Transgression (1931) is a Pre-code wonder from the always
fascinating Kay Francis. Ms. Francis plays the happily married Elsie
Maury, whose husband Robert (Paul Cavanaugh) is called to India on
business. Though Elsie asks to accompany him, Robert refuses, and
instead sends her to Paris. While in Paris, the naive Elsie becomes
enamored of Don Arturo de Borgus, a philanderer of the first water,
played with relish by Ricardo Cortez. Though Elsie tries to remain
loyal to her husband at first, her infatuation, boredom, and Don
Arturo's advances tempt her to stray. And so, she arrives at his
estate. Where, as they say, the plot thickens.
Kay
Francis is just wonderful as the tempted wife. As always, she is
beautifully clothed; she manages to portray the ambivalence of a young
woman who longs for her husband, but is bewildered by the new rules of
the jaded society into which her husband has thrown her. Also fun to
watch is Ricardo Cortez. His Don Arturo is a total cad. And if you
think he is bad at the beginning, wait til you see the end, and realize
just how horrid he truly is! We also very much enjoyed the performance
of Nance O'Neil as Paul's sister, Honoria. What a totally reprehensible
character she is! Nance plays her with relish, and she is a delight to
despise. Here she is spying on our Kay:
The end will show you why this fits so
perfectly into the Pre-Code mystique. And you will really enjoy it! We
will be looking at a few other Kay Francis movies from the Pre-Code era
in the next few weeks, so we hope you will join us again.
This week, we examined another precode movie, notable for being an early effort of Humphrey Bogart. The film is Love Affair (from 1932 - not be be confused with the 1939 film of the same name with Irene Dunne, which inspired An Affair to Remember)
and Bogart plays James Leonard, a brilliant aeronautical engineer who becomes involved with an impoverished heiress. Carol Owen (Dorothy Mackaill) is a party girl, with a love for thrills (and no one else) til she meets Jim at the air field, where she has gone to be wowed in an airplane. He manages to knock the stuffing out of her (by doing loop-d-loops with his plane) and she returns the favor by driving him to the City (at 80 miles per hour!) It doesn't take long before Jim has
spent the night with Carol (this is a precode, after all), and before
Carol discovers that the little money she has is gone, and she will end
up being a detriment to Jim's efforts to develop an airplane motor
company with his revolutionary new motor design.
Dorothy Mackaill was nearing the end of her career when she filmed Love Affair. Within two
years, she left pictures for good (after seeing her rather substantial
career peter out to supporting roles and then none at all). Sad really,
as she was quite talented. We were very impressed by the scene in
which she is flying with Jim - the look on her face is priceless. Also
wonderful was the scene in which we realize she has been intimate with
Jim. Her tears as she brushes her hair before she goes out to join her
lover are very special. We see in her eyes all her emotions - her fears, her anticipation, her deep and abiding love.
This film is also
noteworthy as an early attempt to introduce Bogart as a leading man.
Columbia obviously decided he did not fit the bill (their loss. He is
wonderful in this film) and Bogart would leave to play gangsters and
finally, the ultimate leading man at Warner Brothers. Here is a scene with Bogart looking all ruggedly handsome:
Luckily,
this film is available on DVD (though we caught it on Antenna TV; you
could look for it there as well). It is certainly worth your time.
1937's Camille, with Greta Garbo as the notorious Marguerite
Gautier was the subject of our latest discussion. Garbo, of course, is
wonderful as the opportunistic courtesan who falls in love with the
scion (Robert Taylor as Armand) of a well-to-do family. While
Marguerite resists the attentions of - and her feelings for - Armand,
she finds herself desperately in love with him. A summer alone with him
convinces her that she can change to a simpler lifestyle, but the mores
of the time interfere, and Marguerite is faced with a choice - stay
with Armand, to his ruin, or leave him and break both their hearts.
Garbo
is just remarkable here. Her silent era training is evident as she uses
her face, her eyes and her body - rather than her voice, to show us
Marguerite's physical deterioration. She LOOKS sick - beautiful, but
quite ill. Yet she is not overstated or exaggerated. She is the
epitome of suffering, trying to summon her last ounce of strength to
greet the man she chased away.
Also wonderful is Lionel Barrymore as Armand's father, Monsieur Duval. Barrymore could play his character as a villain, but he does not. Monsieur
Duval is merely a loving father who dreads hurting a woman who seems to
be very sweet, and very much in love with his son, but who will soon
cause his downfall if they continue their relationship. When one
realizes that Barrymore is less than 2 years from being forced into a
wheelchair for the rest of his life (he suffered from severe arthritis
that prevented him from walking), one realizes that he is acting through
his pain.
Robert Taylor, too, is excellent, with
Armand's naivety shining from his youthful face. Armand seems sometimes
like a sex object - a lovely creature for Marguerite to adore. Taylor
fits that bill as well, but also is able to make you understand why
Marguerite would give up everything to be with this lovely, gentle man.
This
is a beautifully designed film as well, with magnificent costumes (by
Adrian). Our group had a bit of discussion on the tendency of some
films to not quite get the hair style right for the period - which is
NOT the case here. The whole atmosphere of the film is perfection. It
is interesting to note that the silent version of the film is also
available (on the DVD of Camille), with Rudolph Valentino as
Armand and Nazimova as Marguerite. It is certainly worth a look if only
as a comparison to its magnificent remake.
This time, our group decided to jump across the pond for what is perhaps the perfect tearjerker: Brief Encounter (1945). Two of us had recently seen the Broadway retelling of the story, and
being fans of the film, were not pleased with the results. We found the
levity in the play too distracting in this story of beautiful sorrow.
The film, directed by David Lean, is a magnificent rendering of a very
simple story line - two married strangers meet casually on the train
platform of a small English town. The following week, they run into one
another again; a friendship is formed, followed quickly by love. Of
course, their love is doomed - both have spouses and children. Neither
can bear to hurt their families. Thus, they must separate, never to see
one another again.
Drawn out as just a few lines of plot, this
film sounds trite. It is not. Aided by the subtle direction of David
Lean, a score that deftly uses Sergei Rachmaninoff's Piano Concerto No. 2
as subtext, and superb acting by Celia Johnson as Laura Jesson and
Trevor Howard as Dr. Alec Harvey, this is a movie (to quote TCM) that is
an Essential. The story is told from Laura's point of view - she is
our narrator - and so we see her reactions to the whirlpool into which
has life has fallen. The original story (a play called Still Life)
only has 4 characters - Laura and Alec, and the "comic" relief of the
train station couple, Albert Godby (Stanley Holloway) and Myrtle Bagot
(Joyce Carey). In fact, the whole play takes place in the refreshment
room of the train station. Lean opens up the action, and allows us to
meet Laura's husband and children, making even more poignant the
decision facing Laura.
The DVD version of Brief Encounter
has some interesting commentary on it. I have to admit that one scene
(in which we see Alec and his friend Stephen argue over Alec's failed
attempt to consummate his affair with Laura), which the commentator said
did not work - since it was not something that Laura could have seen
(she has already run from the room), did, in fact, work for me. I saw
this conversation as LAURA'S imagining of what actually occurred. It
seems unlikely, to this observer, that men would have this discussion.
More, it was the final realization, by Laura, that her relationship with
Alex has become tawdry, and must end.
If you've never seen Brief Encounter, give yourself the pleasure of a visit to post World War II England, and visit with Laura and Alec. Here is the trailer; you can hear some of the music, as well as get a taste of the film itself:
In 1940's Vigil in the Night, Carole Lombard stars as
Anne Lee, a dedicated nurse in a small English town. Anne loves her
work, and has convinced her younger sister Lucy (Anne Shirley) to follow
in her footsteps. Though almost through with nursing school, Lucy
doesn't have Anne's dedication; as a result of her neglect, she allows a
young child to die. Rather than let Lucy be ousted from nursing
school, Anne assumes responsibility for the child's death; she is fired
from her job, and forced to leave town. She ventures to Hepperton,
where she joins the staff of a local hospital, and gradually assumes
positions of greater responsibility. She also finds herself working
with the similarly dedicated Dr. Prescott (Brian Aherne). However, the
appearance of a nurse from her old job, Lucy's involvement with a local
man, and an epidemic in Hepperton all work to create problems for Anne.
Sure,
this is melodrama, but it is melodrama at its best. Ms. Lombard shines
here as a woman whose career is the most important thing in her life.
