THOSE WE LOVE

Mary Astor and Kenneth MacKenna

THOSE WE LOVE (1932). Director: Robert Florey.

"It isn't wise to love anything so much that to lose it almost kills you."

Struggling novelist Freddie Williston (Kenneth MacKenna) meets May (Mary Astor) in the crowd during the Armistice Day celebration, and discovers that she's just bought a copy of his book. Before long they are married and a child is on the way, along with a string of bestsellers. Had Those We Love looked at the life of an unsuccessful or fair-to-middling author it might have had more dramatic heft, but once Freddie becomes a rich and famous author, the only complication that can be thrown into the couple's lives comes in the form of Valerie (Lilyan Tashman), a married vamp who has set her cap for Freddie. May jumps to conclusions about Val's relationship with her husband, and inadvertently makes matters worse. Will this family survive this crisis, and will Valerie go on her merry way? Those We Love manages to be entertaining because of the cast. Mary Astor is as wonderful as ever, while MacKenna has charm to spare. Tommy Conlon [The Sign of the Cross] is swell as their son, Ricky, who might be as wise as both of his parents. Virginia Sale [Lovin' the Ladies] scores as the maid Bertha, as does Tashman [One Heavenly Night] as the lynx-like (if not terribly beautiful) man-stealer, Valerie. From the first Freddie seems more interested in making money than in crafting lasting literature, so one can imagine his books are as superficial as he is. Those We Love misses virtually every opportunity to say anything about the writing life, the publishing business, or the creative process, and was adapted from a Broadway play. Florey directed The Beast with Five Fingers and many, many others.

Verdict: Fairly creaky, but the acting puts it over. **1/2.

THE SIGN OF THE CROSS

Claudette Colbert

THE SIGN OF THE CROSS (1932). Director: Cecil B. DeMille.

"I'm the emperor's most urgent business."

In 64 A.D. Marcus, (Fredric March), the prefect of Rome, falls in love virtually at first sight with Mercia (Elissa Landi). The problem is that Mercia is a Christian,as is her entire household, and Marcus causes all of Rome to gossip and watch in dismay as he defends her, although he doesn't share her beliefs. Another problem is that Emperor Nero's wife, Poppea (Claudette Colbert), has a thing for Marcus and is perfectly willing to commit adultery with him, which he refuses to do; she is not thrilled by his interest in Mercia. In the meantime hunky Tigellinus (Ian Keith), who should certainly pique the empress's interest but apparently doesn't, is already plotting against Marcus before the latter gives him plenty of ammunition due to his passionate interest in Mercia. If you can get past the pious nature of some of the scenes -- and some of the Christians do seem nuts -- this can and should be taken as a study of cruel oppression. The scenes of Christians being herded into an arena only to be mauled and eaten by lions are still quite raw and disturbing (if not as graphic as they would be today) and one can't help but think of the later Holocaust and its atrocities. [Ironically, Hollywood parties were probably more like Roman orgies than Christian prayer meetings.] Charles Laughton is excellent, as usual, in his brief appearances as Nero. Charles Middleton has a small role as the panicking Christian Tyros, who feels that God has forgotten his people. Tommy Conlon is excellent as the boy Stephen, who is tortured until he gives away the Christians' location. Colbert is as good as she was in Cleopatra, but March, frankly, never quite seems to get a handle on his character, perhaps because as written Marcus is a little unreal. There's a supposedly "lesbian" dance in which a woman seductively drapes herself around Mercia to music. The coliseum scenes are intense and harrowing and even if you're neither Christian or even religious it's hard not to be affected by the awful deaths of so many innocent people. [Ironically, many Christians today are similarly intolerant towards others.]

Verdict: DeMille has his cake and eats it, too! ***1/2.