Torch singer Joan Gordon, tiring of her relationship with small-time hood and racketeer Eddie Fields, flees to Montreal and becomes the mail-order bride of down-to-earth farmer Jim Gilson. ... See full summary »
William A. Wellman
After accidentally killing the man who raped her and forced her into prostitution, a New Orleans woman flees to a Caribbean island. While she awaits her fiancé, the vicious local police chief sets his sights on her.
William A. Wellman
Two days before Marian and Ned are to be married, he is killed by the husband of a woman he was seeing on the side. Marian becomes withdrawn and they send her to the Canadian Rockies for ... See full summary »
Alfred E. Green,
Selina lived well until her father Simeon died. Her aunts sold the estate and put her in a boarding school. As an adult she wants to be a teacher in farming country. She falls in love with ... See full summary »
William A. Wellman
Shelby Barrett (Barbara Stanwyck) rides show horses for wealthy widow "Nicko" Nicholas (Genevieve Tobin)and meets Johnny Wyatt (Gene Raymond), scion of a once-wealthy Long Island Family, ... See full summary »
Lilly (Baby Face) sleeps her way from basement speakeasy bartender, literally floor by floor, to the top floor of a New York office building. Bank sub-manager Jimmy McCoy finds her a job in the bank only to be cast aside as she hooks up with the bank's president. When he complains of not seeing her she says: "I'm working so hard I have to go to bed early every night." Written by
Ed Stephan <firstname.lastname@example.org>
In spring of 1933 this film was submitted to the New York State Board of Censors, who rejected it, demanding a number of cuts and changes. Warner Brothers made these changes prior to the film's release in July 1933. In 2004, a "dupe negative" copy of the film as it existed prior to being censored was located at the Library of Congress. This uncensored version received its public premiere at the London Film Festival in November 2004, more than 70 years after it was made. See more »
Courtland's hands change position as he sits down in the boardroom. See more »
BABY FACE (Alfred E. Green, 1933) Pre-Release Version: ***1/2; Theatrical Version: ***
This one is considered a key Pre-Code film from the director who later made the musical biopic THE JOLSON STORY (1946), but also the paranoid sci-fi INVASION U.S.A. (1952)! and features one of Barbara Stanwyck's best early roles.
She's supported by a fine cast which includes popular actors and valued character performers of the day George Brent, Douglass Dumbrille, Edward van Sloan, Nat Pendleton and John Wayne (at one point addressing Stanwyck with the titular nickname, derived from a popular song which is heard constantly throughout) in the former category and, in the latter, Robert Barrat (as Stanwyck's father), Donald Cook (as her most tragic conquest), Alphonse Ethier (as her elderly mentor more on this later), Arthur Hohl (as a lecherous politician) and Henry Kolker (as Cook's boss and father-in-law, whom Stanwyck also seduces). Curiously, scenes in which Walter Brennan appeared were subsequently deleted at his own request when the film ran into trouble with the censors!
Abetted by crackling i.e. typically hard-boiled dialogue and realistic Anton Grot sets, the narrative contains unexpected overtones of Nietzschean philosophy fed to our small-town heroine by the intellectual Ethier (Stanwyck complains to him early on that she's no "ball of fire" which, of course, contradicts her later comedy directed by Howard Hawks and co-starring Gary Cooper of that name!). Under Ethier's auspices, she quickly blooms into an essentially heartless character determined that nothing shall stand in her path to success; the symbolic depiction of her rise in stature at the New York firm she's eventually employed with is reminiscent of a similarly sardonic one relating to an ambitious statesman's lust for power in Sergei Eisenstein's October (1927)! Sociologically, it's also interesting that Stanwyck is constantly seen sticking her neck out for her black maid/companion.
The first two-thirds of the film are simply terrific; at first, I found the latter stages somewhat disappointing because I was expecting to see Stanwyck get her comeuppance by falling for the belatedly-introduced George Brent character while he ignores her but, just like the others, he's soon under her spell! On second viewing, however, this aspect felt less jarring as it's evident that Stanwyck has been affected by the two deaths her selfish behavior has caused, and that her tenure in Paris has softened her (even if she tries to cling to her hard-earned wealth for as long as it's possible).
Released on DVD by Warners as part of their FORBIDDEN Hollywood VOLUME 1 COLLECTION, the film is presented in two strikingly different edits a recently unearthed Pre-Release version and the tamer Theatrical Release print. Among the considerable footage cut from the latter is dialogue pertaining to Stanwyck's life as a tramp from the age of 14 (though it's heard in the accompanying trailer!), while many other scenes have been shortened (i.e. censored for content): the violent fisticuff which develops between Stanwyck and Hohl after she resists his advances; the seduction at the railroad car; the scene in which Dumbrille is surprised with Stanwyck by Cook; the shooting, followed by a suicide (only shots are heard in the shorter version); Stanwyck thinking about her conquests while the phonograph is playing (again, only Brent appears in the version released to theaters), etc. Tha latter, then, utilizes alternate takes for some scenes and includes an establishing shot of the city which is missing from the longer version; however, we also get an obviously tacked-on happy ending (the Pre-Release version concludes abruptly on a very effective open-ended note) and an equally unconvincing cautionary letter sent by Ethier to Stanwyck in New York which, basically, has the function of substituting all references to Nietzsche!
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