Amor prohibido

"Forbidden" is no doubt pure melodrama. Frank Capra, its director expressed in his autobiography, that he " should have stood in bed". Fortunately he didn't because although the story is "soggy and 99.44% pure soap opera", using his own words, it still retains powerful moments and excellent interpretations from its main actors: Barbara Stanwyck and Adolphe Menjou. Their first meeting at a cruise to Havana, with Menjou so drunk that he ends in a wrong cabin (number 66 instead of 99) where Stanwyck, bored and happy to encounter somebody, is one of many moments where Capra's talent is evident. Raplh Bellamy is also fine as the managing editor of a newspaper, where gossip is always welcome. No doubt that this early talkie, with some flaws or doubtful situations, still partially conceals that behind the camera there is one of the masters of cinema: Frank Capra. I clearly recommend not to miss this imperfect but valuable movie.

Stanwyck and Menjou are on top form here, a real pleasure to watch, and the camera-work is exquisite; the story/pacing is weak in places but you won't mind this much (perhaps hardly notice) unless you're immune to the former. The film depicts, over a period of about 20 years, a complex clandestine love-relationship between the two leads, leaving some space for individual interpretation - not at all like most films made under the appalling thirty year tyranny of the Hayes code introduced a couple of years later. Forbidden is a serious, thought-provoking and often very moving film, with careful, 'arty' composition and psychologically-loaded lingering shots, but it also contains moments of melodrama (not in bad way) and humour (laugh-out-loud but quirky, not slapstick). Highly recommended, along with Capra/Stanwyck's The Bitter Tea of General Yen, made the following year. I give it a 7 - reluctantly, in my effort to be objective with regards to the story. I watched it on the big screen and I 'felt' it as an 8.

What struck me about this film is the fact that although the story spans about 20 years, the hairstyles, clothes, cars, furniture and general infrastructure remain steadfastly "1932" throughout. Makes me wonder why they didn't start the film in 1912 - budget concerns over the cost of 1912 production values? Anyway, this melodrama is pretty routine for its time - contrived, fast-moving plot structure dealing with "naughty" subject matter, in this case cohabitation outside wedlock and its consequences. Barbara Stanwyck, Adolphe Menjou and Ralph Bellamy are all quite arresting in their roles and there are some nice turns of dialog and at least one memorable camera angle during an emotional scene in which the only visible part of Stanwyck's face - mostly concealed behind Menjou's shoulder - is the area around her right eye, filmed through the spaces between balusters on a staircase. Whether this scene was meant to reflect the shadowy nature of the couple's relationship or just a way to make the scene more fun to watch, it's a standout.

Here's Forbidden in a nutshell: one-third Back Street, one-third Stella Dallas, and one-third Always Goodbye. And, considering that it came out the same year as Back Street, it doesn't seem to be the most original story in the world. On the other hand, if you like those three movies, you're almost guaranteed to like Forbidden!

Barbara Stanwyck starts the movie as an old maid, bespectacled librarian. Then, in the style of Queen Latifah in Last Holiday, she gets a makeover, quits her job, and closes out her bank account to spend her nest egg on a lavish vacation. While on that vacation, she meets and falls in love with the charming Adolphe Menjou. Their romance in the first part of the movie is so adorable! They have a wonderful natural chemistry with each other, and their situations are sweet and playful. For example, they each take turns miming their gifts of love while the other one claps; Adolphe presents a bouquet of flowers, and Barbara shows him the dinner she's made.

Since that's the beginning of the movie, the audience can expect a conflict. When Adolphe gives her the bad news, it's a tearful scene, but it isn't the end of their romance. The rest of the movie shows how they deal with the obstacle and how through it all, true love is the most powerful force. Sentimental folks will love this one. Film students will also want to check this one out, since director Frank Capra shows off his impressive framing skills in several scenes by placing the camera in interesting places.

And that includes "Stella Dallas." Another character in this movie falls her "the world's best loser." She plays it well but it's a far cry from the jazzy characters for which she is probably most famous. When one talks about range, one has only to look at this or "Stella Dallas" (a better known but, in my view, inferior film) and then at "The Lady Eve" and "Ball of Fire." Not to mention "Double Indemnity"! She begins this as a wallflower. Children taunt her as "four-eyes." Even at her most poignant, though, nobody could buy that for the hardy Stanwyck. She goes on a cruise and falls in love. And, oh boy! What a mistake that is! A married man, a child -- and lots more. (She meets married Adolph Menjou on the cruise and the child is born soon after; so this is not giving much away.) Through all of it, she is stoic. She says she's happy but we know she couldn't be.

It's very well done by all concerned.