The Flirting Widow

Long-forgotten release from First National Pictures has a fairly hoary plot, but will surely be of interest to fans of sassy Dorothy Mackaill, real-life Ziegfeld Follies star who attained quite a following in the late 1920s. She has the lead here, playing a woman who invents a lover after her family pressures her to marry. Despite the presence of Dorothy (mercurial as ever) and co-star Basil Rathbone, there's not much excitement in this flimsy scenario. Film-historians and movie buffs of the Pre-Code Era might take a look. Still, the only funny line comes when a nerdy gentleman remarks to Mackaill, "You almost look like a man." She tells him, "So do you...almost." *1/2 from ****

In (someone's) old custom, the eldest sister had to marry first. But this really held things up for the other sisters, who may have already found their desired mate. And younger Phyllis (flora bramley) has found her man, Bobby (anthony bushell). So they hatch a scheme to marry off Celia, the older sister (dorothy mckaill). But Celia has some tricks of her own up her sleeve. The picture quality is pretty rough, an everyone is wearing SO MUCH face makeup. The sound is fine... and of course, this film is almost 100 years old, so we're lucky to have it in any condition. When a military man (Basil Rathbone) arrives at the front door, a huge monkey wrench tossed into the works. Rathbone had been knocking around hollywood for ten years, but hadn't started playing Sherlock Holmes yet. The story is rather silly, some scenes just go on waaaaay too long. When the mother goes into hysterics, that scene just goes on forEVER. And when they talk about going out or leaving, it takes FOREVER to actually do it. So much blathering. Started with a good premise, but the story needed jazzing up. Directed by Bill Seiter. Novel by british author A. Mason, probably best known for Four Feathers. THAT one keeps getting remade, first as silent films, and several times as talking pictures.

Far-fetched but amusing drawing-room comedy about an elder daughter (Dorothy Mackaill) who fakes a marriage engagement in order for her younger sister to marry, thereby avoiding having to wear "green stockings" at her wedding. The tradition is that younger daughters may not marry unless their older sisters have.

But Mackaill is determined to stay free so she fakes a letter to her nonexistent fiancée that she just invented (Basil Rathbone), but it gets mailed by accident. After posting a phony obituary in the paper, who should show up at the country manor (after receiving the letter in Arabia) but the fake fiancée pretending to be a friend of the deceased.

Lots of cat and mouse games and verbal sparring between Mackaill and Rathbone makes this an amusing comedy. One character has the silly name of Raleigh Raleigh who gets introduced to Rathbone and says "I'm Raleigh Raleigh" to which Rathbone replies, "Really? Really?" In Mackaill's opening scenes she dressed in a sweater and tweed skirt, her hair slicked back in a mannish cut. Raleigh (the typical English silly ass character) says to her, "You know, in that outfit you almost look like a man." She turns, eyes him up and down and retorts,"You know, in that mustache you look like a man ... almost." British born Mackaill doesn't have an English accent in this film set in England, which is odd. But she's very good and astonishingly gorgeous. Rathbone is fun as the faux fiancée.

Emily Fitzroy is hilarious as boozy Aunt Ida (who's in on the charade). Others include Leila Hyams as Evelyn, Flora Bramley as Phyllis, Claude Gillingwater as the father, Anthony Bushell as Bobby, William Austin as Raleigh, and Wilfred Noy as the butler.

There's an odd moment of censorship in a scene where Rathbone is putting a watch on a chain around Mackaill's neck. It slips into her cleavage. Rathbone leers as he watches her try to fish out the watch. He's says something that is blanked out, but Mackaill turns and responds sharply to whatever he says.

Certainly worth a look to see wonderful Dorothy Mackaill in her early talkie period.

I enjoyed this so much I'm going to watch it again.

This is not something I ever thought I'd hear myself say but Basil Rathbone is hilarious! Neither can I believe that I actually laughed out loud at something written in the 1920s!

This is that rarest of things: a filmed stage play that's actually a proper film. So many early talkies look like they were made by someone just nailing a camera to the end of a stage, telling everyone to speak really slowly and hoping for the best. The acting is usually theatrical and stagey with the staging being static and stilted. But no, not in this; they do the impossible - take a stage play, keep the structure but make it into a genuine picture. Its style is very old fashioned but that just adds to its old world charm.

If you like a good old fashioned farce, whether it's The Aldwych Farces, Don't Just Lie There or the Carry On films, this should appeal to you. I'm genuinely surprised just how funny this is. Apart from The Marx Brothers, some Eddie Cantor and a handful of Laurel and Hardy films, I find a lot of American comedies from this era loud and crass and apparently made for simpletons. This isn't particularly classy and is hardly sophisticated but has a weirdly modern sense of humour. Acting, pace, presentation, dialogue and story are just right. Until ARSENIC AND OLD LACE came along over a decade later, I don't think I've ever seen a stage play so skilfully transformed into a motion picture.

There's none of that unnatural theatrical acting style here, except for comic effect. A lot of the characters are over the top caricatures as you'd expect in a comedy but everyone acts and talks like real people....sort of....it is still 1930 after all. As I said, Basil Rathbone, perhaps because you don't usually associate him with comedy is brilliant but so is Yorkshire lass, Dorothy Mackaill who has real comic timing. She made the transition absolutely seamless from silent acting style to acting in the talkies. You could imagine her in any modern drama or sit-com. She's also very pretty and without flaunting herself at all, she somehow exudes a sweet understated sensuality - and she's such a cute smile!

OK, this is not a classic, it's probably not in anyone's all time top ten but now it's definitely going into my top fifty. Well made, well acted and great fun.

...because I think "The Flirting Widow" is an early talkie delight, practically an ancestor of the screwball comedy. The setup of the story is this - Faraday (Claude Gillingwater) is an English gentleman with three daughters. The middle daughter has already married and now the youngest daughter,(Flora Bramley as Phyllis), wishes to marry Bobby (Anthony Bushell). But Faraday is old fashioned, the type that believes daughters should marry in order of age so that the older unmarried sisters are not branded spinsters. Faraday breached this law once, but he won't do it again for Phyllis. Celia (Dorothy McKaill), the oldest must marry first. Unfortunately, Celia dresses in drab manly fashions and even wears her hair slicked back like a boy, has no suitor and wants none. Her family hasn't made it easy for her to socialize either, because with her mother deceased, it has pretty much fallen to Celia to organize the servants and make sure all of the household supplies are purchased and paid for.

When Celia returns home from a house party she has been to and hears Phyllis' problem, she comes up with an answer. She claims she has become engaged to a fictitious Colonel she met at the party, and he has sailed that day with his regiment to Arabia. What Celia plans to do is wait until Phyllis is married and then place a death notice in the papers saying her fictitious fiancé has died in combat. In the meantime, being engaged, she is now free to socialize like the younger daughters, she spruces up her wardrobe, literally lets down her hair, and becomes the attractive Dorothy McKaill we are accustomed to seeing.

But her female relatives are too nosy. They demand she write "Wobbles" - her fictitious pet name for Colonel "John Smith". She does and thinks that she has tossed the letter into the fire. What she doesn't know is her sisters do her a favor, look up Colonel Smith (Basil Rathbone) in the military registry, and mail the letter for her. Yes, Col. Smith actually exists, receives this letter from the fiancée he did not know he had, and is so intrigued that he decides to meet Celia in person. Imagine his surprise to find, when he reaches the Faraday home, that he is not only engaged, he is dead too! Dorothy McKaill did not surprise me here - she's always been able to project a range of emotions. The real surprise here is Rathbone who proves himself very able at comedy. Emily Fitzroy, who usually plays wicked older women, is hilarious as Celia's aunt Ida who means well but has a weakness for brandy. If Claude Gillingwater had lived longer and been a tad bit younger, he would have played the kind of roles that Charles Coburn got later on.

The only thing that hurts the film is the pace is just a bit slow - but not bad at all if you realize that pacing was one of the things with which all of the early talking films had trouble. Highly recommended.