In a length of scarcely over one hour, the first third gives us exposition of rather unremarkable domestic drama, the sort that recalls the description by some of older movies as "simpler entertainment for a simpler time." Even after Humphrey Bogart's character is introduced at right about the one-third mark, the scene writing, dialogue, and narrative development remain so tame and homely that if one weren't careful they might initially miss the genuine plot that starts to show itself. There is, in fact, a compelling story here - but notably, the tone the picture maintains is mostly so "picture perfect," bringing to mind more than anything else the soft touch of family-friendly TV programs in the 1950s, that it continues to feel as if little or nothing is happening at all. That's especially noteworthy since this precedes the heavy-handed Hays Code. Depending on one's perspective this is either a deep failure of the feature, unable to build a meaningful sense of drama, or a marvelously shrewd highlight as the core is underhandedly disguised within family drama. I'm not sure if it's the writers who are most responsible for this tack, adapting Booth Tarkington's novel, or director Hobart Henley - but for my part, I'm pleased to say that I think the approach is a slyly smart one. Given the tenor the film adopts I can appreciate that it won't appeal to all, and I readily admit that I had my doubts at first. In fact, it takes its time, for this declines to really show its hand until we're heading into the last third. Even for all that 'Bad sister' isn't a major must-see, but I'm quite happy with how good it is, and more than first meets the eye.
The predominant surface appearance of homestead turmoil, dynamics and goings-on between members of the Madison household and their friends and neighbors, is suitable material in and of itself for engaging storytelling, if perhaps not the most heavily absorbing variety. That this general melodrama somewhat cloaks the underlying thread of Corliss' dealings, and the ramifications thereof, is a fabulously slick twist of narrative fiction that may not even be possible outside the cinematic medium. Of course the notions are there on paper, but maybe it's director Henley after all who was able to shape the title in such a way as to hide the key element and let it slowly rise to the surface. With this said, I do think there's imbalance in 'Bad sister' as it presents, for in these sixty-odd minutes we get much more exploration of events and reactions in the Madison household than the dalliances of Corliss, or even the strict progression of Marianne's own journey - the character arc after which the movie is named. Moreover, even through to the end there are inclusions that seek to sustain the lighter flavors we got from the outset, and not all the parts fit together equally well. Nonetheless, a complete and cohesive tale is imparted, if with less than full force, and it's arguably maybe even a smidgen darker than some contemporary fare to have come out in the early 30s. I would further posit that the brief ending is a tad too neat and clean, not even taking into account the affirmation of values that ninety years later come across as old-fashioned; still, the plot is strong overall, and more than not this is splendidly enjoyable.
Given how the plot is structured and the sheer number of characters to follow, I don't know that everyone on hand has the same opportunity to shine that they might in other features - not new faces Sidney Fox or Bette Davis, and not even Humphrey Bogart who at this point in his career was merely an up-and-comer. Still, for what material and time they are given, I think all give admirable performances to bring their roles to life. The contributions of those behind the scenes likewise might get lost a bit in the mix, but I'm especially fond of Karl Freund's cinematography, and the sets, costume design, and hair and makeup are all swell. Henley's direction is quite fine too, for that matter. Broadly speaking 'Bad sister' is rather well made, in fact, and the chief question comes down to the strength of the storytelling. On that basis, I'm of the mind that it succeeds much more than not. It's not a picture without its issues, but I believe the saga stands firm on its own merits, and even more to the point, the cleverness of the particular way it's put together helps the whole to stand a little taller. It may not sit well with those who have a harder time abiding older titles, and I begrudge no one who engages honestly and regards it more poorly. All the same, I had mixed expectations and no few reservations even after a fair bit of the runtime had elapsed, and still when all is said and done I walk away satisfied with the excellence of what I've watched. Even if you're a huge fan of someone involved I don't think there's any need to go out of your way for it, but if you do have the chance to check out 'Bad sister' I think this is a swell slice of cinema for a quiet day.
