Kay Gives Her Heart - And More

Give Me Your Heart (1936) begins with a parting - Belinda Warren (Kay Francis) and Robert Melford (Patric Knowles) have been having an affair, and it is about to end.  He is married; his wife Rosamund (Frieda Inescort) is an invalid, but he still loves her and cannot leave her. So Belinda and he part; she finds herself alone upon the death of her father - until she has the son that she and Robert conceived.  Belinda is approached by Robert's father, Lord Farrington, who asks if he may raise the child as his son's heir.  The boy will be loved and happy, and will want for nothing.  Reluctantly, Belinda agrees; finally fleeing to the U.S., where she meets Jim Baker (George Brent).  They marry, but Jim cannot understand why his wife is always unhappy. 

This is a soaper, certainly, but it's a lovely film with some great supporting performances.  Henry Stephenson is wonderful as Lord Farrington. He really is the person you would be willing to give your child to.  His affection for Belinda is apparent, and we realize that this feeling is mutual.  Also great is Roland Young as "Tubby", Belinda's dear friend, and friend to Lord Farringon.  "Tubby" functions almost as a Deus ex Machina, descending on Belinda's life to help make the changes that will make things better.  Young plays him with humor, but with a serious concern for this woman who is obviously in so much pain. And Frieda Inescort has one excellent scene towards the end of the film.

Since I'm a fan of women doctors in the movies, it was fun to see that Belinda's doctor is a woman - Dr. Florence Cudahy played by Helen Flint. A good friend to Belinda, she is also a good doctor, refusing to give the insomniac Belinda sleeping pills. Florence prefers instead to try to find the root of Belinda's pain.

As always, any Kay Francis is a pleasure. However, next time we'll be visiting another 30s actress. In the meantime, here's a trailer from this film:

Spot Kay

If any one movie pushed the Production Code into existance, Mandalay from 1934 must be in the running.  Kay plays a Russian refugee, Tanya, who is deeply in love with (and living with) Tony Evans (Ricardo Cortez), a ne'er-do-well, who has the choice of losing his boat or Tanya, to Nick (Warner Oland).  He chooses the boat, handing Tanya over to Nick to work in his club as a prostitute.  Tanya takes on the name "Spot White", and begins to amass jewels and power as she apparently blackmails her clients for her silence.  Finally, she blackmails herself out of Rangoon, and on to a boat bound for Mandalay, where she meets Dr. Gregory Burton (Lyle Talbot).  He is on his way to the plague areas in Mandalay, his penance for his alcoholism.

If that isn't enough to convince you that this is a racy movie, let's throw in some implied nudity and murder as well.  This film has something for everyone!  Kay is great (in spite of having to say a lot of "R's" (as was pointed out by Robert Osborne in the introduction). As she did in The House on 56th Street, she makes the transition from innocence to hard reality beautifully.  And Ricardo Cortez is wonderful as the ever slimy Tony. Finally, we have Lyle Talbot playing Gregory as a tortured soul, whose drunkenness masks his inner pain, but who has the good sense to fall in love with Tanya.  Talbot makes a good counterpoint to Cortez in this film.  Neither is exactly the man of your dreams, but Gregory, at least has a conscience.

Lots of beautiful clothing by Orry-Kelly. And lots to titillate as well.  Watch for the scene when Kay goes after Reginald Owen (as a Police Captain of her acquaintance).  You'll love it. Here's an early scene to get you in the mood:

Peeping Kay

We return to visit our friend, Kay Francis in this wonderful little pre-code from 1933, The Keyhole.  Kay is a former dancer, Anne Brooks.  Now married to Schuyler Brooks (Henry Kolker), Anne is being blackmailed by her former dancing partner – and husband, Maurice (Monroe Owsley).  Maurice led Anne to believe they were divorced. Now that she is married to a wealthy, older man, he’s decided that she can be his meal ticket and provide him with a lifetime annuity.  Anne, of course, is having none of it.  She discusses the situation with her sister-in-law, who suggests heading to Havana, where Portia Brooks (Helen Ware) feels that she can use her pull to prevent Maurice (who is not American) from reentering the country. In the meantime, Schuyler has decided to have his wife followed by a private detective Neil Davis (George Brent), in the hopes of catching her at some indiscretion.

Monroe Owsley

This is a titillating little piece of pre-code fluff.  It’s wonderful to see George Brent in a somewhat questionable role – he is rather a gigolo; paid by his employers to sleep with their wives, in an attempt to get evidence against them. He still manages to make you like him.  And Kay is adorable as Anne.  She really is a good person; she is determined to be true to her husband, even though he doesn’t deserve it (even Portia is disgusted with him!). But she can't resist flirting with Neil. He's much to attractive to ignore.   We also get a shipboard romance, entwined with Anne attempting to outwit the slimy Maurice (Monroe Owsley is good at slimy). And Neil, totally confused by Anne's resistance to his charms.  

Here's the scene in which Maurice connives his way back into Anne's life:

What makes this a tad racy, of course, is knowing that Anne is not married to Schuyler, and watching her and her sister-in-law connive to keep the “marriage” together by getting rid of the legal husband.  There is also a little something at the ending which makes this a more dubious film for the post-code era, but we won't go into that here.

Next time, more Kay Francis. 

