Classic movies are not just antiquated films from a bygone era...rather, they are beautiful, well-acted, well-written gems that ought not to fade into obscurity. Truly, Hollywood just doesn't make 'em like they used to!!! I hope you'll discover some must-sees by your visit here.
In honor of Mother's Day, I wanted to give a brief shout-out about a touching little pre-code tearjerker I caught recently. The Sin of Madelon Claudet, from 1931, is what I call a "mommy" movie---you know, a movie in which a mother's sacrificial love for her children shines through. The film, which is adapted from Edward Knoblock's play The Lullaby, stars Helen Hayes, with Lewis Stone, Neil Hamilton, and Robert Young taking on supporting roles. Miss Hayes' husband, Charles MacArthur, was the co-writer of the screenplay.
After her lover (Neil Hamilton) returns to America and is railroaded by his family into marrying a more suitable woman, French farm girl Madelon Claudet (Helen Hayes) gives birth to their illegitimate son. By becoming the mistress of the wealthy Carlo Boretti (Lewis Stone)--who unknown to Madelon is a jewel thief--- she is able to send money to the friends who are caring for the little boy.
A few years later, just as Carlo---who has known about Madelon's child's existence all along---is about to marry her and bring the youngster to live with them, his real identity as a jewel thief is discovered. Rather than go to jail, Carlo shoots himself, leaving Madelon unable to prove that she was not his accomplice. Convicted, she is sent to prison for ten years.
Upon her release from prison, Madelon wants to spare her son the shame of having a "jailbird" mother, so she allows him to be told that she has died. Wanting to do all she can to give the boy a good future, Madelon falls into prostitution, providing her earnings to a friend who sees to it that the young man goes to medical school. Years later, when Madelon is very old and sick and her son (now played by Robert Young) is a successful doctor, their paths cross again.
The Sin of Madelon Claudet is definitely worth seeing. While the subject matter (illegitimate children) is, of course, dated, the story of a mother's sacrificial love is timeless. Helen Hayes---in what is essentially her film debut---is brilliant in her portrayal of Madelon, and that is not just my opinion. The Academy thought so too, for Miss Hayes' performance graced her with a Leading Actress Academy Award win. Also worthy of mention is Lewis Stone's performance, as well as the work of the makeup artist. The job of aging Miss Hayes, who was 30-years old at the time of filming, was spectacularly done. I highly recommend this film and am going with 4 stars on it.
Out on DVD, this film ought to be fairly easty to track down. I do hope you get a chance to see it.
New for 2014---the "Best Film Discovery of the Month" series, in which I will highlight the best "new to me" film I watch each month. For January, that film is 1932's I Am a Fugitive from a Chain Gang, starring Paul Muni and featuring Glenda Farrell and Helen Vinson in supporting roles. Not only is this pre-code drama the best "new to me" film I saw in January, it is also my first 5-star film "discovery" of the year. Based on Robert Elliott Burns's autobiography, I Am a Fugitive from a Georgia Chain Gang, this Mervyn LeRoy film received three Academy Award nominations, including Best Picture and Best Actor for Mr. Muni.
After being convicted of a crime he did not commit, WWI veteran James Allen is sentenced to 10 years of hard labor on a Southern chain gang. When he is unable to cope another minute with the horrid conditions and the brutality of the guards, James convinces another inmate to break his chains, then he sets out on the run.
Escaping to Chicago, James changes his name to Allen James and eventually becomes a successful, respected businessman. When his landlady (Glenda Farrell) discovers his past, she blackmails him into marrying her; it's a union void of love, however, and a few years later, in a fit of jealousy because Allen/James has fallen in love with another woman (Helen Vinson), the wicked woman turns him in to the authorities.
Although Allen/James had not committed any crime and has been a model citizen for years, he is returned to the chain gang, with the promise that his sentence will be for a period of only 90 days. Because he had spoken out about the inhumanity of the chain gangs, however, the "establishment" has no intention of honoring that promise, and once again, the man is forced to break his chains and live a life on the run. How everything plays out is the balance of the film.
I Am a Fugitive from a Chain Gang is a masterpiece of a film. It's gritty, meaty, powerful, deeply troubling and features an absolutely brilliant performance by Paul Muni...and the final line of the film is about as haunting an ending line as there ever was.
This film is out on DVD; however, I believe it is only available as part of the Controversial Classics Collection, which is a spendy $79.98. Adding to the nearly cost-prohibitive price, TCM doesn't seem to air Chain Gang very often, so it might not be an easy film to catch. Keep your eye out for it, though, as it is a spectacular must-see.
While I'm very familiar with Claudette Colbert's "code" work, with the exception of Imitation of Life and It Happened One Night---both of which were from the year the code went into effect---I've not seen any of her pre-code films. I decided that during her reign as star of the month here at They Don't Make 'Em Like They Used To, I would make it a point to expose myself to some of her pre-code works. The first of those is Torch Singer, a 1933 drama also starring Ricardo Cortez, with David Manners, Lyda Roberti, and Charley Grapewin also making appearances.
After giving birth to a baby girl, unmarried, unemployed Sally Trent (Claudette Colbert) tries to make it on her own. When the friend she is living with loses her job and moves away, Sally finds herself in dire straits---she's behind on her rent, locked out of her apartment, and unable to find a job. With no ability to support herself, let alone a child, Sally approaches the wealthy aunt of her former boyfriend, Michael Gardner (David Manners, though you won't see him until 45 minutes into the film), hoping that the woman will take her little girl. Although Sally promises to give up all claim to the child, the older woman will have no part of it; in fact, she's not even sure the child is that of her nephew
With nowhere else to turn, Sally returns to the hospital where she gave birth, putting her child into the hands of the kindly nun who had helped her months earlier. Although warned by the sister that things will be permanent, that she'll be giving up her daughter forever, Sally knows she has no choice.
Now without a child, Sally changes her image and takes on the name Mimi Benton, finding success as a nightclub singer and garnering an unsavory reputation.
A few years later, Sally/Mimi helps a friend out of a bind by stepping up to the mike when the storyteller of his children's radio program bails on him. Although she is Mimi Benton---torch singer---and not the wholesome Aunt Jenny she is slated to be, children all over the country love her. With ratings soaring, Sally is given the role permanently.
By now, Michael has returned from his trip to China, and he sets out to track down the woman he left behind and whom he still loves. Upon locating Sally, he is disconcerted by both her attitude towards him and the change in her demeanor. Gone is Sally Trent, he says, and in her place is a selfish, hard woman. Michael vows to do what it takes to win his love back. Sally, too, desires to do some winning back---she intends to use her radio show to track down the little girl she gave away. How it all plays out is the balance of the film.
This film is the youngest I have ever seen Miss Colbert, and I think she is beautiful. Her performance in this role is terrific. She is one of those stars who shines as readily in drama as she does in comedy. Oh, and she gets an opportunity to belt out a few tunes here. Who knew she could sing? The other stars, as well, do a great job in their roles. In fact, this film had the potential for being a 4-star gem; in the end, though, because the ending is lame, rushed, unrealistic, and leaves a lot of unanswered questions, I downgraded to 3 stars---but it's more like 3.5. Definitely, Torch Singer is a solid, very enjoyable film.
Out on DVD as part of a Pre-code Hollywood collection, Torch Singer should be fairly easy to track down. It is also available on YouTube, in parts. HERE is the link to the first part. If you enjoy pre-code films, or if you'd like to catch Claudette Colbert in her very young years, you'll definitely want to see this.
For the next five days, it's all things James Cagney over at The Movie Projector. There are thirty bloggers participating in a salute to one of the most sensational actors there has ever been...or will ever be. In conjunction with the blogathon, host R.D. is offering a giveaway of the 2-disc edition of Yankee Doodle Dandy, the film for which Mr. Cagney won his only Lead Actor Academy Award. For more information about the giveaway and to read all the other wonderful entries in the event, go HERE.
My contribution to this fantastic blogathon is that quintessential gangster film from 1931, The Public Enemy. Directed by William Wellman, The Public Enemy provided Mr. Cagney with his breakthrough role, as he was moved from a secondary character to the lead one before filming began. Though Jean Harlow gets second billing, she's really quite a minor player. The film is all Cagney's, with supporting help from Harlow, Edward Woods, Donald Cook, and Joan Blondell. Mae Clarke, Beryl Mercer, and Leslie Fenton also have feature parts in this terrific 5-star film, which in my mind remains the measuring stick of all gangster films, even now, some 80 years after its release.
