6.8/10
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23 user 2 critic

Faithless (1932)

Approved | | Drama | 15 October 1932 (USA)
Socialite Carol Morgan romps through the depression and her wealth while breaking up with Bill Wade and getting back together with him.

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Writers:

(screen play), (novel)
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Cast

Complete credited cast:
...
Carol Morgan
...
William 'Bill' Wade
...
Mr. Peter M. Blainey
Maurice Murphy ...
Anthony 'Tony' Wade
Louise Closser Hale ...
First landlady
Anna Appel ...
Mrs. Mandel, Second Landlady
...
Mr. Ledyard
Henry Kolker ...
Mr. Carter
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Storyline

Socialite Carol Morgan romps through the depression and her wealth while breaking up with Bill Wade and getting back together with him.

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Approved
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Details

Country:

Language:

Release Date:

15 October 1932 (USA)  »

Also Known As:

Mujer infiel  »

Box Office

Budget:

$203,420 (estimated)
 »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Quotes

[first lines]
Mr. Ledyard: [on the telephone] But Carol, this bank is your guardian. We're living in 1932, but you persist in spending money as if it were still '29, before the crash. You've forced me to eliminate your charities - even your father's most beloved project - the Morgan Home for Girls.
Carol Morgan: [lounging on her silk sheets] Fine. I don't believe in delinquent girls - silly weaklings.
Mr. Ledyard: But our records show that twenty-nine percent of them went on the street because they didn't have a bed to sleep in.
Carol Morgan: Oh, ...
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Connections

Referenced in Ingmar Bergman on Life and Work (1998) See more »

Soundtracks

St. Louis Blues
(1914) (uncredited)
Written by W.C. Handy
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User Reviews

Calling central casting
25 May 2003 | by See all my reviews

Whatever words one may choose to describe the acting attributes of Tallulah Bankhead, versatile is not likely to be one of them. This is clearly illustrated in "Faithless," where her specialized abilities unsuccessfully attempt to make convincing a complete character transformation: spoiled rich girl without an appreciation of either the value of money or strength of character, to a steadfast, realistic woman who knows what matters in life, even if she has been soiled in the process of learning. Tallulah does well enough with the "before" - as one might expect - but less well with the "after." Despite having fallen a long way into poverty and prostitution, the character retains her drawing-room manner of expressing emotion, her hair and makeup remain meticulous at all times, and her suffering is barely noticeable. This was not an ideal part for Tallulah, and she does not generate much sympathy (try Constance Bennett or Barbara Stanwyck).

Robert Montgomery is similarly miscast: playing a character chronically unemployed during the Depression, the actor maintains his gentlemanly bearing and patrician manner even as a truck driver. There are settings in which his acting style doesn't work (see also his role as a convict in "The Big House"), and this is one of them.

Hugh Herbert's complete departure from his usual screen character of the dithering boob succeeds where the stars fail - here as a no-nonsense businessman investing, without illusions, in Tallulah as his mistress.

The characters are manipulated by the sudsy plot, meeting when convenient, estranged if the story calls for it, unemployed when dramatically necessary, but reunited, forgiven and suddenly provided with gainful employment when it is time for "The End." And not a moment too soon.


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