In the hands of a lesser actress, Anne could have come across as preachy
or shrill. But Lombard's Anne shines when she talks about nursing. Her
Anne is what a nurse SHOULD be - an idealized portrait of a woman who
values human life and the ability to bring comfort to the sick. She is
ably assisted by Anne Shirley (who's Lucy is the poster child for the
person who should NOT enter nursing school, and whose selfishness makes
you want to smack her in the film's early scenes.), and Brian Aherne (an
equally idealized doctor, Aherne also carefully avoids the maudlin).
Vigil in the Night
really is a neglected Lombard masterpiece; a film that is rarely seen
or discussed when talking about her (painfully short) career, but one
that should be looked at more often. We really enjoyed it, and suspect
you will as well. Take a look at this clip, to get an idea of what is in store:
Today, we again visit the pre-code world for Carole Lombard's 1932 film Virtue.
In it, she plays Mae, a young woman with a "career" on the streets,
who is literally run out of New York City on a rail (on what is today
Metro North, to be exact). She has no intention of leaving the City, so
she bails off the train at 125th Street, where she meets Jimmy Doyle
(Pat O' Brien), a smart-mouth cabbie who disdains marriage and women.
Mae runs away without paying her cab fair, much to Jimmy's disgust;
however Mae decides to go straight. Once she has the money, she seeks
Jimmy out to return the fare. After some difficulties, they fall in
love, and decide to marry. Of course, once they marry, Jimmy finds out
about Mae's past. He decides to forgive her, but of course, with
forgiveness does not automatically come trust.
Ms. Lombard is just
wonderful here as Mae. She is sympathetic, but tough. You never
forget her past, but you (as the audience) are far more aware of how far
she has come than the rather dense Jimmy. Pat O'Brien is quite good as
well playing a tough guy. You do want to smack him occasionally for
his stupidity, but I think we ultimately want him with Mae. Perhaps she
deserves better than him, but she loves him, and he is really not a bad
guy. Here, our couple have a conversation:
It is also nice to see Ward Bond (as Jimmy's pal Fran), who
is, as always, wonderful. He makes a small part something to look
forward to. Another treat is seeing Mayo Methot (the one time Mrs.
Humphrey Bogart) as Mae's best friend Lil Blair. Ms. Methot never
actually looked young! And certainly her somewhat hard features
complement the part of a hooker who has tied herself to a rather
disagreeable - and dishonest - lover (said boyfriend is played with a
good deal of slime by Jack LaRue).
Another Lombard movie that
doesn't get enough play, we think. Plus, as a precode film, you get the
extra bonus of something a tiny bit (by later standards) racy.
Lady by Choice from 1934 is an absolute delight. In it,
Carole Lombard plays fan dancer Alabam (Georgia) Lee, who finds herself
in court as the same time as Patsy Patterson (May Robson), a former
entertainer turned homeless drunkard. Patsy has friends, however -
Judge Daly (Walter Connolly) and Johnny Mills (Roger Pryor), a
wealthy young man whose father requested he always look after Patsy.
Patsy, Like Alabam, is a gutsy lady, who speaks her mind. As a result,
when Alabam's agent convinces her to adopt a mother (for the publicity),
it is Patsy she selects. And Patsy, who immediately adores Alabam,
tries to change her new daughter's life for the better, but not always
with the best of results.
May Robson is just
adorable. She gets most of the good lines, and you want to take her
home with you. Lombard's role is also quite rich. Alabam is a
kind, gentle soul; she loves deeply, and is a caring person. Badly used by her agent, she finds herself almost penniless, but still tries to
support Patsy's goals, to make her a legitimate performer, despite her
lack of self-confidence. We have, of course, some romantic
complications. Alabam falls in love with Johnny Mills, but Patsy thinks
that Alabam is after him for his money. It causes some strife, but all
comes right in the end!
This is one that I think most people have not seen. Give it a try. I think you will find it is worth your time. We'll leave you with a scene with Ms. Lombard and Ms. Robson.
