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: 

Cary Knits

A woman walks on a pier, her eyes fixed on the sea.  The waterfront guard, fearful that she is a potential suicide, is about to confront her when he is stopped by a sailor.  The sailor, Hard Swede (Charles Bickford) proceeds to tell her story. Our film for tonight is Mr. Lucky (1943).

Cary Grant is magnificent as the somewhat shady Joe Adams. He walks a fine line in making Joe (who'll use the name Joe Bascopolous throughout the film) both suspect and likeable. Classified as 1-A by the Draft Board, Joe gambles for, and wins the identity of the dying Bascopolous, as well as the gambling ship Fortuna from his former partner, Zepp (Paul Stewart), an equally devious character who's quite willing to cheat to get what he want. Joe then sets about finding some suckers to rent the ship. He focuses on a War Relief charity, run by Dorothy Bryant (Laraine Day). She's suspicious of his motives, but is eventually won over by his charm and seeming dedication to the war efforts. 

We, the audience, know that Joe is up to no good, but with Cary Grant in charge, it's easy to understand Dorothy's change of heart. And, as he gets to know her, we learn more about his life - Joe has not had it easy, and he's determined that nothing, not even war (it's not his war, he tells us) will alter his path. His growing affection for Dorothy is displayed by a tie she gives him as a gift - watch as he refuses to remove it (she tied it on for him).

 

Laraine Day is a good match for Mr. Grant - she's smart and determines. One doesn't feel that she is an easy mark, which makes her changing relationship with him all the more convincing.  Both Ruth Warwick and Anna Lee tested for the part (and Mr. Grant's new wife Barbara Hutton wanted to play Dorothy as well. Mr. Grant nixed that idea. (TCM article)), Ms. Day, however is ideal casting. The scene in which she uses the Australian (or Cockney) rhyming slang that Joe taught her to warn him away is beautifully done.

There are a number of wonderful actors in supporting parts. Charles Bickford's part is small but pivotal (we wish we'd seen more of him). Gladys Cooper (Mrs. Steadman) finally gets to play a good person - she is lovely as Dorothy's colleague in the charity. She, too, is intrigued by Joe; she's also immensely supportive of Dorothy when the going gets tough. Alan Carney (The Crunk) is amusing as Joe's henchman, and Paul Stewart is properly intimidating as Joe's enemy (when Mr. Stewart plays evil, he is most convincing). 

We had a bit of a problem with Mr. Bryant, as played by Henry Stephenson. Mr. Stephenson is  prim as Dorothy's grandfather, but he also has a loving relationship with his granddaughter. Is is hard to imagine him calling the police when it is sure to get Dorothy arrested.

As a knitter, I'm terrifically intrigued with Cary Grant learning to knit for the cause (you can see him in his early efforts here). And though the film gets chuckles out of men learning to knit, they also show him and The Crunk appreciating the craft after they learn it. Joe's admiration for a hand-knit tea cosy ("nice work") is endearing  Dorothy also points out that many men in England who are unable to serve in the military are learning to knit so they can provide warm clothing for the troops. If you would like to learn more about knitting in World War II, visit Knitting for Victory. Efforts still continue for today's veterans at the National World War II Museum (Knit Your Bit).

Based on Milton Holmes' story "Bundles for Freedom," which appeared in Cosmopolitan, the original ending of the story was far different that the one we see (AFI catalog), and it is for the best. Cary Grant asked RKO to purchase the film rights for him, and they obliged. Mr. Holmes and Adrian Scott were credited with the screenplay (Radical Innocence: A Critical Study of the Hollywood Ten by Bernard F. Dick).

Mr. Lucky opened at Radio City Music Hall and received a positive New York Times review - they called it "is a picture of many moods, and they are all handled expertly by Director H. C. Potter." Ms. Day and Mr. Grant reprised their roles for Lux Radio Theatre in October 1943. In 1959, a television series, loosely based on the film, premiered with John Vivyan (as Mr. Lucky) and Ross Martin.

If you've never seen this film, you are in for a treat. Here is the trailer:

Cary Loves Music

Louise Fuller (Grace Moore), an opera star of some note, is deported from the United States after she overstays her visa limits. Louise is eager to get back to the States - she has promised to assist her beloved tutor and uncle, Walter Mitchell (Henry Stephenson) by appearing in a music festival being held in his honor. The list for a visa is long - she'll have to wait for a year, unless she can find an American to marry. Enter artist Jimmy Hudson (Cary Grant), a foot-loose and fancy free young man, who initially disdains her snobbish demeanor. Our film this week is When You're in Love (1937).

