Misfortunes of Imaginary Beings: 09/07/19

A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Saturday, September 7, 2019

Faithless (Harry Beaumont, 1932)

Robert Montgomery and Tallulah Bankhead in Faithless

Cast: Tallulah Bankhead, Robert Montgomery, Hugh Herbert, Maurice Murphy, Louise Closser Hale, Anna Appel, Lawrence Grant, Henry Kolker. Screenplay: Carey Wilson, based on a novel by Mildred Cram. Cinematography: Oliver T. Marsh. Art direction: Cedric Gibbons. Film editing: Hugh Wynn. Costume design: Adrian.

Faithless is a pretty good demonstration of why Tallulah Bankhead failed to become a major Hollywood star. It has a standard weepie plot: Rich girl loses her money in the Depression, becomes the mistress of a wealthy man, breaks with him when a former boyfriend discovers their relationship, reconciles with the boyfriend and marries him, but when he's injured in an accident finds that prostitution is the only way she can pay his medical bills; rescued from a life on the streets by a kindly cop, she confesses to her husband, who forgives her. The trouble is that Bankhead is not a sufferer; she's too tough and clever to play a role that should have gone to the likes of Janet Gaynor or Ruth Chatterton. The film is chiefly of interest as an example of what Hollywood could get away with before the Production Code. It's also interesting to see comic actor Hugh Herbert cast (wrongly) in a serious role as the man whose mistress Bankhead becomes.