Jean is in Paris

Suzy (1936) stars Jean Harlow as Suzanne "Suzy" Trent, an American showgirl living in London during the first World War.  She meets inventor Terry Moore (Franchot Tone), who quickly falls in love with Suzy and convinces her to marry him.  But when Terry is murdered by a group of German spies, Suzy, afraid she will be accused of the crime, runs to Paris.  There, she meets a French flyer, Andre Charville (Cary Grant); it's nearly love at first sight, and the two quickly wed.  Things get complicated when she discovers that Terry was not killed in the attack, and that Andre still has an eye for the ladies.

As always, Jean Harlow is wonderful in a part that could come off as rather sleazy, but in her capable hands becomes charming.  Suzy announces her ambitions to marry a rich man in the first scene, but when push comes to shove, she is just too intrinsically honest to let money influence her decisions.  Certainly, some bits of the plot seem transparent - we KNOW the German spies will be back, and we are aware that Terry is alive when Suzy thinks he's been murdered.  In spite of this, it's a story that keeps you involved, with just enough twists to keep you engaged.  And while this TCM article comments that at least one reviewer felt that casting Harlow in a drama was a huge waste of her talents (likewise this New York Times review would banish her completely to comedy), her subtle humor is a big help in the film, and her dramatic talents completely live up to the script.

It's always a pleasure to see Cary Grant in anything - even when he is a cad (and a third billed cad at that!)  He's one year away from his magnificent (and arguably starmaking) performance in The Awful Truth, but his aura is already there.  When he's on screen, it's hard to take your eyes off him.  He had been loaned to by Paramount to MGM for this film, much to his disgust.  It was only when he was allowed to work with screenwriter Lenore Coffee to make his character more palatable that he agreed to participate.  The work shows.  He and Coffee create a man who is a scamp, a spoiled brat used to getting his own way.  But they imbue him with just the right amount of charm so that the audience understands Suzy's deep love for him.  It's interesting to note that Clark Gable was at one point considered for the role.

Suzy really has two loves in the Charville household - her affection for Baron Charville (Lewis Stone) is also boundless.  The Baron is initially horrified at his son's impetuous marriage to a showgirl, but grows to love her for her caring ways.  Lewis Stone, who would go on to acclaim as Judge Hardy in the Andy Hardy series, is quite wonderful in this film.  With just the slightest flicker in his eye, he conveys both his affection for Suzy as well as the knowledge that the letters she is reading from his neglectful son are made up for the Baron's benefit.  Much as she truly loves Andre, by film's end we know that her actions are motivated more by her love for her father-in-law.

Andre's paramour, Madame Diane Eyrelle is played by Benita Hume.  Ms Hume started her acting career on the London stage (she would also appear in one Broadway play in 1930), switching to film acting in 1925.  In 1926, she appeared in Easy Virtue, directed by Alfred Hitchcock and written by Noel Coward.  She segued easily into talkies, but was primarily relegated to supporting roles.  When she married Ronald Colman in 1938, she retired from films, though she did frequently appear on the Jack Benny radio show with her husband, playing Benny's neighbors.  Eventually, the Colmans even had their own radio (and later TV) show, The Halls of Ivy.  Colman died in 1958.  The following year, Ms. Hume wed George Sanders, a union which lasted until her death of bone cancer in 1967.  Below is a small piece from Colman and Hume in the TV version of The Halls of Ivy (from 1955, with a little Mary Wickes for good measure!):

We'll end today with the scene, noted in this entry from the AFI Catalog as one that is frequently shown in retrospectives.  And why not - we get to hear both Jean Harlow (dubbed) and Cary Grant (not dubbed) sing! The song, "Did I Remember" (Music by Walter Donaldson; Lyrics by Harold Adamson), was nominated for an Oscar in 1936 (It lost to "The Way You Look Tonight" from Swing Time, Music by Jerome Kern; Lyrics by Dorothy Fields).

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:

Jean Moves to the City

Three Wise Girls (1932) stars Jean Harlow as Cassie Barnes, a small-town beauty who is sick of being badly paid in a local soda fountain so her boss can paw her.  Encouraged by the success of a another young woman from town, Cassie moves to New York City, where she finds more of the same kinds of bosses.  One day, she finally decks the latest sexually abusive boss, gets fired, but manages to get her pending pay with the help of Jerry Wilson (Walter Byron), a visitor to the shop.  Cassie's life turns around when her inspiration for her move, Gladys Kane (Mae Clark) helps her get a job as a model.  Cassie begins to date Jerry, not knowing that Jerry is a married man, and that her life is taking the same sad path as that of Gladys - in love with a man who can provide nothing but a fancy apartment. 

The film is very reminiscent  of the previously discussed Our Blushing Brides, which starred Joan Crawford as a woman facing challenges similar to those of Cassie. Harlow is quite good in her first starring role as a young woman with drive, but with scruples.  Our introduction to her, as Cassie walks home after her date attempts to go too far, gives us an immediate insight into her character.  We were also very amused at the scene in which she tries to get a job as a model.  Her idea of how a model would walk is a hoot.

Marie Prevost is wonderful as Dot, Cassie's roommate.  Dot is content to find happiness with an ordinary man and to live within her budget.  Prevost's turn of phrase is always amusing, and she makes a good counterpoint to the more ambitious Cassie. It's a shame that Marie Prevost didn't have a more substantial career in the sound era.  Though active in silent films (she made a total 121 silent films); her career never really seems to have taken off in talkies.  After 1933, offers began to peter off, and she found herself unable to get roles.   She died in 1937, at age 38, the result of alcoholism and malnutrition.  Interestingly, her sad life was one of the motivating factors for the creation of the Motion Picture & Television Country House and Hospital.