With Cary Grant in a film, what's not to love? Well, this film, quite frankly. It's not that it is bad; it's that it is banal, and above-the-title Grace Moore really is no actress; she  was an opera singer that the studio was trying to make a star. While she is an wonderful singer, with a very expressive voice and demeanor WHEN she is singing, as an actress, she's a dud. Her lines are delivered with an almost flat tone; she never really seems interested in the action. As a result, she and Mr. Grant don't click.

Ms. Moore appeared in nine films between 1930 and 1939. Born in Tennessee (she was called "The Tennessee Nightingale"), she started her career on Broadway in 1913 (she would appear in 9 plays between 1913 and 1932); working her way from the chorus to featured performer in a number of musical reviews (like the Ziegeld Follies of 1931). After a couple of films in 1930, she signed a contract with Columbia in 1934. She was nominated for an Oscar for best actress for her work in One Night of Love (1934). By 1939, she was through with films, and working more steadily in opera companies. Married once to Spanish actor Valentín Parera, she died in a plane crash near Copenhagen (Prince Gustaf Adolf of Sweden was also killed in the crash). A scholarship is named for her at the University of Tennessee School of Voice.  

Cary Grant had just begun a new contract with Columbia (TCM article), which may account for him being billed below Ms. Moore and below the title (in his next films, Topper The Toast of New York, and The Awful Truth, he was still billed under his co-stars, but above the title). He really does his best to bring some exuberance to the film, and mostly he succeeds. But it's impossible to work around that fact that he's acting against someone who just doesn't project emotion very well. It is amusing that he is playing the American (with his delightful English-ish accent) while Ms. Moore is supposed to be Australian - with an American accent). One of his most delightful scenes is with the couple who raised him after his parents' deaths. His affection for them is transmitted right through the screen. 

Also in the cast is Aline MacMahon. She's wasted in this film; while she gets some good lines, she just doesn't get enough screen time. Similarly, Thomas Mitchell and Henry Stephenson are given very little to do. It's a shame when you have actors of their caliber who are not permitted to perform up to their abilities.
 

This was Robert Riskin's first directing gig; he'd written the screenplay for the film as well. Producer Harry Cohn was hoping that Riskin would break out Cary Grant in the way his scripts for It Happened One Night and Mr. Deeds Goes to Town had for Clark Gable and Gary Cooper. Perhaps it was the loss of his collaborator, Frank Capra, but the magic didn't work for this picture, and it ended up losing money (Cary Grant: A Biography by Marc Eliot). 

The costumes by Bernard Newman are very lovely.The music includes several opera pieces, two songs by Jerome Kerns and Dorothy Fields, and a really terrific version of Ms. Moore singing (and Cary Grant playing the piano) of Cab Calloway's "Minnie the Moocher" (a preview of the film did not, in fact, include that number (AFI catalog).

The film opened at Radio City Music Hall in New York City. The New York Times review by Frank S. Nugent called it "a glib reworking of an ancient operatic formula." The Hollywood Reporter, however, enjoyed it, calling it "a signal triumph for the foremost diva of the screen..." 

For opera lovers, this film is worth a look - you can fast forward to the musical numbers (which mostly have nothing to do with the plot) and watch Ms. Moore sing, which is certainly worth doing. You can watch her doing "Minnie the Moocher" - she is really good!

We'll leave you with a snippet from When You're in Love's premier on GET-TV, which was able to show a restored copy of the film:

Kay Sings?

Would-be actress Pamela Drake (Deanna Durbin) is eager to follow in the footsteps of her mother, noted actress and soprano Georgia Drake (Kay Francis). But when Pamela is offered a role in Karl Ober's (S. Z. Sakall) new play of St. Anne, complications ensue. Though the character is Pamela's age, Georgia is eager to play the role; Pamela, however is unaware of her mother's plan. Thus begins It's a Date (1940).

The film is by no means great literature. The plot is fairly simple; you know almost immediately that John Arlen (Walter Pidgeon) is going to fall in love with Georgia. And that Pamela will discover her mother's interest in the part of St. Anne. It doesn't really matter, though. It's a frothy little film that you can enjoy simply to watch some really fine actors and one amazing singer.

As you can see by the artwork accompanying this post, Ms. Francis is relegated to second billing (along with Walter Pidgeon) under the new star Deanna Durbin. Ms. Durbin had gotten her start at MGM; her first film was the short Every Sunday (1936) with another magnificent singer, Judy Garland. You can hear the two of them singing together in this clip:
Ms. Durbin's contract was dropped (according to the Deanna Durbin Devotees website, Louis B. Mayer instructed his people to "fire the fat one", and they let Deanna go). Universal, which was on the verge of bankruptcy, snatched her up. She is credited with single-handedly saving the studio from ruin (TCM article). With a good screen presence and an amazing voice, she became immensely popular, and continued working until age 29, when she retired and completely disappeared from public view. Her son announced her death at age 91 in 2013, providing no details and thanking her fans for "respecting her privacy."

