It

“My god, THAT is a star!”

Clara Bow had enough energy to provide electricity to a medium sized city, and, yes, she had “It.” While It had a studio generated publicity campaign to generate a new conversation about what makes or breaks a star, it’s not hard to see why Bow was chosen as the beneficiary of this campaign. She deserved to be dubbed Hollywood’s first It Girl.

She was a potent combination of sex goddess, a wanton flapper with her red hair peeking around head wraps barely containing the party-seeking curls she had. The other part of her was a comedic working girl with a heart of gold, the blueprint that she laid out can be seen in later day starlets like Jean Harlow and Betty Boop’s animated antics.

Her hypnotic and wildly likable presence make It far better than the story it tells. It’s pretty routine stuff: low class girl falls in love with high-class boy, misunderstanding ensue, and they eventually wind up together. What is quite refreshing about this whole thing is that while her character may have upwardly mobile romantic aspirations, she refuses to compromise her dignity in the process. When her suitor tries to steal a kiss on a date without her consent, she smacks him one yet is clearly overjoyed that he has shown an interest when detailing the night’s events to her girlfriend.

The plot lacks the nuance and finesse of other great comedies of the silent era like anything from Buster Keaton, Harold Lloyd, and Charles Chaplin, but that doesn’t matter. It’s clear from the first scene that this is a star vehicle through and through. And Clara Bow’s vivacity and tenacity is ageless. Maybe you’ll find yourself thinking that the same thing I did while watching the exuberant It: “My god, THAT is a star!”