LADY WITH RED HAIR

LADY WITH RED HAIR (1940). Director: Curtis Bernhardt. 

The "true" if fictionalized story of Caroline (Mrs. Leslie) Carter (Miriam Hopkins), who goes on the stage after she is divorced by her husband. The film suggests that Carter became an actress only to get money to fight for custody of her son, but in real life the boy actually stayed with his mother and was cut out of his father's will because of it. In the film Carter unrealistically tries to storm Broadway by coming in at the top instead of climbing from the bottom, but it is true that her association with David Belasco (a magnificent Claude Rains) gave an inestimable boost to her career. The film doesn't make clear that she was considered the American Sarah Bernhardt in her day. Richard Ainley plays her second husband, and as the film suggests, their marriage did signal the end of her association with Belasco (although in the film he comes in at the end to help guide her in one last production). Miriam Hopkins gives a solid performance, but up against Claude Rains there is little she can do to steal the picture. The supporting cast includes such sterling players as Laura Hope Crews, John Litel, Victor Jory, and Cecil Kellaway. A very young Cornel Wilde has a small role, and you probably won't notice Alexis Smith or Craig Stevens.

 Verdict: A lady you might like to make the acquaintance of -- on film, at least. ***.

THANKS FOR THE MEMORY

Shirley Ross and Bob Hope

THANKS FOR THE MEMORY (1938). Director: George Archainbaud.

Steve (Bob Hope) and Anne (Shirley Ross) are a married couple with a few annoying friends. Steve is working on a novel, and Anne goes back to work as a model so he can finish the book and keep house. Naturally the latter part offends his manhood, and instead of being grateful he winds up acting like a complete jerk. This is only one of several problems with this comedy, which also features Patricia Wilder as a sexy, "helpless" neighbor; Roscoe Karns as a kept man; Laura Hope Crews [Confession] as his battle ax of a wife; Charles Butterworth [The Mad Genius] and Hedda Hopper as two more friends; Eddie Anderson as the building's super; and Otto Kruger [Beauty for Sale] as a publisher and Anne's former flame. Based on a play by Hackett and Goodrich, the film is merciless towards Crews' character, when it is her gigolo husband who should be the object of contempt. This may have worked on the stage, but it's not a good fit for Hopes' brand of comedy, and while Ross is quite pretty and capable, one can't help but miss the much-more-amusing Martha Raye. Ross and Hope originally sang the Rainger and Robin tune "Thanks for the Memory" in The Big Broadcast of 1938, and they were reunited for this movie. They also sing the memorable "Two Sleepy People," co-written by Frank Loesser.

 Verdict: Very contrived, with an unsympathetic lead character -- and Hopper can make your flesh crawl. **.

THE FLAME OF NEW ORLEANS

Marlene Dietrich and Theresa Harris

THE FLAME OF NEW ORLEANS (1941). Director: Rene Clair.

In old New Orleans lady of leisure Countess Claire (Marlene Dietrich) has set her cap for the wealthy older banker Charles Giraud (Roland Young). But Claire has left behind quite a reputation in St. Petersburg, and to deflect Giraud's suspicion she also pretends to be another notorious woman from Russia, Claire's lookalike and [kind of] cousin, Lily. Complicating matters is a lusty sailor named Robert Latour (Bruce Cabot), who has an eye for Claire (and Lili)  and vice versa. One could say that Flame of New Orleans is Dietrich's Two-Faced Woman [in which Greta Garbo pretended to be two different women] not just because of the plot but because Flame is similarly mediocre. However, the actors, especially a surprising Cabot, all do a good job, and they are backed by such stalwarts as Franklin Pangborn, Mischa Auer, Anne Revere, Laura Hope Crews, Andy Devine, and a host of talented black actors, including Theresa Harris [Baby Face] as Clarie's saucy, sexy maid Clementine. However, the film is predictable and not as much fun as it sounds. Clair also directed It Happened Tomorrow.

Verdict: Pleasant in many ways but minor. **1/2.  

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.