William and Myrna Investigate Again

It’s a year After the Thin Man (1936) investigation, and Nora (Myrna Loy) and Nick Charles (William Powell) return to their San Francisco home on New Year’s Eve, To Nick’s dismays a command visit by Nora’s aunt, Katherine Forrest (Jessie Ralph) awaits them. It seems that Nora’s cousin Selma Landis (Elissa Landi) has been abandoned by her husband Robert (Alan Marshal), and Selma is frantic.

If this film doesn't quite have the magic of the original film, it's pretty darn close (and if you'd not seen the first one, you wouldn't care there was something better). Mr. Powell and Mr. Loy remain in top form, and Mr. Powell is given another character to bounce off - this time in the person of Jessie Ralph's domineering Aunt Katherine.  Every time she calls him NICHO-LAAS, you fall down laughing. 

What begins as a simple case of marital neglect becomes a series of murders, with Selma Landis as the key suspect.  It's hard to sympathize with Selma - she's a doormat. Her husband is a boor, he's a serial philanderer, and she knows that he only married her for her money. When she begins begging him to return to her, one cringes. Selma has no gumption - she crawls to her husband and cowers from her aunt. Even her relationship with Nora - who really cares for her cousin - is that of a supplicant.  It doesn't help that Ms. Landi really overacts the part. 

That David Graham (James Stewart) would be passionately in love with Selma seems a stretch. The only time she seems to have rebelled against anyone is when she jilted David for Robert. But Mr. Stewart, who was starting to get lead parts (Born to Dance (1936) was released just before this film) is excellent in a very complex part.  According to Ms. Loy's biography, he was thrilled to be in the movie, and ran around the set telling everyone "There ought to be a law against any man who doesn't marry Myrna Loy!" (Myrna Loy: The Only Good Girl in Hollywood by Emily W. Leider). They had already appeared in the same film (though with no on-screen time) in Wife vs. Secretary that same year.

This was the first big role for Dorothy McNulty (Polly Byrnes), who would change her name to Penny Singleton in 1938 (AFI Catalog) and go on to fame in the Blondie series - all 28 films of it. She's good in the part - Polly's a tough woman, and serves as an interesting counterpoint to Selma the wimp. In the long run, I think we ended up liking Polly a lot more (even if she is a conniver!) 

Other supporting actors provide interesting performances. Joseph Calleia (Dancer) is properly menacing as the nightclub owner who is using Robert Landis for his own purposes. A short scene with Fingers (Harry Taylor), another of Nick's buddies, is very amusing. And finally, there is Sam Levene (Lieutenant Abrams), who takes on the part of the harried police officer.  Mr. Levene is excellent, and he and Mr. Powell have the rapport that is necessary to make the relationship between the detective and the investigator work.  

Asta gets a bigger part in this movie - he has a "wife" who is flirting with another dog, much to Asta's disgust. It's a cute bit, and was probably added because of the popularity of the animal from the prior film.

When Ms. Loy saw that she and Mr. Powell were being advertised as a screen team, she decided that receiving half the salary Mr. Powell was getting was not enough. So, she stood her ground and held out for an equal salary to Mr. Powell - and Louis B. Mayer gave it to her! (TCM article). And, if only for this film, Ms. Loy does seem to know how to knit.

The opening of the film makes of a big point of the fact that Nick and Nora are arriving in San Francisco on the Sunset Limited, a train that ran from New Orleans to San Francisco. Since, at the end of the first movie, the Charles' were on the train to San Francisco (and it is just after Christmas in that film), we know that the action in After the Thin Man is likely one year after the first movie.

The New York Times review by Frank S. Nugent was positive calling it "one of the most urbane comedies of the season". And indeed it is.  We'll leave you with the trailer:

William and Myrna Investigate

The disappearance of The Thin Man (1934), Clyde Wynant (Edward Ellis), and the suspicion that he is responsible for several murders, brings his friend, former police detective Nick Charles(William Powell) out of retirement. His wife, Nora (Myrna Loy) and their dog Asta come along to assist in the investigation.

The reasons this film is listed as an Essential (Jeremy Arnold The Essentials: 52 Must-See Movies and Why They Matter) are the two stars. The interactions between Ms. Loy and Mr. Powell are phenomenal. Their banter is clever and loving; it sparkles like the champagne they drink. It's easy to understand why the public thought them a happily married couple - they play the part so perfectly. As Jeanine Basinger said, "Loy and Powell know how...cooperate without losing individuality. They're Fred and Ginger OFF the dance floor" (I Do and I Don't: A History of Marriage in the Movies).

