mateox Reviews

Party Girl (1930)

Be Careful Who You Party With

[4/10 · 27 January 2010]

Wild Women! Bootleg hooch! Hot jazz! Sequins and furs! Blackmail! Suicide! This pre-Code cautionary tale opens with a typical disclaimer stating "It is our earnest hope that this film may arouse you..." Of course, they mean arouse your indignation to help eliminate such vices as you view in this exposé. Or, do they?

Pleasant juvenile Douglas Fairbanks, Jr., headlines along with a bevy of largely talent-free "party girls". Judith Barrie has some especially embarrassing scenes, leading one to wonder whether she may have gotten her part by being a party girl. Almeda Fowler, making her film debut as Maude "Don't call me Madam" Lindsay, and veteran actor John St. Polis put in decent performances adding some humor. The well regarded Earl Burtnett and His Hotel Biltmore Orchestra from Los Angeles provides suitable jazz accompaniment.

The best scene is the party where guests arrive in their automobiles via a service elevator directly to the party. The much commented upon perfumed fountain scene seems to have been excised from the version available from Alpha Video. Altogether, this is a pleasant diversion that pushes the envelope even for pre-Code Hollywood.

The Pay-Off (1930)

Not Much of a Pay-Off

[3/10 · 25 January 2010]

This early RKO Radio talkie begins with a scene introducing two incredibly naive juveniles whose unfortunate task is to present the exposition via some of the most obvious dialogue imaginable. Later scenes reveal better dialogue and acting, especially from director Lowell Sherman, a Broadway veteran whose polished, dandified, debonair character uses his big eyes to punctuate his lines. It's all unbelievable and frightfully innocent, but there's some good fun to be had. The women's frocks are particularly unfortunate. But Sherman's performance saves this from being a complete throw-a-way. His performance reminds one of Warner Baxter or William Powell.

The film is based on the play CRIME by Samuel Shipman and John B. Hymer. It had a good run of 186 performances at the Eltinge Theatre in New York from February to August 1927. Among the cast were Sylvia Sidney as Annabelle and Chester Morris as Rocky. In 1938, Morris starred in a new film version called LAW OF THE UNDERWORLD essaying the role of Gene Fillmore (Fenmore in the play and first film version).

Detour (1945)

Classic film noir

[10/10 · 8 July 2004]

You can quibble about details, but it's hard to deny that this is a classic in its genre. Al Roberts (Tom Neal) makes a series of bad choices that bring him low. They're the choices of a not particularly bright young man under increasing pressure. Vera (Ann Savage) is the quintessential Bad Girl. Their repartee, indeed much of the dialogue throughout, is a big part of the attraction of this film. The plot, presented in flashback, barrels on relentlessly to its conclusion. The characterizations, dialogue, plot, photography--all contribute to make this taut, gritty film a must for film noir enthusiasts. My only real disappointment is with the rather abrupt end. On the whole, though, great fun.

Sin Takes a Holiday (1930)

Interesting pre-Code comedy, ultimately unsatisfying

[6/10 · 6 July 2004]

This pre-Code comedy is more interesting for its decor and reflection of the morals of the day than for its acting or story. The plot revolves around three characters, each in love with the one who isn't in love with her or him. Things work out in a way--two characters find each other and the third is left to move on. All this happens in an atmosphere of wealth, where amoral dalliance is both expected and titillating. An unfortunate effect is that the three characters come off as facile and, ultimately, unlikeable, the comedic talents of Bennett and the imposing presence of Rathbone notwithstanding. Despite the dismissal of a group of morally repugnant friends at the end, I didn't believe in the couple's future happiness--nor in the morally bankrupt world they inhabit and seem to enjoy. And I felt sorry for the one left out. He seemed the only character with a conscience. The always delightful presence of Zazu Pitts should be noted, though she plays a small role in the plot development. Enjoy this film for the marvelously fantastic Art Deco sets and wonderful period gowns. But ultimately, the resolution of the plot leaves one unsatisfied.