Myrna, Jewel Thief

Whipsaw, from 1935, features Myrna Loy as Vivian Palmer.  Vivian has, for several years, been working with a jewel robber. She is tired of the life, however, and tells her accomplices that this is her last job.   She's had little to do with the crime, but the FBI, in the form of Ross McBride (Spencer Tracy), decide to follow her.  Make that, join her, on a cross-country trip.  McBride pretends to be a criminal on the lam.  Little does he know that Vivian had him stopped almost immediately, and is steering him away from her colleagues.  Of course, their enforced togetherness results in love, with Ross conflicted about his feelings for Vivian versus his duty to his job. 
 
Myrna Loy is just wonderful. Her world-weariness; her ambivalence towards her colleagues, her suspicions about Ross, and her growing feelings for him all shine out of her eyes.  Watch especially towards the end when her relationship begins to take a turn for the worse.  Her helplessness is palpable.  The film is also beautifully costumed with Loy getting some really lovely clothing.

Likewise, Tracy is his usual honest self.  He is Ross. It's interesting to watch his eyes as his love for Vivian increases.  You can see his changes in attitude just by looking into his eyes.  Also fun to watch is John Qualen as the expectant father of a woman has has just gone into labor as our team wander by needing shelter.  He is just a joy.

Want a sample? Here is a trailer from the film:
Next week, we'll revisit an old friend of ours - Kay Francis.

Myrna in Egypt

In 1933's The Barbarian, Myrna Loy is NOT playing the exotic.  Ramon Novarro is. He is The Barbarian of the title - Jamil El Shehab, an Arabian prince, who has been working in the city as an erstwhile tourguide and ladies' man. Diana Standing (Myrna) arrives in town with her fiance Gerald Hume (Reginald Denny) and her companion Powers (Louise Closser Hale).  Jamil takes an immediate interest in Diana - she is somewhat less engaged by him.  There is some verbal dueling, some tricks played by Jamil on Gerald, and finally, Jamil kidnaps Diana.  

Today, we would probably say that Diana had Stockholm Syndrome, because, quite frankly, as physically attractive as Jamil is, he is really quite an unattractive individual. He is a bully, he is a male chauvanist, and finally, he is physically abusive.  Why Diana would want him in the end is beyond me. Then again, Gerald is no prince among men either. He's just a wimp who can't even stand up to his mother!

 Loy is just lovely, as always and one is sympathetic to her Diana.  The problem is, one can't understand why she doesn't just leave town with Powers (the always irrepressible Louise Closser Hale) and find a better man.  Certainly the two she's managed to dig up in Egypt should just be left in a pyramid somewhere with a mummy! This is not really a film that translates well in the 21st Century.  We really wanted Diana to get a better break.

And of course, it is ever so racy.  By today's standards, the hint of nudity in one of the scenes is bothing, but in 1933, it would be just enough to upset the would-be censors.

A quick scene from early in the film:

The film is worth a quick peek, especially for the scene where Diana argues with her future mother-in-law about the proper placement of her bridal veil. 

And here she is in the bridal veil

And don't miss the final scene - oh, my, the times they really HAVE changed (thank heavens)!

Very Naughty Myrna

Again, we revisit Ms. Myrna Loy in one of her early, supporting role.  The Naughty Flirt (1931) stars Alice White as, well, a flirt. She's Kay Elliott, a wealthy, irresponsible, flirtatious all-around brat.  She is being pursued by Jack Gregory (Douglas Gilmore) because he and his sister Linda (Myrna) have lost all their money in the stock market crash, and Kay's millions appear quite appealing.  Enter young businessman Alan Ward (Paul Page). He works for Kay's father, but finds Kay to be a major pain in his backside.  She, however, is fascinated by him, and proceeds to pursue HIM. Here is the the opening scene, in which her naughtiness is revealed (it's not all that bad). Plus, you get a glimpse of Ms. Loy :


The naughty flirt of the title is, of course, Kay, but Linda is surely the most naughty.  She prods her brother constantly to be more aggressive in his courtship of Kay.  He is unimpressed.  Myrna is just lovely and sinister as Linda.  She is smart, sexy and assertive.  She's also a decidedly NOT nice person.  Kay, on the other hand, appears on the surface to be a tad naive.  She isn't, of course, but Alice White (who is very good at pursing her lips into a little circle, as though she is about to kiss.  Her silent film experience is evident here.  She uses her eyes and mouth a lot. Her speech still is more cutsey than one would expect.  Loy, on the other hand, is sophisticated and comfortable with the sound camera. It is as though she was born to it.

More Myrna next week. Please join us then.

"Manuella" Loy

This week's film is a little-known Myrna Loy film from 1929 - The Great Divide, in which she plays Manuella, the maid of Steven Ghent (Ian Keith).  Yes, Ms. Loy is a Mexican (with appropriately darkened skin), and she is supposed to be VERY young (I believe 16), but she is quite enamored of Steve. He, however, sees her as a child, and laughs off her advances.  Then, he meets Ruth Jordan {Dorothy Mackaill) and falls head-over-heels.  Only problem is, she is not interested in him. Since she is a brat, and the daughter of a good friend (who is dead), he decides to teach her some manners, so he kidnaps her, and brings her to his hacienda.  Where, of course, she meets our little Manuella.  And here is Manuella BEFORE Ruth arrives, trying her best to seduce Steve:


Given that this film was made in 1929, there is a certain static-ness to the proceedings, and Keith is a bit stiff, but Loy and Mackaill (who we all like very much.  See our blog post about Love Affair) are lots of fun, especially when sniping at one another.  

This isn't a great movie, but getting to see Loy in her exotic period is a enjoyable. When you think that this is the future Nora Charles and Milly Stephenson, one is even more impressed by her fabulous range as an actress.