Ms. Loy had spent most of her career playing exotics. This role completely changed her image, and she would eventually do 14 films with Mr. Powell, six of which were part of The Thin Man series. She wasn't the first choice for the film - Louis B. Mayer wanted silent film star Laura LaPlante to play Nora, but director Woody Van Dyke, who had worked with her and Mr. Powell in Manhattan Melodrama (1934), insisted on Ms. Loy, and won the argument (TCM The Big Idea). She gives Nora an intelligence that, in lesser hands, would have made the character seem like a ditz.

Much of the credit for the success of the film goes to director Woody Van Dyke.  He wanted the two actors to re-team, recognizing their easy relationship from his prior experience with them. He also encouraged his actors to be more spontaneous - when William Powell started shooting balloons off the Charles' Christmas tree with an air gun off-camera, Mr. Van Dyke just worked the routine in the the picture (TCM Behind the Camera).

 

Maureen O'Sullivan as Dorothy Wynant, the only appealing person in that family, didn't particularly like the film because her part was very small. She also disliked Mr. Van Dyke's fast shooting style - the film was completed in between 12 and 18 days (TCM The Essentials). Authors Albert Hackett & Frances Goodrich modified the character of Dorothy from the original Dashiell Hammett novel. Dorothy was far less appealing - "a rather silly, heavy-drinking girl" (Mystery Classics on Film: The Adaptation of 65 Novels and Stories by Ron Miller). This change works well, as it gives the audience someone who cares about the missing inventor with whom we can sympathize. Claude Wynant is not all that pleasant, and the rest of his family are distasteful. That we sympathize with Dorothy makes it more palatable that Nick would continue the investigation. 

 

 

Thankfully, Nat Pendleton (Detective John Guild)  gets to play a police officer who is good at his job. Sure, he's not brilliant like Nick, but he's smart enough to realize that he has the help of an outstanding detective, and he uses his colleague's skills with gratitude. We liked Detective Guild, and his easy relationship with Mr. Powell.  

The film has the advantage of a number of excellent character performers. While all are pretty disagreeable characters, the actors give the right bite to their parts - Porter Hall as Lawyer MacCaulay, Minna Gombell as the unreliable former Mrs. Wynant (Mimi), and a very young Cesar Romero as her current husband, Chris Jorgenson.  

 

William Henry, who Dorothy's odd brother Gilbert, would go on to have a long and varied career - the quintessential working actor. He appeared in films from 1925 until 1971 (in later years, often uncredited). In 1951, he added television to his credits, appearing in shows like Rawhide, Bonanza, and The Six Million Dollar Man (his final role). He died in 1982, at the age of 67.

While the ending is a bit convoluted - Mr. Powell complained that he was having trouble sorting out the complicated plot - the audience doesn't really care who did the murder, we are more interested in watching Nick figured it out. The popularity of the film, besides generating 5 more Thin Man films, also resulted is a spate of films that dealt with married sleuths like those found in There's Always a Woman (1938), Dangerous Blondes (1943), and A Night to Remember (1942). None of the copies were as good as the original.

The Thin Man received Academy Award nominations for Best Picture, Actor, Director, and Adapted Screenplay.  It also created a craze for wire-hair terriers (though Myrna Loy said that Skippy, the dog who played Asta, bit her) (TCM The Thin Man).

The New York Times review by M.H. (Mordaunt Hall) called the film "an excellent combination of comedy and excitement,"  and other critics have also praised the film (TCM Critics Corner). 

 

Mr. Powell and Ms. Loy recreated their roles for a Lux Radio Theatre broadcast on 8 Jun 1936. From 1957 to 1959, Peter Lawford and Phyllis Kirk starred in a TV series, The Thin Man. It even generated a musical play called Nick and Nora, starring Barry Bostwick and Joanna Gleason, which opened on Broadway on 8 Dec 1991 (but closed on 15 Dec 1991) (AFI Catalog). 

Since then, it has appeared on AFI's 100 Years, 100 Laughs (#32). It was added to the Library of Congress National Film Registry in 1997.

