Ann Harding, Myrna Loy & Robert Montgomery prove infinitely preferable to Greer Garson, Joan Crawford & Robert Taylor in this early version of Rachel Crother’s B’way play, making it look more substantial than it probably is, certainly less arch & more entertaining than in the 1941 remake. Loy’s a successful ‘modern’ novelist with a feminist slant currently letting longtime pal Montgomery twist in the wind while pursuing a serious affair with her married publisher Frank Morgan. (Morgan in serious mode, and very good.) Hoping to shake things up, Montgomery crashes a country weekend at the home of ditzy society type Alice Brady, there with fey, but panting boyfriend Martin Burton (a delight who soon disappeared from film), as well as Loy & Morgan. Loy, the smart novelist & Harding, the wise publisher’s wife find an instant rapport, unaware of their connection to the same philandering man . . . for a while. Their second act discussion of love, marriage & fidelity, built from Harding’s response to Loy’s new book, and presumably straight from the stage script, still dramatically effective & thought-provoking. Harding simply exceptional. Getting there requires a bit of forced comedy, and the resolution isn’t quite worked out. But Crother’s work at times has the feel of good Philip Barry; not so far off THE ANIMAL KINGDOM, his own alternate take on the set up in HOLIDAY. (Harding & Loy co-starred in ANIMAL KINGDOM last year.*) But all the playing is expert. Brady plays very broadly (her Pre-Code double-entendres a hoot), just the lift needed under Harry Beaumont’s unobtrusive direction. A real find.
SCREWY THOUGHT OF THE DAY: *It’s likely that the play was optioned by M-G-M with Norma Shearer in mind. But after husband/Production Head Irving Thalberg had a major heart attack, the couple took an extended break and Harding was brought in from R.K.O. A lucky break as Shearer was always at her worst playing noble while Harding, a natural Philip Barry actress, pulls Crother’s writing up a notch or two.
DOUBLE-BILL: The 1941 remake makes for a fascinating over-polished comparison, though you have to will yourself thru a painfully twee new opening designed to let Crawford & Taylor coo at each other.
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