Einsame Herzen

This peculiar but interesting drama has Barbara Stanwyck as a weary nightclub torch singer with a "who cares?" attitude. To escape her underworld boyfriend, she decides to hide out in the bleak plains of North Dakota as a mail-order bride. As her shy farmer husband, the normally debonair George Brent is almost unrecognizable in a pair of overalls, but gives a sensitive characterization. The bulk of the plot follows the growing feeling between the reserved ‘country mouse' and the tough ‘city mouse', complicated by several villains. Tough guy director William Wellman keeps things moving at a clip, and uses his low budget wisely to stage several good set-pieces, including a drunken shivaree for the happy couple. In the supporting cast, Leila Bennett stands out as a plain-talking maid.

The appeal of this somewhat run-of-the-mill film is Barbara Stanwyck in an early display of her mega-watt star power and her ability to turn mediocre material into something special.

Her character doesn't make much sense: a nightclub singer from the city who wants to get away from the bootlegger boyfriend hounding her and so agrees to an arranged marriage with a farmer up in the wilds of North Dakota! The bootlegger (played by Lyle Talbot) isn't threatening or abusive, so one wonders why Stanwyck needs to go to such great lengths to avoid him -- keep wondering, because the movie never explains it. But if you can swallow that, then you can easily swallow the fact that this urban good-time gal seems to know all about how to run a farm.

Which brings me back to Stanwyck. The movie's premise isn't remotely plausible, but Stanwyck somehow makes it so through the confidence of her performance. I really think she could make anything worth sitting through just for the pleasure of watching her.

The film does provide an interesting look at what farm life in the early days of the 1930s was like, a lifestyle I've only seen recreated in more modern-day movies.

Grade: B-

She may be dressed down for the farm wife's part, but this is Stanwyck at her youthful loveliest. So, can Joan (Stanwyck) adjust to the rigors of rural life after the glamor of big city nightclubs. If you can buy her becoming a mail-order bride as an alternative, you might buy the rest. Seeing her city girl alone on the vast Canadian prairie, suitcase in hand, waiting for her intended, does present a stretch. Nonetheless, now she's got purpose in life, no longer just a meaningless rich man's ornament. I do wish Brent as her mail-order hubby showed a little charm, something that would help us believe she would stick with her new life. Instead, he's overly dour and insensitive, wanting to manhandle her on their wedding night. Getting the two in step with each other makes up the movie's main part.

The movie's quite good at showing the rigors of farm life—the primitive farm house, the constant grubby toil, the relative isolation. I expect Dust Bowl audiences could identify with these demanding aspects, especially when the bank threatens to repossess Jim's (Brent) farm. That Joan manages to stick it out and thrive suggests that behind city decadence lies a common humanity and hidden grit-- a good message for that time and maybe any.

Anyway, pre-Code doesn't disappoint as Stanwyck gets to show off fancy and not-so-fancy underwear. Then too, sleeping arrangements leave little in doubt. Note too, how little is done to prettify either the rough-hewn people or their lives, even though most are stereotypes. Also, I could have done without the barking idiot as comedy relief. All in all, this Warner Bros. antique (1933) remains a fairly interesting little programmer, with a humane underlying message.

This film deals with Stanwyck, who works as a singer in New York. She has been working the nightclub circuit since she was a teenager and is romantically involved with the leader of the underground crime world. Fixture of the pre-code world, Lyle Talbot, portrays the underground kingpin. Because breaking up with such a powerful man, like Talbot, may prove to be difficult, Stanwyck opts to escape to Montreal. In Montreal, she resumes her career under a new name. Stanwyck is spotted by one of Talbot's henchmen. In lieu of returning to Talbot, Stanwyck hatches a scheme with the maid at her apartment building. It seems that the maid has been corresponding with a North Dakota farmer, George Brent, who is looking for a mail order bride. In one of her letters, the maid mails Stanwyck's picture instead of her own, because she finds the youthful Stanwyck more attractive than herself. Sensing the perfect plan, Stanwyck offers to pay the maid two month's worth of wages if she can go to North Dakota in her place. The maid agrees.

Stanwyck and Brent marry and soon it's Stanwyck's turn to learn about life on a farm during the Great Depression. On their wedding night, Brent tries to make advances on new wife Stanwyck to consummate their relationship, but she turns him down and forces him to sleep elsewhere. I know they're married and all, but I don't blame her, she literally just met and married him that same day. I imagine however, that sex probably comes with the territory as a mail order bride. But I digress.

For most of the film, Brent is aloof to Stanwyck and keeps his distance. She genuinely begins to embrace life on the farm and learns how to sew, cook, clean, etc. She is friendly with the neighbors and even helps a neighbor who has recently given birth. Stanwyck helps out with the baby and even instructs a young Anne Shirley how she can help her mother who is recuperating from the birth.

The main conflict in the film, aside from Brent's unhappiness with Stanwyck, is that he is broke and will lose his farm if he cannot pay his back bills. His saving grace however is that he owns a strain of wheat that grows well and is of high quality. He's sure to sell his wheat if he grows and harvests it. Brent and Stanwyck are finally on the same page and work together to save the farm.

This was an okay film, definitely not among one of Stanwyck's best. It definitely doesn't rank up there with my favorite Stanwyck pre-code, Ladies They Talk About. She gives the part her all, even though the plot is somewhat absurd. Brent is just there. He doesn't do much except give Stanwyck the silent treatment. But then this strong silent type was probably Brent's interpretation of a farmer of Scandinavian ancestry living on the Great Plains.

There were definitely some pre-code elements in the film, like Stanwyck walking around the bedroom clad in only a short slip and knee high stockings. She also lays a negligee out on the bed for George Brent to see and get excited, but he's mad at Stanwyck, and won't take the bait.

If you stop to think about the actual story you'll realise that it's the most ridiculous thing you've ever seen. Fortunately William Wellman directs this at such breakneck speed you don't have time to stop - you're whisked along on the Wellman express.

That all this can happen in 68 minutes is crazy but this was Warner's specialty in the early thirties. They were brilliant at it and this is a great example. It's not a fantastic picture but it is so typical of those fast moving features of pure entertainment Darryl Zanuck knew his audiences would lap up. If good quality early thirties movies are your thing, this will tick your boxes. Even though the setting isn't the usual mean streets of New York, it's still got all the usual ingredients.

A common ingredient of pre-code films that's present in this is the overriding importance of marriage. Although in pictures like this it's the single most vital thing in the world for a girl - which must have reflected reality, it seems completely unimportant who they marry as long as they can provide food and shelter. It's irrelevant whether he's a gangster, a decrepit pensioner or in this case, a complete stranger who advertised for a wife (essentially a housekeeper) in an agency. Disturbingly, mail order brides are still around today. Anyway...

One of those other usual key ingredients is George Brent. He's his usual dull self but for a change, that bland personality is suited to this role. Fortunately 'the other man' in the love triangle is Lyle Talbot who always adds some slightly shady charisma. These two however are definitely second fiddle to the absolute star of this picture, Barbara Stanwyck.

She effortlessly melds her gangster-moll persona to devoted farmer's wife as though it's the most transition in the world. Were this role be played by a lesser actress (and directly a lesser director) it could have been a joke picture because the premise is so stupid but she (and Wellman) make it seem completely believable and therefore thoroughly enjoyable.

As in all her thirties pictures (apart from the monstrous Stella Dallas) despite not having the classic Hollywood looks, she inexplicably oozes enough sex appeal to fuel the planet for a hundred years. She certainly had 'it.' This isn't one of her best films but it's still pretty decent - and she's absolutely lovely in it.