A young man in love with a girl from a rich family finds his unorthodox plan to go on holiday for the early years of his life met with skepticism by everyone except for his fiancée's eccentric sister and long-suffering brother.
A rich railroad tycoon, bored with his marriage (his wife has no time for him -- she's too busy giving parties and sailing on yachts) starts seeing a showgirl. This are going OK until the ... See full summary »
On the eve of his marriage, a young man's fiance disappears. He hires a private detective to help him track her down, but soon finds himself entangled in a web of lies, intrigue and murder ... See full summary »
George and Catherine Apley of Boston lead a proper life in the proper social circle, as did the Apleys before them. When grown daughter Eleanor falls in love with Howard (from New York!), ... See full summary »
Joseph L. Mankiewicz
Strangers in Love is a 1932 American Pre-Code comedy film directed by Lothar Mendes and written by Grover Jones, William J. Locke and William Slavens McNutt. The film stars Fredric March, ... See full summary »
Producer Bob Temple, who's brought an American show to London, loves his star Diana, but she won't take him seriously as a lover. To show her, he picks up stranger Lady Arlington, whose ... See full summary »
Melvin Hoover, a budding photographer for Look magazine, accidentally bumps into a young actress named Judy LeRoy in the park. They start to talk and Melvin soon offers to do a photo spread... See full summary »
"Melody Cruise" is a breezy RKO musical made just before the beginning of the Astaire-Rogers series. Directed by Mark Sandrich (who directed five of the Astaire-Rogers films), it is still easy viewing today because of its innovative editing style and its pre-Code sensibility.
I believe this is one of the films that established the use of the playback system for musical numbers, giving filmmakers more freedom for visual creativity. Only one of its songs is presented in a traditional way of having a performer sing while another listens, and even this progresses into a sequence of invention. Other songs are often spoken by various members of the chorus, each saying one line -- at one point, just a single word -- as the musical narrative proceeds. The song, "He's Not the Marrying Kind," perfectly illustrates this.
The musical numbers play energetically with the editing and seem to enjoy their own inventiveness. The opening sequence shows how movies can create an engaging musical number out of such non-musical elements like someone pushing a broom, a man blowing at his hands to keep warm, a shop sign swinging in the wind. Only the ice skating ballet disappoints as a limp Busby Berkeley imitation.
Many transitions are done by using a wipe, a popular editing device of the period. The film editors and effects team seem to have had fun creating wipes that visually comment on the story. (The great Linwood Dunn was one of the special effects artists.) A shot of the cruise ship in rough sea with high waves wipes to a shot of Charles Ruggles feeling seasick in his stateroom by using the visual effect of water washing down the screen. A flower vase falls and "breaks" onto a cymbal in the ship's dance band just as the drummer hits it. A love dialogue between Phil Harris and Helen Mack is protracted over a number of scenic California locations, first through diagonal wipes and then jump cuts.
Naughty pre-Code elements are embodied, literally, in the presence of Vera and Zoe (Shirley Chambers and June Brewster), two party girls who pass out in Ruggles' cabin after the bon voyage party instead of leaving the ship. When told their clothes have been thrown overboard, Vera reminds Zoe: "It's possible, Zoe. You know whenever you get a few drinks in you, you always want to take your clothes off."
The film offers an early version of the driver's license/marriage license scene the ended George Cukor's version of "Born Yesterday".
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