Kay Loves a Thief

The Amateur Cracksman has struck again, and the police are baffled. Despite his success as a thief, A. J. Raffles  (Ronald Colman) is giving up his life of crime for Gwen (Kay Francis), the woman he loves. But that is before he discovers his best friend, Bunny (Bramwell Fletcher) is deeply in debt. To save his friend, Raffles (1930) decides to pull one more job - steal the diamond necklace belonging to Lady Melrose (Alison Skipworth).

This was a fun, enjoyable movie. It's very much like the 1939 remake, if a bit more static in places (this is 1930, after all. Sound is still an infant).  Regardless, the film's creative team tries to insert some movement and action to the proceedings, which does help to make the film seem less talky.

Ronald Colman is the perfect choice for A. J. Raffles. He's charming, debonair, well spoken, and someone you can imagine scaling walls - all the things that are needed to make the audience root for him. His relationship with Bunny is just the icing on the cake - Raffles is a loyal friend.  Bunny may not deserve him - he's in debt because of gambling - but this loyalty makes Raffles even more attractive. There was no question as to who would play Raffles in this version. Mr. Colman had proved so successful with Bulldog Drummond the previous year that Sam Goldwyn rushed this film into production (TCM article).

We wanted more Kay Francis.  Gwen disappears for much of the film (as Raffles cases the premises to steal Lady Melrose's jewels), then returns towards the end.  One thing that her absence accomplishes is to make sure that it takes some time before she realizes that her fiance is actually a robber. Had she been around, we might be shaking our head at how stupid she is for not realizing his hobby (shades of Lois Lane not recognizing Superman when he is wearing glasses!) Once we see her later in the film, Gwen is pretty quick to catch onto Raffles' objective, so it was sadly expedient to not have her around for a bit.

The clever, witty script caused the original director, Harry d'Abbadie D'Arrast, to push for a comedic style. It was deemed to be too fast by producer Goldwyn for Ronald Colman - Mr. Goldwyn saw Mr. Colman as less a comic than a wit, and changed directors; though neither Mr. D'Arrast nor his successor, George Fitzmaurice was listed in the credits (AFI Catalog). By casting actors like Ms. Francis and David Torrence (Inspector McKenzie), both of whom prove to have excellent repartee with Ms. Colman, the film is smart rather than silly.

With excellent reviews, like this New York Times review which said that Mr. Colman "does well  by the part" and Ms. Francis "is also excellent," the film turned a tidy profit (The Women of Warner Brothers: The Lives and Careers of 15 Leading Ladies by Daniel Bubbeo). It isn't surprising that it would be remade in nine years with David Niven in the lead. Both films are enjoyable and well worth a viewing.

Kay's a Model

Stefan Orloff (Claude Rains) is about to pull off a huge business deal, but he needs to convince his backers of his stability.  So, he hires mannequin Nicole Picot (Kay Francis) to come as his date to an important party.  This leads to Stefan owning his own investment firm, and Nicole becoming the head House of Picot, a major design house.  Stefan loves Nicole, but she's not ready for marriage, at least to him.  Unbeknownst to Nicole, Stefan is the mastermind behind a huge swindle.  To avoid investigation, he convinces Nicole to go away with him for a brief vacation, where she meets Anthony Wayne (Ian Hunter) on her Stolen Holiday (1937).  

The date of the release of the film makes it rather remarkable, as there are elements in it that you would expect in the pre-code era, not in 1937.  Stefan is as dishonest as they come, but it is impossible to dislike him.  There is an implication that he and Nicole have been lovers, and though one of our lead characters is "punished" for their sins, another minor character easily gets away with an horrific act.  Based on an actual scandal (see this brief note at the AFI Catalog), the ending is true to the real-life facts.  Warner Brothers, however, carefully distanced themselves from the real story with a disclaimer at the beginning of the film (TCM article). It's amazing that they were able to produce the script as they did, and it makes the film far more provocative. 

As always, Ms. Francis gets a gorgeous wardrobe from Orry-Kelly that she shows off to perfection.  Her severe hairstyle at the opening is quite in contrast to the feminine gowns (you can see it in the image above).  The set design by Anton Grot is splendid and Ms. Francis is placed into it like a jewel.  

The only real problem with the film it is that Ian Hunter doesn't bring much to the part of Anthony Wayne.  Perhaps it is the comparison to Rains, but quite honestly, it's hard to understand why Nicole is attracted to Wayne, he seems such a non-entity.  When Ms. Francis is with Mr. Rains in a scene the dialogue sparkles, but once she is with Mr. Hunter it seems banal and dull. It's a shame, really, because he was just fine as Ms. Francis' romantic interest in I Found Stella Parish (though, to be honest, we did prefer Paul Lukas in that film).  Mr. Hunter is a capable if uninspiring actor; but put up next to someone like Claude Rains, he fades into the background.

