The Silver Screen Oasis

I think Ricardo Cortez is great, very sexy in most films, his characters usually have a little something extra in the acting that make you appreciate him. But I have to admit, in this movie, his charms are lost on me because of the way his misogynistic character is written. I wonder which is closer to the pulp fiction story the two versions were based on? I think maybe the first one, since the books were basically written for a male audience as escapism. I read the book years ago, but I had already seen Huston's version and was influenced by it. I saw everything in terms of the movie. I didn't get to see the Ricardo Cortez version until this year...and I had high hopes for it, because of someone's review I read at the other site. I admit I was disappointed, but only because the other film is so near perfect, with nuanced portrayals from everyone. There was no nuance in the 1930's version.

I remember the book was a lot darker as far as Sam's character - he was more brutal. Bogie really created a whole new complex, amusing, and conflicted figure out of Spade. I'm not sure that in the book he was that conflicted.

It can be argued that Ricardo Cortez is closer in this film to the Hammett character than Bogart is. I like them both.

They are both enjoyable movies, Sam Spade is part of the Bogie mythology these days, the image Bogie hid behind, he liked the public to believe he was like that but he's meant to have been quite different when sober. I can only think of the one Cortez silent I've seen and that's The Torret, Garbo's first American movie, he wasn't very nice to her and that has coloured my image of him. I've caught him a couple of precodes and I've liked him, he just doesn't set anything alight for me.

I've read the Phillip Marlowe/Chandler books but never the Hamnett/Spade books, are they as good?

Hammett is straightforward and dark, I liked him very much, but what you see is what you get with him, there are no frills, but good straight ahead writing. I haven't read Chandler - I suspect he was much more pulpy. Many people say he's the best at that genre.

I saw two Joan Crawford precodes over the last few days.

As Sadie McKee she is the daughter of a cook from a wealthy household who has grown up with Franchot Tone, the son of the household, when serving at supper one night, Tone upsets her, not allowing her boyfriend a second chance. So Sadie sets off to New York with Tommy, her man, they gets rooms and are ready to marry the next day, very chaste, Sadie buys the licence and waits and waits only Tommy has had a better offer singing with a female nightclub act. Sadie can't go back home so starts working in a nightclub where she finds Edward Arnold playing Jack Brennan a rich old alcoholic and his lawyer, Tone. Soon Jack proposes and Sadie accepts, Tone is disgusted with her and even more disgusted when she refuses a cure for her husband insisting she does it herself and taking on the staff to help her. Once she has him well she leaves him because she still loves Tommy, Tommy is dying in a sanatorium. That leaves Sadie and the lawyer as the credits role. Joan looks stunning, I think in the early thirties she was at the peak of her beauty, she has such fine bone structure, such a beautiful woman and such good chemistry with Tone (obviously) and Arnold.

Paid is even better, here she's Mary who is sent to prison for a crime she did not commit. She vows to get even with the shop owner who didn't believe her or show her mercy. The story is also called Within the Law and that is how Mary operates when she gets out, she's read the law books, she exploits people but within the law, the police know of her exploits but can't do anything apart from hassle her and her friends. She gets even with the shop owner in a novel way. This is Joan at her shop girl best, no wonder so many were rooting for her, she seems born to play the hardworking and honest although sometimes a little dishonest but with scruples shopgirl.

I love PAID.... she was perfect in that role. One of my favorites. You know, I am not a huge Joan Crawford fan, but she was a heck of an actress. I rarely miss her 1930's movies.

I watched "Christopher Strong" (1933) and I loved it. This film has been unfairly underrated. BTW, the film should had been titled Cynthia or Lady Cynthia, because it's Kate's film. This picture demonstrates Dorothy Arzner's enormous skill as a film director and that she was indeed one of the greatest directors of the 1930s. It also contains very honest and touching performances by everyone involved...Billie Burke, Kate Hepburn and Helen Chandler shine. A tragic love story, which I did not find old fashioned at all, because Cynthia's pivotal decision has to do with love, generosity and unselfishness, than with fear of ridicule, society or whatever....she knows too well....and the man said the wrong word "duty" not "love". Those who have seen it will understand. I don't want to spoil it for those who haven't. Great film!!

Since "Paid" (1930) was praised by two of our most respected members, I decided to watch it and WOW! I was blown away by this helluva PreCoder! Arguably Joanie's best. What a role! What a sincere performance as the hard-as-nails Mary Turner....loved it! And I liked to see her in a more natural style; without so much make-up she was able to convey what the character was feeling in a much better way and enhanced her performance....within some years, she tend to wear excessive make-up which created the effect of a mask that concealed her naturalness and her emoting.... In a way I prefer the younger Joan, just like I prefer the younger Loretta, whose "Midnight Mary" (1933) was also a discovery for me years ago... The story flows, Sam Wood's direction is very good, Bob Armstrong, John Miljan, Marie Prevost and Douglass Montgomery give all very good performances....Miss Prevost's wisecracks are priceless! The scene where she fakes a phony educated accent is a hoot! Douglass Montgomery's scenes with Joan are so honest and believable...I can't praise enough this gem. A Must-see! Louise Beavers and Polly Moran appear unbilled as prison inmates and beautiful Gwen Lee has a small role as Prevost's pal (why her career stalled?; she had beauty & talent)

BTW, I forgot to mention that in "Christopher Strong" lovely Margaret Lindsay appears in small role as an autograph seeker... very small but it showcases her beauty & talent.

I have just realized that I have the Silent version of Paid Within the Law" (1923) with Norma Talmadge!! I must watch it ASAP!! BTW, I read that Norma Shearer was to star in "Paid", but due to pregnancy the role passed to Joanie...I'm glad this happened.

I watched 3 Girls About Town with Joan Blondell. I think I'd seen this before, but am glad to now own it as I'll be watching it over and over. Is there anything funnier than trying to hide a dead body? What can I say, I'm easily amused. This is one of Eric Blore's best and I don't know why I couldn't see the punchline coming, but I guess that's why I'm easily amused.
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I'm glad you liked Paid and Christopher Strong Fernando. I'm in agreement with everyone else about Joan Crawford, I love her thirties movies, I prefer her fresh faced, she had a beautiful bone structure and such expressive eyes, the excessive make up she wore in later films acts like a mask. I have Within the Law, I'll try and watch it this week so we can review it together.

There is also a version of Within the Law from later on (1936?) with either Margaret Lindsey or Ruth Hussey, I can't remember which (they were both on TCM the day I recorded it).

I totally agree about Joan's mask. I really love her in the thirties. And Marie Prevost is a great favorite of mine, so thanks for the tip about Midnight Mary. I didn't know about it at all!

I watched the restored Tillie's Punctured Romance (1914). What a terrific comedy, with about 15 minutes of new material restored to the old print. The print is excellent and the film boasts three comic marvels: Marie Dressler, Charlie Chaplin, and Mabel Normand.

JackFavell wrote: And Marie Prevost is a great favorite of mine, so thanks for the tip about Midnight Mary. I didn't know about it at all!

Hi Wendy, Marie Prevost does not appear in Midnight Mary; sorry If I misled you, but I mentioned "Midnight Mary" (1933) comparing the fact that that film made me discover a different Loretta from her '40s films...just like Joan in her PreCodes and her later films...what follows is a description of "Paid".

Oh! Well, gee, I should have known that's what you were talking about, if I'd read the cast list more carefully, I would have realized it. Somehow, I thought she made both movies with the two different stars. She is a hoot in PAID! I like her very much in almost everything I've seen her in. She's fantastic in The Racket, The Marriage Circle and so many other movies, silent and sound.