The Marriage Playground

"The Marriage Playground" is an interesting film. While it is a Pre-Code film (since it came out before July, 1934), its sentiments are both Pre-Code AND Production Code at the same time. While Production Code films almost never talked about divorce in this sanitized version of Hollywood, poor behavior was nearly always punished. In the case of "The Marriage Playground", it does talk about divorce, like many Pre-Code films, it also seems to condemn it...especially when it comes to its effect on children....making it strongly in line with the virtues of the Production Code era. As for me, I loved its message...as too often in divorces, the kids seem to get the short end of it and the film points this out vividly.

Martin (Frederic March) meets a nice young lady, Judy (Mary Brian), and it taken with her. She is quite upset because yet again, her parents are in the midst of a divorce...and this means that the family will be ripped apart. Some of the kids will go with their father and some with their mother, as the couple have already been divorced in the past. Judy is angry and hurt, because she's the oldest and the caretaker for her sibs...many of which she might not see again. She has seen it before and loathes to see it again, so she tries to get Martin to help her scheme to keep her parents married.

For 1929, the sound quality of this film is pretty good, though compared to later talkies, it does sound a bit flat and the characters tend to stay in one place due to the limitations of early sound films. This makes the film a bit more stilted than 1930 and later films, but it's not terribly so.

So is the film any good? Well, considering that it stars March, it can't be bad! I appreciated its message about selfish parents and terrible parenting...there aren't that many films which dare to tackle this. The ending is a bit easy to predict, but considering it's a nice happy ending, I didn't mind. Overall, for 1929, it's a swell picture.

Big fan of the early talking pictures because of their historical purpose in the history of film. I love the shots of the beach and the clothes these people wear everyday as well as the furniture of the time. This film however besides its historical importance quiet dull to my eyes. What is intresting is the actors and actress of the early days of the talking picture and how their careers formed later on in the 30s-40s Mary Brian who plays judy stared in films with cary grant and james cagney. Lilyan Tashman is very intresting she starred in 3 lost pictures such as "no, no nanette" (1930), "gold diggers of broadway" (1929). And "the cat creeps" (1930). She was popular in her day and she passed in 1934. Fredric March would go on the be in "the best years of our lives" (1946). A young Anita Louise appears in the film and was famous to play along side Shirley temple. And even appeared in another sought after lost film called "4 Devils" (1928).

... birth control, not so much. And thus the dilemma of this film. At a seaside resort Martin Boyne (Fredric March) meets 17 year old Judith Wheater (Mary Brian) as she is trying to corral her younger brothers and sisters. There are at least half a dozen of them, I had trouble counting them all. It turns out Martin knows the parents - Cliff and Joyce Wheater (Huntley Gorden and Lilyan Tashman). But he didn't know that they had previously divorced, remarried others, then divorced and remarried again, and in each union there were children. And now the Wheaters are arguing again and the many Wheater kids do not want to be separated when the Wheater parents inevitably divorce.

Martin agrees to get all of the parties together - and that includes all of the ex-spouses, their spouses, and future Wheater spouses, and try to figure out a way for all of the kids to stay together. But it is futile as they start sniping at each other and eventually lose interest in the entire conversation as they have a polo match to go to.

The complicating factor is that Judith is falling in love with the older Martin, but Martin has a dragon lady of a fiancee to which he is devoted. On Judith's side, though, is the fact that she and Martin are the only real adults in the room.

It appears Judith has spent her entire life caring for her younger siblings and has not even been properly schooled, because early on she writes Martin a note and misspells common words badly. The film makes a point of showing you this, so it must have meant something.

This was a unique concept for a film - I don't think I've seen anything quite like it before - parents of means who act like children having lots of actual children and emotionally neglecting all of them. But it does suffer from some common early talkie problems such as scenes that go on too long and the necessity of having a rather static camera. What is great about it is seeing the furnishings, clothing, and manners of the well to do at the end of the roaring 20s. Also, even a little of Kay Francis and Lilyan Tashman go a long way.

The other three reviews thus far seem to be addressing a different film altogether. The pacing here is funereal, the actors don't act their lines, they speak them, slowly and haltingly, as if we were at a first rehearsal of a high school drama performance. There is no talent to speak of, even Kay Francis is subdued. Fredric March is embarrassingly bad. Some of the facial expressions are truly laughable.

I have not yet read the novel, THE CHILDREN, from which this is derived, but I doubt it was a comedy. Irresponsible playboy/girl rich adults behaving like children and leaving a wake of seven stepchildren in their entourage, constantly being torn apart, as the adults switch marriage partners, yearning to remain together as siblings - hardly stuff of comedy - perhaps it was a further indication of the distorted times during which the film was made that it was adapted in this fashion.

This was remade in France in 1990 under its original title, but the film is not available on DVD for comparison.

A real chore to sit through and a colossal bore to boot.

Huntley Gordon and Lilyan Tashman are out traveling the world and wrangling, leaving Mary Brian to raise her five step-brothers and sister by herself. A chance meeting with Frederic March leads him to promise to get all the parents, step-parents, prospective step-parents and former step-parents together to hash things out; the basic issue being that none of the children wish to be separated from the other. Meanwhile, Miss Brian develops a passion for March, who has his own fiancee to consider.

There are lots of fine performers in this, including among the children Mitzi Green, Phillippe de Lacy, and Anita Louise, and among the adults Kay Francis and Seena Owen. I'm afraid that the varying relations among the adults reached the point of bafflement for me, arousing a sense of frustration that might be parallel to those felt by the children. One of the good points about pre-code movies is that they were not afraid to tackle the issues of divorce, not only the occasional need for it, but the problems raised by it when so-called adults marry, have children, get divorced, and repeat, again and again, as if they and they alone must deal with the consequences. The rules of dramatic construction call for a neat ending, and there is one. Reality, alas, is not so simple.

It's still early days for talkies, which means that holdovers from the silents, like Miss Brian, sound unnatural with their lines, while newcomers like March are just fine.