Joan's "Lost" Film

Wealthy Letty Lynton (1932) (Joan Crawford) left the United States to live in South America. She's been in an assignation with the domineering  Emile Renaul (Nils Asther), who is insistent that she will never leave him. Letty escapes to a U.S. bound ship, where she meets Jerry Darrow (Robert Montgomery); romance follows, but the threat of Emile is a clear and present danger to Letty's happiness. 

The legend of Letty Lynton has existed since it was taken out of circulation in 1936, following a battle about the copyright of the story.  It was a film I’d always wanted to see (what WAS the Letty Lynton  dress??), and while I normally avoid pirated films, the opportunity to see it on stream from another country was just too tempting to resist.  The copy was pretty awful, which I expected, but the full film was there.  And so we got to watch this Joan Crawford movie we never expected to view.

 

This is Ms. Crawford's film - she is the focus of the story and is in nearly every scene. As good as her supporting cast is, that is what they are - support for the story of Letty's decision to try and change her life.  She's awfully good - we were especially impressed with a scene mid-film in which Letty tries to reconnect with the Mother (May Robson) who emotionally withdrew from Letty when Letty was a child.  Letty's meanderings have been an attempt to avoid her mother's coldness and find some semblance of love. With the possibility of a new life with Jerry, Letty makes one more appeal to her mother. Ms. Crawford never loses her cool but her face reflects the pain she feels as her mother yet again withdraws from her.

We always enjoy Robert Montgomery, and he is very good in what is essentially a minor role. Sure, he’s the romantic lead, but as we mentioned, this is Letty’s story, not his. Mr. Montgomery is able to bring Jerry to a higher level - he gives him an inner strength that is crucial to the film’s ending. Interestingly, he was not the first actor considered - Robert Young was also considered for the part. 

There is nothing in the least attractive about Nils Asther’s Emile. He’s a bully, abusive, and a stalker. If we were supposed to have any sympathy for his passion for Letty, it’s pretty much gone when he shows up at the dock in New York.  Nils Asther started his Hollywood career during the silent era, when his strong Swedish accent didn’t matter. While his career continued into the talkies, it was limited to playing foreigners, like the General in The Bitter Tea of General Yen (1933). He would continue in films and television until 1961. Briefly married to Vivian Duncan, the couple had one daughter. Mr. Asther died in Sweden in 1981 at the age of 84.

The film makes a nice counterpoint between the relationships of Letty and her mother to Jerry's loving and affectionate parents (played by Emma Dunn and Walter Walker). We do have a brief scene with them and Letty - Ms. Crawford again nicely shows the longing Letty feels for such a family dynamic without being over-the-top.

Letty's true mother is played by her maid and confidant, Miranda (Louise Closser Hale). She sweet, if at times a bit muddled, but her affection for Letty is very clear from the start of the film, and her desire to get her charge to a better place is also obvious.  Ms. Hale is a delightful actress, with great range; this film shows another aspect of her talent.

Finally, Lewis Stone  (John J. Haney) drops in as a policy investigator towards the end of the film. He's not very bright, and is rather superfluous to the story.  The scene itself IS necessary to mend a bunch of fences, but Haney is a head-shaker of a police officer.

The New York Times review by Mordaunt Hall was negative; however, the picture was popular - Letty's white dress becoming a fashion sensation.  When the studio attempted re-release, a lawsuit followed (for more information, the AFI catalog details the particulars), and the film was eventually relegated to the archives.  Letty's story may have been influenced by the murderer Madeleine Smith. Her story made the screen in 1950 in the David Lean film Madeleine with Ann Todd as the notorious Ms. Smith

We'll leave you with this scene of Letty and Jerry falling in love. Here's hoping the film is eventually able to be re-released with a decent print.

W

P.I. Robert Celebrates Christmas

Just before Christmas, private detective Philip Marlowe (Robert Montgomery) is invited to the office of Adrienne Fromsett (Audrey Totter) to discuss a mystery story he has written. When he gets there, he finds that Ms. Fromsett has something else on her mind - hiring Marlowe to find  Chrystal Kingsby, the missing wife of her boss, Derace Kingsby (Leon Ames). Our film this week is Lady in the Lake (1947), part of the 2nd Happy Holidays Blogathon, hosted by the Pure Entertainment Preservation Society. 

 

Lady in the Lake is remembered today for its innovative use of the subjective camera. With the exception of two framing scenes, the film is told entirely through the eyes of our hero, Philip Marlowe. The camera acts as his eyes; we only see Mr. Montgomery when he looks into a mirror. It's an interesting conceit, though some members of our group found it a bit off-putting. 

The plot in the film is also very dense - many subplots, many characters that seem irrelevant as you proceed. While the movie very carefully ties everything together at the end (and very neatly too), as you are watching you have to pay very close attention to what is going on - if you lose concentration at all, you can miss an essential plot point.

Audrey Totter has the hardest job in the film - verbally dueling with and making love to a camera. Most of her scenes involve just her and Robert Montgomery; but we rarely see him - we see her, and she does a magnificent job of making you believe that Philip Marlowe is standing just behind the audience. With a script full of taut, witty dialog, Ms. Totter makes Adrienne into a tough lady that you don't want to cross, but wouldn't mind having at your side - she's strong, realistic, and sexy, but an intelligent sexy.  At one point, Lana Turner was being considered for Miss Fromsett (AFI Catalog); frankly, it's hard to imagine anyone but Audrey Totter in the role.

This was Robert Montgomery's first credited directing role, and he decided to use the subjective camera technique. It was an idea Orson Welles had toyed with; new, lighter cameras and the crab dolly made the concept viable (Voices in the Dark: The Narrative Patterns of Film Noir by J.P. Telotte). MGM was not thrilled with the idea, and insisted on a prologue to the film, so audiences would get to actually SEE their star (Eddie Muller commentary), but they let him do it and used their marketing expertise to engage the audience, who were now part of the story. Mr. Montgomery emphasized that acting TO the camera was the most difficult part of the film for the actors - they were trained to NOT look at the camera; here, the camera was itself a character (TCM article).

 

Certainly, being off-screen for much of the action assisted Mr. Montgomery in his role as director, but he is excellent as the voice of the hard-bitten Marlowe - though it does seem like he spends a lot of the movie unconscious. His best scenes, not surprisingly, are with his good friend, Ms. Totter, who turned down the lead in The Killers (1946) in order to appear in this film.  

We are used to seeing Lloyd Nolan (Lt. DeGarmot) play a good guy.  Here, he gets to let his inner villain out, portraying a really bad police detective.  It's clear from the start that Lt. DeGarmot is not to be trusted - how bad he actually is becomes apparent as the film progresses. Mr. Nolan came to film from Broadway; he would ultimately appear in 9 productions, including The Caine Mutiny Court-Martial, in which he appeared as Lt. Com. Philip Francis Queeg (the role that would eventually go to Humphrey Bogart in the film). His career was primarily B films, though he was often a supporting actor in films like A Tree Grows in Brooklyn (1945) and The Man I Married (1940). He moved into television, and is best remembered for Julia, in which he played Dr. Morton Chegley to Diahann Carroll's nurse. His first marriage to Mell Efrid lasted from 1933 to her death in 1981 (they had two children); he remarried in 1983.  He was worked to fund autism research (his son Jay was severely autistic). In 1985, he died of lung cancer at the age of 83.

One other actor worth noting is Jayne Meadows  (Mrs. Falbrook) in her second film appearance. It's a small, but pivotal role and she is quite convincing playing a woman with a number of different aliases.

Whether this is a Christmas movie is for the viewer to decide (rather like Die Hard) - it was released in January, but the music and parties make it a contender for a Christmas film. We're voting for it as a Christmas movie. It's worth noting that the setting for the book was NOT Christmas, and Raymond Chandler was not amused by the alteration.

The New York Times review by Thomas M. Prior (T.M.P.) was positive: "The picture is definitely different and affords one a fresh and interesting perspective on a murder mystery." In February of 1948 the story was recreated with a Lux Radio Theatre production starring Mr. Montgomery and Ms. Totter.

While not the best detective film ever made, this is well worth seeing (though you really have to concentrate). It's certainly an interesting addition to the pantheon of Christmas movies! We'll leave you with the trailer:

This blog post is part of the 2nd Happy Holidays Blogathon, hosted by the Pure Entertainment Preservation Society. 

 

Joan Enters Society

On his return cruise to England, Francis, Lord Kelton (Frank Morgan) finds a woman asleep in his stateroom. Mrs. Fay Cheyney (Joan Crawford) has mistaken his cabin for hers. As she leaves, she meets Arthur, Lord Dilling (Robert Montgomery). Both men are intrigued with the attractive Mrs. Cheyney, and spend the trip vyng for her attentions. We turn our attentions this week to The Last of Mrs. Cheyney (1937)

It's hard to go wrong when you have the stellar cast of lead and character actors present in this movie. Joan Crawford is convincing, though she plays Fay with more seriousness than did Ms. Shearer in the 1929 version. Ms. Shearer very much had her tongue firmly in her cheek, whereas Ms. Crawford makes Fay more conflicted. The addition of a fairly nasty gang (Sara Haden (Anna), Melville Cooper (William), & Leonard Carey (Ames)) makes the stakes in this version a lot higher. Myrna Loy had originally been cast as Fay (TCM article), but Mrs. Crawford was so adamant in her refusal to play the lead in Parnell (she'd sworn off costume parts after The Gorgeous Hussy) that MGM decided to switch the actresses.

William Powell is splendid as Charles. Though his part is relatively small, he makes good use of the screen time provided. We speculated on the benefits of casting him as Lord Dilling - his chemistry with Ms. Crawford is better, and he has the charm and gravitas that we found a bit lacking in Robert Montgomery. Mr. Montgomery is not bad, he just doesn't have the savoir faire of either Mr. Rathbone or Mr. Powell. In comparison to these two gentlemen, Mr. Montgomery comes across as a touch callow.  It's been said that Mr. Montgomery and Ms. Crawford were not particularly fond of one another, (Joan Crawford: The Essential Biography by Lawrence J. Quirk & William Schoell) which might be part of the problem. Truth to tell, had we not seen Mr. Rathbone, we might not have given Mr. Montgomery lower marks.

