White House Kay

Lucy Chase Wayne (Kay Francis), the wife of Secretary of State Stephen Wayne (Preston Foster) is the granddaughter of a U.S. President. She has ambitions for her husband to achieve the same position.  Lucy also wants to circumvent the efforts of Irene Hibbard (Verree Teasdale), the wife of Supreme Court Justice Carter Hibbard (Walter Connolly) to romance Senator Gordon Keane (Victor Jory). So, to tweak Irene's nose, she suggests to woman's club president Lavinia Mae Creevey (Louise Fazenda) that Carter would be an excellent presidential candidate, never dreaming it will interfere with her own desire to be the First Lady (1937).

Kay Francis doesn't often get the chance to do comedy, but she's a excellent comedienne, as we've seen in films like The Goose and the Gander, Jewel Robbery, and Cocoanuts. First Lady is in the category of the first two films - a romp, where Ms. Francis gets to figuratively wink at the goings-on in the political arena, circa 1937.

This is a fictitious Washington - no mention is made of the current political administration, and there is certainly no President Chase in U.S. history. Regardless, the film is gently poking fun at the ways in which candidates for office are selected, and it looks like not much has changed in that regard. Though Lucy knows politics (she writes and/or edits her husband's speeches), she cannot run for office - it is a man's world; women can maneuver from behind the scenes, and be the "power behind the throne."  

Most of the action focuses on the two female adversaries, Lucy and Irene. There has long been bad blood between the two, and Lucy now sees a way to embarrass Irene. The reasons for Lucy's ire are, not surprisingly petty - Irene stole Lucy's cook, and is also making a play for the man Stephen's niece Emmy Page (Anita Louise) loves. But, her plans backfire horribly, and Lucy has to concoct a new means of besting Irene. 

Where Ms. Francis plays her part tongue-in-cheek, Verree Teasdale is downright serious. Ms. Teasdale's Irene is an avaricious woman, who wants power and men (though not necessarily in that order). As a result, the interplay between the two is spot-on, with each getting good lines, but with Ms. Francis coming off as the more sympathetic character. Without such a strong actress to play against, Lucy would seem ridiculous. Opposite Ms. Teasdale, she is delicious. It is worth noting that Irene's prior divorce does not seem to be an impediment to her husband seeking higher office.

The men in the film mainly serve as support to the the two women. Preston Foster does a good job in a part that could resemble a tree in the hands of a lesser actor.  Victor Jory gets the rare opportunity to play the juvenile and romantic interest to both Emmy and Irene. Walter Connolly, however, steals every scene as the somewhat bumbling Supreme Court Justice who would rather listen to the radio than romance his bored wife. 

It's unfortunate that Anita Louise doesn't have more to do than look innocent, she's a good actress, but the part pales in comparison to the lead actresses.  Louise Fazenda, however, as the annoying Mrs. Creevey is hilarious. The script has a lot of fun with her strict abstinence. Her inability to understand that she is drinking strong alcohol when she given a glass of absinthe -  and keeps asking for more - is very funny. 

Unfortunately, the film did not do well at the box office, and helped to begin Ms. Francis' slide from the top at Warner Brothers (TCM article).  It may not be her best film, but we really enjoyed it and suggest you add it to your list.

Myrna Gets Caught in the Rain

The arrival of Lady Edwina Esketh (Myrna Loy) and her husband, Lord Albert (Nigel Bruce) in Ranchipur, India creates problems when Edwina becomes attracted to the heir to the throne, Major Rama Safti (Tyrone Power). Though warned to stay away from Dr. Safti by her former lover, Tom Ransome (George Brent), Edwina continues her pursuit, but has the misfortune for fall in love with the handsome doctor.  However, everyone is threatened when The Rains Came (1939).

The Rains Came feels like it should be longer than it is; so much happens, the characters grow so much, that you think it must be of epic length, but director Clarence Brown packs an awful lot into a running time of 103 minutes. Like so many of the movies from 1939, this is both an exceptional film and one that is not always remembered because it had so much competition the year of its release (how do you get noticed when you are up against Gone With the Wind, The Wizard of Oz, and Ninotchka?). It was nominated for six Academy Awards (winning in the newly created Special Effects category), but none of the marvelous cast were even nominated for their work.

Let's start with Myrna Loy. She's cast against type (at least at this point in her career) as a harlot; there was some comment that she was not capable of playing the role (Myrna Loy: The Only Good Girl in Hollywood by Emily W. Leider). It's clear that Edwina lived with Tom Ransome before her marriage, and that she left him. It's also quite clear that marriage is no barrier to her bedding any man that intrigues her, and that Major Safti very much intrigues her. While Marlene Dietrich was considered for the part (TCM notes), Fox head Darryl Zanuck eventually borrowed Ms. Loy from MGM (in exchange for Tyrone Power's appearance in Marie Antoinette (1938)). Mr. Zanuck didn't make her life easy, however - Ms. Loy had been under contract to him and he'd let her go; he apparently resented her success at MGM, and was blatantly nasty to her (TCM article). She found support from director Brown, who told her "I think you're giving the best performance of your career." And she is (though she would later outpace herself in The Best Years of Our Lives). She takes a character who starts as a caricature of an avaricious woman, and as the story progresses matures her into a living, breathing person.

George Brent was also borrowed (from Warner Brothers) for the part that was originally intended for Ronald Colman (AFI catalog). Like Ms. Loy, Tom is a careless individual - the son of a noble (and with the possibility of eventually inheriting the title). He's lazing in India, supposedly painting a portrait of the Maharaja (H.B.Warner), but never getting it done. He's got a (well-deserved) reputation as a roué, and is finally being tested both by the tragedy that strikes Ranchipur, as well as the love that the young Fern Simon (Brenda Joyce) feels for him. Mr. Brent does a good job of turning Tom into a grown-up, and makes it an interesting process to watch.

Tyrone Power is exceptional as Major Safti, a dedicated doctor who is next in line for the throne of Ranchipur. Both Charles Boyer and Ramon Novarro were considered for the part (Clarence Brown: Hollywood's Forgotten Master by Gwenda Young). That he is one of the most striking men on Earth doesn't hurt - when he is on screen, you can't take your eyes from him. In the hands of a lesser actor, Rama could be mere eye candy for Edwina to toy with; with a gifted actor like Mr. Power, we respond to him; he uses everything at his disposal to paint a picture of a man who is both attracted to and offended by this obvious - and careless - woman.

This is not just a film of stars. It is an ensemble with a host of gifted character actors. First and foremost is Maria Ouspenskaya (Maharani). An indomitable force, she too is hard to ignore on the screen. Playing a character who is a mix of Eastern and Western habits, she is a powerful woman who has both the strength and determination to lead her people. Born in Russia in 1876, Mme. Ouspenskaya acted with the Moscow Arts Theatre until 1922. While on a trip with the company to New York, she stayed behind, where she worked on Broadway (she ultimately would do 8 Broadway plays) and taught acting and ultimately founded (with Richard Boleslawski) the School of Dramatic Art. When money got tight, she moved to California and opened a dancing school. She also began appearing in films. She was nominated for the Oscar twice, for Dodsworth (1936, her first film), and for Love Affair (1939). She died as the result of a stroke, and a fire - the couch she was on caught fire from her cigarette.

Other notable cast members include Nigel Bruce as Lord Esketh, a totally reprehensible man, and an welcome change from the sweet, befuddled character he was usually forced to play; Jane Darwell as the common sense Aunt Phoebe, loathed by Mrs. Simon (Marjorie Rambeau as the snobby minister's wife), adored by Tom Ransome, and by her husband the Reverend Homer Smiley (Henry Travers as a good and loving man); Mary Nash as nurse Miss MacDaid, who despises Lady Esketh until she is forced to acknowledge her devotion to Rama and the injured of Ranchipur; and Joseph Schildkraut as Mr. Bannerjee, as Westernized India traumatized by the earthquake (and our question - what happened to Mr. Bannerjee??)

The weakest link in the film is probably Brenda Joyce as Fern Simon; she's not a compelling actress, and as a result the character is diminished by the strong performances around her. As a young girl who feels she is being choked by her parents, Ms. Joyce does project the necessary naivety required of Fern. Ms. Joyce worked primarily in B pictures; she succeeded Maureen O'Sullivan as Jane in the Tarzan series, working with Johnny Weissmuller and Lex Barker in that franchise. She retired in 1949 to raise her three children with husband Owen Ward (the marriage ended in divorce in 1960). She would later work in the Catholic Resettlement Office, assisting immigrants in their new country. She died in 2009 at the age of 92.