This is a must-see movie to add to your list.  We'll leave you with the trailer:

William Has Amnesia

Newly married diplomat David Talbot (William Powell) is celebrating his three-month anniversary with his wife, Lucienne (Hedy Lamarr) when he receives a message, addressing him as Jean, and informing him that he needs to repay a million franc debt by tossing the money over a fence near a deserted farmhouse. Talbot decides to do so, but after advising the police that he is being blackmailed. At the trial, the accused claims that Talbot - who lost his memory after nearly dying in a train accident - is in actuality Jean Pelletier, a thief.  Our film is Crossroads (1942), and is posted to celebrate William Powell's day on Summer Under the Stars.

It's always a pleasure to see a William Powell film, and this one is no exception. He brings gravitas to any part he plays, and ably fits the bill of a diplomat.  Mr. Powell had played amnesia for laughs in I Love You Again (1940). Here, he brings sympathy to this man who has had to reconstruct his entire life following his near death accident. His relationship with Ms. Lamarr as his stalwart wife is convincing (though, as we'll discuss later, she is severely underutilized). He also is able to make the audience wonder throughout the film how much truth there is in the accusations leveled by his nemesis, Henri Sarrou. 

It's a shame Hedy Lamarr has such a small amount of screen time. Her early scenes with Mr. Powell bring some humor to an otherwise serious film, and the conclusion of the film uses her to good effect. She would later work with him in The Heavenly Body (1944). Certainly, she does not have the chemistry with him that he had with actresses like Myrna Loy, but we believe in their romance.

Marlene Dietrich was offered the role of Michele Allaine, but turned it down (TCM article); regardless, Claire Trevor is convincing as David's alleged former lover, and really a better fit for the role. Ms. Trevor keeps the viewer wondering - especially interesting is a scene in which a locket with a surprising photograph is dangled before the eyes of David's wife - just enough out of range that she cannot see it, but close enough to cause David - and the audience - concern. It's Ms. Trevor's adept handling of the scene that makes the audience hold their breath as the action proceeds.

When you have Basil Rathbone (Henri Sarrou) in the cast, you know you are in for a good time. Sure, it's hard to believe in the early scenes that he really is David's rescuer (of course, we are right - he is not), but wow, he is suave and scary as the head of the blackmail ring.  It is because of the interplay between Mr. Rathbone and Mr. Powell that you are never quite sure who to believe.  They verbally duel, and they make it easy to believe the one or both is hiding more than they are revealing.

Margaret Wycherly  (Mme. Pelletier) is excellent as an old lady, allegedly the mother of Jean Pelletier. Ms. Wycherly is a character actor who can turn on a dime - she can go from the sweet little old lady to the she-devil in the blink of an eye. She's probably best noted for her performance as Cody Jarrett's Ma in White Heat (1949).

Two other actors of note in the film are Felix Bressart as Dr. Andre Tessier and Sig Ruman as his nemesis in court,  Dr. Alex Dubroc. Their scenes together are well done, and Mr. Bressart is enjoyable as David's doctor, friend, and supporter. 

Crossroads was based on the screenplay for a 1938 French film, Carrefour, and had several working titles during production: The Man Who Lost His Way , 'Til You Return and The Man from Martinique (AFI catalog). The New York Times review by Theodore Strauss (T.S.) was not enthusiastic - except for Mr. Powell, calling him "particularly, flawlessly urbane and crisp...an actor whose talent for under-statement is perfectly adapted for a melodrama of this genre." The story was reprized with a Lux Radio Theatre broadcast in March of 1943, with Lana Turner and Jean Pierre Aumont in the lead roles. 

We enjoyed the film greatly, and recommend it for your viewing pleasure. In the meantime, here is a trailer: 

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:

Bette Designs

Con man Sherwood Nash (William Powell) decides to forgo financial scams in favor of fashion scams when he meets would-be designer Lynn Mason (Bette Davis). Using Lynn's talent for sketching and eye for successful dresses, Nash "borrows" dresses en route from Paris to New York design houses, and sells cheap copies ("designed" by Lynn) to low-end competitors. He then convinces the New York designers to send him to Paris to do the same for them - get the  Fashions of 1934 (1934) to them at a lower price.

Part of the AFI Silver Theatre's Library of Congress Film Preservation Showcase. Fashions of 1934 was projected with a newly restored 35mm print of this film. Like it's sister film, In Caliente, Fashions of 1934 is an excuse for elaborate musical numbers as well as stunning dresses exhibited in various fashion shows. If you've seen The Women, you are familiar with this kind of scene - lovely, period dresses, but the kind no member of the film audience would probably ever be able to afford. However, add a little Busby Berkeley magic, and you've got production numbers that you will long remember.

The biggest number involves human harps - yes, you read that right. The image below will give you just an idea of the piece. The trailer will show you another - lovely ladies with feather fans that are used to create gorgeous shapes. There's no way these routines would ever be on a stage at a fashion show, but I doubt anyone really cared.

William Powell is delightfully suave as the con man extraordinaire "Sherry" Nash. The part is reminiscent of the role he played in Jewel Robbery (1932). Even though he's unabashedly dishonest, the audience roots for him - he's just charming. He also has quite a good rapport with his two female co-stars, Bette Davis and Verree Teasdale (Grand Duchess Alix/Mabel McGuire), two very different actresses with extremely different acting styles.  With Mr. Powell there, you don't notice a change of tone.

Not surprisingly, Bette Davis was not thrilled to be in this picture. She wanted meatier parts, and this certainly was not what she was looking for. She stated that she was "all done up like a third-rate imitation of the MGM glamour queens. That isn't me. I'll never be a clothes horse or romantic symbol." (TCM article). Regardless of her discomfort with the part, she acquits herself well (though she is much better looking as a brunette). As for her desire for better parts, she would get her wish later that year, when she FINALLY was given permission to play Mildred in Of Human Bondage (1934) (The Lonely Life: An Autobiography by Bette Davis).

Verree Teasdale is amusing as Hoboken native and faux countess Alix. Ms. Teasdale started on Broadway, ultimately performing in 13 plays between 1924 and 1932; she appeared in her first film in 1929, and worked fairly steadily until 1941; thereafter, she did some radio work, often with her husband, Adolphe Menjou. Their marriage lasted from 1935 until his death in 1963 (they had one child). Ms. Teasdale died in 1987 at the age of 83.

In a part reminiscent of his character in One-Way Passage (1932),Frank McHugh plays Snap, a photographer - and con man/thief - who is Sherry's right-hand man.  Mr. McHugh makes the most of what he's got, though the part is mostly comedic.  It must be mentioned that, as intriguing as his little cane camera is, it's odd that he has to constantly hold it up to his eye to get pictures - resulting in the "secret camera" being not very secret.  There is an emphasis on this particular gimmick, and our reaction was that you'd have to be particularly stupid to not figure out what he is doing.

Several other character parts are worth mentioning - Hugh Herbert (Joe Ward) is actually not annoying in this film.  Reginald Owen (Oscar Baroque) and Henry O'Neill (Duryea) as part of the fashion industries in Paris and New York (respectively) are frankly as dishonest as Sherry and his crew.  Arthur Treacher makes a brief appearance as - what else - a butler.

Originally titled King of Fashion (AFI Catalog), this is a pleasant film with some lovely Berkeley numbers. Certainly, it is reminiscent of other films released around the same time, but with William Powell delivering the dialogue, you barely notice that it's typical.  I'll leave you with a trailer from the film (and a preview of one of the amazing dance routines.

Kay Cruises

After escaping from San Francisco following a murder conviction, Dan Hardesty (William Powell) is arrested in Hong Kong by Steve Burke (Warren Hymer), a police officer tasked with returning Dan to the U.S. for execution. Dan is determined to escape from the ship during the voyage home, but a complication arises in the form of Joan Ames (Kay Francis), a pleasure cruiser to whom he is immediately attracted. But there is a further complication - Joan is dying, and this cruise is, for her, a One Way Passage (1932)

This is perhaps one of Kay Francis' best dramatic roles. She sympathetic as a woman who has little time to live, and has decided to live a shorter, more interesting life, rather than just sit in bed and wait for the inevitable. Ms. Francis, without any backstory, provides that history to the audience simply with her demeanor. We know that Joan has heretofore lived the life an an invalid; informed that the end is now truly near, she has one last chance to experience the world before she leaves it. It seems the film was a favorite of Ms. Francis' as well - it was one that she would regularly show to her beaus to acquaint them with her work (Kay Francis: I Can't Wait to be Forgotten: Her Life on Film and Stage by Scott O'Brien).  

Equally excellent is William Powell as a decent man about to be executed for murder. Dan Hardesty has killed a man, though according to his friend Skippy (Frank McHugh), the victim "needed killing". We get no more information than that. But, we know that Dan is ethical - while attempting to escape from Steve, he plunges them both into the water. But when he realizes that Steve cannot swim, he puts off his escape attempt to rescue his captor. With that simple gesture, we know all we need to know about the integrity of Dan.

In their sixth film together, Ms. Francis and Mr. Powell are a dynamic team. Their chemistry is palpable, and their camaraderie is apparent.  This film would prove to be their biggest box-office hit, yet it was also their last film together (TCM article). Powell would soon leave Warner Brothers for MGM, and The Thin Man series, while Ms. Francis remained at Warners. If you are interested in some of their other films together, start with Jewel Robbery (1932) - their interplay is remarkable.

One Way Passage also has the advantage of co-starring the remarkable Aline MacMahon (Barrel House Betty aka Countess Berilhaus) in the cast. As a con artist who starts off using her wiles to distract Steve from Dan, but ends up falling in love with Steve, she's terrific. Ms. MacMahon is an actress who makes everyone around her look better. As a result, Warren Hymer (who is usually, to my mind, an uninteresting actor) shines as Steve. He becomes more than just the dumb cop he usually plays.  In his book Mothers, Mammies and Old Maids: Twenty-Five Character Actresses of Golden Age Hollywood, Axel Nissen says that "because she didn't look like anyone [Aline MacMahon] could play everyone" and that is certainly the case here. You believe that she is could be a countess, even though you know almost immediately that she is not. Ms. MacMahon can play anything or anyone.  For a brief bio on this wonderful actress, visit our post on Heroes for Sale (another film in which she basically stole every scene).

The screenplay for One Way Passage won the Oscar for Best Writing - Original Story in 1933 for Walter Lord. Director Tay Garnett allegedly felt he deserved credit for some of the writing, which he did not receive (AFI catalog).  The costuming by Orry-Kelly is lovely; he was also tasked with making Kay Francis look ill, which he succeeds in doing by giving her lovely, flowing gowns that hint at frailty. Mr. Kelly would return to costume the 1940 remake, 'Til We Meet Again, this time starring George Brent and Merle Oberon as the doomed lovers.  Also returning for the remake - Frank McHugh!.

Surprisingly, the New York Times review by Mordaunt Hall actually praised the film, stating that it "offers quite a satisfactory entertainment. It has an original idea and the characters stand out..." We would be much more effusive in our praise, but regardless, this is a film for fans of both Ms. Francis and Mr. Powell.  We'll leave you with a brief scene - the meeting of  Joan and Dan:

Kay Meets a Robber

Welcome to our contribution to the CMBA 2018 Fall Blogathon: Outlaws. As always, we'll begin with a short synopsis of the film.

Baroness Teri (Kay Francis) lives to shop. Her husband, Baron Franz von Hohenfels (Henry Kolker) indulges her with expensive jewels and clothing, but other than that he is completely inattentive. The Baroness' lovers also prove to be bores, so all that is left is looking for ever more expensive gems. When she visits a local store to buy yet another impressive ring, she finds herself in the middle of a Jewel Robbery (1932).

Though the plot is slight, this is a witty and engaging film. From the moment we meet Teri, we are intrigued. Ms. Francis creates a funny, wry character who is sexy and adorable. We first meet her in a bubble bath, where she is playing with the bubbles and the soap. When the soap goes flying from the tub, we experience a moment in which we believe she is really going to pop out of the bath. The film is pre-code with a vengeance! And while it is very dialogue driven, that's not really a bad thing, since the script is so sharp, you want to hear every word.

Sharing the screen with her in their their fifth (of seven) films together (TCM article) is the always-entertaining William Powell. The unnamed Robber is gentile and courteous. Like Teri, he too lives to shop - but he'd rather do it without money. Together, their repartee is engaging and quite suggestive (like I said, this is very much a pre-code film). 

Teri and the Robber participate in a subtle mating dance from the moment they meet. We, the audience, have the pleasure of watching them verbally duel. And with William Powell as the sparring partner, the audience is in store for a battle of wits. The Robber's sophistication and wealth are apparent. The dialogue slips from his mouth like pearls - each line is delivered in such as way as to leave no doubt as to The Robber's attitude towards Teri, as well as his other "victims." One wonders why he is still stealing, as his vault is full of valuable gems, which he seems in no rush to sell. We suspect theft is a game to him - a cat-and-mouse challenge between him and the police, and his quarry.