Frank Morgan is a vast improvement over Herbert Bunston. Now Lord Kelton, he is no where near as boring and pedantic as the original. He's a tad naive (just WHY is Fay in his room, wearing nothing but her undergarments??)  and he is clearly older and less dashing than Lord Dilling. But, he's no buffoon, and one could see Fay agreeing to marry him. He's rather a nice man, he's quite wealthy, and he is clearly head over heels about her. 

Nigel Bruce (Willie) is cast in a role in which he, like his friend Kelton, is somewhat innocent (he really doesn't know that Cousin John (Ralph Forbes) is NOT his wife Joan's (Colleen Clare) blood relation), but he's also a decent and not silly man. He doesn't do the fubsy Englishman that we are used to in his appearances as Dr. Watson; he is a too trusting soul, but a good friend with a sense of humor.

We also enjoyed Jessie Ralph as the Duchess of Ebley. This version gives the Duchess a bit of a past, which makes her even more attractive (and makes Fay's reluctance to rob her even more pointed).  A Broadway actress with experience in silent films, she was 63 when she made her sound film debut in Child of Manhattan (1933). She had 50 sound film credits to her name (including such gems as Enchanted April (1935), David Copperfield (1935), and After the Thin Man (1936). Married once (and together until his death), she was forced to retire in 1941 after diabetes complications resulted in the amputation of her leg. She died three years later, age 73, of a heart attack. 

A few new scenes are added to the film - the opening scene with Lord Kelton, a late scene with Mr. Powell (obviously inserted to satisfy the Hays Office), and fund-raising auction scene, with little dolls of our lead character auctioned for charity. Here's a photo of Mr. Montgomery with the Crawford doll. We thought the dolls were absolutely adorable, and wondered if the actors got to keep them.

The New York Times review by Frank Nugent was not exactly glowing, though he did express admiration for William Powell saying that "Mr. Powell is equally fascinating, either side of the pale."  Following the release of this version, the Lux Radio Theatre aired a version with Miriam Hopkins, Walter Pidgeon, and Adolph Menjou in May of 1942. In 1953, Broadway Television Theatre broadcast an adaptation with Vicki Cummings in the lead (AFI catalog). 

Each film has its own merits, and we liked both of them for different reasons. We always enjoy seeing William Powell; we liked the rapport between Shearer and Rathbone. With the changes in film technology between 1929 and 1937, the movies are different enough that it is entertaining to see them both.

We'll leave you with a scene from the film:

Joan Gets Married

Stood up again by her philandering boyfriend, Sheridan "Sherry" Warren (Robert Montgomery), Marcia Townsend (Joan Crawford) resolves to never see him again. He convinces her to give him another chance, but it turns out to be another another night of Sherry's dalliances, and Marcia leaves. Realizing Sherry is about to lose her, he proposes, and against her own, and her grandmother Fanny Townsend (Edna May Oliver)'s better judgement, Marcia agrees to marry him. But Sherry is no more committed to monogamy than he was before the marriage, so Marcia decides it's time for No More Ladies (1935)

The positives of this film are the excellent cast - Joan Crawford, Robert Montgomery, Franchot Tone, Edna May Oliver, Gail Patrick, Charlie Ruggles, Reginald Denny, and Joan Burfield aka Joan Fontaine (in her screen debut). The negative is it's an awful script. Based on a 1934 Broadway play, which starred Ruth Weston, Lucile Watson, and Melvyn Douglas, the film is long and ultimately boring. (Ms. Weston and Ms. Watson were originally supposed to reprise their roles in the film (AFI catalog)).

One major problem is the character of Sherry Warren. Sure, Mr. Montgomery is extremely attractive but Sherry is a womanizer, and everyone knows it. He's already broken up one marriage, he uses and dumps women regularly, so what Marcia could possibly see in him is never really clear. She's got the equally attractive Jim Salston (Franchot Tone) pursuing her, so why settle for a man who is never going to be a husband? Tis a mystery.

The actor that stands out in the film is Edna May Oliver. She gets the best lines and as always, has the most fantastic delivery. Born in 1883, Ms. Oliver was already on Broadway by 1916. By 1932, she had appeared in 11 musicals and dramas, including the original Show Boat (1927) in which she played Parthy Hawks. Her film career began in 1923; she would appear in 48 films, including A Tale of Two Cities (1935), Drums Along the Mohawk (1939) (for which she was nominated as Best Supporting Actress), David Copperfield (1935), and 3 films as amateur sleuth Hildegarde Withers. Quite frankly, she always managed to steal the film, even though her parts were usually supporting roles. She died at age 59 in 1942.

