This film has been restored by the BIG with the aid of a National Lottery Grant.What has made this quite difficult is that there was only one extant print and that was well worn from its use as a release print.They have been able to do a good job of the picture.However it is clear that the soundtrack was a major problem as it is quite indistinct in places.So they have decided to subtitle the whole film.The content of the film is unremarkable but it is notable for the assured performance of Madelaine Carroll,who was already an experienced actress.She appeared in 7 films in 1930.Little surprise that she and flower seller Merle Oberon went on to be Hollywood stars.
4 Reviews
Fascination is fascinating
1930s_Time_Machine9 December 2023
Visually this is a beautiful film. BIP pulled out all the stops with this producing a real work of art. This is no quota quickie, this is a superbly made, well acted drama perfectly capturing the essence of the age.
In England, 1931 was essentially still in the 1920s. Whereas America boomed in the 20s then crashed in the 30s creating a radical new society, England never really recovered from the Great War in the 20s so The Depression didn't make as much of an impact here. Time stood still for us so watching this is an insight into an even older age where attitudes and ways of thinking (and ridiculous accents) were virtually Victorian.
The picture itself obviously feels very early thirties but its remarkably imaginative direction laced with symbolism, its natural and believable style of acting (not stagey) and its clever fluid camerawork makes this very watchable. The story is extremely simple and has been done a million times before: a married man has affair but it's presented so innovativly that, as the title suggests, it really is fascinating.
That surreptitious 'Victorian' morality manifests itself by telling us the importance of marriage. It's not preachy but we're shown that happiness depends on a wife being loyal even when her husband strays. The patriarchal norms of the time are heavily reinforced: husband makes a mistake - wife needs to sort it out. Woman of low morals seduces innocent husband - she will end up repentant and punished and the wife just has to accept all of this.
Marriage for a woman, happy or not is virtuous but independence and a career is almost indecent. Poor sweet Vera, played brilliantly by Dorothy Bartlam (whom I've never heard of) even offers to share her pig of of husband at one point and we're supposed to think that might be acceptable! In 1931 however what other choice would she have? A woman's place was in the home but the home was always owned by a man. There literally was nowhere else. Maybe society worked when it was like that - it seems wrong to us now but who are we to judge?
Before I go all feminist, one last observation: was Madeleine Carroll's character, the sexy actress Gwenda Farrell based on Glenda Farrell? Glenda had just debuted in LITTLE CEASAR so did someone over at BIP know her - Was this an in-joke - and did the real Miss Farrell know?
In England, 1931 was essentially still in the 1920s. Whereas America boomed in the 20s then crashed in the 30s creating a radical new society, England never really recovered from the Great War in the 20s so The Depression didn't make as much of an impact here. Time stood still for us so watching this is an insight into an even older age where attitudes and ways of thinking (and ridiculous accents) were virtually Victorian.
The picture itself obviously feels very early thirties but its remarkably imaginative direction laced with symbolism, its natural and believable style of acting (not stagey) and its clever fluid camerawork makes this very watchable. The story is extremely simple and has been done a million times before: a married man has affair but it's presented so innovativly that, as the title suggests, it really is fascinating.
That surreptitious 'Victorian' morality manifests itself by telling us the importance of marriage. It's not preachy but we're shown that happiness depends on a wife being loyal even when her husband strays. The patriarchal norms of the time are heavily reinforced: husband makes a mistake - wife needs to sort it out. Woman of low morals seduces innocent husband - she will end up repentant and punished and the wife just has to accept all of this.
Marriage for a woman, happy or not is virtuous but independence and a career is almost indecent. Poor sweet Vera, played brilliantly by Dorothy Bartlam (whom I've never heard of) even offers to share her pig of of husband at one point and we're supposed to think that might be acceptable! In 1931 however what other choice would she have? A woman's place was in the home but the home was always owned by a man. There literally was nowhere else. Maybe society worked when it was like that - it seems wrong to us now but who are we to judge?
Before I go all feminist, one last observation: was Madeleine Carroll's character, the sexy actress Gwenda Farrell based on Glenda Farrell? Glenda had just debuted in LITTLE CEASAR so did someone over at BIP know her - Was this an in-joke - and did the real Miss Farrell know?
Fascination!!
kidboots6 February 2018
Warning: Spoilers
Interesting that the two players who hold viewer's attention are
Dorothy Bartlam and the delightful Kay Hammond as Kay, a straight
shooting cockney chorus girl who by telling it like it is, really propels
the narrative. Dorothy Bartlam soon faded unfortunately and Kay had
to wait until she wowed audiences in "Blithe Spirit" in 1945.
By the time Madeleine Carroll makes her appearance as the petulant Gwenda, Bartlam as Vera has been able to establish rapport with the audience as the devoted wife and in a very sweet opening scene (with an adorable Freddie Bartholomew pretending to be a minister), it shows that she and Larry have been childhood sweethearts. Enter the alluring Gwenda, a self centred actress who is just coming down from an affair with rake Ronnie (a young Roland Culver) - she finds herself interested in Larry (a very boring Carl Harbord) and he is all too easily persuaded into an affair. She knows he is married but doesn't care and selfishly feels she deserves some happiness - even though Kay has no sympathy with her. It's hard to have sympathy with Larry either, due to Harbord's rather wooden acting and the ending shows Vera commanding centre stage. Things come to a head when a romantic letter meant only for Larry is accidentally seen by Vera. She doesn't reveal she has seen it but sets up a meeting with Gwenda who actually thinks she is going on a rendevous with Larry. Vera reveals herself as a caring wife who is willing to sacrifice her own happiness so that Larry will be content and things can stay as they are. Gwenda realises her self centredness and the ending finds her struggling to put on a glad face as she prepared for her stage appearance!!
Merle Oberon appears in a bit part as a flower seller in a night club.
By the time Madeleine Carroll makes her appearance as the petulant Gwenda, Bartlam as Vera has been able to establish rapport with the audience as the devoted wife and in a very sweet opening scene (with an adorable Freddie Bartholomew pretending to be a minister), it shows that she and Larry have been childhood sweethearts. Enter the alluring Gwenda, a self centred actress who is just coming down from an affair with rake Ronnie (a young Roland Culver) - she finds herself interested in Larry (a very boring Carl Harbord) and he is all too easily persuaded into an affair. She knows he is married but doesn't care and selfishly feels she deserves some happiness - even though Kay has no sympathy with her. It's hard to have sympathy with Larry either, due to Harbord's rather wooden acting and the ending shows Vera commanding centre stage. Things come to a head when a romantic letter meant only for Larry is accidentally seen by Vera. She doesn't reveal she has seen it but sets up a meeting with Gwenda who actually thinks she is going on a rendevous with Larry. Vera reveals herself as a caring wife who is willing to sacrifice her own happiness so that Larry will be content and things can stay as they are. Gwenda realises her self centredness and the ending finds her struggling to put on a glad face as she prepared for her stage appearance!!
Merle Oberon appears in a bit part as a flower seller in a night club.
Lovely Madeleine Carroll
drednm28 January 2015
Probably an incomplete copy with bad sound, but that's all that exists of this melodrama about an actress who takes up with a married man only to give him up after she meets the sad wife.
Madeleine Carroll plays Gwenda Farrell, a selfish and bored actress who chases after an architect (Carl Harbord) for no good reason at all. She's totally self-absorbed despite the advice of gal pal Kay (Kay Hammond from BLITHE SPIRIT) who's stuck with a milquetoast called Bertie.
The film is barely over an hour, and it seems some material has been lost, judging from several jerky transitions. Bad sound, beyond restoration, and a general droning sound blot out some dialog. But the story is clear enough.
Carroll is beautiful and has some great scenes where she is beautifully lit. Harbord is a dull drone, but Hammond does better as the brainless friend. Dorothy Bartlam is the pretty-but-dull wife. Roland Culver has a brief scene as a rejected lover. Freddie Bartholomew plays one of the kids in the opening, and Merle Oberon shows up at about the 45-minute mark as a flower seller (her mother is Spanish) in a nightclub.
Harbord is, amazingly, only 23 years old here. He looks 40. Worth a look for an early starring role for lovely Madeleine Carroll.
Madeleine Carroll plays Gwenda Farrell, a selfish and bored actress who chases after an architect (Carl Harbord) for no good reason at all. She's totally self-absorbed despite the advice of gal pal Kay (Kay Hammond from BLITHE SPIRIT) who's stuck with a milquetoast called Bertie.
The film is barely over an hour, and it seems some material has been lost, judging from several jerky transitions. Bad sound, beyond restoration, and a general droning sound blot out some dialog. But the story is clear enough.
Carroll is beautiful and has some great scenes where she is beautifully lit. Harbord is a dull drone, but Hammond does better as the brainless friend. Dorothy Bartlam is the pretty-but-dull wife. Roland Culver has a brief scene as a rejected lover. Freddie Bartholomew plays one of the kids in the opening, and Merle Oberon shows up at about the 45-minute mark as a flower seller (her mother is Spanish) in a nightclub.
Harbord is, amazingly, only 23 years old here. He looks 40. Worth a look for an early starring role for lovely Madeleine Carroll.
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