DANGEROUS CURVES (1929)

Richard Arlen and Clara Bow

DANGEROUS CURVES (1929). Director: Lothar Mendes. Colorized. 

Larry Lee (Richard Arlen) is the headliner high-wire act at a small-time circus. He is in love with his partner, Zara (Kay Francis), who is in love with Tony (David Newell), another high-wire artist. Rough-hewn but lovable Pat (Clara Bow), daughter of another deceased circus performer, has a big crush on Larry and hates the way Zara cheats on and uses him. When Zara and Tony run off together, Pat helps Larry get back on his feet, and he agrees to teach her and do a new act with her. But then Zara comes back into the picture ... 

Kay Francis with Arlen

Dangerous Curves is a charming and occasionally touching comedy-drama with some fine performances from the three leads. Anders Randolf also makes an impression as Brack, the owner of the circus. This movie belies the persistent notion that early sound pictures were static and slow, with the camera nailed to the floor, because this picture moves and is well-edited and at times quite cinematic. There are some things you have to take with a grain of salt, however. Arlen falls 170 feet and only breaks a few ribs, and Bow becomes a fairly adept wire walker rather quickly. But as this is another romantic fantasy, who cares?

Clara Bow

Kay Francis [Four Jills in a Jeep] and Richard Arlen [Identity Unknown] went on to make many movies and have successful sound careers, while Bow's career was essentially over four years later. She had had a passionate affair with Bela Lugosi (!) and later married handsome cowboy star Rex Bell, whereupon she retired, had two children, and developed a host of problems. However, she lived until she was sixty. Lothar Mendes also directed The Man Who Could Work Miracles. 

Verdict: An appealing Clara Bow helps put this over. ***. 

IN NAME ONLY

Grant, Lombard and Francis

IN NAME ONLY (1939). Director: John Cromwell. 

Alec Walker (Cary Grant) is trapped in a loveless marriage with his wife Maida (Kay Francis), who freely admits she was in love with another man at the time of their wedding and only married Alec for his money. Alec meets a free-spirited widow, Julie Eden (Carole Lombard) with a small girl, and he and Julie, instantly smitten, fall in love. But will Maida graciously step aside -- or cause them all manner of trouble? What do you think? The stars are all in top form in this -- it's one of Francis' best performances -- and the picture is warm, humorous, dramatic, and absorbing, the only deficit a climactic bout with pneumonia that's a bit of a bore. Otherwise, this is very entertaining. Supporting players include Helen Vinson as the bitchy, man-hungry Suzanne, supposedly Maida's best friend; Katharine Alexander as Laura, Julie's bitter sister; and Charles Coburn as Grant's father, who doesn't have nearly enough to do. Grant and Lombard are really terrific in this. A lost film from that great year for movies, 1939. 

 

Verdict: Kay, Carole and Cary make this a winner! ***1/2.

FOR THE DEFENSE

William Powell and Kay Francis

FOR THE DEFENSE (1930). Director: John Cronwell. 

Bill Foster (William Powell of The Thin Man) is a famous defense attorney known for his flamboyancy and for tricks that keep his clients from going to jail. His main squeeze is Irene Manners (Kay Francis of Give Me Your Heart), who is loyal to him but discovers that he has no intention of marrying her -- for him things are perfect as they are. Irene goes out for a drive with love-smitten Jack De Foe (Scott Kolk), who proposes to her just before she accidentally runs over and kills a man in the road (we never learn a damned thing about this unfortunate fellow). Jack doesn't want to get Irene involved so he lets her run off while he takes the rap, which is exacerbated by the fact that he was drinking. Irene importunes Bill to take Jack's case and keep him from going to jail for manslaughter, but the lawyer suspects that there's more to the story -- and more to Irene's relationship with Jack. 

Scott Kolk with Powell

At a mere 63 minutes, For the Defense moves at a brisk pace and wastes precious little time in true character development, although the actors, especially an excellent Powell, do much to bring these rather stock characters to life. There's a funny/scary bit in an early courtroom scene when Powell decides to test a piece of evidence, a bottle supposedly filled with nitroglycerine, by dashing it to the floor, giving everyone in the room conniption fits! With a far less dynamic role, Francis can do little to steal scenes from Powell, but she is quietly effective as a woman who loves not wisely but well; Kolk is also effective. The movie with its interesting situations is entertaining despite the contrived script. Poor Francis is decked out in a series of hats that remind one of a classic I Love Lucy episode when the boys give the gals some phony French fashions! John Cromwell would go on to direct much better pictures including Caged. Two years later Powell and Francis reteamed for Jewel Robbery. 

Verdict: Powell is always exciting to watch. **3/4. 

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 KEYHOLE

Kay Francis and George Brent

THE KEYHOLE (1933). Director: Michael Curtiz.

"The next time you try to kill yourself, let me know -- I'd love to help you!" -- Anne about Maurice.

Anne (Kay Francis of In Name Only) is married to the much-older Schuyler Brooks (Henry Kolker of Meet the Baron). When she learns from her first husband, Maurice (Monroe Owsley), that their divorce wasn't valid, he blackmails her. Anne gets advice from her sister-in-law, the formidable Portia (Helen Ware), and takes off for Cuba to get Maurice out of the country. Meanwhile Brooks, fearing Anne is unfaithful, hires private dick Neil (George Brent of Dark Victory) to follow her and see if he can tempt her into an affair. Neil's partner, Hank (Allen Jenkins), gets involved with con lady Dot (Glenda Farrell), with both thinking that the other one is wealthy. Will Anne keep putting Neil off, or will she succumb to his charms? Who cares? The Keyhole is a minor comedy-drama that never gets very dramatic and isn't especially funny. The leads are fine, but any fun in the movie is provided by Jenkins, and especially Farrell, who gives the most notable performance. Kolker and Ware are also good, but the movie is not memorable.

Verdict: Smooth but not terribly interesting. **.

FOUR JILLS IN A JEEP

Martha Raye, Carole Landis, Kay Francis, Mitzi Mayfair

FOUR JILLS IN A JEEP (1944). Director: William A. Seiter.

Loosely based on the wartime experiences of the four leading ladies, this has them playing themselves as they go on an entertainment tour for the fighting GI's. Kay Francis, who can't sing or dance, acts as the mistress of ceremonies, while Carole Landis sings, Mitzi Mayfair dances, and Martha Raye (who was not a bad singer herself) mugs and makes the usual jokes about her appearance. John Harvey [The Man with My Face]  plays Landis' love interest, who marries her during the film (Landis did marry an Army man during the war but the union only lasted two years). Phil Silvers plays the Army jeep driver who escorts the ladies everywhere and tries to get a date with Raye. Dick Haymes [Irish Eyes are Smiling] is cast as Mayfield's love interest and he offers a smooth delivery of a couple of romantic ballads. Bandleader Jimmy Dorsey [Lost in a Harem] is pleasant playing himself. Landis' apprehension when Harvey, a flier, is late in coming back from a mission is well delineated, but it leads to an odd sequence. One of the other pilots crashes off-screen and literally a second later Harvey shows up for a clinch., but neither of them ever say a word about the flier who was presumably killed, making them seem cold-blooded to say the least. The film's highlights include Mayfair's scintillating dance numbers; Betty Grable singing "Cuddle Up a Little Closer;" the drag queen-like Carmen Miranda dancing and warbling in her inimitable manner; and especially Alice Faye's moving rendition of  her haunting signature tune, "You''ll Never Know." Another terrific number, Rayes' "With a Wing and a Prayer," was left on the cutting room floor but can be seen on the DVD along with Miranda's rendition of "Mama yo quero." The songs were by McHugh and Adamson. Mayfair was essentially a Broadway tap dancer and made few films. She's cute, perky, and talented, and could have had a nice career playing second leads in romantic musicals.

Verdict: For what it is, a kind of time capsule with good performances from all. ***.

24 HOURS (1931)

Kay Francis and Clive Brook

24 HOURS (1931). Director: Marion Gering.

At a party Jim Towner (Clive Brook) turns to his wife, Fanny (Kay Francis), and asks her where things went wrong. Turns out both of them are seeing other people, with Fanny dallying with David (Minor Watson), and Jim fooling around with singer, Rosie Duggan (Miriam Hopkins). Rosie has thrown out her hoodlum husband, Tony (Regis Toomey), and trouble starts when he demands to be let back into her life again. One of the main characters winds up murdering another, with suspicion falling on a third. 24 Hours doesn't work as drama, mystery, or even melodrama, as it seems too long even at a mere 66 minutes. Of the cast Regis Toomey [Shopworn] comes off best, with Wade Boteler [The Green Hornet] also scoring as the doorman Pat, who is Rosie's brother. Clive Brook isn't bad, but he makes a rather dull leading man, and Francis is competent but not given very much to do as his wife. Miriam Hopkins [Lady with Red Hair] get a little more screen time as Rosie, bur her delivery of a couple of torch songs is almost ruined by her voice. Francis and Hopkins, although involved with the same man, don't have a single scene together, stripping the film of its main point of interest. Its stage origins are apparent, although one can't imagine this was ever any world-beater.

Verdict: This positively creaks. Even if you like Francis and Hopkins this is one you can miss. *1/2.

BETWEEN US GIRLS

Diana Barrymore and Kay Francis as mother and daughter

BETWEEN US GIRLS (1942). Director: Henry Koster.

In this very oddball comedy, the actress Carrie Bishop (Diana Barrymore) learns that her mother, Chris (Kay Francis), is engaged to a man, Steven (John Boles), who thinks her daughter is just a little girl. Afraid that he will jilt her mother when he learns that the "little girl" is actually twenty-years-old, she decides to pretend to be a girl of about 12. Things get especially complicated when Steven's associate, Jimmy (Robert Cummings), accuses the "real" Carrie of child abuse after she supposedly hits the child, and then literally socks her, Carrie, in the jaw. Still Carrie stupidly continues the deception ... Francis and Cummings are fine, as is Andy Devine in a lively, likable performance as Carrie's manager, and the picture is nearly stolen by Ethel Griffies as the stony Irish housekeeper, Gallagher. [The scene when Gallagher threatens to quit and packs her bags to the consternation of mother and daughter is the best in the movie]. As for Barrymore, she reveals a real talent in this, but unfortunately is forced to play an idiotic part and perform in several embarrassing sequences. On the other hand she has a splendid moment performing with talented little Scotty Beckett when Carrie plays Queen Victoria in a play. (Her attempts at Sadie Thompson are less successful perhaps because she's deliberately playing too broadly, and her Joan of Arc at the end is only adequate.) Another scene stealer is Lillian Yarbo as the funny, ever-complaining black maid, Phoebe, who claims it was more fun when she was working in a funeral parlor. Francis' hairdo in this is especially grotesque. Between Us Girls has a couple of amusing moments, but it's too strange, poorly scripted, and has a fairly moronic premise as well, from which it never quite recovers.

Verdict: A bizarre curiosity but hardly a good movie. **.

THE COMPLETE KAY FRANCIS CAREER RECORD

THE COMPLETE KAY FRANCIS CAREER RECORD. All Film, Stage, Radio and Television Appearances. Lynn Kear and John Rossman. McFarland; 2008.

This book is the companion volume to the authors' fine Francis biography Kay Francis: A Passionate Life and Career. This is an exhaustive, very well-researched look at the long and fascinating career of Kay Francis, who is now being rediscovered and reappraised by film buffs thanks to TCM and books like this one. This hardcover tome with lots and lots of photos is not just a dry reference book of lists, but has synopses and reactions to all of her movies, including background notes about each film, as well as a sampling of often contradictory reviews. [The strangest one is when a Mick LaSalle compares Allotment Wives to Mildred Pierce and is quoted thusly: "But Allotment Wives is tougher, harder, and stronger, and Francis' performance outshines anything Crawford ever did." Actually while I was watching Allotment Wives I kept thinking how much better and more appropriate Crawford would have been in the part! Different strokes ... ] These essays are written with humor and intelligence. The authors unearth some interesting and bizarre things about Confession, which was a shot-for-shot remake of Mazurka (much like Gus Van Sant did a shot-for-shot remake of Psycho). The reviews of both her movies and stage appearances [the latter section also has lengthy background notes] make clear that many critics did not dismiss her as an actress as some have wrongly believed. The authors clearly admire and enjoy Francis but if they think she's not at her best in a particular vehicle, they say so. The lengthy appendix listing many of the players who worked with Francis also has a lot of often surprising information in it. For more about the actress' personal life [although there's quite a bit on that in this book] see the authors' Francis bio. NOTE: Both books can be ordered at the McFarland web site or call 800-253-2187 to order.

Verdict: For every Francis fan's bookshelf. ***.

KAY FRANCIS: A PASSIONATE LIFE AND CAREER

KAY FRANCIS: A PASSIONATE LIFE AND CAREER. Lynn Kear and John Rossman. McFarland Publishers; 2006.

A solid biography of the not-quite-forgotten movie star of the thirties and forties, Kay Francis. While this volume doesn't go into the individual movies too much, it does look at all the career and personal highlights of Francis' life, and -- via her diary -- notes many, many of her intimate relationships over the decades. What was the truth about her sexuality? The authors wisely note that "there is the possibility that Kay ... was reticent about writing about her lesbian activities in her diary ... It wouldn't be surprising that Kay occasionally edited certain activities from the written record." At times, with her excessive drinking and almost desperate bed-hopping with practically any male that came along -- not to mention several unsuccessful relationships -- Francis comes off like the female equivalent of a "Don Juan homosexual," hoping to find a man who'll finally convince her she's not a lesbian. Her writing in her diary that she slept with one woman only because the other woman wanted her to sounds a little disingenuous. Whatever the case, Kay Francis definitely made an impact on Hollywood style and on many of her peers and fans, as the authors of this very readable study make clear. Attractive and stylish, Francis may not have been a raving beauty in the classic sense, but she didn't exactly have to beg for dates. What comes across in this book is a woman of contradictions who wanted stardom and all it could bring to her (chiefly money) but who also had a disdain for the whole Hollywood lifestyle [not that she was alone in that] that informed many of her decisions.

Verdict: Good book about the not-so-forgotten Kay. ***.

KAY FRANCIS: I CAN'T WAIT TO BE FORGOTTEN

KAY FRANCIS: I CAN'T WAIT TO BE FORGOTTEN. Her Life on Film and Stage. Scott O'Brien. Bear Manor Media. 2007.

At long last a full-scale, major biography of the almost forgotten major movie star, Kay Francis. Unlike other big female stars like Crawford, Davis, and Hepburn, Francis didn't make any big movies in middle-age (such as, say, What Ever Happened to Baby Jane?) that would have introduced her to a whole new generation. In addition, few of her films ever showed up on the late show. But now Turner Classic Movies is running many of her films and host Robert Osborne even wrote the excellent foreword to this book.

O'Brien's biography is very well-researched, incisive, and -- lo and behold!-- doesn't stint at analyzing and looking into the many movies that the lady made (the reason for her fame, after all). Quotes from many reviews sprinkled throughout the book also make it clear that Francis' acting abilities were held in higher regard by her peers and critics than was previously thought. O'Brien takes us behind the scenes of such diverse films as Jewel Robbery, Allotment Wives, Trouble in Paradise, Confession, and many, many others, good, bad and indifferent.

[Oddly, despite the fact that the author appears to be openly gay (he mentions his male partner in the prologue) he seems determined to paint Francis as a thoroughly heterosexual woman despite the fact that in her own diary she notes that she told one husband she had slept with three women (at least). This would indicate Francis was at least bisexual, but O’Brien claims this was only due to "experimentation." (Well, once, maybe.) It doesn’t occur to O’Brien that perhaps Francis’s several marriages and many relationships with men all failed because she might have essentially been into women and couldn’t quite come to grips with it. People can be open-minded on the subject of gay relationships when it comes to others, but still repressed and in denial when it comes to themselves and loved ones.]

Whatever the case with Francis' sexuality, it's a treat to finally read about her life and films and the reasons why she couldn't "wait to be forgotten" and nearly got her wish.

Verdict: Excellent bio. ***1/2.

JEWEL ROBBERY

JEWEL ROBBERY (1932). Director: William Dieterle.

The Baroness Teri von Horhenfels (Kay Francis) should be the happiest women in Vienna since her husband has 8.25 million dollars -- and a chronic case of the gout. She has a lover who's begun to bore her and is anxious for some excitement and a new fling. One afternoon when she's at the jewelry store (with both husband and lover!), along comes a nameless robber (William Powell) who steals everything in the shop, including her new diamond, completely sweeping her off her feet. He also passes off drugged cigarettes (joints?) which make the shop owner giddy and do the same for half of the police force. This is an amusing trifle -- emphasis on trifle -- greatly bolstered by sophisticated dialogue and terrific performances. Powell and Francis make a great team. Not exactly a classic but it's worth sitting through just for Kay's wink at the audience at the end. The pretty tune auf wiedersehen plays in the background but sometimes seems to overpower what's happening on the screen.

Verdict: Slight, slightly immoral, and rather charming. **3/4.

CONFESSION

CONFESSION (1937). Director: Joe May.

A young music student, Lisa (Jane Bryan), is pursued by an older, famous --and somewhat seedy -- concert pianist and composer named Michael Michailov (Basil Rathbone). The two are at a nightclub one night when the singer stares at them, faints, and a little while later pursues them with a gun and shoots Michailov to death. This is just the beginning of Confession, a rather grand melodrama and mother-love soap opera that features an excellent performance from Kay Francis as opera star Vera Kowalska. On trial for murdering Michailov, Vera at first refuses to defend herself, but then reveals (in flashbacks) what led up to the murder and her motives for committing it. Absorbing, with fluid camera work, vivid musical backgrounds, and expert performances, Confession is one of Francis' best starring vehicles and she rises to the challenge in every scene. With his acting and star charisma Rathbone makes you forget that he doesn't exactly look like Tyrone Power. Bryan offers another lovely performance as Lisa, and there are many other notable supporting players. Laura Hope Crews plays a lively, likable variation on her Prudance from Camille, and even Veda Ann Borg is memorable as Xenia, a singer who's jealous of Vera. Donald Crisp and Dorothy Peterson are solid, as always, as the judge and Lisa's mother. Once you adjust your thinking to the film's somewhat outdated moral codes, it becomes poignant and effective. NOTE: This was a remake of the German film Mazurka.

Verdict: Possibly Kay's finest hour and a half! ***1/2.

DR. MONICA

DR. MONICA (1934). Director: William Keighley.

Now here's a sick situation. Dr. Monica Braden (Kay Francis, pictured) is a baby doctor who's unable to have a baby of her own. She officiates over the pregnancy of her friend Mary (Jean Muir), unaware that the baby's father is none other than her, Monica's, husband John (Warren William), with whom Mary had an affair! You have to take a few things -- especially the ending -- with a grain of salt, but Dr. Monica is a well turned out soaper with superlative performances and an intriguing situation. Francis is on top of things as the doctor who finds herself in a rather grotesque spot, Muir gives a sensitively drawn performance, and Verree Teasdale is sharp and snappy as their mutual friend and confidante, Anna. Warren William isn't given much of a characterization in this, but he plays as well as ever.

Verdict: Surprisingly effective if you're game. ***.

ALLOTMENT WIVES

ALLOTMENT WIVES (1945). Director: William Nigh.

In another unsympathetic role in a Monogram picture, Kay Francis plays Sheila Seymour, who runs a racket in which women marry several G.I.s a piece in order to get their money. Paul Kelly is Major Peter Martin, who is investigating the racket, and Otto Kruger is Francis' partner and lover, Whitey. Sheila has an adversary in Gladys Smith (Gertrude Michael), who knew her years ago before she became a society dame and blackmails her, even going so far as to inveigle Sheila's daughter Connie (Teala Loring) into joining her own allotment racket. Francis and the others give okay performances, but a movie that should have been fun is kind of dull and disappointing. Joan Crawford could have made a lot more of the Sheila Seymour role.

Verdict: Kay at poverty row. *1/2.

MANDALAY

MANDALAY (1934). Director: Michael Curtiz.

Tanya (Kay Francis) is in love with Tony (Ricardo Cortez) but he runs off and sticks her with Nick (Warner Oland), who installs her in his nightclub, where she sings and becomes known as "Spot White." Setting off for Mandalay and a new life, she runs into disgraced doctor Gregory Burton (Lyle Talbot) on shipboard and the two become a team. But then Tony shows up again ... The cast helps put over this mediocre pot-boiler which has a somewhat surprising -- and darkly amusing -- conclusion. Cortez and Francis again make a good team as they did in Transgression and The House on 56th Street.

Verdict: See Glamorous Kay suffer! **1/2.

PLAY GIRL

PLAY GIRL (1940). Director: Frank Woodruff.

"She's said good-bye to more men than most women have said hello to."

Grace Herbert (Kay Francis, pictured) has unapologetically made a living by romancing wealthy men and suing them for breach of promise. Unfortunately, the game is getting tougher as she gets older. Along comes orphaned, hungry Ellen Daley (Mildred Coles), whom Grace decides to make her protege. Their first target is Grace's old pal Bill Vincent (Nigel Bruce), but Ellen also has her eye on a handsome rancher named Thomas (James Ellison). It's hard to believe that Ellen would be so upset that Thomas is worth millions, but she's afraid Grace will get her hooks in him -- and maybe she will. Despite the unconvincing attitudes and actions of the protege, Play Girl is an amusing and appealing trifle with a nicely sentimental wind-up. Francis gives a top-notch performance as the world-weary Grace, and Coles and Ellison do a fine job as the young lovers. Margaret Hamilton has a few funny moments as Grace's friend and housekeeper, although you kind of wish Eve Arden was along for the ride. Bruce is a lot of fun as the lovable if slightly buffoonish Bill.

