Claude, The Genial Host

Secretary Rosalyn White (Barbara Woodall) is alone in the home of her employer, radio personality and "teller of strange tales" Victor Grandison (Claude Rains). She is on the phone with Grandison’s niece Althea Keene (Audrey Totter). Althea hears a scream on the phone, then nothing; Althea then calmly goes back to her party. The next day, Rosalyn’s body is found hanging from the chandelier; the police deem it a suicide. Some months later, Althea hosts a party for Victor’s birthday. A surprise arrival is Steven Francis Howard (Michael North) who claims to be the husband of Grandison’s other niece, the recently deceased Matilda Frazier (Joan Caulfield).  Welcome to the world of The Unsuspected (1947).

As part of the Spring 2019 Femme/Homme Fatales of Film Noir blogathon, we're going to take a look at this interesting film - which is worth watching for the Homme Fatale of the piece - the always intriguing Claude Rains (with a quick nod to one of the queens of noir, Audrey Totter!).

Any opportunity to see Claude Rains in action is one that should not be missed. He does not disappoint as the seemingly sympathetic uncle in this intricate mystery story. It's easy to believe him as a radio host who tells tales of murder and mayhem - likely scaring the hell out of the listening audience (his butler tells Grandison that he doesn't listen to the radio show. It's too scary. Grandison's response - "Do you like your job?"). Mr. Rains gets second billing to Joan Caulfield, however he is almost the whole show. When he is on the screen, I dare you to be able to take your eyes off him. With his imperious presence, one is never quite sure where he stands with regards to his two nieces. We believe he is a loving uncle to Matilda, but there is always that doubt - the true mark of a homme fatal! While Orson Welles was originally sought for Grandison (TCM article), and Robert Alda was announced as the film's lead (AFI catalog), the film is enhanced by Mr. Rains presence.

Audrey Totter is excellent as the malevolent Althea. Ms. Totter makes Althea a mystery - we know she is up to something, but the question is "what?".  She also seems to get most of the best lines. It's always a pleasure to see Ms. Totter; she rarely got star billing in A pictures, but she adds gravitas to any film in which she appears. Like Mr. Rains, she was not the first person considered for the part of Althea - Ava Gardner, Jennifer Jones and Joan Fontaine were all in the running. While we can't agree that Ms. Jones was suitable, Joan Fontaine could have been interesting in the part (take a look at her as Christabel Caine in Born to Be Bad (1950) to see her as a down and dirty noir fatale).

Not without her own great bon mots is Constance Bennett as Jane Moynihan, the director on Grandison's radio program: "After slaving all day over a hot typewriter, there's nothing I like better than a swan dive into a bottle of bourbon." Ms. Bennett is excellent as the one person in Victor's cadre who isn't afraid of him or after something.

This was Fred Clark's (Police Detective Richard Donovan) first film role, and he is good as a policeman with a brain. He was 28 when he joined the Navy in 1942; when he left the services (he had transferred to the Army), he started his acting career. He made a number of excellent films, including Ride a Pink Horse (1947) and White Heat (1949), but he his primary success was on television. He died in 1968, at the age of 54.

Dana Andrews was originally cast as Steve, but he wanted to part to be expanded; when that proved impossible, he withdrew from the production (as did his suggested co-star, Virginia Mayo) (Michael Curtiz: A Life in Film by Alan K. Rode). Actor Michael North was "introduced" in the film, but he'd actually appeared in 21 films and shorts, mostly under the name Ted North. We found him to be somewhat banal, but it does work for the film to keep him more in the background. The Unsuspected may have introduced him, but it was also his goodbye to moviemaking as a performer. He left acting to become an agent, representing clients such as Red Skelton and Amanda Blake.

Hurd Hatfield (Oliver Keane) and Joan Caulfield (Matilda Frazier) are underused in the film. Neither are particularly dynamic actors, and both fade out next to the talents of Mr. Rains, Ms. Totter, and Ms. Bennett.  Quite honestly, you forget they are there after awhile. 

This The New York Times review was not particularly enthusiastic, (though they liked Claude Rains and Michael North). In more recent years, the film has been discussed for the atmospheric camera work achieved by director Michael Curtiz and cinematographer Woody Bredell. (Film Noir Reader 4 by Alain Silver & James Ursini). Whether you watch it for the scenery, the acting, or the story, do consider giving this one a look. We'll leave you with the film's trailer:

   

This posting is part of the Classic Movie Blog Association's Spring 2019 Blogathon on Femme/Homme Fatales of Film Noir.

 

 

A Man Out of Place

Son of the Gods (1930) stars Richard Barthelmess as Sam Lee, an amiable college student, with a good supply of disposable cash.  Sam plays polo, and is frequently requested to fund his classmates when they run out of money.  One evening, he is approached by Kicker (Frank Albertson); he and Bathurst (Claude King) have a double date planned, only a third girl arrived with their dates, and now they have insufficient funds.  Would Sam loan Kicker a few dollars? Better still, would Sam join them, and squire the extra lady?  Though at first reluctant, Sam agrees.  All is well on the drive over; the girls like Sam, and he is shy, but friendly.  When the group arrives at the restaurant, the young ladies retreat to the powder room to fix their faces. A few minutes later, a restroom attendant asks Kicker to come to the ladies' room.  The women are in a furor - how DARE he inflict that CHINAMAN on them! Sam might ask them to dance! It is repulsive, and they want to leave NOW. The young men refuse to bring them home, but finally agree to get them a cab.  And then they have to tell Sam.  He's not surprised; he's been through this before.

Though it is hard to fathom why no one questions Sam Lee's parentage (he certainly does not have physical features that would lead one to believe he is of Asian descent), it is equally hard to believe that Sam's race is so important. And, while Sam is Asian in all but color, he is also generous, kind, loving nature, and noble of spirit.   Yet, he is abused by every woman he meets (save one) and is literally flogged because he is of another race. The single exception to this is Eileen (Mildren Van Dorn), who acts as secretary to Lee Ying (E. Alyn Warren), Sam's father, and who regards Sam as a brother.  

As Robert Osborne said in his commentary on TCM, some moments in the film are "cringe-worthy".   The reaction of Allana Wagner, played with vehemence by Constance Bennett, is certainly offensive to modern audience, but it is also apparent that it is intended to be repugnant to the audience of 1930.  Of course, it's clear that we are supposed to feel for Sam BECAUSE he is pure of spirit, not a "coolie"  This TCM Article discusses the attitudes present in the film in more detail.

We were particularly impressed with Richard Barthlemess in this film.  His conversations in Chinese were quite convincing, and he is able to make Sam likeable without becoming saintly.  Barthlemess had already played an Asian man in Broken Blossoms (1919); in that film, he was in full Asian makeup, and had a more tragic end.   Also quite good was Mildred Van Dorn; while her Irish accent comes and goes, she is able to make Eileen an appealing character.  Van Dorn only appeared in 15 films (between 1929 and 1934), 8 of which are shorts.  She died in 2004 at the age of 93.  We also have a brief appearance by  Dickie Moore as Young Sam.  Though we generally like Constance Bennett, she is rather histrionic in this part.  We're not really supposed to like Allana, but Bennett's over-the-top performance is a bit hard to take.

Next time, we'll be back with another film from the 1930's.

Connie is Kept

Constance Bennett is back in the 1931 melodrama, The Easiest Way.  She plays Laura Murdock, a department store saleswoman who is offered the opportunity to pose as an artist's model for the Brockton Advertising Agency.  She readily agrees, and finds the work agreeable.  However, she comes to the attention of Willard Brockton (Adolphe Menjou), who offers her a different kind of employment - that of his mistress. 

While visiting friends of Brockton in the country, Laura meets Jack Madison (Robert Montgomery). He knows of her life, but loves her unconditionally.  She eagerly agrees to leave Brockton, and live a respectable life.  Only problem is, Jack is leaving the country, and Laura will need to fend for herself 'til he returns.  Can she do it? Or is the easiest way the only way for her?

This film very much reminded us of Primrose Path, where our heroine struggled to avoid the oldest profession.  But, while that film was set in the early 40s, this one is set smack in the center of the Great Depression - it was hard for a man to get a job, much less a woman.  And while Laura is working, she has a lot on her plate - siblings, a mother, and an alcoholic, perpetually unemployed father.  The money that Brockton provides supports Laura in style, but also allows her to provide for her family.  Mother Agnes (Clara Blandick) refuses to see Laura once she is living with Brockton, yet clearly Laura's money is supporting her.  The only family member who refuses to live on Laura is her brother-in-law Nick (Clark Gable, in one of his first major films).  While NIck is hard, he is true to his principles; he doesn't approve of what she is doing, so he won't take anything from her.  Gable is able to give him that rugged handsomeness for which he was later known.  TCM   points out in that he was the hit of film - women came out of the film asking who he was.  

Some interesting period views here - the film is obviously precode - among other things, we see Laura's parents in bed together.  We see an old New York City railroad flat, and we are provided a view into the world of advertising, circa 1931.  It was fascinating to see the rooms of artists providing copy for department stores; almost an assembly line of painters and models.

We found Robert Montgomery's Jack to be somewhat uncaring; he insists that Laura abandon Brockton, but isn't concerned that she might not be able to earn a living, then stops writing for a time without telling her it might happen.  He even tells her to return Brockton's expensive gifts of jewelry and furs (which might have supported her til Jack's return). It's a relatively small part for Montgomery, but we always enjoy seeing him. 

We were pretty sure that Brockton would have demanded the jewelry back anyway.  Adolphe Menjou's Brockton is a very callous, calculating individual.  He is only interested in controlling a woman, and Menjou is VERY good in the part.  He plays Brockton as matter-of-fact, rather than over-the-top evil. 

We leave you with a glimpse of Laura's work as a model, and a hearty recommendation to give this film a look.   With the paring of Constance Bennett and young Clark Gable, this is a definite winner.

Connie Gets Married

Sin Takes a Holiday (1930), stars Constance Bennett as Sylvia, secretary to the wealthy Gaylord Stanton (Kenneth MacKenna).  Stanton has been seeing a married woman. He is perfectly satisfied with the situation, since he has no intention to marry, and Grace's (Rita La Roy) husband is not interested in a divorce.  But, to his surprise, Grace decides she is ready for husband #3, and intends to divorce her husband, with Stanton as corespondent.  To circumvent this (and continue his affair), Stanton convinces the shy Sylvia (who loves him) to marry him.  It will be a one-year (we assume he thinks he will be done with Grace by that time), marriage in name only, with Sylvia safely ensconced in Europe, and Stanton sewing his wild oats in New York.  However, complications ensue when Sylvia, while in Europe, meets Stanton's friend Durant (Basil Rathbone), who is quite impressed with the young woman, and determines to marry her himself.

In many respects, Sin Takes a Holiday is reminiscent of  Lady with a Past.  As in that film, Constance Bennett is considered plain and dull (hard to believe), and while abroad, develops the confidence to take control of her appearance and her life.  Of course, in this film, her "marriage" has given the bankroll to assist in the metamorphosis.  The major difference here is the motivating factor for the change.  While Venice in Lady with a Past decides to make a complete change in her image, Sylvia's emergence as a fascinating beauty occurs because of the attentions of Durant, the first man who has ever seen her as an attractive woman.

For those of us used to seeing Basil Rathbone playing a cad, Durant is a revelation.  When we first meet him at Stanton's house, he seems, to all intents and purposes, to be that bounder that Rathbone plays so well.  But Durant is actually a good man.  He loves Sylvia deeply; he is charming and kind.  And, unlike Stanton, he can see below the surface to the inner Sylvia.  Stanton never does, and we ended up rooting for Sylvia and Durant to end up as a couple.

