IMDb > Sylvia Scarlett (1935)
Sylvia Scarlett
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Sylvia Scarlett (1935) More at IMDbPro »

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Overview

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6.3/10   2,193 votes »
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Director:
Writers:
Gladys Unger (screenplay) &
John Collier (screenplay) ...
(more)
Contact:
View company contact information for Sylvia Scarlett on IMDbPro.
Release Date:
3 January 1936 (USA) See more »
Genre:
Plot:
Escaping to England from a French embezzlement charge, widower Henry Scarlett is accompanied by daughter Sylvia who... See more » | Add synopsis »
NewsDesk:
(7 articles)
A Year With Kate: Sylvia Scarlett (1936)
 (From FilmExperience. 26 February 2014, 2:30 PM, PST)

The Second-Hand Illusion: Notes on Cukor
 (From MUBI. 10 December 2013, 10:13 AM, PST)

Melancholia: Lars Von Trier's "Bleak" House
 (From CultureCatch. 30 September 2011, 4:07 PM, PDT)

User Reviews:
Before Spencer, there was Cary...and this odd film See more (35 total) »

Cast

  (in credits order) (verified as complete)

Katharine Hepburn ... Sylvia Scarlett a.k.a. Sylvester

Cary Grant ... Jimmy Monkley

Brian Aherne ... Michael Fane

Edmund Gwenn ... Henry Scarlett
rest of cast listed alphabetically:
Robert Adair ... Turnkey (uncredited)
Bunny Beatty ... Maid (uncredited)
May Beatty ... Older Woman on Ship (uncredited)
Daisy Belmore ... Fat Woman on Beach (uncredited)
Carmen Beretta ... Woman (uncredited)
Madam Borget ... Bit Part (uncredited)
Thomas Braidon ... Bit Part (uncredited)
Elsa Buchanan ... Bit Part (uncredited)
Colin Campbell ... Bit Part (uncredited)
Patricia Caron ... Bit Part (uncredited)
Harold Cheevers ... Bobby (uncredited)
E.E. Clive ... Customs Inspector (uncredited)
Edward Cooper ... Customs Inspector (uncredited)
Adrienne D'Ambricourt ... Stewardess (uncredited)
Kay Deslys ... Bit Part (uncredited)
Elspeth Dudgeon ... Older Woman (uncredited)
Harold Entwistle ... Conductor (uncredited)
Gaston Glass ... Purser (uncredited)
Daisy Goodill ... Bit Part (uncredited)
Robert Hale ... Bit Part (uncredited)
Alec Harford ... Man Taking Half a Crown (uncredited)
Peter Hobbes ... Steward (uncredited)
Olaf Hytten ... Customs Inspector (uncredited)
Lilyan Irene ... Bit Part (uncredited)
Lorimer Johnston ... Bit Part (uncredited)
Connie La Mont ... Girl at Park Scam (uncredited)
Gwendolyn Logan ... Concerned Woman (uncredited)
Nola Luxford ... Woman in Bathing Suit (uncredited)
Elsie Mackay ... Bit Part (uncredited)
Ella McKenzie ... Bit Part (uncredited)
Dennie Moore ... Maudie Tilt - the Maid (uncredited)
Frank Moran ... Bit Part (uncredited)
Edmund Mortimer ... Park Scam Onlooker (uncredited)
Leonard Mudie ... Train Steward (uncredited)
George Nardelli ... Frenchman (uncredited)
Natalie Paley ... Lily Levetsky (uncredited)
Lionel Pape ... Sergeant Major (uncredited)
Lennox Pawle ... Drunk (uncredited)
Ethel Rawson ... Bit Part (uncredited)
Harrington Reynolds ... Bit Part (uncredited)
Roger Roughton ... Bit Part (uncredited)
Violet Seaton ... Bit Part (uncredited)
C. Montague Shaw ... Bit Part (uncredited)
Dina Smirnova ... Russian (uncredited)
Pat Somerset ... Bit Part (uncredited)
Jacques Vanaire ... Steward (uncredited)
Michael Visaroff ... Purser (uncredited)
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Directed by
George Cukor 
 
Writing credits
Gladys Unger (screenplay) &
John Collier (screenplay) &
Mortimer Offner (screenplay)

Compton MacKenzie (novel) (as Compton Mac Kenzie)

Produced by
Pandro S. Berman .... producer
 
Original Music by
Roy Webb (uncredited)
 
Cinematography by
Joseph H. August (photographed by) (as Joseph August)
 
Film Editing by
Jane Loring (uncredited)
 
Art Direction by
Van Nest Polglase 
 
Makeup Department
Mel Berns .... makeup artist (uncredited)
 
Second Unit Director or Assistant Director
Kenneth Holmes .... assistant director (uncredited)
Argyle Nelson .... assistant director (uncredited)
 
Art Department
Sturges Carne .... associate art director
 
Sound Department
George D. Ellis .... recordist
 
Special Effects by
Harry Redmond Sr. .... special effects supervisor (uncredited)
 
Camera and Electrical Department
Louie Anderson .... grip (uncredited)
Ernest Bachrach .... still photographer (uncredited)
 
Costume and Wardrobe Department
Muriel King .... costumes: Miss Hepburn
Bernard Newman .... costumes: Miss Paley
 
Music Department
Philip Faulkner Jr. .... music recordist (as P.J. Faulkner Jr.)
Roy Webb .... musical director
 
Other crew
Patricia Doyle .... stand-in: Katharine Hepburn (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
95 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (RCA Victor System)
Certification:
Argentina:16 | Finland:K-16 | Portugal:M/12 (DVD rating) | Spain:13 | UK:A (original rating) (cut: by 1 min 17 sec) | UK:U (tv rating) | UK:U (video rating) (1986) (1997) | USA:TV-PG | USA:Approved (certificate #1697)

Did You Know?

Trivia:
After a disastrous preview, director George Cukor and Katharine Hepburn went to RKO producer Pandro S. Berman's home and offered their services for free for another film. Berman, who was furious at the quality of the movie, replied tersely, "Don't bother please."See more »
Quotes:
Sylvia Scarlett:You've got the mind of a pig.
Jimmy Monkley:It's a pig's world.
See more »
Movie Connections:
Referenced in The Aviator (2004)See more »
Soundtrack:
I DO LIKE TO BE BESIDE THE SEASIDESee more »

FAQ

This FAQ is empty. Add the first question.
22 out of 25 people found the following review useful.
Before Spencer, there was Cary...and this odd film, 18 June 2006
Author: theowinthrop from United States

This is an odd film - definitely an odd one. Even in a period when the Hayes Office, the Breen Office, the movie code, and the Catholic Legion of Decency were still finding their feet, this film just stretched gender roles as far as possible. And the audiences of 1935, who tolerated MUTINY ON THE BOUNTY, THE INFORMER, and many other films, would not tolerate this one.

The issue is whether or not the audiences of 2006 would tolerate it. I gather that we are better used to bi-sexual, homosexual, or transsexual genres in movies in the last half century, but having said that I keep realizing that many people aren't. I also note that of the four Grant - Hepburn films this one is the least revived (which is odd, because it was the first one made). I have a feeling that the fans of this film fall into three categories: those who enjoy the sexual suggestiveness of it's storyline, those who enjoy the two stars and their acting abilities, and those who like the director, George Cukor. Outside those three groups, there are many people who are probably (at best) indifferent to this movie, and (at worst) positively hostile to it.

I could understand part of the hostility. It is the crazy screenplay in the film. This movie never comes to grips with exactly what it wants to do. It starts off with a kind of "Dr. Crippen" situation (though actually not as serious), wherein Edmund Gwenn has committed embezzlement and must flee France with his daughter Hepburn - whom he disguises as a son to help his own escape disguise (this resembles Crippen's disguising his girlfriend Ethel Le Neve as a son when fleeing to Canada on the "Montrose"). Hepburn just barely passes as a boy (her bony face just makes it). Then they meet grifter Cary Grant, and join him in a series of con games.

First problem in script here - if Gwenn and Hepburn are fleeing the French authorities to get to England, doesn't it undercut their efforts to continue a criminal path with Grant? If they are caught (as they nearly are) the British police will return Gwenn to France, rather than probably ignore him if he just behaves himself in England. Of course, for them to get into a story involving Grant the script requires them to behave in line with him.

This was the first film that Katherine Hepburn and Cary Grant appeared in together, and in the wake of the later Tracy series it has somehow gotten pushed slightly (not totally) into the shadows. It is similar to the series of musicals by Jeanette MacDonald and Maurice Chevalier for Paramount in the early 1930s, that are slightly (not quite totally) in the shadows of the later musical series with Nelson Eddy. The later films (particularly BRINGING UP BABY and THE PHILADELPHIA STORY) are far more popular - despite the screwiness of the former those films (and HOLIDAY) have coherent plots. We aren't trying to figure out if the film is funny or sad, or if it's about con artists or small time performers. We don't have to worry in the later three films about allegory (the scene in SCARLET when they are performing in Comedia del Arte costumes, with Gwenn - growing jealous about his girlfriend's activities - dressed as "Pierrot" is definitely allegorical). One can say SYLVIA SCARLET is a film with something for everyone - question is does that make it a good film?

Because I like George Cukor (who later would work with both Grant and Hepburn to better effect), and see that Hepburn and Grant and Brian Ahearn and Gwenn are giving their all to their parts, I am willing to say I'm favorably impressed enough to give this an "8" out of "10". But I will maintain that this odd little movie is not one meant for large audiences or for huge popular approval.

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