Friends and Lovers

Cardboard sets on the back of the studio lot, a shocking opening scene between Menjou and Damita, terrible dialogue, poor structure, a plot i didn't care to follow and a cliche concept (love triangle). Menjou (from Paths of Glory) is fairly dreary, his camp cliche conversations with Olivier seemed to stretch the movie out interminably, quite a feat for a movie barely an hour long, and the woman is beautiful, but not really an actress. In truth, there is only one element which rescues this movie (and even then only the scenes this particular gentleman is in), and that is, or he is, Erich von Stroheim.

Nobody made being evil look as much fun as Stroheim. Von plays the scheming evil husband of Damita who blackmails her lover, Menjou, to do what i can't remember (even though i just watched it - which perhaps says something about the significance of the plot). Von gives this material the seriousness it deserves (not much), which ironically results in his saving the picture. He plays the husband as a broad comedy character, replete with evil laughter. I noticed him almost choking on some of the dialogue its so ridiculous, but there was also some really great fun dialogue in his scenes, which i can't really remember either, except this:

Menjou: Blackmail! Stroheim: Blackmail is such an... ugly word...

Stroheim (explaining why he's just read a love letter addressed to his wife from another man): I am a romantic. I enjoy reading other people's letters, doesn't everybody?

After the first scene when Menjou and Damita are alone together you've totally written the whole movie off as being able to be taken seriously - but when Von Stroheim appears as the malicious husband, which he plays with flair and humour, all of a sudden you feel this wonderfully trashy facade of a film is actually quite fun. And it is - mainly only Von's scenes and those that comedian Hugh Herbert, playing Menjou's servant, are in.

Little-known actress Lili Damita plays the woman every man in this picture is fighting over - and for once, i can understand all the fuss! She's absolutely radiant, really sexy. One of the most beautiful people i've ever seen. She has a racy shower scene where the side of her breast can be seen (i'm not kidding) and a scene where she's getting dressed. These are the luxuries afforded by a pre-code film (1930-1934 i think).

The down side to movies from this period is the cardboard-sets, talk-instead-of-cinema nature of them. Aside from the wonderful films of Lubitsch and anything Carole Lombard is in (and Riefenstahl's The Blue Light, perhaps), films from this period are quite poor. They've thrown away everything that was good about silent pictures, and haven't yet learned how to incorporate dialogue well, so what we have are filmed and edited stage plays.

Watch out for Lawrence Olivier at 24, in his third ever film, who's so slender, high-voiced and camp he's almost feline. This is not a significant film for anyone involved - the only reason it is notable is probably Olivier (if he's your cup of tea), being one of his first movies and probably his first major role.

This is the sort of film that got RKO Radio studios into financial trouble. It has a great cast: Damita, von Stroheim, Menjou, Olivier. The plot is predictable, and the story threadbare. I doubt if there were many more people in the 1930s who were turned on by this kind of melodrama as there are now.

A porcelain collector uses his younger wife to ensnare rich army officers, so that he can blackmail them. Two officers, serving in the British army in India, find out that they are both in love with this same woman. That is the plot in a nutshell. The saving feature of this film it to witness some pretty good acting performances. Apart from Hugh Herbert, whose Scottish accent slips like a postman in the snow and sounds about as authentic as the MacFarterchops tartan, the rest of the cast turn in some pretty good performances. Von Stroheim's performance is weird; but then again he is playing a weirdo. Menjou turns in a competent performance - as he always does. Olivier is subtle: you have to watch him carefully to fully appreciate what he does. The same can be said for Damita. Yes, it's great to have a sophisticated leading lady who doesn't mind getting her kit off; but watch her performance next to Olivier in the dining table scene. Further down the cast, the pair who play the general and his sister turn in good performances, too.

The performances of the cast rescue this film, which is of its time. It is watchable.

...in this pre-code drama from RKO and director Victor Schertzinger. Adolphe Menjou stars as Army Captain Geoffrey Roberts. He's been having an affair while on leave with married socialite Alva Sangrito (Lili Damita). Her aristocratic husband Victor (Erich von Stroheim) blackmails Capt. Roberts for money in exchange for keeping the scandal quiet. When Roberts returns to active duty at a dangerous outpost, he is happy to see his friend Lt. Ned Nichols (Laurence Olivier), only to later learn that Ned is in love with someone: Alva! The two nearly come to blows over her, but circumstances may make her the least of their worries

This aims for an adult sophistication but often comes across more sensationalist and juvenile. Damita's character is barely more than a prostitute, and she gets a nude shower scene and some lingering dressing scenes. Olivier hasn't found his voice yet (this was made during his initial attempt to become a screen star, and before he became a stage triumph back in England), and von Stroheim alternates from reveling in his sadism to barely trying to get through his lines. Menjou is a smooth charmer, as usual. Fans of the performers should take a look, as well as those who enjoy seeing the pre-code boundaries pushed.

This is a wonderful pre-code pot-boiler with sterling performances from it's lead players, plenty of action and the man "You Love to Hate" Eric von Stroheim, at his most repellent best.

Look out for the outstanding shower scene for Lilly Damita, and listen to the sonorous magic of Laurence Olivier's voice, both reason enough to watch this little-known piece.

At 64 minutes, the most fun you can have in an hour of black and white.

Despite my low rating I must admit to really enjoying this creaky melodrama. The vote is because it's all very formulaic, stilted and stiff. Concepts of love and honor reflect Victorian morality which in itself was utterly unrealistic or even very real. I suspect that even today some people might be shocked to find a woman in a man's bedroom after hours and icily ask her to leave the house even though they were fully clothed but such mastodons were and luckily still are few and far between. But I digress. In the film it was necessary to spur our protagonists into yet another display of manly brotherhood and selflessness and to bring this sad example of bad movie-making to its not altogether unpredictable conclusion.

So what's to like? How can one not enjoy Adolphe Menjou, the epitome of the suave knave, paired off with Laurence Olivier in his fourth film, both doing their best with the weak material to steal their common scenes. It was delicious! Both were magnificent, both were divine and it was so much fun to watch. Especially memorable are the scenes where Olivier describes the cut of coat collar with a swoop of his hand that is pure Sir Laurence. And lets not forget Lili Damita who made up for her utter lack of talent by sensuously gliding through her scenes in her tight fighting, low-cut dresses, seemingly barely able to keep herself from devouring her next male victim.

Oh what a fun way to spend 68 minutes!