Francis and Powell shine in 'Jewel Robbery'

Jewel Robbery (1932)
Starring: Kay Francis, William Powell, Helen Vinson, Spencer Charters, Lee Kohlmar, Clarence Wilson, Hardie Albright, Andre Luguet, and Alan Mowbray
Director: William Dieterle

Rating: Nine of Ten Stars

A bored socialite in a loveless marriage (Francis) and a dapper jewel thief (Powell) fall in love with each other when he robs a store while she is shopping at it.

 

"Jewel Robbery" is a fun, straight-forward romantic comedy. In fact, it's so straight-forward that I kept expecting this or that action on behalf of a character to be the prelude of something tragic or sinister... but, with one minor exception, it wasn't. Every character in this film is exactly who and what they appear to be, and the story follows a very simple A to B to C progression from beginning to end.

But that's okay, because Kay Francis and William Powell are so much fun to watch together that you're going to want things to be honest and up-front between them. In fact, I suspect that if I had been watching this movie in 1932, I probably would not have thought Powell's character was up to something other than a) securing his stolen loot, and b) following up on the pretty blatant signals he was getting Francis' character in the jewelry store. 

Of course, it also helps that Francis spends about half the movie in a dress that looks like it'll fall off her at any moment. (Even if she wasn't such a good actress, Francis is worth watching just for how great she looks in the outfits she wears in this movie. Or almost doesn't wear...)

Although this film is dominated by Francis & Powell--they are the stars, they have the most screen-time, and they're really the only characters we care about as the film unfolds--there is literally not a character that doesn't get to have at least one memorable moment in the film. Any performer who has a line either has a memorable, amusing line, or they get to have some other noteworthy moment; even the very minor character of the maid gets to mug at the camera in reaction to a massive bouquet of flowers  that mysteriously appear (as Powell's way of announcing himself to Francis). There is literally not a wasted moment in this picture, nor any element of it that doesn't work or that falls in the least bit flat, and everyone involved gets to shine. If you only watch one Pre-Code romantic comedy, you wouldn't regret making "Jewel Robbery" the one.

So, since I really have nothing negative to say about the picture, why is it only getting a Nine of Ten rating? Well, partly because I'm not sure if my feeling that the film is just a little too straight-forward really is an artifact of the 90 years that have passed since it's release or if this story DID need another complication or two. Also, I was enjoying the interplay between Francis & Powell's characters so much that I really wanted a bit more of a denouement than what we're provided with. Yes--I am aware that such niceties were not a well-established part of cinematic storytelling in the 1930s, but I wasn't really for this movie to end when it did. It's a good ending, but I wanted MORE!

"Jewel Thief" is one of four movies from the Pre-Code era that can be found in the DVD collection "Forbidden Hollywood Vol. 4". It's worth the price almost entirely by itself, so I recommend this set highly.

'Guilty Hands' turns mystery tropes upside down

Guilty Hands (1931)
Starring: Lionel Barrymore, Kay Francis, Madge Evans, Alan Mowbray, William Blakewell, and C. Aubrey Smith
Director: W.S. Van Dyke and Lionel Barrymore

Rating: Seven of Ten Stars

Richard Grant (Barrymore), a former district attorney now in private law practice, conceives and commits the perfect murder to protect his naïve daughter (Evans) from a long-time client who is a sociopathic monster (Mowbray). 

"Guilty Hands" is one of those films that turns the standard tropes of detective stories upside down. Not only do we know who committed the murder and why, but the authority figure directing the investigation is also the murderer and all he's doing is shoring up the idea that his staged suicide WAS suicide and that there is no other explanation that his victim killed himself.

The tension in the plot arises from the viewers wanting Grant to get away with his crime, because the man he murdered was a piece of garbage that needed to be taken out, but also from the knowledge that Grant is a killer and he shouldn't be allowed to get away with it. There's also the minor mystery as to how Grant managed to make it appear as if he was in his rooms even as he was committing murder... a question that the one character who suspects the truth--the victim's long-time lover Marjorie (Kay Francis)--sets out to answer, even as Grant is convincing everyone, including the police, that his version of events is the only possible explanation. The stakes are upped when Marjorie finds the evidence she is looking for, but will it be enough to overcome Grant's expertly staged "suicide" and the high regard he is held in? (There are a couple other twists that keep the tension growing as the film unfolds--and the ultimate conclusion remains in doubt until, literally, the film's final moment.)

From the mysterious, somewhat disorienting opening shot and dialogue through the dramatic climax "Guilty Hands" moves along at such a rapid clip that it's 69-minute runtime feels much shorter; there isn't a second wasted on things that don't either establish characters and/or drive the narrative forward. Although this is without question Lionel Barrymore and Kay Francis's movie--they have the best scenes and lines, and when they're playing off each other, they give us the film's most dramatic moments--but the rest of the cast is also perfect in their parts. 

Madge Evans, as the young lady who is about to make the biggest mistake of her life, is so charming and likable; and Alan Mowbray, as the truly awful man who uses and disposes of women as casually as he does paper napkins, is so smarmy and downright obnoxious both give such excellent performances that the audience accepts Grant's notion that some murders are not only morally justifiable but necessary. Evans and Mowbray may not be the stars, but they provide the fuel for Barrymore and Francis's explosive performances and thus are every bit as important to the film's overall greatness. (Francis also has a scene with Mowbray that is among one of the film's highlights, where Francis and Mowbray act out a scene that solidifies just how vile a character the soon-to-be murder victim is.)

With all the praise I'm heaping on the actors and the story of this film, why is it only getting a Seven of Ten? Because for all the excellence here, there are some really baffling displays of technical incompetence d craftsmanship so inept that amateurs might have been embarrassed to have the work be seen by the public.

First, there are several instances of sloppy editing that causes minor continuity errors (like characters repeating the same actions twice in row), and moments of actors standing still and waiting for someone to shout "Actions!" or starting to relax after "Cut!" has been exclaimed. Second, and far worse, is the laughably bad sound design. I realize sound was new, but the frequently recurring sounds of thunder in this film sound like something you might expect to hear in a community theatre, but which is completely laughable in a film featuring major stars that was made by a major studio. In fact, the thunder in this film is so bad that it couldn't have sound more phony if it was done on purpose. It would have completely undermined the second half of the movie if not for the excellent performances and tight script.

"Guilty Hands" is one of five films in the "Forbidden Hollywood Vol. 10" collection, and it is almost worth the price by itself.

As 2014 gets underway...

... we turn to Kay Francis for a refresher on the unifying theme of this blog.

Two careers cross in 'King of the Underworld'

King of the Underworld (1939)
Starring: Humphrey Bogart, Kay Francis, James Stephenson, Jessie Busley, John Eldridge, and Raymond Brown
Director: Lewis Seiler
Rating: Seven of Ten Stars

When her husband (Eldridge) is killed in a raid on a gangster hide-out and is revealed to have been their physician of choice, Dr. Carole Nelson (Francis) has her reputation tarnished and career destroyed when no one believes she was ignorant of his activities. When she discovers the gang is hiding in a small town, she relocates there as well, in the hopes of finding the means to clear her name. When Carole discovers the megalomaniac gang-leader (Bogart) has kidnapped writer Bill Forrest (Stephenson) to force him to write his biography, she knows that more is now at stake than just her reputation and livelihood--the gangster is not going to let Bill live once the book is finished.

When "King of the Underworld" was made, Humphrey Bogart's star was on the rise, and Kay Francis' was quickly falling and burning out. Some sources indicate that this film was cast as it was because Warner Bros. executives were trying to force her to abandon her contract because of the non-glamorous nature of the part, and because she was given second billing to an actor with a far lesser stature than she had obtained. But, like the character she portrays in this movie, and like the strong women she had built her career on playing during the 1930s, Francis kept plugging on against the odds and in defiance of those who would bring her down. Despite the best efforts of studio suits, Francis still comes across as every bit the movie star that she was.

Part of the reason that Francis comes off looking so great in this movie is that Bogart's character, Joe Gurney. is a stereotypical, brutish and socipathic gangland thug with the mildly interesting character quirk of being obsessed with Napoleon Bonaparte, and considers himself the French general's modern-day intellectual counterpart. Of course, Joe doesn't really understand half of what Napoleon did during his lifetime and some houseplants are smarter than him, but what he lacks in intelligence he more than makes up for in animal cunning and brutality. Joe's gang isn't much smarter or classier than he; at least "Scarface" had George Raft playing a gangster possessing an air of class and intelligence... Joe Gurney's gang seems is a collection of dim bulbs with Joe merely being the smartest and toughest guy in a collection of idiots. He is so dumb that I kept expecting one of the other gang members to shoot him and take over when it became apparent their hideout had been compromised.

As a launching pad for stardom, this was not the greatest of choices... but, for Bogart, "High Sierra" and "The Maltese Falcon" were just around the corner, and with them finally came the great parts he'd been begging for.

Francis, on the other hand, portrays a character whose only flaw is that she is a little too trusting of the people close to her. She is brilliant, sensitive, and possessed with an unwavering sense of personal honor... and a sharp mind married with a drive to succeed with her honor intact that the likes of Joe Gurney wished he had. These traits not only let her outsmart petty "community leaders" in the little town she relocates to, but also outsmart Joe and gang in a clever, if mildly far-fetched way.

The best part of this movie, in fact, is the interaction between Joe and Carole. These are very tense and suspenseful scenes, because both Bogart and Francis were great acting talents and they both conveyed their characters so strongly that viewers have a sense throughout those scenes that this could all end very badly for Carole at any moment.

Francis' Carole is so stubborn that her drive to clear her name won't be stopped. Bogart's Joe is such a vicious monster that when he is being gregarious it feels forced and that he would rather kill someone than walk across a room. Each scene they have together feels like the unstoppable force is about to collide with the unmovable object with all the disaster that would follow such an event.

These two great screen talents are what makes this movie worth seeing, as it emerges as proof of the fact that great actors can transcend the material they are working with. It features Francis' last great role at Warner Bros. even though it was intended to be a bad part, and Bogart takes a bad part and makes it spectacular.


This review is part of Forever Classic's Humphrey Bogart Blogathon (Bogarthon?). Click here to see links to other entries.