We also enjoyed  Walter Byron as Jerry.  He too started in the silent era, most notably in Queen Kelly, starring Gloria Swanson in the title role.  Byron had a fairly busy career in the 1930s, but by the end of that decade, he was appearing primarily in uncredited roles.  So, in 1942, he retired.  He died in 1972 at age 72.

It was enjoyable to see Andy Devine in a small role as Callahan, Jerry's chauffeur and Dot's love interest. And the lovely Mae Clark as Gladys was very good.  One forgets that Mae did a lot more than get a grapefruit shoved in her face.  She worked widely in the 1930s, in such films as Frankenstein (as Elizabeth), the 1931 Waterloo Bridge (as Myrna), and Penthouse.  Later in her career, she worked in supporting roles and in television until 1970.  She died in 1992 at age 81.

Though the film was not as well received as the studio would have liked, as this TCM article points out, Harlow hit a popular note, and a star was born. 

Jean is Jealous of Loretta

Though Loretta Young (as Gallagher, the young reporter with no first name) is listed as the star of Platinum Blonde (1931), it's Jean Harlow as socialite Ann Schuyler who steals the film.  When reporter Stew Smith (Robert Williams) visits the Schuyler home to determine the validity of rumors about Ann's brother Michael, Stew is instantly smitten by the lovely Ann.  She is less impressed, but when Stew is able to retrieve (and return to the family) some incriminating letters written by Michael, Ann discovers that Stew is appealing indeed.  Their elopement is an anathema to her family, but Ann is determined to have Stew fit into HER world, whether Stew likes it or not.

This is a very enjoyable film, with good performances by Jean Harlow and Robert Williams.  As we mentioned, Young's name is above the title, but she doesn't stand a chance once Harlow shows up.  Harlow's Ann is quite appealing, perhaps because she doesn't seem as upper class and snooty as the rest of the Schuyler family.  This TCM Article discusses the problems Harlow had with sounding "sophisticated."  She especially had some difficulties with the word "library".  While director Frank Capra must have despaired at getting her to sound right, in the long run, it works in her favor.  We want to like them as a the couple, despite the fact that Ann is doing all she can to make her young husband into an upper-class twit.

That this is a pre-code film is readily apparent by the relationship between Stew and Ann. It's really one of lust more than of love.   Though Stew is clearly his own man, Ann is determined to tame him, and make him an appendage to her lifestyle.  She has no clear understanding of his career goals (he wants to write a play, for one thing) and would be quite satisfied if he stayed home and played at being a society husband.

Louise Closser Hale, a character actress we've admired before, is terrific as Ann's horror of a mother.  Mrs. Schuyler couldn't be a bigger snob, and her disregard for anyone not in her social circle makes her unlikeable AND humorous.  Her "consort" of sorts is Reginald Owen as lawyer Grayson.  Grayson does all of Mrs. Schuyler's dirty work, and enjoys every minute of it.  The character provides someone at whom Stew can direct his animosity, and Owen does an admirable job of keeping the character distasteful.  Also well worth watching is Halliwell Hobbes as Smythe, the butler.  We would expect this character (really, the only one in the house with any class) to be the worst snob, but Hobbes gives us a likeable fellow who really is open to all classes.  The party scene in which he interacts with Stew's friends is a riot.

Robert Williams, who played Stew, is also delightful.  This, unfortunately, was his last film. He died at the age of 37, the result of peritonitis from a ruptured appendix.  He had only made 7 films - two shorts and 5 full-length films (one a silent).  We've actually reviewed two of his talkies: Devotion and The Common Law.  This film demonstrates his breezy style and screen presence. 

Though Ann is the one with most of the good clothing, our Loretta gets one smashing evening dress that takes your breath away.  It's amusing that Stew specifically asks HOW she got a dress like that (on a reporter's salary).  We wondered the same thing.  The name of the costumer is not provided, but this dress proves his/her talents.

Interestingly, the film was originally called "Gallagher" after Young's character, but was changed to demonstrate the power Harlow had in the film.  Directed by Capra and written in part by Robert Riskin, it provides an early example of their collaborative genius.

As we mentioned before, one scene that particularly stuck with us was the singing argument between Ann and Stew.  As referenced in the TCM article above, it does seem almost improvised. It also appears that Harlow and Williams are having quite a good time:

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.

Myrna Sues Jean?

As we wait for a few more Crawford or Lombard movie to appear on our favorite channel, we visit with a pair of truly lovely, talented ladies - Myrna Loy and Jean Harlow - in the hilarious Libeled Lady(1936).  Loy is Connie Allenbury, a wealthy young lady with lawsuit on her mind after a newspaper, run by Spencer Tracy's Warren Haggerty inadvertently libels her.  To circumvent the suit, Haggerty comes up with a plan - marry his fiance Gladys (Jean Harlow) to writer Bill Chandler (William Powell), then have Bill seduce Connie, so Gladys can sue Connie for alienation of affection!  Only problem is, both Gladys and Connie actually fall in love with Bill, who is head over heels for Connie. 

This is a very funny movie. If you have a decent script (which this does), it is rather hard to miss with this cast.  Spencer Tracy as the reluctant groom is a riot; and you are rather pleased when he gets a bit of his comeuppance.  Harlow as the doubly spurned woman is lovely.  Thankfully, she gets her man in the end (this is a comedy!). 

And can you miss with that wonderful team of Powell and Loy! They had already made the first Thin Man  together, as well as Evelyn Prentice and Manhattan Melodrama. You cannot see the credit list and not assume that they will end up together.  They are perfectly matched, and Powell does his utmost to turn Bill from cad to dream.

A screwball comedy in the best sense, this one is well worth a look. We highly recommend it.  Here's a trailer to give you a taste: