Thomas Dickson (Walter Huston) runs a successful bank in an unnamed city in 1932 America. His bank survived the beginnings of the Depression primarily because of Dickson's gift for choosing individuals to whom to loan money. Often, Dickson makes loans on the character of the person, regardless of their collateral, yet those to whom he lent money have unfailingly paid it back. But a bank robbery threatens the integrity of the bank when word is leaked that they are broke, starting an American Madness (1932). Shown at the AFI Silver Theatre as part of a retrospective celebrating the works of Fay Wray and Robert Riskin, the film featured commentary by their daughter, Victoria Riskin (who recently published Fay Wray and Robert Riskin: A Hollywood Memoir). Mr. Riskin wrote the screenplay - one of eight collaborations with Frank Capra (TCM article). Frank Capra was not the first choice to direct the film - initially Allan Dwan was set to direct, but producer Harry Cohn was dissatisfied with his efforts, fired him and assigned Roy William Neill. Within a day, Neill was gone and Frank Capra, who was just back from a vacation, was pushed into the film. Scenes of the bank run are reminiscent of It's a Wonderful Life (1946) and the character of Thomas Dickson resembles George Bailey, even to his speeches as je attempts to calm the bank panic. It's an interesting opportunity to see the work that would later influence what many consider Capra's masterwork.
Walter Huston is impressive as Dickson, a man of principle facing a crisis of faith. Dickson has spent his life relying on his ability to read people. Now, in an instant he discovers that a climate of fear brings out the worst in his fellow man. The character of Dickson was based on the chairman of the Bank of America, A. P. Giannini (AFI catalog ). Mr. Huston is always an impressive actor - see his work in Rain (1932), Dodsworth (1936), and The Treasure of the Sierra Madre (1948) for very different performances. Pat O'Brien plays Matt Brown, an ex-con hired - and promoted - by Dickson. He's in love with Dickson's secretary, Helen (Constance Cummings), and inadvertently witnessed what he thought was a romantic assignation between Dickson's wife, Phyllis (Kay Johnson) and fellow employee Cyril Cluett (Gavin Gordon). Mr. O'Brien has his best scenes when he is (unsurprisingly) accused of collusion in the bank robbery. His anxiety over preserving his boss' marriage (Matt accompanied Ms. Dickson home when he found her at Cluett's apartment) rather than provide himself with an alibi is well played - and an interesting contrast to Gavin Gordon.
Constance Cummings didn't have a big part in this film - her role is to support Matt and Dickson, but she does it well. When she was the Star of the Day in Summer Under the Stars, Michael Feinstein discussed her. Her U.S. film career was short (she'd already had a Broadway career, which would continue until 1979); after her 1933 marriage to Benn Levy (they had two children and were together until his death in 1973), she moved with her husband to England, where she would continue working in films (Blithe Spirit (1945)) and the stage (Long Day's Journey into Night opposite Laurence Olivier in 1971). She won the Tony Award for Best Actress in a Play in 1979's Wings. She died in 2005, aged 95
This is the first film role for Sterling Holloway (Oscar), who would go on to perform numerous character parts, television roles, and voice parts, include Mr. Stork in Dumbo (1941), the narrator of "Peter and the Wolf" in Make Mine Music (1946), and Winnie the Pooh. It's an interesting movie, and if you are a fan of Frank Capra, or would like to see the genesis of It's a Wonderful Life, definitely worth a viewing. I'll close with an early scene, which introduces many of our characters.