We also enjoyed ZaSu Pitts as Syvia's roommate, Anna.  Having seen a bit of the silent film,  Greed a few days earlier, it is interesting to see change in her career in talkies.  She continued to work, even appearing in television shows (like The Gale Storm Show) until her death in 1963, usually (as she does in this film) as the best friend of the lead actress.   EliZa Susan Pitts also wrote a candy cookbook: Candy Hits by ZaSu Pitts - it seems she collected candy recipes!

We were less impressed with Kenneth MacKenna.  It didn't help that Stanton is such an unlikeable character, but MacKenna does not (in this film) have the dynamic screen personality of his foil, Rathbone.   MacKenna's career was relatively short, though he did return to films briefly in the early 1960s, playing one of the judges in Judgement at Nuremberg. In the early 1930s, he even played Bullldog Drummond (a role that would later be played by Ronald Colman and John Howard) in 1930's Temple Tower.  MacKenna died in 1962.

We really enjoyed this film.  The characters are well developed, the scenery and settings are lovely, and, as always, we have Bennett wearing some wonderful clothing.  In an article on the TCM website we find the following quote from Constance Bennett: "I'm a lot more sartorial than thespian. They come to see me and go out humming the costumes."  We disagree; while we love the costumes, we really left this film humming Constance Bennett.

Connie is an Artist's Model

As the film The Common Law (1931) opens, we meet Valerie West (Constance Bennett).  She has just informed her lover Dick Cardemon (Lew Cody) that she is leaving.  Dick is angered by her departure, and is sure she will return.  Valerie, however, is determined to make it on her own and applies for a modeling job with artist John Neville (Joel McCrea), who is struggling with a painting for which he needs the right model.  He finds that model in Valerie, and finds too a woman to love.  

Though struggling to make it as an artist on his own income, John is the son of the wealthy John Neville, Sr. (Walter Walker). John, Jr.'s sister Claire Collis (Hedda Hopper), who we know is not thrilled by his career choice, is horrified when she discovers that her brother is in love with such a - to her view - common woman.  So, Claire devises a plan to break up the relationship.

There is a real chemistry between Constance Bennett and Joel McCrea. It was evident in their other movies together (this is the fourth of their four films together that we've viewed and discussed). An article on the TCM website (in a discussion of Born to Love) talks about Bennett telling McCrea that he was to be her co-star in that film, and the fact that many in Hollywood thought there was more to their relationship than just work.

Certainly this film falls nicely into the Pre-code realm.  We watch Valerie shyly drop her clothing as she poses nude for painter John, and we see a number of paintings that make it clear she doesn't wear a whole lot of clothing for the series of pictures he does of her.  And then there is their relationship.  Terrified he will be driven away if they marry, Valerie agrees to a relationship with John ONLY if there is no marriage involved.  As in the film Illicit, it is the woman who opts for the "common law" relationship.  The men in these films are much more desirous of marriage than the women.  

John is clearly more conventional than Valerie - his double-standard is quite pronounced when he learns of her prior affair with Dick.  But it does not bother him in the least that she is willing to pose in the nude.  And, while they are in Paris, John and Valerie live together openly, when they return to New York, John feels compelled to hide their relationship.

This film is also notable for the presence of notorious gossip columnist Hedda Hopper.  Her Claire is annoying from the minute we meet her.  She is dull and conventional, has no understanding of her brother, and is more interested in her position and reputation than his happiness (unlike John's father, who just wants John to be happy).  We don't learn a whole lot about Claire Collis - she seems to be either a widow or a divorcee, as we never meet a husband, nor is he even mentioned.  In the TCM article about this film, Hopper's relationship with Bennett is discussed.  Bennett did not like her one bit; even though at this point in her career, Hopper was still primarily acting.  However, she had started selling stories to the press about her colleagues.  It was after she realized how much more lucrative being a member of the press would be that Hopper changed her career focus (though, even after she was a columnist, she still appeared in films, most notably, as  Dolly DePuyster in The Women.  
 
The film opens with a stock shot of Paris from the 1930s which was quite fun to watch.  The clothing this time was by Gwen Wakeling.  We were not familiary with her, but as always, Bennett's clothing is gorgeous; but quite honestly, Constance looks good in anything.

All in all, this is an enjoyable film.  We heartily recommend it.

Connie Talks to Herself

Venice Muir (Constance Bennett) is a wealthy young woman. Her parents are dead; she is quite alone in the world.  Much as she wants to meet someone, she can't seem to get a man interested in her.  The men in her circle are much more attracted to the merry widow who was suspected of poisoning her husband.  Finally, Venice meets a man who seems to be interested in her.  Donnie Wainwright (David Manners) gets a bit inebriated, and proposes.  He asks Venice to travel to Europe with him, and marry him on the ship. But morning brings sobriety and a better offer from the widow, and Venice finds herself alone, bound for Europe. Once there, Venice decides to change her image - she hires a young man (Ben Lyon as Guy Bryson) to pose as a gigolo, and finds that men are now pursuing HER.  Thus begins Lady with a Past (1932), a pre-code film which puts forth the premise that men don't make passes at good girls.

Constance Bennett is fantastic here.  Her Venice is sweet, kind, and innocent of the ways of the world.  But she has a great sense of humor, especially about herself.  She is alone so much, she finds that she spends a lot of time talking to herself. "I talk so much to myself that I'm all worn out when I meet people", she bemoans. Yet, she retains her sense of humor, in spite of feeling that she is inferior to everyone else.

While David Manners makes an interesting object of Venice's affection, the character that was by far the most interesting is Guy Bryson.  He, like Venice, has a wicked sense of humor.  And he genuinely likes her.  Though she is paying him, it is evident that he is there because he likes her and wants to help her. In the clip below, we are introduced to Guy;  we rather hoped that he was the man of Venice's dreams. He is a sweetie who doesn't "even mind that she is a good girl".


A TCM article which discusses this film is well worth a read. Especially interesting is the review that is included, in which the reviewer says that Bennett's Venice "gives hope to shy bookworms everywhere".   We heartily recommend this under-appreciated little gem. 

Constance is Born to Love

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Towards the end of World War I, a nurse in England, Doris Kendall (Constance Bennett) meets an American soldier (Joel McCrea as Captain Barry Craig).  They fall in love; he wants to marry her, but if he does, she will be sent back to America, and she desperately wants to stay in Europe to be near him.  They spend the night together, just before he leaves for the front.  And then, the floor falls out from under Doris when she learns that Barry is missing, presumed dead.  Thus begins Born to Love (1931).

Certainly, Born to Love is a melodrama, but a very well-done one, with enough twists and turns to keep you guessing til the end of the film.  Sure, we know that Barry isn't dead fairly early on, but that does not keep the suspense active - will Doris find out that Barry is alive in time? Will she leave her new husband (Paul Cavanagh as Sir Wilfred Drake)? There's more, but that would give too much away. 

We saw some interesting similarities to other films we have watched.  The scene in which we discover that Barry and Doris have been intimate is delicately handled.  The resulting out-of-wedlock baby reminded us of the post-code To Each His Own. Both are set during the First World War; both result in the mother having to make a decision about the child's (and their own) futures. And both are quite subtle in letting us know that more has happened than immediately meets the eye.  Late in the film, there is a tragic occurrence; the film uses a silhouette  convey the tragedy.  Interestingly the same technique was used in the 1937 Adventure in Manhattan, which also starred Joel McCrea. There is even a line of dialog that is remarkably similar.  McCrea appears to be the only common link between two film.  Is it possible he suggested the line? Or did the authors see Born to Love?  I suspect we will never know.  

Constance Bennett is excellent in this film.  We were again taken with her versatility as a screen actress.  She is able to move seamlessly from comedy to intense drama. And certainly the plot of this film demands an intensity of emotion.  Joel McCrea again plays a man who is not entirely likeable.  His Barry is selfish; he shows up after Doris has married, urging her to abandon her husband AND her child for him.  We wondered why he had never tried to communicate with her until then (a period of nearly a year).  He says he was very ill; could he not find a nurse willing to write to his fiance and let her know he was alive?  Those two things made us very distrustful of him; we saw him as quite childish and unreliable.  Which made us more sympathetic to Sir Wilfred.  Except that Sir Wilfred ultimately shows himself to be the biggest cad of all.  This man who originally seems kind, strong, and loving turns out to be cruel, cowardly, and sneaky.   As we said, this is not a simple film.

We have a couple of character actors to mention - Louise Closser Hale as Wilfred's aunt, Lady Agatha Ponsonby is quite good.  Her character is no-nonsense.  At first she doesn't seem to think all that much of Doris, yet when things get tough, she is gone.  As though she doesn't want to be involved in her nephew's calumny.  And Frederick Kerr  as Lord James Ponsonby (or Uncle James, as Doris calls him) is quite good as the only truly good man in the film.  He dislikes his nephew's actions, but has no control over him.  Uncle James' distress is quite evident, as is his affection for Doris.

Next time, we'll be seeing another Constance Bennett film.  We hope to see you then.

Connie Has a Baby (Sort of...)

Today we consider another Constance Bennett precode - Rockabye (1932).  In it, Ms. Bennett is Judy Carroll, an actress who has become embroiled in a scandal. Her former lover, politician Al Howard (Walter Pidgeon) has been accused of  being an embezzler. Judy testifies for him at his trial, but this creates huge problems for her, as she is adopting a child.  As a result of the publicity, her adoption is revoked, and the baby, Lilybet (June Filmer) is taken from her.  To help her recover, her manager Tony de Sola (played by Paul Lukas) sends her to Europe for a rest.  When she returns, she comes back with a new play - and an interest in the playwright (Joel McCrea playing Jacobs Van Riker Pell).
Our conversation went off in a number of directions. First, we again we dazzled by the spectacular costuming. No costumer was listed, but our hats are definitely off him or her.  Ms Bennett never looked better. 

We also had a discussion about several of the characters.  We wondered if we should assume that Lilybet is actually Judy's real daughter?   We compared this to such films as To Each His Own, which we discussed some time ago.  Probably not, the child is too old since this little girl is nearly two, and her affair with Al ended the year before.  We thought that Judy would have been more careful about where she placed the child (so she could more easily adopt it) - probably giving the child directly to friends, rather than to an agency.  The little girl who played Lilybet, June Filmer, was just delightful.  She seems to have had a sister (Joy) who also made a few movies.  Little June only made three movies, in 1932 and 1933.

Of course, we've discussed Joel McCrea before (and not always favorably - we like him as an actor, but some of his characters have been rather unpleasant).  Jake, however, is a good guy.  He is honest about his marriage, and is a responsible and loving man.  He takes his responsibilities seriously, and, as a result, finds that his life will become one of pain.  The commentary by Robert Osborne on the film also enhanced our experience.  Mr. Osborne's mentioned that Constance Bennett was attracted to Joel McCrea, but he didn't want to be Mr. Constance Bennett.  He married Frances Dee the following year, and they remained married until his death in 1990.  He's an impressive actor, with a varied career:  for example, he was the original Dr. Kildare (Internes Can't Take Money from 1937). Interestingly, he would never play a member of the military (see Robert Osborne's fascinating piece on him), because he himself was unable to serve during the war.

We also enjoyed the performance of Paul Lukas, Judy's manager, and perhaps the man in the movie who loves her best.  Without giving away the ending, we wished him his own happy ending.  Here's a clip with Bennett and McCrea:

Connie Goes to Court

Two Against the World (1932), on the service, appears to be your typical, 1930's romantic comedy - wealthy Adelle Hamilton (Constance Bennett) is on her way to a meeting.  She is late, and rude to the man (David Norton, played by Neil Hamilton) she believes to be an elevator operator.  Of course, he is not.  He is a lawyer, on the way to the same meeting.  He is the lawyer for the widow of a woman killed while working for Adell's family.  Adell and her brother Bob (Allen Vincent) cannot be bothered participating in the family discussion - they play tic-tac-toe.  The family seems not worth our time - there is also a philandering sister (Helen Vinson).  All-in-all, not exactly an admirable group.

Only this film is not a simple rom-com.  Things turn dark when the members of the family are involved in a murder, and Adell takes responsibility for the events.  We won't go into too much detail, here, but the film turns quite dark about mid-point.  The film asks us to sympathize with the murderer rather than the victim (Pre-Code, of course);   the murder is even staged in such a way as to minimize your interest in the victim. In the clip below, we see a scene as the intensity increases:


Let's spend a moment discussing the costuming by Orry-Kelly.  It is fantastic.  At one point, Ms. Bennett is wearing a raincoat that any one of us would have worn in a minute.  Also, a black dress that was to-die-for.  And Ms. Bennett, always lovely, wears them well.  You can get an idea from the clip, but better is to come in the film.

The film is a tad disjointed, but it is worth a look.  Certainly, it is never a hardship to watch Ms. Bennett.  She takes even the most mediocre script and makes it shiny.

Connie Marries the Elite

This week, we again join Constance Bennett in a precode film.  This one is Our Betters from 1933.  Connie is Lady Pearl Saunders Grayston.  We meet her as she has just married Lord Grayston (Alan Mowbray).  She is determined to be a good wife to him, though she is aware that their marriage was one of convenience - he needs her money to  support his lifestyle.  But Pearl finds almost immediately that her dreams of a life as a happy wife are naive.  Her husband has no intention of giving up his mistress.  

The film, taken from a play by W. Somerset Maugham,  produced by David O. Selznick, directed by George Cukor, and with music by Max Steiner is not a great one, but it is interesting.  Besides having some of the best behind-the-scenes talent in Hollywood, we have a fantastic performance by Bennett.  Her Pearl becomes a society hostess, but one who is jaded and cold. We also want to pay homage to the fantastic costuming of Hattie Carnegie - take a look at the stunning (and scandalous) black dress Ms. Bennett wears to a party - it's a knockout!

At one of her parties, we discover that she is planning to bring her sister, Bessie (Anita Louise) into the same lifestyle, by arranging her marriage to Lord Harry Bleane (Hugh Sinclair).  Though Bessie seems willing, it soon becomes clear that she really loves Fleming Harvey (Charles Starrett).  But everything begins to implode at a weekend outing to the Grayston estate, as we learn more about Pearl's rather seedy existence.  
 

Among the party guest are GIlbert Roland.  We enjoy him as an actor, but felt he was wasted here as the gigolo who pursues Pearl, but is involved with the wealthy Duchess Minnie.   We also discover that Pearl is essentially destitute, thanks to her husband's bad handling of her finances, so she is using her wiles to "borrow" money from Arthur Fenwick (Minor Watson).  

Much of our conversation focused on the bartering of American heiresses for English titles.  It is surprising that, in 1933 (this is a contemporary story), this was still going on.  We especially discussed the life of Consuelo Vanderbilt, who was literally imprisoned by her mother until she consented the Duke of Marlborough

Here is a clip from the film:

Connie Gets a Bed

Lorry Evans (Constance Bennett) has just been released from prison. She and her friend Minnie Brown (Pert Kelton) board a steamboat, in hopes of fleecing some of the men on board.  Only, Lorry is discovered, so she jumps overboard.  And is fished out of the water by Dan (Joel McCrea) the captain of a nearby barge. Having lost the money she scammed while on board the steamboat, Lorry takes Dan's money, and heads for New Orleans.  Thus begins Bed of Roses from 1933, the latest in our Constance Bennett series.  

This film is so obviously pre-code!  Lorry and Minnie are being released from prison for soliciting.  They are scam artists, and once Lorry gets to New Orleans, her goal is to sucker a rich man (John Halliday as Stephen Paige) into becoming her sugar daddy.   And yet, it will all end well for our "heroine".  Here is a clip from the opening scene:

 

Of course, we will discover that Lorry has a code, and will return to Dan because he is a good guy.  And she will fall in love with him.  And then her life will become even more complicated, as she has to decide between love and the knowledge of what her past life will do to their relationship.  Bennett is fantastic in the part.  She makes Lorry hard to dislike, yet you are always aware that she really is not quite on the up-and-up.  We also, of course, get some beautiful clothing once Lorry has gotten herself properly set up (no costumer is listed for the film, unfortunately).

