The Cheat

In this movie Tallulah Bankhead falls into the clutches of a lecherous man - honest, you can watch it yourself if think I'm fooling. But, of course, this was a movie. In real life, if we are to believe tradition and gossip, Tallulah would have eaten this stiff for lunch and not missed a round of drinks.

Anyway, she may have been lucky in love but in this picture she was unlucky at cards and ran up a huge gambling debt. The stiff in question, played by Irving Pichel in a sinister turn, offers to bankroll her - and you can guess the price of his largesse. Harvey Stephens plays her trusting doofus husband who buys any excuse she gives him.

"The Cheat" is an interesting melodrama which becomes less so toward the end. It's OK, but the best part is that it gives you a chance to see TB in a starring role and judge her talent for acting for yourself. She gives it her considerable best and chews the scenery at the appropriate intervals. Since she was primarily a stage actress she didn't make that many movies to judge, so watch it if you get a chance.

This is brilliant! If you love a crazy melodramatic story with larger than life characters and larger than life Tallulah Bankhead, then this is for you. It's everything you could want from a pre-code movie.

This is one of those pictures where you know exactly what's going to happen but actually revel in anticipation of what you know is going to be fabulous fun. Its plot has laser guided focus, its characters are instantly recognisable; it's a brilliantly written, brilliantly acted melodrama. This is one of those films where the clichéd characters and its inevitable corollary add to your enjoyment but even though you know what's happening next, it still has more than enough tension to keep you on the edge of your seat.

Some have criticised this for being too theatrical. Well director George Abbott was a top Broadway man and obviously the theatre was Miss Bankhead's natural home so this does have a theatrical feel. Often that criticism means stagnant, stagey and talky - but not in this case. This is 100% movie with beautiful photography and perfectly fluid transitions from scene to scene which escalate at a perfect pace to one of the most exciting denouements imaginable. This is how to make drama. This is how to make a film. This is how to make entertainment.

What makes this so fabulous is its star: the amazing Tallulah Bankhead. She's in every scene and you can't tear your eyes away from her for a single second and want to savour every single word she speaks. Her screen presence is utterly captivating. She's not pretty-pretty like Loretta Young or cute-pretty like Joan Blondell. No, she's pure, grown-up sex on legs. In real life she was apparently ten times more sexually voracious than the Tallulah we see in this. The real Tallulah would have laughed off the scandal she tries to avoid in this story so in some respect, her screen persona is a diluted version of herself. Even so, she absolutely sizzles with sex. It's an amazing performance in an amazing film.

Not Tallulah's best film however - that's DEVIL AND THE DEEP....even brillianter!

Two people who did little work on the big screen and were primarily stage folks, director George Abbott and actress Tallulah Bankhead collaborated on this remake of Cecil B. DeMille's silent classic, The Cheat. It was so watered down that it could have been called The Occasionally Indiscreet.

Tallulah is married to Harvey Stephens and they're both of the upper classes and enjoy the privileges therein. It's Stephens who makes the money and Tallulah who spends it.

She loses a fortune in 1930s worth of $10,000.00 at the gaming tables. She's not able to go to her husband, the money to pay the debt comes from the wealthy Irving Pichel. And he wants to collect the debt in his own way, the same kind of indecent proposal that Robert Redford had in mind in that film.

Half of the drama of The Cheat is lost when we lose the racial component of the original DeMille film. Fannie Ward and Sessue Hayakawa played the roles that Bankhead and Pichel play here and back in the days of miscegenation laws the idea of a wealthy white woman becoming the bought for mistress of an Oriental merchant was shocking indeed in 1915. As a result this film is dependent on the skills of its players, especially Tallulah Bankhead who was certainly one unique personality.

Although Bette Davis was great and The Little Foxes is one of her top five performances in my humble opinion Tallulah who created the role of Regina Hubbard Giddens on stage would have really been special. That and so many other Bankhead performances were lost. If you want to see her at her best make sure to see Alfred Hitchcock's Lifeboat.

This sound version of The Cheat is all right, but nothing special.

The ever-mesmerizing Tallulah Bankhead plays herself - a sassy, brassy flapper who has a wonderful handsome husband who loves her, but she wants more, more, more. During the Great Depression, he can't make enough money to afford her luxurious habits. Not only that but she has gotten in way over-her-head with gambling debts - what's a girl to do? In steps Hardy Livingstone, a smooth talker who has an Oriental obsession - as his house, servants, decor and parties all illustrate. He offers to help out with the debt but at a very high price. Nothing you haven't seen before but Tallulah really elevates this to a very enjoyable level, let's face it, she could read a prayer book and make it sound dangerous and sexy. Racy pre-code fun from 1931!

I found this film quite absorbing with a showy performance by Bankhead. She plays the "out-of-control" wife of a loving and up-standing young man (Harvey Stephens). Her gambling debts get her in hock with an untrustworthy admirer (Irving Pichel). Pichel's penchant for the more bizarre aspects of Oriental culture colors his and Tallulah's relationship into multiple arms of scandal. There is a great climax court room scene wherein Bankhead hams it up wonderfully. I'll say nothing more than that "sizzling flesh" is involved here. It must be seen to be believed. The photography and direction is nicely done and for a 1931 film everything moves along quite admirably.