Claude Rains.  There really is music in that name.  The man could pretty much do anything - villain, romantic lead, supporting actor.  Bette Davis was a fan (Mr. Rains daughter discussed their relationship on a TCM Word of Mouth oral history), and in fact thought that Charlotte Vale of Now Voyager would have eventually married his Dr. Jaquith (TCM article).  He's really magical in this film - he takes a character that could potentially be unlikable, and turns him into the most interesting person in the movie, despite his rather larcenous nature. According to Claude Rains: An Actor's Voice by David J. Skal and Jessica Rains, he and Ms. Francis didn't get along.  He disliked her unwillingness to participate fully in scenes where he was being filmed for a close-up.  One assumes this may be the reason they didn't work together again.

Mr. Rains began his film career at age 44 with The Invisible Man (1933).  By that time, he'd been on stage in London and New York, served in the first World War (with colleagues Basil Rathbone, Ronald Colman, and Herbert Marshall); attended, and then taught at the Royal Academy of Dramatic Arts, and returned to the stage.  When he returned to New York, and was appearing on Broadway, he was approached by Warner Brothers (after RKO decided he was not right for A Bill of Divorcement).  Beginning in 1933, he worked steadily, appearing films such as Mr. Skeffington (1944), The Adventures of Robin Hood (1938),  Four Daughters (1938),  and King's Row (1942). And, of course, Casablanca (1942). Nominated for four Oscars (all in the supporting actor category), he never won, but did get a Tony Award for his performance in Darkness at Noon (1951). With his delicious voice, he was a popular radio voice, and transitioned to television in the 1950s and 1960s.  But he still continued in films until 1965, two years before his death of intestinal hemorrhage in 1967.  In one of his final films, Twilight of Honor (1963), he worked with Richard Chamberlain, who was making a name for himself in Dr. Kildare.  Mr. Chamberlain did a tribute to his co-star on TCM; the year after the film, Mr. Rains appeared with Mr. Chamberlain again in Dr. Kildare.

Also in the cast is Alison Skipworth as Suzanne, who acts as a surrogate mother to Nicole.  Ms. Skipworth is quite amusing in the role, and really gets most of the good lines.  She's a delight in the role!

We'll leave you with this link to the film's trailer.

Bette Elopes

After Geoffrey Sherwood (Ian Hunter) is jilted by Valentine French (Katharine Alexander), Geoff goes on a bender, and shows up, quite drunk, outside of the church where Valentine is marrying the wealthy John Marland (Colin Clive).  Two police officers are about to arrest Geoff when Miriam Brady (Bette Davis) steps in and hurries Geoff to a restaurant to cool down and sober up.  When Geoff's friends (Hugh Brown and Tony Hewlitt, played by John Eldredge and Phillip Reed) suggest that Miriam can perhaps stay with him and keep him away from the wedding festivities, she agrees to remain with for a few hours.  However, by evening's end, she has become somewhat tipsy and ends up married to Geoff.  Though Miriam is ready to get an immediate divorce, Geoff suggests that marriage might be good for the two of them, and they decide to give it a go.  But, as Geoff's new business begins to become successful, and Valentine gets bored with her husband, the marriage is threatened. 

Thus begins The Girl from 10th Avenue (1935).  This is a very tightly scripted piece.  There's not a lot of fluff, and with a running time of 69 minutes, the story moves quickly from one scene to another. It's an excellent cast, with Davis at her most appealing as the down-to-Earth Miriam.  A working girl in the best sense of the word, Miriam has lost her job sewing labels into clothing.  Her education is fairly limited, but she is happy to learn from her upper-crust husband.  Eager as she is to please Geoff, however, she never loses her moral compass.  In that sense, she is reminiscent of  Madalaine in recently discussed Child of Manhattan. Bette Davis is able to imbue her with a aura of capability and integrity that makes Miriam a strong and attractive character.

We were sorry not to have seen more of Colin Clive, who is wasted really in the role of John Marland.  He only gets a few scenes, and John is a fairly passive role; he is constantly manipulated by his wife, and seems uninterested in anything requires effort.  Regardless, we wanted to see more of him, and see the character better fleshed out.  Clive is probably best known today for his title role in Frankenstein (he was the Dr., NOT the monster!!), but he also played Rochester in the 1934 Jane Eyre and was in the cast of Clive of India, which was the story of one of his own ancestors (no, he didn't play the historical Clive).   Colin Clive started his career on the London stage, and was cast as a replacement for Laurence Olivier in Journey's End, a role he reprised in the film version (with director James Whale, who would later cast him in Frankenstein).  His career was short - he died in 1937, at age 37 from pneumonia, exacerbated by his severe alcoholism.  His wife did not come to the funeral.

The part of  Valentine is ably played by Katharine Alexander.  We've seen her before in the film In Name Only as Carole Lombard's sister, Laura, and as Claude Rains' favorite nurse in Now Voyager.  She gives Valentine a supercilious air, which is effective in playing up the differences in upbringing between her and Miriam.  It also makes her eminently unlikeable.  Thus, it's hard to envision why two men are so passionate about her.  She's cold, and cruel.  She's also no beauty (though she does have a phenomenal wardrobe).  Alexander had a interesting end to her career.  As film roles began to diminish, she went to London, where she appeared in the Paul Muni production of Death of a Salesman, playing Linda Loman.   Her reviews were outstanding, so Alexander decided to go out on a high note, and retired after  her success there. She died in 1981, at the age of 83, 

Finally, there is my personal favorite character in the film, Mrs. Martin, as played by the always wonderful Alison Skipworth (Mrs. Martin).  We are familiar with her from previously viewed films, such as Devotion and The Gorgeous Hussy.   In this film, she plays a former showgirl (who "almost" prevented the birth of Tony Hewlitt.  Seems his father proposed to her).  She owns the building in which Miriam has an apartment, and becomes a second-mother and tutor to the girl.  Though Mrs. Martin is, as we learn, quite sassy, she is tactful as she tries to instruct Miriam in correct grammar and behavior.  But when Marian finally confronts Valentine in a restaurant, it is Mrs. Martin that we watch.  Her enjoyment of the situation is very funny. 

We leave you with a reference to an excellent article from TCM, the film's trailer, and brief bit of trivia about the title.  Why is Miriam from 10th Avenue? Well, in 1935, the part of 10th Avenue on which she lived was called "Hell's Kitchen", and was best known for the its poor, working-class - and tough - inhabitants.  

Nanny in Disguise

Devotion (1931) stars Ann Harding as Shirley Mortimer the maligned and ignored daughter of an intellectual family.  While assisting her family (Shirley runs the house. The rest of the family is “too busy”), she meets David Trent (Leslie Howard), a busy barrister in need of a nanny for his young son. Shirley is smitten with David, and decides to pursue their relationship by apply for the job as nanny. She facilitates this by inventing an older Cockney lady, Mrs. Halifax, and donning a grey wig, old clothing, and glasses. David, of course, is oblivious to the disguise, but it doesn’t take long for his client, Norman Harrington (Robert Williams) to realize that the wig is hiding an attractive, young woman.

It struck us that Shirley was the somewhat less unbalanced mother of Bette Davis’ Charlotte Vale (Now, Voyager). Both are looked down upon by their families, both seem to see themselves as unattractive.< However, Shirley decides NOT to have a nervous breakdown. Instead, she becomes someone else.

Though filmed in the Pre-code era, this isn’t really a Pre-code movie. Or is it? Norman has murdered his wife (and been found innocent, because the wife was a violent lush). And David has his own little secret (which we won’t reveal) that rather smacks of the Pre-code ethos.

Ann Harding is quite endearing as Shirley. Though her family doesn’t think so, she really does have a backbone, is smart, and ultimately quite attractive. Leslie Howard is appropriately befuddled as the overworked barrister. And then there is Robert Williams. Robert Osborne told us about his unfortunate, brief life – a life cut short just as he was receiving attention for his work. His Norman is JUST enough on the edge to make you wonder IF he was really a murderer. One is never quite sure if he is trustworthy or not. And watch for Louise Closser Hale as Shirley's witch of a mother. 

We leave you with a clip from the film. Next time, a real Pre-Code film!

Princess Carole

This week's movie was The Princess Comes Across. After last week's odd outing, this was a welcome relief.  Our Carol is the Princess Olga, on her way from Sweden to become an actress in Hollywood. Except, we quickly find out she is actually Wanda Nash from Brooklyn, a wannabe actress who will do anything to get her Hollywood break - even pretending to be a bargain-basement Greta Garbo.  On the cruise ship, our little princess meets King Mantell, a successful concertina player, who is eager to get better acquainted.  It doesn't take too much convincing for the Princess to decide that she really rather likes concertinas (despite the disgust of her traveling companion, Lady Gertrude, aka Gertie, played with great verve by Alison Skipworth). 


It appears we are in line for a boy-meets-girl, boy-almost loses girl story, but no.  Wanda and Gertie are being blackmailed by Robert Darcy (Porter Hall, at his unctuous best). He'd already tried to pry some money out of King (who has served time in prison), but King isn't interested in paying for his silence, so Darcy goes after Wanda. And then ends up dead. In Wanda's room. And, so King decides to join the search to find the murderer.

We loved Carole Lombard's phony Swedish accent ("ney, ney") - an obvious nod to MGM's most famous Swede, the ever wonderful Ms. Garbo. And it was a pleasure to see Fred MacMurray paired with William Demarest (many, MANY years before they became a TV "couple"). MacMurray seems to be having a lot of fun with the part, as is Ms. Lombard.  The murder plot is rather convoluted, but who really cares.  I don't think you will even remember who committed the murder (or why), but you'll have a good time regardless.

A big thumbs up for this one. Here's a scene of Fred MacMurray singing (and playing a concertina. Not bad for a saxophonist!) Join us next time for True Confessions.