Mommy Kay

In 1938's My Bill, Kay Francis plays Mary Colbrook, the widowed mother of four children.  3 of her little darlings are rude, selfish, graspy creeps.  But then there is Bill (played by Dickie Moore), who for some unexplained reason calls his mother "Sweetheart", and who is the only sensible member of this family. Though Kay was left some money on her husband's death, she has wasted every cent of it providing the selfish bunch with piano lessons and new dresses.  Now, she's broke. So the obnoxious 3 leave her (after she squanders more money on cabs and flowers); Bill remains, begins a paper route, and takes on the job of "Man of the Family" to support his mother.

I think it would be fair to call this an odd movie. It's based on a play (from 1928), but really the biggest problem is the character of Mary.  By the end, we get a lot more back-story (which does make her story more interesting), but she is such a scatterbrain that one wonders how she has survived as long as she has. Bill, however, is a stand-up young man, and Dickie Moore plays him with verve. Bonita Granville, Anita Louise and Bobby Jordan as the other three nightmarish offspring bring obnoxious to new heights. And Elizabeth Risdon as Aunt Caroline confirms they are from the correct gene pool.

This film came out the same year that Kay got labeled "Box Office Poison" (along with Katharine Hepburn and Marlene Dietrich); it's obvious it was less her and more some of the parts she was being given.  She does the best she can, but in a sense, this IS Dickie Moore's movie.  And he kinda runs with it.

Communist Kay

1934's British Agent is our film this week. The wonderful Leslie Howard is Stephen Locke, an English diplomat serving in Russia as Lenin takes control of the government. The British, after the rise of Lenin, leave Locke as provisional staff, evacuating their more important diplomats (as do the French, Italian, and American governments).  Locke is committed to his country, and does the best he can under adverse circumstances.  He also meets and falls in love with Elena Moura (Kay Francis), a Communist working with Lenin's government.  Though she loves Stephen, she too loves her country and informs her government about Stephen's plan.

This is a fascinating film, with a great cast (and some wonderful supporting players, such as Cesar Romero as Tito Del Val the Italian provisional representative.  The film with keep you wondering just what is going to happen next, and Ms. Francis is wonderful as the conflicted Elena.  She and Howard are quite good together. though I believe this is the only time they appeared together on film (though they did the radio show Screen Guild Theatre together in 1939 (Never Of This World).

It's also interesting to see this somewhat sympathetic view of Lenin in 1939.  This surely is NOT a pro-Communist film, but, as you will see at the end, Lenin is vindicated. So, anti-Communist - perhaps, but with a bit of a balance.  Here's a trailer for this excellent movie:

Kay's House was a Home?

The House on 56th Street (1933) is a fascinating film.  In it, Kay Francis is showgirl Peggy Martin, who has two men very interested in her: Monte Van Tyle (Gene Raymond), the scion of a wealthy family, and Lindon Fiske (John Halliday), who has been involved with Peggy for some time.  Peggy falls in love with Monte; Since Lindon is quite clear that he is "not the marrying kind", it is an easy choice for Peggy.  So, despite Monte's mother's objections, the couple wed and are quickly blessed with a daughter.  Years go by, with Peggy and Monte living happily - even Mama Van Tyle (Nella Walker) has gotten used to her daughter-in-law.  Then, at a party, Peggy meets Lindon again.  She is concerned at his appearance, as Monte knows nothing about him.  Add to this, Lindon does not look well.  Kay is concerned, and her concern is her downfall in this drama.

Rather than give too much away, we'll stop with the plot there, even though it forbids us doing more than mention two important characters: Bill Blaine (Ricardo Cortez) and Eleanor (Margaret Lindsay).  The two are pivotal to the plot, and are wonderful.  Both show up in the latter half of the film.  To say more would be to ruin this wonderful picture for you.

Kay Francis has to age over 20 years in this film.  The motif that the director, Robert Flory, uses to demonstrate the passage of time is subtle but effective - we see Peggy playing solitare, as newspapers flash up important events of the day.  

The film is also interesting in that it discusses with some seriousness the problems of compulsive gambling.  In  1949 Barbara Stanwyck would powerfully portray a woman with a severe gambling problem.  This precursor to The Lady Gambles is no less impressive, as it discusses an issue few other films were willing to examine.

When you get to the end of this film, you will understand WHY the code began to be an issue.  We suggest you give it a try.

Jean is Impatient

Released the year before the end of World War II, The Impatient Years examines a topic in a comedic manner that, after the war would be looked at in a more serious vein.  Andy Anderson (Lee Bowman) is home on medical leave, returning to the home of his wife of one week (plus about 18 months).  He finds Janie (Jean Arthur), busy running her home, with her boarder (Henry Fairchild played by Phil Brown), her father (William Smith, played by the always wonderful Charles Coburn), and her not quite one-year old son! She exists on a very rigid schedule, one which her husband will not respect.  Within a day, the hastily wed couple are ready to divorce with equal speed, much to the disgust of Mr. Smith.  So, he recommends to the Judge (Edgar Buchanan) that he prevent the couple from divorcing until they can figure out WHY they married in the first place.

By 1946, The Best Years of Our Lives would look at the impact of the hasty wartime marriage on the returning vet. And while The Impatient Years certainly IS a comedy, there is a core of seriousness under the humor.  Both the Judge and Mr. Smith understand that the war is forcing decisions to be made to quickly.  They insist that our couple stop BEING impatient and try to rediscover their lost love for one another. 