Initially, Mr. Powell was not interested in the film (TCM article). He'd just married Carole Lombard (his first marriage had ended in divorce) and was eager to spend time with his bride. Unfortunately, the marriage was over by 1933, though the two remained close friends until her death in 1942 (My Man Godfrey was filmed well after their divorce). He was engaged to Jean Harlow when she died in 1937; that same year, he was diagnosed with cancer. He temporarily retired from film, while he underwent radiation therapy. Within two years, his cancer was in remission. His only child had died in 1968 (suicide following a period of prolonged illness and depression; father and son had been quite close, and William's final letter was to his father). In 1940, he remarried Diana Lewis, a marriage which lasted until his death (from heart failure) in 1984 at the age of 91. He'd been retired since 1955 (Mister Roberts was his final film appearance) (William Powell: The Life and Films by Roger Bryant).

Helen Vinson as Teri's best friend, Marianne is also delightful.  The scenes between her and Ms. Francis are amusing.  Their discussion of the Baron, and his lack of skill in the bedroom are more than suggestive, as is Teri's admission that she is merely arm candy for her husband - candy for which he is eager to pay, with expensive clothing and jewelry.  

Also appearing briefly is  Alan Mowbray as Detective Fritz, providing the one real surprise in the movie. Though it should be mentioned that there is another surprise for modern audiences, unused to pre-code films - The Robber's use of a "funny" cigarette, that keeps reappearing in the films at inopportune times is quite enjoyable (and is clearly marijuana, which would, of course, be totally banned from movies when the Code was introduced). (Gestures of Love: Romancing Performance in Classical Hollywood Cinema by Steven Rybin).

Jewel Robbery was based on Ladislaus Fodor's play Ékszerrablás a Váci utcába, which was adapted by Bertram Bloch for Broadway as The Jewel Robbery. The film got mixed reviews (The Complete Kay Francis Career Record: All Film, Stage, Radio and Television Appearances by Lynn Kear and John Rossman and ), some praising Ms. Francis, some criticizing her (we're in the former camp. She's delightful). 

This is a truly entertaining film, and we highly recommend it. We'll leave you with a clip with Mr. Powell and Ms. Francis getting to know one another.

This post is part of the CMBA 2018 Fall Blogathon: Outlaws

William Has The Key

Paedar Conlan (Donald Crisp), a Sein Fein official, is on the run from the British military in 1920s Dublin. He's being sought by Captain Andrew Kerr (Colin Clive), an officer in the Secret Service. Andrew and his wife, Norah (Edna Best) have a good marriage, though Andrew knows that she once loved another. Their life becomes more complex with the arrival of Captain Bill Tennant (William Powell), Norah's former love. Thus begins The Key (1934).

A compact film, The Key proved to be interesting plot, if a bit weak at times. We discussed the rather oblique title at some length (was it called The Key because of Powell's entry into his commander's office? Or was Paedar Conlan The Key to all the problems? It's a mystery; and not a very revealing title). We were also bemused by an ending that felt tacked on.  Released in 1934, we suspect that concerns with the code may have altered the original ending. Regardless, it felt abrupt and slapdash.

The actual key to this film is William Powell. With the twinkle in his eyes, and his devil-may-care attitude, Powell saves the film from being a bore. When he is on the screen, you can't take your eyes away from him. Particularly nice were his interactions with a flower girl (played by Anne Shirley, back when she was still Dawn O'Day). We know that Tennant is a ladies' man, but his conversations with Ms. O'Day are gently flirtatious, an acknowledgement of her youth and obvious naivety. A consummate actor, Mr. Powell is never better than when he is a bit of rogue; he's always able to let you know that there is a gentle side to nature.

Colin Clive proves a good foil to Mr. Powell. His character is very straight-arrow; this allows Powell to give the action some much needed bounce. Mr. Clive had a very brief film career - only 18 movies between 1930 and 1937, the most famous of which was his role as Dr. Henry Frankenstein in the 1931 Frankenstein. During the same period, he appeared in 4 Broadway plays, including Libel, which would be made into a film in 1959. Whether Mr. Clive could have broken away from the super-serious plotlines into which he was being cast will never be known. He died in 1937 of tuberculosis complicated by alcoholism; he was 37.

This was Mr. Powell's last picture at Warner Brothers. He'd not felt well-used there; he selected The Key over another Philo Vance film and a movie called Dollar Wise (which does not seem to have ever made it to the screen). When his contract ended, he headed down the road to MGM, where he was teamed with Myrna Loy and Clark Gable in Manhattan Melodrama (1934). That paring with Ms. Loy was such a success that they appeared in another film that same year, for which Mr. Powell was nominated for the Best Actor Oscar - The Thin Man. Ultimately, Mr. Powell and Ms. Loy were in 14 films together. (TCM article; William Powell The Life and Films by Roger Bryant).

Mordaunt Hall in his New York Times review called The Key "a sturdy and effective melodrama" which is perhaps more praise than it deserves. He was particularly impressed with the performances of Mr. Powell and Mr. Clive; he even singles out Ms. O'Day for praise. While not a bad film, it's not Mr. Powell's best. But even his least is worth a quick view. We'll leave you with this clip from the film:

Kay Drives a Car

In the second year of her film career, Kay Francis appeared in 10 films.  For the Defense (1930) features her in the third of the 6 films in which she appeared with William Powell.  Powell plays attorney William B. Foster, a successful, albeit often unethical attorney who will do almost anything to get his client freed.  He loves actress Irene Manners (Ms. Francis), but is unwilling to marry her - he's not the marrying kind, and is perfectly satisfied with their current relationship.  She, however, is ready for marriage, and is being wooed by Jack Defoe (Scott Kolk), who is eager to wed her.  Irene is ambivalent - she loves Bill, but the relationship is going nowhere; Jack loves her, but she she has no strong feelings about him.  Sensing her indecision, Jack drinks too much; Irene insists on driving him home.  On their trip, Jack again tries to embrace her; as a result, she inadvertently swerves, hitting and killing a man in the road.  Jack insists that she leave the scene; he takes the blame for the accident, and ends up on trial for manslaughter - with Bill as his defense attorney.

This was Kay Francis' first real chance at a leading role; she seems at ease and quite natural in the part.  Though not given the wardrobe that would later enhance most of her films, her costumes are not shabby, thanks to the excellent (and uncredited) work of Travis Banton.   Even her hairdo is different here; she wears it extremely short, and slicked back (you can see it below).  It's very severe, but is also becoming.  As the only woman in the cast (even the jury members are all men), Ms. Francis stands out, and makes the most of what could have been a fairly small role.

The character of William Foster is based on a real life character - William J. Fallon, "The Great Mouthpiece", who defended, among other, Nicky Arnstein (Fanny Brice's husband) and Arnold Rothstein (the model for Meyer Wolfsheim in The Great Gatsby).  Of the 120 defendants accused of murder that Fallon defended, none was convicted.  This article from The New York Press goes into detail on the life and times of the notorious Bill Fallon.  In 1932, Warren William would play another character, loosely based on Fallon in The Mouthpiece;  the character of Billy Flynn is certainly a direct descendant of the lawyers patterned after Fallon.

William Powell is quite good as Foster.  Just two years from silent films, Powell knows how to use the camera both with speech - and without it.  The sound cameras in 1930 were very limited and director John Cromwell does a lot to compensate for the problems, such as using rear screen projection to give the feeling of a busy city street (This TCM article goes into more detail on some of the techniques used to give the film movement).  Especially impressive is a scene of Powell, late in the film, walking down a long corridor.  There isn't a sound, but Powell and Cromwell make the walk seem like forever. (Check out this review of the film on Pre-code.com for more on the film's impressive use of silence.)

Powell's career began on Vaudeville and Broadway.  He appeared in 4 Broadway plays (as William H. Powell - his name was William Horatio Powell) between 1918 and 1922, when he left New York for Hollywood.  He worked steadily during the silent period - his greatest success being in Emil Janning's The Last Command.  With his prior stage experience and wonderful speaking voice, he was ready for his first talkie in 1928, when he starred in Interference.  But it was The Canary Murder Case the following year that really solidified his position in films.  Originally conceived of as a silent, the film was reworked, and Powell cast (for the first of 5 appearances) as detective Philo Vance.  The year after his final appearance as Vance, Powell was cast in the part for which he is best remembered - Nick Charles in The Thin Man (1934).  He had just recently (in Manhattan Melodrama) appeared with co-star Myra Loy; their chemistry resulted in 14 films together.  Though his marriage to Carole Lombard only lasted two years, they remained friends and in fact appeared in My Man Godfrey (1936) three years after their divorce.  Shortly after the death of his fiance, Jean Harlow, Powell was diagnosed with cancer.  After a two-year battle, the disease went into remission and Powell resumed his career.  He worked steadily until his retirement in 1955, immediately after his appearance in Mr. Roberts.  Married to actress Diana Lewis for 44 years, he died 30 years after his retirement, at age 91.