When Ellie Andrews (Claudette Colbert) literally jumps ship to join her new husband King Westley (Jameson Thomas) - over her father's vehement objections - hell breaks loose. Alexander Andrews (Walter Connolly) hires every detective he can find to search for Ellie, but she has other ideas. She boards the night bus to New York City to reach Westley. Unfortunately, Ellie has no idea of how to be on the lam; she is befriended by reporter Peter Warne (Clark Gable) who plans on using her story to get back in good graces with his editor. Our film is It Happened One Night (1936). Victoria Riskin provided an introduction to this film, which was part of the Fay Wray/Robert Riskin Retrospective at the AFI Silver Theatre. Mr. Riskin collaborated with Frank Capra on the film - Mr. Capra read the story Night Bus by Samuel Hopkins Adams, which was published in Cosmopolitan, and approached Mr. Riskin about adapting it for the screen (Fay Wray and Robert Riskin: A Hollywood Memoir by Victoria Riskin); they pitched it to Harry Cohn at Columbia. Myrna Loy, Miriam Hopkins, Constance Bennett and Margaret Sullavan were all approached to play Ellie. Finally, Claudette Colbert (who was not enthusiastic) consented to do the part, contingent upon a hefty salary. Similarly, Robert Montgomery was requested for the part of Peter, but Louis B. Mayer decided to send Clark Gable instead; Mayer resented Gable's increased salary demands and decided four weeks at a Poverty Row studio was fit punishment (AFI Catalog). By the film's conclusion, no one was particularly thrilled with the result - except the audiences!
Claudette Colbert is excellent as Ellie. It's a difficult part - Ellie needs to be snooty enough to be believable as a spoiled brat, but warm enough to attract Peter's attentions from the start. Ms. Colbert had not wanted to work with Frank Capra again (there had been some animosity on the 1927 film For the Love of Mike) and she was unwilling to show her legs for the now-famous hitchhiking scene. However, when Mr. Capra brought in a model to be "the leg," Ms. Colbert said, "get her out of here, I'll do it -- that's not my leg!" and did the scene that has become synonymous with the film (TCM article). She left the film convince it was "the worst picture in the world," but by 1982, when Frank Capra received the AFI Lifetime Achievement award, she was much more enthusiastic. (You can see her speech here).
While Mr. Gable had worn a mustache in other films, the reaction to his appearance in It Happened One Night convinced him that he should keep it permanently (Clark Gable: A Biography by Warren G. Harris). He also began wearing a trenchcoat as a lucky charm. Mr. Gable gives Peter Warne just enough arrogance to stand up to Ellie, but he's also warm and gentle. There's a scene in which a woman faints on the bus - Peter's ambivalence in wanting to help her, but knowing that he hasn't very much money, makes you warm to the character. Gable also has the unique ability to play comedy without being silly. Watch him undress in a scene that could have been ridiculous - with him doing it, it's a masterpiece.
The film is replete with some very impressive character performances. Roscoe Karns is decidedly slimy as Oscar Shapeley, the lecherous traveling salesman. Alan Hale seems friendly and innocuous as Danker, the driver who picks up our hitchhikers (but he's not). And finally, there is Walter Connolly as Ellie's beleaguered father, a man who only wants the best for his only child, but isn't always very good at letting her know that.
It Happened One Night became the first comedy to win an Oscar, and the first film to win Oscars in the five major categories: Picture, Actor, Actress, Director and Writing (Robert Osborne commentary). It became the model for a subset of the screwball comedy genre (See: The Runaway Bride: Hollywood Romantic Comedy of the 1930's by Elizabeth Kendall). It spawned two remakes (both musicals): Eve Knew Her Apples (1945) with Ann Miller, and You Can't Run Away from It (1956) with June Allyson. It appears on multiple AFI lists: #46 on 100 Years, 100 Movies (Anniversary Edition) and #36 on the original list; #8 on 100 Years, 100 Laughs; and #38 on 100 Years, 100 Passions. In 1993, it was added to the National Film Registry. If you've never seen this excellent film, treat yourself and find a copy. In the meantime, we'll leave you with the scene that nearly bankrupted the men's undershirt industry:
Senator Sam Foley has died suddenly, and the governor of his state, Hubert "Happy" Hopper (Guy Kibbee) is tasked with naming a successor. The Governor is ordered by local boss Jim Taylor (Edward Arnold) to name one of his flunkies, but the citizenry rebel at the appointment of this yes man. The Governor's children campaign for the appointment of local Boy Ranger leader Jefferson Smith (James Stewart), a naive young man who Mr. Taylor finally agrees is the perfect solution. With no political background, Smith will be easily led by Senator Joseph Paine (Claude Rains) to vote according to Taylor's wishes. And so, Mr. Smith Goes to Washington (1939). This outstanding film was included as this month's contribution to the TCM Presents series. Originally conceived as a follow-up to Mr. Deeds Goes to Town, the film changed titles and actors when Gary Cooper proved to be unavailable. (AFI Catalog) James Stewart brings the needed innocence and gravitas to the role in his second film with Frank Capra and Jean Arthur (they had worked together the previous year on You Can't Take it With You). One problem with Frank Capra films is that he doesn't always know how to end them. It's a big issue with Meet John Doe (1941); it's a smaller issue here. Mr. Capra does seem to back his character into a corner, and then create a deus ex machina to pull him out of his problem. However, in this film the director does set up hints that Claude Rains will be both the problem and the solution to that problem.
Mr. Rains is, of course, excellent as The Silver Knight, the senior senator from Smith's unnamed state. Best friends with Smith's father (a crusading newspaperman who was murdered after he wrote editorials against a mining syndicate), Paine has been in the pay of Jim Taylor for years. But Senator Paine remembers the ideals that brought him to law and to politics. As Mr. Rains looks at Smith, we see his yearning for the purity that he had when he worked with Smith senior. A favorite villain for Mr. Capra is Edward Arnold. Mr. Arnold is able to be both affable and menacing at the same time. He helps us to understand why a respectable man like Senator Paine would fall into his clutches. He also has looming presence that gives the viewer pause - we know he is capable of any dastardly act to get what he wants. A stage actor at the beginning: between 1919 and 1933, he appeared in 13 Broadway plays, Mr. Arnold started his film career during the silent era. With his booming voice (and wonderful laugh) he was a natural for talkies, and appeared as the leading man in such films as The Toast of New York (1937) (he was billed ABOVE Cary Grant) and Diamond Jim (1935). Listed on the notorious "Box Office Poison" list, Mr. Arnold segued into more character parts, like Anthony P. Kirby, Sr. (James Stewart's father) in Capra's You Can't Take it With You (1938). Though he identified as a conservative Republican (and even ran for Los Angeles County Supervisor - he lost), he served as President of Screen Actors Guild, and was vocal in his opposition to the blacklisting of his colleagues during the HUAC era. Married three times, and divorced twice (he had three children with his first wife), Mr. Arnold died of cerebral hemorrhage in 1956 at the age of 66. His turn as Olivia de Havilland's father in The Ambassador's Daughter was released just after his death.
Jean Arthur (Clarissa Saunders) is picture perfect as the tough as nails assistant, who is sick and tired of the dishonest nature of politics. She's seen Taylor's influence on his state for too long, and is convinced that Jeff Smith is either an idiot or a stooge. When she finds he is a man of ideals, she becomes his staunchest ally. She is ALSO the smartest person in the film. She knows the rules of the Senate by heart, she understands the workings of the government, and she knows the people who work on the Hill. It's hard to imagine anyone other than Ms. Arthur giving Saunders such range. The film is also blessed with a bevy of magnificent character actors: Thomas Mitchell (Diz Moore), Eugene Pallette (Chick McGann), Capra favorite Charles Lane (Nosey), Ruth Donnelly (Mrs. Emma Hopper), Astrid Allwyn (Susan Paine), and H. B. Warner (Senate majority leader). But leading this group are the always wonderful
Beulah Bondi (Ma Smith) and Harry Carey (President of the Senate).
Though their parts are small, you remember then. One only regrets that
they are not on the screen for longer. Ms. Bondi would end up playing James Stewart's mother a total of five times (TCM article). This was the third outing in that role.
The film proved to be quite popular, though initially it was reviled by many U.S. Senators and by the Washington Press Corps. (WAMU article). Senate Majority Leader Alben Barkley described the film as "silly and stupid," adding that it made the Senate look like "a bunch of crooks." (U.S. Senate article). The film was also banned in Germany and Italy (they didn't like the fact that the film was about a democratic government, even a government that was having problems); however it did well in England, France (prior to the German invasion) and in the United States. Despite the jabs at journalists, the New York Times review was glowing, calling it "is one of the best shows of the year. "
The American Academy of Motion Picture Arts and Sciences obviously agreed; it was nominated for 11 Academy Awards, including Picture, Actor (for James Stewart), Supporting Actor (for both Harry Carey and Claude Rains), Director, Art Direction, Film Editing, Film Scoring, Sound Recording, and Original story (for which it won it's only Oscar). But, in 1939 the competition was fierce, and the juggernaut called Gone with the Wind pretty much swept the awards (winning 9 of the 14 for which it was nominated). Among the other Picture nominees were Dark Victory, Goodbye, Mr. Chips, Ninotchka, Stagecoach, Wuthering Heights, and The Wizard of Oz!
The Miracle Woman (1931) is the story of Florence Fallon (Barbara Stanwyck), the daughter of a minister ousted by his ministry in favor of a younger man. His heart broken by the betrayal of his congregation, the Reverend Fallon dies suddenly. With his body still in the chair in which he died, his daughter arrives at his pulpit to announce his death, and to harangue the community on their hypocrisy. Visiting promoter Hornsby (Sam Hardy) is intrigued, and hires Florence to run a highly profitable "ministry." But when Florence learns that her sermon stopped blind composer John Carson (David Manners) from committing suicide, Florence must take a long, hard look at her occupation. Watching the film right after Ladies They Talk About did lead to a discussion and comparison of the lead actors in the two films. David Manners' chemistry with Stanwyck is quite appealing, and resulted in a much more interesting dynamic that that between Ms. Stanwyck and Preston Foster. We were particularly taken with the scene in which Stanwyck and Manners begin to sing together. There is a naturalness in the scene that speaks to improvisation, though it probably was well scripted. Manners presents us with a gentle, almost fragile man, who grows stronger because of his love for Florence. But at no point do we find him weak or ineffectual. His interactions with Stanwyck speak to an equality between them - each has their own demons; their relationship enables them both to face them.
David Manners career in Hollywood was relatively short. He only appeared in 39 films between 1929 and 1936, and is probably best remembered as Jonathan Harker in the Tod Browning Dracula (1931). He found life in Hollywood not to his liking, and eventually relocated to Pacific Palisades, with his partner, author William Mercer. Manners wrote, occasionally returning to the theatre (appearing on Broadway in Truckline Cafe with Marlon Brando in 1946, for example). Manners died in 1998, age 97. A detailed obituary is available in The Independent. The performance of Beryl Mercer as Mrs. Higgins is adorable. John's landlady is sweet, caring and humorous. There is no relationship between them other than that he lives in her building, but she seems to regard him as a son. Both Precode.com and this New York Timesreview (which is not otherwise all that enthusiastic) mention Ms. Mercer's lovely portrayal.
Because of the portrait painted of a dishonest evangelist, the film was banned in the UK (according to the AFI Catalog). The AFI also notes the similarities between this film, and the 1960 film Elmer Gantry (even down to the fire at the end of the films), though Elmer Gantry was based on a Sinclair Lewis novel, while this film was based on the play Bless You Sister
by Robert Riskin and John Meehan (which, in the 1927 Broadway run,
starred Alice Brady in the role that would be played by Ms. Stanwyck). In this TCM article, it's pointed out that, being this is 1931, there is precious little in the way of special effects in the film. So, when Stanwyck and Manners are in the cage with the lions, they are IN the cage with the lions - a veil was the only thing separating them from attack. Convinced that Stanwyck was totally comfortable, Manners would later recall, he became "brave" and went on with the scene, only to discover afterwards that she was actually terrified! Similarly, in the fire sequence at the end of the film. Stanwyck had to stand amid the flames, and when Capra went in to get her, he discovered (though was unaware of it while filming), that her heart was pounding from fear. As always, Ms. Stanwyck's professionalism was the stuff of legend. We'll end with this scene of Ms. Stanwyck showing off her oratory skills. We'll return next week with an early Laurence Olivier film.
The purchase of a newspaper by the powerful D.B. Norton (Edward Arnold) results in the firing of most of the staffwhen Norton hires Henry Connell (James Gleason) as his new managing editor. Norton wants circulation numbers, and that means that "dead wood" needs to be cut. Included is columnist Ann Mitchell (Barbara Stanwyck), who is the sole support of her mother and two young sisters. Ordered to supply her final column before she leaves, Ann tosses off a letter, supposedly from a man, John Doe, who intends to commit suicide on Christmas morning in protest for the ills of the world. When her prank results in a nationwide outcry to find and help John Doe, Ann and Norton manufacture a "John Doe" in the form of down-on-his-luck baseball play Long John Willoughby (Gary Cooper), who agrees to pose as Doe for a fee. Her job secure, Ann happily works for Norton, unaware his motives are far from pure. Thus begins Meet John Doe (1941), one of director Frank Capra's most well-regarded films. Number 49 on AFI's 100 Years, 100 Cheers, it's one of the films that helped to invent the term "Capraesque" - films about the ability of the honest underdog to achieve his goals through courage and perseverance (sometimes called Capra-corn). Capra's abilities as a director held such trust with his actors that Gary Cooper, Barbara Stanwyck, Edward Arnold, Walter Brennan, James Gleason and Spring Byington all agreed to appear in the film without a completed script. Capra went into the project without a satisfactory ending, and actually test marketed FIVE different endings (TCM). The one we see today is the one that garnered the most public appeal, and was suggested in an anonymous letter to Capra from someone who had seen the multiple endings (AFI catalog).
Originally, Capra thought in terms of Jean Arthur and
James Stewart for his leads. He also considered Ronald Colman (who
would have been all wrong!), and he tested both Ann Sheridan and Olivia
de Havilland as well. Barbara Stanwyck came on board when Warner
Brothers refused to allow Ms. Sheridan to do it (she was being punished). We are indeed lucky that the stars were willing to
take on such a nebulous project, because the casting is spot-on. Cooper
is able to convey the innocence and confusion of John, without making
him into a complete idiot. And then there is Stanwyck. The role of Ann
is a difficult one - we have to understand her desire for money, but
still like her and root for her. The rapport between her and Spring
Byington (as Ann's mother) is essential; there bond in the film is
undeniable. As a result, we root for Ann, even when we know that she
has really gone over the edge in the push for John Doe's stardom.
Spring Byington provides the focus that we need to understand Ann. Generous, kind, loving; a mother who adores her children, and whose love for her late husband ventures almost into adoration, Mrs. Mitchell is both inspiration for Ann as well as motivation. Ann sighs as her mother donates money to those she feels are in need, even as the family is on the verge of being penniless. And, as Ann struggles with the motivations needed to make John Doe convincing, it is Mrs. Mitchell who suggests her late husband's diary as a source of inspiration. With 119 film and television credits to her name, Byington was a dependable and much admired character actress, usually playing a mother or older relative of the lead character. She started on Broadway; her first feature film role was as Marmee in Little Women (1933) (We've discussed her films When Ladies Meet (1941) and My Love Came Back (1940)). She worked in both film and television until 1968. She died in 1971, aged 84.
Interestingly, this was one of the first films to deal with Fascism in America (this glowing New York Times review is very appreciative of the "inspiring message for all good Americans" that is present in the film. Capra, who had been born in Italy (he had settled in Los Angeles by age five, so it is unlikely that he remembered much of his birthplace), may be reacting to the fact that it had already been overtaken by fascism. Though the fact that the ending was an afterthought is often evident when you watch Meet John Doe, it doesn't detract from your enjoyment of the film or of the performances of these amazing actors. We'll leave you with a trailer:
A young woman arrives in China to marry her childhood sweetheart, only to become swept up in a civil war. Barbara Stanwyck stars as Megan Davis, who arrived in China with high hopes of a new and happy life, but instead is introduced to the Bitter Tea of General Yen (1933), a grim, but very well done precode film. The film emphasizes the extreme class differences and violence that are associated with China. General Yen (Nils Asther) mows down a rickshaw boy with his car, and the local missionaries decry the "savages" that populate China. We are quickly made aware that there is no understanding between the European community and the Chinese, or between the peasants and their rulers. Yet the Europeans are busily attempting to convert the Chinese to their religion, and the rulers think nothing of killing prisoners. Bob Strike, the missionary Megan has come to wed - he has been living in China for years, yet can't speak or read the language. How can he be working with the Chinese people if he can't speak to them? He, of course, assumes that they will learn HIS language. That assumption proves both ignorant and dangerous, as it sets him up for ridicule (and endangers himself and his fiance), when he accepts a "pass" that he cannot read from General Yen that is nothing but an insult.
Strike is a very unappealing character. Though he has not seen his betrothed in three years, he cannot spare time to meet her at the station when she arrives. When she arrives at his home for her wedding, he still has not arrived. And when he does come, it is to tell her the wedding must be delayed, as he has to go out to a mission office to retrieve some orphans, who have been caught by the civil war. Is Strike a good man? Perhaps, but he is one of these individuals who loves mankind, yet has no regard for the individual. He is, in many ways, as careless of the individual as General Yen. They serve as interesting foils; one supposedly good and caring, the other cruel and selfish. But in the long-run, they are not much different.
Megan, on the other hand, is more open to the Chinese
culture. She is horrified at the death around her - she tries to get
help for her injured rickshaw man, she is eager to go with Bob to save
the orphans, despite the danger. She tries to stop the executions that
Yen has ordered, and she intervenes with Yen for the life of Ma-Li.
While she is ignorant of Chinese life, she seems to want to learn more.
Though she has come to China to work as a Christian missionary, Megan is willing to bring Ma-Li to the Buddhist Temple, and
doesn't try to convert her.
Megan is not only frightened of her attraction to China, but also of her growing feelings for General Yen - he is a man with an air of danger around him, and she certainly has reason to fear rape and/or murder at his hands. However, she also becomes fascinated by him, and in a sense, why not - Yen is an attractive, intelligent man. And he is a man who shows his attraction and interest in her. He listens to her. If Megan and Bob were to marry, would the
marriage last? It seems unlikely. Of course, as with so many early Hollywood films, Yen is played by a Caucasian. The makeup job is well done as these things go; the DVD of the film contains a short promo film which demonstrates a "before and after" of actor Asther in makeup. It's quite fascinating.
We have two wonderful Asian actors in the cast. Toshia Mori plays Ma-Li, and is interesting and attractive as a woman who is as dangerous as Yen. Mori did not have an especially long career (her final film was in 1937), but was the only non-white actor to be honored as a WAMPAS Baby Star. One assumes that the mores of Hollywood, which forbade Asian women from getting any good roles led to her eventual defection from Hollywood. She died (in the Bronx) in 1995, at age 83. The always wonderful (and shamefully underused) Richard Loo appears in a small part as Ma-Li's lover, Captain Li. Loo managed to have an especially long and rich Hollywood career, becoming the go-to villain during the second World War, and continuing with a long television career through 1981. General Yen is only his third film, so it is a genuine pleasure to see him as a young man. He died in 1983, at age 80.
Walter Connolly, as always, is excellent as the unapologetic scoundrel, Jones. Though we know that he is as callous and unfeeling towards the peasants as Yen, Connolly is able to create an attractive character. Perhaps his general disregard of everyone (including the missionaries) makes him more interesting. Though now highly regarded by fans of pre-code cinema, General Yen did not do well when it opened. This TCM article discusses some of the problems that it faced - primarily the audience's shock at a white woman having deep feelings for an Asian man. This is Stanwyck's fourth appearance in a Frank Capra directed film; their work together is always exceptional. A quick nod is also due to costumers Robert Kalloch and Edward Stevenson. We leave you with an early scene from the film:
Forbidden (1932) features Barbara Stanwyck as Lulu Smith, a librarian who is bored with the sameness of her life. The townspeople set their clock by Lulu; always at work at exactly the same time. They are stunned when, one day, she is late. For Lulu has decided to change her life - take her savings and go on a cruise to exotic Havana. At first, her trip is a disappointment, until Robert Grover (Adolphe Menjou) literally falls into her life. What follows is a love affair of pain and passion; their love complicated by his political ambitions. With the emphasis on a woman who reluctantly gives up her child to its father rather than raise it herself, this film very much reminded us of Give Me Your Heart, but it doesn't end as happily. For one thing, Lulu is being threatened by Al Holland. For another, as kind as Robert Grover is, he is still a fairly selfish individual, and one feels that most of what he does is because of his political ambitions, not his regard for his wife (as he claims). Regardless, Adolphe Menjou is impressive in the part. He remains sympathetic, even though you badly want to dislike him. As we were introduced to the character, we knew there was something not quite right about his relationship with Lulu, but it wasn't immediately apparent that he was married. Menjou plays his part carefully. He never loses control of Robert's heart; we know that he loves Lulu, but he can never escape from his hunger for a political life.
And then there is Ralph Bellamy playing a character (Al Holland) that is the total opposite of what you normally expect; he even looks physically different. Al Holland is a driven, cruel man, whose only saving grace, it seems, is his love for Lulu. However, he is constantly interfering in her life, and his intrusions often have disastrous results. Just as Grover desires the power of political life, so too does Holland desire power. However, Holland is power-crazed, he wants to control everyone around him. Al hates Grover merely because Grover will not bow to him. Holland believes that Grover "owes" him; Grover's retort is that the people elected him, not Holland. The picture painted here of newspapermen is not a pleasant one; obviously, obnoxious newspaper reporters have been around
for a long time.
Finally, there is Stanwyck. She is superb (but would we expect otherwise?). Watch the scenes in the ship (and the sets used for those shipboard scenes are magnificent), when she goes to dinner alone; her loneliness is palpable (you can see part of that scene below). Also impressive are her scenes with her baby daughter, Roberta (played with such charm and natural-ness by little Myrna Freshold. She is an adorable child.) Much like the character in Confession, Lulu is constantly protective of her child; as in that film, we discover she will do anything to protect Roberta. Stanwyck is also makes Lulu's love for
Grover heart-breakingly real; we know she is with him because she loves him, not for what she can get out of him. The film has a lot of twists and turns and it never seems to go the way you expect. One expects a short story - one gets an epic, with the passage of years ably expressed via a scrapbook of the growing Roberta. Even the character of Helen Grover (played by Dorothy Peterson) is a surprise. As she leaves for an extended trip to Europe, she encourages Robert to have fun while she is away. Does she know he is having an affair? Is she telling him to go out and sow his wild oats? Though the critical reception was not great, and director Frank Capra unimpressed with his film (as this article from TCM explains), we think it is worth watching, if only for the stellar performances we've discussed.
Next week, we'll be viewing another precode film, with another favorite of ours, Constance Bennett. In the meantime, enjoy Barbara's vacation in Forbidden:
Thomas Dickson (Walter Huston) runs a successful bank in an unnamed city in 1932 America. His bank survived the beginnings of the Depression primarily because of Dickson's gift for choosing individuals to whom to loan money. Often, Dickson makes loans on the character of the person, regardless of their collateral, yet those to whom he lent money have unfailingly paid it back. But a bank robbery threatens the integrity of the bank when word is leaked that they are broke, starting an American Madness (1932).
