Laraine Wants Jewelry

On his wedding day,  John Willis (Gene Raymond) is approached by Dr. Harry S. Blair (Brian Aherne). Dr. Blair claims to be the ex-husband of John’s fiancée, Nancy Patton (Laraine Day). Her name was then Nancy Monks, and she was responsible for the deaths of three men, all because of The Locket (1946). 

This is by no means a simple movie. It employs the film staple of the flashback, and turns it on its head by taking a single flashback and embedding within it a flashback to a flashback, and another flashback from the second one. Yet, the film is so well written that the audience is always clear as to what is happening - unless, as Eddie Muller noted in his introduction, you arrived after the start of the film (as was so often the case in 1946!). It's a clever device, and keeps the viewer on pins and needles from the beginning to the end of this intriguing film noir.

Laraine Day is excellent in the part of Nancy. You are never really sure how much she knows of her own behavior - does she know about the thefts she committed, or does she forget the kleptomania-induced robberies once they are accomplished. Ms. Day uses her experience as the sweet ingénue to create an intelligent yet enigmatic woman, who is highly attractive to men without be openly seductive. She's a chameleon who adapts herself to the preferences of the men in her life. At one point, Hume Cronyn owned the script, which he intended to feature his wife, Jessica Tandy. When he sold it to RKO, the credited screenwriter (more on that later) wanted Joan Fontaine, but she was not available. Olivia de Havilland campaigned for the part, but producer Bert Granet wanted Ms. Day, and he won the day (TCM article). Interesting, the mother of Joan and Olivia, Lilian Fontaine, appeared as Lady Wyndham.

Robert Mitchum (Norman Clyde) had recently been nominated for an Oscar for his work in The Story of G.I. Joe, and was one year away from what is often cited as his best role - Out of the Past.  His appearance as Norman, a moody artist whose life is upended by his relationship with Nancy, is a strong addition to his film credits. He'd known Ms. Day when they worked with the Long Beach Players; she was looking forward to working with him. He however, had formed an idea that she ignored him at one point in their lives, and refused to speak to her during the production (he naturally never told her WHY he was cutting her).

Ricardo Cortez has a small, but pivotal part as Nancy's employer, Andrew Bonner. He manages to put just the right amount of the rake into his performance, making you did wonder exactly what was going on between him and Nancy.  Ms. Day was a long-time fan of Mr. Cortez, and asked that he be cast in the film (The Magnificent Heel: The Life and Films of Ricardo Cortez by Dan Van Neste). It is always a pleasure to see him, and he provides a memorable performance.

Ms. Day was also a fan of her other leading men - Brian Aherne and Gene Raymond.  Mr. Raymond has the smaller part; as the intended groom of the lethal Nancy, he serves as the audience's conduit to her story. Mr. Aherne is our narrator; it is he who tells Nancy's long, involved history. It is also worth noting that all three stories are told to us by him. The question becomes - should we believe him? Is he the victim of Nancy, or is she innocent of the his charges?

Laraine Day also had some talent as a dress designer.  She helped to create Nancy's wedding dress, and used a spun glass fabric which she discovered. (AFI Catalog) Her discovery is referenced in this lovely Press Kit from the William K Everson Collection at New York University. Before you read it, just know that there are a lot of spoilers included. 

Originally titled What Nancy Wanted, the screenplay was written by Norma Barzman. She heard the story of a woman who was accused of stealing a necklace as a small girl, which resulted in a life-long history of depression and kleptomania. It was that script which was purchased by Hume Cronyn.  When he sold it to RKO, they gave it to Sheridan Gibney, whose major  contribution was to set the middle section in England.  It took until 2014 for Ms. Barzman to finally was credited with writing the script (Los Angles Times, Eddie Muller extro). It probably didn't help that she was blacklisted for being a member of the Communist Party. 

In an interview, the credited screenwriter Sheridan Gibney, called Ms. Day’s performance “weird”. (Film Crazy: Interviews with Hollywood Legends by Patrick McGilligan). Regardless, Ms. Day got good reviews “Laraine Day gives what must be her most fascinating performance” ("Laraine Day Psychopath”. Los Angeles Times, May 27, 1947), and considered this her best role. The ending, which was to have been more oblique, was forced on them by the censors. And the film ended up being under-marketed because of the execution of an innocent man in the story. Some states (Massachusetts in particular) were leery of death-penalty error stories.

This is a remarkable film, that is only recently getting the attention that it deserves.  We'll leave you with an early scene, and the suggestion that you seek this one out: 

Barbara's in Red

In The Woman in Red (1935), Shelby Barrett (Barbara Stanwyck) works as a horse trainer and competitive rider. Currently in the employ of the wealthy Nico Nicholas (Genevieve Tobin), Shelby finds her life becoming complicated when she attracts the attention of Johnny Wyatt (Gene Raymond) and Eugene Fairchild (John Eldredge).  Johnny, the son of an upper class (but cash poor) family, sponges off of rich friends (like Nico) and plays polo.  Gene, on the other hand, is a self-made man who rides his own horses in competition, and gracefully loses to Shelby.  Both men are smitten with her, but ultimately, Shelby chooses the more difficult life, falling in love with Johnny.  The pair have to deal with unemployment, family ridicule, Nico's jealousy, and Gene's continuing interest in Shelby. 
 
Perhaps the most interesting aspect of the film is the portrayal of the lead male characters.  One expects a rivalry between Johnny and Gene, as well as resentment of the very capable Shelby.  But surprisingly, there is little of that.  Both men revel in Shelby's intelligence and independence.  And, because the film does not live up to those negative expectations, the viewer is drawn in.  The film is a constant surprise. 

The poster art (above) is notable for giving a totally wrong view of the character of Shelby.  There is no red dress like the one pictured above.  The title comes from a red COAT that Shelby wears while on a boating trip.  The poster portrays Shelby as a temptress, but that's not the way Stanwyck plays her.  Her Shelby is businesswoman, and is passionate about her chosen career and her friends. Though the film was not really all that well received (see this New York Times review), you cannot find any fault with Ms. Stanwyck's portrayal.  She never phones in her performance and is able to give any part she plays gravitas.  Given that, following a riding accident she was afraid of horses, she looks remarkably comfortable in the riding sequences (A Life of Barbara Stanwyck: Steel-True 1907-1940).

John Eldredge plays a very different character than the one we saw in His Brother's Wife, and he is quite good and likeable.  He's not a wimp here.  He's a strong, intelligent and not easily cowed man.  

Genevieve Tobin also gets a very different role than the one she played in Snowed Under.  Quite frankly, her Nico is a piece of work - wealthy, spoiled, nasty, and vindictive.  A gossip of the first order, she is determined to undermine the relationship of Shelby and Johnny by whatever means available.  Ms. Tobin gives Nico an unattractive edge - a spoiled brat with too much money and too much time on her hands.  Genevieve Tobin made a few films during the silent era (notably as Little Eva in a short of Uncle Tom's Cabin in 1910 - she was 11 years old), but primarily she was working on Broadway, appearing in 12 plays from 1912 to 1930).  With the advent of sound, she found some success, mostly as second leads.  But, in 1938, she retired, having recently married director William Keighley.  They were married until his death in 1984; Ms. Tobin died at the age of 95 in 1995.

Dorothy Tree played the pivotal role of Olga Goodyear; she has one major scene in which she is completely inebriated.  She too got her start on Broadway (she appeared in 6 plays between 1927 and 1936); her introduction in sound films was as one of Dracula's brides in the 1931 Dracula (she appeared in both the English and Spanish versions of the film). She mostly appeared in small roles (for example, Martha Rockne in Knute Rockne, All American).  She married screenwriter Michael Uris, had one child, and continued working in films until 1951, when she and her husband were blacklisted.  Using her married name, she started a new career as a speech, voice, and acting coach.  She also wrote on the topic - her last book was published in 1979.  Her husband died in 1967; Ms Tree lived to the age of 85 (she died in 1992).

The film was based on a novel, North Shore, but Jack Warner didn't like the title.  After several suggestions, The Woman in Red was selected.  It had been purchased as a starring vehicle for Bette Davis, but was turned over to Ms. Stanwyck (see this TCM article).   Both Joel McCray and Robert Young were considered for the part of Johnny, and Ricardo Cortez for the first choice for Gene (AFI Catalog).  With this film, Ms. Stanwyck ended her contract with Warner Brothers.  She would never sign another long-term contract with a studio again (perhaps the reason she never won a competitive Academy Award!).

We'll leave you with this trailer.  Perhaps it is not the best film in the Stanwyck catalog, but it is worth a look. We'll return soon.

Barbara Likes to Work

Barbara Stanwyck again plays a working woman reluctant to wed, though this time in a more comedic vein, in The Bride Walks Out (1936).  Stanwyck plays Carolyn, a successful model (she's earning $50 a week in the middle of the Great Depression), who is in love with would-be engineer Michael Martin (Gene Raymond).  Michael wants to marry immediately - and wants a stay-at-home wife to live on his $35 a week salary.  He doesn't care that Carolyn loves working and appreciates the independence and the luxuries her job allows her.  And while she is, at first determined to stay single, her love for Michael wins out, and she reluctantly marries him.  Within a few months, she discovers that, even with scrimping, she is unable to make ends meet: they owe the grocer and their landlord, and cannot make the payments on the apartment full of furniture Michael bought on credit.  Add to that, Carolyn just can't cook.

The biggest problem with this film is that you wonder why is Caroline so in love with Michael.  He's supposed to be intelligent - he has an engineer degree, but he hasn't enough common sense to spread on a cracker.  He has no clue of what things cost; he buys new furniture that he cannot afford, when Carolyn has perfectly good furniture from her apartment.  And WHY is he so unwilling to let her work?  They could be socking away some money for a nice home, and to finance his professional ambitions before they have children.  He claims that this is just the way it is in his family, but we never meet his family.  (We wondered if seeing his family would have given us more insight into him). Besides - it's still the Depression - any income in this period is good income.

Gene Raymond plays Michael as someone who lives in the moment and cannot look forward to the future, either financially or emotionally.  He marries Carolyn hoping to change her.   He ignores their finances and the debts he has incurred, yet over her objections, squanders $50 on a party.  Yes, she is hiding some of the financial woes from him, but he isn't looking either.  And when money starts to magically appear, it never occurs to him that their sudden financial security is not possible on his salary.  He wasn't able to save very much when he lived alone on his salary, how he intends to support and save for two with only one person working is unbelievable.

We need a triangle, so early on the film introduces Robert Young as Hugh McKenzie, a wealthy ne'er-do-well, who meets Carolyn and Michael in court, and falls head over heels for the new bride.   As portrayed by Young, Hugh is the only character who grows within the course of the film - he begins as an incorrigible drunk, but with Carolyn's help, he matures into an unselfish individual who wants only what is best for Carolyn.  

As an actor, Young had a remarkable and long career (he was, in fact, on loan from MGM for this role.  See this brief article at the AFI database). His career started with a role in a short film in 1928 (uncredited), but he quickly had a nice role in The Sin of Madelon Claudet as Helen Hayes' adult son.  He worked steadily throughout the 1930s and 1940s, appearing in such films as Journey for Margaret (1942), The Shining Hour (1938), The Enchanted Cottage (1945), and Crossfire (1948).  As work in films disappeared in the 1950s, Young segued rather seamlessly to television, first as the titular head of the family in Father Knows Best (1954-1960) and then as the kindly general practitioner in Marcus Welby, MD (1969-1976).  He was married to Betty Henderson for 61 years, and they had four daughters; however, Young's private life was a troubled one. He battled alcoholism and depression for much of it, even to the point of attempting suicide in 1991.  He recovered, and spent much of his later years encouraging those likewise afflicted to seek help. He died of respiratory failure in 1999, five year after wife Betty's death.  The Robert Young Center in Illinois is named in his honor, for the work he did in campaigning for the passage of 708 Illinois Tax Referendum (which created a financial base for the support of a mental health board)

Also notable in the cast are Ned Sparks (Paul Dodson), Helen Broderick (Mattie Dodson), and Hattie McDaniel (Mamie); as well as a brief visit from the wonderful Charles Lane (as a Judge)!  Precursors of the Bickersons, Paul and Mattie spend most of the film sniping at one another, but they prove to be the perfect foils for Carolyn and Michael, as the Dodsons truly love one another without any desire to change the other person. We have a similar situation with Mamie - like Mattie, she cannot understand this man who is forcing his wife to live on a pittance anc be miserable.  Ms. McDaniel, as always, makes Mamie quite feisty and humorous.

Since I first saw her in Top Hat, I've been a fan of Ms. Broderick, who can deliver a bon mot with the best of them.  She appeared in 37 films, from silent shorts to talkies (though she is someone that it's hard to envision silent) and 15 Broadway plays (from 1907 to 1934), notably in The Band Wagon (with Fred Astaire).  Her lengthy marriage to Lester Crawford produced one child - her son, Broderick (the Oscar winning star of All the King's Men).  She had retired from the screen by 1946; she died in 1959 at the age of 68.

One thing we found an interesting counterpoint in the film was the wedding scene of Carolyn and Michael.  As we watch them try to get married, we see another couple in which the husband is nervous and uncomfortable - his mirror is Carolyn.  She is the one is reluctant, who doesn't appreciate the rushed ugliness and irresponsibility of a marriage that has to be hurried, so her husband can return to work.  It made me think of a similar scene in Woman of the Year, where Katharine Hepburn's Tess doesn't listen to the marriage service, and so has no understanding of the responsibilities she is taking on.  Michael similarly will not listen to the service.  The question is - will he ever listen to anyone?

It's intriguing that, in this New York Times review, the reviewer not only didn't like the film, he thought that Michael and Carolyn's marriage was doomed. And unless Carolyn can work another miracle on Michael like the one she worked on Hugh, we thought the reviewer was probably right.  Other reviews, according to this TCM article were acceptable, and the film did well, probably because of Stanwyck and Broderick.  

We'll close with this scene from the film; its an interesting look at a couple who aren't exactly on the same wave length.  Next time, another film about marriage, this time from the 1950s. 

Jean Takes a Bath

Red Dust (1932) is the second pairing of that remarkable screen duo of Clark Gable and Jean Harlow.  Not surprisingly, they make the screen sizzle from the minute their characters, Dennis Carson and Vantine Jefferson, meet.  Carson is the manager of a rubber plantation, somewhere in the jungles outside Saigon.  The work is dirty and unpleasant, and Carson finds it difficult to manage the native population of workers.  When Vantine arrives unbidden on his doorstep (she's avoiding the authorities in Saigon), their initial verbal battle turns to bedplay, and finally to love (on her part).  But when the time for her to leave arrives, Denny slips her some money, and scoots her onto the awaiting boat, just as surveyor Gary Willis (Gene Raymond) and his bride Barbara (Mary Astor) alight.  Denny thinks his only problem will be getting Willis accustomed to life in this backwater, but he is mistake, because Vantine returns (her boat broke down) and Barbara is proving even more irresistible to Denny than he ever could have imagined.

Clark Gable is wonderful as Dennis Carson; he makes the character appealing, as well as somewhat disreputable.  Dennis was raised on the plantation; his only absences were trips to Saigon for some R&R. It's not surprising that this man, who would probably have had very little acquaintance with any women but the native population (and whores in Saigon), would be so immediately captivated by Barbara.  She, to him, is exotic.  Whereas, Vantine, who is far better suited to the life he has selected, is just another hooker like those he periodically visits.  Gable is able to make us ignore his rather dastardly behavior - towards Vantine, towards Barbara, and towards Gary - but never allows us to forget it.

And then there is Harlow - wise, smart, strong, resourceful.  Her Vantine is capable of love, but smart enough to not let it ruin her life.  She tries to protect both Barbara and Gary, and she understands Dennis better than he understands himself.  Harlow's quick reaction to the payment Dennis offers her says so much about her character.  And Harlow is a smart enough actress to play the reaction down.  It's there - you see it, but she won't let Vantine - or the audience - dwell on it.  It is enough that we all know he has wounded her deeply.

The interlopers to the lives of Dennis and Vantine, the Willis', initially come off rather badly.  Barbara is officious and whiny; Gary seems like a wimp.  But, we eventually discover from Vantine that Gary is a rather nice guy; and is, in fact, the only person who treats her with kindness and courtesy.  Gene Raymond does a good job with the character - he is often cast as a weakling, but he does make Gary someone that you feel for.  You may be rooting for Gable's Dennis, but you want Dennis to realize that Gary cannot be hurt by his actions.

Astor's Barbara, never loses the officiousness.  She's constantly nasty to Vantine, as much from jealousy as anything else.  But one wonders if she resents Vantine's freedom?  Whatever happens, Barbara will never be anything but a "wife".  She has created herself in the image of her husband.  It is only at the very end of the film that Barbara finally gets a backbone, and does something neither man would do. You can't help but admire it (as Vantine does).  One scene that rather sums up Barbara is the couple's arrival at their new digs, and her horror on seeing the bathing area.  Contrast that to Vantine's freewheeling attitude towards her toilette - it nicely sums up both characters.

This TCM article mentions that the film did NOT run into any censorship issues - a surprise when you see the scene we are highlighting this week.  When Red Dust ran on The Essentials, host Robert Osborne commented on the friendship between Gable and director Victor Fleming that arose from their work on the film.  This relationship would culminate  in Fleming being selected to replace George Cukor as the director of Gone With the Wind - he was Gable's choice for director of what is perhaps Gable's most famous role.  Critic Mordaunt Hall, in the  NewYork Times was not particularly thrilled with the film, but fellow blogger at Pre-Code.com gave it his stamp of approval. We concur.

Red Dust is unusual in that it was remade over 20 years later with the same lead actor.  We'll take a look at Mogambo next week.  In the meantime, we'll leave you, as promised, with Vantine's bath.  Enjoy:

Fay's a Lawyer

Sometimes watching a film so firmly set in its own time can be almost painful for a modern audience.  Such is the case with Ann Carver's Profession (1933).  Fay Wray plays Ann Carver, who has married her college sweetheart, "Lightning" Bill Graham (Gene Raymond) after both have worked their way through advance degrees - he as an architect, she as a lawyer.  Though Bill was a football hero in college, the real world places him into an architectural firm, where he gets to do the scutwork for very little money.  Ann has been unable to even find a job.  She's frustrated and Bill is eager to help her find a position.  So, when an evening arises in which he can sing his wife's praises to the head of a law firm, he does so, and Ann takes it from there, providing some advice that results in the firm's winning an important case.  Ann is on her way.

It's at this point that film becomes annoying.  There is no middle of the road for Ann.  As a successful lawyer she is selfish, rude, smug, and an all-around heel.  She becomes the stereotypical career woman - a man-eating viper who cares for nothing but her success.  SHE purchases a large house.  SHE hires many servants (why does a young married couple need a maid, cook, and butler anyway?) - Bill is not consulted.  After all, SHE controls the purse strings.  When she is forced away on business, Bill can't pay the staff - he has no access to HER funds.  All in all, he is humiliated in every way, and Ann, of course, is oblivious to his needs.  HER job comes first, especially since she is the big wage earner.

The biggest problem with the character of Ann is that she is so exaggerated. Her shift from frustrated housewife to power lawyer is dramatic and unrealistic.  This basically nice woman becomes a harridan for no real reason,other than absolute power corrupting absolutely.  It doesn't help that her rise to fame is so unrealistic - within a few weeks of being hired, she is a headline-making, major player in her law firm.   

Of course, this is a precode film, so we have a scene with Ann and Bill snuggling in their big double bed.  There is also Bill's "relationship" with Carole Rogers (Claire Dodd).  The consensus among our group was that there was a brief fling between the two;  however, Bill is ultimately disgusted with Carole's drunkenness and lewdness.  In spite of the affair, it's still hard to work up much sympathy for Ann.  She treats Bill as an appendage - someone to bring her to important work-related dinners - not as a husband.  Appearance is all that matters to her, and when Bill decides a career change will bring him more money, Ann is horrified - what will people think of HER with a "crooner" as a husband? 

We suspect not a lot of attention was paid to Ann Carver's Profession, as it was released the same year as another film starring Ms. Wray - King Kong.  She had already ventured into the land of horror that year (with The Vampire Bat and Mystery of the Wax Museum), but with the popularity of Kong, Ms. Wray became a staple in the genre, and was often called The Queen of Scream. 

Regardless, she had a long career - she appeared in films and on television as late as 1980.  Interestingly, she would marry the screenwriter for Ann Carver's Profession, Robert Riskin, in 1942.  They had two children and were together until his death in 1955.  Fay Wray died in 2004, at the age of 96.  

We'll close with a clip from the 1998 Oscars with Billy Crystal. A tribute to King Kong was part of the entertainment that evening, and Mr. Crystal surprised Fay Wray by introducing her from the audience.  

Oh, and Ruthelma Stevens was barely findable as a party guest.  A shame really...

Bette's Love Nest

In our continuing search for interesting pre-code films, we found Ex-Lady (1933) starring Bette Davis.  Ex-Lady is a remake of Illicit (1931), starring Barbara Stanwyck, which we discussed last year.  That the two were related was a nice surprise (thanks, Robert Osborne for the information).

Helen Bauer (Bette Davis) is in love with Don Peterson (Don Peterson); their affair is quite open, much to the disgust of Helen's father (Alphonse Ethier), who effectively disowns her.  Though Helen is convinced that marriage destroys love, Don convinces her that their marriage will work.  However, as Helen's reputation as a  commercial illustrator grows, and Don begins to have problems within their business, the couple's relationship begins to strain.  The intrusion of Nick Malvyn (Monroe Owsley) and Iris Van Hugh (Claire Dodd), former lovers of the Helen and Don, put more pressure on an already threatened marriage.

Davis' Helen is bright and ambitious.  She works for a living, and is good at what she does. Helen doesn't want children, she enjoys working, and she enjoys her freedoms.  Davis imbues Helen with an independence the pervades every scene.  As discussed in this TCM article, this was Davis' first headlining role. She would make her big breakthrough a year later in The Petrified Forest. 

Early in the film, we get a telling image of Helen's youth - a cold, authoritarian father and a passive, downtrodden mother (Bodil Rosing).  With that one scene, we begin to understand Helen's aversion to marriage, and her determination to not become the passive target of male domination.  It's also interesting that the parents are clearly immigrants, setting up a comparison between the Old and New World morals.  It also floats in a negative picture of European culture, in an era of increasing American isolationism. 

In contrast to Helen, Gene Raymond's Don is not exactly the brightest bulb in the pack.   He doesn't seem to know how to run a business - he and Helen go on vacation, but he doesn't leave proper instructions for his staff, and ends up losing accounts.  Helen, on the other hand, who works with Don, gains business, making Don petulant and resentful. 

We are increasingly impressed with Monroe Owsley.  He again plays a total rotter; he makes the character of Nick oily and rather revolting.  And even though this is a relatively short film (67 minutes), he manages to flesh out the character quite a bit. We discussed him at some detail when we looked at Ten Cents a Dance, and refer you there for more information on the brief career of this interesting actor.

In a New York Times review, we were presented with very negative comments on Davis' lingerie (the costuming was by Orry-Kelly) but positive remarks on the film's screenplay.  We rather liked the costuming and sets (by Jack Okey), and refer you to the scene below for a quick glimpse into the film.  Next week, we'll take a comparison look at Illicit. 

Fred Meets Ginger

As I've mentioned before, when an extraordinary opportunity to see a classic film happens in the greater Washington DC area, I'm going to tell you about it.  Recently, the National Portrait Gallery hosted a screening of Flying Down to Rio (1933), and there to comment on the film was TCM's own Robert Osborne.  I was very excited to attend the film screening, as well as a reception for Mr. Osborne, who was kind enough to sign my copy of his latest book 85 Years of the Oscars.  Add to this, the opportunity to ask questions about the film and to see the film on a big screen - it was an amazing night!

Flying Down to Rio is the first Astaire-Rogers film.  Technically, it's a Dolores Del Rio-Gene Raymond story, though, as Ginger and Fred are only minor players in it: they get fourth and fifth billing, respectively.  And they only get one dance number together - "The Carioca", which was nominated for the Best Song Oscar (it lost to "The Continental" from The Gay Divorcee).  But, as always, their dancing is so amazing, they stole the picture from the stars, and the rest is history.
The plot of the film is fairly ordinary.  Roger Bond (Gene Raymond) is the leader of a fairly successful orchestra, however, Roger likes two things far better than working - flying and the ladies.  As a result, he is constantly getting the band fired either because he was late for a broadcast, or for consorting with the guests.  Into his club walks Belinha de Rezende (Dolores Del Rio), a wealthy Brazilian traveler, who immediately captivates Roger.  The management fires the band when Roger is caught dancing with Belinha instead of working, but their joblessness doesn't last long - they have been hired by the Hotel Atlantico in Rio, and off they go.  Of course, the hotel is owned by Belinha's father.  Further complications ensue as Roger and Belinha realize they are in love, though Belinha is engaged to Julio Rubeiro (Raul Roulien), and when the band discovers that the Hotel is in the midst of a hostile takeover by a consortium.  In order to keep their job, Fred Ayres (Fred Astaire) and Honey Hale (Ginger Rogers) come up with a production number to end all production numbers - it's danced in the air!

The introduction by Robert Osborne provided us with some interesting facts.  Originally, Honey Hale was to have been played by Dorothy Jordan, but just before filming began, she married Merian C. Cooper and retired.  In the 1950s, she made three more films, one of which is quite notable. It's The Searchers, in which she played Martha Edwards, Ethan's sister-in-law and great love. (We talked about The Searchers twice.  Here is the most recent article.)  Her marriage to Cooper lasted until his death in 1973; she died in 1988, at the age of 82.  

With Jordan's departure, a new Honey Hale was needed, so the studio turned to Rogers.  She and Astaire knew one another - they had met - and dated - in New York City when he worked as a choreographer in play in which she appeared.  Though neither was looking for a dance partnership (Astaire had decided not to have another partner after sister Adele retired), this was a one-shot in a minor role.  Little did they know they would be making film history.

This TCM Article talks about these facts, as well as another partnership that was formed during the film - Astaire's meeting with Hermes Pan, the assistant choreographer here. It also discusses the magnificent art deco sets - they are of themselves works of art.

The film is also VERY pre-code. From Ginger Rogers see-through evening gown to the dancers whose dresses are literally blown off while performing on an airplane wing, we get to see a lot of some lovely ladies.  Add to that some suggestive lines ("What's this business with the forehead?" "Mental telepathy." "I can tell what they’re thinking about from here.”) and you have a delightfully naughty film.

A quick tip of the hat is due to actor Raul Roulien, who plays Belinha's fiance.  He makes Julio so very likeable that, by film's end, you wonder WHY Belinha would pick such a lightweight as Roger, when she has a wonderful, stable, loving guy like Julio at hand.  We don't have a lot of hope for that marriage.  One suspects Roger will be gadding about once the novelty of Belinha and Rio wears off.   However, we think that Fred and Honey will take the band to new heights of popularity (once they get away from Roger and his hijinks).

We leave you with Fred and Ginger dancing "The Carioca":

Kay's House was a Home?

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

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

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

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

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

Carole Marries Gene

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

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

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

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

Joan and Franchot and Gene (and Edward)

Sadie McKee (1934) feature Joan Crawford as the title character. The daughter of a cook, who works for a wealthy family, Sadie has been raised quite happily with the scion of the house, Michael Alderson (Franchot Tone).  Newly returned from school, Michael immediately alienates Sadie by criticizing her beau Tommy Wallace (Gene Raymond).  In anger, Sadie elopes with him to New York.  However, before their actual wedding, Tommy is lured off by stage singer Dolly Merrick (Esther Ralston) to work in her act.  While working in a club, Sadie meets Jack Brennan (Edward Arnold), a very rich, but constantly drunk gentleman who married Sadie on a whim, much to the disgust of his friend and lawyer, Michael Alderson.

We really enjoyed this movie.  It is one that is rarely discussed, and seldom seem, which is unfortunate.  Given that Sadie spend the night with Tommy and is not punished, this film certainly falls into the pre-code category.  The scene is subtle, but it is quite clear that Sadie has good reason to expect marriage the next morning, and is truly devastated when Tommy betrays her.  Another interesting aspect to this film are the characterizations.  Quite honestly, with the exception of Dolly Merrick, there was something to like about every character. Even Tommy is redeemed in the end.  We were particularly impressed with Sadie's relationship with her husband, Jack.  Her determination to see him back to sobriety and health because "Mr. Brennan has always been good to me" shows us the essential kindness of Sadie.  But it is not just her goodness - take for example the character of Phelps the Butler, here played by the every wonderful Leo G. Carroll (in his first role, listed only as Leo Carroll).  Phelps is smuggling alcohol to Jack behind Sadie's back. In a rage, she fires him, then discovers that Phelps thought he was helping his employer.  Once Sadie explains the situation, Phelps and every member of the staff vow that no one will bring him booze.

Of course, the complicated relationships of the movie all reach a satisfactory ending.  And our Ms. Crawford is truly wonderful as she takes on this ride into the adventures of the kind Ms. McKee; a character one would love to meet again!  In this scene, Tommy serenades Sadie:

Next time, a film from 1940.