Dr. Kay, Part Two

Last week, we watched Kay Francis appear as a pre-code physician in Mary Stevens, M.D.  This week, we viewed Dr. Monica (1934), released the next year, but in many ways, a much more restricted film.  While technically a pre-code film (Dr. Monica was released June 21, 1934 - the code didn't officially start being enforced until July 1st), for all intents and purposes, this film is forced to abide by some aspects of the Production code, not the least of which is the punishment of a woman who has carried on an affair with a married man.

Dr. Monica Braden (Ms. Francis) is a successful obstetrician, married to writer John Braden (Warren William).  The only thing that seems to mar the happiness of their marriage is Monica's inability to have a child.  Or so it seems to Monica - unbeknownst to her, John has been carrying on an affair with aviatrix Mary Hathaway (Jean Muir).  When John leaves for Europe, he and Mary call a halt to their relationship; what he doesn't know - and won't discover - is that Mary is pregnant.

Though the character of Mary is ultimately punished for her mistake (not so the erring husband), many aspects of the film fall into the pre-code conventions.  There is the out-of-wedlock pregnancy, a brief discussion of abortion, and finally, our female leads.  The film presents us with three women, all of whom are career women - our heroine, a successful physician; Mary, though wealthy, a trained flyer with her own plane; and Anna Littlefield (Verree Teasdale), a gifted architect.  Several sources, including this TCM article note that Joseph Breen, the head of the Production Code Administration, despised this film as being about "a lesbian, a nymphomanic and a prostitute."  We figured that Anna was the lesbian, given that she isn't married, doesn't have a man in her life, and has a successful career, and that Mary was the prostitute (though she certainly wasn't doing it for money. She has far more money that John will ever have.  Monica is the major breadwinner in that family).  But we weren't clear on who the nymphomanic was - Monica? Because she wants a child? We are at a loss, and we're not suggesting a seance to ask Breen what on earth he was thinking!

The New York Times review was far more sympathetic to the film, with positive reviews for the three ladies, especially Jean Muir, and even some kind words for Warren Williams (in what they truthfully call a "thankless role).  

We were especially impressed with Verree Teasdale's performance - she gives the character of Anna a gravitas that is essential for the person who serves as Monica's moral compass.  She is Monica's confidant, but she is also the one that makes certain Monica ultimately fulfills her duties as a physician, even when outside circumstances make her unwilling to act ethically.

 Ms. Teasdale began her career on Broadway, appearing in 13 plays between 1924 and 1932.  She started in films, in 1929, appearing in Syncopation that year.  In her 30 films, she was primarily the second lead or nasty society wife; she also played Hippolyta in the 1935 A Midsummer Night's Dream.  That same year, she married actor Adolphe Menjou - they had one child.  Though they did not appear in films together, in the 1940's and 1950s, they hosted a radio show.  She and Menjou remained together until his death in 1963.  She died in 1987, at the age of 83. 

According to the AFI Catalog, the Hollywood Reporter stated that Barbara Stanwyck and Joel McCrea were considered for the leads, casting that would have resulted in a very different movie.  Stanwyck would finally get to play a doctor in the 1940s (You Belong to Me, 1941); Ms. Francis would play a physician once more, in 1939s gangster film, King of the Underworld, giving her the record, as far as I can find, of an actress playing a doctor.

We'll end today's posting with a trailer from the film.

Dr. Kay

 As I've mentioned before in this blog, I have a personal fondness for films about women doctors, so I was very pleased that the film my group selected for this week is Mary Stevens, M.D. (1933).  Kay Francis is Mary Stevens.  We meet her as she and her best friend, Don Andrews (Lyle Talbot) conclude their internships and open an office together, with Mary's devoted friend - and nurse Glenda (Glenda Farrell) in tow.  It's rough going at first - Mary, as a woman, finds it hard to recruit patients.  But, just as things start to improve, Don decides that he'll be better off married to Lois Rising (Thelma Todd), the daughter of a powerful politician.  And, while Mary now has a thriving practice, she loves Don and he is now, seemingly, out of reach.

The pre-code elements in this film are fairly simple: Don and Mary have an adulterous relationship,  and Mary has a baby out of wedlock.  There's even a brief hint at abortion (Mary refuses to "do something" about her pregnancy, since she'd recently advised a patient to "go through with the thing" and now she is "going to live up to [her] own advice!"  My fellow blogger at Pre-code.com also provides a nice overview of the film (though be warned - there are spoilers).  But Mary's integrity as a physician and as a human being are never in question.  She is a good, dedicated doctor, who just happens to fall in love with a very wrong man.

We loved Kay Francis as Mary Stevens.  Sure, she's got nicer clothing than any struggling physician should have.  Regardless, she presents a picture of a woman who is competent and who KNOWS she is competent.  Despite her love for Don, she won't brook medical sloppiness, and when she realizes that his drinking is destroying his ability as a doctor, she breaks all ties with him.

Lyle Talbot also does a good job in portraying someone with real ethical issues.  Talbot has the ability to switch from likeable to reprehensible with very little effort, a real asset with Don.  And he needs to do it in such a way that the audience will root for him when Mary and he meet years later.  We talked about Mr. Talbot at length in our review of A Lost Lady.  He is equally good here, but in a very different part.

Poor Glenda Farrell gets very little to do here, except be supportive to Kay.  She is seldom out of her nurse's uniform, and doesn't even have a last name.  But she makes the most with what she is given, making Nurse Glenda memorable. With 116 film and television credits, Glenda Farrell's career extended from an uncredited role in 1928 to 1970.  She excelled at comedy, and could do zany and/or dumb characters with her eyes closed.  Frequently paired with Joan Blondell (they would do 9 films together), Ms. Farrell really broke out when she first appeared as intrepid reporter Torchy Blane in Smart Blonde (1937).  She would play the part 6 more times   Lola Lane played Torchy once in 1938's Torchy Blane in Panama when Warner Brothers decided they wanted a new Torchy - it didn't work out, and Ms. Farrell appeared again in the role.  Jane Wyman would conclude the film series with Torchy Blane...Playing with Dynamite (1939) when Ms. Farrell left Warners to head back to New York and Broadway.  Between 1929 and 1970, Ms. Farrell appeared in 12 Broadway plays, including Forty Carats (her part went to Binnie Barnes in the film version), as well as appearances in many television shows.  While appearing in the Broadway play Separate Rooms (1941), Ms. Farrell met Dr. Henry Ross (he was treating her sprained ankle at the time).  They married, and were together until her death of lung cancer in 1971.

Another actress with a minuscule part is Thelma Todd, who only has a few scenes as Don Andrews' wife Lois.  We see her briefly prior to their marriage, then again when Lois' father forbids her from divorcing him.  Todd had started her career in silent films, but talkies gave her the opportunity to show off her comedic talents, often teamed with ZaSu Pitts in a series of short films about two hapless women (patterned after Laurel and Hardy) named Thelma and ZaSu (surprise!).  But Todd is perhaps known because of her mysterious death at age 29; she was found in her car, dead, in what the coroner called a suicide from carbon monoxide poisoning.  The truth behind her death has been debated for decades.  Did she die at her own hand, or was she the victim of a murder? In 2012, William Donati published The Life and Death of Thelma Todd, which revisited the investigation.

Two major incidents happen towards the end of the film that bear some mention.  Dr. Stevens is called in to treat a child with infantile paralysis.  She needs a serum.  Really?  Infantile paralysis - or polio - was not treatable in the 1930s, and the only "serum" currently available are the polio vaccines, discovered by Jonas Salk and by Albert Sabin in the 1950s.   The other incident revolves around Mary's depression at the end of the film.  As Don tries to bring her back to herself, it is her career that he uses as a motivator, not their pending marriage.  That, combined with a final scene that is described in this TCM article are, for me, the most interesting aspects of this film on the role of women in medicine.

This New York Times review points out the excellent work of Una O'Connor in her small part as the mother of two sick children.  All in all, it's a positive review, and we agree and highly recommend it.  We leave you with a trailer.

Next week, we'll look at another Kay Francis film in which she portrays a doctor.

Jane Joins the Army

At the outbreak of the Second World War, Captain Beth Ainsley (Jane Wyatt) is onboard a military transport ship.  This is not her first time in the military, and the action of  Army Surgeon (1942) flashes back to Beth's experiences as a member of the Army Nurse Corps in World War I.  We later find out that Beth is  a physician, who has chosen to serve her country in the only way she can, by volunteering as a nurse.  In Europe, she meets a former admirer, pilot Lieutenant Philip Harvey (Kent Taylor), and Captain James Mason (James Ellison), a doctor who is eager to get to the front.

This is not a particularly good film - the story is all over the place, and it never really decides what it want to be.  Is it a love story? A war movie?  You'll not be able to decide, even after watching it.  By trying to be all things to all people, what you really have is a mess.

While Jane Wyatt is always a pleasure to watch, we found Kent Taylor to be quite annoying.  According to this TCM article, Randolph Scott was considered for this part; we were intrigued as how this would have changed the quality of the film.  Not that he could have done much for the overall story; he'd have needed a script doctor for that.  This AFI catalog entry does give an excuse for Taylor's lackluster performance - following a fight scene with Ellison, he ended up with SEVEN broken ribs. 

Likewise James Ellison, a decent, if slight actor (you might know him from Vivacious Lady or The Plainsman) only gets to bristle periodically.  Sure, it's a B picture, but they really could have done better.  And that was reflected in the box office - it lost over $46,000.

As someone who is interested in the portrayal of women physicians on film, this did have at least one component that was fascinating.  The film is very vague about Beth's military position in the frame portions of the film.  We know she is an officer - a Captain in fact (and was a Lieutenant in the First World War).  But, since the Sparkman-Johnson Bill, which allowed women physicians to serve in the military AS physicians (Dr. Margaret D. Craighill was the first woman doctor to enter the military), was not passed until April of 1943, Beth cannot be in as a physician.  Do the authors intend this to be a call to the public for women physicians in the armed forces?  And, I'm told that her rank as Captain does speak to the fact that she has re-entered the service, not stayed in the military.  Were she a career nurse now, her rank would be higher.  We have to assume that she is back in as a nurse, perhaps hoping that she will eventually be allowed to practice her real profession.

Next week, we'll return with a more interesting film.  Sorry, we just can't recommend this one.

Dr. Greer

Strange Lady in Town (1955) was of particular interest to me (and to my friends), because it is the story of a female doctor.  I've done some research on women physicians in film, and even presented a paper on the topic; I'd heard of this film, though never seen it before.  It proved to be an interesting addition to women physicians on film.  Strange Lady in Town tells the story of Dr. Julia Winslow Garth (Greer Garson), a Boston physician who has relocated to Santa Fe, New Mexico, where her brother, Lt. David Garth (Cameron Mitchell) is serving in the military.  Dr. Garth is tired of the bias that has continually hobbled her medical career: male physicians in Boston routinely cut at her ability to practice.  She hopes that frontier medicine will enable her to advance her career and help her to help others.  But upon her arrival, she discovers from the spunky Carlotta "Spurs" O'Brien (Lois Smith) that her father,  Dr. Rork O'Brien (Dana Andrews) is yet another of those bigoted physicians, and she will need to get around him in order to grow her practice. 

One of the major problems with this film is the side plot that involves brother David and his predilection for illegal activities.  It seemed like it belonged in another movie, and that the growing list of David's crimes was artificial - merely a way for the townspeople to blame Julia for something.  David's not particularly likeable; one wonders what "Spurs" sees in him.  And why he is "bad" is never really explained - he has risen to a decent position in the military, and appears to be liked by his colleagues (when he isn't cheating them...).  He justifies his crime spree as being just who he is - he's bad; Julia is just too fond of him to notice (apparently, the Army was too fond to notice as well).  The main story:  the conflict between Doctors O'Brien and Garth, the growing relationship between "Spurs" and Julia, was far more interesting and engaging.

This is not to say that Dr. O'Brien is a particularly amiable man; in fact, he's pretty hard to tolerate.  He's ignorant and a bully - upon learning that Dr. Garth has studied under Lister, and subscribes to Lister's belief that sterilizing instruments and washing hands saves lives, O'Brien ridicules her.  In fact, he later complements her on her "perfume", only to learn that the scent is that of carbolic acid (Lister's prescribed sterilizing agent).  O'Brien's saving grace is his daughter.  "Spurs" is so likeable and engaging she mitigates her father's actions merely by her love for him.  Given "Spurs'" garb (she dresses like a boy), complete self-sufficiency, and genuine caring personality, combined with the  free-rein she is given by her father, how much of Dr. O'Brien's bias is genuine, and how much is just male-chauvinist bluster? The film's end (bit of a spoiler here) implies that he is all bluster, but it takes awhile to get there.

Lois Smith as "Spurs" is a revelation - you cannot help but like her; and she almost steals the movie from star, Greer Garson.  Smith, who is still actively working, has had a long career. She is primarily known for her television work - most recently, she appeared on True Blood as Adele Stackhouse; she also had a recurring role on ER, and was a regular on The Doctors.  An inductee into the American Theatre Hall of Fame, Ms. Smith has appeared in 20 Off-Broadway and 10 Broadway plays, including James Earl Jones' The Iceman Cometh in 1973-1974. I'm not sure if Bosley Crowther's comment on her performance in this review in the New York Times does her justice, but "Spurs" is a character with dignity.

Nick Adams appears VERY briefly as Billy the Kid; if you blink, you will miss him.  And Cameron Mitchell is good in the fairly thankless part of David.  But it is Greer Garson who is the star here, and she shines.  This TCM article discusses some of Ms. Garson's travails on the picture, not the least of which was an attack of appendicitis that ultimately required surgery (and none too soon - her appendix was about to burst).  Regardless, Ms. Garson was fond of the picture, having finally gotten to do an "outdoor role".

Strange Lady in Town is very reminiscent of Dr. Quinn, Medicine Woman, and we wondered if the creators of that show had ever seen this film.  This 2014 overview discussion of the film is worth taking a look at for the list that they compiled of women physicians in television westerns.  I'm hoping I can locate some of them.

We'll close with the scene in which Julia meets with "Spurs".  Next time, we'll be looking at a Ronald Colman pre-code film.