Ann Has a Secret

John Shadwell (John Boles) and Vergie Winters (Ann Harding) were planning to marry, but Vergie's father (Edward Van Sloan) told John that Vergie is instead marrying Hugo McQueen (Creighton Chaney). In pain, John marries Laura Shadwell (Helen Vinson) on the rebound. But Jim Winters had been paid $10,000 to tell the lie, and trick John into the marriage with Laura. Unable to divorce his wife, John visits Vergie on a regular basis, while his political star begins to rise. Our film this week is The Life of Vergie Winters (1934).

Based on Louis Bromfield's short story (AFI catalog), this film is similar to the stories that are told in Forbidden (1932) and Back Street (1932) - a couple whose true love is thwarted by circumstance, but stay together despite the rules of society. And while this is not an original plot, Ann Harding makes Vergie so likable that you don't really care that you know the story. You keep watching just to see her. 

There are class issues regarding Vergie's potential marriage to John which assist the Shadwells' lies; and Laura is eager to marry a man with political possibilities. Vergie, however, is seemingly well regarded (initially) by the community. A milliner with a popular store, her wealthy clientele are friendly with her (albeit only during business hours). When her secret life becomes more public, she loses her society shoppers, but inherits a new customer base, represented by Pearl Turner (Cecil Cunningham), a local madam. Rich or poor, Vergie displays an easy relationship with her customers.

The film also has an interesting "innovation" not a part of the previously mentioned movies. The Life of Vergie Winters uses narratage (New York Times review); the inner monologues of the townpeople at the opening of the film (the film actually begins with John's death and Vergie's imprisonment) serve as a kind of Greek chorus, preparing the audience for the story that is about to unfold. The technique was very reminiscent of the inner monologue in Strange Interlude (1932) and is interesting, if a bit stylized.

Frank Albertson (Ranny Truesdale) is the kind of man every woman wants to marry. His love for Joan Shadwell (Betty Furness) is deep; when the couple discover Joan is adopted, Joan suggests they break the engagement, since her background is so nebulous. Ranny complies - he demands his ring back; then asks for her hand and places the ring back on her finger. No further discussion of the subject is required (much to the disgust of Laura Shadwell). Ranny is a true gentleman, and Mr. Albertson gives him a warmth that makes him very engaging.

Helen Vinson, on the other hand, plays Laura as a opportunistic witch. She has no regard for John; she wants the prestige that his political possibilities will provide and nothing more. It's pretty apparent that the marriage is eventually one of convenience; it's also clear that she has no use for the child that she has taken into her home (the end of the film - without giving much away - substantiates that). Ms. Vinson's career was primarily playing the "other woman." She started on Broadway, appearing in four plays between 1927 and 1932, then went to Hollywood, where she would make 40 films, including Jewel Robbery (1932), I Am a Fugitive from a Chain Gang (1932), and In Name Only (1939). Her final film was The Thin Man Goes Home (1945). Married for the third time to Donald Hardenbrook the following year, she left film at her husband's request. They were married until his death in 1976; Ms. Vinson died in 1999 at the age of 92.

One of the most appealing people in the film is that of Joan. We first see her as a girl of about 11 (played by Bonita Granville). She's an engaging child, kind to Vergie (who she has been told to avoid). The interaction between Ms. Harding and Ms. Granville is touching. The character does not alter as she ages - Betty Furness is lovely as a woman who has somehow stayed a good and loving person, despite being raised by a viper. 

There are a few other actors who should be mentioned - Lon Chaney, Jr. (still listed as Creighton Chaney - his true given name) has a few scenes as Hugo McQueen, the man Vergie's father says she is marrying. Donald Crisp is the villain of the piece as Mike Davey, a local pub owner who despises John. Sara Haden is Winnie Belle, the woman who has set her cap on Vergie's despicable father. Ben Alexander, who would later gain fame as the first of Jack Webb's partners in Dragnet, appears as Laura's brother Barry. And Walter Brennan has a brief scene as a rumor-spreading drunk.