According to this article, which looks at the film (and its remake) in comparison to Louis Bromfield's 1938 novel, the novel focused on the effects of the catastrophe on all levels of Indian life. A Photoplay magazine, however, published an article in which Mr. Bromfield commented on the 1939 version of the film. Not surprisingly, given the venue, Mr. Bromfield praised the film.

As previously mentioned, the film was remade in 1955 as The Rains of Ranchipur with Lana Turner and Richard Burton, with a much different ending.  In March 1940, Lux Radio Theatre did a production, which featured George Brent, Kay Francis, and Don Ameche in the main roles.  The New York Times review by Frank Nugent was not satisfied with the film, calling it "the merest skeleton of the Bromfield work, and that not too well reassembled." When the film was included in TCM's Summer Under the Stars day devoted to George Brent, TCM host Dave Karger provided some commentary on the movie and on Mr. Brent.

Regardless of the review, this is a magnificent movie. Sure, it's a romance, but WHAT a romance! We wholeheartedly suggest you give it a viewing. In the meantime, here is the opening of film, with our introduction to Tom, Miss MacDaid, and Rama.

Loretta's Alone in the World

A man sits on a park bench, casually feeding pigeons.  He is dressed in dinner clothes; he appears to be quite wealthy, both in his garb and demeanor.  Beside him, a young woman quietly cries.  He brusquely asks her why.  She has lost her job, and hasn't eaten for 2 days.  He opines that there is absolutely no reason for her to starve, and whisks her off for a meal.  Thus begins Man's Castle (1933), a precode film, starring Spencer Tracy as Bill and Loretta Young as Trina. 

Considering the disposable nature of movies in this period, and the fact that the plot centers on a couple living together without benefit of marriage, it is fascinating that the film was reissued in 1938, with about 9 minutes of content deleted (this is the cut of the film we can see today).  Included in these cuts is a shot of Loretta Young jumping nude into the water.  Yet, even with this elimination, it is obvious that Trina (who we see enter the water) is skinny-dipping.  It's puzzling how even this version was able to pass the censors. A shortened version of Man's Castle was also aired twice (in 1939 and 1941) on the Lux Radio Theatre, both times with Spencer Tracy reprising his role.
 
Set amid the Depression, Man's Castle presents a picture of a man running from responsibility and the woman who loves him and is willing to tolerate his constant dreaming.  We found Bill very much like the little boy who smacks you to tell  you he likes you.  Though it is apparent that he loves Trina, he is constantly plaguing her with speeches about his eminent departure.  He continually belittles her, calling her Whoositz", and poo-pooing her dreams of a future. Bill is a pipe dreamer, with little grasp of reality.  Even his attempts to steal enough money so that Trina can live comfortably demonstrate his immaturity.

Though we have no real back-story on either character, it is clear that Trina recently became unemployed.  What she did before she met Bill is not discussed.  She also has been evicted from her apartment; again, it is clear that this is a recent event.  Despite her loneliness and destitution, Trina retains a positive view of life, and of Bill.  While Bill thinks he is smart, is is clear that Trina is much smarter than he is. She is able to run the house; she plans for them both, and (while she fears his departure), she knows his heart better than he knows it himself.

The real-life relationship between Loretta Young and Spencer Tracy is discussed in this TCM article.  The couple fell in love, but as we discussed last week, marriage between the two was as impossible here as it would be for Young and Gable several years later.  Ultimately, Young decided to end what had become a very public affair. 

As always, we have some interesting character performances.  We've seen the Marjorie Rambeau before, when she played Ginger Roger's mother in Primrose Path.   Here, as Trina's only real friend,  the alcoholic Flossie, she becomes the avenging angel for pair against the rather distasteful Bragg (Arthur Hohl).  She is both sympathetic and frightening.  It becomes obvious early on in the film that things will not end well for Flossie.
Always delightful is Walter Connolly as Ira.  A man of religion, Ira also protects Trina and Bill.  But where Flossie's response to the events of her life are anger and escape, Ira looks at life squarely, and looks to his God for guidance.

It's an interesting movie - one that makes you hunger for the uncut version.  You may also be interested in Richard Brody's discussion of the film for The New Yorker. Regardless of the cuts, it is worth a look - here's a look at the scene we first discussed:

Connie is Kept

Constance Bennett is back in the 1931 melodrama, The Easiest Way.  She plays Laura Murdock, a department store saleswoman who is offered the opportunity to pose as an artist's model for the Brockton Advertising Agency.  She readily agrees, and finds the work agreeable.  However, she comes to the attention of Willard Brockton (Adolphe Menjou), who offers her a different kind of employment - that of his mistress. 

