1930 - dir. Howard Hughes (w/ James Whale, Edmund Goulding - uncredited)
It's a great line, but the question is, who was the girl, Howard, who left you with such a high opinion of women? She must have been quite a gal...
While unconvincing as a ladykiller, at least Lyon does a decent job with his scenes of his being seduced against his very weak will by Harlow who--with her thick, jet-black eyebrows giving her platinum wave just the right level of dirty contrast to her platinum wave--almost steals the movie from the spectacular aerial combat. It's for her and the fighting we're here, not the dimwit brothers, so every scene of these two sibling muttonheads engaged in their worldly nonsense seems worthless unless Harlow is there, coming between them.
The thing about Hughes is: he at least walks it likes he talks it; there's a cool sense of uninhibited sexual congress with Harlow, as expressed keenly in one of the best all-time 'fade-outs' in the pre-code era. It's a scene of her and Monte making out on a couch, crossed over to a scene of naive brother Roy sulking back at the bunks (having been blown off by her on his imagined date); when we get back to the couch at Harlow's pad, the vibe has shifted from simmering hot to ice cold. Monte's ashen mood and Harlow's nonplussed attitude ("It seems colder in here now," she says, "doesn't it?") indicates they had sex on the couch during the fade-out and (my guess) it wasn't very satisfying. Monte now hates himself, and--in grand womanizer misogynist fashion--thinks she's a slut for putting out. He lacks the self-awareness to realize his post-orgasm depression is not her fault, but his, and nature's. Yo Monte! Every true playa knows not to get all pissy and moralistic with the girl you were busting moves on 'before' shit got real, even if now all you can think about is getting home before your wife (or idiot brother) finds out.
I admit I've never been a huge fan of Harlow's work in later movies, where she often seems a bit shrill and broad, especially playing alleged society dames. But the Harlow on display here is like a whole different person than the one shortly to rule over at MGM. She's not a baby-talking brawler lounging around eating bonbons and babbling to her maid or shoving around Wallace Beery; she's an educated, upscale nymphomaniac, whose love of sex is like a fierce elemental magic. She's thinner too, and younger than she'd look in just another year or so, and you can feel the hair on her arms tingling with a every carnal inhale. She's like a living electric sheet of fire. She's not perfect, just dazzling.
|(Compare to how kind of busted she looks just a year later in Public Enemy, below).|
And as the German who first duels with Monte (before the war) and then later questions the boys after they're shot down behind enemy lines, Lucien Prival is a delight. A leaner, feral version of Erich Von Stroheim, he steals the final (alas, landlocked) chapter of the film. Don't forget the Germans weren't yet Nazis and it's clear Hughes doesn't see them as faceless ogres; there was still a lot of chivalrous, sporting blood between Huns and Brits, especially with the upper crust aviators. They'd all been drinking, playing and dueling together at each other's colleges scant years before. Of all the male characters in this filthy war, it's actually Prival who seems worth the couch of Harlow.
But man, those chumps from Oxford...
1933 - dir. Michael Curtiz
That's about it --not much to write home about though the actors sure strive for a farcical peak. It doesn't come, that peak, but William is on camera every minute, almost, so it's tough to care about anything else, even though we realize that he needs more menace to be really riveting. Here he's coasting on his wolfish charm like he knows we'll love him no matter what. We will. Gotta love a confident man.
HE WAS HER MAN
1934 - dir. Lloyd Bacon
Believe it or not, the big surprise here is Victor Jory as the chump. With his deep voice, looming height, the stoic poise of a stock company Sitting Bull, and gravitas that belies his then-lean years, he might have a bizarre accent and mangled fisherman syntax, and Cagney might talk faster and hustle more but Jory's tortoise wins the race, legitimately, and we don't roll our eyes. While such a result certainly pleased the censors (then looming ever closer), the film's subtext never sides with the forces of small town decency: the sanctity of marriage may prevail, but as Cagney walks off into the sunset, arm-in-arm with his killers, it's him we want to follow, even if that means going straight off a cliff.
1933 dir. Michael Curtiz
Robust Raoul Walsh direction makes this turn-of-the-century New York City Darryl F. Zanuck opus the Gangs of New York to beat, with all the downtown warring fire brigades, Tammany Hall corruption, nickel beer, sawdust floozies singing from laughing laps, tear-stained blubbering pathos, callous racism, and freewheeling stunts the era can offer, and of it rendered in a mise-en-scène so vivid you can smell the cigars, cheap beer, and coal fires.
Wallace Beery stars as Chuck, the--what else?--big shot of the Bowery; Jackie Cooper is his adopted son, a racist orphan who likes throwing rocks through "chink's winders" (we're invited to nervously laugh as the brigades slug it out during a laundry fire, leaving the Chinese stuck on the fourth floor, burning alive); Fay Wray is the good girl who ends up keeping house for the pair of them, much to Jackie's initial resentment; George Raft is Chuck's rival, an up-and-coming sharpie with a saloon and fire brigade of his own. Chuck don't like that much, and he's so tough he saps a broad just because she drunkenly crashes into his table, as illustration to Cooper that women are "only after yer spondoolicks." Cooper's hip to that, doesn't like girls, and instead goes in for trading cigarette cards "from guinea kids." Yeesh! Cooper's presence on the scene is somewhat superfluous, it seems thanks to the popularity of THE CHAMP, he's become affixed to Beery like some kind of blubbering lamprey.
1931 - *** - dir. Jack Conway
Even if, by the end, not too much is really at stake (the French and Italians love their master thief narratives more than Americans, who don't always see the point) and it all kind of resembles the later THOMAS CROWN AFFAIR (i.e. no deaths), right down the daylight hour museum theft, so what? Lipin was here first. And despite its rough treatment, the Mona Lisa is none the worse for wear having been ripped off it's canvas stretcher, rolled up and concealed inside an umbrella jacket. In fact, the only real crime here is Karen Morley's not being in more films or better known. Appearing only sporadically after she left MGM (due to disputes over her private life, and later the blacklist) we have but a handful of films with which to treasure her mature sexual openness and the way she more than made up for actorly limitations with unusual line readings, effortless charm and an icy laugh. So there's this film, PHANTOM OF CRESTWOOD, SCARFACE, MASK OF FU MANCHU, DINNER AT EIGHT and, well, they'd all be worthwhile anyway, but with her... they're all sublime. She's got such mature allure in LUPIN she melted the keys in my pocket. We wouldn't see sexual confidence like hers again until... well, Renee Russo in the THOMAS CROWN remake. Like the Mona Lisa, cherish her always.