Thirteen Women

This campy little coo-coo bird has to be seen to be believed. Beware of anonymously sent bouncy balls. I first saw this film many years ago on the early American Movie Classics (before it was destroyed by commercials and awful movies); I made of point of watching it because I was reading Myrna Loy's autobiography at the time and she mentioned this film.

Modern viewers may be a bit surprised to find that there is really nothing new in film-making; everything in the psychological thrillers and slasher films over the years that terrified you is done here, and better. Like the rest of the reviewers, I am nearly insane with wonder at what the famous missing 15 minutes might hold (I know a scene further developing the Peg Entwistle character was deleted), but the existing version of this film is a tight, entertaining hour of suspense.

Exotic and beautiful Ursula Georgi sets out across America to reek her revenge on those upper crust white gals that ousted her from her school sorority and ruined her chance in life to "pass" as one of the elite. If you can actually locate the book this is based on, it's a very enlightening read, for therein we learn that poor Ursula was whored out as a young girl. An orphanage finally placed in her in the sorority with the rich white girls to save her from her life of degradation and exploitation. I believe Ms. Loy must have read the novel, she plays Ursula with a clear awareness of the horrors of her young past. By ostracizing and then kicking her out of the sorority, the rich snobs destroyed her chance to escape and live among the rich and respectable. No wonder she is murderously furious with them. A round robin letter, horoscopes of dread, the stink-eye from Ursula and former sorority sisters end up in the obituary column one by one.

Even today, this hour long film is tensely paced and engaging. Ricardo Cortez is always a pleasure to watch, a smooth, beautiful man and a superb actor who brings a touch of class to all of his work. Young Myrna Loy is beginning to show the prowess that would make her one of the most successful of all 20th century actors. If you love 1930's films, this is a very unique and interesting one, you won't be sorry.

Thirteen white women who all went to school together are marked for death by a half-caste woman that they were cruel to as kids. Irene Dunne plays the lead, an early precursor to the Final Girl from slasher movies made decades later. Myrna Loy as the killer is the principal reason to watch. She was cast as Asian or half-Asian a lot in early films. Here, whatever they've done to her makeup-wise works because she's stunning. Ricardo Cortez plays the detective investigating the case. It's nice to see an actual police detective be smart and not bumbling or corrupt. Notable as the only film of Peg Entwistle, a young actress who infamously committed suicide by jumping off of the Hollywood sign. One of the earliest movies with a female ensemble. The racial subject matter is also pretty frank for the time. I mentioned slasher films before. Well, structurally this one is very similar so, in a sense, it's one of the earliest examples of what would become that subgenre. It's a very interesting movie with some good performances, clever direction, and bonus historical value.

This is a very unusual film, not least because Myrna Loy, best known for cheerier films, here plays an extremely sinister character. What is more surprising is that she is extremely convincing in that kind of role. There must have been another side to Myrna! Even more unusual, she plays an Anglo-Indian woman. For those who don't know, that means people who were born in India during the Raj who were half English and half Indian. The Anglo-Indians experienced a great deal of prejudice in India because they were not accepted by the Indians, being 'half-breeds', and were also looked upon as inferior by the English. Here, Myrna has a huge chip on her shoulder and is obsessed with resentment at having been treated in a humiliating manner at her boarding school by the other girls. She is, not to put too fine a point on it, dangerously mad. She is determined to get even despite the fact that it is so many years later. She tracks down the other twelve 'girls', now obviously women, and starts killing them one by one. I first came across this film under the title TREIZE FEMMES ('thirteen women'), and wrongly dated 1936, as a DVD release in the RKO Series by Editions Montparnasse in Paris. On its rear cover is the boast, in the form of a quote from Serge Bromberg: 'A rarity never distributed in France' (in French of course.). Well, things have changed, it is now widely available, as more and more forgotten old movies get released. Another reason for the French to get excited was that the film was directed by the French-born director George Archainbaud, who emigrated to America when he was 25 and became a director of 146 films, including the TV series THE LONE RANGER (1949-50), HOPALONG CASSIDY (1952-54), ANNIE OAKLEY (1954-57), and a host of other such Americana. He was therefore very drastically 'un-Frenched' in his new environment, something that the French find incomprehensible, fascinating, and also alarming. The film includes a somewhat subdued performance by Irene Dunne, who four years later would become an eternal icon for her starring role in SHOW BOAT (1936). Both Irene Dunne and Myrna Loy doubled up and played two of the other twelve girls who were minor characters, though this was not revealed in the credits. Another interesting feature of this film is that Myrna uses hypnotic powers to wreak her vengeance. Spell-binding stuff!

I looked forward to seeing this film on TCM. I was disappointed in what I saw. I've read that several minutes were cut from the original for censorship and other reasons and have never been restored. Even Turner who usually attempts to present features uncut and in as pristine condition as is humanly possible hasn't done much with this early talkie, even the sound was bad. So I have to go with what I saw. First, being an early talkie, many of the actors were still gesticulating and shouting their lines as if on stage or doing a silent flick. Particularly guilty of this was C. Henry Gordon who played a key character Swami Yogadachi. Fortunately for the viewer he is killed not long after the movie begins. The two future divas, Irene Dunne and Myrna Loy, do much better and appear very modern with their acting skills. Ursula Georgi (Myrna Loy) is sinister and evil to the core yet smiles like an adorable angel. Irene Dunne as Laura Stanhope plays the type role that she would perfect in later movies. Ricardo Cortez as Police Sergeant Barry Clive does a decent job in a role that isn't all that demanding.

Second, the writing is good with an intriguing plot: twelve former classmates of a boarding school are being killed off by rejected classmate number thirteen through the use of phony horoscopes. The plot should have enabled the story to move along at an even pace. Yet there are places in this approximately one hour film that are very boring. These boring stretches are broken by a few exciting moments. The trapeze scene is a dandy as is the final scene aboard the fast-moving train. Cinematography is exceptional in some places considering the age of the film, especially the final scene featuring Myrna Loy. Also impressive is the car chase sequence when the chauffeur is attempting to make a getaway with Laura Stanhope captive in the back seat.

Third, though the racial prejudice angle is bold and enlightening for 1932 when Hollywood was notorious for racial stereotyping, it actually only figures in at the very end of the movie in one extremely well-done and well-written scene when the two protagonists Ursula and Laura (Loy and Dunne) confront one another in a spell-binding moment of truth and retribution.

How long must we wait until a restored version of this film is released on DVD so we can make a more accurate assessment?

Spiritualism was a craze at the time this was made and hypnosis not really understood by the public at large something of which the scriptwriters took advantage. They concocted this wildly dated, at times preposterous and overwrought meller that if nothing else spotlights a couple of soon to be top stars.

This silly junk was one of Myrna's final Eurasian villainess roles. It's interesting after years of exposure to her as the perfect wife or the level headed, spunky All-American woman to see her in a role that was typical of her pre-stardom days, that of the foreign mantrap. She looks great but is far better than the part deserves. She is noticeably understated while most of the other performers over emote.

Made when sound was in its relative infancy many of the performers are still reliant on over-sized, distracting stage gestures. Irene Dunne starts the picture in subdued fashion but ends up as over the top as everyone else, she's been much better elsewhere. Same goes for Florence Eldridge, a very fine actress usually though she's overblown in this.

Full of actresses of note for one reason or another. Besides Myrna and Irene there is Jill Esmond, first wife of Laurence Olivier, Kay Johnson, a DeMille favorite and the mother of respected character actor James Cromwell and Peg Entwistle, the infamous and tragic actress who threw herself from the Hollywood sign in despair a few days after this film premiered, it's her only film credit. Except for the two leading ladies each only get a scene or two to make an impression.

Fun in a ludicrous way but aside from the cast this is a routine, if outlandish, programmer that were it not for them would be utter forgotten.