Gentleman: The William Powell Story

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William Powell in a publicity photo from My Man Godfrey

Few of the legendary movies stars of the first half of this century were personally capable of equaling the glittering images they projected with the help of studio publicists and the roles they played on the silver screen. William Powell was a notable exception to that rule.

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William Powell was a private man.  He was a public figure and yet a complex, private man.  Therefore the task before biographer Charles Francisco was a challenging one.  Certainly there were plenty of stories in popular Hollywood magazines of the era, tabloid features and interviews, but views into his private life were limited.  He married three times and fathered one child, a son, who tragically committed suicide in 1968.  Aside from his third wife, these significant figures had long departed and there is no indication that wife Diana Lewis chose to reveal the private man. His closest friends, who included Richard Barthelmess and Ronald Colman, had long departed; he outlived almost all of them but Myrna Loy.  In fact Powell himself died during Francisco’s research.  Yet the author has done a remarkable job in giving us a solid sense of William Powell, the essence of the man and of his life; it was one filled with satisfying successes, occasional frustrations and sometimes all too public tragedies.

 

 

 

 

Famously, Powell married and divorced Carole Lombard, then became engaged to Jean Harlow, remaining so until her death at age twenty-six.  He grieved openly at her funeral, flanked by his mother and a studio attaché for support.  Her death ushered in a period of struggle for Powell.  Shortly after this profoundly difficult loss he was faced with another crisis, rectal cancer.  Metro-Goldwyn-Mayer softened the blow for the public, citing his long absence from the screen as due to colon cancer, relating few details; the actor was one of the first patients to undergo treatment with implanted radium.  This combination of blows – the death of Harlow, two surgeries and a lengthy recovery – perhaps deprived us of additional films that might have added to his legacy.  His absence took him into middle-age and some unfortunate type-casting.

 

 

 

Powell became a comedic success with The Thin Man, the role for which he is perhaps best remembered.  Its popularity led to further Thin Man films, six in total, and while he certainly enjoyed the role, and was surely grateful for its gifts, he knew he was capable of much more.  Happily he was later able to show his range in several highly successful and still memorable films, namely Life with Father, How to Marry a Millionaire and finally Mister Roberts.  Portraying the wise and weary ‘Doc’ in the latter put Powell among a new generation of actors and before new audiences.  Yet the on-location shoot tired him and he chose to bow out, departing from the screen at the age of 62.  He eventually left this world for good thirty years later. In doing so he left behind a sweeping body of work that starts in the silent era, polishes many pre-Codes and ultimately enchants in some of the most enduring romantic comedies of the thirties and forties.

 

 

If you are a fan of Powell’s, as I am, this book is one to search out and find. The tone is warm and measured, never salacious or engaging in sordid speculation, despite Powell’s romancing and co-starring with some of the most beautiful and sought after women of the early days of Hollywood. Francisco treats his subject, and the numerous Hollywood luminaries and fellow players he encounters, with respect and admiration, pulling from available files, newspaper and magazine articles, archives and Powell’s own writings. In doing so he constructs a portrait of a man who was far from perfect but generally well-intended and truly the gentleman that he hoped to be.  Known as a movie star, he was first an actor and an absolute master of his craft.

I was sad to reach this book’s end for to do so was to leave behind a life well-lived.  Powell is painted as a man who didn’t always have the answers but who sure as hell tried to find them.  This was a lovely, satisfying and moving book. I highly recommend it.

Gentleman: The William Powell Story includes a filmography and two sections of black and white photographs. It is book-ended by a prologue and epilogue, with the first and last paragraphs shared here, suitably opening and closing this review.

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Perhaps Myrna Loy, who co-starred with most of the movie legends, described Bill Powell best.  She said, “There’s just nobody like him, and there’s never been anybody quite like him.”  Unfortunately, in the course of contemporary film, we may never see his like again.