The men are interesting characters as well.  Dan is a really good guy.  This is NOT the McCrea of Primrose Path (which we previously discussed).  This Dan takes people as they are; he doesn't make judgements.  Similarly, Stephen Paige actually seems to love Lorry.  Considering how she wormed her way into his life, this is rather surprising, however John Halliday, an excellent character actor who we've discussed before, makes it work.

Finally, there is Pert Kelton.  For those not familiar with her right away, this is Ma from The Music Man!  Minnie is hysterical, and Ms. Kelton plays her for all she is worth.  She reminds one a bit of Mae West.  And watch for the ending.  You will be quite amused.

Pert Kelton with John Halliday

Next time, another Constance Bennett pre-code

Double-0 Connie

Carla Vanirska (Constance Bennett) is trying to get a train ticket to Vienna.  The lines are so terrible, she cannot get near the ticket office.  Enter Captain Rudolph Ritter (Gilbert Roland), who offers his assistance.  He is hoping to accompany her on the train, but at a stop, she disappears into the night.  The problem? She's an enemy agent, spying on his military forces during the First World War.  After Tonight (1933) looks at the life of an espionage agent, and the problems faced when she gets much too close to the enemy.

Constance Bennett makes an excellent spy.  She is beautiful and clever.  No one suspects that the lovely nurse could possibly be the agent K-14 that everyone is seeking.  She is also daring.  Even when she suspects a trap, she goes to a rendezvous, on the off chance that this might be a real meeting.  Gilbert Roland is also excellent as the army officer who loves Carla.  You do sympathize with both of these people, wanting Carla to escape, yet wanting her to remain with Rudolph.

We were also intrigued with all the spy paraphernalia that gets used: invisible ink, the messages hidden in books and jewelry, creaky steps that signal the possible intrusion of the enemy.  A good use of all the spy games made the film even more enjoyable.

The movie has an especially well-done ending.  We can't tell you what it is; we don't want to spoil it for you.  But, we think you will like it.

Connie Becomes a Star

We'll be starting a number of Constance Bennett movies over the next few weeks.  The first is What Price Hollywood? (1932) in which Ms. Bennett plays would-be actress Mary Evans.  The film opens with an unseen woman looking through a magazine.  The ads show us just what the stars use to make themselves beautiful.  The woman who is looking at the magazine is using the stockings, and makeup that the ads recommend.  The camera pulls back to show a our heroine, who is living in a tiny apartment, with a Murphy bed.  No star she, just a simple waitress waiting for her big break.  

That night at work, she befriends director Max Carey (Lowell Sherman), a good man, but one with too large an affection for alcohol.  He reluctantly agrees to help Mary, but her stiffness and inexperience is evident; he decides to recast the role with someone else.  The next day, Mary convinces him to give her one more chance. And thus, America's Pal is born - Mary Evans becomes a star.

Certainly, this is so close to A Star is Born as to be the original source material for the 1937 Janet Gaynor film.  But, we understand from the TCM commentary, no credit was given by either this film, nor the Judy Garland film in 1954, to this lovely movie (the former was produced by David O. Selznick, and the latter was directed by George Cukor, the producer and director of this film).  For those of you familiar with the later films, take a look at this clip, which is very reminiscent of something that occurs in both of the later versions:

 

And a wonderful film it is!  Several scenes are especially worth mentioning.  The opening scene we described above is one.  Here is a clip from that, which contains a small tribute to the man who would become the King of Hollywood, Clark Gable:

 

Another, is the scene in which Mary, having been fired from her first acting job by Max, goes home and spends the night practicing her lines.  Ms. Bennett is just fabulous as she stubbornly attempts to master her craft. 

We should also tip our hat to the male lead for this film - Neil Hamilton, best known to a generation as Commissioner Gordon in the 1960's television show, Batman.  As children of the Batman generation, it was fun to see Mr. Hamilton in a totally different (and much younger) role.

Next week, another Connie Bennett film.