It should be added that neither Andy nor Janie is totally in the wrong. He, back from combat, wants peace, wants to do what HE wants to do.  She, responsible for a house and small child, needs a schedule to get everything done.  Neither can understand the other's needs.  Neither even tries.  And thereby hangs the serious heart of the film.

Both Jean Arthur and Lee Bowman are excellent, and Charles Coburn, as always, shines as a loving father (who, in fact, is just meeting his son-in-law).  We also have comic performances from Charlie Grapwin (as a bellman) and Grant Mitchell (as a hotel clerk).  Sure, the film can be a tad silly, but at heart, it is a lovely story about two people who need fight their own way out of the War.

Jean Takes a Letter

Carol Baldwin (Jean Arthur) and Helen Davis (Ruth Donnelly) run a secretarial school.  Unfortunately, most of their students seem to be of the same caliber as their current student Maizie West (Dorothea Kent) - no brains, but plenty of looks and a plan to make time with the boss.  Thus begins More Than a Secretary (1936), in which Jean Arthur ends up working AS a secretary when the man who hired (and fired) one of her students complains.  The gentleman in question is publisher Fred Gilbert (George Brent).  His publication, "Body and Brains", is a body-building magazine which regularly uses the face of an attractive model on the body of the exceptionally well-built (and particularly unattractive) Ernest (Lionel Stander).  Of course, the magazine is NOT doing well.  It takes our Jean to put it on the right track.

This is a very cute movie, thanks to the interplay between Brent (who is always wonderful) and Arthur (ditto).  Her Carol, at the start, is somewhat reminiscent of a character she will revisit in 1948 - Phoebe Frost in A Foreign Affair. But she quickly discovers her outer beauty, and becomes the perfect secretary.  Beauty and brains in the same office!  Amazing! And Brent manages to make Fred a bit of a dweeb, but still let you know why Carol is attracted to him.  The scene where he takes her out to a tofu dinner (!!!) is quite humorous.

It is fun to see Lionel Stander as well.  His Ernest longs for the day when his face adorns his own body on the magazine - alas, it seems it is not to be.  Many of us remember Mr. Stander from Mr. Deeds Goes to Town and A Star is Born (as well as in Hart to Hart).  It is sad that his career in this country was abbreviated during the 50s and 60s thanks to the McCarthy hearings.

A few words are due, as well, for Dorothea Kent (as Maizie).  She is a hoot.  You can't help but like the opportunistic creature! One sympathizes with Carol's frustration, but I, for one, looked forward to her return.

We'll close with the moment in which Carol finally loses it with Maizie.  See you soon!
 

Jean Goes on an Adventure

Tonight, we join the lovely Jean Arthur for the first in a series of films that feature her in the lead.  Adventure in Manhattan (1936) has Jean starring as Claire Peyton, and beyond that, there is little I can tell you, as there are spoilers aplenty if I do.  Joining Jean is Joel McCrea as George Melville, a reporter noted for his unerring ability to predict crimes before they happen.  When a famous gem is stolen, George predicts the next robbery, and surmises that the robberies are the work of Belaire, a thief long believed to be dead.  By everyone, of course, except George.

It is interesting that this film is included on the Jean Arthur Comedy Collection, as it is really hard to class it AS a comedy (unless you view comedy in the more Elizabethan-theatrical vein).  Our first encounter with Claire is far from comedic, and very few of the incidents that occur will make you laugh.  Perhaps the only funny lines are at the end (and even then, for those of us who had been carefully watching, they were much more serious than we believed the authors actually intended.) This is certainly a film that will keep you guessing til the very end, but I would be interested to know if anyone else really believed this to be a "comedy." 

A lot of talent is involved in this under-viewed movie.  First, of course, is Ms. Arthur, who really is the consumate actress.  Joel McCrea, usually the boy-next-door, is rather arrogant as George, and well he should be, because George DOES think a lot of himself.  We also have such excellent character actors as Thomas Mitchell (as George's editor, Phil Bane) and Reginald Owen as Blackton Gregory.  An interesting and gifted cast, in a very different, and at times puzzling movie.

Rita's a Spy!!!

This week, we visit one movie that was part of a greater series.  The Lone Wolf Spy Hunt (1939) was just one in a series of films about reformed thief Michael Lanyard.  The series started in the silent era, and continued into the late 1940's.  Among the actors to play Lanyard were Melvyn Douglas, Francis Lederer, and Warren William, who plays Lanyard in our film - his first in a series of 9 films. 

The plot is somewhat convoluted.  Lanyard is being set up by a spy ring, led by Rita Hayworth (as Karen), who want to force him to steal government plans.  The delight here is less the plot and more the byplay between William and Ida Lupino (as Lanyard's love interest Val Carson) and between William and Virginia Weidler (as Lanyard's daughter Patricia - the only Lone Wolf movie in which he HAS a daughter).  

The two women are a riot. Val stalks Michael, trying to get him to make more an emotional commitment to her. At the same time, he is dealing with his rather precocious child. A would-be detective herself, she is thrilled to receive a gift of handcuffs (which she uses to force their butler, Jameson (Leonard Carey) to actually "die" when she "shoots" him).

You may not remember the actual plot of this film, but you will laugh a lot.

Kay is Not Guilty

This week, we looked at a very underrated PreCode film from 1931.  Guilty Hands  stars Lionel Barrymore as Richard Grant, a lawyer who discovers that his beloved daughter is engaged to Gordon Rich (Alan Mowbray), a client with a horrible reputation as a womanizer and abuser (Rich probably murdered his last fiance).  Grant tells Rich that if Rich continues with his plan to marry Barbara Grant (Madge Evans), Grant will kill him AND will get away with it.  He will make sure it is the "perfect murder".  

