Barbara Dances

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

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


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

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

Ginger Avoids the Path

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

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

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

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

Kay on Trial

There is no question that our group are big fans of Kay Francis.  But tonight's movie is probably (in our humble opinion) one of her finest performances.  It is Confession from 1937.  The action opens on a young music student, Lisa Koslov (Jane Bryan) being approached after a recital by the renowned musician Michael Michailow (Basil Rathbone).  Complimented, Lisa finally agrees to meet him; they go to a nightclub where Vera (Kay Francis) is the lead singer.  She sees Michael and Lisa. Michael sees her.  He attempts to leave the nightclub, only to have Vera follow him and shoot him dead. The rest of the movie is Vera's trial, and the story of her life, which will clarify WHY she killed Michael.

Francis is amazing here.  We see her (as we did in The House on 56th Street) in many phases of her life.  That she makes errors is clear; that she was wronged is also clear.  But, cut to her at the beginning of her trial, the utter blankness of her expression, followed by the panic when she realizes that her attorney is going to tell her story without her permission.  This is great acting.  

It's also fun to again see Basil Rathbone, who really did spend half his career playing villains, as the bad guy once again.  He oozes insincerity.  WE know what he is after.  Unfortunately, Lisa (Jane Bryan, who does an excellent job playing a naive young woman) has not got a clue that men like him exist. 

It's interesting that this film was actually a shot-by-shot remake of a German film (with an American cast, of course). Regardless of the fact that this film is borrowing heavily, the performances make it a new film. We'll close with the scene where he makes his play for his latest innocent victim:

Barbara's Love Nest

Illicit, with Barbara Stanwyck, is easily a Pre-Code film!  Stanwyck stars as Anne Vincent, a young woman in love with Dick Ives (James Rennie).  Dick and Anne aren't married, but are openly living together.  Dick has proposed multiple times, but Anne resists, seeing marriage as the death of love.  Finally, Dick's father convinces her that marriage is the only way to avoid scandal.  But, Anne soon finds that she and Dick are taking one another for granted, and though she still loves him, she is furious when she finds he has been out with his old girlfriend.  And things begin to unravel from there.

It's rather shocking, really, to think of a couple in 1931 living together, and discussing a long-term relationship without a wedding ring.  Sure, they do get married, but Anne is convinced for much of the movie that it is marriage that has destroyed her relationship with Dick.  Stanwyck is just terrific here, both vulnerable and tough.  An interesting casting note is Charlie Butterworth as Dick's gossipy friend Georgie.  A drunk and a ne'er-do-well, Georgie is really one of the major reasons the marriage become troubled. 

It's also good to see Ricardo Cortez (as Price Baines, Anne's old flame).  Ricardo is such a slimy bad guy.  It's a pleasure to watch him work to break up the marriage (and oh, yes, he certainly does try).

If you would like to have a taste of this delicious movie, try this clip:


Next time, another Francis Pre-Code gem.

Nanny in Disguise

Devotion (1931) stars Ann Harding as Shirley Mortimer the maligned and ignored daughter of an intellectual family.  While assisting her family (Shirley runs the house. The rest of the family is “too busy”), she meets David Trent (Leslie Howard), a busy barrister in need of a nanny for his young son. Shirley is smitten with David, and decides to pursue their relationship by apply for the job as nanny. She facilitates this by inventing an older Cockney lady, Mrs. Halifax, and donning a grey wig, old clothing, and glasses. David, of course, is oblivious to the disguise, but it doesn’t take long for his client, Norman Harrington (Robert Williams) to realize that the wig is hiding an attractive, young woman.

It struck us that Shirley was the somewhat less unbalanced mother of Bette Davis’ Charlotte Vale (Now, Voyager). Both are looked down upon by their families, both seem to see themselves as unattractive.< However, Shirley decides NOT to have a nervous breakdown. Instead, she becomes someone else.

Though filmed in the Pre-code era, this isn’t really a Pre-code movie. Or is it? Norman has murdered his wife (and been found innocent, because the wife was a violent lush). And David has his own little secret (which we won’t reveal) that rather smacks of the Pre-code ethos.

Ann Harding is quite endearing as Shirley. Though her family doesn’t think so, she really does have a backbone, is smart, and ultimately quite attractive. Leslie Howard is appropriately befuddled as the overworked barrister. And then there is Robert Williams. Robert Osborne told us about his unfortunate, brief life – a life cut short just as he was receiving attention for his work. His Norman is JUST enough on the edge to make you wonder IF he was really a murderer. One is never quite sure if he is trustworthy or not. And watch for Louise Closser Hale as Shirley's witch of a mother. 

We leave you with a clip from the film. Next time, a real Pre-Code film!

Kay Gives Her Heart - And More

Give Me Your Heart (1936) begins with a parting - Belinda Warren (Kay Francis) and Robert Melford (Patric Knowles) have been having an affair, and it is about to end.  He is married; his wife Rosamund (Frieda Inescort) is an invalid, but he still loves her and cannot leave her. So Belinda and he part; she finds herself alone upon the death of her father - until she has the son that she and Robert conceived.  Belinda is approached by Robert's father, Lord Farrington, who asks if he may raise the child as his son's heir.  The boy will be loved and happy, and will want for nothing.  Reluctantly, Belinda agrees; finally fleeing to the U.S., where she meets Jim Baker (George Brent).  They marry, but Jim cannot understand why his wife is always unhappy. 

