Here's the chance to see what I've been waiting for for years: Kay Francis singing (obviously dubbed) "Home on the Range" in an operatic voice to Edward G. Robinson. That standard American ditty is heard over the opening credits, and later on when Robinson requests it. It becomes their love theme, albeit a silly one, but somehow it adds charm to this saga of a meat baron's life from taking over the family business to his later years after he's pretty much lost everything and ended up like Michael Corleone in "The Godfather Part III": All alone.
Robinson as usual is commanding, although this is very similar in nature to his 1932 drama "Silver Dollar" and another 1933 Warner Brothers film about a wealthy man's rise and later disappointments, "The World Changes", with Paul Muni. His character's rise is often sketchy, as the film focuses on the various scandals that plague his years in the business, including his relationship with his pretty wife, Genevieve Tobin, who is obviously shallow at the start and never completely stands by her man. She loses his love to opera singer Francis who is faithful to him for years, but suddenly leaves him for another man, turning him cold and bitter and ruthless in his quest for power.
There are political and historical references in this film with passing mentions of the Spanish/American War, McKinley's shooting (which eventually lead to Teddy Roosevelt becoming president and fighting the wealthy barons like Robinson's) and World War I. This was a Warner Brothers "A" picture running in at 90 minutes, so there's plenty of time for various details to be explored, but sometimes it does seem to be missing some important ones to fully explain everything which was going on at the time this took place. Robinson's character remains consistent in his manner and desires, often torn so his performance is one that deserves re-discovery.
As for the two women, they couldn't be any more different. When first seen, the beautiful blonde Tobin is sitting in her fancy wagon in the middle of the mud in the Chicago slums, and Robinson quickly charms her with his memories of their childhood friendship. But she quickly reveals to the viewer that she never really loved Robinson and only married him for status, eventually becoming a bitter older woman still beautiful but the hatred in her displayed on her soulless face. She reminded me of Miriam Hopkins in the film version of Theodore Dreissler's "Carrie" without the spitting venom.
The always ravishing Kay Francis is the true strength behind Robinson's character, prompting him to go after what he truly wants and encouraging him to be ruthless in getting it, something she is obviously doing in her efforts to become an A class opera star. I had first thought that Francis was the gypsy girl who sings to Robinson as he stands on his balcony, later returning as a hopeful star to be, but my research in the credits proved that to be incorrect. So the women in Robinson's life are far from perfect, far from completely loyal, and this is much more realistic than the many films which had the long-suffering wife willing to put up with all sorts of trauma as her husband neglected her for success. A far from flawless film, this is aided in its lavish presentation and the performances by the three stars plus a gallery of familiar faces in the supporting cast.
Robinson as usual is commanding, although this is very similar in nature to his 1932 drama "Silver Dollar" and another 1933 Warner Brothers film about a wealthy man's rise and later disappointments, "The World Changes", with Paul Muni. His character's rise is often sketchy, as the film focuses on the various scandals that plague his years in the business, including his relationship with his pretty wife, Genevieve Tobin, who is obviously shallow at the start and never completely stands by her man. She loses his love to opera singer Francis who is faithful to him for years, but suddenly leaves him for another man, turning him cold and bitter and ruthless in his quest for power.
There are political and historical references in this film with passing mentions of the Spanish/American War, McKinley's shooting (which eventually lead to Teddy Roosevelt becoming president and fighting the wealthy barons like Robinson's) and World War I. This was a Warner Brothers "A" picture running in at 90 minutes, so there's plenty of time for various details to be explored, but sometimes it does seem to be missing some important ones to fully explain everything which was going on at the time this took place. Robinson's character remains consistent in his manner and desires, often torn so his performance is one that deserves re-discovery.
As for the two women, they couldn't be any more different. When first seen, the beautiful blonde Tobin is sitting in her fancy wagon in the middle of the mud in the Chicago slums, and Robinson quickly charms her with his memories of their childhood friendship. But she quickly reveals to the viewer that she never really loved Robinson and only married him for status, eventually becoming a bitter older woman still beautiful but the hatred in her displayed on her soulless face. She reminded me of Miriam Hopkins in the film version of Theodore Dreissler's "Carrie" without the spitting venom.
The always ravishing Kay Francis is the true strength behind Robinson's character, prompting him to go after what he truly wants and encouraging him to be ruthless in getting it, something she is obviously doing in her efforts to become an A class opera star. I had first thought that Francis was the gypsy girl who sings to Robinson as he stands on his balcony, later returning as a hopeful star to be, but my research in the credits proved that to be incorrect. So the women in Robinson's life are far from perfect, far from completely loyal, and this is much more realistic than the many films which had the long-suffering wife willing to put up with all sorts of trauma as her husband neglected her for success. A far from flawless film, this is aided in its lavish presentation and the performances by the three stars plus a gallery of familiar faces in the supporting cast.