We always enjoy seeing Gail Patrick (Theresa German), but she's wasted in this film. She, however, was grateful for the part - she'd been suggested by Ms. Crawford, who looked after her on the set, having her own makeup man work with Ms. Patrick. (TCM article). Why Ms. Patrick is asked to sing and play the ukulele, is beyond our ken. She's a lovely woman and an excellent actress, but she can't sing (and her repertoire seems inappropriate for this society party).

Franchot Tone and Joan Crawford had already appeared in three of their seven films together, and were married the year this film was released. They only have a couple of scenes together, but even with that little screen time, they seem like a better match than Marcia and Sherry. Their marriage would last until 1939, but their (eventual) friendship lasted til the end of Mr. Tone's life, with Ms. Crawford caring for him when he was dying of lung cancer. 

Charlie Ruggles as Sherry's continually drunken friend Edgar Holden is amusing in the beginning, but the character begins to wear thin after a few scenes. And with the exception of one scene towards the middle of the film (when Edgar is someplace he's not supposed to be), it's a mystery why he is even there. The scriptwriter keeps trying to find ways of incorporating him into the action. All it does is slow the film down further. Arthur Treacher appears briefly as Lord Knowleton - whose unintelligible English accent is shown twice - then he speaks perfectly normally. The question again is why?

Since this is an MGM picture, we also have the benefit of outstanding set direction by Cedric Gibbons, and lovely costumes by Adrian. But it's not enough. The New York Times review by Andre Sennwald is dismissive "Out of the labors of the brigade of writers who tinkered with the screen play, there remain a sprinkling of nifties which make for moments of hilarity in an expanse of tedium and fake sophistication."  Sadly, we agree. So, unless you are a complete-ist for one the actors involved, this is one to pass on. Below is a clip from the beginning of the film.

Robert Avoids Heaven

Joe Pendleton (Robert Montgomery) is a boxer with dreams of becoming the champion. He's trained long and hard, and is ready for the bout that will propel him to stardom. He's in his private plane, heading for New York when his aircraft is damaged. Plummeting earthbound, his spirit is plucked from his body by overeager heavenly messenger 7013 (Edward Everett Horton).  When Joe protests to Mr. Jordan (Claude Rains) that he doesn't feel dead, Mr. Jordan discovers that Joe is destined to live another 50 years! Since Joe's body is gone (cremated by Joe's manager Max Corkle (James Gleason)), Mr. Jordan and Joe go out to find Joe a new body. Here Comes Mr. Jordan (1941) tells the story of that quest.

I'm truly of the opinion that Robert Montgomery is one of our most underrated film actors. He's good in everything he does, and can play the villain, the anti-hero, and the hero with equal aplomb. He's delightful as Joe Pendleton, a man of deep feelings and simple tastes. He loves his plane, his saxophone, his dear friend Max, and ultimately, Bette Logan (Evelyn Keyes). His quest for a new body is governed by the purity of his nature - he wants simply what he is entitled to, and wants the body he is given to match the one that he had. After all, he kept it "in the pink!"

Robert Montgomery was born into a privileged family, but that all ended with his father's suicide when Robert was 18. He decided to try his hand at acting and writing; by 1924, he was appearing on Broadway, where he was in 7 plays (through 1928). He signed a contract with MGM in 1929, where his stage training was essential in the booming sound era; he was often the juvenile in this period (as in Untamed (1929)).  In 1937, he showed a new side of his talent in Night Must Fall,  as an insane killer. World War II disrupted his career - he volunteered to serve in the Navy, rising to the rank of Lieutenant Commander. Upon his return, John Ford cast him in They Were Expendable (1945); when Ford was injured, Mr. Montgomery finished directing the film. His characterizations became even more nuanced, as he appeared in films like the film noir Lady in the Lake (1946). He turned to television, to produce his own anthology show, Robert Montgomery Presents.  Married twice, he had three children by his first wife, Elizabeth Allen. His daughter, Elizabeth, went on to perform in film and television (and is best remembered for her role in the TV series,  Bewitched). He died of cancer in 1981.

We were a bit less enthralled with Evelyn Keyes. There are times, especially at the beginning when she is pleading for her father, that she seems over-melodramatic. She improves greatly in the love scenes with Mr. Montgomery, and they have a warm relationship that is easy to appreciate. Rita Johnson, as the other woman in Joe's life - the almost widow Julia Farnsworth - is quite good as the would-be murderer. She's properly bitchy, and you eagerly await her - and her paramour Tony Abbott (John Emery) - getting their comeuppance.

The film's strength really comes from two magnificent supporting roles - Mr. Jordan and Max Corkle. James Gleason is excellent as the frequently bemused Max. His fatherly affection for Joe is apparent from the minute we first meet him, and his pain from the repeated loss of Joe is palpable. But Mr. Gleason also brings humor to the part - his inability to see Mr. Jordan, while he tries to have conversations with him make for amusing scenes, yet maintain the integrity of the character. In their review, the New York Times says that Mr. Gleason "steals the film's most comic scene as the manager with cosmic premonitions," but he never lets Max become a fool, and we are grateful for it.

