The Matrimonial Bed

The complications in this plot are myriad. This was a very funny movie. The plot was truly improbable. It probably started as a French stage play. The ending was the only real way out for Fay and I suppose was inevitable. The relationship complications were remarkable and are what made this flick memorable.

Juliet Corton (Florence Eldridge) had remarried to Gustave Corton (James Gleason) after her previous husband was assumed killed in a railway crash five years earlier. She is shocked with her new hairdresser Leopold Trebel (Frank Fay) who looks exactly like her late husband. He doesn't remember anything before five years ago after a train accident and has married Sylvaine (Lilyan Tashman) since then.

Frank Fay is playing the character as an effeminate gay. The joke is that he refuses to accept it and doesn't remember himself. The movie keeps making suggestive allusions. It's tricky. I'm not laughing at the gay jokes or the general premise. I'm sure that it's funny to some people. This is pre-Code and based on a French play. It's a gay farce and I'm not sure if it's funny.

This stagey adaptation of a French play is fairly creaky but still provides the occasional chuckle as Frank Fay essays a double role as a husband missing with amnesia for five years. When he turns up on his 'widow's' doorstep one day as a trendy hairdresser, complications ensue. Harvey Thew's screenplay has a decent number of double entendres but is surprisingly restrained with the homoerotic subtext--especially when Fay is discovered in bed with James Gleason! Nicely though somewhat statically directed by Michael Curtiz, The Matrimonial Bed also features some nifty set design and a few memorable shots in silhouette.

Everyone else commenting on this film prior to myself did so between Dec 30, 2003 and early January 2004. That would lead me to believe that everybody saw it on TCM during that timeframe - and not before and not since. That's a shame, since it is a very unusual and unique precode. So, when WHV says there is no real demand for many of their precodes on DVD they should remember that it might be because few people have ever seen them.

This film is a French farce, but the pace and dialogue are very characteristically pre-code Warner Bros. Leading man Frank Fay is unremembered today, and he had a meteoric rise to fame courtesy Warner Bros. and matching meteoric fall courtesy the public's response to his films. Watching him today I just think he was given the wrong kind of roles. I think he pulled the part off of the amnesiac hairdresser very convincingly with just the right balance of comedy and pathos. It is quite touching when he realizes that he has been considered dead for five years and that his wife is lost to someone else whom he strongly dislikes and he sings "their song" to her just once more in an attempt to woo her back. However, Mr. Fay was not a dashingly handsome man, and I think the fault lies at the feet of the Warners for trying to turn him into a musical comedy version of Clark Gable. The absolutely most tiresome part of this film is all of the women in the film who knew Fay's character before his "death" in the train wreck declaring "What a man! What a man!" whenever they look at his portrait. There are title cards at various points in the film declaring the exact same thing just in case the audience forgets what a desirable hunk of man Fay is supposed to be.

Lilyan Tashman lends strong support as the first wife's current best friend and also as the lover of Trebel (Fay) the hairdresser, not knowing he has a previous identity. The catty rivalry between Tashman and the wife's maid (Marion Byron) is priceless pre-code stuff if only we could forget who they are fighting over (Fay) - it is too much of a suspense of belief. James Gleason still has some color in his hair as he plays the second husband of Trebel/Noblet's first wife, one who greatly resents all of the "What a man!" comments. Here he shows what made him one of the great character actors of the 30's and 40's.

P.S. did anyone else notice that when Fay and Gleason finally have a showdown and strip down to their underwear to duke it out that they are wearing exactly the same underwear?? It is as strange as the elephant with the question mark painted on it in "Manhattan Parade", another Warner Bros. precode that has had only a few airings on TCM as far as I know.

This entertaining and racy early talkie(1930) is a farce about a man with amnesia who thinks he is a chic hairdresser. He is hired to do the hair of a wealthy Paris matron, who it turns out is his actual wife who has since remarried, assuming her husband had been killed. The hairdresser's lost memory is easily recovered in an absurd hypnosis and he demands the restoration of his wife from her new husband. The movie has loads of gay jokes as the hairdresser/ husband played by Frank Fay camps up the hairdresser persona to differentiate himself from the personality of the husband.There are lines like- "I may be a hairdresser but that doesn't mean I hold men's hands" And when he asks what manner of person was he as the hairdresser, he is told, "You were gay, a bit dandified" This is the earliest use of the word gay, with its somewhat current meaning, in the movies, that I can recall, predating "Bringing Up Baby"'s famous line("I went gay all of a sudden") by eight years. There is also a farcical moment when the hairdressers new wife(who makes a belated and not too plausible appearance) catches her husband in bed with what she expects is another woman. She snatches off the covers and exposes her husband with a man. She wails,"What kind of house is this?" There are many entertaining moments with Lilyan Tashman as an aggressive family friend who openly lusts for the hairdresser and Beryl Mercer as the cook who worships her former "Master". The ending is less than satisfying but it is all so silly that it doesn't really matter. Frank Fay does well as the effeminate hairdresser but is less convincing as the rejected husband. He also sings, not very well, a pretty tune that the studio must have been plugging. Worth catching.