Word: owsley
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...possible. Author Tiffany Thayer's Call Her Savage. As the heroine of this opus, Miss Bow is called upon to show the sexual glamour for which she is celebrated by beating a rattlesnake to death with a horsewhip, flaying a half-breed Indian, marrying a libertine (Monroe Owsley) and knocking him unconscious, blacking the eye of her husband's mistress (Thelma Todd), practicing prostitution, boxing the ears of her second fiancé (Anthony Jewitt) and punching a horse in the stomach. The only explanation for her behavior lies in the fact that she is not, as she supposes...
...Monroe Owsley, who has been a cinema cad so often that his last name sounds like a pun, tries hard to be an oily villain but his part, like everything else in the story, is cheaply invented and implausible. The only redeeming feature of Call Her Savage is Miss Bow's performance. Looking slightly more blowzy than she did in the days when she played flapper parts in silent cinema, she shows with enthusiastic violence and a flat, tough Brooklyn accent what such flappers can turn out to be when they grow up. Typical shot: Nasa (Clara Bow), insulted...
...show base motives on the part of the lover (Monroe Owsley), persimmon-mouthed Helen Twelvetrees is made (unlike Rose Allen) a three-million-dollar heiress. Cad Owsley's villainy is further pointed by his having changed his name. The girl's father (Robert Warwick) and brother (Robert Young) see through his disingenuousness. Helen does not. To force a marriage, Owsley takes her to a hotel overnight, confronts the father next morning. Wild-eyed from an all-night search, the brother is knocked down by the suitor, gets a gun and shoots...
...back of her neck, is not as unbecoming as it sounds. Good shots: Joan Crawford and Neil Hamilton (the fiance) dislodging a china vase and waiting for it to crash while it falls on a sofa. Trite shot: a scene of revelry which reaches its peak when Monroe Owsley tries to prove he is sober by walking in a straight line...
...apologize when she learns it is true. Before long a horrid scene occurs. Disgusted at her mother's apparently inveterate immorality, the daughter takes up with a rounder who parades his bad intentions. Her fiance breaks into a room where they are reveling, pushes the rounder (Monroe Owsley) in his smirking weasel face, carries Joan Crawford downstairs...