Socialite Fay Cheyney (Norma Shearer) is hosting a charity event, during which both Lord Elton (Herbert Bunston) and Lord Arthur DIlling (Basil Rathbone) vie for her attentions. At the end of the evening, she is invited to the home of Mrs. Webley (Maude Turner Gordon), and eagerly accepts the invitation. Lord Dilling however, is puzzled. He thinks he remembers Mrs. Cheyney's butler, Charles (George Barraud), but NOT as a butler. Our film this week is the first version of The Last of Mrs. Cheyney (1929). This is our contribution to the O Canada Blogathon, hosted by Ruth of Silver Screenings and Kristina of Speakeasy. It's always enjoyable to go back to the beginnings of sound films and see what the introduction of the voice did to the movies. In this case (as with many other movies of the time), MGM selected a reasonably successful play and made it into a movie. If you are more familiar with films from the mid-1930s forward, you will discover it is not what you are used to - it is very conversational, and at times static. The actors are clearly not able to move around very much (given the limitations of the microphone), but with two outstanding performances, it was a movie we all enjoyed. This was Norma Shearer's second sound film (TCM article), and she seems comfortable with the new medium. She'd had good success in silent movies; with a pleasant speaking voice, and her delightful, sparkling laugh, she makes the transition to talkies seem almost easy. It helps that, in this film, she has someone to bounce off - Basil Rathbone, who is engaging as Fay's hopeful suitor. The story was originally purchased for the actress Florence Vidor (AFI Catalog), but that production never came about.
Born in Montreal, Ms. Shearer tried to begin with a career on Broadway, but was turned down by Florenz Ziegfeld as not being pretty enough (Complicated Women: Sex and Power in Pre-Code Hollywood by Mick LaSalle). She later got some revenge when she refused to star in The Great Ziegfeld (Stardust and Shadows: Canadians in Early Hollywood by Charles Foster). Extra work in films followed, though many thought her (again) not pretty enough for pictures (Canadian Heroines 2-Book Bundle: 100 Canadian Heroines / 100 More Canadian Heroines by Merna Forster). A small role in The Stealers (1921) resulted in a contract with what would become MGM; by 1925, she was getting star billing, which she retained until her retirement in 1942. Though some tried to attribute her success to her happy, albeit short, marriage to Irving Thalberg, even he was not always right about her career. When he dismissed her request to play the lead in what would become The Divorcee (1930) with "you're not glamorous enough," she sent him sultry pictures (by George Hurrell) that proved her glamour (and gave her an Oscar to boot) (Made For Each Other: Fashion and the Academy Awards by Bronwyn Cosgrave). She would receive five more Oscar nominations. She lived quietly in retirement, eventually remarrying. She died in 1983 at the age of 81.
While Ms. Shearer started her career in films, Basil Rathbone began on the London and New York stages. He began working in 1911 and returned to the stage after serving in the London Scottish Regiment (along with Claude Rains, Herbert Marshall, and Ronald Colman) during the first World War. It was during the war he became the Army Fencing Champ, a skill that would serve him well in many of his films (though sadly, he always seemed to lose on film!). He did a few silent films, but (like his friend Ronald Colman), he had a voice made for the movies, and it serves him well in our film, as does his stage presence. One scene in particular comes to mind. As Lord Arthur enters a room, he is question by another man. Mr. Rathbone moves slowly towards a sofa; he demeanor showing thoughtfulness. He sits, and then, after a brief pause, answer the question. It's a clever bit of acting that gives us more information about the character, while answering to the needs of the hidden microphone.
While we realized that the character of Lord Elton was important to the plot, as portrayed by Herbert Bunston he becomes a bore after about two scenes. Mr. Bunston really overdoes it; he's so obviously stupid, one wonders why he keeps getting invited to dinner parties. Sure, he's rich, but he hasn't got a brain in his head! In contrast to Mr. Rathbone, his character becomes even more idiotic. Every time he opens his mouth, you want the floor to open up and swallow him.
Hedda Hopper (Lady Maria) has a small role as one of the society ladies who frequents the same parties as Fay. She doesn't really have a lot to do, but she is pleasing in the few scenes she is given. Likewise, George Barrault's scenes are infrequent, but pivotal to the action.
The movie is based on a play that opened on London and on Broadway in
1925; the Broadway production starred Ina Claire, Felix Aylmer, Roland Young,
and Helen Hayes. We were intrigued that Roland Young (who played Lord Arthur on stage) was NOT involved with the film - he was under contract to MGM as well.
The Last of Mrs. Cheyney was nominated for a writing award at the first Academy Awards. It got a decent review in the New York Times (Mordaunt Hall didn't like Herbert Bunston either). It's been filmed three more times, in 1937 under the same title, with Joan Crawford, William Powell, and Robert Montgomery; as The Lady and the Law (1951) with Greer Garson, and in 1961 with Lilli Palmer in a German version. We'll be taking a look at the 1937 version next time we meet. We'll leave you with the opening scene:
This post is part of the O Canada Blogathon. Please consider visiting some of the other posts and learning more about our friends to the north.
Robert Montgomery stars as Lieutenant Wally O'Brien in War Nurse (1930). The film opens at the outbreak of the First World War. American women from all parts of the country and all walks of life daydream about becoming a war nurse. Each has their own reason, and their own view of the mission. The film follows the lives of Barbara (Babs) Whitney (June Walker), Joy Meadows (Anita Page), Cushie (ZaSu Pitts), Rosalie "Brooklyn" Parker (Marie Prevost), and Marian "Kansas" (Helen Jerome Eddy) as the women venture to France to nurse the wounded. Though Mr. Montgomery is given top billing, this film really is about the nurses - all of them. Sure, Babs is our "heroine", but each of the women has an interesting backstory and a distinct personality. We grow to like all of them, and to admire their dedication to an awful and dangerous job. The men in the story are the window dressing; the women are its heart. Some movies are eternal, and it doesn't really matter when they are filmed. Some are time capsules of their era. In a sense, War Nurse is both. This film looks back 12 years to "the War to end all wars," yet we know what the characters and filmmakers do not. That, in a scant 8 years, the world will be at war again. And though the technology may change, the effects of war and the work of the nurse do not. We can empathize with the characters because their struggle represents the struggle of all nurses in a war zone.
Based on the book 1930 book War Nurse: The True Story of a Woman Who Lived, Loved and Suffered on the Western Front (AFI Catalog), this is an excellent and compelling story. We only had one minor complaint with the film, the levity that was
inserted into the script felt forced and flat. Not that one wants the film to be oppressing,
but often the wisecracking just didn't belong. It sometimes seemed to
interrupt the flow of the action, and we were eager for the story to continue.
June Walker, in the role of Babs, is just wonderful. Her scenes with Mr. Montgomery have a real feeling of truth. We were especially impressed by the scene in which Wally visits her in her small flat. Their interplay is excellent, and you come out of the scene sympathizing with both of them for different reasons. Ms. Walker had a long career, in both television and theatre. In 1926 (after making one short silent and one silent feature), she married writer/actor Geoffrey Kerr. They had one child, actor John Kerr. The marriage lasted until 1942, after which Ms. Walker made a few movies, but primarily appeared in television, working until 1960. She also had a long career
on Broadway, beginning in 1919, and working until 1958. She appeared in 34 plays
including Gentlemen Prefer Blondes (1926, as Lorelei Lee), Waterloo Bridge (1930, as Myrna), and The Middle of the Night (1956). Ms. Walker died in 1966. Hedda Hopper is appealing in the small part of Matron Townsend, an
experienced, no-nonsense nurse, who looks over both the male patients and her
nurses (see this TCM article).
Robert Ames as Robin Neil is also good. Ames died the year after this
film was released. A severe alcoholic, Ames was trying to recover, but
it is suspected that his sudden withdrawal from alcohol resulted in his
death (which was attributed to delirium tremens).
We were especially intrigued with ZaSu Pitts as Cushie (her work in the film is briefly noted in this New York Times review). With her sad face and voice, Ms. Pitts sound career was frequently in comedies. In the early 30s, she was often partnered with Thelma Todd, in what has often been referred to as Hal Roach's feminine version of Laurel and Hardy (like Stan and Ollie, Thelma and ZaSu also used their real names in these films). During the silent era, Ms. Pitts received much deserved praise for her work in Greed (1921); in the sound era, a film to not miss is her performance in Ruggles of Red Gap (1935). She worked steadily, easily moving into television in the 1940s (she was a regular on The Gale Storm Show - also known as Oh, Susanna); her last film was released after her death from cancer in 1963: It's a Mad, Mad, Mad, Mad World. Ms. Pitts was also an author: she penned a book Candy Hits by ZaSu Pitts, which was published just after her death. Her unusual name was a combination of her two birth names EliZA SUsan (pronounced "Zay-soo"). Though a precode film, the characters of Joy and Robin are both punished for their sins (for more on the plot, and an interesting discussion, visit this Pre-code.com review). For a modern audience, the lack of background music and special effects (a bombing sequence is very clearly backscreen projection), can be surprising. Regardless, you are still seeing a grim picture of the war, without viewing a lot of blood and gore.
We'll leave you with this clip from the film. We highly recommend it.
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.
