Savage Clara

Nasa Springer (Clara Bow) is the latest in a family of passionate individuals.  Her grandfather, Silas Jennings (Fred Kohler) indulged in an extramarital affair on the wagon train west; her mother Ruth (Estelle Taylor) fell passionately in love with the Native American Ronasa (Weldon Heyburn).  Nasa is prone to wild outbursts and fits of temper, and the only one who seems to understand her is her best friend, the half-Native American Moonglow (Gilbert Rowland). Nasa tries to be accommodating to her father Pete (Willard Robertson), but when he decides to announce her engagement to HIS pick for her spouse, Nasa impulsively elopes with ne'er-do-well Lawrence Crosby (Monroe Owsley), causing a serious rift with her father.

Based on a novel by Tiffany Thayer (who Ben Hecht called "a fellow pornographer"), Call Her Savage (1932) is about as pre-code as you can get. We've got adultery, attempted rape, venereal disease, prostitution, drug abuse, alcoholism, homosexuality, and various states of undress (my colleague's review at Pre-code.com will give you a bit more information and images!). With all that included, it's rather frightening to realize that the producers took things OUT of the film that were just really too extreme even for a pre-code film (The article at the AFI Catalog goes into a great deal of detail outlining some of the scenes in the book that didn't make the movie.)

As portrayed by Clara Bow (the film was developed for her, according to this TCM article), Nasa is a bit of a wildcat, and the scenes where Nasa throws a temper-tantrum tend to be over-the-top.  However, when Ms. Bow is quiet, as in a scene where she sits on the floor beside her mother, or when she is trying to decide how to get money to support her child, her genuineness is quite touching. An experienced silent actress, Ms. Bow still relies on some of those tricks to get her point across.  At the same time, her skills as an actress enable her to do more with just her eyes then most actors can do with their whole bodies.

Clara Bow's life was not easy.  Her father abandoned her and her mother when Clara was very young. Her mother was mentally ill and at one point threatening her daughter with a knife as Clara lay in bed. It seemed that Hollywood might change all that, as Clara became more and more successful - nicknamed the "It Girl" because whatever "It" was, she had It (TCM article), she appeared in the first picture to win an Academy Award (Wings), and made the transition to talkies. But, the betrayal of her former secretary, who laundered much of Ms. Bow's dirty laundry in public during a court case, as well as her anxieties regarding her performances in sound films, caused her to retire. She'd recently married cowboy star Rex Bell; they would have two children and settle on a ranch in Nevada. Clara, however, became increasingly reclusive and uncommunicative; when Bell decided to run government office, Clara attempted to kill herself. Clara was briefly hospitalized for her disorders; though she and Bell never divorced, she ended up living alone in a bungalow on their property. Ms. Bow died of a heart attack at age 65, in 1965.  (See also this article from The Guardian in 2016)

Thelma Todd  as Sunny De Lane is not well served here. She has very little to do except be petulant and nasty.  As Larry Crosby's lover, she spends most of her time taunting Larry and insulting Nasa. An actress of some skill, especially in comedic roles, Call Her Savage is really a waste of her time.

It was good to again see Monroe Owsley, who we've encountered in a number of pre-code film - usually as the villain. And he certainly is playing that character here. Larry Crosby is a reprehensible human being, who takes joy out of humiliating people. His mad scene is well done, and a later encounter with Nasa is full of venom. It's rather hard though to understand why Nasa is so taken with him - he's rather despicable. But, given Nasa's predilection for doing whatever her father DOESN'T want her to do, marrying Larry is perfectly in character.

We also wish there had been a bit more of Gilbert Roland. An attractive man, he is even more admirable in this film for his willingness to tolerate Nasa's fits of pique.  Mr. Roland would go on to a successful career in film and television, working until his retirement in 1994. Though he has an equally small role in The Bad and the Beautiful (1952), he uses what he has to memorable effect. He's also wonderful opposite Barbara Stanwyck in The Furies (1950).

The New York Times, in its review of November of 1932, was not terrifically impressed with the picture. The reviewer complements Mr. Owsley and Mr. Rowland, but felt Ms. Bow overdid it a tad. We'll leave you with a scene from later in the film, where Nasa gives in to her frustrations. Our suggestion - watch the quiet moments:

Barbara's Love Nest Revisited

As promised, we again return to Illicit, which we've reviewed on two separate occasions (to read those, please visit my reviews from last November - when I saw it in a theatre - and in January of 2013.)  This time, we talked about the film in comparison to Ex-Lady, a remake of this 1931 film.