The film begins in 1909 on the streets of Chicago, where two young boys, Tom Powers (who will grow up to be James Cagney) and Matt Doyle (who will grow up to be Edward Woods) are beginning down the road which will ultimately lead them to organized crime. With Tom as the instigator, the boys are repeated troublemakers, even stealing for local gangster Putty Nose (Murray Kinnell). Matt's sister, Molly, warns Tom that he's no good and will end up in jail someday.
As the years go by, Tom and Matt grow to manhood, getting involved in ever-bigger capers, now with guns in their hands. When things go haywire during their robbery of a fur company and one of their own is killed, ringleader Putty Nose skips town, leaving the boys feeling double-crossed and desirous of revenge. They soon join forces with another local gangster, Paddy Ryan (Robert O'Connor).
After their first big payoff, Tom and Matt delight in getting fitted for fancy suits and, afterwards, enjoy a night on the town. Matt soon finds himself in love with Mamie (Joan Blondell), while Tom spends time with Kitty (Mae Clarke), before ditching her for Gwen (Jean Harlow).
As Prohibition becomes the law of the land in 1920, Tom and Matt are primed to become big shots. Operating a bootleg beer business, Paddy joins forces with another local mobster, Nails Nathan (Leslie Fenton). Gang warfare ultimately breaks out, and many are sure to get caught in the crossfire. How it all plays out is the balance of the film.
The Public Enemy is a simply sensational film. The direction is fantastic...the cinematography is appropriately stark and gritty...the acting---especially that of James Cagney---is brilliant. He plays the cold, heartless, evil Tom Powers to absolute perfection. Especially upon discovering that these gangster roles were just a way to pay the bills...that Cagney really preferred song-and-dance roles...you realize just what an amazing performance he gave here. I think it's one of his best---though being honest, I think Mr. Cagney (whom I positively adore!) always gave a "best" performance.
One of the most haunting scenes in all of film history (to me) is Tom Powers' final arrival at his mother's door. It's a sight that will stick with you for days. (Can't say more, so as not to give away the ending to those who may not have seen this film yet.)
Probably my favorite scene in the film is the one which gives a little glimpse into the song-and-dance life of James Cagney. It's short and, perhaps, unnoticed by most people. After obtaining Gwen's telephone number, Tom does a little two-step on the sidewalk. With Mr. Cagney's love for dance, I figure that was an improvisation to put a little of himself into the film.
When production of The Public Enemy got underway, Cagney was originally hired for the Matt Doyle role; however, by the time shooting commenced, it was realized that Cagney was the more dominant personality and, thus, ought to have the star part. Mr. Cagney puts it this way in his autobiography, Cagney by Cagney, "Public Enemy was about two street pals---one soft-spoken, the other a really tough little article. For some incredible reason, I was cast as the quiet one; and Eddie Woods, a fine actor, but a boy of gentle background, well-spoken and well-educated became the tough guy. Fortunately, Bill Wellman, the director, had seen Doorway to Hell , and he quickly became aware of the obvious casting error. He knew at once that I could project that direct gutter quality, so Eddie and I switched roles after Wellman made an issue of it with Darryl Zanuck." This casting change had huge bearing on Mr. Cagney's career, because after The Public Enemy, Warners gave him star billing.
In his typical humble way, Mr. Cagney doesn't have a negative word to say about anyone in the cast. He called Donald Cook, who played his brother in the film, "that good actor." He also said, "Public Enemy had a fine cast: Eddie, Donald, Mae Clarke, and the unforgettable Jean Harlow, whom, he said, was "very pleasant to work with." The two never saw each other again after PublicEnemy, but Mr. Cagney was, nevertheless, saddened by her untimely death.
One of the most memorable scenes in James Cagney's career is the infamous grapefruit scene, in which Tom, frustrated by his girlfriend's (Mae Clarke) nagging, shoves a grapefruit in her face. According to Mr. Cagney's autobiography, the scene had been "derived from a real incident in Chicago when a hoodlum named Hymie Weiss took an omelet prepared by his overly-talkative girlfriend and shoved it in her face. Of course, an omelet was a bit too messy to be repeated on the screen, so the grapefruit was substituted."
A little anecdote about that scene is that "Miss Clarke was once married to Monte Brice, Fanny's brother. Mae and Monte divorced , and apparently with a little rancor, because every time Cagney pushed the grapefruit into Mae's face at the Strand Theatre, there was a guaranteed audience of one---Monte. He would come in just before the scene was shown, gloat over it, then leave."
The Public Enemy is a totally brilliant movie...a definite must-see, as it paved the way for all gangster films following in its wake. It is one of my 10 favorite films of the 1930's, my 2nd favorite James Cagney film, and among my 40 all-time favorite movies. I cannot recommend it highly enough. Out on DVD and soon to be released on Blu-Ray, the film should be very easy to track down. It is also on the TCM schedule for Sunday, June 2nd, at 12:30 p.m. (ET). Do try to catch it---you will absolutely not be disappointed.
Happy viewing!!
All quoted material derived from Cagney by Cagney, by James Cagney, Doubleday & Company, Inc., 1976
The Life of Jimmy Dolan, from 1933, is a pre-code boxing drama starring Douglas Fairbanks, Jr. and Loretta Young, with Guy Kibbee, Lyle Talbot, and Aline MacMahon taking on supporting roles. Also making appearances here are a very young Mickey Rooney, Anne Shirley before she was Anne Shirley (billed as Dawn O'Day here), and a young John Wayne. This film, which is the last of six pairings between Mr. Fairbanks and Miss Young, is the original of the 1939 John Garfield film They Made Me a Criminal (reviewed HERE).
After getting drunk at a party, left-handed boxer Jimmy Dolan (Douglas Fairbanks, Jr.) throws a punch at the newspaper reporter intent on getting a story, sending him sprawling backwards into a fatal fall. Without realizing his blow killed the man, Jimmy passes out, leaving his friend Doc (Lyle Talbot) to take matters into his own hands. Sure he and Jimmy's girlfriend, Goldie, will be implicated in the death as well, Doc determines that the best thing the two of them can do is leave town, which, after slipping Jimmy's watch on his wrist and setting out in Jimmy's car, they do. However, with the police on the lookout for Jimmy's car, a chase ensues, and a drunken Doc crashes. The car explodes upon impact, killing both Doc and Goldie, and with Jimmy's watch being the identification, Jimmy---who, as expected, has been accused of killing the reporter---is presumed dead.
After Jimmy comes to and learns that not only is he dead, but that he had been implicated in the reporter's death, he is advised by his attorney to take on a new identity and leave town. After being warned not to use his fists, lest he give himself away, Jimmy---now known as Jack Dougherty---hops a freighter and makes his way west.
Near Salt Lake City, Jack/Jimmy leaves the freighter behind and takes to his feet. After reaching a farm run by Auntie (Aline MacMahon) and Peggy (Loretta Young), his strength gives out, and he stays there for a time as they nurse him back to health. Jack discovers that the farm is much more than a farm---it is a hospital of sorts for crippled children---and as he stays on to work there, Jack falls in love with Peggy and becomes fond of the children. After learning that Auntie is in financial straits and that the children will be returned to the orphanage if she cannot make a payment, Jack is determined to do his part to help them out and, thus, despite his attorney's warning to not use his fists, he agrees to take part in an upcoming fight.
Back in New York, Detective Phlaxer (Guy Kibbee) spots news of the Salt Lake fight, along with a photo which looks suspiciously like Jimmy Dolan to him. Though he had long thought that the body identified as Jimmy's was misidentified, because of a mistake earlier in his career, his superiors refused to believe him. Now, with something to prove and a chance to salvage his reputation, Phlaxer sets out to Salt Lake City to meet up with Jack Dougherty and bring him back to New York as the accused killer Jimmy Dolan.
Doex Phlaxer find Jimmy/Jack? Does he bring him back to New York for trial and prison? Will Auntie get the funds she needs to save the farm? Will Peggy and Jack's love survive? How everything plays out is the balance of the film.
While not a spectacular film, The Life of Jimmy Dolan is, nonetheless, very solid and entertaining. The storyline is interesting, and it is loads of fun seeing Loretta Young when she was just 20 years old and Mickey Rooney, Anne Shirley, and John Wayne in the early days of their careers. Despite the large supporting cast, this really is Douglas Fairbanks, Jr.'s film, and he is quite good in his role. Without question, though, I preferred the Garfield remake, in part, probably, because of my love affair with John Garfield. In the remake, Guy Kibbee's role is played by Claude Rains, Loretta Young's by Gloria Dickson, and Aline MacMahon's by May Robson, and the farm for crippled children is a home for delinquent youth---played by none other than the Dead End Kids. You might want to watch both films and compare them for yourself. I give both of them 3 stars---though They Made Me a Criminal is more like 3.5.
The film is not out on DVD, so it might be difficult to track it down; however, TCM airs it fairly regularly, so you could probably catch it there within a few months.
Rain---a 4-star film for me---is a hard-hitting romantic drama from 1932. Starring Joan Crawford and Walter Huston, this troubling pre-code film takes a disturbing look at some heavy social issues. It's a film I had never even heard of prior to this month, when I was seeking out Joan Crawford's early works.
When the ship they are traveling on is detained in Pago Pago due to a cholera outbreak, the passengers are forced to spend several days on the South Pacific island. Among those finding accommodations in the rooms above the town's general store are prostitute Sadie Thompson (Joan Crawford) and Christian missionary Alfred Davidson (Walter Huston) and his wife (Beulah Bondi). Though they had been together on the ship, their paths hadn't crossed; however, in the confines of the small general store, the three are continually face-to-face with one another...a situation which immediately creates problems.
As Sadie takes up residence in the store, the American servicemen stationed on the island find their way to her room, and that, along with Sadie's loud, music-blaring, provocatively-dressed lifestyle does not sit well with the Davidsons. When his continual calls for Sadie to repent fall on deaf ears, Arthur requests that the governor deport her and ship her back to San Francisco where she will be imprisoned for a crime she says she did not commit. Before her deportation, however, Sadie has a radical conversion experience and completely changes her ways; Arthur Davidson, too, has a change of ways and gives in to his lust for Sadie. How it all plays out is the balance of the film.
Rain is an extremely troubling movie for me. As a Christian, I am not on the "anything goes" page; there are plenty of things from which people need to repent (not the least of which is sexual immorality). I felt that the call for repentance and a turning from immoral behavior was being mocked here. At the same time, though, I am not one who would ever go up to a perfect stranger and start preaching at them to change their ways (as Huston's character did). I am fully capable---as are many Christians---of "blowing things off" and just being friendly even if I don't approve of someone's behavior. Also, Huston and Bondi were portrayed only as self-righteous, religious fanatics. While I know there is hypocrisy in Christianity, there is also great love---something which was never exhibited in this film. At one point, Miss Bondi's character said to another woman, "Don't even look at her" (about Sadie), almost as if she would be contaminated by doing so. Mr. Huston's character wildly chanted the Lord's prayer over and over again, even as Sadie was talking to him...almost as if his chants were drowning out the devil. These negative aspects of a faith I hold dear made the movie troubling for me.
On the flip side, though, was the acting. While Joan was harsh and gawdy in this film---and not her beautiful, glamorous self---her acting was terrific. I think she totally owned the part and brought Sadie vividly to life.
Walter Huston, too, was completely sensational. The acting of the two of them makes this a 4-star film. Incidentally, Rain was remade as Miss Sadie Thompson in 1953 with Rita Hayworth as Sadie and Jose Ferrer as Alfred Davidson. I really like Miss Hayworth, so I may end up checking out that version sometime.
Although I found this film to be troubling, it was definitely interesting and completely riveting. Much as I hated the way the Christian was being portrayed, I couldn't stop watching---I definitely wanted to see how the story turned out. In my opinion, Rain really is a must-see film...especially for Joan Crawford and Walter Huston fans. Out on DVD, you should have a fairly easy time tracking it down. Also, it is available through Net Flix instant viewing and on YouTube (HERE).
The Purchase Price, from 1932, is a pre-code romantic dramedy starring Barbara Stanwyck, George Brent, and Lyle Talbot. With this past Thursday having been Mr. Brent's birthday, there have been several of his films on the TCM schedule this week---some, like this one, I am catching for the very first time. It's always fun making a new film discovery, and while I didn't love this movie, I found it to be an enjoyable viewing experience.
Nightclub singer Joan Gordon (Barbara Stanwyck) has grown weary of her married racketeer boyfriend, Eddie (Lyle Talbot), and to escape him, runs off to Montreal, taking on the name Francine LaRue. Despite the name change, Joan knows Eddie has ways of tracking her down, so, with the help of a hotel maid, she comes up with the perfect plan to be rid of him forever.
It seems the maid, Emily, is about to become a bride---a mail-order bride, that is---to a man she has never even met. Through a matrimonial agency, Emily was matched with wheat farmer Jim Gilson (George Brent), and she is due to leave immediately for his home in Elks Crossing, North Dakota. When Emily mentions that instead of sending a photo of herself, she sent one of Joan, the desperate-to-disappear young woman realizes she has just been given the perfect escape route---she, not Emily, will take the train to North Dakota and become the farmer's wife. After all, since Jim is expecting to marry the woman of the photograph, he will never even know a switch has been made.
Things don't go as smoothly as either the bride or groom expected; for one thing, the wedding ceremony is more like a circus...complete with a bargained-for ring which doesn't even come close to fitting Joan's finger. Also, a heavy mortgage and a merciless banker are nipping at Jim's heels; to make matters even worse, Joan intends the marriage to be in name only...an arrangement Jim is none too happy about. Slapping him when he makes advances towards her, Joan succeeds in building a wall between the two of them....and just as the wall begins to show signs of toppling, the old gangster boyfriend shows up at the farm, alerting Jim to the fact that his wife isn't the "good girl" he thought she was.
Do Jim and Joan find love together? Or does Joan go back to Eddie? Are they able to save the farm from foreclosure? These are the questions which play out in the balance of this sweet little film.
While I enjoyed The Purchase Price, I have to admit, it was beyond odd to see George Brent in this kind of role. Instead of the dapper, distinguished, suit-wearing gentleman he generally portrays (and which I prefer), here, he was a bit on the socially awkward side...and wearing long johns and jeans which were too big in the rear end. Not his usual elegant self, that's for sure. Plus, he wasn't sporting a mustache at this point in his career, and I must say, Mr. Brent is one of the few actors I love with a bit of facial hair (Clark Gable too). Also, at one point, his character got down on all fours to look for something, and there was at least a 10-second shot of his backside. Not exactly a dignified pose!! Just as uncomfortable to watch was the scene in which a mentally-challenged young man howls at the newlyweds. Still, though, despite the strange casting and the lack of sophistication, the story was sweet. Additionally, it was loads of fun seeing the lovely Miss Stanwyck way back at the tender age of 25. She's young and beautiful here, and in the very early stages of her career. What a pleasure to see her in the days before her star began to rise...we even get an opportunity to hear her sing. I know very little about Lyle Talbot, but he was quite a good-looking man...not sure why he wasn't more of a star. Finally, the scene in which the ladies are talking on the train is a definite clue that this is a pre-code film. Their conversation is filled with innuendo which would not have gotten by the censors a few years later.
This film is out on DVD as part of the Forbidden Hollywood Collection, so you might be able to track it down that way. I've been unable to locate either the entire film or even a trailer on YouTube. So...best of luck seeking this one out.
Sadie McKee, from 1934, is a romantic drama starring Joan Crawford, Gene Raymond, Franchot Tone, and Edward Arnold. The third of seven films pairing Crawford and Tone (who would marry in 1935), this sweet little pre-code story, which chronicles the loves of working class-girl, Sadie McKee, is one I enjoyed as part of my Joan Crawford birthday month celebration.
With her mother a cook at the home of the wealthy Aldersons, Sadie McKee (Joan Crawford) has long enjoyed a friendship with the family's son, Michael (Franchot Tone). Their relationship is strictly platonic, though, as Sadie has a boyfriend...Tommy Wallace (Gene Raymond), a man who has recently lost his job due to his crooked ways. Sadie, who trusts Tommy completely, doesn't believe he has done anything wrong and runs off to New York with him.
After making plans to meet Tommy at City Hall, where they will be married, Sadie hits the New York streets, leaving Tommy behind at a cheap boarding house. When another tenant in the house flirts with him, Tommy flirts right back and ends up not only standing Sadie up, but abandoning her as well. Brokenhearted, yet determined to succeed, Sadie takes a job as a dancer in a club, where she meets drunken millionaire Jack Brennan (Edward Arnold).
Completely smitten with Sadie, the wealthy Mr. Brennan asks her to marry him. However, his good friend and lawyer is none other than Michael Alderson---and he no longer trusts Sadie. Insisting that she's nothing more than a chiseler, who will take the kindhearted man for everything he's got, Michael warns Sadie to stay away.
Will Sadie take Brennan for everything? Does she care about him? And what happens when Tommy, for whom Sadie still carries a torch, comes back into her life? And what exactly are Michael's feelings toward his childhood friend? These are the questions which play out in this sweet little film.
Sadie McKee is an interesting, enjoyable film, and although Joan Crawford gets top billing and does a great job in her role, the absolute star of the show is Edward Arnold. He is beyond fabulous as the drunken millionaire. The way he played every scene was completely perfect!! Joan is quite lovely at this point in her career, and her portrayal of Sadie was extremely heartwarming. I really came to care about Sadie. Franchot Tone was solid...and dashing as always. Gene Raymond, whose character is hardly likeable, strums a ukulele and sings "All I Do Is Dream of You," a song written specifically for this film.
Initially, I was going to go with 4 stars on this; however, the ending was rather abrupt and didn't seem to flow right, so I went with 3. Even so, though, this is a good, solid film, which I recommend---especially to Joan Crawford fans.
The film is out on DVD so it ought to be fairly easy to track down. Happy viewing!!
Born to Be Bad, from 1934, is a pre-code drama starring Cary Grant and Loretta Young. While there is a 1950 film of the same name, starring Joan Fontaine, Zachary Scott, and Robert Ryan (reviewed HERE), this film is not the original of that. Though the two films have the same name, they are two completely different movies, with completely different storylines. This film is quite short...running time is only 61 minutes.
Letty Strong (Loretta Young) is a single mom of a seven-year old boy named Micky. Having had her son when she was fifteen years old, Letty has been on her own ever since. The boy is quite a juvenile delinquent...smoking, skipping school, and running with a rough crowd. One day, while roller skating, Micky gets hit by a milk truck, and though he wasn't badly injured, Letty instructs him to pretend that he was so that he will get a large settlement.
Malcolm Trevor (Cary Grant) is the man who hit Micky, and at his trial, it comes out that Micky wasn't injured at all, that he has been faking it. The judge deems Letty, who encouraged her child to lie, an unfit mother and removes the child from her care. Malcolm, feeling somewhat responsible for all that has happened, asks the court to give him and his wife custody of the boy. Letty, meanwhile, is determined to get her son back...no matter what it takes, no matter who gets hurt in the process, no matter if she has to seduce Malcolm in the process. How it all plays out is the balance of the film.
This was not a film I enjoyed at all. While I am a huge fan of both Cary Grant and Loretta Young, I absolutely did not like either of them in this. Loretta was beautiful---maybe more beautiful than ever---but her character was totally unlikeable; never for a minute did I like her, care about her, or want her to succeed. And Grant's character...well, he started off as a decent guy, but he very quickly became someone I couldn't root for or care about. (I can't say more without giving away the rest of the story.) Oh, and I never really cared about or liked the little boy either. So for me, when I want a "sacrificial mommy movie," I'll go with the 5-star Stella Dallas or Madame X.
If Born to Be Bad sounds like a film you are interested in seeing, it is available on Net Flix instant viewing. I've also seen it on TCM's schedule fairly regularly.
Virtue, from 1932, is a pre-code drama starring Carole Lombard and Pat O'Brien. The lovely Miss Lombard portrays Mae, a young woman arrested for prostitution as the film begins. After being told to high-tail it back to her hometown, she is released. Before long, she meets cab driver Jimmy Doyle, and after a bad first impression, the two are soon smitten with each other. Without telling Jimmy about her past, Mae marries him and seeks to live an honorable life.
As always, though, secrets can't be hidden forever, and in short order, Jimmy discovers the truth about Mae. He is extremely upset and even contemplates walking out on her; however, since he loves her, he gives her another chance. Deep down, though, he never forgives her, nor does he really trust her, so when circumstances indicate that Mae has reverted back to her old life (even though that is not the case), Jimmy believes the worst and walks out.
Will Mae and Jimmy get back together? Will Jimmy ever fully forgive Mae? Does he ever begin to trust her? These are the questions that will play out in this film.
Although Virtue isn't a spectacular movie and the acting isn't the best, I do think it's an interesting and entertaining film. I'm not sure if it's out on DVD, but TCM airs it periodically, so you could catch it there.
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_NRFPT_01.jpg)
_03.jpg)
_03.jpg)
