Kay Wants Revenge

Georgiana Summers (Kay Francis) overhears Bob McNear (George Brent) and Betty Summers (Genevieve Tobin) planning a rendezvous.  It’s not long before Georgiana realizes that Betty is actually the current wife of Georgiana's ex-husband, Ralph Summers (Ralph Forbes). Georgiana devises a plan to get her revenge by trapping Betty in Georgiana’s country home where she is expecting a visit from Ralph. But plans go awry when jewel thieves Lawrence (John Eldridge) and Connie (Claire Dodd) also get trapped with them. Our film this time is The Goose and the Gander (1935).

When we reviewed The Cocoanuts, we discussed Ms. Francis' excellent comic timing. This film substantiates that she is a brilliant comedienne.  She's funny, and handles the quick dialogue and action with panache. This film even has a set of scenes in which jewelry is being carried from room to room (much like the scene with the Marx Brothers). And as before, Ms. Francis is deeply involved and a riot. Much of the humor in the film is devoted to Georgiana observing the shenanigans that are going on around her and reacting to them. It is truly a shame Ms. Francis didn't get to do more comedy.

This is a movie that very much focuses on the ladies - the men are mere window dressing to propel the action. George Brent has a few scenes with Ms. Francis, but he is there to move the story; he's not really a strong character. Quite frankly, he doesn't need to be. The only complaint we had about the movie was the ending - which came from nowhere - but we didn't care. The resolution worked in the sense that it was funny, it gave the film a bit of a twist, and put our various characters where they needed to be.  In The Women of Warner Brothers: The Lives and Careers of 15 Leading Ladies by Daniel Bubbeo, George Brent is heavily criticized as being a non-entity.  Well, we beg to differ. He's a good actor (see him in something like The Great Lie, The Spiral Staircase, or The Purchase Price). Don't use this film as an example of his talents

While the advertising, as seen here, emphasizes the romantic aspects of the plot, it doesn't do justice to the mystery of the stolen jewels and how the thieves will get their comeuppance. The film is funny just dealing with the romances, but add in the jewels, and the arrival of Spencer Charters as Inspector Winkelsteinberger, and film soars. His interactions with Helen Lowell as Georgiana's Aunt Julia are hysterical. The police do get a bit dim, but under the circumstances, it's not hard to imagine that even Columbo would get confused.

We very much enjoyed Claire Dodd as the current Mrs. Summers. That she would want to venture off with another man is not surprising, given what a dolt her husband Ralph is (it's more surprising that Georgiana would want him back, even for revenge). Released in 1935, this film is firmly under the control of The Code. In spite of this, there's a lot innuendo, primarily between Ms. Dodd and Mr. Brent. The plot really goes into action when they are trapped in Georgiana's country home, posing as man and wife. We KNOW they are going off together for an evening of lust, but once in the house, the pair have to figure out a way to get Bob out the locked room (Georgiana's contribution to the confusion). Ms. Dodd protesting her purity is especially funny.

Just because it is a comedy, doesn't mean that Ms. Francis doesn't get some lovely costumes. Orry-Kelly does the dresses, with his usual flair; all of the actresses benefit from his expertise. The screenplay by Charles Kenyon (who had a long history with screenwriting, going back to the silent era) is crisp and entertaining. It's his story, as well as his screenplay; in a brief 65 minutes, this film includes a lot of plot. It's a wild ride - and an enjoyable one. If you blink at the wrong time, you might miss something. (TCM article)

We so often say that the New York Times review didn't like films but this time we get to quote a favorable review: "The narrative is so deviously complex that if you stop to light a cigarette or talk to your neighbor it requires five minutes to reorient yourself in its labyrinthine ways." We agree, and suggest this is a film that deserves multiple viewings.  We'll leave you with the trailer.

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.

George's Wives

The silence on our end was occasioned by a number of activities involving your humble scribe - one of which was her recent marriage.  Now that we are back to our normal routine, we begin with a 1936 film.  Snowed Under stars George Brent as playwright Alan Tanner, Genevieve Tobin as his first ex-wife Alice Merrit, and Glenda Farrell as SECOND ex-wife Daisy Lowell, all trapped in the mountains after a snowstorm.

Alan Tanner is a successful playwright, however his latest play is proving to be a difficult nut to crack - he can't seem to get the third act written.  He's retreated to a mountain cabin to write.  His publisher is not convinced that Alan can complete the play, so he asks ex-wife Alice to go up and visit Alan, and possibly help him with the writing.  She arrives to find Alan under siege from his would-be next wife (Patricia Ellis as Pat Quinn), Daisy, Sheriff Orlando Rowe (Frank McHugh), and Daisy's lawyer McBride (John Eldredge) - the latter two enlisted by Daisy to collect back alimony.  Thus, a quiet weekend devolves into a loud, frantic mess.

Quite frankly, this is a fairly stupid film.  Sure, it's a farce, with lots of running around and slamming doors and yelling.  While you want it to be a film version of the famous play Noises Off, what you get instead is a not-very-witty hodgepodge of romance and mayhem.

There are so many good actors here, you would think they could pull something out of their hat to rescue this mess, but they can't.  George Brent is given very little character to work with.  Mostly, he is passive, with his various women throwing things at him. Genevieve Tobin has a little more to work with, and as a result is more enjoyable.  But when  you get to such usually fantastic actors as Frank McHugh and Glenda Farrell, one throws up one's hands in frustration.  McHugh is downright annoying as Orlando, and Farrell is WAY too  over-the-top as Daisy.  You can't wait for the scenes with them to be over.  It's rather hard to understand why Alan married Daisy (just as it is equally hard to understand his attraction to Pat).  While both are attractive in their own way, they are equally hard on the nerves - a quality that is already visible in Pat.  And Daisy's crudeness is clearly not of recent vintage.

Both Ellis and Tobin retired shortly after the release of Snowed Under - Tobin to marry William Keighley; Ellis to wed a Kansas City businessman.  Both women had over 40 films credits when they left the industry, but neither had been able to rise to leading lady status.  This TCM article provides some history for the film, as well as some information on the critical reception.

We end with a trailer which will give you a quick overview of the film.  Next time, we turn back to the Pre-code era for a Nancy Carroll film.

Kay Meets Edward G.

I Loved a Woman from 1933 features Edward G. Robinson as John Hayden, a would-be artist, living on his father's money in Paris, until his father's death.  He returns to America (Chicago, to be specific), and at the encouragement of the lovely Martha Lane (Genevieve Tobin), he assumes the responsibilities of running the company.  Once in business, John is no more a romantic artist, but a hard-headed, in fact cruel and dishonest, businessman.  As his marriage to Martha disintegrates (she pretty much married him for his money and power), he becomes romantically involved with Laura McDonald (Kay Francis), and the two begin a long-term affair. Meanwhile, John continues his ruthless business ways
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Edward G. Robinson is quite convincing here.  He is interesting as the romantic lead, for a change, but he is also, as we all know from his gangster work during this period, perfectly comfortable playing a not-very-nice guy.  As always, Kay Francis is great.  Her Laura loves John, but this is a Pre-Code movie, so her life style is, shall we say, rather risque.  And again, being that this is a Pre-Code film, our characters get away with things that, in another year, would result in their deaths or imprisonment.  

Probably this film is more interesting as a Kay Francis film than as a venue for Robinson.  Not that he is bad, but his character is just not really as interesting as it could have been.  He is so callous in so many ways, that it is hard to sympathize with him.  But there are scenes with Francis that are fun and interesting, so it is certainly worth a look.  And just to get you started, here is the trailer: