The 1933 (pre-code) melodrama, was directed by Lloyd Bacon, starring Kay Francis, Lyle Talbot, Thelma Todd and Una O’Connor, and has one of Warner’s best behind the camera – Sidney Hickox.
Sometimes these films get away simply because the names involved are no longer in our vocabulary.
A few examples.
Mr. Hickox (1895-1982) began his career in 1916 on a Billie Burke film. Between that time and his retirement forty years later, he shot films such as Lilac Time, Blonde Crazy, So Big!, A Bill of Divorcement, Dames, San Quentin, King of the Underworld, All Through the Night, Gentleman Jim, To Have and Have Not, The Big Sleep, White Heat, and Them!
Many may not be familiar with the work of Kay Francis (1905-1983) – elegant and 5’9″, after a stint at Paramount, made a move to Warners, and became known as the Queen of Warner, the highest paid actress in the WB stable until the mid-1930s, and finally lost the title to Bette Davis after a dispute with the home office.
The screenplay was by Rian James (1899-1953) – 42nd Street, Submarine Patrol) and Robert Lord (1900-1976) – The Matinee Idol, Gold Diggers of Broadway, Wonder Bar. He then moved into new arenas as production supervisor, assistant producer and producer. Examples – Captain Blood, Private Lives of Elizabeth and Essex, The Letter, Dive Bomber, Knock on any Door, In a Lonely Place and Sirocco.
A dear friend, who knows his stuff, asked if I had a copy of the new Warner Archive release, and made note of it being brilliant pre-code, with a new restoration.
I knew enough to take peek, and came away amazed.
Kay Francis is incredibly good. The screenplay could not have been made just a couple of years later, the cinematography is brilliant, and the restorative efforts…
I’d bet that the OCN survives, as the film appears as clean and perfect as it would have on those great silver sheets in the summer of 1933.
Just brilliant in very regard, and a film not to be missed.
To give some idea of content, which I’ll not relate, the Breen office refused to allow a re-release. During the same period, they did allow a re-release of Dr. Monica, a 1934 pre-code, also starring Ms Francis, and directed by William Keighley, with photography by Sol Polito.
Unfortunately, the studio was forced to cut the film from 61 minutes, down to 53, which is what survives at the moment with both pix and trk.
It’s a film waiting, and in need of a restoration, if elements can be located.
Grab a copy of this one and be amazed that you’re watching an 88 year-old production.
One final note. For those into cars, you’ll see one of the most beautiful Duesenbergs to be found on film. I’d like to believe that it survives somewhere.
Image – 5
Audio – 5
Pass / Fail – Pass
Very Highly Recommended
RAH
Robert has been known in the film industry for his unmatched skill and passion in film preservation. Growing up around photography, his first home theater experience began at age ten with 16mm. Years later he was running 35 and 70mm at home.
His restoration projects have breathed new life into classic films like Lawrence of Arabia, Vertigo, My Fair Lady, Spartacus, and The Godfather series. Beyond his restoration work, he has also shared his expertise through publications, contributing to the academic discourse on film restoration. The Academy Film Archive houses the Robert A. Harris Collection, a testament to his significant contributions to film preservation.
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