If you've seen Singin' in the Rain, then you are familiar with the comic take on the beginning of sound films. The Racketeer,
from 1929, is an actual example of this phenomenon. The film features Carole Lombard as a
former society lady named Rhoda Philbrook, who left her husband for a
violinist Tony (played by Roland Drew). The only problem is, Tony is a drunk
and now Rhoda is reduced to cheating at cards in order to get enough
money to live. While working the tables, she meets the racketeer of the
title, Mahlon Keene (Robert Armstrong). He is smitten with her, and
eventually offers her marriage. Thinking her life with Tony is over,
she assents. But then, her life gets complicated. By today's
standards, this is not a good film. It is static and somewhat boring at
times; resembling in some ways a filmed play (with a lot less
movement). BUT it is an excellent sample of how the survivors of
silents were coping with the advent of sound. Of course, the actors
don't move very much. The film is very talky, but you can see the
beginning of something great. Lombard is lovely in the lead, and seems comfortable in the new mode (though some vestiges of silent film acting
remain). Armstrong (who never has been a favorite of mine), is fine as
Mahlon. He is stiff, but much of that is probably the camera restrictions. While there is not a lot to in this film to make it appealing, do give
it a look. It is a window back into the past - a baby step in the growth
of a new industry. TCM had a very nice article about the film during a Lombard festival.
In 1933's Brief Moment, Carole Lombard plays Abby Fane, a
nightclub singer who is loved by - and loves - wealthy Rod Deane (Gene
Raymond). Despite the objections of his family, Rod and Abby marry, and
have an extensive honeymoon in Europe. When they return to their home
in New York, they find that the home that Abby has hoped to design has
been completely done over by Rod's dilettante friend, Sigrift (Monroe Owsley), who
spends most of his time encouraging Rod to overspend and over-drink.
Abby is heartbroken at her husband's lifestyle, finally telling him that
he has one choice - to find gainful employ, or to lose her.
One thing that is rather odd about this film is the relationship between Rod Deane, his brother Franklin, and their
father. Mr. Deane runs a huge business, yet he has totally cut his
sons out of the running of the enterprise. Son Franklin is a
vice-president, but does nothing all day but play the horses. Why?
Because his father will not share the responsibility of the firm. One
wonders what will happen when Mr. Deane is no longer able to work. Then again, Mr. Deane isn't working all that much - he is MUCH more interested in his stable of horses. Given that the action is contemporary to 1933, one wonders how the family survived the Depression with their wealth intact. One interesting scene involves the writing of a check - we see the monthly allowance that is going to Rod - $4,000. In 1933, that would have been more than the yearly salary for most people. One can only imagine the shock of seeing that number being given out to a young man who is doing absolutely nothing with his life.
While
this is a slight little movie, the costuming is wonderful (Carole has
some lovely dresses), and our Ms. Lombard is just lovely as the noble
Abby. Abby is reserved and gracious - she has much more "class" than her upper-class husband and his obnoxious family. Gene Raymond is fine as Rod (though Raymond is not one of our
favorite actors). It is interesting to see Donald Cook again (just two
years after he appeared in Public Enemy). The actor that stands out, though, is Monroe Owsley, who is (again) playing a cad. He does it so well, and when he is on screen, he is fascinating to watch.
Certainly not one of Ms. Lombard's best films, but certainly worth a quick look.
Carole Lombard's 1932 film No More Orchids is a delight
from start to finish. Wealthy Anne Holt (Carole Lombard) is used to
getting what she wants, until she meets Tony Gage (Lyle Talbot). He has
no money, and she is engaged to royalty, but love blooms, and Anne is
quite willing to give up her wealth and position to be with the man she
loves. But, there is a fly in the ointment - her grandfather (C. Aubrey
Smith), a rather malevolent individual who will use anything in his
power to manipulate Anne into wedding his choice - Prince Carlos.
The
cast here is just magnificent, especially Louise Closser Hale as Anne's
outspoken grandmother. Hale is an absolute riot, and makes the
picture. From the second we see her, Ms. Hale steals the movie, and you
look forward to her every appearance. Also wonderful is C. Aubrey
Smith as Anne's nasty grandfather. The cameraman (Joseph August), has a
field day, filming Smith at angles, and with lighting that make him
appear as the devil. And Smith seems to relish the cruelty that Mr.
Cedric delights in imposing on those around him. Finally, there is
Lombard, who is just lovely as Anne. She is funny and sweet; running
the gamut from spoiled brat to loving daughter, without being maudlin.
One
interesting detail about the film is that it is a pre-code. That
becomes apparent when Lombard spends the night with Tony, and he later
makes a comment that casts aspersions on her "honor". (She has been
forced to break up with him; he doesn't know why and believes she has
been toying with his affections.) It's quite suggestive!
We strongly recommend this neglected classic. Here's a scene from the film:
