Operator 13

Marion Davies is unbelievable as a spy behind Confederate lines who falls for Confederate spy Gary Cooper.

The black stereotypes are normal for the time, but now hard to take. The main interest to me are the women's costumes by Andre, especially those in the ball scene.

Although there are some blinkered reviews here,this is actually an enjoyable Civil War movie.Marion Davies acquits herself well as an Union spy in two guises:Initially as a mixed-race maid(Of French lineage from Martinique!),and latterly as a supposed Northern Sympathiser of the Confederacy.She is appealing in both roles. Gary Cooper also gives a decent performance as the Confederate Captain/ Counter-Spy who seeks to apprehend her and becomes her Paramour.Even though this is not exactly his strongest career role! Add to this a stalwart supporting cast(including Jean Parker as a Southern Belle),and some fine atmospheric cinematography:Note the early morning "fishing" scene,and also the Romantic interlude with Gary Cooper pushing Marion Davies on a sizeable swing as she sings the nice "Once In A Lifetime".This is one of several songs sung by her or the Mills Brothers. Approach this Film with an open mind and you may well find it entertaining!

Civil war story with Marion Davis as a Confederate spy disguised as a slave. Not politically correct by today's standards ("Negroes always gossip" is one of the more controversial lines from the script), but it does prove that Marion Davies was a competent actress when given the chance.

Operator 13 (1934)

** (out of 4)

Extremely bizarre and rather choppy Civil War drama about actress Gail Loveless (Marion Davies) who goes to work as a spy for the Union. Once undercover, as a black maid, she begins to have feelings for a Confederate soldier (Gary Cooper). Once again Davies lover William Randolph Hearst put the money up for this production and half way through the making he had director Raoul Walsh fired even though he had made GOING Hollywood with Davies a year earlier. A new script was written and the rest is history but in the end this turned out to be one of the strangest dramas from this era. I might go even further and call the film a complete and utter embarrassment and a horrid excuse for entertainment but the thing is just so strange that you can't help but be entertained by it. The first thirty-minutes has Davies in some very bad blackface make up as she's undercover as a maid. Davies wasn't a newbie to blackface but the make up job here is so light skinned that you can't help but laugh at the thought that this make up job would be able to fool anyone in discussion with her and that includes Cooper's character. This is a drama yet Davies plays this maid role as some sort of comedy with the bad accent, which again doesn't sit well with what the film was going for. Not to mention that whoever was doing the make up forgot to paint her palms so they're constantly white. The second half of the film really doesn't get any better even though we do get a few battle scenes but none of them are all that interesting. Even worse are various musical sequences which come out of no where and will have you wondering if the Civil War was an actual war or just one big concert. Add in the bad direction and rather bland performances and you've got a movie that really needs to be rediscovered and held up as a cult classic. Even Cooper can't save this mess but he does add some charm to an otherwise crazy movie.

Well if you thought that "Batman" had a poor disguise, just wait to you see Marion Davies in this quite entertainingly predictable American Civil War adventure. "Gail" has been recruited by the original Mr. Pinkerton to act as a spy for the Yankees down amongst the Johnny Rebs and so blackens up, sports a washer-woman's garb and adopts an accent that is supposed to help her pass as a serving wench. Luckily for her, those she is spying upon are not the sharpest bayonets on the gun, and pretty swiftly she has ingratiated herself with their deadly foes but along the way taken a bit of a shine to "Capt. Jack" (Gary Cooper). When she returns for a second bite at this intelligence gathering cherry, only this time looking more like something from a Parisian ballroom, she realises that her enemies are not quite so thick as she'd thought. Can she escape in time? Can she ever be with her true love? Unless you don't actually know who won this particular conflict then there's precisely no jeopardy at all here, but along the way there are some daft escapades, a few musical numbers and just enough romance to give Cooper a chance to show he's not quite as wooden as the picket fences they are shooting from. Davies is game, especially at the start but like most of the rest of the cast here, is rather swimming against a tide of low-budget blandness and some 1930s racist stereotypes. These don't sit so well nowadays, but watching near century old films with modern day attitudes can often be unrewarding, so it's best to remember that if you're going to give this mediocre ninety minutes a go.