Three on a Match

THREE ON A MATCH (First National Pictures, 1932), directed by Mervyn LeRoy, is a realistic account into the lives of three former classmates who meet again as adults, and how one of the three goes through her path of self destruction.

The story begins in 1919 where the song, "Smiles" is on top of the charts. Jack Dempsey wins his championship title by knocking out Jess Willard, and the advent of the Prohibition era. Three girls, Mary (Virginia Davis), Vivian (Dawn O'Day) and Ruth (Betty Carrs) are students at Public School 62. Mary is a wild girl who cuts class to smoke "cigarettes"; Ruth is a studious girl with the highest grades in her class; and Vivian is a snob voted the most popular girl in her class. Next segment: 1921, Warren G. Harding is elected as president of the United States with his campaign slogan, "the era of good feeling." The girls graduate and go on their separate ways, with the troublesome Mary, who will face her future serving time in reform school. 1925 starts with the underscoring of "The Prison Song," the debut of True Facts Magazine, and of how the youth of today has gone wild. The former classmates, now adults, are focused to what they are currently doing: Mary (Joan Blondell), serving time for grand larceny in a reform school; Vivian (Ann Dvorak), attending an exclusive school, and reading bedtime stories to youngsters; and Ruth (Bette Davis), in secretarial school. Next segment, 1930, with "Dancing With Tears in My Eyes" heading the musical charts. Mary Keaton, a struggling actress using Mary Bernard as her stage name, is reunited with Vivian, now married to a successful attorney, Robert Kirkwood (Warren William), and mother to a little boy, Junior (Buster Phelps). Although Vivian has everything to live for, she's unhappy, in fact, just plain bored. As for Ruth, she's a secretary with ambition. Upon their reunion in a restaurant, they talk over old times, light up their cigarettes from a single match and laugh off the superstition, "Three on a Match," where the third member to use the match is to become the unlucky one. Later, while on an ocean cruise alone with Junior, Vivian meets Mike Loftus (Lyle Talbot), a compulsive gambler whom she's immediately attracted. After going with this loser, she finds her new existence and illicit affair exciting, until realizing that too much partying, liquor and cigarettes is ruining her life as well as Junior's. Following a brief segment of 1931, the chapter concludes in 1932, showing what happens to the "three on a match."

Whenever THREE ON A MATCH is shown on television (presently on Turner Classic Movies) it plays as a Bette Davis movie, even though she's the one with limited screen time, least dialog and smoking scenes. Joan Blondell, the leading member of the trio, is good in her role, but it's Ann Dvorak giving a standout performance, in what's considered by many to be her best screen role. Of the trio, it's Bette Davis who worked herself to becoming the "Queen of Warner Brothers" before the end of the decade. As for Blondell, she's as memorable as Dvorak is underrated. Warren William, then groomed to stardom, is also given little screen opportunity in this production. This was to be his first of five films opposite Joan Blondell, and their combination together works quite well on screen. Betty Carrs, the child actress appearing as Ruth in the early portion of the story, has a striking resemblance to Bette Davis, giving the basic idea as to how Bette Davis herself looked during her childhood years; Dawn O'Day would later become known as Anne Shirley, leading adolescent actress for RKO Radio in the 1930s and early 1940s.; and Virginia Davis, the least known of the three, once known as the the live action character of Alice in cartoon shorts for Walt Disney in the 1920s.

With limited actors listed in the opening credits, there are many familiar faces from the Warners stock company to go around: Glenda Farrell (The reform school inmate); Grant Mitchell (The school principal); Clara Blandick (Mary's mother); Frankie Darro (Bobby); Hardie Albright (Philip Randall, Kirkwood's lawyer assistant); and Sidney Miller (Willie Goldberg). Allen Jenkins, Humphrey Bogart (in gangster debut) and Jack LaRue play the meanest looking thugs in screen history, with Edward Arnold as "Ace," their leader, who's introduced late in the story in front of the mirror pulling hairs from his nose with the tweezers.

Like most Warner Brothers Depression-era dramas of the 1930s, THREE ON A MATCH plays on the grim side. No nonsense, no glamor, heavy on melodrama and a touch of "film noir." Even Blondell and Dvorak play their own down-on-their luck characters in separate scenes without the use of makeup. It's quite grim, especially with a "too-close- for- comfort" scene involving child abduction. All in all, as depressing as it can be, it's quite watchable, particularly since it's a very short 63 minute production that plays like a novel with very short chapters. There's great moments of nostalgia, especially with it's newsreel-type opening of events that occurred during any given specific era of time giving this an added plus.

THREE ON A MATCH is also available on video cassette as part of the "FORBIDDEN Hollywood" series, hosted by respected film critic, Leonard Maltin. Over the years, THREE ON A MATCH has developed into a minor classic from the 1930s. It was remade by Warner Brothers in 1938 as Broadway MUSKETEERS with Ann Sheridan, Margaret Lindsay and Marie Wilson in the Blondell, Dvorak and Davis roles, with a little girl, Janet Chapman, filling in the role as the doomed girl's child. The original ranks the best and stronger of the two. They can both be seen and compared on Turner Classic Movies. (*** matches)

This was a fast-paced 63-minute story that was a combination women's film and film noir. With a cast that included Joan Blondell, Warren William, Ann Dvorak, Lyle Talbot, Bette Davis, Edward Arnold and Anne Shirley, you know it isn't going to be boring.

Dvorak has the principal role, playing a "dame" who is bored with her husband and her life and flies the coop. She winds up with a petty crook who needs money to pay off off his evil crime boss. The couple winds up in a kidnapping scheme which goes bad in a scene that is quite shocking.

The lingo of the day is interesting to hear as is Davis' youthful face. Arnold also looks really young, far more than I remember seeing him in other movies. Speaking of young, did I mention Humphrey Bogart and Glenda Farrell were also in this? Yes, it's full of surprises for classic film buffs. In another note: Shirley is billed under the name "Dawn O'Day."

I am glad this is now available on DVD. It looks great!

The story follows three girls - Mary (Joan Blondell), Vivien (Ann Dvorak), and Ruth (Bette Davis) - as they graduate from what today would be eighth grade, in the 1920s in what was then the end of public school education. As now, the only real thing you have in common with the people you go to public school is a zipcode. These three have been acquaintances but not friends, as they seem to go their completely separate ways.

Mary is the wild one - she winds up in reform school for grand larceny. Vivien is the dreamy one - she ends up married to a rich guy, a good guy, Robert Kirkwood played by Warren William, usually the cad of the precodes, but not here. Robert is a square guy making a very good living as an attorney, and cares that his wife is not haaappy (I put those extra a's in there on purpose). Ruth continues to be the one on the straight and narrow, pursuing one of the few careers open to a woman in those days - secretary.

Mary gets out of jail and becomes a chorus girl, and one day a chance meeting at a beauty shop leads to a reunion lunch for the three where they share "three on a match" when lighting their cigarettes. There is an old wives' tale that says one will die when this is done.

Vivien winds up abandoning her husband and taking up with a wild no-good cad, mainly because he is exciting and romantic -Mike (Lyle Talbot) - at least until Viv's money runs out. Mary is the promiscuous gal who has a moral center, and Kirkwood falls for her as she seems to really care for him and his son. Ruth is banished to the banal role of governess after Mary and Kirkwood marry.

Viv and Mike wind up in a tenement, hooked on coke after the fun of partying and excessive drinking grows dull. And to make matters worse Mike winds up owing two thousand dollars in gambling debts to a hood who has all of the tough guys of the 30s working for him -Humphrey Bogart, Allen Jenkins, and Jack La Rue. Remember Bogie is not the big star here yet, or even contract Warner Brothers, but he makes the biggest impression of the henchman.

So Mike and Viv are broke and Mike is desperate for cash or the hoods will kill him. What happens next involves some very unexpected turns in the plot and some frank precode moments, even more frank than what has happened so far as the film comes to a startling conclusion.

I don't really have many criticisms other than the moral seems to be that if you stay on the straight and narrow all of your life like Bette Davis' character does, you are doomed to remain unnoticed and in the shadows, alone and working low paying jobs. I like how what is going on in the plot is shown against the backdrop of first the roaring 20s and then the Great Depression - Viv is almost the personification of these two , in order. I thought that Buster Phelps as the Kirkwood son was extremely irritating here, not cute. And in spite of the fact that three years pass at the end of the film he looks the exact same age from beginning to end!

If you like the precodes, this is essential viewing.

Another neglected eye-opener from the pre-Code era. No doubt, this cynical essay on wanton motherhood helped bring down the wrath of the censors two years hence. Ann Dvorak is a bored upper-class matron who flees to Europe with toddler son in tow, seeking excitement and a sexual adventure she can't admit to herself. She finds them in the person of shady character Lyle Talbott, with whom she shacks-up neglecting her boy in the process. Dvorak shines in those scenes that graphically chart her growing degradation, which I take from her appearance to include heavy drug use. The ending is frankly pretty predictable, Code or no Code.

The movie is no unmixed triumph. The Blondell--William relationship seems highly improbable, while Bette Davis's contrived role as the third girl on the match remains largely a waste. In fact, the movie's second half comes nowhere near the vitality or subtlety of the first half-- note the nuances of that early bedroom scene where we become privy to Dvorak's failing marriage. It's a little gem. The second half, on the other hand, is not helped by the caricatured gangsters, especially in their final scene which unlike the rest of the movie is also poorly directed. Nonetheless, the 60 minutes comes as a revelation to those of us accustomed to the conventions of a 30-year Code period.

Thanks be to TCM for rescuing these sleepers. I doubt they were shown anytime during the censorship era, and by the time they could be shown, they were too dated and obscure. But now film buffs have a chance to discover a Hollywood era most of us didn't know existed. Three on a Match may not be the most compelling product of that time, but it does prove one thing-- despite the opinion of some, sex was not an invention of the 1960's.

Three on a Match (1932)

A tightly interwoven plot about three "types" of women, from their school days into adulthood, played out with snap and sizzle. This is one fast, loaded movie, playing loose with morals and fast with stereotypes, and playing against them at times. There is little more painful than a man or woman falling to ruins, and it's made so reasonable, so nearly exciting, and so really reprehensible it's a surprise and a cinematic thrill.

Yes, a terrific movie, and not just for 1932. The interplay between the lead women (including a tart young Bette Davis) is great, and as the plot moves into a full blooded crime film (with Warner Brothers knew how to make better than any of them), it really screams. Throw in Humphrey Bogart (a decade before Casablanca) and you have something you have to watch.

But these are the obvious reasons, the film buff draws. Watch lead actresses Joan Blondell and Ann Dvorak for their sheer ability, and their likability. And for how they can be themselves before the code kicked in in two years. Mervin Leroy is a great director, of course (the same year he did the incomparable I am a Fugitive from a Chain Gang) and seeing his range and control is a treat. Don't miss it. Just an hour long, too.