Joan Gets Paid

Mary Turner (Joan Crawford) is sentenced to three years in prison after being unjustly convicted of theft by her employer, store magnate Edward Gilder (Purcell B. Pratt). When Mary is released, she is unable to find a job, and so begins a blackmail racket with Joe Garson (Robert Armstrong). She has returned from prison with three goals in life: make money, stay out of prison, and revenge herself on Gilder. Gilder’s son Bob (Kent Douglass) presents an easy target for the last goal. This week, we’ll discuss Paid (1930).

This is a film that begins well. It starts at a good pace; the story is clearly laid out, and the scenes flow easily from one to the other. And then we get to the end, which is slow to the point of inertia. Scene after scene tell the same story, and there is no good reason why we need to see every character questioned by the police over and over. The film manages to cover Mary's prison time concisely. We wished that the conclusion had done the same thing.

Mary Turner uses the knowledge she gained about the law to fulfill her first two goals - to make money and stay out of jail. The schemes that Joe and Agnes Lynch (Marie Prevost) devise work just this side of the law - have Agnes become the paramour of an older, rich man; get plenty of evidence in the form of love letters; inform said man that Agnes is under-age and expects marriage. The money flows in, and they are technically not blackmailing the man.  Joan Crawford is excellent as a woman who goes from a poorly paid clerk, to an inmate who uses her prison time to read up on the law; to a sophisticated criminal. Her training in silent films serves her well; with just a hint in her eyes, she is able to convey all the information the audience needs. 

Ms. Crawford badly wanted this part - she'd been making a career playing flappers, and she wanted a role with meat on it. But producer Irving Thalberg intended the part for his wife, Norma Shearer. Luckily for Ms. Crawford, Ms. Shearer became pregnant just before filming began, and Ms. Crawford actively pursued the role again, convincing Mr. Thalberg to give her a chance. She even insisted on doing the prison scenes without makeup to make them more convincing.  It paid off - the success of the movie assured her of continued dramatic parts (TCM article).

We've had mixed reactions to Kent Douglass (aka Douglass Montgomery) in two other films of his that we've viewed.  This was his first film, and he is so much more comfortable here than he was in Waterloo Bridge (1931). Certainly, Bob is far less naive than Roy Cronin, and perhaps that is the issue. Bob is a more realistic character, and Mr. Douglass plays him that way. Sure, Bob is a tad innocent, but he deals with the issues forced on him truthfully and with determination.

Joe, however, is really more caricatured. He's a loose cannon and prone to violence, making him his own worst enemy. Quite frankly, he doesn't really have the nerve to be a swindler. Without Mary there to calm him, he would blow the scheme and end up in prison. Robert Armstrong does a decent job with the character but he's not given a lot to work with. Mr. Armstrong is best remembered as Carl Denham in King Kong (1933). He had served in the army in World War I, and returned to take up acting, first in London and then in silents. He transitioned to sound films easily, though he primarily worked in character parts, westerns, and  B films. By the 1950s, he moved to television, appearing in shows such as Cheyenne, Have Gun - Will Travel, and Wagon Train. Married four times, his last marriage, to Claire Louise Frisbie lasted from 1940 until his death (from cancer) in 1973. His lifelong friend, Merian C. Cooper (the producer of King Kong) died 16 hours after Mr. Armstrong.

The McGuffin concerning the Mona Lisa in the latter half of the film is actually based on truth (AFI catalog). The  painting was stolen from the Louvre in 1911 and not found until 1913. That the painting now back in the museum is not the original (and that the real Mona Lisa is in some wealthy collector's private room) has been posited on more than one occasion.  

This was the fourth version of Within the Law, the play on which the film is based.  It started as a stage play on Broadway in 1912. In 1916, it was a short, starring Muriel Starr and a full length version starring Alice Joyce in 1917. This was followed by  a 1923 version (with Norma Talmadge); in 1928, the play was revived on Broadway, with Claudette Colbert as Agnes.  Following our version, the story was filmed again in 1939, with Ruth Hussey as Mary. The story was also done twice in India (as Intaquam (1969) and Pagabattina Paduchu (1971).

