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Double Harness (1933)


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Pre Code Hollywood Season: FD Cinematheque

Double Harness (1933)

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Director: John Cromwell

Cast: Ann Harding, William Powell, Lucille Browne, Henry Stephenson, Lilian Bond, George Meeker, Reginald Owen, Kay Hammond, Leigh Allen, Irving Bacon, Lila Chevret, Wong Chung, Jean Malin

69 min 

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Double Harness (1933) is an American Pre-Code film starring Ann Harding and William Powell. It was based on the play of the same name by Edward Poor Montgomery. A young woman maneuvers a lazy playboy into marrying her.

This was one of several films, all produced by Merian C. Cooper at RKO, that were out of distribution for more than 50 years as a result of a legal settlement that gave Cooper complete ownership of the films. Turner Classic Movies eventually acquired the rights to the films.

Plot

When spoiled younger sister Valerie Colby (Lucile Browne) becomes engaged to be married to Dennis Moore (George Meeker), a more level-headed Joan (Ann Harding) decides to do the same, not because she is in love, but in order to make something of herself. She chooses unambitious, wealthy playboy John Fletcher (William Powell), who owns a troubled shipping line.

She eventually spends the night in his apartment. To Joan’s annoyance, over the following months, she finds herself falling in love. When John shows no interest in marrying her, Joan forces the issue. She arranges for her father, Colonel Sam Colby (Henry Stephenson), to find them in a compromising position. John graciously agrees to do the honorable thing and marry Joan. However, on their honeymoon cruise, he lets her know that he expects her to grant him a divorce after a decent interval. They settle on six months.

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Joan prods her husband into taking an interest in his family business. To his surprise, he finds that he enjoys it. As the new Postmaster General (Wallis Clark) is a good friend of her father’s, Joan invites him to dinner, hoping to land a government contract for John’s company.

Meanwhile, Valerie goes into debt due to her extravagant spending habits and borrows from her big sister over and over again. Joan gives Valerie all she can afford without touching John’s money. Finally, she pawns a ring for half the latest sum Valerie needs, but tells her that it is the last time.

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That same day, John finally realizes that he loves his wife. However, when he goes home, Valerie goes to John behind Joan’s back and cons him into giving her a check. Joan finds out and tears up the check. In her anger, Valerie blurts out how Joan trapped John into marriage.

Disillusioned, he turns to his former paramour, Mrs. Monica Page (Lilian Bond). Joan follows them to Monica’s apartment and confesses all, including the fact that she has fallen in love with him, to no avail. She then tries to salvage her dinner party. To her delight, John shows up and makes it clear that he believes and forgives her.

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Cast

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Preservation status

This is one of the “lost RKO films” owned by Merian C. Cooper and only re-released in April 2007 when Turner Classic Movies acquired the rights and showed all six films on TCM.

Cooper accused RKO of not paying him all the money contractually due for the films he produced in the 1930s. A settlement was reached in 1946, giving Cooper complete ownership of six RKO titles:

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According to an interview with a retired RKO executive, shown as a promo on TCM, Cooper withdrew the films, only allowing them to be shown on television in 1955–1956 in New York City.

TCM, which had acquired the rights to the six films after extensive legal negotiations, broadcast them on TCM in April 2007, their first full public exhibition in over 70 years. TCM, in association with the Library of Congress and the Brigham Young University Motion Picture Archive, had searched many film archives throughout the world to find copies of the films in order to create new 35mm prints.[2][3][4]

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Reception

According to RKO records, the film made $10,000 in profit.[1]

References

  1. Jump up to:a b c Richard Jewel, ‘RKO Film Grosses: 1931-1951’, Historical Journal of Film Radio and Television, Vol 14 No 1, 1994 p39
  2. Jump up^ Fristoe, Roger. “Rafter Romance” (TCM article)
  3. Jump up^ Osborne, RobertTurner Classic Movies broadcast on April 4 and 11, 2007.
  4. Jump up^ Eder, Bruce “Rafter Romance” (AMG review)

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Film Collectors Corner

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Fashions of 1934 (1934)


Pre Code Logo 1

Pre Code Hollywood Season: FD Cinematheque

Fashions of 1934 (1934)

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Director: William Dieterle

Cast: William Powell, Bette Davis, Frank McHugh, Hugh Herbert, Verree Teasdale, Reginald Owen, Henry O Neill, Phillip Reed, Gordon Westcott, Dorothy Burgess, Nella Walker

78 min

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Fashions of 1934 is a 1934 American pre-Code musical comedy film directed by William Dieterle with musical numbers created and directed by Busby Berkeley.

The screenplay by F. Hugh Herbert and Carl Erickson was based on the story The Fashion Plate by Harry Collins and Warren Duff.

The film stars William Powell, Bette Davis, Hugh Herbert and Frank McHugh, and has songs by Sammy Fain (music) and Irving Kahal (lyrics). (Sometime after the initial release, the title “Fashions of 1934” was changed to “Fashions”, replacing the original title with an insert card stating William Powell in “Fashions”).

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Plot

When the Manhattan investment firm of Sherwood Nash (William Powell) goes broke, he joins forces with his partner Snap (Frank McHugh) and fashion designer Lynn Mason (Bette Davis) to provide discount shops with cheap copies of Paris couture dresses. Lynn discovers that top designer Oscar Baroque (Reginald Owen) gets his inspiration from old costume books, and she begins to create designs the same way, signing each one with the name of an established designer.

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Sherwood realizes Baroque’s companion, the alleged Grand Duchess Alix (Verree Teasdale), is really Mabel McGuire, his old friend from Hoboken, New Jersey, and threatens to reveal her identity unless she convinces Baroque to design the costumes of a musical revue in which she will star. Baroque buys a supply of ostrich feathers from Sherwood’s crony Joe Ward (Hugh Herbert) and starts a fashion rage.

Sherwood then opens Maison Elegance, a new Paris fashion house that’s a great success until Baroque discovers Lynn is forging his sketches. He has him arrested, but Sherwood convinces the police to give him time to straighten out the situation. He crashes Baroque and Alix’s wedding and promises to humiliate the designer by publicly revealing who his bride really is unless Baroque withdraws the charges. The designer agrees and purchases Maison Elegance from Sherwood, who assures Lynn he’ll never get involved in another illegal activity if she returns to America with him.

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Cast

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Cast notes:

  • Arthur Treacher, appearing in his fourth Hollywood film, played his first part as a butler, a role he was to play many times in his long career.[1]

Production

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With this film, Warner Bros. chief Jack L. Warner tried to change Bette Davis‘ screen persona by putting her in a platinum blonde wig and false eyelashes and dressing her in glamorous costumes.

The actress, who had been trying to convince the studio head to loan her to RKO so she could portray slatternly waitress Mildred Rogers in Of Human Bondage, was appalled at the transformation, complaining they were trying to turn her into Greta Garbo.[2] In an interview with Photoplay editor Kathryn Dougherty, she complained, “I can’t get out of these awful ruts. They just won’t take me seriously.

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Look at me in this picture – all done up like a third-rate imitation of the MGM glamour queens. That isn’t me. I’ll never be a clothes horse or romantic symbol.”[3] To Gerald Clarke of Time she lamented, “I looked like somebody dressed up in mother’s clothes. But it was a great break because I learned from the experience. I never let them do that to me again. Ever!”[4]

Working titles for the film, which was filmed at Warner Bros. Burbank studios in 1933, were King of Fashion and Fashion Follies of 1934. Warners listed writers Gene Markey and Katherine Scola as having adapted the original story that was the basis of the film, but according to the Screen Writers Guild they had nothing to do with the film.[5]

Songs

The film’s musical numbers included “Spin a Little Web of Dreams” and “Broken Melody” by Sammy Fain and Irving Kahal and “Mon Homme (My Man)” by Maurice Yvain, Albert Willemetz, and Jacques Charles. Harry Warren wrote the untitled theme that accompanies the fashion show.

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Critical reception

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The New York Times described it as “a brisk show” and added, “The story is lively, the gowns are interesting and the Busby Berkeley spectacles with Hollywood dancing girls are impressive . . . William Dieterle, that expert director who has been responsible for several imaginative pictures, does well by this particular production.”[6]

Variety called it “a bit far-fetched and inconsistent . . . but it has color, flash, dash, class, girls and plenty of clothes . . . Just why and how Bette Davis enters the picture never quite rings true.”[7]

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References[edit]