Showing posts with label United Artists. Show all posts
Showing posts with label United Artists. Show all posts

Wednesday, August 21, 2019

Coquette (1929)




Directed and produced by Sam Taylor, Coquette (1929)A Drama of the American South stars Mary Pickford in her first ever talking picture. Pickford plays Norma Besant, a "silly little coquette", as she calls herself, who enjoys being the toast of the town. She's the beloved daughter of Dr. John Besant (John St. Polis), and the sister of the equally frivolous Jimmy (William Janney). Norma comes from a wealthy family and could have any guy she wants, including Stanley Wentworth (Matt Moore) who is absolutely smitten with her. Instead she's fallen in love with Michael Jeffrey (Johnny Mack Brown). He's from the bad part of town, has never had a steady job and can't afford the suit he'd be required to wear to take Norma to the Summer social. And Dr. Besant wants nothing to do with him. It's clear that their relationship is not off to a great start. Determined to earn Norma's affection fair and square, Michael leaves for a few months to make something of himself. He returns earlier than expected and the two lovebirds are reunited. When a scandalous rumor makes its way through the town, Michael and Dr. Besant come face-to-face and a tragic incident changes Norma's life forever.



"He's a diamond in the rough."

Coquette was based on Jed Harris' stage play and adapted by George Abbott, Ann Preston Bridgers, John Grey and Allen McNeil. Sam Taylor contributed to the dialogue and the film was produced independently and distributed by United Artists. Sets were designed by William Cameron Menzies.

This film's historical significance is more interesting than the film itself which I found to be quite dull and lifeless. The period between 1927-1929 was crucial as the industry was transitioning away from silents. A talkie debut was a big deal. For Mary Pickford it launched the next leg of her acting career and won her an Academy Award for Best Actress. The Academy Awards were still brand new and Pickford, ever the visionary, decided to campaign for the coveted prize. She did a publicity tour to drum up interest in the movie as well as in her nomination. This is commonplace now but was a brand new concept back then. Pickford's plan worked, the film was a success and she won the award. However, because Pickford was a founding member of the Academy, some felt that favoritism came into play.

Coquette is a silly Southern drama that I found needlessly frustrating. There is a lot of talk especially between Johnny Mack Brown and his rival for Mary Pickford's attention, John St. Polis, but no real action or reaction. Michael is never given a chance to prove himself and Dr. Besant is an elitist jerk. Overall the film lacked the emotional gravity and nuance that would have me feeling invested in the characters and their journey.

Watch Coquette for the delightful Mary Pickford's talkie debut, for the utterly handsome and underrated Johnny Mack Brown and for Louise Beavers who has a small role as the Besant family maid and Pickford's confidante.



Coquette (1929) is available on DVD-MOD from the Warner Archive Collection and can be purchased at the WB Shop. When you use my buy links you help support this site. Thank you! 

This is Coquette's DVD debut. George, D.W. and Matt of the Warner Archive Podcast discuss this film in the Dynamite Dames episode.

Warner Archive Wednesday - On (random) Wednesdays, I feature titles from the Warner Archive Collection. Thank you to Warner Archive for sending me copy of Coquette (1929).

Wednesday, January 3, 2018

A Scandal in Paris (1946)



Born in jail, Eugene Francois Vidocq (George Sanders) seemed destined for a criminal life. On his birthday a few decades later, he finds himself once again behind bars. There he makes friends with fellow career criminal Emile Vernet (Akim Tamiroff). The Vernet matriarch sends Eugene a special birthday cake with a file hidden inside. The two buds break out of jail and set their minds on anything they can steal. Not content with small loot, Eugene sets his sights on a bigger prize.

Eugene meets saloon dancer Loretta (Carole Landis), seducing her out of a ruby laced garter gifted to her by prefect of police Richet (Gene Lockhart). Then he meets the De Piermont family and practically moves in while he and Emile set out to Marquise De Piermont's (Alma Kruger) family jewels. Instead he uses his detective skills to solve his own crime while impressing police captain Houdon de Piermont (Alan Napier). He charms his way into Richet's job as prefect of police. Eugene and Emile fool everyone except the beautiful young Therese (Signe Hasso), daughter of Houdon. She fell in love with Eugene when she saw a painting of the two men as Saint George and the Dragon.  Meanwhile, Eugene and Emile expertly plot out a robbery of the Bank of Paris. Will this be the greatest crime caper of all time or will Therese throw everything off?

George Sanders and Akim Tamiroff in A Scandal in Paris (1946)
George Sanders and Akim Tamiroff in A Scandal in Paris (1946)


A Scandal in Paris (1946) was directed by Douglas Sirk, who went on to direct memorable 1950s melodramas including some of my favorites: Magnificent Obsession (1954), All That Heaven Allows (1955) and Imitation of Life (1959). This was an independent production by Arnold Pressburger and his son Fred Pressburger and distributed by United Artists. The story is very loosely based on the real life career criminal  of the 19th century Eugene Francois Vidocq. He's credited as the world's first private detective. The screenwriters changed many aspects of Vidocq's exploits and even added a cutesy and very unrealistic ending. His buddy Emile was either a work of fiction or an amalgamation of several real life friends of Vidocq. The man himself wrote a couple of memoirs but who knows if he could have been trusted to tell his own story. In fact the opening text of the film warns audiences of this.

This movie is kind of ridiculous and a reminder why I tend to shy from biopics from this era in film history. You couldn't get away with a film like this in contemporary cinema. However, I do appreciate the attention to detail in the wardrobe and sets. I was particularly enamored with the fantastical carousel that the de Pierremonts have in their backyard. It's a fine example of the over-the-top lifestyle of the wealthy elite of that era. I enjoyed the recurring theme of Saint George and the dragon which represents the two main characters, Vidocq and Emile, and how their narratives change throughout the story. I came to this picture because of George Sanders and Akim Tamiroff, two actors whom I greatly admire. Any time a film of theirs pops up on the TCM schedule, I usually schedule my DVR to record it. Having both actors in the same film was not an opportunity that I was going to pass up.

Signe Hasso, George Sanders and Carole Landis in A Scandal in Paris (1946)
Signe Hasso, George Sanders and Carole Landis in A Scandal in Paris (1946)

Both Sanders and Tamiroff deliver fine performances. Sanders is well-suited to the role of a wanna-be upper-class criminal who charms his way out of many situations. Tamiroff is heavily made up as Emile and he adeptly plays the knife-wielding and greedy criminal who sticks by his buddy but always has his eye on the prize. Child actress Jo Ann Marlowe, who many will recognize from Mildred Pierce (1945), plays Mimi de Pierremont, Therese's curious young sister. Carole Landis has a rather small but powerful role as the saloon singer who seduces men in power positions but meets her match with Sanders' Vidocq. I enjoyed Gene Lockhart's performance as the troubled police prefect. Signe Hasso does a fine job in her role as the angelic Therese who becomes wise to Vidocq's intentions. I doubt her character existed in real life. And if it did I feel bad for her as I'm sure Vidocq would have abandoned her for other exploits.

If you can forgive the sins of a 1940s period piece, A Scandal in Paris is a worthwhile venture into the work of several key players including Douglas Sirk, George Sanders and Akim Tamiroff.




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