We'll close with this scene of Bill and Irene at a night club.  We'll be leaving the pre-code period for a Barbara Stanwyck film from the 1960s.

Ann Snares William

We selected an excellent pre-code film for this week's discussion - Double Harness (1933) (Femme aux gardénias in France), starring Ann Harding  and William Powell.

The marriage of Valerie Colby (Lucile Browne) and Dennis Moore (George Meeker) leads Joan Colby (Ann Harding) to seek a spouse for herself.  Though she claims not to love him, Joan selects wealthy playboy John Fletcher (William Powell), despite the fact that he pays no attention to his family's business (to the consternation of Joan's father,  Colonel Sam Colby (Henry Stephenson)) and had been carrying on a very open affair with Monica Page (Lilian Bond).  Since John claims he'll never marry, Joan concocts a plan - have her father walk in on them when she and John are in a compromising position in John's apartment.  But there is a problem - Joan has fallen in love with John, and his suggestion of a marriage of convenience to placate her father is not really what Joan had in mind for her future. 

Our reference to the French title is purposeful, because the gardenia plays a major role in the film, symbolizing the relationship of Joan and John. The gardenia is Joan's favorite flower, and a corsage or bouquet telegraphs important moments in their lives. The film was based on the novel Double Harness by Anthony Hope (of The Prisoner of Zenda fame) and a play of the same name by Edward Poor Montgomery.   Elegant costumes were provided by Walter Plunkett - we were especially impressed with a fur embellished dress worn by Ms. Harding.

Ann Harding brings a matter-of-factness to Joan's pursuit of John which precludes disliking her, even when we believe her only motivations are selfish.  Harding makes Joan something of a businesswoman - she sees potential in John, and in return for their marriage, she'll be his helpmeet.  After her realization that she, in fact, loves John deeply, Harding makes Joan warmer and more sympathetic.  But never does she make her a doormat - Joan is strong and smart - she never allows the viewer to believe she is otherwise.

William Powell approaches John in much the same way he would later play Nick Charles - he has humor, but is a casual man, seemingly more concerned with his pleasures than anything else.  But like Nick, he has depth.  Though at first, he doesn't know how to do anything but play, he is taught by Joan that there is a joy in accomplishing something outside of a nightclub.  Powell's scenes with the two women in his life - Joan and Monica - are wonderful.  His eyes always let us know how he feels, no matter what his lips are saying.  Would he marry Joan eventually if he hadn't been tricked? We think so.

Neither of the other women in the film are particularly likable.  Of course, we aren't supposed to like Monica, but Joan's sister Valerie, as portrayed by Lucile Browne, is a selfish bubblehead, who milks her sister for money after running up a debt of $1,000 (nearly $18,000 in today's dollars) for clothing and doo-dads.  In revenge for her sister denying her more money, Valerie tries to break up Joan's marriage.  Browne does a decent job with the character - she doesn't try to make her attractive; our dislike for Valerie was powerful.  Browne appeared in 45 films and shorts between 1930 and 1950, mostly in small and/or uncredited roles. She primarily was a homemaker from 1938 on, after her marriage to William James Flavin (who also left acting to teach).  17 days after his death in 1976, the grief-stricken Lucile died at the age of 69.


While the New York Times reviewer was not particularly taken with this film, fellow blogger at Pre-code.com agreed with us that this is a film well worth your time.  Essentially lost for years (these TCM articles and notes from the AFI catalog  describe the history behind the film's disappearance), the film (along with five other Merian C. Cooper films) were aired on TCM and released under their TCM Vault logo in 2007.  When the film was restored, a scene that had been cut - Joan emerging from a bedroom in lounging pajamas, as John awaits her return - was reinserted.  Unfortunately, the film is out of print on DVD again (though still being shown on occasion on TCM).  We leave you with clip of Joan (in her gardenias), beginning her seduction of John.