As we've mentioned before, Kay Francis was out of favor with Warner Brothers; they would give her awful scripts or loan her out to other studios, in hopes that she would quit. She didn't (the checks didn't bounce!). Though she is not around for half the movie, she's quite lovely as a good mother who only what is best for her daughter. She also gets some attractive costumes from Vera West.

The film is not short on supporting talent. Besides Ms. Francis and Mr. Pidgeon, we are also treated to such amazing character actors as S.Z. Sakall, Eugene Pallette (in what is basically a walk-on as the Governor of Hawaii), Henry Stephenson (as the ship's Captain Andrew), and Samuel S. Hinds (as agent Sidney Simpson). With such strong performers, the material is elevated beyond the scope of the writing.  All the character parts are small (most of the heavy lifting in the film is Ms. Durbin, with Mr. Pidgeon getting a nice chunk of screen time), but we did think that Mr. Sakall, as always, made the most of what he had, to excellent effect. It is no wonder he was often called "Cuddles". Even here, playing the man who doesn't WANT Georgia in the role, you like him!

The New York Times actually liked the film, with reviewer Frank S. Nugent calling it "a charming, if highly improbable, entertainment" in his review. In some senses, it is a comedic/romantic version of All About Eve, with a bit of singing. The next time you are looking for a film to just sit and enjoy, this is one to consider.  We'll leave you with this scene of Ms. Durbin doing Ave Maria (with a glimpse of Ms. Francis!):

Dr. Ann

The Flame Within (1935) stars Ann Harding as Doctor Mary White, a successful psychiatrist in New York City.  For many years, she has been pursued romantically by Dr. Gordon Phillips (Herbert Marshall). Mary is aware, however, that Gordon will expect her to relinquish her career as part of their marriage and she is not ready to be just a housewife.  When Lillian Belton (Maureen O'Sullivan) attempts suicide, Gordon and Dr. Jock Frazier (Henry Stephenson) consult Mary on her treatment.  Mary discovers that Lillian is deeply in love with Jack Kerry (Louis Hayward), an unrepentant drunkard, and it is Lillian's fear for his life that drives her to suicide.  Mary determines that saving Jack is the best way to cure Lillian.  But there are consequences. 

In the pantheon of films about women doctors, this is one of the weaker ones.  Ann Harding is quite good as Mary, but the script gives her no help in creating a convincing character.  That you like and believe in Mary at all is due to Ms. Harding's abilities as an actress (according to this TCM article, she was Barbara Stanwyck's favorite actress, and with good reason!).  Released as the Production Code was being firmly enacted, it often feels like the screenwriters don't know what to do with Dr. White; as a result, the character goes from a strong, successful, independent career woman to an impulsive, dependent housewife. 

It's clear at the beginning of the film that Dr. White is good at her job, and well respected by her peers. Even Dr. Phillips, who wants her to stop working and be just his wife, refers his ailing patient to her care.  Despite this, nothing that she does from the moment she meets Lillian Belton convinces us that Mary actually knows what she is doing. Lillian attempts suicide in despair over Jack Kerry's alcoholism.  So Mary decides to cure Jack, and that will cure Lillian.  There is a highly regarded alcoholism specialist on staff, but Mary doesn't even consult him.  And how does curing Jack take care of Lillian's exaggerated co-dependence? The first time they have a fight, Lillian is probably going to again attempt a swan dive out a window. What the writers know about psychiatry one could engrave on the head of a pin.

On the plus side, alcoholism is treated as a disease, not as a joke (even if it can be treated successfully in two weeks), with specialists attached to the field. And the seriousness required to study medicine is addressed in Mary's early speech to Gordon, when he (AGAIN) asks her to give up her career to be his wife. "No work? Just Mrs. Gordon Philips, housewife? Oh what did I give up my youth for? Why did I give up most of my life to this thing if I were just to forget it and throw it away as if it had never been... it's more than a profession. It's a religion." 

It's hard to warm up to Herbert Marshall as Dr. Philips.  If he is so in love with Mary, why does he put conditions on their marriage? He seems to not love her, but loves his vision of her. At the same time, his pursuit is almost stifling, and he comes across more as a stalker than as a passionate lover. The unhappiness that will come with her selection of him over career is just not important to him.  As a result, he is unlikable, cold, and unbending.

