THE ROYAL FAMILY OF BROADWAY

US, 1930, 82 minutes, Black and white.
Ina Claire, Fredric March, Mary Brian, Henrietta Crossman, Frank Conroy, Charles Starrett.
Directed by George Cukor, Cyril Gardner.

This was a film of its time, relying on audience knowledge of the Barrymore family and their place on the Broadway stage, especially focusing on Ethel Barrymore and her family and the flamboyance of John Barrymore – while Ethel was thinking about suing the makers and those who staged the successful play, John Barrymore congratulated Fredric March on his satirical performance. The equivalent of Lionel Barrymore is not included.

The film has very good credentials, the screenplay written by Edna Ferber, author of Showboat, and George S. Kaufmann, noted playwright. One of the co-directors was George Cukor at the beginning of his career, directing many actors and actresses to Oscars and winning Best director for My Fair Lady in 1964.

The film relies a great deal on dialogue and staging in confined rooms. This requires quite an effort of attention for the audience, especially those not familiar with the background.

The film shows the life of the theatre, the world of actors, producers and directors.

The focus of the film is on Julie, longtime star of the stage, portrayed by Ina Claire. She has had record-breaking success but is tempted at times to give it up, despite rushing out to the theatre when she hears she is late, and marry an old-time friend who has business interests in South America. There is also her mother, played by Mary Brian, an grande dame arm of the theatre, wanting to perform at all costs, histrionic in her manner at home, in her relationship to her children, and finally collapsing during a performance and dying backstage.

Julie has a daughter, Gwen, who she hopes will continue the family theatrical tradition. However, Gwen is in love with the businessman, Perry. She has to make a decision and decides to marry Perry although, when he is away on business, she thinks she can take on a stage role – and wonders where it might lead.

The other member of the cast is Fredric March is the equivalent of John Barrymore, getting an Oscar nomination for this performance. He was to win an Oscar two years later for Dr Jekyll and Mr Hyde, winning another Oscar in 1946 for The Best Years of Our Lives.

The performance is manic, eccentric, exceedingly flamboyant in word delivery, in costumes, in stories about breach of promise, starring in Hollywood films, clashes with the director, international travels… And, as has been said, John Barrymore said he enjoyed the performance.

This film is now a historical item, filmmaking in 1930, within three years of the introduction of sound and a new style of filming and sound engineering. And it is of historical interest for those who want to know something of the reputation of the Barrymore’s – who, three years later, were to perform together in Rasputin and the Empress.

FROM AFAR/ DESDE ALLA

Venezuela, 2015, 93 minutes, Colour.
Alfredo Castro, Luis Silva.
Directed by Lorenzo Vigas.

From Afar has won a number of awards, especially in Latin America but also at the 2015 Venice Film Festival.

This is a Venezuelan film, set in the city of Caracas, utilising scenes in the centre of the city, the squares, shops, transport.

The title of the film refers to the central character, Armando (Alfredo Castro), a man in his 50s, living alone, who goes into the city, looking for young men whom invites to his home, asks them to strip, and then he masturbates, paying them off. When he tries to attract a young man, Elder (Luis Silva), Elder bashes him and robs him.

The film give some attention to Elder’s life, a hustler on the street, in a relationship with a young woman, bashing her brothers who in turn beat him. He then returns to Armando and they begin an uneasy relationship, especially when Armando cares for Elder after his beating.

Armando is an enigmatic man, a loner, although he does go to a celebration at his sister’s house for his niece, is called a faggot by Elder and others but denies that he is gay. He is also repelled by touch, especially when Elder approaches him. They seem to be companionable together, Elder inviting him to a dance where he meets his mother – but, again, Elder makes physical contact which Armando repels.

Finally, Elder approaches Armando, there is a sexual encounter, and Elder thinks it is a beginning of a relationship but, when he goes to buy bread, Armando rings the police and the final scene is of Elder being arrested, Armando gazing on, from afar.

The audience gazes at Armando close-up, at Elder from afar and then close-up – and the realisation that Armando is a controlling man, afraid of physical contact, using people even while he relates to them.