If you are willing to put up with the boring bits of the second act to see Joan Crawford, we recommend this - you can always fast forward through some of the police interrogation.  In the meantime, we'll leave you with this scene from the film's opening:

Kay Cruises

After escaping from San Francisco following a murder conviction, Dan Hardesty (William Powell) is arrested in Hong Kong by Steve Burke (Warren Hymer), a police officer tasked with returning Dan to the U.S. for execution. Dan is determined to escape from the ship during the voyage home, but a complication arises in the form of Joan Ames (Kay Francis), a pleasure cruiser to whom he is immediately attracted. But there is a further complication - Joan is dying, and this cruise is, for her, a One Way Passage (1932)

This is perhaps one of Kay Francis' best dramatic roles. She sympathetic as a woman who has little time to live, and has decided to live a shorter, more interesting life, rather than just sit in bed and wait for the inevitable. Ms. Francis, without any backstory, provides that history to the audience simply with her demeanor. We know that Joan has heretofore lived the life an an invalid; informed that the end is now truly near, she has one last chance to experience the world before she leaves it. It seems the film was a favorite of Ms. Francis' as well - it was one that she would regularly show to her beaus to acquaint them with her work (Kay Francis: I Can't Wait to be Forgotten: Her Life on Film and Stage by Scott O'Brien).  

Equally excellent is William Powell as a decent man about to be executed for murder. Dan Hardesty has killed a man, though according to his friend Skippy (Frank McHugh), the victim "needed killing". We get no more information than that. But, we know that Dan is ethical - while attempting to escape from Steve, he plunges them both into the water. But when he realizes that Steve cannot swim, he puts off his escape attempt to rescue his captor. With that simple gesture, we know all we need to know about the integrity of Dan.

In their sixth film together, Ms. Francis and Mr. Powell are a dynamic team. Their chemistry is palpable, and their camaraderie is apparent.  This film would prove to be their biggest box-office hit, yet it was also their last film together (TCM article). Powell would soon leave Warner Brothers for MGM, and The Thin Man series, while Ms. Francis remained at Warners. If you are interested in some of their other films together, start with Jewel Robbery (1932) - their interplay is remarkable.

One Way Passage also has the advantage of co-starring the remarkable Aline MacMahon (Barrel House Betty aka Countess Berilhaus) in the cast. As a con artist who starts off using her wiles to distract Steve from Dan, but ends up falling in love with Steve, she's terrific. Ms. MacMahon is an actress who makes everyone around her look better. As a result, Warren Hymer (who is usually, to my mind, an uninteresting actor) shines as Steve. He becomes more than just the dumb cop he usually plays.  In his book Mothers, Mammies and Old Maids: Twenty-Five Character Actresses of Golden Age Hollywood, Axel Nissen says that "because she didn't look like anyone [Aline MacMahon] could play everyone" and that is certainly the case here. You believe that she is could be a countess, even though you know almost immediately that she is not. Ms. MacMahon can play anything or anyone.  For a brief bio on this wonderful actress, visit our post on Heroes for Sale (another film in which she basically stole every scene).

The screenplay for One Way Passage won the Oscar for Best Writing - Original Story in 1933 for Walter Lord. Director Tay Garnett allegedly felt he deserved credit for some of the writing, which he did not receive (AFI catalog).  The costuming by Orry-Kelly is lovely; he was also tasked with making Kay Francis look ill, which he succeeds in doing by giving her lovely, flowing gowns that hint at frailty. Mr. Kelly would return to costume the 1940 remake, 'Til We Meet Again, this time starring George Brent and Merle Oberon as the doomed lovers.  Also returning for the remake - Frank McHugh!.

