Woman Wanted (1935)

Tony Baxter (Joel McCrea) is a full-time lawyer, part-time womanizer. He sets his sights on Ann Gray (Maureen O'Sullivan) when he spots her at the court house. Little does he know she's the defendant in a murder trial led by District Attorney Martin (Lewis Stone). When the jury finds her guilty, Ann is whisked away by a police escort which is later involved in a car crash. In the chaos of the accident, Ann makes her escape and by chance catches a ride with Tony who takes her back to his place. Baxter tries to hide Ann from his glamorous fiancee Betty (Adrienne Ames) with the help of his devoted butler Peedles (Robert Greig). When Tony finds out that not only is Ann on the lam from the cops she's also wanted by gangster Smiley (Louis Calhern), the real murderer, he helps her escape. Even embroiled in a sticky situation, Tony is determined to get the girl. Can they prove that Ann is innocent of this heinous crime?

Woman Wanted (1935) was directed by George B. Seitz for MGM. It's based on an original story by Wilson Collison and adapted to the screen by Leonard Fields and David Silverstein. According to the AFI, "following the release of Woman Wanted, a Hollywood Reporter news item noted that, due to a studio error, too many names appeared in the writers credit in the preview credits. Only Fields, Silverstein and Collison were intended to receive writing credits." It was originally called Manhattan Madness before it was eventually changed to Woman Wanted.

The production was plagued with setbacks. Richard Boleslawski was set to direct but left two days into the project to work on O'Shaughnessy's Boy instead. Two more directors, Harry Beaumount and J. Walter Ruben, were assigned but eventually abandoned the film. MGM finally they settled on director George B. Seitz. For the lead role of Tony Baxter, Franchot Tone and Wallace Beery were considered but those plans fell through. MGM got Joel McCrea on loan. This is the only film McCrea and O'Sullivan made together. It was filmed over a couple of weeks in May 1935 and released later that year.

"Don't you worry about me, I can take care of myself." - Ann

Woman Wanted is cute movie with totally ridiculous and implausible scenarios. If you suspend your disbelief enough you'll find it enjoyable. There were several moments in the film that reminded me of other movies including Singin' in the Rain (1952) and Sullivan's Travels (1941). I couldn't help compare this with Hide-Out (1934), which also stars Maureen O'Sullivan in a story about a fugitive on the run. I reviewed that film in a previous Warner Archive Wednesday post. While Hide-Out is the better of the two films, O'Sullivan's character in Woman Wanted is a more complex character. She's strong-willed but also plagued with fear. There are two suicide attempts and while she is the victim of the story, I didn't get a sense that Tony (Joel McCrea) is coming to her rescue. The Tony-Ann dynamic is more like two partners-in-crime than a one-man rescue mission.

This movie has a superb supporting cast. I love McCrea and O'Sullivan but I also couldn't pass up the opportunity to see a movie featuring two of my personal favorites: Louis Calhern and Lewis Stone. I only wished they had a bit more screen time. I really loved the scenes with Adrienne Ames who plays the glamorous socialite Betty. She's basically playing herself but does it so well. Robert Greig does a superb job in the role of Peedles, Tony's loyal butler who cleverly maneuvers around his boss' sticky situations. He has some great lines and is the sources of most of the film's humor. Who doesn't love a good butler role? They're often the unsung heroes of a film.

Woman Wanted is a light drama that is equal parts endearing and eccentric. Worth watching for the superb cast. The brief running time of 67 minutes is also a bonus!

Woman Wanted (1935) is available on DVD-MOD from the Warner Archive Collection. When you use my buy link you help support this site. Thanks!

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of Woman Wanted (1935) on DVD for review!

Nothing Sacred (1937)

On the heels of A Star is Born (1937), William Wellman and David O. Selznick teamed up again to make Nothing Sacred (1937), a screwball comedy starring Carole Lombard and Fredric March. The story was based on James H. Street's "Letter to the Editor" published in International-Cosmopolitan in 1937 and adapted to the screen by Ben Hecht. According to the director's son William Wellman Jr., Wellman's contract restricted the overbearing Selznick only 6 visits to the set max. Selznick's enthusiasm for the project can be seen in the following telegram he sent to John Hay Whitney, chairman of the board of Selznick International Pictures:

"Nothing Sacred started shooting this morning. You wanted comedy— boy you're going to get it, and bet it on your own head. After this one I am either the new Mack Sennett or I return to Dr. Eliot."

Ace reporter Wally Cook (Fredric March) finds himself in a pickle. He's been recently demoted to obituaries after he wrote a piece about a Sultan turned out to be a fake. Hoping to make good by his editor-in-chief Oliver Stone (Walter Connolly), he tackles his next big story which he's sure we'll get him back on track. Wally learns of a young woman dying of radium poisoning. He visits the fictional town of Warsaw, Vermont to find Hazel Flagg (Carole Lombard), a young woman dying of radium poisoning. Turns out town physician Dr. Downer (Charles Winninger) had misdiagnosed her. She hides this fact from Wally who offers to fly her and her doctor out to New York City for one last hurrah. There she becomes the toast of the town, a pathetic subject for the community to fawn over. Her "final days" become a spectacle making it a big story for the newspaper. When things start begin to unravel it becomes clear that Wally has fallen in love with Hazel and must find a way out of their predicament.

Produced by Selznick International Presents, Nothing Sacred was distributed by United Artists and was a hit with both critics and audiences. Shot in Technicolor, it offers a visual splendor enhanced by the recently remastered Blu-ray from Kino Lorber. From the elegant costumes, elaborate sets and gorgeous aerial footage of 1930s era New York City, this film is a feast for the eyes.

Nothing Sacred is a comedy through and through. Subtle jokes are weaved in throughout along with zany situations that make this a classic screwball comedy. According to historian Frank Thompson, the set was "pandemonium  [because] Lombard had every bit the talent and enthusiasm for pranks and mischief as Wellman." It was remade as Living it Up (1954) starring Dean Martin and Jerry Lewis and also became a Broadway production known as Hazel Flagg.

There are lots of great supporting roles including Margaret Hamilton who plays an uptight store clerk. Hattie MacDaniel has a bit part as the wife of a boot black (Troy Brown Jr.) who pretends to be an African Sultan. Frank Fay plays the Master of Ceremonies at a gala thrown in Hazel's honor.

Nothing Sacred is a must-see for fans of the screwball comedy genre. With that said, I wanted to like this film but I thought it was just okay. I appreciated the performances, the visuals and the clever jokes. I definitely want to rewatch it to pick up on subtleties I may have missed. In the end, it didn't captivate me the way I wanted it to. Unfortunately, I've never cared for Carole Lombard as an actress, no matter how much I admire her as a person nor how many Lombard films I've seen to get over this aversion. I'll keep trying but for now I'm not there yet.

**** Spoilers Start ****

I've always been weary about films depicting liars and frauds. It has to be done well for me to appreciate the story. Honestly I was surprised that Hazel gets away with her fraud. The story has Wally and Hazel sailing off into the sunset. I guess what she did is not technically a crime so it didn't have to be punished according to the Production Code. The dying Hazel becomes a larger-than-life persona that transcends Hazel herself. The community wants a martyr they can fawn over and celebrate. In the end it didn't matter if Hazel was for real or not.

****Spoilers End****

Amazon —Barnes and Noble —Deep Discount —Kino Lorber — TCM Shop

Nothing Sacred (1937) is available on Blu-ray and DVD from Kino Lorber Studio Classics. When you use my buy links you help support this site. Thanks!

Kino Lorber's Blu-ray is exceptionally vivid in color and crispness. I wish I could show you a still or video from the Blu-ray so you can see just how stunning this restoration is! The Blu-ray comes from a brand new HD Master created from a 2k scan of a restored fine grain master. The disc also includes audio commentary by William Wellman Jr as well as a variety of Kino Lorber trailers.

Thank you to Kino Lorber for sending me a copy of Nothing Sacred (1937) for review.

Hide-Out (1934)

Playboy racketeer Jack "Lucky" Wilson (Robert Montgomery) is out on the town, breaking hearts and taking names. His latest racket is coercing two New York City night club owners, Shuman (Henry Armetta) and Jake (Herman Bing), into a partnership with his laundry syndicate. But the cops, including detectives MacCarthy (Edward Arnold) and Britt (Edward Brophy), are hot on his trail. After a confrontation with the police Wilson is shot but manages to escape and drive off. He heads upstate but passes out from his injury. Wilson is rescued by a local town clerk and farmer, Henry Miller (Whitford Kane), who brings him to his home to recover. Wilson tells Miller that he escaped a gangster, and hides the fact that he's one himself, and insists on having his doctor check up on him to not raise suspicion. While Wilson recuperates from his gunshot wound, he meets Miller's daughter Pauline (Maureen O'Sullivan), who is his polar opposite. She's a simple country gal and he's fast talking city guy. The Miller family is kind, generous and patient. Ma Miller (Elizabeth Patterson) fusses over Wilson and their young son William (don't call him Willie!) (Mickey Rooney), makes every effort to befriend Wilson. He learns to feed chickens, milk cows, chop wood and bring in the hay and enjoying the country life. Wilson stays longer than he should, falling in love with the beautiful Pauline. Will Wilson fess up or will he go back to his life of crime?

Hide-Out (1934) is based on an original story by Mauri Grashin and adapted for the screen by husband and wife writing team Albert Hackett and Frances Goodrich. Grashin received an Academy Award nomination for his story which was remade in 1941 as I'll Wait for You. The film was released August of 1934, just a month after Hollywood began to enforce the Hays Code began in earnest, officially ending the Pre-Code era of Hollywood filmmaking. I wonder if this affected the outcome of Hide-Out. What kind of story would it have been as a Pre-Code?

The film was directed by W.S. Van Dyke for MGM. He also directed The Thin Man movies, a point referenced in the marketing materials for this movie. Van Dyke, known as One-Take Woody, was MGM's go-to guy. He built a reputation on being a reliable director who would take on any production and keep it on schedule and under budget. Hide-Out was filmed, edited and released in a two month span. There was some delay however. According to the AFI, during pre-production Maureen O'Sullivan had to drop out to visit her ailing father in Ireland. Loretta Young replaced her only to have to drop out herself due to illness and was replaced with O'Sullivan.

Hide-Out is one of my favorite 1930s films. It's a sweet and charming romance. I love the concept of a city gangster out of his element in the country. Montgomery's Wilson and O'Sullivan's Pauline really develop as characters. He teaches her to be more bold. She teaches him to take pleasure in the simple things in life. Mickey Rooney is just adorable in this movie as Pauline's little brother. If you're not a fan of his on screen intensity, you might like his more subdued performance here as William/Willie. 

Hide-Out (1934) is available on DVD-MOD from the Warner Archive Collection. When you use my buy link you help support this site. Thanks!

This is Hide-Out's DVD debut. I always watch this one when it's on TCM and was very excited to see it get a DVD release. George, Matt and D.W. discuss the movie on the November 13, 2018 episode of the Warner Archive Podcast.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of Hide-Out (1934) on DVD for review!

It's Love I'm After (1937)

"I can't understand why a man I'm so crazy about takes such a fiendish delight in tormenting me." - Bette Davis as Joyce Arden

They hate each other. They love each other. Stage actors Joyce Arden (Bette Davis) and Basil Underwood (Leslie Howard) have the most tempestuous romance. Under the lights and in front of an eager audience they deliver stunning performances, but backstage things can get ugly. After one rousing rendition of Romeo and Juliet, Basil is cornered by an infatuated fan. What he doesn't realize is this is no ordinary fan. She's wealthy socialite Marcia West (Olivia de Havilland). She truly believes she's in love with Basil, much to the dismay of her fiancee Henry Grant Jr. (Patric Knowles).

"Love for breakfast. Love for lunch. Love for dinner."

When Henry confronts Basil about this dilemma, Basil offers to help. Especially to repay the debt Henry's father paid him when the stock market crashed back in 1929. As Basil and his butler and partner-in-crime Digges (Eric Blore) act out one of Basil's original plays, Henry has an idea. Basil should visit Marcia's family and cause such a ruckus that she'll fall out of love with him. It'll be exactly like a performance in a play! But there are two major obstacles awaiting Basil. He doesn't realize that the woman he's fooling with dramatics is the same fan who visited him in his dressing room on New Year's Eve. Also Basil promised Joyce that they'd get married on New Year's Day and she's about to throw his plans for a loop. Can Basil save Henry and Marcia's relationship and his own or will it all end in tragedy?

"From now on I doff the mantle of a Romeo and assume the role of a cad." - Leslie Howard as Basil Underwood

Based on the original story by Maurice Hanline called Gentlemen After Midnight, It's Love I'm After (1937) was directed by Archie Mayo for Warner Bros. The project was born out of Leslie Howard's request for a comedic vehicle. He needed a break after a succession of dramatic roles, one of them which happened to be Romeo in MGM's Romeo and Juliet (1936). Olivia de Havilland, a fairly new contract player for Warner Bros. had recently appeared in Mayo's Call It a Day (1937). Two years later de Havilland and Howard appeared in Gone With the Wind (1939) together, clinching their status as Hollywood legends. De Havilland was added to the cast pretty early on and in fact they started shooting scenes with her, Knowles, Howard and Blore even before a leading lady was secured.

Getting a leading lady for the film was easier said than done. Leslie Howard initially wanted Ina Clare or Gertrude Lawrence, two stage veterans, to appear opposite him. In the end, neither had the screen presence to be viable options. Howard had worked with Bette Davis in Of Human Bondage (1934) and the Archie Mayo directed movie The Petrified Forest (1936). The two didn't get along and Howard was hesitant about working with her again. But if they wanted an actress who sparkled on screen they could do no wrong with Davis. When Davis was cast, the production was already well on its way. In fact, a July 1937 issue of Screenland shows behind-the-scenes pictures of the making of the film but does not mention Bette Davis whatsoever. Her character appears more so at the beginning and end of the film so plenty of scenes could have been shot without her. Before It's Love I'm After, Davis was hospitalized for exhaustion. She took a tumble into the orchestra pit during the filming of the Romeo & Juliet scenes and suffered a minor injury.

When I came across this movie, I was immediately drawn by the star power. Davis, Howard AND de Havilland? Of course I had to watch this! All three play to their strengths. Davis as the tempestuous actress who runs hot and cold, Howard as an actor's actor and de Havilland as a starry-eyed youth with a tender heart; not a stretch for any of them by any means. And one of my favorite child actors, Bonita Granville, plays to her strengths as the bratty spoiled teenager.

But it's not Davis, nor Howard, nor de Havilland, nor Knowles nor even boisterous little Granville who steals the show. It's character actor Eric Blore. If you enjoy Fred Astaire and Ginger Rogers movies, Blore is a familiar face. He often played waiters and butlers and in It's Love I'm After he plays Digges, Howard's underpaid but devoted assistant. The script really gave Blore many moments to shine. He's got a lot of terrific scenes, delivers some great lines and serves as both straight man and comic throughout the story. He's the most sensible character but he's also caught up in the magic of the theater. Blore's Digges anchors the movie and I'd go so far as to say he's the #1 reason you should watch it.

It's Love I'm After (1937) is a zany film with lots of great witty one-liners and insults. Come for Leslie Howard, Bette Davis and Olivia de Havilland and stay for Eric Blore.

It's Love I'm After (1937) is available on DVD-MOD from the Warner Archive Collection. When you use my buy link you help support this site. Thanks!

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. I purchased It's Love I'm After (1937) from the WB Shop.

Hollywood Beach Beauties by David Wills

Hollywood Beach Beauties
Sea Sirens, Sun Goddesses, and Summer Style 1930-1970 
by David Wills
Dey Street Books
May 2018
Hardcover ISBN:978008284255
224 pages

Amazon — Barnes and Noble — Powells

"The women, and some of the men, were painstakingly lit and strictly posed for maximum star-power effect." - David Wills

Hollywood Beach Beauties is a hybrid: part coffee table book boasting highly quality images of classic actresses donning swimwear and part history of the evolution of the bathing suit, more notably the bikini, and how it intersected with Hollywood history.

Davis Wills' book covers the scope of Hollywood actress and swimwear over the decades. The book is divided into 4 sections: 1930s, 1940s, 1950s and 1960s. Each section starts with a historical evaluation on swimwear for that decade. Then the text is followed by a collection of images, a mix of studio and magazine portraits, film stills, ads and movie posters. Throughout the book we learn about the cheesecake portraits that helped fuel the Hollywood publicity machine, the evolution of the bikini, and how beach culture became an important part of 1960s movies, from beach movies to James Bond. All while enjoying full-color images of glamorous movie stars clad in shapely swimwear. Key figures highlighted in the book include Raquel Welch, Ava Gardner, Marilyn Monroe, Brigitte Bardot and others.

I really wanted to like this book but it was a hot mess. The text was overly serious and didn't match the fun visual content of the book. However, Wills writing was very good. The text could be extracted and expanded upon to become a full-length book on the history on swimwear. For example the information on WWII textile rationing and the societal fear of exposed navels could make for some very interesting chapters/articles on their own. Overall, the text was interesting but just didn't fit this particular format.

Hollywood Beach Beauties is technically a coffee table book but the size is fairly small which makes it easy to read but not as nice as a larger format book. It's paper over board hardcover with fairly sharp corners (I scratched myself a few times). The text was presented in a large font which was awkward to read. And the subtitle is just unfortunate. Instead of 1930-1970 it should have read 1930s to 1960s which would not only have been more accurate it would have also highlighted the 1960s which is a key decade featured in the book.

I appreciated the quality of the images. While a few of the film stills were a bit fuzzy, all the other photographs and artwork were nice and sharp. I didn't care for the few images that were colorized and not listed as such (one Marilyn Monroe photo was listed as colorized in the backmatter, the image appears inside the book and on the back cover). At one point the 1960s was listed as the 60's not the '60s and then I was done.

I'm reviewing this book with a critical eye because I read a lot of classic film books and have high expectations. But if you don't expect much and just want a fun book filled with pictures of Hollywood actresses in bikinis, then Hollywood Beach Beauties is for you.

Many thanks  to Dey Street Books for sending me a copy of this book to review.

This is my third review for the Summer Reading Challenge.

Comet Over Broadway (1938)

Eve Appleton (Kay Francis) has big dreams. She’s a working woman, tending the newspaper stand by day and performing in community theater by night, all while taking care of her husband Bill (John Litel) and daughter Jackie (Sybil Jason/Victoria Elizabeth Scott). But she wants more than just a  home life. She wants to be an actress on Broadway. When big shot actor Wilton Banks (Ian Keith) rolls into town, she sees an opportunity for advancement but he sees an opportunity to get her into bed. Unaware of his attentions, she’s rescued by her husband Bill who accidentally kills Wilton. Their lawyer friend Grant (Donald Crisp) defends Bill in court. Despite their efforts, Bill is sentenced to life in prison. Eve makes a promise to Bill that she will raise the funds for his appeal. She sets off with her daughter and gets jobs in burlesque and vaudeville. On the road, she meets fellow actress “Tim” (Minna Gombell) along the way. Tim offers to raise Eve’s daughter Jackie so Eve can focus on her career. When Eve meets and falls in love with playwright Bert Ballin (Ian Hunter) she loses an opportunity to appear on Broadway and instead travels to London’s West End for the career she’s always wanted. Will this new life and new love make her forget what she’s left behind? Or will she stay true to her promise and get Bill get out of prison?

Ian Keith and Kay Francis

Donald Crisp and Kay Francis

John Litel and Kay Francis

Minna Gombell and Kay Francis

Kay Francis and Ian Hunter

Kay Francis and Sybil Jason

Comet Over Broadway (1938) was based on Faith Baldwin’s story for Cosmopolitan magazine. Baldwin was a prolific writer who published more than 80 novels, books of poetry and short story collections over her lifetime. Many of her short stories appeared in ladies magazines and several were adapted to film. Much like the character Eve, Baldwin wanted to be an actress. However she found herself more suited to being an author. In an interview Baldwin said, “people have to have some escape hatch, some way to get out of themselves, especially during the Depression.” Warner Bros. acquired the rights to Baldwin’s story for their production arm First National Pictures. Originally titled Curtain Call it was then changed to Comet Over Broadway. Neither title really suited the picture. The story was adapted for screen by writers Mark Hellinger and Robert Buckner. The script languished and was reworked by uncredited contributors Frank Cavett, Fritz Falkenstein and Brewster Morse. After many edits, it's unclear how much of Baldwin’s original story appears in the final product. She received a credit nonetheless.

The film was set to star Bette Davis who at the time was taking over Kay Francis’ title as queen of Warner Bros. Davis read the script and referred to it as "weak tea". There was already a lot of tension between Davis and WB and Davis was horrified that this was the first part assigned to her after her stand out role in Jezebel (1938). She refused to be in Comet Over Broadway and WB suspended her with no pay. Eventually the dust settled, Davis’ suspension lifted and she went on to make Sisters (1938) instead. Miriam Hopkins was set to replace Bette Davis but dropped out to make another movie. That’s when Kay Francis stepped in. Also its said that Ronald Reagan was supposed to play Bert Ballin, Ian Hunter’s part, but dropped out. According to Kay Francis biographers Lynn Kear and John Rossman, Francis struggled with a serious skin issue and weight gain. She received medical treatment and went on a severe grapefruit diet in order to continue filming.

The film was intended to be a major A level production for Warner Bros. According to the AFI, “when directors William Keighley and Edmund Goulding turned it down, the project was shelved. Then Bryan Foy took over the production in the B unit.” WB eventually assigned Busby Berkeley as director. Berkeley was best known for choreographing and directing music and dance sequences but he also directed a handful of films for the studio. Berkeley had to temporarily step down from production and director John Farrow came on to replace him. Most online sources say it was because Berkeley was ill. However, Berkeley biographer Jeffrey Spivak claims it was because he had to appear in court. In divorce proceedings Irving Wheeler accused Berkeley of stealing away his wife actress Carole Landis. The two had an affair while Landis and Wheeler were married but Landis claimed that she had been separated from Wheeler long before that relationship began. Berkeley and Landis were engaged after her divorce was finalized but never went through with the marriage.

Comet Over Broadway surprised me in many ways. It’s a drama with comedic moments. Minna Gombell who plays Francis’ wisecracking and kind-hearted sidekick, who is always “approaching 40”, is the film’s much needed comic relief. I really thought that, because of the era, Francis’ Eve was going to be punished for wanting to pursue a career rather than being content as a housewife. But throughout the movie it’s never suggested that she shouldn’t be working or that her profession was responsible for the tragedies in her life.

***SPOILER STARTS***

In the prison scene when Francis and Litel’s characters are reunited years later, Litel’s Bill reveals that he has a heart condition. I honestly thought his character would be killed off so that Francis’ Eve could get together with Hunter’s Bert. I even yelled at the screen “they’re going to kill off John Litel!” Thankfully this didn’t happen.

***SPOILER ENDS**

While it might be jarring for contemporary audiences to imagine a mother handing off her child to another woman to raise, it wasn’t all that uncommon at the time. (My own grandmother did this twice!) I was particularly fascinated with the Donald Crisp story line in which he tries to defend John Litel’s character but can only do so much. A high priced legal team is required to free Litel. Money in exchange for Litel’s freedom is the driving force behind the plot. Is this subtle commentary on the criminal justice system?

Comet Over Broadway is an enjoyable backstage drama peppered with moments of humor. I particularly enjoyed watching Minna Gombell and Sybil Jason in their scenes together. Ian Hunter, although second billed, is barely in the film and his character served more as a plot device than a meaningful character. I don't particularly care for Kay Francis but thought she was well suited for the part. The film does suffer from a weak script but all the surprises and Gombell's performance kept me interested.

Fun facts: Barry Nelson and Susan Hayward have bit roles. I spotted Hayward right away in a short community theater scene where she delivers a line or two to Francis. Also my good friend Jessica Pickens named her blog Comet Over Hollywood after this film. If you don’t follow her already make sure you visit her blog.

Comet Over Broadway (1938) is available on DVD-MOD from the Warner Archive Collection.When you use my buy links you help support this site. Thanks!

The Warner Archive trio George, D.W. and Matt discuss the film (about 15 minutes in) on the "You Can" episode of their podcast.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me Comet Over Broadway (1938) to review!

The Gay Bride (1934)

1934 was a transitional year in the film industry. The Hays Code, which had been in effect for years but not strictly enforced, was now the law of the land. Hollywood got away with a lot in those few years between the advent of talking pictures and the enforcement of the Code. Pre-Code films went on to become a genre much beloved by future generations of film buffs because of how these early 1930s films pushed boundaries. In an effort to conform to this new censorship, post-code films went through a scrubbing of content, washing away much of what titillated audiences . In 1934 especially, filmmakers were trying to figure out how to get their pre-code stories to fit into this new post-code mold. The Gay Bride (1934) is an example of how fitting a round peg into a square hole just didn't quite work out.

The Gay Bride stars Carole Lombard as Mary, a chorus girl looking to lock her wealthy racketeer boyfriend Shoots Magiz (Nat Pendleton) into holy matrimony. Ignoring the warnings of her trusty sidekick Mirabelle (Zasu Pitts), she manages to snag her cash cow. Due to the nature of his business and its occupational hazards, Mary makes quick work to secure her fortune. On her wedding night, her lawyer finalizes Shoots' will and the next day they set off on a cruise to Europe so Mary can shop to her hearts delight. When Shoots and Mary come back from their mostly disastrous trip (only Greece would have them), more trouble awaits. Shoot's assistant Jimmie (Chester Morris), affectionately referred to as Office Boy, is the only member of Shoots' crew with any common sense. He tries to protect his boss from his impending financial failure but can't protect him from the ill intentions of Mikey The Greek (Leo Carillo) and Daniel J. Dingle (Sam Hardy). All three men have an eye for Mary and one of them is set on removing Shoots permanently. Mary's desire for financial security hangs in the balance as she discovers that mob life is more than she bargained for.

"I wondered when you boys were going to tumble."

Based on Charles Francis Coe's novel Repeal, the title was changed and the story adapted to the screen by husband and wife writing team Sam and Bella Spewack, best known for their collaboration on Broadway play turned movie Kiss Me Kate. This is the only MGM film featuring Paramount star Carole Lombard. MGM was known for quality productions (or as Warner Archive's George Feltenstein called it "the Tiffany's of movie studios) and Lombard assumed this film would be one too. However, her costar Chester Morris knew it was a dud from the start. The film was directed by Jack Conway, a mainstay in the MGM stable of talent. Conway could be counted on to deliver movies to the studio execs on budget and on time.

The Gay Bride was panned by critics and did not perform well at the box office. However Carole Lombard was a bankable star and theatres made the most of it. According to Carole Lombard biographer Michelle Morgan, "The idea of Carole playing a 'gold-digging chiseller' inspired the Lowe's State Theatre in New Orleans to give out special 'Chiseller Club' membership cards to their patrons, with Carole listed as secretary. Nearby stores were also utilized and included movie-inspired floral displays in bridal shops and hair displays in a beauty parlor."

"When you missed meals as a kid money becomes awfully important."

The story had a lot of potential. I was particularly interested in Mary's motivations. She's a glamorous chorus girl who courts the attention of notorious racketeer. Having grown up desperately poor she's hell bent on having a financially secure future. In one scene, Mary tells Mirabelle that she's not about a quick buck rather she wants to have enough money to live comfortably into her 50s, 60s and beyond. A richer story would have explored Mary's history and fleshed out the characters. The final result is a movie that is enjoyable but on the whole superficial.

The Gay Bride is a hybrid of several popular genres. It starts out as a backstage story, morphs into a gangster flick, then into a screwball comedy and ends with a romance. Tying it all together is this thread living through the Great Depression. While the story and characters are lacking, viewers will be delighted by the superb cast including some 1930s all-stars like Carole Lombard, Chester Morris, Nat Pendleton and Zasu Pitts, who are all personal favorites of mine. Actor Gene Lockhart has a small uncredited role. The movie's dialogue is witty and I found myself writing down several fun quotes. I'd be interested in reading the original source material to see what potential there was in making The Gay Bride/Repeal into a Pre-Code film.

The Gay Bride (1934) is available on DVD-MOD from the Warner Archive Collection. You can hear the WAC trio George, D.W. and Matt discuss the film on the Warner Archive Podcast.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of The Gay Bride (1934) to review!

Topaze (1933)

Myrna Loy and John Barrymore in Topaze

Professor Auguste A. Topaze (John Barrymore) teaches his young pupils about the moral philosophies that will make them honest and kind men. But one spoiled little rich kid, Charlemagne (Jackie Searl) doesn't want to hear it. Topaze gives him failing grades but doesn't realize what he's up against: The La Tour La Tour family. Baron Philippe (Reginald Mason) is the patriarch. He splits his time between his mansion where he lives with his neurotic wife Baroness Hortense (Jobyna Howland) and his son, the aforementioned failing student. The rest of the time he spends in his grand Art Deco apartment with his fashionable mistress Coco (Myrna Loy). When Charlemagne's tantrums leads Hortense to get Topaze fired from his job, Philippe offers Topaze a proposition. Help him create Sparkling Topaze, a tonic cure-all. Topaze takes this opportunity to use his education in chemistry for good. What he doesn't realize is that he's essentially a frontman for a money making scheme meant to fool the general public. And Topaze, enamored with Coco who quickly develops an affection for him, doesn't realize what's going on between her and Philippe. Will the morally minded Topaze's world fall apart when he learns the truth?

Directed by Harry d'Abbadie d'Arrast, Topaze (1933) is half fun, half serious and all Pre-Code. The fun comes from La Tour La Tour's scheming (and let's be honest, his ridiculous name is also a factor), the Art Deco splendor and the foolish antics of the upper class. The seriousness comes from Topaze's commitment to living a transparent and moral life. We raise our fists at La Tour La Tour for trying to corrupt this gentle soul who only wants to pave the way for good in the world. The Pre-Code comes from the blatant adultery as well as from some of the sexual connotations and innuendoes. The film ends with a marquee reading Men and Women Sin, Twice Daily, with that last part blinking over and over again in neon lights.

Based on a French play by Marcel Pagnol, Topaze was adapted to screen by writers Ben Hecht and Benn W. Levy. While the story is set in France and there are some references to French life, the movie has a decidedly American feel. Perhaps it's because of the political theme that runs throughout. Topaze is accused of being a Communist because of his philosophies and the Barron La Tour La Tour exemplifies Capitalistic greed. While this film comes during the Pre-Code era, it still had to be toned down. An American movie about an older man having a rather open affair with a younger woman can be excused for it's French sensibilities. Audiences could easily displace the fault to the other side of the Atlantic. The end result was saucy enough that the censors banned the film in 1936. The play was adapted to film in France in 1933, 1936 and 1951. It was also adapted in Britain as Mr. Topaze starring Peter Sellers in 1961.

Topaze was produced by David O. Selznick for RKO. John Barrymore does a marvelous job as the awkward old professor with high ideals. He's matched beautifully with Myrna Loy who is fabulous despite not having much to do in the film. Despite the marvelous cast, this film is so-so. I wasn't quite captivated by it as I'd hoped. It's worth seeing though for the social message but most importantly the mind-blowing Art Deco apartment that La Tour La Tour keeps with his mistress. It's a thing of beauty. It boasts the clean lines, empty white spaces and exoticism that makes me love that aesthetic so much. The apartment has circular rooms, square chairs, opulent door handles, a fire place with snake plants growing out of built-in planters, lamps with sculpted hands as the base, ridiculously narrow shelves with tiny ornaments and an Art Deco clock I wanted to steal. I was ready to pack my bags and move in.

Amazon — Barnes and Noble — Best Buy — Kino Lorber

Topaze (1933) is available on Blu-Ray from Kino Lorber. The extras include commentary by Kat Ellinger and trailers from other Kino Lorber classics. There are no subtitle options for this disc.

Many thanks to Kino Lorber for sending me a copy of the Blu-Ray for review!

Goodbye Again (1933)

Author Kenneth Bixby (Warren William) is one hot ticket. His sensational novels are titillating lady readers all over the country. Bixby and his secretary Anne (Joan Blondell) are on a nation wide book tour and have made a pit stop in Cleveland. Anne, who is a secretary by name but is practically his wife in all other respects, tends to Bixby's hectic schedule, his meals, his growing scrapbook and the multitude of calls for lectures and bookstore visits. But Bixby is more interested in attending prize fights than he is giving short informal talks or autographs to his adoring fans. And a possible distraction for this perennial playboy is just around the corner. Housewife Julie (Genevieve Tobin) is bored with her life and her mild mannered husband Harvey (Hugh Hubert). Her obsession with Bixby, with whom she once had a fling, has turned her into a crazed fan. Julie is convinced she's the inspiration for all his passionate novels. Julie and Bixby have an affair while Julie's uptight sister Elizabeth (Helen Chandler) and brother-in-law Arthur (Wallace Ford) try to separate them to save Julie's marriage. Caught in the middle is the long suffering Anne who sees her beloved Bixby slipping away from her and Bixby who wants nothing to do with outrageous situation. Can sensible Anne get Bixby out of this jam?

Goodbye Again (1933) is a ridiculous movie that has to be seen to be believed. This film is full of outrageous antics, zippy one-liners and a love triangle so twisted it will make your head spin. When does this guy have time to write his books? It's amazing how much comedy they tried to fit in only 66 minutes. And like many Pre-Codes, Goodbye Again is infused with sexual innuendos and scenarios. Bixby and Julie have a full on affair and Anne practically lives with Bixby while they're on the road. At one point Bixby pretends to have a son and he claims that he's not married, just "bohemian". Based on a successful play by Allan Scott and George Haight, Goodbye Again was directed by Michael Curtiz for First National picture after they had merged with Warner Bros.

Warren William and Joan Blondell were two of the most dynamic on screen personalities in the Pre-Code era. This is one of five feature films they appeared in together. The others were Three on a Match (1932), Gold Diggers of 1933, Smarty (1934) and Stage Struck (1936). William and Blondell are the two biggest reasons to watch this film. William fits the bill as the remorseful playboy and Blondell is at her best as the wise-cracking and sensible dame. Tobin was a bit too over-the-top for my taste but it's what her character called for. And there wasn't nearly enough for Hugh Hubert to do.

You have to be in the mood for a zany whackadoodle film to appreciate Goodbye Again. This short screwball comedy moves so quickly that you'll have to watch it a second time to catch what you missed. In Alan K. Rode's book Michael Curtiz: A Life, he says 

"Blondell was never better than in this film. She serves up smart-aleck palaver to William, who volleys it right back... Variety got it exactly right, 'Perfect for audiences of quick wit, but too slick for others.' Fortunately, there were enough clever theatergoers who appreciated this amusing picture."

Goodbye Again (1933) is available on DVD-MOD from the Warner Archive Collection and can be purchased at the WB Shop. You can hear George Feltenstein, Matt Patterson and D.W. Ferranti discuss this movie on the Warner Archive podcast. This movie makes its home video debut with this DVD release.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of Goodbye Again (1933) to review!

I Like Your Nerve (1931)

"Why must you always be so unsociable in motor cars?"

Rich people behaving badly always makes for good comedy. The Pre-Code I Like Your Nerve (1931) stars Douglas Fairbanks Jr. as Larry O'Brien, an American causing mayhem in Central America. He gets booted out by the local authorities but decides to stay when he spies the beautiful young Diane Forsythe (Loretta Young). They have a brief meet-cute moment before she's off. Once he finds out she's American and not a local, he sets his sights on her. Diane likes the look of Larry, and his nerve!, but she's already spoken for. Her step-father Areal Pacheco (Henry Kolker), is the Minister of Finance for the unnamed Central American country, he's set her up with middle-aged businessman Clive Lattimer (Edmund Breon). Pacheco has been dipping into government funds and Lattimer's $200k would help him avoid the fate of the previous Ministers of Finance which have all been killed for their corruption. Meanwhile, up-to-no-good Larry gets bailed out of jail by his "eternal bachelor" friend Archie Lester (Claud Allister) and sets off to break up Diane and her fiancee. Can he win Diane's affections and save her step-father from the firing squad? Not without some hilarious antics and trickery.

I Like Your Nerve was directed by William C. McGann for First National Pictures. That studio had been absorbed by Warner Bros. but was still making pictures under that name. McGann had a career directing B pictures and went on to work as a cinematographer and special effects technician. The story is based on an original idea by Roland Pertwee and adapted by Houston Branch. Boris Karloff is in the film but has a dreadfully small and rather useless role as Luigi, the butler for the Pacheco mansion.

I love really early talkies and can forgive some of the clunkiness of the final product. The film industry was still trying to work out the kinks of their transition from silents to talkies. Some people are turned off by this by I find it quite charming. I was even amused by the choice of music which often times didn't even match what was going on in the story.

Technically I Like Your Nerve is not complete. According to the AFI:

"Contemporary reviews describe an opening scene that was not in the viewed film. In this scene, Douglas Fairbanks Jr. is a spectacled bookworm with a straight-laced mother who goes to the tropics when a fortune-teller advises him to travel to Central America."

This may explain why the beginning of the film seems so abrupt. However, it also feels out of character for Larry who is more playboy than bookworm. Unless the fortune-teller encounter somehow transformed him.

I Like Your Nerve is more silly comedy than racy Pre-Code. The stars Loretta Young and Douglas Fairbanks Jr. are delightful in this frothy, cheesy romp. I generally don't care for Loretta Young except for in her early films. Cars play an important role in the film. They are harbingers of chaos but also a means for the couple to be together. I love vintage cars and enjoyed watching these early models zipping through different scenes.

The film is only 62 minutes long and if you want a palate cleanser after a long or difficult movie, this would be a good fit. It's a bit backwards, a bit sexist and the Central American setting (why couldn't they have picked a country?) is more a plot device than anything substantial. It's just a fun movie that you shouldn't take too seriously.

I Like Your Nerve (1931) is available on DVD-MOD from the Warner Archive Collection. You can listen to George Feltenstein, D.W. Ferranti and Matt Patterson of WAC discuss this film on their podcast. D.W. calls this film "bonkers" and Matt calls Fairbanks Jr. "anarchy in an automobile". Both are statements I heartily agree with.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of I Like Your Nerve (1931) to review!

Guy Kibbee Triple Feature

Guy Kibbee. Photo source: Getty Images

Guy Kibbee is a beloved silver screen figure among many contemporary classic film fans, myself included. Just hearing his name brings me joy. I know whenever Guy Kibbee appears in the credits of a movie that I'm in for a real treat. Kibbee was a Warner Bros. contract player in the 1930s and 1940s. He played a variety of roles where he showcased his talents as a character actor. He's known for memorable characters in some of my favorite films including Union Depot (1931), The Crowd Roars (1931), 42nd Street (1933), Gold Diggers of 1933, and Mr. Smith Goes to Washington (1939). He held his own in smaller roles but had the chops and on screen charisma for leading roles too.

A new DVD release from the Warner Archive Collection showcases three Guy Kibbee movies in which the beloved character actor shines in leading roles. Each film is 60-70 minutes long making it easy to binge watch all three in a row.

The Big Noise (1936) stars Guy Kibbee as textile manufacturing president Julius Trent. Quality work and a good reputation over profits: that's what Julius believes in. Unfortunately he's in the minority and has been voted out as president. With too much time on his hands and a wife fussing over his health, he secretly buys 50% of a local laundry shop under the guise Tom Douglas. The joint comes with a new partner, the handsome and bright Ken (Warren Hull) who is enthusiastic for business and has a degree in chemistry. Not knowing Tom's true identity, he happens to fall in love with Julius' daughter Betty (Alma Lloyd).  The business also comes with air-headed assistant Daisy (Marie Wilson) and a talkative parrot. Little do Tom/Julius and Ken know but the previous owner owes money to the mob syndicate that terrorizes the laundry shops in the neighborhood. Tom/Julius must find a way to extricate them from the mob and save the business.

Directed by Frank McDonald and based on a story by Edward Hartman, is a light comedy with a darker side. I was surprised the turn the story took when the protagonist comes up with a plan to save the business. Kibbee is endearing as the business tycoon who refuses to take it easy. Henry O'Neill has a terribly small part as Tom/Julius' friend and former colleague. Warren Hull was absolutely charming as Ken but it was a bit unbelievable that a handsome, intelligent and business savvy man like him would want to own a small laundry shop.

Going Highbrow (1935) stars Guy Kibbee and Zasu Pitts as Matt and Cora Upshaws. These Kansas millionaires don't know what to do with their new-found wealth. They come to New York City after a trip to Europe, and as soon as Cora Upshaw steps off the ship she sets out to become the renowned socialite she believes herself to be. Cora is awkward yet eager and Matt just wants a simple life dining on ham and eggs instead of caviar and champagne. Members of New York society Augie (Edward Everett Horton) and Harley (Ross Alexander) set to drain the Upshaws of some of their money by hosting a soiree in their honor. Matt Upshaw hires his favorite waitress Sandy (June Martel) to play his socialite daughter and hilarity inevitably ensues.

Directed by Robert Florey, Going Highbrow based on the story Social Pirates by Ralph Spence. The film showcases the comedic talents of Kibbee, Pitts and Horton, three of the most. This is one of three films Pitts and Kibbee made together. They were well suited to their roles and a joy to watch on screen. Ross Alexander overdoes it in his role and it loses it's intended comedic effect. I was delighted by June Martel who is new to me. Pitts and Martels wear beautiful gowns designed by Orry-Kelly. Pitts steals the show a bit from Kibbee but he manages to hold his own as the lovable Matt Upshaw.

They saved the best for last...

Mary Jane's Pa (1935) stars Aline MacMahon as Ellen Preston. Her husband Sam (Guy Kibbee), a newspaper publisher, has abandoned the family and the business when the urge to travel becomes too strong for him to deny. His wanderlust takes him away for 10 years and Ellen must make a new life for herself with their two daughters Mary Jane (Betty Jean Hainey) and Lucille (Nan Grey). Ellen has taken over the newspaper business and moved the family away. Sam travels with a carnival as Jonah Barker, hoping to find his family along the way. At one stop, hevmeets Mary Jane and soon discovers she's his daughter. Sam/Jonah tries to get back in with Ellen who is having none of it. He takes a job as the Preston family housekeeper and helps bring to light a secret scandal involving a major election. Can Sam earn back the love of his family?

Directed by William Keighley, Mary Jane's Pa was based on the play of the same name by Edith Ellis Furness. This film stood out of the three not only because it was the only drama in a set with two comedies but because of the quality of the story telling and the connection I felt with the characters. Fathers abandoned families, this is a harsh truth of the era and also happens today. I was interested to see how it played out in this story. Aline MacMahon and Kibbee appeared in 10 films together and they have great chemistry. John Arledge has a small but charming role as Linc, Ellen's gossip columnist. Tom Brown, who I recognized from Anne of Green Gables (1934), plays Lucille's boyfriend King. Out of the three movies, Kibbee's role in Mary Jane's Pa had the most depth and was by far the most interesting.

Guy Kibbee Triple Feature with The Big Noise (1936), Going Highbrow (1935) and Mary Jane's Pa (1935) is available on DVD-MOD from the Warner Archive. This set is a must-have for anyone who loves Guy Kibbee. And those people are easy to find. You can buy the DVD at the WB Shop. Using my buy links helps support this site. Thanks!

Amazon - Barnes and Noble - Best Buy - WB Shop 

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to Warner Archive for sending me a copy of the Guy Kibbee Triple Feature to review!


If you've read this far you are in for a special treat! I'm giving away an extra copy of the Guy Kibbee Triple Feature. This contest is exclusive to this post, available for participants ages 18+, US/CAN only.

Follow these instructions carefully: to enter, leave a comment below telling me about your favorite Guy Kibbee movie and use whisper code: "Thanks Warner Archive!" somewhere in your reply. For an extra entry, tweet my article (just click on the link for a pre-populated tweet), grab the tweet's direct URL and include it in your comment.

Contest ends Thursday December 21st at midnight. Winner will be announced on Friday. good luck!