Interlude: Loretta is BAD

The Movie Group began in New York City, with weekly meetings to watch a variety of films.  Since then, we have continued our meetings virtually.  However, occasionally, a member might get to see something that fits into nicely into our discussions, and so it will be added to the blog.  

This week, I got to see Born to be Bad (1934) at the AFI Silver Theatre in Maryland, where they are doing a tribute to Loretta Young's 100th birthday.  In this film, Ms. Young is Letty Strong, a woman of 22 with a 7 year-old son (Mickey, played by Jackie Kelk).  Abandoned by the boy's father before he was born, she was taken in by Fuzzy (Henry Travers).  However, she now supports herself as a dress-model and paid escort.  She allows her son to skip school, and informs Fuzzy that Mickey will not live life as naive as she - he knows the realities of life.  Here's our first glimpse of Letty:


Enter Malcolm Trevor (Cary Grant), the wealthy owner of a dairy, who Letty tries to bilk. Fascinated by her child, he and his wife adopt the boy, in hopes of giving him a better life. But Letty intends to get the boy back, and enough money to support them - preferably at Mal's expense.

That the film is pre-code is readily apparent.  We get some glimpses of Young in her lingerie (with her legs as bare as they can be!).  And Letty is never condemned for her actions, neither her present day lifestyle, nor the fact that she is an unmarried mother.  Fuzzy, our bell-weather for  Letty's actions, is angry with her for her  actions as a mother - the fact that she does not teach her son proper values.  Though it is apparent he does not approve of her occupation, he does not censure her for it; he remains her friend, and hopes that he can convince her to be a better mother.   He regrets she is compelled to do this, primarily because of the example it sets for Mickey.   An article on the TCM website offers some insight into the reception that the film received (it wasn't good).  The production code was right around the corner.  We see here the last vestiges of the pre-code film.

We'll resume our weekly review in a few days.

Connie Marries the Elite

This week, we again join Constance Bennett in a precode film.  This one is Our Betters from 1933.  Connie is Lady Pearl Saunders Grayston.  We meet her as she has just married Lord Grayston (Alan Mowbray).  She is determined to be a good wife to him, though she is aware that their marriage was one of convenience - he needs her money to  support his lifestyle.  But Pearl finds almost immediately that her dreams of a life as a happy wife are naive.  Her husband has no intention of giving up his mistress.  

The film, taken from a play by W. Somerset Maugham,  produced by David O. Selznick, directed by George Cukor, and with music by Max Steiner is not a great one, but it is interesting.  Besides having some of the best behind-the-scenes talent in Hollywood, we have a fantastic performance by Bennett.  Her Pearl becomes a society hostess, but one who is jaded and cold. We also want to pay homage to the fantastic costuming of Hattie Carnegie - take a look at the stunning (and scandalous) black dress Ms. Bennett wears to a party - it's a knockout!

At one of her parties, we discover that she is planning to bring her sister, Bessie (Anita Louise) into the same lifestyle, by arranging her marriage to Lord Harry Bleane (Hugh Sinclair).  Though Bessie seems willing, it soon becomes clear that she really loves Fleming Harvey (Charles Starrett).  But everything begins to implode at a weekend outing to the Grayston estate, as we learn more about Pearl's rather seedy existence.  
 

Among the party guest are GIlbert Roland.  We enjoy him as an actor, but felt he was wasted here as the gigolo who pursues Pearl, but is involved with the wealthy Duchess Minnie.   We also discover that Pearl is essentially destitute, thanks to her husband's bad handling of her finances, so she is using her wiles to "borrow" money from Arthur Fenwick (Minor Watson).  

Much of our conversation focused on the bartering of American heiresses for English titles.  It is surprising that, in 1933 (this is a contemporary story), this was still going on.  We especially discussed the life of Consuelo Vanderbilt, who was literally imprisoned by her mother until she consented the Duke of Marlborough

Here is a clip from the film:

Connie Gets a Bed

Lorry Evans (Constance Bennett) has just been released from prison. She and her friend Minnie Brown (Pert Kelton) board a steamboat, in hopes of fleecing some of the men on board.  Only, Lorry is discovered, so she jumps overboard.  And is fished out of the water by Dan (Joel McCrea) the captain of a nearby barge. Having lost the money she scammed while on board the steamboat, Lorry takes Dan's money, and heads for New Orleans.  Thus begins Bed of Roses from 1933, the latest in our Constance Bennett series.  

This film is so obviously pre-code!  Lorry and Minnie are being released from prison for soliciting.  They are scam artists, and once Lorry gets to New Orleans, her goal is to sucker a rich man (John Halliday as Stephen Paige) into becoming her sugar daddy.   And yet, it will all end well for our "heroine".  Here is a clip from the opening scene:

 

Of course, we will discover that Lorry has a code, and will return to Dan because he is a good guy.  And she will fall in love with him.  And then her life will become even more complicated, as she has to decide between love and the knowledge of what her past life will do to their relationship.  Bennett is fantastic in the part.  She makes Lorry hard to dislike, yet you are always aware that she really is not quite on the up-and-up.  We also, of course, get some beautiful clothing once Lorry has gotten herself properly set up (no costumer is listed for the film, unfortunately).

The men are interesting characters as well.  Dan is a really good guy.  This is NOT the McCrea of Primrose Path (which we previously discussed).  This Dan takes people as they are; he doesn't make judgements.  Similarly, Stephen Paige actually seems to love Lorry.  Considering how she wormed her way into his life, this is rather surprising, however John Halliday, an excellent character actor who we've discussed before, makes it work.

Finally, there is Pert Kelton.  For those not familiar with her right away, this is Ma from The Music Man!  Minnie is hysterical, and Ms. Kelton plays her for all she is worth.  She reminds one a bit of Mae West.  And watch for the ending.  You will be quite amused.

Pert Kelton with John Halliday

Next time, another Constance Bennett pre-code

Double-0 Connie

Carla Vanirska (Constance Bennett) is trying to get a train ticket to Vienna.  The lines are so terrible, she cannot get near the ticket office.  Enter Captain Rudolph Ritter (Gilbert Roland), who offers his assistance.  He is hoping to accompany her on the train, but at a stop, she disappears into the night.  The problem? She's an enemy agent, spying on his military forces during the First World War.  After Tonight (1933) looks at the life of an espionage agent, and the problems faced when she gets much too close to the enemy.

Constance Bennett makes an excellent spy.  She is beautiful and clever.  No one suspects that the lovely nurse could possibly be the agent K-14 that everyone is seeking.  She is also daring.  Even when she suspects a trap, she goes to a rendezvous, on the off chance that this might be a real meeting.  Gilbert Roland is also excellent as the army officer who loves Carla.  You do sympathize with both of these people, wanting Carla to escape, yet wanting her to remain with Rudolph.

We were also intrigued with all the spy paraphernalia that gets used: invisible ink, the messages hidden in books and jewelry, creaky steps that signal the possible intrusion of the enemy.  A good use of all the spy games made the film even more enjoyable.

The movie has an especially well-done ending.  We can't tell you what it is; we don't want to spoil it for you.  But, we think you will like it.

Connie Becomes a Star

We'll be starting a number of Constance Bennett movies over the next few weeks.  The first is What Price Hollywood? (1932) in which Ms. Bennett plays would-be actress Mary Evans.  The film opens with an unseen woman looking through a magazine.  The ads show us just what the stars use to make themselves beautiful.  The woman who is looking at the magazine is using the stockings, and makeup that the ads recommend.  The camera pulls back to show a our heroine, who is living in a tiny apartment, with a Murphy bed.  No star she, just a simple waitress waiting for her big break.  

That night at work, she befriends director Max Carey (Lowell Sherman), a good man, but one with too large an affection for alcohol.  He reluctantly agrees to help Mary, but her stiffness and inexperience is evident; he decides to recast the role with someone else.  The next day, Mary convinces him to give her one more chance. And thus, America's Pal is born - Mary Evans becomes a star.

Certainly, this is so close to A Star is Born as to be the original source material for the 1937 Janet Gaynor film.  But, we understand from the TCM commentary, no credit was given by either this film, nor the Judy Garland film in 1954, to this lovely movie (the former was produced by David O. Selznick, and the latter was directed by George Cukor, the producer and director of this film).  For those of you familiar with the later films, take a look at this clip, which is very reminiscent of something that occurs in both of the later versions:

 

And a wonderful film it is!  Several scenes are especially worth mentioning.  The opening scene we described above is one.  Here is a clip from that, which contains a small tribute to the man who would become the King of Hollywood, Clark Gable:

 

Another, is the scene in which Mary, having been fired from her first acting job by Max, goes home and spends the night practicing her lines.  Ms. Bennett is just fabulous as she stubbornly attempts to master her craft. 

We should also tip our hat to the male lead for this film - Neil Hamilton, best known to a generation as Commissioner Gordon in the 1960's television show, Batman.  As children of the Batman generation, it was fun to see Mr. Hamilton in a totally different (and much younger) role.

Next week, another Connie Bennett film.

Joan Joins the Fourth Estate

A murder in a small New York state town creates a firestorm for the locals, including the widow of the victim (Vivienne Osborne as Marcia Ferguson). a neighbor (Leon Ames, here listed as Leon Waycoff, as Judd Brooks) and a local reporter (Tom Brown as Bruce Foster).  In 1932's The Famous Ferguson Case, Joan Blondell is featured as one of the reporters that invades the town in search of sensation. 

On occasion, films from the thirties can feel a bit dated.  However, The Famous Ferguson Case is as timely as the paparazzi that stalk unwary celebrities.  The reporters that descent Cornwall like a plague of locusts are of the yellow variety - creating sensation when they don't find enough to feed their daily news reports; destroying lives in the name of "reporting the facts." Only one talks of the dangers of bad reporting, however no one listens (and quite frankly, he's not the strongest character you've ever met).

Blondell is interesting as the reporter who has seen the seamier side of her profession for all too long.  We are well aware that she has had an affair with Bob Parks (Kenneth Thompson), and she is just short of being appalled at his behavior in Cornwall, mostly because she is all too familiar with his modus apparendi.  Leon Ames is excellent as a man in the wrong place at the wrong time.  Watch for the scene where he finally gets to have HIS "say" in the proceedings.

We heartily recommend this one: an excellent film, with an enjoyable ending. Here's a trailer that might be of some interest.

Loretta Goes to Work

1931's Big Business Girl features Loretta Young as  Claire McIntyre, a woman just out of secretarial school.  She is in love with musician Johnny Saunders (Frank Albertson), but her debts from school force her to let him journey off alone to a lucrative gig, while she looks for work in New York City. After landing a job as a stenographer, she is able to get into see advertising executive Robert J. Clayton (Ricardo Cortez), who, impressed with her ad copy (and her looks) promotes her to copywriter.  Claire inadvertently overhears Clayton's assessment of her skills and appearance, and decides to use her wiles to further advance her career.  Re-enter Johnny, and sparks begin to fly, as Johnny is furious at Claire's dedication to her job, as well as Clayton's obvious interest in her sexually.

Looking back from the vantage of 2013, one could see Claire eventually suing Clayton for sexual harassment, but this is 1931, and neither his actions (nor her's) is at all bothersome.  We won't go into too much detail as to Johnny's reactions, because that would give away a big surprise that is revealed in the middle of the film.  But there is a lot of petulance on the side of Johnny (Frank Albertson is rather good at petulance.  Witness his Freddie Miller in Bachelor Mother) and sliminess on the part of Cortez (which we all know from many movies he too is very good at portraying).  And Loretta skirting the edge of being the slightest bit racy.  The fact that Claire is quite talented at her job (and is very careful to not lead Clayton on too far) makes her just barely moral.  But this is a pre-code film, so that titillation value is there.

There is also a nice surprise towards the end of the movie - an appearance by Joan Blondell.  Telling more than that would give away too much of the plot, but the she is a riot.  Here is a clip that will give you a taste of the movie (and of Ms. Blondell): 



While not a great movie, this is an interesting film that is worth seeing.  Just for Young and Cortez alone, it worth the just little over an hour of your time.