Surprisingly, the New York Times review by Mordaunt Hall actually praised the film, stating that it "offers quite a satisfactory entertainment. It has an original idea and the characters stand out..." We would be much more effusive in our praise, but regardless, this is a film for fans of both Ms. Francis and Mr. Powell.  We'll leave you with a brief scene - the meeting of  Joan and Dan:

Dorothy's Getting Married

Louanne (Dorothy Mackaill) has finally hit the big time, only it's not the Bright Lights (1930) of Broadway. She's landed herself a rich husband - Emerson Fairchild (Philip Strange), the son in a wealthy - and scandalized - family. Louanne is leaving her longtime partner  Wally Dean (Frank Fay) behind, and he is supportive of her move. But things get difficult when Miguel Parada (Noah Beery) arrives. He tried to rape Louanne years before, and he is planning to try again.

Bright Lights is a film that really doesn't know what it wants to be - it has romance, mystery, nudity (in silhouette), rape, violence, murder, AND music! Interspersed throughout the film are musical number, most of them repetitive. There is, however, a unique musical interlude - a VERY strange song celebrating cannibalism. In spite of all of this, it's a short film - only 69 minutes (thank heaven!).

Dorothy Mackaill is wasted in this movie. She is so much better than the film. While she was part of the original casting, she was eventually elevated to star billing, with Frank Fay downgraded to co-star billing (AFI catalog). She does get to sing (she has a pleasant, throaty voice) and dance (in that rather all-legs style of the early 30s), but her plot-line is slim. She's trying to keep her fiance from running off, while still hinting to the audience that she has feelings for her co-star. She more or less succeeds, but I think the viewer would have wondered why she was wasting her time with either of them. (The film is briefly touched on in this New York Times article on Dorothy Mackaill's films).

Much of our discussion focused on Frank Fay. A highly-paid personality on the New York stage, Fay was lured to Hollywood with a tidy contract. It quickly became apparent that whatever talent he had did not translate to the screen. It also didn't help that he was a fairly despicable man - a racist who made his antisemitism well known. An oft-repeated story involves an altercation with Milton Berle. Fay was on stage at the Palace, and Mr. Berle was watching from the wings. When Fay shouted an ethnic slur in Berle's direction, Mr. Berle hit him with a stage brace. Sympathy was on Mr. Berle's side (The Comedians: Drunks, Thieves, Scoundrels, and the History of American Comedy by Kliph Nesteroff). But Mr. Fay had one ace - he was married to the up-and-coming Barbara Stanwyck, who was highly regarded and loved by all who worked with her. As Ms. Stanwyck's star rose, however, Fay's plummeted (It's been suggested that their marriage was the basis for A Star is Born (A Life of Barbara Stanwyck: Steel True 1907-1940 by Victoria Wilson)). Mr. Fay drank more heavily, became abusive to his wife, who finally left him when he threatened their child. He made a few movies in the 1940s, but his film career was essentially over. He would return to Broadway in 1944, when he starred as Elwood P. Dowd in the Broadway premiere of Harvey. (The film role would, of course, go to James Stewart. This January 8, 1945 issue of Life magazine featured an article about Fay's life.) But Harvey was pretty much the end for him. He died in 1961.

One reason to watch this film is to see a sound film featuring Noah Beery, Sr. The father of Noah Beery, Jr. (of The Rockford Files fame) and brother of Wallace Beery, Noah, Sr. had an extensive silent film career. He began his career in vaudeville. By 1915, when he ventured out to Hollywood, he had already appeared in one short; he proceeded to appear in over 200 films primarily in character parts. He was the original Sgt. Gonzalez in the 1920 The Mark of Zorro and Tabywana in Cecil B. DeMille's The Squaw Man (1918). When his son began a film career, Mr. Beery billed himself as Noah Beery, Sr. He was visiting his brother (for Wallace's birthday) in 1946 when he suffered a fatal heart attack - the brothers were planning a Lux Radio Theater broadcast of "Barnacle Bill" in which they would have appeared together.  You can hear a rehearsal tape here. 

Frank McHugh also appears as the newspaper reporter, Fish. The character is, for the most part, annoying, but his part is pivotal to the action. Also appearing in a bit part (as a photographer) is John Carradine. He's unbilled, so you have to look hard to see him.

A later of the release of the film would re-title it Adventure in Africa (probably because of the short incident with Parada. The new title makes absolutely no sense). It's a pretty awful movie (as was noted by my colleague at Pre-code.com in his review). There are just too many musical numbers and not enough a story. However, for a look at Noah Beery, Sr. and Frank Fay, this might be worth an hour of your time (you can always fast forward through the numbers).  We'll leave you with this clip from the film.

Robert is Not Guilty

Rising young architect John Smith (Robert Young) has a secret. His real name is Marco Ricca, and he is the son of underworld boss Tony Ricca (Boris Karloff). John has managed to stay clear of his father and his associates, but John's life becomes accidentally entwined with the mob when he is invited to a party, given by Mike Palmero (Leo Carrillo) for his daughter,  Maria (Constance Cummings). Mike is Tony's rival in the mob, and a war is ongoing between the two factions. This week's film is The Guilty Generation (1931).

The story is a gangster style Romeo and Juliet, with a different, but shocking conclusion. Filmed and released while Prohibition was still in effect, the movie paints a frightening picture of the gangster wars of the 1920s and early 1930s. In the opening sequences, when we meet John, the entrance of Tony is terrifying. For a few minutes, you are convinced that John has somehow angered this underworld figure, and is about to be beaten or killed. It's stunning when you realize that these men are father and son.

We always enjoy Robert Young, an actor with whom we grew up in his various television incarnations (Father Knows Best and Marcus Welby, MD). It's intriguing to see him at the beginning of his career - he had already made two short films and had roles in two other features. Seeing him with a mustache was also novel; we suspect this was done to make him appear a bit older and a little more Italian. He's engaging as John/Marco; the part is secondary to that of Mike, but it's important that John be both strong and likeable. Mr. Young provides us with a portrait of a determined and ethical young man.

Leslie Fenton, as Maria's brother Joe, portrays the character as a maniac. He is a murderer, and is almost worse than his father Mike, who at least tries to present a civilized demeanor. (It's believed that Mike was patterned on Al Capone (AFI catalog)). Joe has no control at all - he willy-nilly tosses people into the family swimming pool, and then waves his gun around. Never mind he ruins his sister's birthday, he endangers both her, his father, and his grandmother.

An actor whose career began in the silent era, Mr. Fenton appears to have moved easily into talking pictures. He acted steadily until 1938, then switched to directing.  He returned to his native England when World War II broke out and was severely injured during the St Nazaire Raid in 1942. He recuperated, and assumed desk duty after he was fit for service. Married to Ann Dvorak in 1932, she moved to England with him. The marriage, however, didn't survive the stresses of the war - they divorced in 1946. Mr. Fenton directed a few films more films, but had retired from films by 1956. He died in 1978 at the age of 76.

We very much enjoyed Ruth Warren (Nellie Weaver) as the Palmero family publicist (and possible mistress to Mike). She gets all the good lines, and while there are hints of a relationship between her and her boss, she is a smart, tough woman who tries to stand aside from Mike's actual work. She's a good friend to our young lovers, and is also an able press agent. It's a pleasure to see this dynamic woman in a film so heavy with testosterone.

Boris Karloff had JUST opened in Frankenstein two weeks before this film premiered (TCM article) which surely enhanced the menace of his character. This recent review in the New York Post of the film's DVD release talks a bit about early Karloff. His part is small, but he is always shown in a menacing shadow (contrasted to Mr. Carrillo, who is filmed with little shadow). 

My colleage at Pre-code.com gave The Guilty Generation a positive review, and we second the reaction. While this is not a great film, it is worth seeing for these excellent actors early in their sound careers.We'll leave you with a scene from Maria's birthday party, including Mr. Young and Ms. Cummings.