This is a soaper, certainly, but it's a lovely film with some great supporting performances.  Henry Stephenson is wonderful as Lord Farrington. He really is the person you would be willing to give your child to.  His affection for Belinda is apparent, and we realize that this feeling is mutual.  Also great is Roland Young as "Tubby", Belinda's dear friend, and friend to Lord Farringon.  "Tubby" functions almost as a Deus ex Machina, descending on Belinda's life to help make the changes that will make things better.  Young plays him with humor, but with a serious concern for this woman who is obviously in so much pain. And Frieda Inescort has one excellent scene towards the end of the film.

Since I'm a fan of women doctors in the movies, it was fun to see that Belinda's doctor is a woman - Dr. Florence Cudahy played by Helen Flint. A good friend to Belinda, she is also a good doctor, refusing to give the insomniac Belinda sleeping pills. Florence prefers instead to try to find the root of Belinda's pain.

As always, any Kay Francis is a pleasure. However, next time we'll be visiting another 30s actress. In the meantime, here's a trailer from this film:

Spot Kay

If any one movie pushed the Production Code into existance, Mandalay from 1934 must be in the running.  Kay plays a Russian refugee, Tanya, who is deeply in love with (and living with) Tony Evans (Ricardo Cortez), a ne'er-do-well, who has the choice of losing his boat or Tanya, to Nick (Warner Oland).  He chooses the boat, handing Tanya over to Nick to work in his club as a prostitute.  Tanya takes on the name "Spot White", and begins to amass jewels and power as she apparently blackmails her clients for her silence.  Finally, she blackmails herself out of Rangoon, and on to a boat bound for Mandalay, where she meets Dr. Gregory Burton (Lyle Talbot).  He is on his way to the plague areas in Mandalay, his penance for his alcoholism.

If that isn't enough to convince you that this is a racy movie, let's throw in some implied nudity and murder as well.  This film has something for everyone!  Kay is great (in spite of having to say a lot of "R's" (as was pointed out by Robert Osborne in the introduction). As she did in The House on 56th Street, she makes the transition from innocence to hard reality beautifully.  And Ricardo Cortez is wonderful as the ever slimy Tony. Finally, we have Lyle Talbot playing Gregory as a tortured soul, whose drunkenness masks his inner pain, but who has the good sense to fall in love with Tanya.  Talbot makes a good counterpoint to Cortez in this film.  Neither is exactly the man of your dreams, but Gregory, at least has a conscience.

Lots of beautiful clothing by Orry-Kelly. And lots to titillate as well.  Watch for the scene when Kay goes after Reginald Owen (as a Police Captain of her acquaintance).  You'll love it. Here's an early scene to get you in the mood:

Peeping Kay

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

Monroe Owsley

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

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

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

Next time, more Kay Francis. 

Myrna, Jewel Thief

Whipsaw, from 1935, features Myrna Loy as Vivian Palmer.  Vivian has, for several years, been working with a jewel robber. She is tired of the life, however, and tells her accomplices that this is her last job.   She's had little to do with the crime, but the FBI, in the form of Ross McBride (Spencer Tracy), decide to follow her.  Make that, join her, on a cross-country trip.  McBride pretends to be a criminal on the lam.  Little does he know that Vivian had him stopped almost immediately, and is steering him away from her colleagues.  Of course, their enforced togetherness results in love, with Ross conflicted about his feelings for Vivian versus his duty to his job. 
 
Myrna Loy is just wonderful. Her world-weariness; her ambivalence towards her colleagues, her suspicions about Ross, and her growing feelings for him all shine out of her eyes.  Watch especially towards the end when her relationship begins to take a turn for the worse.  Her helplessness is palpable.  The film is also beautifully costumed with Loy getting some really lovely clothing.

Likewise, Tracy is his usual honest self.  He is Ross. It's interesting to watch his eyes as his love for Vivian increases.  You can see his changes in attitude just by looking into his eyes.  Also fun to watch is John Qualen as the expectant father of a woman has has just gone into labor as our team wander by needing shelter.  He is just a joy.

Want a sample? Here is a trailer from the film:
Next week, we'll revisit an old friend of ours - Kay Francis.

Myrna in Egypt

In 1933's The Barbarian, Myrna Loy is NOT playing the exotic.  Ramon Novarro is. He is The Barbarian of the title - Jamil El Shehab, an Arabian prince, who has been working in the city as an erstwhile tourguide and ladies' man. Diana Standing (Myrna) arrives in town with her fiance Gerald Hume (Reginald Denny) and her companion Powers (Louise Closser Hale).  Jamil takes an immediate interest in Diana - she is somewhat less engaged by him.  There is some verbal dueling, some tricks played by Jamil on Gerald, and finally, Jamil kidnaps Diana.  

Today, we would probably say that Diana had Stockholm Syndrome, because, quite frankly, as physically attractive as Jamil is, he is really quite an unattractive individual. He is a bully, he is a male chauvanist, and finally, he is physically abusive.  Why Diana would want him in the end is beyond me. Then again, Gerald is no prince among men either. He's just a wimp who can't even stand up to his mother!

 Loy is just lovely, as always and one is sympathetic to her Diana.  The problem is, one can't understand why she doesn't just leave town with Powers (the always irrepressible Louise Closser Hale) and find a better man.  Certainly the two she's managed to dig up in Egypt should just be left in a pyramid somewhere with a mummy! This is not really a film that translates well in the 21st Century.  We really wanted Diana to get a better break.

And of course, it is ever so racy.  By today's standards, the hint of nudity in one of the scenes is bothing, but in 1933, it would be just enough to upset the would-be censors.

A quick scene from early in the film:

The film is worth a quick peek, especially for the scene where Diana argues with her future mother-in-law about the proper placement of her bridal veil. 

And here she is in the bridal veil

And don't miss the final scene - oh, my, the times they really HAVE changed (thank heavens)!