Gumshoe Joan, Take Two

Bill Reardon (Melvyn Douglas) is an unsuccessful PI.  With no clients, and loads of debts, he decides to go back to his job as an investigator for the District Attorney's office.  His wife, Sally (Joan Blondell) protests, so he jokingly gifts her with his office.  Next thing you know, a client, in the form of Lola Fraser (Mary Astor) appears. She hires Sally to find out if her husband is a cheat.  Only, within hours, Walter Fraser is dead.  Who dun it?

Thus begins the screwball There's Always a Woman (1938).  Our group had rather mixed reactions to it.  Developed as a response to The Thin Man, the big reaction was that Bill and Sally are no Nick and Nora.  The jokes tended to go on and on (sometimes way too long for some tastes).  And the over-the-top humor made the movie far less enjoyable.  

On the other hand, the film had great sets and costumes.  And some scenes were really funny.  Like a bit, late in the film, when Sally is being interrogated by the police, and is not in the least phased by the rhetoric.  Blondell could be very cute at times; other times, you wanted to give her a good spanking.  Here, we can share a little bit of the slapstick action (and it might give you a clue of why Sally is such a brat):

Finally, a couple of things to look out for: a young Rita Hayworth as the Bill's secretary (she's there for about one minute),l and Mary Astor appearing in a role very reminiscent of something a few years away - The Maltese Falcon.

Next time - another pre-code.

Gumshoe Joan, R.N.

A hospital nurse, bored with the day-to-day routine, is offered the opportunity to do private duty nursing. At last, she says, something different!  And so, our heroine, Miss Adams (Joan Blondell) ends up in the home of a young man who just committed suicide, taking care of his elderly, ailing, aunt (Elizabeth Patterson).  Only Detective Patten (George Brent) suspects murder, and having an agent in the house to observe the comings and goings of those potentially close to the victim would be a godsend. Thus, our heroine gets the adventure of her life becoming Miss Pinkerton (1932).

This is a fun, if somewhat convoluted movie.  The ending does kinda feel like the author wasn't QUITE sure how to end it, and a murder victim was culled from a number of choices. Regardless, it works.  And Joan Blondell is delightful as our detective/nurse.  She's smart, and brave (there's a bit of screaming, and at least one faint, but she does pretty well, given her naivety).  George Brent (without his mustache) is fun here; there's not enough of him, though. 

This is a film that requires a bit of attention, so if you watch it, don't leave the room.  You'll likely miss something.  It's fast paced.  And you really don't want to miss a moment of Joan Blondell.  She always got something amusing to say!  Just to get your ready, here is a brief trailer:

 

Mary and the Green-Eyed Monster

Poor Nancy Gibson (Mary Astor)! Just returned to New York from Europe, where she went to look after her ailing mother, she finds her beloved husband Donald (Robert Ames) is head-over-heels in love with a younger woman, and eager for a divorce.  Thus begins Smart Woman (1931), a pre-code film which focuses on Mary's clever plan to recover her husband's affection - make him believe that SHE returned for a divorce, to marry her "lover",  Sir Guy Harrington (John Halliday). 

This is a clever little movie, made all the more pleasurable by the presence of Edward Everett Horton as Nancy's brother-in-law, Bill Ross.  We are so used to Mr. Horton as a buffoon, it was great to see him being smart and even, at times, cagey.  Disgusted with his Donald's behavior, he and his equally smart wife, Sally (played by Ruth Weston) collude with Nancy in her quest to convince Donald that she strayed long before he even thought of it.  We were also intrigued by the performance of John Halliday.  His Sir Guy is genuinely in love with Nancy, but his is an unselfish love - he attempts to break up the affair between Donald and Peggy Preston (Noel Francis) in his own inimitable fashion.  But we won't spoil the end by revealing his plan.

We found the relationship between Peggy and her mother as rather reminiscent of a later film - The Parent Trap.  Think Vicki Robinson (Joanna Barnes) and Mama Edna (Linda Watkins).  Vipers awaiting their wealthy prey. Mary Astor is just delightful as she realizes Peggy's motives, and has to keep up the front that she is all sympathy for their "love".  Watch her as she tells Peggy exactly WHO owns the house!  Here's the scene where Peggy and Nancy meet:



Next week, we invite you to a mystery