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This post is the third in the 2017 Summer Reading Challenge hosted by Raquel Stecher of Out of the Past.  For more book reviews please check her blog throughout the summer! This book is available through Amazon and other used and vintage booksellers.

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Book Review – “The Amateur Cracksman” by E. W. Hornung

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The figure of the gentleman thief has become so much a part of our psyche in the western world that it’s easy to take such a character for granted.  Generally dashing, good looking, sly, stealthy and charming with the ladies, such figures are sympathetic despite their capers or perhaps even because of them.   We admire their cunning and ability to swindle those we don’t particularly like anyway, the idle rich. In E. W. (Ernest William) Hornung’s The Amateur Cracksman, we have such a gentleman swindler in A. J. Raffles.

Raffles has seen numerous incarnations in film and several on television.  There were two silent versions, one starring John Barrymore and two other better known representations in the thirties.  Breathtakingly, Ronald Colman played him in a 1930 early talking version opposite the luminous and striking Kay Francis.  Between her slinking and his lurking the screen was awash in luxurious charm.  A later version in 1939 suffers some from the long arm of the Production Code, sanitizing the interplay between the two principals, yet it has its considerable charms, the elegance of David Niven and Olivia de Havilland being primary.  Both versions appear to be based upon a 1903 stage play crafted by Hornung after he had achieved considerable success with his books featuring the devious scoundrel.

The first story to feature Raffles was published in a magazine in 1898 and introduces the present compilation.  Consisting of a series of short stories, tied together by its engaging central character embarking upon underhanded capers, this book was so popular that the author continued to write tales featuring the cunning bandit, with even further excursions into burglaries, mistaken identities, forgeries and other rarefied crimes.  Raffles shares a bit of Robin Hoods’ spirit.  The victims of his crimes are usually more than due their misfortune, yet there is one primary difference:  While the latter brings justice and spoils to those suffering oppression, the former luxuriates in the gains that provide him with the outwardly decent, respectable lifestyle of a true gentleman.  By some measures, he has an enviable life indeed.

Interestingly, Hornung was the brother-in-law of Sir Arthur Conan Doyle and wrote these short stories of an anti-hero as almost an homage and this first book is indeed dedicated to the Sherlock Holmes creator.  Certainly the central relationship of a mastermind supported by a willing admiring assistant is replicated here.  Yet as the popularity of Hornung’s creation grew, Conan Doyle expressed misgivings regarding the impact of such a warm and generous portrayal of one essentially trolling about in the underworld.  Foreshadowing the feelings of those who later instituted the Code, he expressed concern that Hornung had perhaps made “the criminal a hero”.  Yet it was too late.  The gentleman thief had already been born.  We would later see him appear time and again in cinematic history.

Raffles reluctant accomplice in his escapades is his former school chum Bunny who, as he does in the films, presents as a young man desperately in need of money.  That curse of the upper-crust, gambling debts, has brought him to the point of self-destructive despair.  The similarity ends there as Bunny on the page slowly becomes a greater accomplice to these recurring escapades, a status he never achieves in the films, especially the 1939 vehicle which of course requires Raffles pay for his crimes.

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Bunny is an interesting narrator.  He admires Raffles cunning and ingenuity with appalling awe.  Bunny is seemingly seduced, beyond the initial episode, by the cracksman’s charisma and charms. (And I have to say that for me Raffles charm was only enhanced by hearing his words in the voice of the melodiously gifted Colman). This collection is filled with deliciously detailed descriptions of Raffles mannerisms, facial expressions and moods.  We are treated to a recounting by a man wholly captivated by his seductor to the sinister, in a Victorian age. This lingering accounting lends an immediacy to the proceedings.  We see Raffles through the eyes of this disconcerted admirer as Bunny is reluctantly drawn into the world of sophisticated, yet amateur criminal behavior. The money and easy living seduce him even further.  Bunny’s moral misgivings and subsequent slide into a seamy acceptance of devious deeds, with their secretive glamor, becomes our own as we too are charmed by this gentlemen thief.

Having been raised on varying portrayals of these upper crust scoundrels, I fully expected there to be a significant love interest.  I turned page after page awaiting an alluring feminine presence infused with the spirit of Kay Francis, Grace Kelly or Olivia de Havilland.  But no such woman appeared.  In fact there are very few women at all in these stories which are in fact somewhat sexy precursors to what first started as road trips, morphed into buddy movies and then became simply bromances.  The admiration, seduction and conspiratorial nature of the relationship between Bunny and our hero has a definite homoerotic air.  In fact the willing accomplice becomes quite petulant in the final story when Raffles (finally!) becomes seemingly smitten with a young female shipboard passenger.  At last, I thought, a woman!  But we barely get a real glimpse of her before our protagonist makes a necessary hasty get away.  I almost got the sense that she was thrown in, just at the very end, to dispel any notions that might be occurring on the part of the reader.

In order to enjoy these stories, it’s necessary to enter into this world within its context. The Amateur Cracksman as both character and book expresses the sense of entitlement that fueled the rise and fall of the British Empire.  The stories take place during its unraveling yet there is none of that here.  These are quickly told tales designed to amuse in an afternoon or evenings read, suffused with the English ambiance, language and sentiments of the time.

I’d say that this was a fairly satisfying read however I’ve a fondness for British literature of the period.  The short stories do require a certain setting aside of the accepted norms of the era, an understanding that as presented and in context, this is indeed a white male centered universe, where the spoils go to those most able to navigate its niceties and sometimes not so nice underbelly.  And while there are hints of the basis for the films in here you won’t find the actual plot or alas even Lady Gwendolyn.  But you will find the beginnings of a crafty sort of enigma who persisted as a film specimen on through the Sixties.  He continues to show his suave self and dazzle us from time to time today.

This post is a part of the 2017 Summer Reading Classic Film Book Challenge Blogathon hosted by the lovely Raquel Stecher.  She can be found reading and blogging at Out of the Past.  Check her blog for periodic updates from other blogging readers that will run from June 1 – September 15th.  The goal is to read six classic film related books; we’ll see if I make it through six.  I hope to discover some good books in the meantime. Thanks Raquel for hosting 🙂

Summer Reading Challenge 2017

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Notes and Extras

  • This book is now in the public domain and is available for Kindle due to a community of volunteers.  I would like to thank those patient people for allowing me to snuggle up with this one.
  • It was first published in 1899.
  • For my review of Raffles (1930) the movie,  please see here. It’s one I would highly recommend due to its charm.  I think it’s a pretty successful early talking film.

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A Cinematic Bon-Bon: Raffles (1930)

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An United Artists Picture, Screenplay by Sidney Howard based upon the novel by E. W. Hornung,  Director: George Fitzmaurice, Art Director: Park French

A charming confection, Raffles exists in a world that meets somewhere between the allure of the truly glamorous, a harmlessly silly aristocracy and a place where crime is non-violent and victimless.  How lovely to enter this enchanting realm from time to time.

Ronald Colman and Kay Francis portray our lovely leads and radiate romantic chemistry in the luminous lighting of cinematographers George Barnes and Gregg Toland (Citizen Kane).  The very early scenes are framed by distinctively art deco décor.  Raffles first and ostensibly last heist, takes place at night in a jewelers with a black and white checkered floor, whose windows reveal the even pace of a shadowy figure, that of a bobby on the beat.  Under his watchful eye the theft occurs and we are thus alerted to the cleverness of our protagonist.

The following scene reveals his dazzling charm and romanticism as he intimately dances with Lady Gwen (Francis) and sweeps her off her feet, enough for her to accept his proposal of marriage once they return to their table.  Pay attention to the beauty of this setting with its curling railing and illuminating sconces.  Francis’ hair is shorn short and must have seemed breathtakingly modern to audiences of the time, thereby matching this sophisticated nightspot.

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And so we are introduced to this charismatic and charming couple. Raffles is portrayed as a bit of an innocent, a man who believes he can readily walk away from his life’s passions. That turns out to be not so easily done as he is persuaded by circumstance to conduct one last heist for the sake of a good friend, Bunny (Bramwell Fletcher).  The elaborate nature of this last piece of thievery makes up the bulk of this story, whose twists and turns are fanciful and owe a great debt to convenient coincidences. No matter. When reflecting upon this film it is the smoldering charm of our gentleman thief and his adventurous and sophisticatedly glamorous leading lady that stays.

Kay Francis is breathtaking and breathless as Gwen, swooning just as we do for Raffles and his slights of hand.  Gwen inhabits a world of black satin gowns and rhinestone studded spaghetti straps; Francis wears these gowns beautifully as she always does.  This was a breakout role for Francis and established her as a woman who could hold the attentions of both her leading man and audiences.

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Keeping the story interesting are comic turns by Frederic Kerr as Lord Harry Melrose and Alison Skipworth as his wife, Lady Kitty Melrose.  The former makes it abundantly clear as to why the latter becomes so smitten with Mr. Raffles upon first meeting, helping our plot and his heist tremendously. Her obvious lust for him is quite comical and a short scene of her swooning in her sleep and speaking his name leaves no question as to where she might be at that moment.  A pre-Code film this is and thankfully so for the film drops in little bits of business like this from time to time, adding to the entertainment and increasing the sophisticated adult appeal.  It follows then that quite naturally Lady Melrose’s two little pugs (the aristocracy always has little dogs in these pre-Codes) are named Whiskey and Soda.  She is one Lady who makes her priorities quite clear.

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At one point, Raffles makes an in-vain attempt to break it off with Gwen in his own gentlemanly fashion, further endearing himself to her (and us) even more.  He is about as able to give up his passion for her as he is his lifestyle and his heists, which is not at all.

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Raffles is a fairy tale for adults, one in which a gentleman thief can not only confess to crimes and get away with them but also whisk away in the night to rendezvous in Paris with his dazzling lover, all with a wink and an admiring chuckle from Scotland Yard, whose inspector provides the closing line:  “Well, one can’t help liking him”.   And we certainly do.

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Highly recommended for film history and for fun.

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Notes and Extras

  • This was the last film made in both silent and talking versions by Samuel Goldwyn.  It was nominated for an Academy Award for Best Sound (losing to Douglas Shearer for The Big House) and it shows.  The dialogue is so pleasantly decipherable that it is easy to forget that we’ve just entered the era of talking pictures.  There is a steady hiss in some scenes that adds no more than a nostalgic ambiance.  The Warner Archive DVD is lovely with deep blacks and luminous whites, with only a faint halo around cricket players in glowing athleticism in the outdoor scenes.
  • Speaking of the Oscars, Ronald Colman was nominated at the Third Academy Awards in 1930 but not for this film.  Rather he was nominated for two other performances, Bulldog Drummond (another he was to share with John Barrymore) and Condemned.
  • Kay Francis was on loan from Paramount for this one.  As was so frequently the case, this actress needed to break out of her contracted studio to gain recognition and be allowed the opportunity to shine. Francis proved to be a perfect match for Colman in sophistication, intelligence and charm.  Audiences took to her, understandably so. As Francis commented: “I didn’t really get into my stride until I played opposite Ronald Colman in Raffles”.

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  • There were at least two previous silent versions of Raffles, one starring the thrillingly handsome (at least in the silent era) John Barrymore.  There were others to follow, in particular one in 1939, with again two fantastic leads in David Niven and Olivia de Havilland.  Unfortunately this version suffers from not only being made hurriedly just prior to Niven’s departure fight for his country and join the British forces in WWII, but also from post-Code imposed changes that stomped upon tampered with the fun and charm of the 1930 Colman version.
  • Raffles is considered the proto-type gentleman thief and originated in a series of stories by E. W. Hornung based in 19th century London.  These tales were considered a bit scandalous by some due to their sympathetic, almost heroic portrayal of basically a criminal. Nevertheless folks do love their scoundrels and the character of the gentleman thief continues to be seen in such films as To Catch a Thief.  Certainly the story and Grant’s portrayal owe a debt to Raffles and there is certainly more than a little of Kay Francis in Grace Kelly’s aristocratically concealed, yet barely contained   passion and willingness to abandon all for an adventurous life as the lover of a jewel thief.  For further evidence of Raffles long reach see The Pink Panther, The Thomas Crown Affair, Oceans 11 and many others.
  • This film is based upon the play Raffles, The Amateur Cracksman, (1906) which in itself was founded upon a book compilation of the short stories, a further testament to the enduring appeal of this character and his escapades.  The book differs in a number of ways from the film versions, primarily in the depiction of class and the purposeful staging of heists. Socio-political statements, aside from the portrayals of aristocrats as somewhat silly caricatures, were excised from most film versions to maintain their frothy flavor.
  • Watch for a pretty blonde by the name of Virginia Bruce, in an uncredited role as ‘Gwen’s Friend’.
  • This movie was well-received and grossed over $1 Million, a pretty penny in those days just following The Great Stock Market Crash, otherwise known as The Great Depression. This review from Variety provides a nice perspective from the time.
  • And just between you and me, sometime during filming Kay Francis wrote in her diary, ” God, Ronnie excites me”.  Proving once again, if you had any doubts, that movie stars are only people too.  Ronald_Colman_Raffles_RCAS4

Murder and Menace: Guilty Hands (1931)

 

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An MGM Production, Director: W. S. Van Dyke with Lionel Barrymore, Art Direction: Cedric Gibbons, Costume Design: Rene Hubert

This early pre-Code film starts off with a bang and does not let up until it’s startling denouement. Initially the brisk pace, as is frequently the case for these early talking pictures, is dialogue driven. Lionel Barrymore perfectly plays the role of an attorney father who is compelled by his wry knowledge, familiarity with the moral complexities of justice and paternal love to commit the perfect crime to save his daughter.

The movie opens with a scene on a train in which several men are engaged in a philosophical debate as to whether murder can, in some circumstances be justified.  As a highly successful attorney, Richard Grant (Barrymore) has worked both sides of the law and knows the ins and outs of murder.  His claim that the perfect murder could be carried out with plausible justification by “a clever man…. so skillfully, so brilliantly, that he could get away with it” can hardly be disputed given his experience and expertise.  And thus we are tipped off that there is murder and menace in the air.

Barbara “Babs” Grant (Madge Evans) is introduced to us at the train station, where she awaits her father.  She is fresh and open-faced.  In lovely sweeping camerawork that follows her face and figure as she searches for and then greets her father warmly, rather surprisingly really given what is to follow, we are given our first glimpse of the sweetness of their relationship.

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Grant then enters the home of womanizing Gordon Rich (Alan Mowbray) who is interested in not only rewriting his will and paying off his previous conquests, but also in informing Grant that he has every intention of marrying his daughter. The dialogue between these two men ends with a firm “See you in hell!”, a declaration that becomes more chilling as the movie progresses.  Later it is revealed that the planned nuptials are to happen the following day.

Barbara is  viewed in the garden, speaking intimately with a young man.  Apparently she has previously given her love to Tommy (William Bakewell), now confused and pleading.  Throwing over this same age beau for the significantly older and to my mind smarmy Rich seems a bit of a stretch but who I am to question her heart; it is quickly apparent that she has indeed committed herself to marrying a man who simply will not do.  Just as her softly ruffled dress flutters in the wind, this young woman is easily swayed, and as delicate as the lilacs that surround her. Grant comes to speak to his daughter, first gently but then firmly, letting her know that they must meet privately.
Barrymore is wonderfully natural in the part of the warm yet startlingly confident and candid father. Moving from the garden to Grant’s bedroom, father and daughter engage in a remarkably intimate exchange. Babs rummages through the pockets of a jacket that is casually hooked on a bedpost. Finding little of interest to her she sits on the bed and comfortably smokes as her father ties his bow tie, even offering to help, although he scoffs at her offer of assistance. Smoking lends an adult aura to Babs, yet her innocence gives her the appearance of a child smoking candy cigarettes. She playfully lays back onto the bed. Her father asks her for a kiss, leaning over her and  kissing her as she remains in this seductive position, her eyes glancing upward and chin jaunty. The scene is accompanied by this exchange:

“Well how about giving the old man a little kiss?”  He asks rhetorically.

“Help yourself.”

“Thank you.”

“Thank you sir”, she replies, once again the little girl.

Grant immediately but tenderly confronts his daughter regarding the news of her impending marriage to Rich, a connoisseur and deceiver of women.

“This man Rich is rotten clear though. Now look here Babs, I’m not going to mince words. Rich isn’t fit to marry any woman. He’ll just bring you shame and disaster…This man you want to marry is a beast about women. I mean that literally. He’s just an animal.”

Father and daughter speak frankly about sex. He instructs her that being with this man on her wedding night, even as his wife, will be a “horror and a shame”, something that she will never live down or be able to put aside in her own mind, something that she will have to live with forever. These are powerful, intimate words that portray a rare candidness.  Earlier he has revealed how much his daughter reminds him of his late wife. The warm affection and incestuous undertone in these exchanges heightens the dramatic tension between our two male protagonists. This paternal bond is not one that will be altered easily or lightly. Once he sees that she is intractable, Grant understands that he must act and has determined to find a solution on his own.

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A dazzling display of flowers sits prominently upon the table at a dinner party, surrounded by a sophisticatedly charming and cheerful array of folks, seen as the camera pans down the center, finally reaching the host, Rich.  Grant glares, glances at Tommy and back at Rich. The flowers are telling as Babs imminent deflowering and potential loss of innocence are foremost on his mind. It is at this table that we are first made aware of the young and beautiful Marjorie West (Kay Francis). Despite her youth Marjorie displays an air of worldliness, almost weariness and elegance.  The only woman dressed in black, the straps of her gown glimmer with rhinestones.  As Rich announces his marriage to Barbara, Marjorie’s startled reaction tells us everything we need to know about her relationship to this philanderer and user of women. In the large window that provides the backdrop to this tableau we see an ominous flash of lightning.

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Cinematographer Merritt B. Gerstad frames shots that place characters, at times with their backs to us, and objects such as bouquets and lamps well into the foreground.  Scenes are layered with fore-, mid- and background neatly delineated.  This contrast moves this talking picture beyond the usual drawing room melodrama as Gerstad’s camera is an active participant in furthering the drama. Shadows and angles are utilized effectively to create menace and delineate character, with Barrymore’s stature never shown diminished, despite his morally murky decisions.

Furthering this aim of opening up a relatively static set are long lovely shots where the camera sweeps languidly around interior spaces. This is utilized most vividly just after the dinner party.  The lens sashays among lounging participants, lingering a moment and then moving on, settling first upon Marjorie, Grant, and then Tommy, each observing the affectionately engaged couple. This fluid camerawork not only creates a sense of space but also heightens the tension as a sidelong glance might between intimate acquaintances. Yet the participants remain lost in their own tormented thoughts. As the scene ends, Grant’s pain is palpable as he coaxes his daughter to the garden where “we will have a little love scene all by ourselves”.  He is not about to let her go so easily, not to this “animal “.

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Father and daughter stroll in the night air. Just prior to going off for the night they exchange two kisses with Grant encircling his daughter in his protective arm. He reassures her that everything is “going to be all right”. As she leaves for the night her voice trails off with a sweetly lilting “good night darling”, as she heads off to bed. Again the love between father and daughter is depicted as a strong bond, not easily broken by a cold-hearted adventurer. This central point must be well-established to lend credence to this narrative, with paternal devotion and protectiveness providing a solid motive for this man to proceed, despite his love of law. Based upon the opening scene, we already know that his love for justice is greater.

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Meanwhile, the case for action is strengthened as Rich explains to his long suffering yet strangely devoted lover Marjorie, in a private room with fireplace blazing, that in Barbara’s case “it has got to be marriage”, as there is no other way to have her.  However he sees his upcoming marriage as no impediment to continuing his arrangement with Marjorie.  The implication is clear: this man is a slave to his carnal desires.  He later can hardly restrain himself, seeking out Babs as she prepares to go to bed for the night, yet she firmly rebuffs him.  We see her close the door and pause. With Rich’s own motivations and his character (or lack thereof) defined, the path is well laid for the unfolding story.
I won’t give away the rest of this plot.  While it may seem pretty straightforward, this story, an original by playwright and screenwriter Bayard Veiller (playwright of Paid, 1930 and The Trial of Mary Dugan, 1929), takes many unexpected and interesting twists before coming to its dramatic, albeit somewhat far-fetched conclusion.  Although as you may have already guessed, a far-fetched conclusion is no deterrent to me in enjoying a movie, not with my love of over-the-top melodrama.

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As the movie progresses, we get a nice battle of wits and a tenacious emotional struggle between Kay Francis and Lionel Barrymore.  Francis more than holds her own against the veteran thespian and that in and of itself is exciting to see. While his enormous talent and experience lends considerable weight and finesse to his performance, her sincerity and ability to silently convey complex feelings beautifully matches his command of language and assured delivery.

In the very last moments of the film Francis is a breathtaking vision as a stream of emotions washes across her face. We see her fear, her anguish, her grief and her finely tuned sense of justice that understands that it has indeed prevailed. And she conveys all this with a minimum of dialogue during a time when dialogue was paramount in talking pictures. The essence of Francis’ enormous appeal is readily apparent in this,  one of her earlier films.

While Francis as usual wears her flowing gowns with grace and elegance, it is her skill as an actress that is most memorable.  This is not always the case with her movies, particularly as her career progressed. It is fabulous to see her in a role that respects her gifts as an actress.  While not entering the film until 15 minutes in, her performance and ability to match the artistry of Lionel Barrymore is remarkable and a pleasure to see.  In light of this raw talent her treatment by a vengeful Jack Warner (angered by a lawsuit she filed and subsequently withdrew) during the final year of her contract with the studio is even more incomprehensible and a loss to film-goers.

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This movie was so much more powerful than I expected it to be, particularly since Warner Archives hadn’t decided to make it available on DVD until the recent release of Volume 10 of their fabulous Forbidden Hollywood series. And while I’ve done considerable gushing here about Kay Francis the force of Barrymore’s performance cannot be underestimated.  He is perfect at every point.

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The quality of the solid pacing and firm direction, the artistic elements and especially the acting lift this film beyond a simple crime drama or lawyer picture, both so typical of the era.  This movie contains enough unpredictability and fabulous acting, despite its conventional murder-mystery moments, to be riveting.

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 Definitely recommended. 

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Notes and Extras

  • For an additional positive review with significant spoilers from the NYT, click here
  • At Pre-Code.Com, Danny also enjoyed the interplay between Kay and Lionel, going so far as to call it “fantastic”.
  • kayfrancisfilms.com also gives this film praise, giving considerable background information on the factors that led to its creation and the quality of the production. There are some fabulous stills and also a full plot synopsis  for those of you that find you can’t get enough!