It's not giving too much away to reveal that Grant DOES kill Rich.  But from there, we will leave you in some amount of suspense.  Kay Francis is wonderful here as Rich's mistress, Marjorie West (this is a pre-code, after all), who loves him in spite of his engagement to Barbara (and fully intends to keep on seeing him after his marriage).  When Rich dies, Marjorie begins investigating his death.  With some interesting results.

Lionel Barrymore is fantastic.  He is sympathetic, and at the same time, sinister.  You want to root for him, but he is, after all, a murderer.  Yet he did it for a good reason. leading the audience to feel ambivalent about the conclusion.  It is also a plot that keeps you guessing, right to the very end.  Will Richard be caught? SHOULD he be caught? It's also fun to see Ms. Francis' Marjorie take command as an amateur detective.  Agatha Christie was just beginning to write Miss Marple in 1926 (but only as a short story in a magazine. She would not appear in book form til 1932).  One would need to go back, we suspect, to Wilkie Collins (The Lady and the Law, as well as The Woman in White) for an earlier female detective, so Guilty Hands heroine is quite a novel idea.

If you can see this picture, do so.  It is worth your time.  We think you will be surprised and will LOVE the ending.  We'll leave you with a scene from early in the film:

Kay Meets Edward G.

I Loved a Woman from 1933 features Edward G. Robinson as John Hayden, a would-be artist, living on his father's money in Paris, until his father's death.  He returns to America (Chicago, to be specific), and at the encouragement of the lovely Martha Lane (Genevieve Tobin), he assumes the responsibilities of running the company.  Once in business, John is no more a romantic artist, but a hard-headed, in fact cruel and dishonest, businessman.  As his marriage to Martha disintegrates (she pretty much married him for his money and power), he becomes romantically involved with Laura McDonald (Kay Francis), and the two begin a long-term affair. Meanwhile, John continues his ruthless business ways
. 
Edward G. Robinson is quite convincing here.  He is interesting as the romantic lead, for a change, but he is also, as we all know from his gangster work during this period, perfectly comfortable playing a not-very-nice guy.  As always, Kay Francis is great.  Her Laura loves John, but this is a Pre-Code movie, so her life style is, shall we say, rather risque.  And again, being that this is a Pre-Code film, our characters get away with things that, in another year, would result in their deaths or imprisonment.  

Probably this film is more interesting as a Kay Francis film than as a venue for Robinson.  Not that he is bad, but his character is just not really as interesting as it could have been.  He is so callous in so many ways, that it is hard to sympathize with him.  But there are scenes with Francis that are fun and interesting, so it is certainly worth a look.  And just to get you started, here is the trailer:

Kay Almost Strays

Transgression (1931) is a Pre-code wonder from the always fascinating Kay Francis.  Ms. Francis plays the happily married Elsie Maury, whose husband Robert (Paul Cavanaugh) is called to India on business. Though Elsie asks to accompany him, Robert refuses, and instead sends her to Paris. While in Paris, the naive Elsie becomes enamored of Don Arturo de Borgus, a philanderer of the first water, played with relish by Ricardo Cortez.  Though Elsie tries to remain loyal to her husband at first, her infatuation, boredom, and Don Arturo's advances tempt her to stray.  And so, she arrives at his estate.  Where, as they say, the plot thickens.

Kay Francis is just wonderful as the tempted wife.  As always, she is beautifully clothed; she manages to portray the ambivalence of a young woman who longs for her husband, but is bewildered by the new rules of the jaded society into which her husband has thrown her.  Also fun to watch is Ricardo Cortez.  His Don Arturo is a total cad.  And if you think he is bad at the beginning, wait til you see the end, and realize just how horrid he truly is!  We also very much enjoyed the performance of Nance O'Neil as Paul's sister, Honoria.  What a totally reprehensible character she is! Nance plays her with relish, and she is a delight to despise.  Here she is spying on our Kay:


The end will show you why this fits so perfectly into the Pre-Code mystique.  And you will really enjoy it! We will be looking at a few other Kay Francis movies from the Pre-Code era in the next few weeks, so we hope you will join us again.

Precode Bogart

This week, we examined another precode movie, notable for being an early effort of Humphrey Bogart.  The film is Love Affair (from 1932 - not be be confused with the 1939 film of the same name with Irene Dunne, which inspired An Affair to Remember) and Bogart plays James Leonard, a brilliant aeronautical engineer who becomes involved with an impoverished heiress. Carol Owen (Dorothy Mackaill) is a party girl, with a love for thrills (and no one else) til she meets Jim at the air field, where she has gone to be wowed in an airplane.  He manages to knock the stuffing out of her (by doing loop-d-loops with his plane) and she returns the favor by driving him to the City (at 80 miles per hour!)  It doesn't take long before Jim has spent the night with Carol (this is a precode, after all), and before Carol discovers that the little money she has is gone, and she will end up being a detriment to Jim's efforts to develop an airplane motor company with his revolutionary new motor design.

Dorothy Mackaill was nearing the end of her career when she filmed Love Affair.  Within two years, she left pictures for good (after seeing her rather substantial career peter out to supporting roles and then none at all).  Sad really, as she was quite talented.  We were very impressed by the scene in which she is flying with Jim - the look on her face is priceless.  Also wonderful was the scene in which we realize she has been intimate with Jim.  Her tears as she brushes her hair before she goes out to join her lover are very special. We see in her eyes all her emotions - her fears, her anticipation, her deep and abiding love.

This film is also noteworthy as an early attempt to introduce Bogart as a leading man.  Columbia obviously decided he did not fit the bill (their loss. He is wonderful in this film) and Bogart would leave to play gangsters and finally, the ultimate leading man at Warner Brothers.  Here is a scene with Bogart looking all ruggedly handsome:


Luckily, this film is available on DVD (though we caught it on Antenna TV; you could look for it there as well).  It is certainly worth your time.

Garbo Coughs

1937's Camille, with Greta Garbo as the notorious Marguerite Gautier was the subject of our latest discussion.  Garbo, of course, is wonderful as the opportunistic courtesan who falls in love with the scion (Robert Taylor as Armand) of a well-to-do family.  While Marguerite resists the attentions of - and her feelings for - Armand, she finds herself desperately in love with him.  A summer alone with him convinces her that she can change to a simpler lifestyle, but the mores of the time interfere, and Marguerite is faced with a choice - stay with Armand, to his ruin, or leave him and break both their hearts.

Garbo is just remarkable here. Her silent era training is evident as she uses her face, her eyes and her body - rather than her voice, to show us Marguerite's physical deterioration.  She LOOKS sick - beautiful, but quite ill.  Yet she is not overstated or exaggerated.  She is the epitome of suffering, trying to summon her last ounce of strength to greet the man she chased away.

Also wonderful is Lionel Barrymore as Armand's father, Monsieur Duval.  Barrymore could play his character as a villain, but he does not.  Monsieur Duval is merely a loving father who dreads hurting a woman who seems to be very sweet, and very much in love with his son, but who will soon cause his downfall if they continue their relationship.  When one realizes that Barrymore is less than 2 years from being forced into a wheelchair for the rest of his life (he suffered from severe arthritis that prevented him from walking), one realizes that he is acting through his pain.

Robert Taylor, too, is excellent, with Armand's naivety shining from his youthful face.  Armand seems sometimes like a sex object - a lovely creature for Marguerite to adore.  Taylor fits that bill as well, but also is able to make you understand why Marguerite would give up everything to be with this lovely, gentle man.

This is a beautifully designed film as well, with magnificent costumes (by Adrian).  Our group had a bit of discussion on the tendency of some films to not quite get the hair style right for the period - which is NOT the case here.  The whole atmosphere of the film is perfection.  It is interesting to note that the silent version of the film is also available (on the DVD of Camille), with Rudolph Valentino as Armand and Nazimova as Marguerite.  It is certainly worth a look if only as a comparison to its magnificent remake.

Here is a trailer to the Garbo version:

 

When Sorrow is Beautiful

This time, our group decided to jump across the pond for what is perhaps the perfect tearjerker: Brief Encounter (1945).  Two of us had recently seen the Broadway retelling of the story, and being fans of the film, were not pleased with the results.  We found the levity in the play too distracting in this story of beautiful sorrow.  The film, directed by David Lean, is a magnificent rendering of a very simple story line - two married strangers meet casually on the train platform of a small English town.  The following week, they run into one another again; a friendship is formed, followed quickly by love.  Of course, their love is doomed - both have spouses and children.  Neither can bear to hurt their families. Thus, they must separate, never to see one another again.

Drawn out as just a few lines of plot, this film sounds trite. It is not.  Aided by the subtle direction of David Lean, a score that deftly uses Sergei Rachmaninoff's Piano Concerto No. 2 as subtext, and superb acting by Celia Johnson as Laura Jesson and Trevor Howard as Dr. Alec Harvey, this is a movie (to quote TCM) that is an Essential.  The story is told from Laura's point of view - she is our narrator - and so we see her reactions to the whirlpool into which has life has fallen.  The original story (a play called Still Life) only has 4 characters - Laura and Alec, and the "comic" relief of the train station couple, Albert Godby (Stanley Holloway) and Myrtle Bagot (Joyce Carey). In fact, the whole play takes place in the refreshment room of the train station.  Lean opens up the action, and allows us to meet Laura's husband and children, making even more poignant the decision facing Laura.

The DVD version of Brief Encounter has some interesting commentary on it.  I have to admit that one scene (in which we see Alec and his friend Stephen argue over Alec's failed attempt to consummate his affair with Laura), which the commentator said did not work - since it was not something that Laura could have seen (she has already run from the room), did, in fact, work for me.  I saw this conversation as LAURA'S imagining of what actually occurred.  It seems unlikely, to this observer, that men would have this discussion.  More, it was the final realization, by Laura, that her relationship with Alex has become tawdry, and must end.

If you've never seen Brief Encounter, give yourself the pleasure of a visit to post World War II England, and visit with Laura and Alec.  Here is the trailer; you can hear some of the music, as well as get a taste of the film itself:

Nurse Carole

In 1940's Vigil in the Night, Carole Lombard stars as Anne Lee, a dedicated nurse in a small English town.  Anne loves her work, and has convinced her younger sister Lucy (Anne Shirley) to follow in her footsteps.  Though almost through with nursing school, Lucy doesn't have Anne's dedication; as a result of her neglect, she allows a young child to die.  Rather than let Lucy be ousted from nursing school, Anne assumes responsibility for the child's death; she is fired from her job, and forced to leave town.  She ventures to Hepperton, where she joins the staff of a local hospital, and gradually assumes positions of greater responsibility.  She also finds herself working with the similarly dedicated Dr. Prescott (Brian Aherne).  However, the appearance of a nurse from her old job, Lucy's involvement with a local man, and an epidemic in Hepperton all work to create problems for Anne.

Sure, this is melodrama, but it is melodrama at its best.  Ms. Lombard shines here as a woman whose career is the most important thing in her life.  In the hands of a lesser actress, Anne could have come across as preachy or shrill. But Lombard's Anne shines when she talks about nursing.  Her Anne is what a nurse SHOULD be - an idealized portrait of a woman who values human life and the ability to bring comfort to the sick.  She is ably assisted by Anne Shirley (who's Lucy is the poster child for the person who should NOT enter nursing school, and whose selfishness makes you want to smack her in the film's early scenes.), and Brian Aherne (an equally idealized doctor, Aherne also carefully avoids the maudlin).

Vigil in the Night really is a neglected Lombard masterpiece; a film that is rarely seen or discussed when talking about her (painfully short) career, but one that should be looked at more often.  We really enjoyed it, and suspect you will as well.  Take a look at this clip, to get an idea of what is in store:

Carole Becomes Virtuous

Today, we again visit the pre-code world for Carole Lombard's 1932 film Virtue.  In it, she plays Mae, a  young woman with a "career" on the streets, who is literally run out of New York City on a rail (on what is today Metro North, to be exact). She has no intention of leaving the City, so she bails off the train at 125th Street, where she meets Jimmy Doyle (Pat O' Brien), a smart-mouth cabbie who disdains marriage and women.  Mae runs away without paying her cab fair, much to Jimmy's disgust; however Mae decides to go straight.  Once she has the money, she seeks Jimmy out to return the fare.  After some difficulties, they fall in love, and decide to marry.  Of course, once they marry, Jimmy finds out about Mae's past.  He decides to forgive her, but of course, with forgiveness does not automatically come trust.

Ms. Lombard is just wonderful here as Mae.  She is sympathetic, but tough.  You never forget her past, but you (as the audience) are far more aware of how far she has come than the rather dense Jimmy.  Pat O'Brien is quite good as well playing a tough guy. You do want to smack him occasionally for his stupidity, but I think we ultimately want him with Mae.  Perhaps she deserves better than him, but she loves him, and he is really not a bad guy.  Here, our couple have a conversation:


It is also nice to see Ward Bond (as Jimmy's pal Fran), who is, as always, wonderful. He makes a small part something to look forward to.  Another treat is seeing Mayo Methot (the one time Mrs. Humphrey Bogart) as Mae's best friend Lil Blair.  Ms. Methot never actually looked young! And certainly her somewhat hard features complement the part of a hooker who has tied herself to a rather disagreeable - and dishonest - lover (said boyfriend is played with a good deal of slime by Jack LaRue).

Another Lombard movie that doesn't get enough play, we think.  Plus, as a precode film, you get the extra bonus of something a tiny bit (by later standards) racy.

Carole Finds a Mother

Lady by Choice from 1934 is an absolute delight.  In it, Carole Lombard plays fan dancer Alabam (Georgia) Lee, who finds herself in court as the same time as Patsy Patterson (May Robson), a former entertainer turned homeless drunkard.  Patsy has friends, however - Judge Daly (Walter Connolly) and Johnny Mills (Roger Pryor), a wealthy young man whose father requested he always look after Patsy.  Patsy, Like Alabam, is a gutsy lady, who speaks her mind. As a result, when Alabam's agent convinces her to adopt a mother (for the publicity), it is Patsy she selects.  And Patsy, who immediately adores Alabam, tries to change her new daughter's life for the better, but not always with the best of results.

May Robson is just adorable.  She gets most of the good lines, and you want to take her home with you.  Lombard's role is also quite rich.  Alabam is a kind, gentle soul; she loves deeply, and is a caring person. Badly used  by her agent, she finds herself almost penniless, but still tries to support Patsy's goals, to make her a legitimate performer, despite her lack of self-confidence. We have, of course, some romantic complications.  Alabam falls in love with Johnny Mills, but Patsy thinks that Alabam is after him for his money.  It causes some strife, but all comes right in the end!

This is one that I think most people have not seen. Give it a try. I think you will find it is worth your time. We'll leave you with a scene with Ms. Lombard and Ms. Robson.

Carole Joins the Rackets

If you've seen Singin' in the Rain, then you are familiar with the comic take on the beginning of sound films.  The Racketeer, from 1929, is an actual example of this phenomenon.  The film features Carole Lombard as a former society lady named Rhoda Philbrook, who left her husband for a violinist Tony (played by Roland Drew). The only problem is, Tony is a drunk and now Rhoda is reduced to cheating at cards in order to get enough money to live.  While working the tables, she meets the racketeer of the title, Mahlon Keene (Robert Armstrong).  He is smitten with her, and eventually offers her marriage.  Thinking her life with Tony is over, she assents. But then, her life gets complicated.

By today's standards, this is not a good film. It is static and somewhat boring at times; resembling in some ways a filmed play (with a lot less movement).  BUT it is an excellent sample of how the survivors of silents were coping with the advent of sound.  Of course, the actors don't move very much.  The film is very talky, but you can see the beginning of something great.  Lombard is lovely in the lead, and seems comfortable in the new mode (though some vestiges of silent film acting remain).  Armstrong (who never has been a favorite of mine), is fine as Mahlon.  He is stiff, but much of that is probably the camera restrictions.

While there is not a lot to in this film to make it appealing, do give it a look. It is a window back into the past - a baby step in the growth of a new industry.  TCM had a very nice article about the film during a Lombard festival. 

Carole Marries Gene

In 1933's Brief Moment, Carole Lombard plays Abby Fane, a nightclub singer who is loved by - and loves - wealthy Rod Deane (Gene Raymond).  Despite the objections of his family, Rod and Abby marry, and have an extensive honeymoon in Europe.  When they return to their home in New York, they find that the home that Abby has hoped to design has been completely done over by Rod's dilettante friend, Sigrift (Monroe Owsley), who spends most of his time encouraging Rod to overspend and over-drink.  Abby is heartbroken at her husband's lifestyle, finally telling him that he has one choice - to find gainful employ, or to lose her.

One thing that is rather odd about this film is the relationship between Rod Deane, his brother Franklin, and their father.  Mr. Deane runs a huge business, yet he has totally cut his sons out of the running of the enterprise.  Son Franklin is a vice-president, but does nothing all day but play the horses. Why? Because his father will not share the responsibility of the firm.  One wonders what will happen when Mr. Deane is no longer able to work.  Then again, Mr. Deane isn't working all that much - he is MUCH more interested in his stable of horses.  Given that the action is contemporary to 1933, one wonders how the family survived the Depression with their wealth intact.  One interesting scene involves the writing of a check - we see the monthly allowance that is going to Rod - $4,000.  In 1933, that would have been more than the yearly salary for most people. One can only imagine the shock of seeing that number being given out to a young man who is doing absolutely nothing with his life.

While this is a slight little movie, the costuming is wonderful (Carole has some lovely dresses), and our Ms. Lombard is just lovely as the noble Abby.  Abby is reserved and gracious - she has much more "class" than her upper-class husband and his obnoxious family.  Gene Raymond is fine as Rod (though Raymond is not one of our favorite actors).  It is interesting to see Donald Cook again (just two years after he appeared in Public Enemy). The actor that stands out, though, is Monroe Owsley, who is (again) playing a cad.  He does it so well, and when he is on screen, he is fascinating to watch.

Certainly not one of Ms. Lombard's best films, but certainly worth a quick look.

Carole Abjures Orchids

Carole Lombard's 1932 film No More Orchids is a delight from start to finish. Wealthy Anne Holt (Carole Lombard) is used to getting what she wants, until she meets Tony Gage (Lyle Talbot).  He has no money, and she is engaged to royalty, but love blooms, and Anne is quite willing to give up her wealth and position to be with the man she loves.  But, there is a fly in the ointment - her grandfather (C. Aubrey Smith), a rather malevolent individual who will use anything in his power to manipulate Anne into wedding his choice - Prince Carlos.

The cast here is just magnificent, especially Louise Closser Hale as Anne's outspoken grandmother. Hale is an absolute riot, and makes the picture.  From the second we see her, Ms. Hale steals the movie, and you look forward to her every appearance.  Also wonderful is C. Aubrey Smith as Anne's nasty grandfather.  The cameraman (Joseph August), has a field day, filming Smith at angles, and with lighting that make him appear as the devil.  And Smith seems to relish the cruelty that Mr. Cedric delights in imposing on those around him.  Finally, there is Lombard, who is just lovely as Anne.  She is funny and sweet; running the gamut from spoiled brat to loving daughter, without being maudlin. 

One interesting detail about the film is that it is a pre-code.  That becomes apparent when Lombard spends the night with Tony, and he later makes a comment that casts aspersions on her "honor". (She has been forced to break up with him; he doesn't know why and believes she has been toying with his affections.) It's quite suggestive!

We strongly recommend this neglected classic. Here's a scene from the film:

Interlude: Lydia

As several members of our group were missing, we held off on our next Carole Lombard movie and instead watched Lydia, a little gem from 1941.  Told in flashback, the movie is the story of Lydia Macmillan (Merle Oberon), who was a much sought after belle in her youth, who became an unmarried philanthropist.  At a party celebrating her good works, she meets one of her youthful romances, Dr. Michael Fitzpatrick (Joseph Cotton).  The son of her grandmother's butler, Michael had once had hopes of marrying Lydia, but, alas, it was not to be, because Lydia lost her heart to Richard Mason (Alan Marshal), a cad who seduced our heroine and then abandoned her.  Michael throws a party for Lydia, and invites her three romances: Mason, Frank Audry (Hans Yarah), a blind composer, and Bob Willard (George Reeves), a college football hero.  All are present, except for Mason, and the party of four begin to reminisce about the past.

Ms. Oberon is lovely as the youthful Lydia, but her makeup in the old-age scenes is rather odd (the men look SO much better; so much more realistic). We all enjoyed seeing George Reeves as the egotistical Bob (his drunk scene is quite funny), and of course, Joseph Cotton is always a pleasure to watch.  We really could not understand WHY Lydia would prefer Richard to Michael.  Michael is much more appealing; Alan Marshal is rather a non-entity compared to the much more dynamic Cotton. Also fun to watch (always) was Edna May Oliver as Granny. From the minute she shows up, Ms. Oliver is a delight.

Released in 1941, in many ways this film is shocking, in that it discusses a woman who has a two-week affair with a man who is probably married, yet her only punishment is to be single. Then again, one assumes in 1941, that was a fate worse than death for most women. But one can't help but thinking that Lydia made a huge mistake in abandoning Michael, no matter how profound her life was as a philanthropist (heck, Michael would have let her do both, even in 1941).

Next time, we promise another Carole Lombard movie!!