Sin Takes a Holiday

Not sure what to call this oldie, but I guess drawing-room comedy might answer the mail. The plot centers around a rather interesting or curious love triangle. Girl marries Boy 1, arguably for the wrong reasons. Due to the unique nature of their union, she sets sail for Europe and encounters Boy 2, who, of course, knows Boy 1. On the Continent, Boy 2 becomes quite taken by her. What's a girl to do? Well, to give away the ending would not be nice, so suffice it to say it all gets resolved back in New York, though the ending might not please all viewers. Constance Bennett gets lead billing, but I was much more entertained by the performance of Basil Rathbone, who is just grand. Considering that the film probably takes place at the onset of the Depression, the lifestyles depicted are quite startling.

All in all, a rather delightful film.

This pre-Code comedy is more interesting for its decor and reflection of the morals of the day than for its acting or story. The plot revolves around three characters, each in love with the one who isn't in love with her or him. Things work out in a way--two characters find each other and the third is left to move on. All this happens in an atmosphere of wealth, where amoral dalliance is both expected and titillating. An unfortunate effect is that the three characters come off as facile and, ultimately, unlikeable, the comedic talents of Bennett and the imposing presence of Rathbone notwithstanding. Despite the dismissal of a group of morally repugnant friends at the end, I didn't believe in the couple's future happiness--nor in the morally bankrupt world they inhabit and seem to enjoy. And I felt sorry for the one left out. He seemed the only character with a conscience. The always delightful presence of Zazu Pitts should be noted, though she plays a small role in the plot development. Enjoy this film for the marvelously fantastic Art Deco sets and wonderful period gowns. But ultimately, the resolution of the plot leaves one unsatisfied.

Gaylord (Kenneth MacKenna) quickly arranges a marriage of convenience to his secretary, Sylvia (Constance Bennett) to avoid the advances of his socialite friend, Grace (Rita le Roy). Gaylord draws up a 1 year contract with Sylvia so that there is an understanding about how they can both behave and he encourages her to travel to France and do her own thing. However, after spending time in France with Reggie (Basil Rathbone), Sylvia returns to Gaylord to ask what he truly feels....

This is a fun film. No-one is correct - everyone behaves atrociously. The men are ultimately revealed as cads or blind to their actions while the women are calculating and far more deliberate and nasty in their actions. It's interesting to watch to see who Sylvia will end up with........she ain't no angel.....don't be fooled by her apparent innocence. She's just as much of a bitch as Grace as her behaviour demonstrates. We have a confrontation at the end between all the characters involved which is what we have been anticipating and the dialogue is very entertaining.

A mention about the character Gaylord. Well..........there's his name first of all...and then there is the fact that he doesn't seem interested in any women.....GAY....or maybe not, eh? I also think that they needed to make Constance Bennett far more plain in the first half of the story so that her transformation into a babe is believable. As it is, she looks good before and after. No change there.

An enjoyable film.

Lightweight froth featuring an early role for Basil Rathbone as a playboy who falls for newlywed Constance Bennett after learning that her marriage to businessman Kenneth MacKenna is a sham. Rathbone's ok, but, outside of the Sherlock Holmes movies, it's strange to watch him behaving reasonably honourably. Bennett looks a knockout, even when she's supposed to be dowdy.

Today, I discovered Basil Rathbone. Yes, I know he's been around, I'm familiar with the Sherlock Holmes series...but, today I saw him in a new light thanks to TCM and 24 hours of his films. His elegance, dark beauty and subtle sexuality struck a chord in me today. Sin Takes A Holiday is a delightful film. Categorized as a drama, in the beginning we are led to believe it will be light and airy, however, as we are drawn to the characters, such as Constance Bennett's seemingly light facade and Kenneth MacKenna's and Rathbonne's dawning realizations...the underlying moral dilemma of the situation awakens a timeless knowledge in all of us.