Amor prohibido

And that includes "Stella Dallas." Another character in this movie falls her "the world's best loser." She plays it well but it's a far cry from the jazzy characters for which she is probably most famous. When one talks about range, one has only to look at this or "Stella Dallas" (a better known but, in my view, inferior film) and then at "The Lady Eve" and "Ball of Fire." Not to mention "Double Indemnity"! She begins this as a wallflower. Children taunt her as "four-eyes." Even at her most poignant, though, nobody could buy that for the hardy Stanwyck. She goes on a cruise and falls in love. And, oh boy! What a mistake that is! A married man, a child -- and lots more. (She meets married Adolph Menjou on the cruise and the child is born soon after; so this is not giving much away.) Through all of it, she is stoic. She says she's happy but we know she couldn't be.

It's very well done by all concerned.

Stanwyck plays a kept woman for a married politician. Out of her sheer devotion to him she decides not to cause a scandal when she falls pregnant. Instead, she disappears, but no sooner does the politician track her down and the film gets swept away by the melodrama of a soap opera. But what a fine melodrama this is. Capra managed to take the fat out of the story and move through time in great leaps and bounds. This film is full of surprises and never sells out to the moral crusaders of the time. Further more, the characters are human, playful, you feel for them as the story slowly sucks you in until you have no choice but to go along with the melodramatic symphony that plays with your heart and mind.

FORBIDDEN is a passable soap opera from 1932 notable for it's pre-code bluntness about adultery and illegitimacy (the movie was not allowed to be reissued just three years later after the formation of the Hays code.) Barbara Stanwyck stars as a twenty-something young matron well on her way to spinsterhood in her dead end job as a small town librarian. After almost a decade on the job she has had Enough and closes out her savings account of its $1,200 and invests the works in glamorizing herself and a ticket to a Havana cruise. Though now chic and fashionable, her inner librarian is unable to break through and meet any men on the ship until her accidental meeting with a fairly soused Adolphe Menjou.

Stanwyck and Menjou become inseparable and soon blossom into a full-fledged affair that continues back in the states (apparently Stanwyck has moved to the city). Halloween night finds the couple with their own trick or treat - Stanwyck learns Menjou is married just as she was planning to let him know she is with child.

This soap was directed by Frank Capra who occasionally goes on board on directorial "touches" like shooting scenes with faces hidden or from unusual angles but his direction is generally admirable. Stanwyck is terrific as always and what a surprise to see Adolphe Menjou is a romantic lead. Though only 40 at the time, he always seemed older than his years and was seldom cast in romantic male leads during the talkie era. Ralph Bellamy is the third wheel as per usual but this time around he is a surprisingly unpleasant and creepy one as the coarse newspaper man who aims to bring politician Menjou down - unaware they both are interested in Barbara.

I'm surprised no one has mentioned the obvious parallels between this story and the far more famous Bette Davis picture NOW VOYAGER made a decade later - a homely woman transforms herself into a beauty and goes on a cruise ship to find love only to have her beau be a married man. The "church mouse" side of Stanwyck's character is abandoned early in the story but it might have explained why she held on for decades for just a part of a man's love. (This film is one of those which while only spanning twenty years has the characters looking ready for the old age home when they would only be in their late forties.)

Viewers might be aghast at Menjou's description of his wife as an "invalid" - Dorothy Peterson gets around mighty fine, if with the help of a cane but presumably this is a discreet illusion to the fact that their relationship is no longer physical given her condition after the car wreck. Also watch for an early scene showing the meanness of Bellamy's character as he hits an office boy's head with an apple core - the kid has to force a smile since it's his boss but when turned away he clearly mouths "son of a bitch" about Bellamy.

FORBIDDEN is not one of Stanwyck's better movies but it's entertaining and has several potent scenes from the excellent character setup of an young old maid on the way to work to the timid girl dining alone on a cruise ship to her final solution for ending Bellamy's hounding of Menjou and as such is definitely worth a look.

Be sure to bring a snorkel so you don't drown in all the soap suds. Okay, it's a weepy from beginning to end, but 30's soap opera doesn't come much slicker than this. LuLu (Stanwyck) has a tropical fling to relieve a humdrum life. The trouble is that she leaves as one but comes back as two, and the father (Menjou) is already married. So what is poor Lulu to do now that she's an un-wed mother and Dad has big political ambitions and a wife. It takes an hour and a half to find out.

Apparently, Columbia studios had the formidable Stanwyck pegged as a 3-hanky heroine since they kept casting her in these sudsy roles. On the other hand, it took hard-boiled Warner Bros. to bring out that tough-cookie inner person we all know and enjoy. Still, she runs the emotional gamut here in fine fashion, persisting from one heartbreak to the next.

Two scenes stick with me. There's an absolutely exquisite horse ride through scalloped fingers of surf filmed in incandescent b&w (Joseph Walker). Anyone doubting the continuing value of b&w should take a look here. The wonderful dreamlike quality serves as a perfect correlate to what Lulu feels during the romantic get-away, and cannot be duplicated in color, at least in my little book.

Then there's that hilarious scene in the newspaper office where the pot-bellied old "Mary Sunshine" explains his 'advice to the lovelorn' column to the new Mary Sunshine (Lulu). He's a hard-bitten old reporter who resembles the column's title about as much as Alfred Hitchcock resembles Shirley Temple. And when he tells her to read seven letters and throw the rest away, you just know the empathetic Lulu will read the whole stack.

Sure, the story hangs together about as well as a Rube Goldberg contraption, but who cares since it all goes down pretty smoothly thanks to Capra's way with a camera and a storyline. Then too, I'm really proud of myself. I got through the 90 minutes with just two hankies on the floor instead of the usual three.

The three principle actors are the best thing about "Forbidden" released in 1932 by Columbia Pictures. Like most pre-code films, it dealt more frankly with story lines like extramarital affairs and unwed mothers. Lonely Stanwyck meets an outgoing man (Adolphe Menjou) and falls in love, not knowing he is married. She tries to do the right thing, staying away from him, and then has his baby without his knowledge. Well, they meet again, are off and on again, all the while Menjou's political career soars, and he stays married, raising the child as his and his wife's. Stanwyck stays the "other woman" for decades. Then there is the sleazy newspaper man (Ralph Bellamy) out to get Menjou and destroy his political career, and is also hot for Stanwyck, who works for his newspaper. It all turns pretty sordid, to say the least. The film has its flaws, and the script at times jumps about, but Barbara Stanwyck is good in anything she does, and it was nice to see Adolphe Menjou actually playing someone who is actually in love (and rather sweet in his own way) and not a sleazy stage producer, which seemed to be his usual role in the 1930's! I had no idea the newspaperman was Ralph Bellamy - he is very young and good looking here, although a slime ball. But he too turns in a good performance. These films remain important because they remind of us a time when films were more honest and blunt in their dealing with real life situations - before the enforcement of the Hays Code in 1934. This film was directed by Frank Capra - who would direct Stanwyck in some of her most memorable roles.