The New York Times review by Mordaunt Hall was indifferent; the film was "important" enough that it opened at Radio City Music Hall. It probably will come as no surprise that the film landed on the Catholic Church's Condemned List, which also helped it to do well at the box office (TCM article).  But, with a release date of June 14, 1934, it's at the end of the pre-code era - the new regulations took effect on July 1st, and would effectively have made this film impossible to release in its current state. So, while it is not the most original of plots, it is handled well, and it's always a pleasure to see Ann Harding at her peak.  We enjoyed it, and think you will as well.

Barbara Gives Up Everything

Barbara Stanwyck desperately wanted to play Stella Dallas (1937), despite the fact it that it would be the hardest part she had played up til that point.  In Victoria Wilson's epic biography of Stanwyck, A Life of Barbara Stanwyck: Steel-True 1907-1940, the author goes into some detail on Stanwyck's remarkable performance as Stella Martin Dallas and Stanwyck's efforts to get the job.  Stella is a working class girl, who lives in the small factory town of Millhampton, Massachusetts.  She is attracted to the new man in town, Stephen Dallas (John Boles), the son of a wealthy family.  His money lost, his father dead, Stephen has escaped to Millhampton, to take a job and try to put his life back together.  In doing so, he has abandoned his fiancée, Helen (Barbara O'Neil).  Stella and Stephen date, eventually marrying.  At first, she says she is eager to become like him, but after a year of trying to live his life, she wants more fun, with the people she understands.  However, the Dallases now have a little girl, Laurel (who will grow up to be Anne Shirley), and though Stella and Stephen bicker constantly, they agree on one thing - Laurel is the center of their world.

It's interesting that the studio originally wanted Ruth Chatterton for the part, and it is not unlikely casting - she had done a similar role in Frisco Jenny.  But Stanwyck IS Stella Dallas.  She takes a woman who could become unappealing and ridiculous and creates a character with appeal and sympathy.  Her Stella is a lonely woman, stuck between two worlds, unable to find her place in either of them. Her only pleasure is her child, for whom she will devote her life, and for whom she wants the best things in life - the life that ultimately only Laurel's father can give her.

 

Also excellent is Anne Shirley as Laurel.  Shirley gives us a portrait of a girl who dearly loves her mother, and while she doesn't have her mother's same way of dressing, she sees nothing odd about this woman who is a fashion nightmare.  It isn't until she hears others ridiculing her mother that she realizes how outlandish her mother appears.  Laurel's desire to whisk her mother away from these people is a mix of embarrassment and the desire to protect Stella from hurt.  Even when Laurel believes that her mother doesn't want her around, there is still a deep love on the child's part.  In her heart, she knows that Stella will never reject her.  Interestingly, the studio originally wanted Bonita Granville for the role, but she was deemed too young for the older Stella. 

Another impressive performance is that of Barbara O'Neil; her character is so idealized - the perfect society woman, perfect spouse, perfect mother - that it would be easy to just make her a caricature, but O'Neil carefully makes Helen genuine and sympathetic.  The scene between her and Stanwyck is magnificent, each accomplishing communication with their eyes and body that hearkens back to the silent era, but still retains the subtlety of the conversation.  It's a truly heartbreaking scene.

We can't forget the men - especially John Boles, who is also not afraid of making Stephen a bit unattractive.  Though Stephen tells Stella not to change, ultimately, that is what he is trying to force her to do.  And while we may not agree with Stella's wardrobe or attitudes, she is correct in her comment to him that SHE is the one who always has to change, not him.  And though this is not a pre-code film, there is the slightest implication that he is living with Helen while still married to Stella. 

Alan Hale as Ed Munn creates a character that is a companion to Stella, but clearly not a romantic interest.  Where Stella is over-the-top in her garb and attitudes, Ed is crude, foolish, and finally, a drunk (Stella, interestingly, never drinks).  We can't really like Ed - Hale doesn't let us, and with good reason - we need to understand why Stella will never be with him.  This TCM article comments briefly on Hale's outstanding performance.

Costumes for this film were by Omar Kiam, and he does a good job of defining the characters of Stella and Laurel through their dress.  The story was reprised by Ms. Stanwyck, Mr. Boles, Ms. Shirley, and Ms. O'Neil on the Lux Radio Theatre in October of 1937. 

I also wanted to bring to your attention this excellent salute of Stanwyck by Laura Dern, in which she comments that this is "one of the great performances of all time".  Be aware (if you've not seen the film before) that you WILL see the conclusion in this clip.  If you've seen the film, it will provide a reminder of how stunning Stanwyck is as Stella's story concludes.

We will leave you with the film's opening.  Next time, more Stanwyck! 

New Yorker Nancy

We've not had a lot of opportunities to view the films of Nancy Carroll, but when we've gotten the chance to see her, we are always surprised and delighted by this wonderful, virtually unknown actress.  We had previously encountered her in an early Cary Grant film, Hot Saturday.   This week, we viewed Child of Manhattan (1933), which stars Nancy as Madalaine McGonagle, a dance-hall girl who meets the hall's landlord, widower Paul Otto Vanderkill (John Boles) when he drops by the club to check out his property.  Paul is enchanted by this little native New Yorker (she's got a fairly thick Manhattan accent), and within a short time, he has asked her to become his mistress (he doesn't want his family to know about their relationship).  She agrees, and is immediately rejected by her mother and brother (both of whom were QUITE willing to accept Paul's beneficence when the relationship was not so open).  In short order, Madalaine discovers that she is pregnant, and Paul agrees to marry her.  But when the child dies shortly after birth, Madalaine is consumed with guilt. 

Nancy Carroll had a long career - she began as a stage actress, going over to films in 1927 (she did appear on Broadway in the 1930s, at the height of her popularity).  Among her notable film appearances was in Abie's Irish Rose, with Charles "Buddy" Rogers as her Abie.  Her last film role was in 1938.  She retired for awhile, but eventually transitioned to television for a few roles in the 1950s and early 60s.  She also returned to the stage, and died at age 60 while performing in a play.  She is adorable in this film - you like her Madalaine immediately, as Carroll has the ability to project innocence and goodness, even as she portrays a character who is NOT conforming to society's norms.

Another actor who is not as well known today as he should be is John Boles.   We've discussed him before in our commentary on Craig's Wife, and he is best remembered for his role opposite Barbara Stanwyck, as her husband Stephen in Stella Dallas.  Like Carroll, Boles started in silents, where he worked with actresses such as Gloria Swanson.  It's hard to imagine him not talking, though, his voice is so mellifluous.  His pre and post film career is also very interesting.  He worked as a spy during the WWI; by 1943, he left films and went to back to work as a stage actor (He was in the original Broadway cast of the musical One Touch of Venus with Mary Martin).  He also went into the oil business.  He and his wife were married for 52 years, until his death in 1969. Coincidentally, the Flick Chick just did a wonderful commentary on John Boles, which we recommend to you.  His portrayal of Paul gives a sympathetic and likeable character.  Even when he asks Madalaine to live with him out-of-wedlock, it's hard to dislike him, as he always seems to care deeply for her.

There are some other performers in the film who deserve mention.  First is Jane Darwell as Madalaine's mother.  With her Irish accent, Mrs. McGonagle at first seems caring (though her willingness for Madalaine to accept a $1,000 gift from Paul is a bit suspect). Ultimately, though, Mrs. McGonagle disowns her daughter for openly consorting with Paul. But what we remember about her is that Mrs. McGonagle and son Buddy are interested only in the money that Madalaine provides to the house, not in protecting her.  By going under Paul's protection, Madalaine leaves the house, and her income leaves with her.   

If you blink, you will miss Betty Grable appearing as Madalaine's sister, Lucy. It's certainly not her first movie role, but it will be awhile before Grable becomes the superstar she would become.  Buck Jones, however, as Panama Kelley, was a well-known western star of the silent era.  At this point, he was attempting to recreate his career, and would go on to some success as a western star in the talkies.  His Panama is a noble man, who deeply loves Madalaine and only wants the best for her.  Sure, he's a bit common, but he is decent.  Jones manages to make him engaging with very little screen time.  Jones would die in 1942 after being burned in a horrific fire at the Coconut Grove hotel.  Stories vary, but one says that his death was the result of his repeated efforts to rescue people trapped in the hotel. Is it true? We'll probably never know, but one would like for him to have this epitaph.

