RECKLESS

RECKLESS (1935). Director: Victor Fleming.

By the time agent Ned Riley (William Powell) realizes he's really in love with his client, singer-dancer Mona Leslie (Jean Harlow), Mona is being swept off her feet by the wealthy Bob Harrison Jr. (Franchot Tone). Harrison even goes so far as to buy out every seat for a performance of the show Mona is in. Mona's wise old grandmother (May Robson) scolds and gives sage advice in equal measure. Rosalind Russell turns up as Harrison's kind of forgotten fiancee, Henry Stephenson is his concerned father, and little Mickey Rooney is his usual charming self as an enterprising youngster befriended by Ned (perhaps the film's most touching sequence has Rooney trying to help out Ned when he thinks he's down and out). If that cast weren't enough, we've also got Allan Jones singing a romantic ballad in his inimitable way, Leon Ames turning up both with and without his mustache, Charles "Ming the Merciless" Middleton playing a district attorney, and Margaret Dumont showing up for one line as a heckler in the theater! Powell, Harlow, and Tone are all just marvelous, and Robson almost manages to steal every scene she's in. The story veers in unfortunately melodramatic directions, but the film still manages to be quite entertaining. And that cast! 

Verdict: Crazy script but a feast of fine actors! ***.

THE MAN WHO LOST HIMSELF

Brian Aherne and Kay Francis

THE MAN WHO LOST HIMSELF (1941). Director: Edward Ludwig.

John Evans and Malcolm Scott (both played by Brian Aherne of My Son, My Son) both look  exactly alike, so alike that no one, including Scott's wife, Adrienne (Kay Francis of The Keyhole), can tell them apart. Evans wakes up in Scott's bed -- sans Scott -- and the household staff, including lovable Paul (S. Z. Sakall of Lullaby of Broadway)  assume he is their employer. Evans discovers that "he" died in a fall in front of a subway train, when the dead man is actually Malcolm Scott. When John realizes that he is attracted to Adrienne, who is on the perpetual verge of divorcing Scott, he decides to assume the other man's identity. And this is a comedy?

Glamorous Kay

The Man Who Lost Himself offers some intriguing situations but hasn't much idea what to do with them. Evans doesn't seem the slightest bit upset when he learns of Malcolm's death, but this is made somewhat palatable when we learn that Scott was a bit of a bounder. The cast, including a very enthusiastic Aherne, the glamorously caparisoned Francis, and especially the wonderful "Cuddles" Sakall do their best with the material, but there's a kind of grotesque seriousness underneath the silliness that strips the film of its alleged fun quotient. The picture could have been a funny movie but aside from one or two chuckles it just isn't. It may have worked better as a drama.

"Cuddles" Sakall and Brian Aherne

Other cast members include Henry Stephenson as the family lawyer; Dorothy Tree as a girlfriend of Scott's nicknamed Boobie Woobie; Nils Asther as an admirer of Adrienne's; Marc Lawrence as a would-be blackmailer; Sig Ruman and Barlowe Borland as psychiatrists; Henry Kolker as a business associate; and Eden Gray as Scott's sister Venetia. They all give it their best but it just isn't enough. Of all the films about doubles taking the place of someone else, this is one of the least interesting. There is no explanation for why the two men look like identical twins but apparently aren't.

Verdict: Lots of possibilities that add up to very little. **. 

THE ANIMAL KINGDOM

Leslie Howard and Myrna Loy

THE ANIMAL KINGDOM (1932). Director: Edward H. Griffith. Based on the play by Philip Barry.

"A foolish virgin, me. Well, foolish anyway." -- Daisy.

Tom Collier (Leslie Howard), scion of the very wealthy Rufus Collier (Henry Stephenson), has had a casual if intimate relationship with aspiring artist Daisy Sage (Ann Harding) for years, a relationship of which his father does not approve. Tom seems to think that he and Daisy are, first and foremost, best friends and nothing more, but he discovers that Daisy is actually in love with him and wants to marry him just at the moment that he comes to tell her he's gotten engaged to the more "respectable" Cecelia (Myrna Loy). Tom just doesn't get that Daisy needs to be apart from him to mend her broken heart, but his feelings for her just won't recede even as he realizes he may have made the wrong choice. The Animal Kingdom begins quite well but it's mostly the wonderful acting from the three leads and supporting players alike that put this over, as its contrivances and false theatricality eventually do it in. Played sympathetically by Loy [Lonelyhearts], Cecelia is treated especially horribly by both Tom and the film, which contrasts her unfavorably with a prostitute. As usual in these triangle dramas, one wonders if the utterly weak man in the middle is really worth all the hand-wringing from the ladies, as Tom seems a superficial sort content to churn out bestselling potboilers even as Daisy and others seem to think he can and should be writing "literature." Stephenson [Tarzan Finds a Son] scores as the father; William Gargan is the comedy relief prizefighter turned butler; and Neil Hamilton is as bland and puffy as ever as a friend who is in love with Cecelia. Ilka Chase, Leni Stengel and Don Dillaway [Platinum Blonde] have smaller roles and are effective. The character of Cecelia is, I believe, intended to be the unloving, social climbing wife who cares little for what her husband wants as long as she's well-dressed, but Loy's playing gives the character much more dignity and subtlety than that, and in an early scene she admirably defends Tom against all the negative remarks made by his father. But these attempts to make things a little less black and white don't quite succeed.

Verdict: Interesting in spots, and very well-acted, but also pretentious and dated. **1/2.

RED-HEADED WOMAN

Jean Harlow in one of her best roles

RED-HEADED WOMAN (1932). Director: Jack Conway.

"Don't be so cynical. It's very depressing this time of the night."

Red-headed Lillian Andrews (Jean Harlow) has decided she wants to live on the right side of the tracks and sets her cap for her boss, Bill Legendre (Chester Morris), despite the fact that he is married to Irene (Leila Hyams). Both Bill and Irene discover that neither of them are a match for the determined, super-sexy Lillian, who generally gets what she wants when it comes to men. When she discovers after she snares Bill that no one in his crowd or family will accept her, she decides to seek greener pastures. But can she manipulate things to her advantage without everything tumbling down around her? Jean Harlow is simply smashing as Lillian in one of her best roles, making the character kind of likable without ever being sympathetic. "I'm in love and gonna get married," Lil tells her best friend, Sally (Una Merkel) -- but not to the same man! There have been dozens of movies about marital triangles both before and after this picture, but what lifts Red-Headed Woman above the crowd is the acting and Anita Loos' excellent script. Lantern-jawed Chester Morris is fine as the conflicted Bill, with very good support from Hyams [Island of Lost Souls] as his wife; Lewis Stone as his father; Henry Stephenson [Cynara] as a family friend and business associate who develops a hankering for Lillian; May Robson as Irene's down-to-earth Aunt May; and even a very young Charles Boyer [The Constant Nymph] as the chauffeur who dallies with Lillian at inopportune moments. Una Merkel offers her usual adroit performance in her typical role of the heroine's ugly best friend. Harlow gives a rivetingly exciting performance in this, in full command of her considerable gifts and beauty.

Verdict: Sassy and frank pre-code comedy-drama. *** out of 4.

TARZAN AND THE AMAZONS

TARZAN AND THE AMAZONS (1945). Director: Kurt Neumann.

Jane (now played by Brenda Joyce of Little Giant) returns to Tarzan (Johnny Weissmuller), Boy (Johnny Sheffield), Cheeta, and Africa in this entertaining installment of the highly popular series. Tarzan rescues a young lady, Athena (Shirley O'Hara), and takes her back to her people, a race of Amazons in a handsome city nestled in a valley. Jane importunes archaeologist Sir Guy Henderson (Henry Stephenson) to lead his group to this hidden city for the sake of science, but Ballister (Barton MacLane of The Mummy's Ghost) and his cohorts have no such noble motives, being primarily interested in looting the city's treasure. The Amazon queen (Maria Ouspenskaya of Dance, Girl, Dance) refuses to let the men leave, and even tries to sacrifice Boy, who foolishly leads the group to the city even after Tarzan has forbidden it. Tarzan and the Amazons is entertaining and well-done, its one flaw being a much too abrupt climax.

Verdict: Tarzan Always Knows Better! ***.

TOMORROW AT SEVEN

TOMORROW AT SEVEN (1933). Director: Ray Enright.

A masked murderer who calls himself the Black Ace is stalking people in an old mansion. Neil Broderick (Chester Morris of The She-Creature) investigates, alternately helped and hindered by two cops played by Allan Jenkins and Frank McHugh. Vivienne Osborn is the heroine [a scene on a train when she tells a man she doesn't like the work of a certain author, unaware that he's the writer in question, was repeated in Leave Her to Heaven]. The suspects include Grant Mitchell and Charles Middleton [Daredevils of the Red Circle]. Tomorrow at Seven is unexceptional, but it does boast good performances from Morris, Jenkins, McHugh and Middleton, as well as from Virginia Howell as the housekeeper, and Henry Stephenson as Thornton Drake. As Old Dark House movies go, this one is no better nor worse than most of them, although it could be argued that this one just doesn't make a hell of a lot of sense.

Verdict: Creaky but engaging. **1/2.

THE LOCKET

Robert Mitchum and Laraine Day

THE LOCKET (1946). Director: John Brahm.

"How could I ever have liked you, Norman? -- you're arrogant, suspicious, neurotic!"

John Willis (Gene Raymond) is just about to marry his fiancee, Nancy (Laraine Day of Foreign Correspondent), when a psychiatrist named Blair (Brian Aherne) bursts in, tells him he was once married to Nancy, and that Willis will be making a terrible mistake if he goes ahead with the wedding. What follows is a long flashback -- interrupted by two flashbacks within the flashback -- in which Blair relates his history with Nancy to Willis, including how an artist named Norman (Robert Mitchum) told him that Nancy had knowledge of a certain crime ... Since all the plot twists are part of the fun of The Locket I won't say any more, only that the movie is certainly psychologically dubious, but nevertheless fascinating, and quite entertaining. Day gives one of her best performances, resisting all chances to chew the scenery, and making it clear how so many men could fall for her despite her, uh, problems. Raymond and Aherne are fine, but a miscast Mitchum really just walks through the role of Norman and gives us absolutely no sign of his emotional torment (which makes one of his actions more surprising but also less believable). Henry Stephenson and Ricardo Cortez are swell in smaller roles, and Katherine Emery scores as Willis' mother, who knew Nancy as a child in a pivotal flashback sequence. Brahm also directed Hangover Square and many others.

Verdict: Unusual and absorbing melodrama with a fine lead performance. ***.

GIVE ME YOUR HEART

GIVE ME YOUR HEART (1936). Director: Archie Mayo.

Belinda Warren (Kay Francis) is in love with Bob Melford (Patric Knowles) who has a disabled wife, Rosamond (Freida Inescort). When Belinda becomes pregnant, Bob's father, Lord Farrington (Henry Stephenson) makes a deal for Belinda to give up the child to Bob and Rosamond, telling her that otherwise she has little to offer the child. (It never occurs to Belinda to make the point that the child will be his grandchild no matter who raises it, and you'd think he'd want to provide for it no matter what.) Traveling on a train, Belinda encounters Jim Baker (George Brent) and marries him, but her brooding over the past threatens their marriage until an old friend drastically takes matters into his hands.

Give Me Your Heart is a likable, at times touching, movie that is greatly bolstered by some fine dialogue and an excellent cast at their best. Kay Francis gives one of her best performances as Belinda, and Roland Young is terrific as her buddy "Tubbs." Francis and Brent always made a good team, and in this Young and Helen Flint (as Belinda's doctor Florence Cudahy) also make a grand screen couple. (The protracted scene when the two "meet cute," nearly grabbing the same cab, then keep bumping into each other until they realize they're going to the exact same place, is one of the best scenes in the movie.) Zeffie Tilbury scores as Belinda's grumpy Aunt Esther. Francis has a sublime moment when she looks at a picture of her little boy at a very awkward gathering, and she and Freida Inescort have a very good scene as the two women manage to bond with each other despite the events of the past. Warm, humorous and sentimental in the right way, Give Me Your Heart is one of Francis's best features. Nice score, too.

Verdict: Kay fans should pounce. ***.

LITTLE LORD FAUNTLEROY

LITTLE LORD FAUNTLEROY (1936). Director: John Cromwell.

Cedric Erroll (Freddie Bartholomew), a nine-year-old boy in 1880's Brooklyn, discovers that he's actually Lord Fauntleroy and the heir to a fortune. He accompanies his mother to England to meet his grandfather (C. Aubrey Smith), but learns that his mother, whom he calls "Dearest" (Delores Costello Barrymore), is to live in a separate cottage while he lives with the old man (because his grandmother never approved of his mother). C. Aubrey Smith gives a heart-tugging performance as the grumpy old man whose love for his grandson gives him a new lease on life, and amazingly self-assured little Bartholomew is superb. Henry Stephenson, Guy Kibbee and Mickey Rooney, among others, also give superior performances. The sensitive score by Max Steiner is a plus. Charming stuff.

Verdict: Well-made, sentimental audience pleaser.***.