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. ***. 

THE MAN WHO COULD WORK MIRACLES

Roland Young

THE MAN WHO COULD WORK MIRACLES (aka H. G. Wells' The Man Who Could Work Miracles/1936). Director: Lothar Mendes.

"I must have a whiskey. If I don't have a whiskey my mind will give way." -- Colonel Winstanley, upon discovering that all of his whiskey has turned to water. 

British clerk George Fotheringay (Roland Young) suddenly finds himself with the ability to make whatever he wants come true, and everyone around him tells him what they would do if they were him. Should he make himself master of the world, or recreate the world for the greater good? The vicar Maydig (Ernest Thesiger) has some definite ideas on that score, but George won't allow himself to be overly influenced, unless it's by Ada (Joan Gardner), upon whom he has a crush. H. G. Wells adapted his own short story, adding many new characters as well as a framing sequence which shows that George's power was a gift from the gods [apparently the filmmakers felt that the audience would want to know exactly how Fotheringay got his powers, even if the answer isn't a terribly satisfying one]. Wells somewhat destroys a modern audience's sympathy for George when he has him trying to use his power to make Joan fall in love with him instead of the man she prefers, which is equivalent to using a date rape drug. Still, even if you've read the story, the film is unpredictable, has some fine effects work, and is very well-acted  by all. Topping even Roland Young [Topper Takes a Trip] is Ralph Richardson [The Heiress] in his excellent portrayal of the rather buffoonish Colonel Winstanley. Thesiger is also fine as the vicar, and there are notable appearances by George Zucco as the colonel's butler, Ivan Brandt as the Power Giver, and an impossibly young George Sanders and Torin Thatcher as his heavenly and cynical associates. Wells gives George a memorable speech at the climax, and the story is in its own way as influential as other works in the brilliant Wells' canon. Lothar Mendes also directed Payment Deferred.

Verdict: Intriguing and amusing. ***.

PAYMENT DEFERRED

PAYMENT DEFERRED (1932) Director: Lothar Mendes.

In spite of a couple of missteps, Charles Laughton (pictured) gives an excellent performance as a bank clerk struggling with debt who commits a murder to achieve financial relief – only the good fortune brings as many problems as it solves. Dorothy Peterson and Maureen O'Sullivan are also excellent as Laughton's wife and daughter, and there is some fine work from Verree Teasdale as a shady lady Laughton dallies with to his regret, and Ray Milland as the young victim. Mendes adds some Hitchcock-like visual touches to the picture, including the splendid moment when Laughton gives his wealthy nephew (Milland) a drink spiked with poison: the camera remains fixed on Laughton, who is marvelous, as his hand shakes so violently that he spills his own drink all over himself. The film is interesting and absorbing but it does have some problems, including an unnecessary prologue showing a man buying the house where the murder occurred. During a scene that takes place the morning after the murder, Peterson and O'Sullivan seem to have forgotten that they're facing the threat of the poor house [they are unaware of what Daddy has done], and the post-revelation scenes don't really ring true. The victim is completely forgotten without a word expressed even by Peterson as to the tragedy of his early demise. Otherwise, this is a memorable look at a mind tortured by guilt and anxiety.

Verdict: Worth a look. ***.