The plots are very similar; a young woman, deeply in love with a young man, disdains marriage, but is finally convinced to wed the man, and finds her prophesy of unhappiness is coming true.  In both films, we have past lovers who interfere with the marriage.  But there are substantial differences, and those changes mpact the remake.

Illicit makes quick reference to Anne Vincent (Stanwyck)'s reasons for disliking marriage - her parents were divorced.  The only other parental figure we meet is Dick's father, who is a good and kind man.  No spouse is ever mentioned for Mr. Ives, Sr.  As a result, Anne's reluctance to wed is rather unspecific.  Ex-Lady, however, gives us a clearer picture of Helen Bauer (Bette Davis)'s abhorrence to marriage.  In one brief scene, we are shown the horrible marital example Helen has lived with her entire life - her domineering father, and her passive, obviously abused, mother.  Given a graphic example of Helen's family relationship, it's little wonder she despises marriage.  Also, unlike Anne, Helen is extremely career-focused and has a marketable skill.  We have to assume that Anne is independently wealthy - we never actually see her doing anything. 

On the other hand, the reason for the couple's separation is much clearer in Illicit.  Dick and Anne are never with one another. They are always partying, and the intrusion of their exes is much more evident.  Another big factor is Dick's obvious lack of a career or of any kind of ambition (other than carousing).  In Ex-Lady, Don's jealousy of Helen's more successful career seems to starts the downward spiral (though Don was aware of her work ethic before their marriage). 

While Ex-Lady is 12 minutes shorter, there is more depth to the characters.  We never felt that we got enough screen time or development of Ricardo Cortez' Price in Illicit.   Monroe Owsley, however, gets much more of a chance to flesh out the "other man, " Nick, who he portrays as a total swine; he's oily and rather revolting.  When Ricardo Cortez plays the same character, you don't like him, but he's not quite as slimy, though he should be.

All in all, we love Stanwyck, we're not keen on Raymond, but Ex-Lady came out with a slightly higher thumbs up from the group.  That extra bit of character development, and the strengthening of the lead female role made the film a lot more appealing.  Here's a scene from Illicit. 

Bette's Love Nest

In our continuing search for interesting pre-code films, we found Ex-Lady (1933) starring Bette Davis.  Ex-Lady is a remake of Illicit (1931), starring Barbara Stanwyck, which we discussed last year.  That the two were related was a nice surprise (thanks, Robert Osborne for the information).

Helen Bauer (Bette Davis) is in love with Don Peterson (Don Peterson); their affair is quite open, much to the disgust of Helen's father (Alphonse Ethier), who effectively disowns her.  Though Helen is convinced that marriage destroys love, Don convinces her that their marriage will work.  However, as Helen's reputation as a  commercial illustrator grows, and Don begins to have problems within their business, the couple's relationship begins to strain.  The intrusion of Nick Malvyn (Monroe Owsley) and Iris Van Hugh (Claire Dodd), former lovers of the Helen and Don, put more pressure on an already threatened marriage.

Davis' Helen is bright and ambitious.  She works for a living, and is good at what she does. Helen doesn't want children, she enjoys working, and she enjoys her freedoms.  Davis imbues Helen with an independence the pervades every scene.  As discussed in this TCM article, this was Davis' first headlining role. She would make her big breakthrough a year later in The Petrified Forest. 

Early in the film, we get a telling image of Helen's youth - a cold, authoritarian father and a passive, downtrodden mother (Bodil Rosing).  With that one scene, we begin to understand Helen's aversion to marriage, and her determination to not become the passive target of male domination.  It's also interesting that the parents are clearly immigrants, setting up a comparison between the Old and New World morals.  It also floats in a negative picture of European culture, in an era of increasing American isolationism. 

In contrast to Helen, Gene Raymond's Don is not exactly the brightest bulb in the pack.   He doesn't seem to know how to run a business - he and Helen go on vacation, but he doesn't leave proper instructions for his staff, and ends up losing accounts.  Helen, on the other hand, who works with Don, gains business, making Don petulant and resentful. 

We are increasingly impressed with Monroe Owsley.  He again plays a total rotter; he makes the character of Nick oily and rather revolting.  And even though this is a relatively short film (67 minutes), he manages to flesh out the character quite a bit. We discussed him at some detail when we looked at Ten Cents a Dance, and refer you there for more information on the brief career of this interesting actor.

In a New York Times review, we were presented with very negative comments on Davis' lingerie (the costuming was by Orry-Kelly) but positive remarks on the film's screenplay.  We rather liked the costuming and sets (by Jack Okey), and refer you to the scene below for a quick glimpse into the film.  Next week, we'll take a comparison look at Illicit. 

Joan Meets Her Mom

This Modern Age  (1931) stars a very blonde Joan Crawford as Valentine 'Val' Winters.  Val has been raised by her recently deceased father, who has left her a small income and a very little information about her mother, Diane (Pauline Frederick).  Diane, who now lives in Paris as the mistress of the very married André de Graignon (Albert Conti), has been absent from Val's life for many years (by court order).  De Graignon has set Diane up in a lovely apartment and given her a very comfortable life style.

Curious about her mother, Val journeys to Paris.  She is prepared to dislike the woman her father so abhorred; to her amazement, they love each other immediately.  Diane, determined to find a place for herself in her daughter's life, hides her past (and her present) and invites Val to remain with her in the apartment.  All is well until Val meets Bob Blake, Jr (Neil Hamilton), the son of a fairly snobby Boston family and they fall in love, much to the disdain of Mr. and Mrs. Blake, Sr.  And there is the problem of De Graignon, who is none too happy with the enforced celibacy brought on by Val's presence.

Though the pace of the film is a bit uneven - the middle seems very drawn out, while the ending is rushed and somewhat abrupt - this is an enjoyable movie.  The characters of mother and daughter are well drawn, and Pauline Frederick is a sympathetic figure as the  mother who doesn't want the life she chose for herself to impact her daughter.  Since we never see Val's father, and Val doesn't say much about him, we questioned what she knew about her mother, and what her father was really like.  All we know is what we learn from Diane prior to Val's arrival; we would have liked Val's opinion of him as well.

Joan Crawford is very good as Val.  She is both innocent and intelligent.  You believe that she is completely unaware of her mother's past.  You also believe in her deep affection for this woman who has been absent for most of her life.  

Also quite good is Monroe Owsley as Tony Girard.  For a change, Owsley gets to play a nice guy, and his Tony is a doll.  Yes, he drinks too much, but his genuine affection for Val is apparent.  Though a superficial person, he doesn't have a mean bone in his body.  He wants to love Val, but is so immature that he doesn't know how to love.

Neil Hamilton does a good job making Bob attractive as well.  When we are introduced to his family, it becomes hard to have a lot of regard for Bob, but Hamilton is able to keep you rooting for him.  There is an implication that Bob might have been a bit of a mama's boy - as soon as his parents realize that Bob is seeing someone seriously, they arrive in Paris to check her out.  One suspects they've been doing this to him for some time.  Of course, Boston and Harvard (Bob's alma mater) become synonyms for snobbery in this story.
A quick nod to the always talented Adrian for Crawford's magnificent dresses. Before we go, here is a snippet of the movie from YouTube, in which Val and Diane meet.  Watch Diane's subtle change of expression as she is introduced to her unknown daughter.  And take a look at Crawford's lovely white evening gown:

Barbara Dances

We again visit Barbara Stanwyck in the precode era, with the wonderful Ten Cents a Dance from 1931.  As taxi dancer Barbara O'Neill, Stanwyck is smart and honest.  She has caught the eye of wealthy businessman Bradley Carlton (Ricardo Cortez), however she is much more interested in Eddie Miller (Monroe Owsley), a down-on-his-luck neighbor.  She asks Bradley to give Eddie a job, which Bradley does.  Eddie asks her to marry him, which Barbara does.  However, Eddie is a cad - more interested in currying favor with former wealthy friends than being a decent husband, he wastes his money on fine clothing and gambling.  And he begins to have an affair with Nancy Sheridan (Martha Sleeper).  Which leaves Barbara struggling to pay the rent.

Monroe Owsley is here at his oily best.  It is sad that he died so very young - he died following a car accident, at the age of 37, his career just starting to take off.  We had seen him before, of course (in The Keyhole, which we discussed a bit ago). But here, though just as slimy, he has a more rounded character.  You want to see Eddie the way Barbara does at first, but Owsley lets us under his curtain. We see the weakness and the just plain callousness that lies beneath the surface.  Here's a scene between the two of them.
Again, we get treated to Ricardo Cortez playing a good guy.  At first, one is not quite sure of Bradley Carlton's motives. He seems like a good man, but is he just another man out for a good time? We see him through Barbara's eyes, and at first eye him with the same jaundiced glance that she has.  We want to like him, but like her, we need to discover what is under the surface. We're big fans of Cortez, and always find it a pleasure to see him as the hero.  


Finally, there is Stanwyck herself.  Barbara O'Neill is warm and kind, but she doesn't let people walk on her.  She tries to be straightforward and honest herself - ultimately, it is Eddie's dishonesty that will be the thorn in their relationship.  And Stanwyck can show us the whole of Barbara with merely a glance.

For more information on this film, do visit the TCM article on Stanwyck's Precode Films.  Also take a look at this article, which discusses the director of the film - Lionel Barrymore, whose severe arthritis was beginning to affect his career.

Peeping Kay

We return to visit our friend, Kay Francis in this wonderful little pre-code from 1933, The Keyhole.  Kay is a former dancer, Anne Brooks.  Now married to Schuyler Brooks (Henry Kolker), Anne is being blackmailed by her former dancing partner – and husband, Maurice (Monroe Owsley).  Maurice led Anne to believe they were divorced. Now that she is married to a wealthy, older man, he’s decided that she can be his meal ticket and provide him with a lifetime annuity.  Anne, of course, is having none of it.  She discusses the situation with her sister-in-law, who suggests heading to Havana, where Portia Brooks (Helen Ware) feels that she can use her pull to prevent Maurice (who is not American) from reentering the country. In the meantime, Schuyler has decided to have his wife followed by a private detective Neil Davis (George Brent), in the hopes of catching her at some indiscretion.

Monroe Owsley

This is a titillating little piece of pre-code fluff.  It’s wonderful to see George Brent in a somewhat questionable role – he is rather a gigolo; paid by his employers to sleep with their wives, in an attempt to get evidence against them. He still manages to make you like him.  And Kay is adorable as Anne.  She really is a good person; she is determined to be true to her husband, even though he doesn’t deserve it (even Portia is disgusted with him!). But she can't resist flirting with Neil. He's much to attractive to ignore.   We also get a shipboard romance, entwined with Anne attempting to outwit the slimy Maurice (Monroe Owsley is good at slimy). And Neil, totally confused by Anne's resistance to his charms.  

Here's the scene in which Maurice connives his way back into Anne's life:

What makes this a tad racy, of course, is knowing that Anne is not married to Schuyler, and watching her and her sister-in-law connive to keep the “marriage” together by getting rid of the legal husband.  There is also a little something at the ending which makes this a more dubious film for the post-code era, but we won't go into that here.

Next time, more Kay Francis. 

Carole Marries Gene

In 1933's Brief Moment, Carole Lombard plays Abby Fane, a nightclub singer who is loved by - and loves - wealthy Rod Deane (Gene Raymond).  Despite the objections of his family, Rod and Abby marry, and have an extensive honeymoon in Europe.  When they return to their home in New York, they find that the home that Abby has hoped to design has been completely done over by Rod's dilettante friend, Sigrift (Monroe Owsley), who spends most of his time encouraging Rod to overspend and over-drink.  Abby is heartbroken at her husband's lifestyle, finally telling him that he has one choice - to find gainful employ, or to lose her.

One thing that is rather odd about this film is the relationship between Rod Deane, his brother Franklin, and their father.  Mr. Deane runs a huge business, yet he has totally cut his sons out of the running of the enterprise.  Son Franklin is a vice-president, but does nothing all day but play the horses. Why? Because his father will not share the responsibility of the firm.  One wonders what will happen when Mr. Deane is no longer able to work.  Then again, Mr. Deane isn't working all that much - he is MUCH more interested in his stable of horses.  Given that the action is contemporary to 1933, one wonders how the family survived the Depression with their wealth intact.  One interesting scene involves the writing of a check - we see the monthly allowance that is going to Rod - $4,000.  In 1933, that would have been more than the yearly salary for most people. One can only imagine the shock of seeing that number being given out to a young man who is doing absolutely nothing with his life.

While this is a slight little movie, the costuming is wonderful (Carole has some lovely dresses), and our Ms. Lombard is just lovely as the noble Abby.  Abby is reserved and gracious - she has much more "class" than her upper-class husband and his obnoxious family.  Gene Raymond is fine as Rod (though Raymond is not one of our favorite actors).  It is interesting to see Donald Cook again (just two years after he appeared in Public Enemy). The actor that stands out, though, is Monroe Owsley, who is (again) playing a cad.  He does it so well, and when he is on screen, he is fascinating to watch.

Certainly not one of Ms. Lombard's best films, but certainly worth a quick look.