There's not much reason to watch Ernst Lubitsch's silent historical epic "Anna Boleyn" (which Netflix informs me is also called "Deception"), unless you're, say, a movie blogger who has set herself the cussed task of watching only films from 1920, 1940, 1960 and 1980. Fortunately for you, I am just such a blogger, and so I have watched this film so that you do not have to!
It's not that it's bad by any means; for 1920, the sets and costumes are pretty impressive. Five minutes in, I was waving a pizza slice around and expostulating to the cats, "Look at that crowd shot! All these people in costume! This thing must have cost a fortune!" And the acting is often hammy but fun, and it fits the material. Also, a wench jumps out of a cake! It's just that the thing is so long. Run time is about two hours, but it feels longer.
Part of the problem is that you already know the story, although the tragedy's been hepped up until it feels like "Tess of the d'Urbervilles." Young Anna (German for "Anne," I guess) Boleyn arrives from France to stay with her uncle, the Duke of Norfolk (Ludwig Hartau), and be a lady-in-waiting to Queen Catherine of Aragon. She's excited to meet the queen and also to be reunited with her boyfriend, megacutie Sir Henry Norris (Paul Hartmann).
Instead, she catches the roving eye of big gross King Henry VIII (Emil Jannings, clearly enjoying himself tremendously). He openly chases Anna around, devastating Catherine (the lusciously named Hedwig Pauly-Winterstein) and shattering Anna's relationship with Sir Henry. Anna ends up married to the man she loathes, and we all know how that goes for her.
Behold the war machine of Gen. Harrison Gray Otis! A 1910 Franklin Model H landaulet!
Virtually no one who writes about The Times and Gen. Harrison Gray Otis can resist referring to a cannon mounted on his car. Otis is “the man you love to hate” of Los Angeles history, and what could be more delicious than the armor-plated Otis-mobile with its fearsome artillery piece.Sorry. It was an auto horn. Honk!