo, Lew Cody and other well known actors will be in the cast. It has always been supposed that Maj. Hughes drew the heroine of his story to a certain extent from Claire Windsor, altho, of course, with liberal modifications. It almost went without saying that she would have the part when the story was screened.

The name of Maj, Hughes’ story, “The Bitterness of Sweets,” has been changed to “Look Your Best.” This was the picture in which Colleen Moore appeared as a dancer.

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Note: Considering the extended timeline between the production and release of Look Your Best, the production of Souls for Sale (premiered March 1923, extant) commenced directly after LYB wrapped. So, Hughes’ second and third feature for Goldwyn premiered within a month of each other, with Souls for Sale being a larger production and more heavily marketed. I’m wondering if holding off on the release of Look Your Best was due to a lack of faith in the final product and a desire not to prematurely tarnish the rep of a writer/director that Goldwyn had just signed on for a lot of pictures? That is, releasing it close to Souls for Sale seems like a smart call because Souls for Sale’s quality and higher box-office potential would likely minimize any doubts about Hughes’ abilities that might arise if his second film for Goldwyn was as underwhelming as reviewers and exhibitors portray it. Alternatively or additionally, maybe the studio deemed LYB a “programmer” after production wrapped and was simply waiting for a better time on their release schedule.

The Film Daily, 30 March 1923

Putting It Over

Here is how a brother exhibitor put his show over. Send along your ideas. Let the other fellow know how you cleaned up.

Fashion Pageant Staged

Toledo—Eddie Carrier, Goldwynner put over “Look Your Best” at the Pantheon exploitation campaign.

The outstanding feature was the presentation of a fashion pageant, which was staged in co-operation with the Thompson Hudson Co. department store. A number of manikins were brought to Toledo by Carrier. A runway was constructed out into the audience along which the beauties promenaded adorned with the seasons latest fads and fancies. The runway had special illumination and the spectacle was said the most elaborate ever staged.

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Note: There are a number of news items about exploitation schemes for the film that tie in with other local businesses, but, humorously, the tie-ins are with department stores and have to do with fashion and cosmetics, when that seemingly has nothing to do with a movie about vaudeville performers and dieting!

Camera, 30 March 1923

THE SILENT TREND

Composite of Views, Previews, and Reviews of Motion Pictures.

“Look Your Best” and we did. The result: we saw a pretty fine Rupert Hughes photoplay, quite typical of that author’s best work for the screen. Many critics complain that this one is not up to the usual Hughes standard. It may not be, but, just the same, it is highly amusing and away above the average of other films of its class. The cast is especially attractive, Colleen Moore and Antonio Moreno dividing high honors with Earl Metcalf and Martha Mattox contributing excellent characterizations. The direction is undoubtedly devoid of any of the brilliance of finesse and could be improved upon easily, but the main idea of the story is registered successfully enough to make anyone remember it with pleasure. And, that’s a commendable lot for a motion picture to accomplish.

Motion Picture News, April 1923

Elaborate Style Show Put Over with “Look Your Best”

Toledo, Ohio.—The management of the Pantheon theatre, in conjunction with Goldwynner Eddie Carrier, put on an elaborate exploitation campaign on “Look Your Best,” the outstanding feature of which was a fashion pageant staged in co-operation with the Thompson-Hudson Company, a leading department store.

A bevy of beautiful mannequins was assembled, and a runway was built far out into the audience, on which they promenaded with the latest fashion creations. Special lighting and scenic effects were used and a musical score was provided for the occasion. The department store co-operated with a double-page ad, seven full window displays and 2,500 letters to its customers.

Moving Picture World, April 1923

“Look Your Best”

Rupert Hughes Has Created a Clever Comedy Drama Satire on Dieting

Reviewed by Beatrice Barrett

A clever commingling of comedy, pathos and drama, with a thrill thrown in now and then and a subtle satire on dieting running all through is “Look Your Best,” a Goldwyn release.

It is the sort of light entertainment picture lovers like when they are just out for a good time and relaxation.

With the much discussed question of dieting as a background there will be many in the audience who will appreciate heartily the efforts of the people to diet and forego all the pleasures of eating, and the many times they yield to temptation.

An appealing strain of pathos is introduced in Perla, the Italian girl whose life is almost all work and no food, and her childish pleasure in her first nice clothes. Colleen Moore does well this wistful role. There is always a fascination about life back of the curtain and there are many scenes here of the rehearsals and scenes in the dressing rooms that will attract.

Very beautiful are the scenes of the Butterfly Girls with great gauze wings executing their dance and then suspended on wires flying through the air. The stage sets and the dance which Antonio Moreno and Colleen Moore do at the end of the picture is also very artistic and gives an air of a big production to what at times seems to be simply a comedy.

Rupert Hughes worked up through many laughs to the big thrill of the cut wire and has handled very well these scenes with the girl flying through the air coming right toward the camera—and all the while the audience knows the wire is going to break—and it does and there is a fall that will give them a shudder.

The plot is a gossamer one, and simply a thread which lightly holds together the events of the story—but in a picture of this character you don’t expect much plot. The audience will be chuckling and enjoying each new incident as it comes along.

Cast

Perla Moroni…Colleen Moore

Carlo Bruni…Antonio Moreno

Pietri…William Orlamond

Nella…Orpha Alba

Krug…Earl Metcalf

Mrs. Blitz…Martha Maddox

Alberta Cobatto…Francis MacDonald

Written and directed by Rupert Hughes.

6 reels.

Story

Perla, a half starved Italian girl, is engaged by Bruni to be one of his butterfly dancers because she is so thin. Krug, the wireman, becomes infatuated with Perla. She begins to get fat, and when she tires of Krug’s attentions he files the wire on which she hangs as a butterfly so Bruni will think she is too fat for the part and discharge her. Bruni used to be a beautiful dancer but through love of food grew too fat and could no longer dance. He and Perla both start to diet. He composes a beautiful dance for them and they are a great success. The story ends with their wedding—and the two still dieting.

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Note: Now, this reviewer thinks the film is a satire of dieting?

Exhibitor’s Herald, 7 April 1923

COLLEEN MOORE IN

LOOK YOUR BEST

(GOLDWYN)

A cheerful little story of an Italian girl who becomes an actress and then has a hard time keeping her job because of overeating. An interesting picture of backstage life, and although not one of Rupert Hughes greatest plays, is quite satisfying. Author: Rupert Hughes; Continuity: Rupert Hughes; Director: Rupert Hughes. Length six reels.

There is just a little over an hour’s pleasant diversion in this latest Rupert Hughes-Goldwyn production. It is a quaint mixture of pathos, humor and drama. The humor borders on the slapstick, while the melodrama is the good old-fashioned “s-death” kind. However, there is the ever appealing Colleen Moore in it, as the interesting little toe dancer, and Antonio Moreno as a ballet master. Add to these William Orlamond, as Pietro; Orpha Alba, as Bella, his wife; Earl Matcalfe, as Krug, the villain; Martha Mattox, ad Mrs. Blitz; and Francis McDonald, as Cabotto, a suitor for Perla’s hand, and you have a cast capable of good things.

At the State-Lake theater, Chicago, where the picture followed the trained seals, it got a few laughs and held the attention of a vaudeville-loving audience. And you’ll certainly enjoy Colleen Moore more and more.

The story concerns Perla, a little New York girl of Italian parentage who goes into Bruni’s butterfly dance act in vaudeville and finds she must deny herself the sweets she loves in order to remain slender. The man who manipulates the wires, failing to win her love, plots to get her discharged for putting on too much flesh. He cuts the wire supporting her, but Bruni discovers his treachery and engages him in a fight, which lands both in jail, but on Bruni’s release Perla is waiting to reward him with her hand.

Screen Opinions, June 1923

“LOOK YOUR BEST”— [Class B] 65%

(Especially prepared for screen)

Story:—Romance of Little Italy, a Girl and a Theatrical Manager

VALUE

Photography—Very good—Norbert Brodin.

TYPE OF PICTURE—Entertaining.

Moral Standard—Average.

Story—Good—Comedy-drama—Family.

Stars—Good—Colleen Moore and Antonio Moreno.

Author—Good—Rupert Hughes.

Direction—Good—Rupert Hughes.

Adaptation—Good—Rupert Hughes.

Technique—Good.

Spiritual Influence—Neutral.

CAST

Perla Quaranti…Colleen Moore

Carlo Bruni…Antonio Moreno

Pietro…William Orlamond

Nella…Orpha Alba

Krug…Earl Metcalfe

Mrs. Blitz…Martha Mattox

Alberto Cabotto…Francis McDonald

June 1 to 15, 1923.

Producer—Goldwyn

Footage—6,000 ft.

Distributor—Goldwyn

Our Opinion

MORAL O’THE PICTURE—If You Would Look Well, Mind Your Diet.

Not Particularly Artistic, but Makes Good Entertainment—Stars Do Well

Scenes in Little Italy, in which an Italian organ grinder and his wife are forced to serve a thirty-day sentence in jail following a knife and china shower, are fraught with comedy, and so also is the initiation of Perla, the pretty daughter, into the stage technique of playing butterfly and being hoisted on a wire to flutter her butterfly wings. Colleen Moore is charming in the role of Perla, and one of the notably good performances of the picture is done by Orpha Alba, who plays the role of Nella Quaranti, Perla’s mother, who, between laughter and tears, chastises her husband, Pietro, with the first article that comes to hand, no matter what the substance is, and then makes parting at the jail “such sweet sorrow.” William Orlamond is the type for Pietro, and Antonio Moreno, as Bruni, whose theatrical grace was spoiled by too much eating, is also very good. Earl Metcalfe, as Krug, elected to serve as Perla’s wire hoister, in love with her and reproachful when he failed to obtain kisses in return for the food that made Perla “not as thin as she used to was,” is all that the role requires—he does well. Francis McDonald is the baker joy and jealous lover, and looks and acts the part. The picture contains some attractive stage scenes with the butterfly girls flitting rapidly past the camera, and there is also an elaborately staged classic dance, supposed to take place in the greenwood, in which Colleen Moore is dressed as a white peacock, which is slain by the hunter, Antonio Moreno, and mourned by the wood nymphs. This is really a very enjoyable feature.

STORY OF THE PLAY

Perla Quaranti, a street dancer, finds herself alone when her father and mother are sentenced to thirty days in jail for fighting. She is offered a position by Carlo Bruni, an Italian theatrical manager, whose specialty is a group of butterfly girls. Perla, filling the place of a girl who got too stout to hoist, grasps good fortune by the neck and eats herself stout also on the bounty of one Krug, a wirehoister. Krug plays her false when he realizes that she loves Bruni instead of himself, and takes revenge by cutting the wire so that during the whirl of butterflies Perla falls to the stage and is injured. The story closes happily with Perla and her parents reunited, and Bruni her prospective husband.

PROGRAM COPY—”Look Your Best”—Colleen Moore and Antonio Moreno

Perla Quaranti’s butterfly days ended with a bang when a jealous lover took revenge for lack of kisses. Don’t miss seeing Colleen Moore, Antonio Moreno and an excellent cast in “Look Your Best,” one of the funniest and most original of recent comedies.

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Note: This is the only review that adds detail about Perla’s parents. Another reviewer complained that the bits with her parents were wholly superfluous. Other reviewers barely mention that they are even in the film!

Moving Picture World, 9 June 1923

Sells First Showing on the Type Argument

The Temple Theatre, Detroit, does not believe in too much splash, even for a world premier, and gets along very nicely with 100 by 3 for Look Your Best, using two cuts and six lines of snappy stuff about the nature of the play to back up the illustrations. Apparently these illustrations are from the plan book, and they have no strong illustrative value, but the upper one suggests the stage story, which this is, and the lower the growing weight of Colleen Moore, which is the essence of the plot. The selling value lies chiefly in the talk, and here this talk is a quiet little chat about the play with no particular stress, just an intimate tip-off on the nature of the play which is more convincing than a many-adjectived oration could possibly be. It is so good that it might have been put into larger type, even at the cost of one of the cuts. And make a note now that Look Your Best is going to make a wonderful peg for hook-up pages and style shows. Combine the two of them by starting early enough to get your plans all properly laid. There are a lot of similar co-operative angles, but these will be the best bets. -P. T. A.-

Poster blurb: Every day in every way she gets stouter and stouter—tempting food was her great weakness. Her job in the chorus was at stake but still she could not tear herself away fascinating fats—until the theatrical career of her partner was threatened and then, she made the grand sacrifice.

FUNNY? IT’S A SCREAM!

— Note: photo of the interior of the now demolished Temple Theatre, a popular vaudeville venue.

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Exhibitor’s Trade Review, July 1923

SLOGAN BASIS OF MERCHANT TIE-UP

Madison, Wis.—A merchant tie-up on a “Look Your Best” Week was put across by Dr. Wm. E. Beecroft, manager of the Parkway Theatre, and Goldwynner W.D. Nealand, in connection with the screening of “Look Your Best.” Art Kniseley, advertising manager of the Burdick & Murray Department Store, went in heavily with the theatre management on this “Look Your Best” week.

He gave the picture a splendid window display, using the slogan “Look Your Best” as a sales aid for their clothing, millinery, hosiery and toilet articles. In addition to the window display, Mr. Kniseley ran a sixty-eight inch advertisement in both the State Journal and the Capitol Times, tieing up with “Look Your Best.”

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Moving Picture World, September 1923

Consensus of Published Reviews

Look Your Best

(Colleen Moore—Goldwyn—6 reels)

M. P. W.—A clever commingling of comedy, pathos and drama, with a thrill thrown in now and then and a subtle satire on dieting.

E. H.—Is a cheerful little story of backstage life. It was written and directed by Rupert Hughes, and although not his greatest play, will be found highly diverting as an hour’s entertainment.

N.—It will serve its purpose and is suitable for second-class downtown houses.

T. R.—The “diet and grow thin” theme is funny in spots but likely to weary the average spectator.

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Picture Play Magazine, October 1923

Keeping Nature’s Gifts

[excerpt]

Colleen Moore’s diet depends upon whether she is putting on flesh for a picture or taking it off. She lived practically on lemon-juice for two weeks, losing ten pounds at the start of “Look Your Best.” For the last scenes she had to regain her avoirdupois, so she went to bed for a week, drank milk-two or three quarts a day and ate cakes and everything.

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Note: I hate this.

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Exhibitor’s Herald, 24 November 1923

Goldwyn Cosmopolitan

Look Your Best, with Colleen Moore. —A very good picture that failed to score at all at the box office. I have played ten of these pictures, losing money on eight, breaking even on one, so I really will be glad when they are over with. The advertising matter is my greatest drawback, for I’m a little fellow and can’t afford an artist to make my lobby and have to use their stock stuff, which is bum considering the attractions they represent. Pretty enough, but do not run true with the films. Seven reels.—Hugh G. Martin, American theatre, Columbus, Ga.—General patronage.

Look Your Best, with Colleen Moore and Antonio Moreno.—Two dandy stars wasted in this. Rupert Hughes was unable to convince an audience of movie fans what he was driving at. Lacked interest all the way. Not worth bothering about.—Ben L. Morris, Temple theatre, Bellaire, Ohio.—General patronage.

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Moving Picture World, December 1923

LOOK YOUR BEST. (6 reels). Star, Colleen Moore. A very ordinary picture that I played on a Saturday night and put in a strong line of fillers and in that way escaped censure. You can play this, but be careful of your accompanying selections and buy it right. Usual advertising brought good attendance. Draw health seekers and tourists. Dave Seymour, Pontiac Theatre Beautiful, Saranac Lake, New York.

LOOK YOUR BEST. (6 reels). Star cast. Nice little comedy-drama. Very light in construction. Seemed to please. Had fair attendance. Draw all classes in town of 1,000. Admission 15-25. Jack Kaplan, Rivoli Theatre (378 seats), South Fallsburg, New York.

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Best Moving Pictures, 1922-1923

LOOK YOUR BEST. Produced and distributed by Goldwyn. Six reels. Released February 18, 1923. Cast: Colleen Moore and Antonio Moreno. Director, Rupert Hughes. Story of a chorus girl who tried to keep thin.

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The Educational Screen, February 1924

THE THEATRICAL FIELD

LOOK YOUR BEST (Goldwyn)

Colleen Moore and Antonio Moreno demonstrate the tragic fact that life is very bitter to the lover of sweets when his job depends on his remaining thin. Fair entertainment, making no demands on either actors or audience.

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Motion Picture Magazine, November 1924

Every Little Bit Helps—to Stardom

By HARRY CARR

[excerpt]

Eleanor Boardman came to the old Goldwyn lot and jumped at once into the top line by a tiny scene in Rupert Hughes’ The Bitterness of Sweets, in which she fainted in a theater box.

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Note: Given what I noted earlier about the release dates of LYB and Souls for Sale, finding out that a bit role in LYB (here referred to by its working title) led to Eleanor Boardman’s starring role in the latter film is fascinating. Boardman likely filmed her single scene in LYB months before production started on Souls for Sale, which she is the star of. But, because the release of LYB was delayed, Boardman had a bit role and a starring role on screens within a month of each other!

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