While visiting friends of Brockton in the country, Laura meets Jack Madison (Robert Montgomery). He knows of her life, but loves her unconditionally.  She eagerly agrees to leave Brockton, and live a respectable life.  Only problem is, Jack is leaving the country, and Laura will need to fend for herself 'til he returns.  Can she do it? Or is the easiest way the only way for her?

This film very much reminded us of Primrose Path, where our heroine struggled to avoid the oldest profession.  But, while that film was set in the early 40s, this one is set smack in the center of the Great Depression - it was hard for a man to get a job, much less a woman.  And while Laura is working, she has a lot on her plate - siblings, a mother, and an alcoholic, perpetually unemployed father.  The money that Brockton provides supports Laura in style, but also allows her to provide for her family.  Mother Agnes (Clara Blandick) refuses to see Laura once she is living with Brockton, yet clearly Laura's money is supporting her.  The only family member who refuses to live on Laura is her brother-in-law Nick (Clark Gable, in one of his first major films).  While NIck is hard, he is true to his principles; he doesn't approve of what she is doing, so he won't take anything from her.  Gable is able to give him that rugged handsomeness for which he was later known.  TCM   points out in that he was the hit of film - women came out of the film asking who he was.  

Some interesting period views here - the film is obviously precode - among other things, we see Laura's parents in bed together.  We see an old New York City railroad flat, and we are provided a view into the world of advertising, circa 1931.  It was fascinating to see the rooms of artists providing copy for department stores; almost an assembly line of painters and models.

We found Robert Montgomery's Jack to be somewhat uncaring; he insists that Laura abandon Brockton, but isn't concerned that she might not be able to earn a living, then stops writing for a time without telling her it might happen.  He even tells her to return Brockton's expensive gifts of jewelry and furs (which might have supported her til Jack's return). It's a relatively small part for Montgomery, but we always enjoy seeing him. 

We were pretty sure that Brockton would have demanded the jewelry back anyway.  Adolphe Menjou's Brockton is a very callous, calculating individual.  He is only interested in controlling a woman, and Menjou is VERY good in the part.  He plays Brockton as matter-of-fact, rather than over-the-top evil. 

We leave you with a glimpse of Laura's work as a model, and a hearty recommendation to give this film a look.   With the paring of Constance Bennett and young Clark Gable, this is a definite winner.

Ginger Avoids the Path

A woman whose mother and grandmother are prostitutes tries to avoid the life.  No, it's not a pre-Code. This is the 1940 Ginger Rogers Film Primrose Path. Ginger is Ellie May Adams, whose father (Miles Mander) is a drunk and whose mother (Marjorie Rambeau) is a hooker. Oh, and her grandmother (Queenie Vassar) pretty much functions as a pander. But, Ellie May tries hard to avoid the life of her mother, first by acting as a tom-boy, but then by marrying a man (Joel McCrea) who is unaware of her past.  Her problem, however, is not so much her family, but the fact that she lied to her husband, Ed.  Because when Ed finds out her family history, he is not able to handle it.  And her grandmother is eager to get her back into the house.

Queenie Vassar as Grandma is properly revolting. You really want to find a deep well in which to drop her (though none is handy). And Marjorie Rambeau as mother Mamie is sweet and sympathetic.  She, too, had hoped for a better life when she married, only to learn that her husband is weak.  Yet, she still loves him and does her best to protect him - and to support her family in the only "talent" that she has.

Ginger Rogers, as always, is wonderful; her Ellie May is sweet and sympathetic.  Even when her world falls out from under her, she still manages to convey, realistically, the pain and desperation of this girl who just wants love and a normal life.  Joel McCrea, however is less sympathetic - eyeing his "portagee gals", judging his wife when he certainly is not the purest flower in the garden, and just being plain nasty at times.  One really wants to put him in the well with Granny.

Keep your eyes open for Charles Lane as Mr. Smith. He is rather a nice surprise. It's always great to see him - even in a small part, but also great to see the character. All in all, this is a lovely film that I wish more people had the opportunity to see.  Here is the scene where Ellie May and Ed meet: