Two convicts, St. Louis (Spencer Tracy) and Dannemora Dan (Warren Hymer) befriend another convict named Steve (Humphrey Bogart), who is in love with woman’s-prison inmate Judy (Claire Luce). Steve is paroled, promising Judy that he will wait for her release five months later. He returns to his hometown in New England and his mother’s home.
However, he is followed there by Judy’s former “employer”, the scam artist Frosby (Gaylord Pendleton). Frosby threatens to expose Steve’s prison record if the latter refuses to go along with a scheme to defraud his neighbors. Steve goes along with it until Frosby defrauds his mother.
Fortunately, at this moment St. Louis and Dannemora Dan have broken out of prison and come to Steve’s aid, taking away a gun he planned to use on the fraudster, instead stealing back bonds stolen by Frosby. They return to prison in time for its annual baseball game against a rival penitentiary. The film closes with St. Louis on the pitcher’s mound with his catcher, Dannemora Dan, presumably ready to lead their team to victory.[1][2]
Tracy had starred in three shorts earlier the same year and Bogart had been an unbilled extra in a silent movie a decade before, as well as starring in two short films in the past two years, but this is the first credited feature film for both actors.
This was the only feature film that Tracy and Bogart ever made together. They tried to make The Desperate Hours in 1955, but neither would consent to second billing, so the role intended for Tracy went to Fredric March instead. It was the only film Bogart made with director John Ford, and Tracy wouldn’t work with Ford again until The Last Hurrah (1958).
Claire Luce (1903–1989) made very few films, but was on Broadway in many plays from 1923–1952. She should not be confused with author/playwright/political activist Clare Boothe Luce (1903–1987).
New England Vintage Film Society, Inc. (2008). Spencer Tracy: The Pre-Code Legacy of a Hollywood Legend. Newton, MA: New England Vintage Film Society. ISBN978-1-4363-4138-7.
Linda Randolph (Hobart) looks for her husband on the island of Marado just east of Borneo. Although Linda is warned that Marado’s jungles are “entirely too dangerous” for a woman, she persists through dangerous raft rides and wild crocodiles. She discovers that her husband is now the personal physician to the island’s enigmatic prince. The prince lusts for Linda, and a love triangle ensues.
Production
The film was shot largely at Universal Studios. Despite being essentially a b-picture, East of Borneo featured elaborate sets. Props and set dressing used in the film were reportedly valued at $100,000; this figure includes a large $25,000 Buddha statue, a very rare small white Buddha and a long mother-of-pearl inlaid bench, silver dinner utensils and Oriental rugs and drapery.[1]
References
Jump up^“East of Borneo” Set Cost $100,000. The Florence Times Vol VIII. Number 252. 29 April 1932. p 6. Retrieved 29 February 2016
Film Collectors Corner
Watch East of Borneo Now – Instant Video on Internet Archive
Cast: Grant Withers, Mary Astor, Regis Toomey, James Cagney, Fred Kohler, J Farrell Macdonald, Joan Blondell, Lillian Worth, Walter Long, Pat Harmon, Lucille Ward
It was first previewed, released and reviewed in 1930 under the title The Steel Highway. By the time of the film’s release in New York City the title had been changed to Other Men’s Women.[1]
In 1929, Bill White (Grant Withers), is a railroad engineer and boozing womanizer who is evicted from his boarding house for excessive drinking and late rental payments.
Needing a new place to live, he accepts the invitation from his longtime friend and fellow engineer, Jack Kulper (Regis Toomey), to move into his home, where he resides happily with his wife Lily (Mary Astor). This new living arrangement brings changes to relationships as the months pass.
Bill and Lily’s own friendship, which at first is playful and innocent, evolves into a passionate love between them. Hesitant to hurt Jack, they try to keep their feelings secret, at least for a while; but Jack begins to notice differences in his wife’s demeanor and becomes suspicious when he finds that Bill has suddenly moved out of their house. Jack initially thinks Lily and his friend have had a quarrel, but he later confronts Bill inside the cab of the coal-fired
Bill and Lily’s own friendship, which at first is playful and innocent, evolves into a passionate love between them. Hesitant to hurt Jack, they try to keep their feelings secret, at least for a while; but Jack begins to notice differences in his wife’s demeanor and becomes suspicious when he finds that Bill has suddenly moved out of their house.
Jack initially thinks Lily and his friend have had a quarrel, but he later confronts Bill inside the cab of the coal-fired steam locomotive that the two men operate together at the nearby rail yard. There Bill finally admits to Jack that Lily and he have fallen in love. In the fistfight that ensues, Jack falls during the struggle, strikes his head, and is permanently blinded by the injury.
During his convalescence at home, Lily tries to rededicate herself to her marriage; however, Jack resents his dependency on his wife. Increasingly frustrated by his situation, he insists that Lily leave town for a few weeks to visit her parents, explaining that he needs emotional space and that he also wants her away from the dangers of expected floods due to rainstorms in the area.
Shortly after Lily’s departure, Jack learns from rail workers that Bill plans to drive a train of flatcars stacked with bags of cement onto a vital river bridge, the desperate hope being that the combined weight of the train and its load will bolster the bridge and prevent it from being swept away by the rising floodwaters. Stumbling that night through a heavy downpour and literally feeling his way to the rail line, sightless Jack manages to locate Bill and knock him unconscious before he begins what everyone deems a suicidal mission.
Jack then takes charge of the engine’s controls, but before moving onto the wavering bridge, he pushes Bill off the locomotive to safety. Once on the bridge, the entire train plummets into the river as the structure collapses, and Jack drowns in the raging river.
Months after the tragedy, Bill, still as an engineer, goes into the depot’s diner for some quick food before returning to his train. Nearby, Lily arrives on another train and enters the same restaurant carrying her luggage. The two see one another and engage in some awkward small talk before Lily remarks that she intends to remain in the community, fix up her house and yard, and plant a new spring garden.
Then, with a warm smile, she invites Bill to drop by to help her with the work. Bill runs out of the diner to re-board his moving train. Lily stands in the restaurant’s doorway watching Bill climb to the top of a long line of freight cars and then running forward toward the engine. As he jumps from one car’s roof to the next he raises his arms skyward.
Then, with a warm smile, she invites Bill to drop by to help her with the work. Bill runs out of the diner to re-board his moving train. Lily stands in the restaurant’s doorway watching Bill climb to the top of a long line of freight cars and then running forward toward the engine. As he jumps from one car’s roof to the next he raises his arms skyward.
Other Men’s Women was James Cagney’s third film, although Cagney does not mention it in his autobiography, Cagney by Cagney. He and Joan Blondell went on to sign long-term contracts with Warners.[2]
Mary Astor dismissed the film as “a piece of cheese”, although praising Cagney and Blondell.[2]
Songs
“Leave A Little Smile” – sung by Grant Withers, J. Farrell MacDonald and Mary Astor (from the Warner Bros. musical Oh Sailor Behave)
“The Kiss Waltz” – played on the phonograph (from the Warner Bros. musical Dancing Sweeties)
“Tomorrow Is Another Day” – played at the restaurant/dance hall (from the Warner Bros. musical Big Boy)
Release and reception
According to Film Daily, the film’s original title was “The Steel Highway”, under which title it was reviewed by Motion Picture Herald, but by the time of its New York City premiere, the current title had been adopted.[1]
The name change was announced around December 1930.[3] According to an article in The New York Times published in 1936, film studio employees were routinely asked to submit the best possible name for each of the studio’s releases, and one employee had submitted “Other Men’s Women”, along with nine others, for every film, until it was finally chosen as the new name for The Steel Highway. The employees whose titles were chosen generally received $25 or $50 as a reward.
The employees whose titles were chosen generally received $25 or $50 as a reward.[4]
Variety called it “a good program picture,” but The New York Times described the film on its release as “an unimportant little drama of the railroad yards”.[2] Years later, in a review of a DVD of Wellman’s films, Dave Kehr wrote in the Times that “freed from the constraints of studio-bound early-sound technology, Wellman seems almost giddy with the possibilities of location shooting, moving his camera with abandon, staging dialogue scenes atop moving trains, constructing at least one live sound set … in the middle of a busy switchyard, where freight trains rumble past,” although he did comment that Wellman’s major flaw of “a simplistic, often inconsistent sense of character” was present in the film.[5]
In 1937, a remake of the film under the title “The Steel Highway” was announced, to be directed by Reeves Eason, but there is no indication that the film was made.[6]
Home media
Other Men’s Women was released on DVD by the Warner Archive in 2010.
The screenplay was written by Walter DeLeon, based upon a successful German Vaudeville act entitled Tanzanwaltz, penned by Pordes Milo, Walter Schütt, and Dr. Eric Urban. The German production had been translated for the American stage by DeLeon and Mark Swan and, under the same title as the film.
Edward Everett Horton, in dual roles as Richard and Felix, the Great Zero.
Richard “Dickie” Smith (Edward Everett Horton), is a seemingly respectable defense attorney by day, who turns into a philandering Don Juan when the clock strikes 8 o’clock.
His wife, Madeline (Esther Ralston), has been away for several months, and is not expected back anytime soon. However, Madeline’s mother, Mrs. Mantel (Maude Eburne) is staying with the Smiths, in an effort to curtail the possibility of any straying by Richard.
Unbeknownst to her, he has made plans to go out on the town that night with his new, sultry secretary Kitty Minter (Patsy Ruth Miller), and his new sexy client, Diane O’Dare (Laura La Plante), who, a lonely wife herself, wishes to divorce her husband for neglect.
The issue is how can he go out on the town without alerting his mother-in-law. An issue which is seemingly resolved by the arrival at his home of a vaudeville impersonator: Felix, the Great Zero (also played by Edward Everett Horton). Felix is seeking permission to impersonate the famous lawyer on-stage. At first reluctant, Richard, noticing the striking resemblance between himself and the actor, realizes he might have a way to deceive Mrs. Mantel. In order to obtain his approval, Felix must agree to impersonate him at his house that evening, while he goes out.
While Richard goes out on the town, he discovers that Diane’s husband is none other than Felix. Meanwhile, Madeline arrives home unannounced and early.Thinking that he is about to be exposed, Felix phones the nightclub where Richard has taken the two women for dinner and drinks. As he waits for the return phone call, much to his surprise, rather than exposing him as an imposter, Madeline begins to come on to him. He attempts to resist, trying to hold out until he can speak to Richard, but he succumbs to her charms just as the phone begins ringing.
When Richard returns home the next morning, Felix is still there. He is followed closely by a very inebriated Diane, with whom it seems he has spent his time away from home. When Felix recognizes Diane, and Richard understands that Felix has spent the night at his house, both men believe that his look-a-like has slept with the others’ wife. After a series of events, Smith ends up chasing Zero with a loaded gun. Meanwhile, Andrews, the Butler, (Spencer Charters), thinks he must have the DT’s, seeing double of his employer.
The truth comes out when Madeline admits that she knew it wasn’t Richard all along, and other than the kissing, nothing happened between the two of them. Diane admits that she spent the night in the cab, riding around, and not with Richard. Reconciled, Richard is cured of his wandering ways and Felix and Diane are reunited.
Tie-in advertisement for Jo-Cur Beauty Products and Lonely Wives.
Pathé announced that the film was going into production in mid-November 1930, with Russell Mack at the helm.[6] Shortly after, it was reported that La Plante had been attached to the cast;[7] La Plante was returning to films after a brief seven-month hiatus, during which time speculation arose that her career might be over.
Her appearance in this film, and its success, would re-ignite her career.[8] On December 7, it was learned that DeLeon would be adapting the story into a screenplay,[9] and on the 10th the announcement came that Esther Ralston and Patsy Ruth Miller would be added to the list of cast members, along with Edward Everett Horton.[10]
Horton and Miller had co-starred the prior year in four films together for Warner Brothers.[11] The following day, December 11, The Film Daily announced that the film had begun production.[12]Included in the cast was Spencer Charters, who had acted with Mack in several Broadway plays.[13]
Pathe announced that the film would be part of its 1931 schedule, and it began to appear on its list of upcoming releases in the trades, but without a specific release date.[14] The release was held up in late January due to the sale of Pathe to RKO Pictures. By the end of the month the go-ahead was given to release the film.[15] Finally on February 16 RKO announced they would be releasing the film the following week.[16]
Several days prior to its release, Pathe announced that the marketing campaign for the film would include “tie-ins” with a coterie of manufacturers and retail stores. The campaign would include drug stores and department stores, and have advertising material supplied by manufacturers such as Underwood (typewriters), John H. Woodbury (toiletries), and Jo-Cur Laboratories (beauty products).[17]Lonely Wives was released by RKO on February 22, 1931.[5]
Soundtrack
“Madeline”, unknown composer
“Baby Feet”, unknown composer, sung by Maude Eburne[1]
Reception
Mordaunt Hall, the film critic for the New York Times, gave the film a positive review, calling the direction “skillful”, and singles out the performance of several of the actors, including Esther Ralston, Maude Eburne, Patsy Ruth Miller, and Spencer Charters.
He was especially impressed with Horton, stating that he “delivers a wonderfully clever dual impersonation …”, and is “wonderfully amusing”.[18]The Film Daily also gave the film a nod of approval, calling it “… one of the cleverest and most entertaining comedies of the season”.
They particularly highlighted the direction of Mack, Horton’s performance in his dual role, as well as complimenting the rest of the cast. The trade paper also gave the highest marks to the cinematography of Edward Snyder.[19]
Photoplay listed it as one of the best films of the month in February 1931, singling out the acting talents of Horton, Ralston, La Plante, and Miller.[20]Picture Play Magazine was a bit more reserved in their review of the film.
While they called it “… the most consistently broad comedy of any film since “The Cock-eyed World”,” they also stated that it was “supposedly hilarious”.[21]
Other positive reviews came from: Billboard, “… destined to be one of the laugh highlights of the screen year”; Motion Picture Herald, “Highly sophisticated comedy, goes over with a great laugh”; Los Angeles Express, “Fast, furious, frothy farce. Lonely Wives is a laugh riot”; and Motion Picture Daily, “Laughs keep rolling out in a steady deluge of ultra-sophisticated wise cracks.”[22]
It was released on DVD by Roan/Troma Entertainment in 2001.[24]
The English translation of the 1912 German vaudeville act, Tanzanwaltz, entitled Lonely Wives, written by DeLeon and Mark Swan, was produced by A.H. Woods in Stamford, Connecticut on August 11, 1922.[2] The play was scheduled to open in New York in August 1922, starring a well-known female impersonator of that time, Julian Eltinge as its star, but was never produced, apparently because while humorous, it had no value or integrity.[25]
The film was acquired by RKO when they purchased Pathé Exchange in January 1931.[25]
Marya is the wife of medical student Victor Sablin, who finds it impossible to deal with military life when he is inducted into the Russian army during World War I. With her husband is sentenced to death by firing squad due to his insubordination, Marya offers herself to General Gregori Platoff in order to save him. When the two unexpectedly fall in love, Victor — not caring that his life has been spared — threatens to kill his rival. His determination to eliminate the general falters when Marya confesses she is not in love with her husband — and never was.
Mordaunt Hall of the New York Times called the film “a clever comedy with a splendid performance by Walter Huston” and added, “There is a constant fund of interest in this picture’s action. It is one of those rare offerings in which youth takes a back seat.[1]
George Cukor’s reflection in 1972
In the book On Cukor, director George Cukor confided to biographer Gavin Lambert: “It wasn’t much good. I’d be in great shock if they [film restorationists & historians] rescued this one. I remember that I enjoyed working with Kay Francis and Walter Huston, though.”[2]
Preservation status
A complete print of this film is held by the UCLA Film and Television Archive. However, the UCLA archive’s website says the print is too shrunken for projection.[3]
Jump up^Parish, James Robert; Mank, Gregory W.; Stanke, Don E. (1978), The Hollywood Beauties, New Rochelle, New York: Arlington House Publishers, p. 73, ISBN0-87000-412-3
Cast: Jack Oakie, Jeanette MacDonald, Kay Francis, Richard Skeets Gallagher, James Hall, William Austin, David Newell, Charles Sellon, Eugene Pallette, Virginia Bruce, John Elliott, Douglas Haig
Jerry comments on being the only man on an island populated by women, “It was one of the Virgin Islands, but it drifted.” The tagline was: “Paramount’s wild, merry, mad hilarious farce!”
John Marsden, a famed and powerful New York gambler who refuses to throw a game, is devoted to his wife, Alma, and his impressionistic younger brother, “Babe,” to whom he sends a wedding gift of $10,000, which Babe may keep on the condition that he does not indulge in gambling. Alma, dismayed by John’s ruthless tactics and his obsession with gambling, threatens to leave him unless he takes his winnings and leaves the city with her. He agrees.
However, that evening Babe, who has become a cardsharp, comes to town with his new wife, Judith. He goes to see his brother, whom he believes is a stockbroker, unaware of John’s true profession and the reality that he is trying to quit and rebuild his marriage. Babe insists on playing and tries to win a fortune with his savings in an organized gambling session. He wins remarkably. The professional gambler sees that his card-playing sibling is preparing to make the same mistakes he did.
John therefore decides to risk his life and gamble one more time, and to break the gambler’s code and cheat by throwing the game, in order to disillusion Babe, thereby teaching him an unforgettable lesson. However, John is caught cheating by Dorgan and becomes a marked man. John is later mortally wounded, in spite of his wife’s attempts to save him.
Film Dialogue 
You must be logged in to post a comment.