Hypocrites

Ingenious directing from Weber; well-rounded narrative structure and inventive film techniques make up for the overacting that was out of place even in 1915. It kills me that most people don't know about Weber or her films!

I expected it to be blunt, but I did not expect it to be so slight and hollow. Not so much an argument against hypocrisy, or even a screed, so much a series of sketches of pointing, yelling hypocrite, and moving on to do the same in a different sketch. The visuals are quite captivating, at least, and the structure and content could have been interesting with more fleshing out.

the naked female body as a metaphor for Divine Truth. the first part of the metaphor wouldn't have worked in 1915, and the second part doesn't work today, so it's certainly an interesting comparison. didactic as hell, but quite unique and pretty.

Don't let the 1915 boobies and mons distract you from how boring this is.

Tem um travelling bem bacana alí no meio que é totalmente acachapante para a época, e o uso do nu de forma singela longe dos stag films também é bacana, mas o contexto geral é sacro demais para o meu gosto. Box Obra-primas do Cinema As Pioneiras do Cinema.

Despite presenting a decent indictment of sanctimonious religious types, and featuring multiple exposure techniques that are impressive for the time, it’s only the appearance of frontal nudity that makes Hypocrites a vaguely memorable piece. Weber holds a reputation as the first female filmmaker of note but her most controversial picture is really rather boring.

Lois Weber's fairly infamous movie. Infamous because it's got what we all want in our movies. Female nudity!!! Tastefully done for 1915. However as a movie it only partially clicks with me. Weber preaches too hard with Hypocrites. The statue portion with Gabriel the Ascetic works. However when applying the morals to other modern aspects of life it fails pretty bad in my view.

About as subtle in its righteous indignation as a Spike Lee film, and only occasionally as successful, Weber pulls out all the stops to create film whose visuals partially temper the fairly blunt message and at least sneaks in a few moments of self-criticism. The difficulty of making art of truth and selling it to the masses is the blackest irony here.