Verdict: A winner for Kay! ***

TRANSGRESSION

TRANSGRESSION (1931). Director: Herbert Brenon.

"It is not wise to leave a beautiful young woman alone in Paris too long."

 You can say that again. Robert Maury, (Paul Cavanagh) sends his wife Elsie (Kay Francis) to Paris for a year while he's seeing to some tedious stuff in a rough environment abroad. Before long Elsie is being wined and dined by the handsome Spaniard Arturo (Ricardo Cortez, pictured), who maneuvers her into visiting him in Spain without an escort. Elsie decides to send her husband a letter asking for a divorce -- and well, things don't quite work out the way anyone hoped they would. Good performances by the three leads -- Cortez is especially memorable -- bolster this otherwise pedestrian romance/soap opera, which is nevertheless reasonably absorbing. The ending is just a touch pat. Nance O'Neil, who was rumored to be Lizzie Borden's lover, is vivid as a witchy relative of Robert's who hates his wife.

Verdict: Ricky and Kay make an interesting couple. **1/2.

THE HOUSE ON 56TH STREET

THE HOUSE ON 56TH STREET (1933). Director: Robert Florey.

"There was an old maid in Nantucket ... " limerick told by young lady at restaurant party.

Peggy Stone (Kay Francis), a chorus girl torn between two suitors in 1905, marries Monte Van Tyle (Gene Raymond) and moves into the house he built especially for them on 56th street in Manhattan. After a grotesque series of events that pretty much destroy Peggy's happy life, she winds up back in the house under unusual circumstances. Once you get past the film's undeniable contrivances, this is an interesting, somewhat poignant drama/soap opera.

STOP READING IF YOU HAVEN'T SEEN THE FILM.

The moral ambiguity of the film, which is quite irritating on first viewing, might be one of the film's most interesting elements. Peggy, who is completely innocent, is convicted of murdering an old flame who's shot in a suicide attempt as Peggy tries to wrestle the gun away from him (and she must have had the worst lawyer in New York, as the dead man's doctor knew he had only months to live). Later on there's a good scene when Peggy, now a croupier in the house on 56th street -- her honeymoon home turned into a speakeasy and gambling den -- plays cards with her own daughter Eleanor (Margaret Lindsay), who thinks her mother is dead. Incurring debts of $15,000, Eleanor begs Peggy's partner Bill (Ricardo Cortez) not to go to her husband for the money, and when he refuses, shoots him. At the end Peggy sends Eleanor off to sail to Europe with hubby, and tells her boss she killed Bill herself (in self-defense, more or less.) The boss agrees to cover up the crime.

The trouble with this, of course, is that Eleanor, who was not forced into gambling by anyone, committed a cold-blooded murder and her mother did not. Still, this can hardly be called a happy ending. One senses that Eleanor, who is not tightly wrapped (and well-played by Lindsay), will be haunted by her crime for the rest of her life (even if Peggy lied and told her Bill wasn't dead). And Peggy will spend the rest of her life as an employee in a house that was supposed to be a lifetime home for her and her family (husband Monte died overseas in WW1 when Peggy was in jail.)

Kay Francis' performance is not exactly Oscar-worthy, but she does a nice job essaying a woman in various, very different times of her life. Raymond and Cortez are professional, and, as noted, Lindsay is quite good as the daughter. Director Florey doesn't always make the most of the dramatic possibilities of some sequences, such as when Peggy gets the telegram regarding her husband's death while in jail.

Verdict: A house is not a home, all right. ***.

CYNARA

CYNARA (1932). Director: King Vidor.

"I have been faithful to thee, Cynara, in my fashion."

Jim Warlock (Ronald Colman) is happily married to Clemency (Kay Francis, pictured), who is out of town traveling with her sister, when he meets a pretty young woman, Doris (Phyllis Barry), in a cafe. The two drift into an affair, which eventually results in scandal and tragedy. While this is a slight film, it boasts good performances, especially from Barry and Colman and the always-wonderful Henry Stephenson as Jim's friend, John. Normally the unfaithful spouse is not too sympathetic, but Colman actually manages to be quite moving, and the ending is effective. What the film needs is another half hour of running time and deeper characterizations.

According to Lawrence J. Quirk in The Films of Ronald Colman, Colman was nervous about playing an adulterer, and while the film got good reviews, Colman's fans did not care for him in such a part. Quirk also writes that "it was a novel idea in 1932 that occasional infidelity in a marriage could be countenanced and forgiven if all other aspects of the union were favorable."

Verdict: Minor but definitely has its moments. **1/2.