1. An award-winning film? From Venezuela? Social issues, psychological issues, sexuality?

2. Caracas, the city, the streets, the crowds, transport, homes, workplaces, bars, socials?

3. The title, Armando’s point of view? His gaze, the audience sharing his gaze – from afar and close-up?

4. Armando’s story, his age, living alone, never marrying, his relationship with his sister, her family, the children? His memory of his father, not beating him? In the street, the crowd, singling out the young man, following him, bringing him home, lowering his trousers, Armando masturbating? Then seeing him at work, his dentistry, the details?

5. His loneliness, sexual behaviour, declaring he was not gay, not wanting anyone to touch him, yet his gaze on the males? Elder, in the street, accosting, Armando taking him home, taking the money, heating Armando, wounding him, taking the statue?

6. Elder, his age, belonging to the gangs, hustling in the streets, his girlfriend and the sexual encounter, her brothers, beating them at the pool hall, their later bashing him? Wanting the car, the down payment, the promise to pay, buying the parts? Working on the car?

7. Armando and his interesting Elder, pursuing him, asking his whereabouts, paying for the information? Elder’s return, interactions with commando, discussions about what had happened?

8. Elder to being beaten, Armando taking him in, the care for him, the long time and recuperation? The effect? His appreciation and thanks? Searching and trying to open the safe? His attempt to kiss Armando, Armando repelling him? The car, Armando paying the bill?

9. The two together, companionship, on the rocks, at the dance, Elders mother, Armando withdrawing, Elder and his kiss, being seen, Armando repelling him? Elder being criticised and ousted as gay?

10. Elder at home with Armando, his sexual approach, the experience, the morning, Elder naked, not wanting milk, going to buy bread, in the queue?

11. Armando, the phone call, the police, and Armando watching the arrest?

12. Elder and his future? Armando, control, sexual power, physical/not physical, wanting subservience – and betraying Elder?

SOFT LAD

UK, 2015, 87 minutes, Colour.
Johnny Labey, Laura Ainsworth, Daniel Brocklebank, Suzanne Collins, Mya Collins, Craig Stern.
Directed by Leon Lopez.

Soft Lad is a small budget British film, the first for writer Leon Lopez, set in Liverpool and utilising actors who have appeared in popular British television series.

The film has a gay theme, its central character, David, Jonny Labey, a young man who is an aspiring dancer who wins a scholarship to dance school. He has been in a relationship with his sister’s husband, secretly, for two years. The husband, played by Daniel Brocklebank, is not overjoyed which makes David react badly, clash with his lover, go to a gay club where he encounters Sam, Craig Stern, and begins a relationship with him.

The film sketches in the difficult home life of the husband and wife, the wife devoted, the husband also devoted but deceptive. The climax of the film involves HIV which David discovers he has contracted and blames his lover, visiting the house and demanding that he confess everything to his wife, whom he has put in danger along with his daughter.

The husband moves out of the house, the sister is angry with her brother, David’s new partner is a forgiving man, allowing people to make mistakes.

In many ways, the style of the film is soap opera, but it does surface contemporary issues and concerns.

1. is a smallA small-budget independent English film? With television soap opera actors? How effective?
2. The Liverpool settings, homes, streets, clubs, dance studio? Musical score?
3. The introduction to David, dancing, pensive, the offer of the scholarship, his excitement, going to tell Jules? Before his parents?
4. Jules, married to David’s sister, expressions of love, his daughter? His cool reaction to David’s news? Having to cover when his wife comes in? The revelation of the relationship, the kiss, yet the deception? David and his being upset?
5. David, his friendship with Steph, confiding in her, her advice?
6. His parents, the news, happy? Their hopes?
7. David, the relationship with Jules, the meetings, the discussions? David asserting crassly that he was used only for sex? Two years and the relationship? The deception about a weekend in Paris? Jules and his double life, not wanting to leave his wife? David and his upset? Moving away?
8. David going to the club, the encounter with Sam, the night with him, keeping company, Sam and his character, benign, David falling in love? The background of Jules and his being upset?
9. Sam, the caution, the test for health, HIV? David, the news, going into the doctor? His being upset, the planned dinner, going to see his sister, Jules? The confrontation with Jules, blaming him for HIV, making Jules confess to other relationships, the danger for his wife and daughter?
10. His wife, love, Jules and his abrupt manner with her, quoting work pressures, the weeks passing, the attempts at making love? David in the confrontation, making Jules confess everything? His wife’s reaction, horror? And towards David?
11. Sam, his arrival, hearing the truth? His reaction?
12. David, despair, the scholarship, his future? His confession to Sam? Sam, an attitude of forgiveness, for a future?

UNDERWORLD AWAKENING

US, 2012, 88 minutes, Colour.
Kate Beckinsale, Stephen Rea, Michael Ealy, Theo James, India Eisley, Sandrine Holt, Charles Dance.
Directed by Marlind and Stein.

Underworld Awakening is the fourth in the series of Underworld. The original film came out in 2003, followed by Underworld Evolution in 2006, Underworld, the Rise of the Lycans, 2009. There was a sequel to the present film in 2016, Underworld Blood Wars.

This film presupposes the other films and has a recapitulation at the opening, an explanation of the world of the werewolves, of the Lycans, and of the vampires, as well as how they have lived for centuries and seen by humans.

This film is set in the present, humans having had some contact with both lines, police involved, a laboratory with a sinister doctor, Stephen Rea, exploiting the daughter of Selene and Michael, a hybrid, whose blood and DNA can enhance the supremacy of the Lycans.

Kate Beckinsale tells the story again, is seen escaping from a laboratory, is involved rather incessantly in fighting throughout the film, recovering her daughter and trying to save her – and this with the help of David, Theo James, son of Thomas, Charles Dance, head of the vampires who have expelled Selene. There is also the help of a police officer played by Michael Ealy.

Much of the film is action, combat, large werewolves, blood and gore – along with the basic plot which is a preparation for Underworld Blood Wars.

1. The popularity of the series? This episode as the fourth? And its continuing to 2016?

2. Audience familiarity with the series, the recap at the beginning of this film, the role of the vampires and their living amongst humans, the role of the Lycans in their living amongst humans, the war between the two? The moving of this episode from the past into the present?

3. The role of Selene, her parents, her being turned, her love for Michael, his being a Lycan, the birth of their daughter, her being taken, in the laboratory, supervised by the doctor, the staff, the preparation of the vaccine? And the doctor and his past, the death of his wife, his siding with the Lycans?

4. The visuals of this world, the dark world of the alternate species, the darkness of the human world, the streets, warehouses, the police, the laboratory? The action sequences and stunts? The violence – graphic? The musical score?

5. The battles between vampires and Lycans, the visuals of the werewolves, giant werewolves, their dominance, the threats to the vampires?

6. Selene, in the laboratory, her being allowed to escape? Her memories of and love for Michael? The birth of her daughter? The re-emergence of her daughter? Her condition, the Lycan tradition, the vampire? The mixed breed? Her appearance, age, suffering, in the back of the car, the Lycan attack, are being defended, saved?

7. The police, the investigations, Detective Sebastian, his associate? His involvement, supporting Selene, working with her, saving her, the confrontations?

8. Dr Lane, his personality, his laboratory, his staff, the hybrid and his being developed as a monstrous Lycan? His breaking the neck of the nurse? Selene ultimately confronting and destroying him? Playing with Dr Lane? Seeking Selene, seeking the daughter?

9. David, his background, the vampires, his relationship with his father? Intervening for Selene, fighting, saving her? His being attacked by the Lycans? Introducing Selene once more to his father, defending her? His father surrendering the little girl? The mission to save her? His being wounded, dying, Selene reviving him, giving him to his father?

10. The main action of the film in the conflicts between Selene and the Lycans, Selene, her presence, acrobatics, survival, fighting?

11. The situation at the end of the film, the possibility for the revival of the Lycans, the role of Dr Lane, Selene, David and his father?

MIDDLE SCHOOL, THE WORSE YEARS OF MY LIFE

US, 2016, 92 minutes, Colour.
Griffin Gluck, Lauren Graham, Alexa Nisenson, Andy Daly, Rob Riggle,Thomas Barbusca, Retta, Adam Pally, Jacob Hopkins.
Directed by Steve Carr.

It might be more than a bit of a shock for those who read James Patterson’s popular thrillers to find his name associated with this film, on which he serves as one of the executive producers. But, it is a screen version of one of his many collaborations, written for younger audiences.

With this said, older audiences may find it something of a trying experience to sit through. On the other hand, quite number of bloggers have use the unexpected word “endearing� to describe it.

Our hero, Rafe (Griffin Gluck) is a 12-year-old who has been in all kinds of trouble at different schools and is now being sent to the last one possible by his loving but exasperated mother, Lauren Graham. They and the little sister, Georgia, are still grieving the death of Eric, younger than Rafe, who has had a terminal illness and has died (not stopping him reappearing in his brother’s fantasies, collaborating with him and egging him on).

There is an impossible headmaster, full of himself (even full if that were possible), played to the hilt by Andy Daly, who is a prissy enforcer of the rules, enshrined in a book which he liberally hands out. His vice principal shares his rule-bound perspective and is a formidable-looking lady.

Things go badly for Rafe, especially when his book of drawings (of the graphic novel type) is handed around at the assembly to everybody’s laughter. The principal burdens his book. What else is a spirited young lad to do in such a situation – write down a list of the rules, determined to break every one of them before the external exam sitting, an enormous project of elaborate pranks, which take up the most part of the film.

Other characters include the mother’s potential boyfriend, Rob Riggle, an absolutely full of himself twit – who also, of course, gets the prank treatment. There is a sympathetic teacher who encourages his students to think – but who gets fired by the school principal. There is also an enterprising little girl who campaigns to be on a committee (with Rafe defying conventions and standing up and applauding her campaign speech), who comes to the rescue at the end, along with a put upon janitor, to expose the headmaster and get prank issue revenge.

So, if you like this kind of thing… A young audience might enjoy 90 minutes of vicarious rebellion (which one reviewer referred to as learning to be creative!) But, probably, whoa be tied any of them should they try to put any of these pranks into practice!

MOANA

US, 2016, 107 minutes, Colour.
Voices of: Auli'i Cravalho, Dwayne Johnson, Rachel House, Temuera Morrison, Jemaine Clement, Alan Tudyk.
Directed by Ron Clement, Don Hall.

Over the last few decades, the Disney studios have been concentrating on princesses or the equivalent of princesses in their animation films, from The Little Mermaid at the end of the 1980s, to Beauty and the Beast, Mulan, to the great success of Frozen. Here is the next contender, Moana.

Moana is a Polynesian name and the film draws on aspects of Polynesian mythology, life in the Pacific Islands, the Polynesians as voyagers. She is a young girl (Auli’I Cravalho), part of village life, with her parents and a wise grandmother. But, she also goes on a quest.

With aspects of creation stories, and symbols for life, especially in the heart, Moana wants to contact the great hero, Maui, who will help to restore life and order. Although she is not supposed to, she gets the boat and leaves on her quest, her only company being a rooster who is there as the inevitable bird or animal companion but, unfortunately, is too stupid to be really funny, despite a whole lot of efforts.

Storms, boat overturning, but with help from the life-spirit of the ocean, she eventually is stranded on an island where she finds Maui. Maui is of traditional Polynesian build, big and solid, which gives plenty of space for the range of tattoos all over his body, giving the narrative of his exploits, his participation in creation – and, at many times, the various panels coming to enjoyable animated life.

He is voiced by Dwayne Johnson, himself with some Polynesian background, often sending himself up, bursting into a song, You’re Welcome, with some comic episodes, but, having been stranded on his island for 1000 years, he is eager to get away and not eager to help Moana.

By hook or by crook (and Maui’s quest is to find again his spirited hook), he and Moana share quite a number of adventures (and the rooster is still there!). They encounter some mini-creatures with big ships and poisoned darts who capture the heart that Moana has been wearing around her neck, but she shows that she has the warrior touch as well. Oh, and she also has some songs – and so does the spirit of her Grandmother.

There is quite an adventure at what seems a high island, whose cliffs Moana can scale more quickly than Maui, but then a huge central core-hole where Maui finds his hook but they have to deal with this big crustacean, a bejewelled sea creature, who also sings with the voice of Jemaine Clement. It might be good to note here that the credits are very very long and one can listen to the music because Jemaine Clement’s Shiny creature has another minute at the very end of the film!
There is also the Lava Island, with a sinister dark giant creature that they have to confront, Moana standing firm, Maui helping on and off and then disappearing.

It’s not a spoiler to say that everything turns out well for the island, its new life, for Moana and her family in the village, and for restored hero, Maui.

1. A popular Disney story? A significant heroine? On a quest?

2. The animation style, the locations, the Pacific Ocean, the islands, the tropics? The dark islands, the lush islands? The underwater sequences? The animation of the characters, Polynesian, ethnic, tattooed, attractive women, large men? And the monsters and sea creatures?

3. The musical score, the range of songs, performance, themes, serious and comic?

4. Drawing on Polynesian mythology, verbal and visual, the nature of the myths, creation, the establishing of people, the earth, the sea, the islands? The power of creativity? The goddess and her becoming the island?

5. The legend of Maui, demigod, human parents, the symbol of the heart, creativity, taking the heart, stranded for 1000 years by himself on the island?

6. Moana, the young girl, on the island, have family, the village, the people, her age, activities, her experience, wanting to sail? Her parents, the grandmother and her advice, the island disaster, her going on a quest?

7. The role of the sea, the personification of the sea, the waves, rising up to help minor? With the heart? The search for Maui, her mission?

8. The comic effect of the rooster, stupid character, how funny? Involved in all the action?

9. The voyage, the boat, sailing, the experience, the rooster? The sea and the help? The vast storm, the boat overturning, on the shore?

10. Maui, Dwayne Johnson’s voice, his appearance, size, the tattooes, the tattooes coming alive? With Moana and the rooster? Singing the song You’re Welcome? Putting Moana in the cave, taking the boat, her finding his statue, toppling it, the whole, getting out?

11. The struggles on the boat, Moana are on and off, the role of the sea helping?

12. The little creatures, animosity, following them, the darts, the fighting, losing the heart, recapturing it? Moana and her retrieval? The boats surrounding Maui and Moana? Their escape through the small passage? The creatures and all smashing into one another, the boats crashing?

13. Maui, arriving at the island, to get his hook, forbidding Moana, her going up the cliff, his climbing, the opening of the hole, the vast depths, diving in, the discovery of the hook? The range of monsters, menacing Moana? The bejewelled creature, the song, Shiny? Moana as a decoy, Maui recovering his hook? The escape? And the creature appearing in a post-credits sequence, trying to get of its back?

14. The Lava Island, the menace, the personification of darkness? Maui, the hook, transformation into a variety of creatures, flying, comic part shark? The reconciliation with Moana? His using his hook to save her?

15. Moana on the boat, the grandmother, her appearance, song, advice?

16. Moana, the Laver and the parting of the ways, the confrontation with the monster? The transformation into the goddess? The restoration of the island, her lying down to sleep?

17. Moana, the restoration, the family, with everyone, her parents?

18. Maui, reappearing, and Moana and her exploits as part of his tattoo?

19. The family, the people, the Polynesian voyages, sailing together, the Heritage?

VANITY FAIR

US, 1932, 78 minutes, Black and white.
Myrna Loy, Conway Tearle, Barbara Kent, Walter Byron, Anthony Bushell, Billy Bevan, Montague Love, Herbert Bunston, Mary Forbes, Lionel Belmore.
Directed by Chester M. Franklin.

This is a brief version of Thackeray’s Vanity Fair, soon to be filmed under the title Becky Sharp with Miriam Hopkins in the title role, the first full-length technicolour film. While there have been several versions for television, the biggest-budget version was the 2004 Mira Nair version with Reese Witherspoon.

This version was written by the comedian F. Hugh Herbert. And, it is updated to the 1930s, with the British setting. There is none of the Napoleonic War background, or any war, as in the novel.

In many ways, this is very much an abbreviated version, although it does highlight the central characters and the basic themes.

It was a star version for Myrna Loy, who is coldly calculating in the role but not without being able to exert some charm, especially for the men who are foolish enough to believe her. She arrives at the Sedley household for a Christmas celebration with her school friend, Amelia, played by Barbara Kent. She is welcome by the Sedleys but it is clear that she resents her poverty and lack of status, is envious of Amelia, and is prepared to marry any man so that she will get wealth and/or position. Amelia’s brother, Joseph, drunkenly agrees to marry her but then wants to back out.

There are the various men characters from Thackeray’s novel – all presented as rather worthless, with touches of the sleazy, Sir Pitt Crawley who can’t wait for his wife to die so that he can exploit Becky, the tutor for his children. Then there is his son, Rawdon, who carries on an affair with Becky, very soon after her arrival, and whom she marries despite the fact that he is cut off from wealth by his father. There is also George Osborne, Amelia’s fiance and then husband, who arranges a rendezvous with Becky, with a telegram that she keeps and is able to show to Amelia to disillusion her about her husband who has died in a riding accident some years before.

The only decent man is William Dobbin, played by British actor Anthony Bushell, devoted to Amelia, believing George Osborne to be good, despising Becky but having to believe the ill-fated message.

Becky and Rawdon use their wits come in to survive, eventually gambling at bridge. At one stage, Gordon is arrested for money matters, which are paid for by Dobbin, and then arrives home to find his wife flirting with another wealthy possible suitor.

Things go from bad to worse for Becky, on the continent, gambling and cheating, expelled from her boarding house – but later meeting Joseph Sedley again, colluding with him. When, by chance, Dobbin and Amelia arrive, there is something of a reunion but Becky shows a moment of goodwill to Amelia by revealing the truth about her husband.

The film ends with Becky looking with a long gaze into a mirror, shedding tears at her ruin – an ending which was to be very effective in Stephen Frears’ Dangerous Liaison, with Glenn Close also looking into a mirror and shedding a tear.

It is interesting to realise that Hollywood was making brief versions of classics, as they did in silent film times. Another film of this time was Unholy Love, a version of Flaubert’s Madame Bovary, set in New York State.

THE SPHINX

US, 1933, 64 minutes, Black and white.
Lionel Atwill, Sheila Terry, Theodore Newton, Paul Hurst, Luis Alberni, Robert Ellis, Lucien Prival.
Directed by Paul Rosen.

Lionel Atwill was a British stage actor who moved to the United States, appearing in a number of films, including a star role in Captain Blood, but appearing in quite a number of small budget films, especially horror.

The Sphinx is a small supporting picture, something of a murder mystery, a police investigation, hard-talking journalist also investigating. The title is that given to a mysterious killer of a number of businessmen.

The audience knows from the beginning that the killer, Lionel Atwell, can speak, but when brought to court, he is deaf and mute, and convinces the court. He is stylish in manner, wealthy in his apartment, with his butler-associate. The police are suspicious but cannot prove anything, despite attempts, and one official noting that the killer reacted to a piano note – but the official is then murdered himself.

There is an earnest journalist, Theodore Newton, his girlfriend also works at the paper, Sheila Terry, who visits the killer, is attracted to him and continually visits.

When she plays the piano, the killer is alert – and a secret door opens with a twin brother, truly mute and deaf, is hidden away.

There is a bumptious police officer, Paul Hurst, rather ignorant and silly in his way who touches the piano and opens the mysterious door – since this is a short film, there is immediate shooting and the twin brother is killed. The killer remains debonair in manner as he is taken off under arrest.

An enjoyable hour of entertainment, old style.

UNHOLY LOVE

US, 1932, 75 minutes, Black and white.
H.B.Warner, Lila Lee, Beryl Mercer, Joyce Compton, Lysle Talbot, Ivan Lebedeff, Jason Robards Sr, Kathlyn Williams.
Directed by Albert Ray.

At first look, Unholy Love would seem much the same as many of the small budget films of this year, 1932, just prior to the implementation of the Motion Picture Code in 1934.

It is a story about a rash marriage in Rye, New York State, a young doctor infatuated with the daughter of one of his patients (Lysle Talbot and Joyce Compton). The doctor is mentored by his father-doctor, H. B. Warner (Jesus in De Mille’s King of Kings). The marriage does not work and it is revealed how self-centred the young woman is, easily bored, easily distracted, playing tennis with attractive young men, encountering a novelist and beginning a relationship with him, prepared to leave her husband.

In the meantime, the young woman (Lila Lee) who is in love with the young doctor is gracious in her manner, is kind to the wife, despite the acerbic comments from her mother.

But, if one looks at the credits, one sees that this is an adaptation of Flaubert’s Madame Bovary. The main elements are there, the young provincial doctor and his love for his wife but unawareness of her responses, the self-centred Madame Bovary (who is in no way sympathetic for the audience).

The performances are as expected, H. B. Warner bringing some dignity to his role, even to his kindness in taking his daughter-in-law to a social function, seeing her make mistakes, threatening her to protect his son.

And the Madame Bovary character despairs in a contemporary way, driving away in her car and crashing to her death from a bridge.

A curiosity item from the period – as well as an interpretation of Flaubert.

KEPT HUSBANDS

US, 1931, 76 minutes, Black and white.
Dorothy Mackaill, Joel Mc Crea, Ned Sparks, Mary Carr, Clara Kimball Young, Robert Mc Wade, Bryant Washburn, Florence Roberts.
Directed by Lloyd Bacon.

The tagline for the advertising for this film, 1931 style, “every inch a man – bought body and soul by his wife)!

For this reason, in the light of the title, the film is a curiosity item for discussions about relationships between men and women at the beginning of the 1930s, the role of the husband as a man and supporting his wife, the role of the rich woman in love with a man whom she controls, the solution that is expressed in the best way of keeping a husband is by love rather than by money and power.

The film is typical enough of its time, a short running time, the establishing of the central characters, a wealthy family in New Jersey, factory developments, possibilities of expansion, with a benign father, and absolutely snobbish mother, and a wilful daughter who sets her sights at the young man who was brought in as a manager in the company, giving herself four weeks to win him over, actually proposing herself rather than his proposing.

The young man is played by Joel Mc Crea at the beginning of his career, clearly a talent for presenting strong decent heroes on screen. Dorothy Mackaill is the spoilt young woman.

In the background is the young man’s mother, managing a boarding house, then the revelation that the young man is a sports star and has been an all-American, admired by everyone, though he does not want to capitalise on this, preferring to earn his living properly.

The young couple are in love, but the young man allows his wife to do all the planning, the honeymoon, the trips to different places,buying expensive clothing, cabling her father for extra funds…

When he does return, people of the company think that he is rather idle, as he is, studying bridge et cetera, and referred to as a kept employee.

One of the boarders at his mother’s house, played by Ned Sparks, is full of aphorisms and proverbs, which, because of their timing, bring some amusement and counterpoint to the screenplay.

Inevitably, there is a clash between the male image, provider, earning one’s keep appropriately and the spoilt life of the wife, even to her dallying with a former friend, though not cheating on her husband, but his becoming disgusted with her behaviour and her not telling the truth. She gets advice from his mother, from her father and demands from her father, eventually affecting a reconciliation with her husband.

It is interesting as a film to provide discussions for equality between men and women, the perceived roles of men and women in the past and how they changed during the 20th century.