What can we add about Claude Rains that hasn't already been said? He's delightful as Mr. Jordan - warm and understanding. He cares about Joe, and about his predicament, but he has a heavenly duty to perform, and Joe isn't always willing to acknowledge that. Mr. Rains brings a sincerity to the role that perfects the movie. We believe he is an angel, and we know that Mr. Jordan will keep an eye on his charge until he meets him again in 1991. This article from the Criterion Collection talks about "the hint of steel" Mr. Rains brings to the part. It is the making of the character.

The story upon which the film was based was initially purchased as a vehicle for Cary Grant (AFI Catalog)  Years later, Warren Beatty would ask him to play Mr. Jordan in his remake.  (Evenings with Cary Grant by Nancy Nelson). When Mr. Grant said no, Mr. Beatty cast James Mason in his 1978  Heaven Can Wait - which was, in fact, the title of the original play by Harry Segall (TCM article). 

Lux Radio Theatre in January 1942 aired a version of the story with Cary Grant, Evelyn Keyes, Claude Rains, and James Gleason. It was remade again as Down to Earth (2001) with Chris Rock as a comedian who is untimely snatched from his body.

We'll leave you with this trailer, and the suggestion that you give this delightful film a first (or a second) viewing:

Robert and Norma Dance

The Marletts seem like a happy family. Daughter Lucia (Norma Shearer), or Lally as she is fondly called, adores both her parents, and they seemingly have a strong marriage. But all is not as it appears; Henry (Hal) Marlett (Lewis Stone) leaves his wife Harriet (Belle Bennett) for Beth Cheevers (Helene Millard). The separation alienates Lally from her father, and sours her on men. She decides (at the urging of her mother) to never marry. But that resolve is short-lived after meeting Jack (Robert Montgomery) at a party. Their Own Desire (1929) tells the story of what may be a doomed relationship.

Both Ms. Shearer and Mr. Montgomery are quite good as the young lovers. Ms. Shearer was already an experienced silent actress, and this was her third talking film; Mr. Montgomery came to film directly from the New York stage, and seems comfortable in what is for Hollywood a new medium.  He and Ms. Shearer would eventually appear in five films together (this was their first). Their acting (and that of Lewis Stone) is surprisingly subdued, given the film's proximity to the silent era. Ms Shearer would be nominated for an Oscar for her work as Lally, however she lost to herself in The Divorcee (TCM article).

Belle Bennett, however is still acting as though she is in a silent film - there is much emoting, much throwing her body around to convey emotions she has just spoken. As a result, the character of Harriet appears emotionally unstable. But Harriet is also written as being quite selfish. Certainly, she's had a hard blow with her husband's betrayal, but to force a promise from her young daughter to never marry and stay always with her is tantamountly unfair. Ms. Bennett had had a long career in silent films - her first was in 1913. Whether she would have ultimately made the transition to sound is unclear - she died of cancer in 1932, at the age of 41.

The part of Beth Cheevers is horribly underwritten. We have no clue as to why Hal would love her. At first, one wonders if she is a gold-digger, but as the story unfolds, we are informed that her former husband (whom she divorced to marry Hal) was quite well off financially. As written, Beth seems an unconcerned mother, a cold wife, and a nasty rival. All and all, Helene Millard is given little to work with, and nothing she does makes Beth relate-able.

Though based on a novel that was released the year before the film (AFI catalog), the script leaves something to be desired. Some plot aspects are problematic, as if the writers don't seem to know whether to concentrate on our young lovers, or on their parents. There is a scene in which Hal and Beth go to the country club and are shunned by their former friends. It's one scene, and it goes nowhere. The audience is going to find it hard to sympathize with either of them, so it is unclear why time is taken up with it. This is, however, definitely a pre-code film - witness that our adulterers are never punished for their actions, and there is a suggestion that Lally and Jack spend a night of passion together.

While the script is no great shakes, and some of the acting is dated, the interactions between Ms. Shearer and Mr. Montgomery is certainly worth the short running time of the film.  We'll leave you with this early scene, in which Lally and Jack share a dance.

Ann Meets Myrna

Reporter Jimmy Lee (Robert Montgomery) is deeply in love with novelist Mary Howard (Myrna Loy). But despite his numerous proposals, she refuses to marry him. Jimmy discovers that Mary has fallen in love with her married editor, Rogers Woodruf (Frank Morgan). Having read the novel on which Mary is currently working - in which she proposes that her heroine, in love with a married man, has a calm discussion with his wife, to talk about her desire to wed her lover - Jimmy knows what Mary has in mind. He decides the best course of action is to introduce Mary to Claire Woodruf (Ann Harding), without revealing to either of them their mutual relationship. When Ladies Meet (1933) will determine the future of both women's relationships.

Though a pre-code film, this one is not really all that shocking. There's a lot of talk, but very little action. Mary has heretofore resisted Rogers' desire for a sexual relationship; just as she is about to give in, Jimmy blunders in and breaks up the rendezvous (certainly his intention!) We later discover from Clair that Rogers is a serial philanderer, and that Claire has turned a blind eye to it because she believes he really loves her. With the exception of some double-entendre blathering from Mary's friend Bridget Drake (Alice Brady), this is a pretty tame film.

 

That being said, this is an interesting and thoughtful movie, primarily because of the performances of Ann Harding and Myrna Loy.  Ms. Harding presents a woman who is both dignified and understated. Even when confronted by betrayal, there is no hysteria, no over-emoting, just a quiet sorrow that is signified only with her eyes and her stance. Ms. Harding can break your heart with a glance.

Ms. Loy mirrors her in dignity playing a woman who is the ultimate idealist. When confronted with the realities of life, she too remains stoic. Her determination lets you know that her life will go on, and she will remake it. But we came away wondering how her new novel would end, with the author enlightened about the truths of life. We come to realize, thanks to the talents of these two excellent actresses, that Mary and Claire are very much alike in their attitudes and emotions. Interestingly, Ms. Loy became great friends with Robert Montgomery and Alice Brady on this production.  Ann Harding remained distant from the "coterie of three." (TCM article)

Growing up with Frank Morgan as The Wizard does make it hard to see him as a romantic figure, especially one who is so deeply loved by these two remarkable women. It is certainly his skill as an actor that makes it obvious to the audience that Rogers is a cad. That he is so awfully unloving - more interested in the chase and in sex - becomes apparent later in the film. But Mr. Morgan does a good job in preparing you for this revelation.

Alice Brady seems to be present to provide the comic relief. Unfortunately, she becomes rapidly annoying.  An Oscar-winning actress - she was nominated twice, and won for her role in In Old Chicago (1937) - in this film, it feels as though she is doing screwball comedy, while everyone else is playing subtle humor and high drama.  We felt that Bridget was too shallow a person, where the other characters are fully developed. It felt as though Ms. Brady was in a different movie.  We wondered if a different actress in the part would have made a difference, and we may find out next week.

The film (based on Rachel Crothers' play, which was produced on Broadway in 1933) would be remade twice: once in 1941, with Joan Crawford, and again on 11 June 1952 as a ABC television presentation with Patricia Morison and Richard Carlson in the leads (AFI catalog). This film was nominated for the Best Art Direction Oscar, for Cedric Gibbons, whose sets are gorgeous (We were especially impressed with Mary's apartment).  We'll leave you with this scene, featuring appearances by three of our leads. Next time, we'll be viewing the 1941 version.

Robert Loves a Nurse

Robert Montgomery stars as Lieutenant Wally O'Brien in War Nurse (1930).  The film opens at the outbreak of the First World War.  American women from all parts of the country and all walks of life daydream about becoming a war nurse.  Each has their own reason, and their own view of the mission.  The film follows the lives of  Barbara (Babs) Whitney (June Walker), Joy Meadows (Anita Page), Cushie (ZaSu Pitts), Rosalie "Brooklyn" Parker (Marie Prevost), and Marian "Kansas" (Helen Jerome Eddy) as the women venture to France to nurse the wounded. 

Though Mr. Montgomery is given top billing, this film really is about the nurses - all of them.  Sure, Babs is our "heroine", but each of the women has an interesting backstory and a distinct personality.  We grow to like all of them, and to admire their dedication to an awful and dangerous job.  The men in the story are the window dressing; the women are its heart.

Some movies are eternal, and it doesn't really matter when they are filmed.  Some are time capsules of their era.  In a sense, War Nurse is both.  This film looks back 12 years to "the War to end all wars," yet we know what the characters and filmmakers do not.  That, in a scant 8 years, the world will be at war again.  And though the technology may change, the effects of war and the work of the nurse do not.  We can empathize with the characters because their struggle represents the struggle of all nurses in a war zone. 

Based on the book 1930 book War Nurse: The True Story of a Woman Who Lived, Loved and Suffered on the Western Front (AFI Catalog), this is an excellent and compelling story.  We only had one minor complaint with the film, the levity that was inserted into the script felt forced and flat.  Not that one wants the film to be oppressing, but often the wisecracking just didn't belong.  It sometimes seemed to interrupt the flow of the action, and we were eager for the story to continue.

 

June Walker, in the role of Babs, is just wonderful.  Her scenes with Mr. Montgomery have a real feeling of truth.  We were especially impressed by the scene in which Wally visits her in her small flat.  Their interplay is excellent, and you come out of the scene sympathizing with both of them for different reasons.  Ms. Walker had a long career, in both television and theatre.  In 1926 (after making one short silent and one silent feature), she married writer/actor Geoffrey Kerr.  They had one child, actor John Kerr.  The marriage lasted until 1942, after which Ms. Walker made a few movies, but primarily appeared in television, working until 1960.   She also had a long career on Broadway, beginning in 1919, and working until 1958.  She appeared in 34 plays including Gentlemen Prefer Blondes (1926, as Lorelei Lee), Waterloo Bridge (1930, as Myrna), and The Middle of the Night (1956).  Ms. Walker died in 1966.   

Hedda Hopper is appealing in the small part of Matron Townsend, an experienced, no-nonsense nurse, who looks over both the male patients and her nurses (see this TCM article).  Robert Ames as Robin Neil is also good.  Ames died the year after this film was released.  A severe alcoholic, Ames was trying to recover, but it is suspected that his sudden withdrawal from alcohol resulted in his death (which was attributed to delirium tremens).

We were especially intrigued with ZaSu Pitts as Cushie (her work in the film is briefly noted in this New York Times review).  With her sad face and voice, Ms. Pitts sound career was frequently in comedies.  In the early 30s, she was often partnered with Thelma Todd, in what has often been referred to as Hal Roach's feminine version of Laurel and Hardy (like Stan and Ollie, Thelma and ZaSu also used their real names in these films).  During the silent era, Ms. Pitts received much deserved praise for her work in Greed (1921); in the sound era, a film to not miss is her performance in Ruggles of Red Gap (1935).  She worked steadily, easily moving into television in the 1940s (she was a regular on The Gale Storm Show - also known as Oh, Susanna); her last film was released after her death from cancer in 1963: It's a Mad, Mad, Mad, Mad World.  Ms. Pitts was also an author: she penned a book Candy Hits by ZaSu Pitts, which was published just after her death. Her unusual name was a combination of her two birth names EliZA SUsan (pronounced "Zay-soo").

Though a precode film, the characters of Joy and Robin are both punished for their sins (for more on the plot, and an interesting discussion, visit this Pre-code.com review).  For a modern audience, the lack of background music and special effects (a bombing sequence is very clearly backscreen projection), can be surprising.  Regardless, you are still seeing a grim picture of the war, without viewing a lot of blood and gore.  

We'll leave you with this clip from the film.  We highly recommend it.

Joan and Her Roommates

Our Blushing Brides (1930) introduces us to three roommates and colleagues in a local department store: Jerry March (Joan Crawford), a no-nonsense young woman, focused on her career, who doesn't have a whole lot of regard for men; Franky Daniels (Dorothy Sebastian), a lazy person, looking for a husband - any husband; and Connie Blair (Anita Page), a fairly naive girl who is deeply in love with the boss (David Jardine, played by Raymond Hackett), and who sees him as her ticket to a life of ease and happiness.

After a date with Marty Sanderson (John Miljan), Franky, in a drunken stupor, elopes with him.  It doesn't hurt that he appears to be quite wealthy.  Then, Connie moves into an apartment that David has rented for her - without benefit of marriage.  But Connie is sure they will wed, as soon as David convinces his father of their deep love.  Jerry meets Tony Jardine (Robert Montgomery), David's older brother, who woos her.  But when she realizes he is interested only in a quick visit to his bachelor pad treehouse (yes, you read that right - a treehouse), she walks out.

We were really impressed by the art design in this film.  The settings are attractive, but appropriate to each economic level.  The apartment Jerry shares with Connie and Franky is slightly more upscale than the one she ends up in when she is alone, and appropriately so.  But the designers still make the apartments places that young women would live, not just sets.  The one exception to this was Tony's treehouse - it is just much too large on the inside to fit the dimensions outside.  Perhaps Tony knows how to cast an Undetectable Extension Charm (a la Harry Potter). 
Jerry works in the store not only as a model, but as a salesperson.  One of our group recalled that her mother told her of a store practice in which salespeople did try on clothing for their preferred customers.  We felt that the film gave us a little insight into the business world of the 1930s.  The emphasis on  clothing in the film also provides a display of some lovely dresses of the period (all far more expensive than the average woman would be able to afford), but the fashion shows finally got a bit over the top.  In the last one,  it looked like they were channeling Busby Berkeley.

As always, Robert Montgomery is a pleasure to watch.  He makes Tony attractive, though he is not afraid to show him as a bit of a cad.  But he also allows us to see Tony grow as a person.   We found the male characters in general to be interesting. They run the gamut from coward to thief to someone who grows into a good guy. 

We were very impressed both with Joan Crawford, as well as with her character.   Jerry is a good person, very devoted and loyal to her friends. When she sees David in a movie theatre with his fiance, Evelyn Woodforth (Martha Sleeper), Jerry goes to Connie to be a support, but cannot bring herself to tell her of what she witnessed.  The beauty of this section is Crawford's reactions.  Without speaking a word, we see all the emotions running through her head - Crawford's silent film training is evident.  Jerry's loyalty to her friends is also admirable because of the obvious differences between her, Connie and Franky.  Quite honestly, Jerry is a lot smarter and more ambitious than either of them - Connie, especially comes across as a complete dolt.  Yet, Jerry sticks with them, even when their stupidity has gotten both of them into untenable situations.

We have a wealth of interesting performances here.  Hedda Hopper is back for a brief bit as Mrs. Weaver, a woman who is quite unpleasant.  We also have Edward Brophy as Joe Munsey for some  comic relief.  Brophy's long career extended from 1920 until 1961.  He died in 1960, at age 65, during production of his final film, Two Road Together. Anita Page also had an interesting career.  She appeared in many films from 1925 until 1936.  Then, after a long break, she appeared in a few more movies, first in 1961, then again in 1996.  She died in 2008, at age 98; her final film was released in 2010.  Dorothy Sebastian acted until 1948, dying in 1957 (age 53) after a long bout with cancer.

Interestingly, Crawford and Paige had already starred in the silent films Our Dancing Daughters (1928) and Our Modern Maidens (1929), MGM's "jazz age" trilogy (. Sebastian joined them in Our Modern Maidens.  This TCM article gives a bit more detail on the film and the trilogy.

The opening scene immediately places us into the world of the film, and introduces us to our heroines and their various personalities.  We see the girls clocking into work and listen to their discussions of their jobs and men.  Though the final scene in the film is a bit jarring in its abruptness, all in all, this is a well-paced film. We should mention, however, that the title is more ironic than a reflection of the story.
Before we go, here is an introduction to Jerry and Tony:

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.

Joan Dances Crazy and Robert Sings Badly

Untamed  from 1929 is a peculiar movie!  It stars Joan Crawford as Alice "Bingo" Dowling and Robert Montgomery as her love interest, Andy MacAllister, and was the first talkie to be released by MGM  - they were the last studio to abandon silent films - as well as Crawford's first featured sound film. 

Untamed opens in South America, where Bingo Dowling is living with her ne'er-do-well father. Dad obviously doesn't supervise his child all that much.  She's off with the natives, singing and dancing wildly.  As you will see in the clip below, Crawford really is no singer, and her dancing is odd, at best.  We discussed her dancing some time ago, when she appeared with Fred Astaire in Dancing Lady.  While her dancing there was energetic, here she is all angular knees and elbows.  It's rather frenetic and crazy, but it sets the tone for the character of Bingo, who is at heart a wild child. 

Enter Ben Murchison (Ernest Torrence) and Howard Presley (Holmes Herbert), old friends of Bingo's dad (Lloyd Ingraham).  They find him gambling and drunk (his normal pass-times), but they have news.  They have struck oil, and he is a partner in the endeavor.  No sooner does Papa Dowling get the news than he is shot.  He begs his old friends to look after his daughter, hears her voice, and dies.  Being genuinely good men, "Uncle" Ben and "Uncle" Howard determine to bring Bingo to New York, where she can have a life proper to that of an oil heiress.  However, Ben is not prepared for the trip to New York City, for on the boat, Bingo meets, and become immediately smitten with Andy MacAllister, a poor but noble young man (with an equally bad singing voice). 

Since Bingo has spent her life in the jungle alone with only her father as a role-model (and he's no exemplar), her reactions to a man are rather unique and inappropriate.   She sees nothing wrong with being alone in a man's room; she peers into his room without permission - Bingo has no sense of propriety. Crawford does a nice job of taking the wild child and transitioning her into a New York sophisticate.  From rebelling at the prospect of shoes on her trip over, she wears the height of fashion.  Bingo is shown as friendly (and seeming liked by "The Kids" who become her circle), yet Crawford is able to show the wild child is still bubbling within. For those of us used to the Crawford of the late 1930s and 1940s, this is a very different actress. Even Crawford's posture is different than in her later career.  We really are seeing the silent screen actress that she was, as she begins to grow into the dramatic actress she would become.  

It's always a pleasure to see Robert Montgomery, always a consummate actor, in anything.  We've seen some of his later films with Crawford (Forsaking All Others and The Last of Mrs. Cheyney), so we knew that the pair are excellent together.  This film did not disappoint.   His Andy is a "good man"; even though it would be easy for him to take advantage of Bingo, he is careful of her.  So, when "Uncle" Ben forms a dislike for Andy, it's really hard to understand why.  We understand that he is reluctant for Bingo to marry the first man she's ever met, but Ben is wise enough to know that Andy is not after her money.  Yes, he knows that Howard is very attracted to Bingo, and hopes perhaps they will make a match.  But knowing the individuals involved (and he does), it's hard to understand why he keeps trying to force Andy and Bingo apart.

The island where the film opens is dark and dingy. This makes a nice counterpoint as Bingo moves from that dark jungle to Park Avenue.  Having seen where she began, it is not hard to understand that a bit of the jungle is still in Bingo - she is quite temperamental and often violent. Watch Crawford's eyes during a boxing match - they positively glow with delight as the two men pound on one another.  She also seems to know the rules of fighting - maybe the one thing her father taught her!

Another interesting aspect of the film is the amount of drinking that goes on.  Prohibition won't end for another four year, yet there is a constant flow of alcohol.  In one scene, Bingo's pet monkey breaks the only bottle of alcohol on the boat, so the two gentlemen are going to save it by soaking it up with a sponge.

While the film is a talking, it includes periodic explanatory cards, a hangover from the silent era, as well as being heavy visual.  The actors still sport the heavy makeup (lipsticks and eye shadows) that were a staple of the silent era.   It looks very much like a silent film, with words stuck into it;  but what we are seeing is the birth of the sound film, with silent motifs aplenty amid the sound, and actors and crew still learning their new craft.  For a more complete discussion of this topic, please stop by the TCM website for this article, which looks at this film in the context of the beginnings of the sound era. 

In the meantime, we will leave you with Robert Montgomery (badly) serenading Joan Crawford.