Sadie McKee (1934)

User Rating:

7.0/10   

Director:

Clarence Brown

Writers:

John Meehan (screenplay)
Viña Delmar (story)

Release Date:

9 May 1934 (USA)

Genre:

Drama | Romance

Plot:

The life of Sadie McKee takes many twists and turns. She starts as the daughter of the cook for the well off Alderson family...

Plot Keywords:

Alcoholic | Cook | Millionaire | Unemployment | Melodrama

Cast

Joan Crawford	...	Sadie McKee
Gene Raymond	...	Tommy Wallace
Franchot Tone	...	Michael Alderson
Edward Arnold	...	Jack Brennan
Esther Ralston	...	Dolly Merrick
Earl Oxford	...	Stooge
Jean Dixon	...	Opal
Leo G. Carroll	...	Phelps - Brennan's Butler (as Leo Carroll)
Akim Tamiroff	...	Riccori - Cafe Owner
Zelda Sears	...	Mrs. Craney - Landlady
Helen Ware	...	Mrs. McKee
Gene Austin	...	Cafe Entertainer on Piano
Coco and Candy	...	Cafe Entertainers (as Candy and Coco)

Runtime:

93 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Sound System)

Certification:

Australia:G | USA:Passed (National Board of Review) | USA:TV-G (TV rating) | USA:Approved

Filming Locations:

Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, California, USA

Company:

Metro-Goldwyn-Mayer (MGM)

Trivia:

Many people who are in studio records/casting call lists as cast members did not appear or were not identifiable in the movie. These were (with their character names): Alice Mae (Secretary at Michael's), Sam McDaniel (Red Cap), William Welsh (Conductor), Doris Kemper (Nurse) and Eugene Borden (Ship's Bugler)

Quotes:

Sadie McKee Brennan: [showing off her bedroom] Here it is.
Opal: Lady, when you say, "I do take thee," how you take him.
Sadie McKee Brennan: [chuckles]
Opal: Got this all to yourself?
Sadie McKee Brennan: Yep, all to myself.
Opal: Always all to yourself?
Sadie McKee Brennan: Yep.
Opal: Well, a whole lot of us do a whole lot more for a whole lot less.

Movie Connections:

Featured in What Ever Happened to Baby Jane? (1962)

Soundtrack:

After You've Gone

The Perfect Crawford Vehicle.

Clarence Brown was an above average director and his pictures with Joan Crawford in the early and mid '30s are better than those she did with others. Brown had an eye and a sense of detail and he favors long takes with two or more performers interacting, which creates a certain tension where there might otherwise be none. Certainly this improbable script is not noticeably better than others Joan did around that time, but everything about this picture works perfectly.

Having finally found her best 'look,' Crawford is undeniably gorgeous, the ravishing epitome of glamor. And Adrian does some of his best work for her in this, putting her in one stunning and flattering gown after another. She is also given a talented and varied supporting cast and all of the big set pieces work, though Edward Arnold's drunk scenes go on for too long.

And there are a couple of fantastic sets, one of Arnold's mansion and the other of a glass sanitarium in the snow. Though the whole cast is more than adequate, a few players stand out: Jean Dixon is delightfully world weary in a leopard coat, Esther Ralston makes a perfect amoral siren, and it's a bit of a revelation to see how much Leo G. Carroll accomplishes by doing very little in his role as a nasty butler. There's also a fantastic jazz version of "After You've Gone" performed by Gene Austin, Candy Candido and Otto Heimel. As for the main players, Crawford, Franchot Tone and Gene Raymond don't dig very deep in their performances, but with a plucky, luscious Crawford at full tilt and with everything else about this movie clicking so well, it doesn't matter. It works.