Interestingly, the 1932 Broadway play on which this film is based was written by the always wonderful Preston Sturges.  Neil Hamilton was originally cast as Paul, but two weeks into filming, Boles replaced him.  The reason for the switch is not evident.  

Both Carroll and Boles are costumed exquisitely by Robert Kalloch in this delightful little film. We recommend it highly!

Rosalind's Showplace

A few weeks ago, we watched two different versions of the same story.  We are doing it again.  The time, we begin with the 1936 version of the Pulitzer Prize winning play be George Kelly (uncle of Grace Kelly), Craig's Wife.  This is the story of a woman who married for a house, rather than for love or position.  And it is directed by Hollywood's only woman director in this period, Dorothy Arzner.

Harriett Craig (as played by Rosalind Russell) is the very model of a total bitch (one of our group said that if you look up "bitch" in the dictionary, Harriet's picture is there).  She is cold and calculating, a liar and a snob.  Her attitude to everyone is supercilious, no one is as smart as she and no one is good enough to set foot in her precious house.  She has no friends, and has made sure her husband Walter (John Boles) is distanced from his friends.  Friends, after all, might want to visit, and no one is allowed into the temple that Harriet has created.  Harriet is fascinated by objects, and revolted by anything that she perceives as mess.  Flowers are forbidden in her "temple". The petals might get on the table.

The film opens while Harriet is away. Her sister is ill, and Harriet goes to visit her for a few days.  While there, Harriet decides to bring her niece Ethel (Dorothy Wilson) home with her (Harriet has decided that he sister will recover more quickly if she is left alone). On the trip back, Harriet lectures the young woman on the benefits of a loveless marriage, and the security of a well-to-do husband.  Meanwhile, back home, her husband has used her time away to visit his friend Fergus Passmore (Thomas Mitchell), an unhappy alcoholic, who suspects his wife's fidelity.

There really is no motivation given for Harriet's obsessive behavior about her home.  We also don't know much about the marriage; in the play, Harriet and Walter have been married for only 18 months.  This film gives us no idea of the length of the marriage.  Since Walter doesn't seem to be unhappy at the start of the film, his switch to utter disgust of his wife is rapid.  Certainly, a lot of small things happen to tarnish his image of her (his Aunt Austen's lecture, Harriet's unwillingness to cooperate with the police), but he's been living with her for awhile.  His rebellion seems a bit precipitous here.  We found it amusing that Harriet forbids Walter to smoke in the house, something that would have been quite offensive to viewers in 1936  (maybe she suspected that second-hand smoke is bad!).

We were very impressed by Rosalind Russell in this film.  She is not afraid to make Harriet unlikeable.  Even her attitude towards her sister and niece is reserved to the point of disinterest.  Her Harriet is totally dead inside.  Also quite good was Billie Burke as the neighbor, Mrs. Frazier, a warm, affectionate woman with a love for flowers and children. She serves as the perfect foil to Harriet.

We've already been told at multiple points what a harridan Harriet is and how difficult it is for her staff.  Poor Mazie (played beautifully by Nydia Westman) is treated shabbily by Harriet, even though she has taken on the  cooking responsibilities (she was hired as a housemaid), the most recent cook having resigned.  We find out that there is so much turnover in the staff, the employment agency won't send a new cook until the home has been inspected. So, when Jane Darwell, as the housekeeper, Mrs. Harold  has her final confrontation with Harriet,  you want to cheer as Mrs. Harold takes the match.  

One thing to note, when you see Thomas Mitchell, you will assume that this subplot will actually have a conclusion.  Like a lot of the subplots here, it does not.  Primarily because these incidents don't affect Harriet - she won't let them.  

We recommend to you the excellent TCM article for more insights into the making of this interesting picture. This is an excellent film, and well worth your viewing.