Maureen O'Sullivan is good, if a bit manic in the role of Lillian.  At one point, the part was earmarked for Merle Oberon (AFI Catalog). Ms. O'Sulllivan had already made a name for herself in Hollywood with her appearance as Jane in Tarzan, The Ape Man (1932), notably for an apparently nude swimming scene with Johnny Weissmuller (she would ultimately appear as Jane in 6 films). She appeared in a variety of films in the 1930s and beginning of the 1940s, including The Barretts of Wimpole Street (1934), A Yank at Oxford (1938) and Pride and Prejudice (1939).  By the 1950s, she was primarily appearing on television; and in the 1960s, she changed to work on Broadway, both acting and producing.  She was married from 1936 until 1963 (his death) to director John Farrow; they had eight children including Mia and Tisa Farrow. In 1983, Ms. O'Sullivan remarried, and was with her second husband, James Cushing until her death in 1998 (at the age of 87) of a heart attack.

We were less impressed with Louis Hayward, a good actor who deserved a better part.  Mr. Hayward gets to do little that justify the passion of two women for his inebriated man about town.  Interestingly, it was Mr. Hayward's performance that was most lauded in this New York Times review

In some respects, this film almost feels like a precursor to Spellbound (1945), where we have a psychiatrist who becomes emotionally (and unprofessionally) involved with a patient.  Regardless, the film is worth a look, especially when compared to Kay Francis' pre-code women doctor films such as Mary Stevens, M.D. and Dr. Monica, or with Ms. Harding's other venture into medicine in The Right to Romance (1933).

Kay Leaves Ronald

James Warlock (Ronald Colman) has been happily married to Clemency (Kay Francis) for 7 years.  He is eagerly anticipating their upcoming wedding anniversary, only to discover that she is going on an extended trip with her younger sister, Garla (Florine McKinney).  It seems the madcap Garla has become involved with a man to whom her family objects, and their parents have requested that Clemency get her far away from temptation.  When Jim's friend John Tring (Henry Stephenson) discovers that Jim is at loose ends, Tring invites him out to dinner; John also invites two young ladies to join them.  Jim resists the attractions of Doris Lea (Phyllis Barry) at first, but when he meets her again, weeks later, he is lost.  An affair, which will have disastrous results for all involved, begins.

Cynara (1932) is told in flashback.  In the film's first scene we learn that Clemency knows of Jim's infidelity and that Jim's successful law career has been destroyed.  What follows is a chronicle of deceit and guilt, as Jim descends into a morass of lies and betrayals from which there is no return.

It's hard to actually dislike Jim - yes, he cheats on his wife, but from the minute he meets Doris, he is honest with her: he tells her he is married, that he loves his wife, that their affair is temporary.  But Doris, who has been down this road before (a key plot point at the end of the film), is desperate and unstable.  Today, we would call her a stalker.  Though Jim rebuffs her advances when they first meet, she actively pursues him.  She is unable to compartmentalize her feelings about him; as a result, she loses her job, and ultimately destroys both of them.

Clemency, on the other hand, becomes a victim of her own neglect.  Though she genuinely loves her husband, she takes him for granted.  She leaves on the eve of their wedding anniversary, without even a by-your-leave - Jim comes home to find her packing.  She will be gone for several months, yet she does not even consider discussing this move with her husband (who is presumably paying for her trip!).  One doesn't dislike Clemency - she is a caring woman, but it seems that she is oblivious to her husband's needs

Colman is, as always, pitch perfect. He is a fantastic actor, with perhaps the most glorious voice in film.  It's hard to believe that he started in silents (imagine that impressive voice unheard!)  However, one suspects that, with the advent of sound, Samuel Goldman rubbed his hands with glee at the thought of Colman's transition to sound.  (A TCM biography of Colman likens his voice to "crushed velvet").  Colman had started his career in the theatre, and in his later years, transitioned to appearances on radio and television, often appearing with his second wife, Benita Hume.  He won an Oscar for his role in A Double Life.  He died at age 67 (from acute emphysema) in 1958. 

Unfortunately, Kay Francis doesn't have a lot to do in this film.  Clemency is in Italy for most of it, and when she returns, she merely gets to look pained.  On the other hand, Phyllis Barry has quite a bit of screen time.  Her casting is interesting - and telling - as she rather resembles Kay Francis.  It only serves to emphasize that Jim seems to be seeking his arrant wife, rather than looking for a lover.  Barry had a fairly long career, though mostly in very small parts.  She died in 1954 of barbiturate poisoning.  For more on Cynara and the careers of Colman and Francis, see this TCM article.

The title Cynara is taken from a poem by Ernest Dowson.  The poem, Non sum qualis eram bonae sub regno Cynarae (1894) contains the line "I have been faithful to thee, Cynara! in my fashion."  It ALSO contains another famous movie title:  Gone with the  Wind.  Another Dowson  poem supplied the title of The Days of Wine and Roses.

All in all, we found this an enjoyable film, and recommend it.  It is a wonderful example of early Colman.  We leave you with the opening of Cynara, in which we learn of Jim's downfall:

Red-Headed Jean

Some time ago, before we began this blog, our group watched Red-Headed Woman (1932), the wonderful pre-code film starring Jean Harlow as Lil "Red" Andrew.  Since then, I rewatched the film with one of our newer group members, and thought it might be nice to add this fun and rather raunchy movie to our blog.

The film opens in a hairdresser's salon.Our "heroine", Lil, has opted to become a redhead (with probably one of the best lines in movie history!).  Here is the scene, it's delicious:


We quickly discover that Lil has more than just hair-color on her mind.  She has decided that it is time for her to come up in the world, and she aims to do this by seducing her happily-married boss, Bill Legendre, Jr. (Chester Morris).  Tricks such as working her way into his home and revealing his picture on her garter work wonders.  She also succeeds in making sure his wife finds them in a compromising position.  Bill tries to resist her, but, as we see below, he isn't very good at staying away from our siren.

Wife Irene (Leila Hyams) has no patience with Bill's philandering, and they divorce. Lil is all set to move in as the new Mrs. William Legendre, but, as the film progresses, we find out even marriage to a wealthy, attractive man is not enough to keep this social climber happy.

This film provides some outstanding performances.  The always attention-getting Ms. Harlow is stellar here as a woman with one goal and no morals.  Also delightful is Una Merkel  as Lil's best friend and confidant, Sally.  While Sally appears to have a few more morals than Lil, there's not much difference in them, except that Lil is willing to go to any lengths to get what she wants, while Sally hasn't quite got the nerve.

Some interesting casting notes are Henry Stephenson as Charles Gaerste, one of Lil's conquests.  The sight of the usually powerful Stephenson as Lil's plaything is something to behold.  And, as a surprise, we have an early appearance by Charles Boyer as Albert, Gaerste's chauffeur.  This was only his fifth film, and he is certainly a standout. 

Our pre-code delights are a little sado-masochism (take a good look at the clip above!), lots of lingerie, and a bad woman who does not get her just deserts in the end.  According to this article on the TCM website, the film was also one of many (but an important one) in pushing the film industry towards enforcement of The Motion Picture Production Code.  

So, why did Harlow dye her trademark locks red for the film? Well, the story was based on a novel of the same by Katherine Brush, and we can assume the studio wanted to attract readers to the film.  Regardless, Harlow as a red-headed woman is still a powerful sight to behold.

Kay Gives Her Heart - And More

Give Me Your Heart (1936) begins with a parting - Belinda Warren (Kay Francis) and Robert Melford (Patric Knowles) have been having an affair, and it is about to end.  He is married; his wife Rosamund (Frieda Inescort) is an invalid, but he still loves her and cannot leave her. So Belinda and he part; she finds herself alone upon the death of her father - until she has the son that she and Robert conceived.  Belinda is approached by Robert's father, Lord Farrington, who asks if he may raise the child as his son's heir.  The boy will be loved and happy, and will want for nothing.  Reluctantly, Belinda agrees; finally fleeing to the U.S., where she meets Jim Baker (George Brent).  They marry, but Jim cannot understand why his wife is always unhappy. 

This is a soaper, certainly, but it's a lovely film with some great supporting performances.  Henry Stephenson is wonderful as Lord Farrington. He really is the person you would be willing to give your child to.  His affection for Belinda is apparent, and we realize that this feeling is mutual.  Also great is Roland Young as "Tubby", Belinda's dear friend, and friend to Lord Farringon.  "Tubby" functions almost as a Deus ex Machina, descending on Belinda's life to help make the changes that will make things better.  Young plays him with humor, but with a serious concern for this woman who is obviously in so much pain. And Frieda Inescort has one excellent scene towards the end of the film.

Since I'm a fan of women doctors in the movies, it was fun to see that Belinda's doctor is a woman - Dr. Florence Cudahy played by Helen Flint. A good friend to Belinda, she is also a good doctor, refusing to give the insomniac Belinda sleeping pills. Florence prefers instead to try to find the root of Belinda's pain.

As always, any Kay Francis is a pleasure. However, next time we'll be visiting another 30s actress. In the meantime, here's a trailer from this film: