The Impatient Maiden

Coming between the horror classics FRANKENSTEIN (1931) and THE OLD DARK HOUSE (1932), this is all the more disappointing for a Whale movie; in fact, I would say it is even drearier than his worst-regarded effort i.e. THEY DARE NOT LOVE (1941)! The film seems undecided whether it wants to be a comedy or a drama: second leads Una Merkel and Andy Devine are positively irritating but, then, protagonists Mae Clarke and Lew Ayres – both off acclaimed dramatic showcases, she in Whale's own WATERLOO BRIDGE (1931) and he in the Oscar-wining WWI masterpiece ALL QUIET ON THE WESTERN FRONT (1930) – do not exactly set the screen on fire (incidentally, his doctor role proved prophetic since he would eventually incarnate Dr. Kildare in a long-running series of 'B' pictures!).

To be fair to it, though, the narrative is very typical of the time – with Clarke a secretary in an office dealing with divorce cases (a timely and very hot topic over here at the moment, since Malta is one of only 2 countries in the world which has still not implemented it!) who yearns for romance. She meets Ayres when he is called to pick up an attempted suicide at her tenement house, but their relationship runs far from smoothly…while her dumb pal Merkel falls head-over-heels for his gawky nurse Devine! The trouble concerns both her ageing but suave employer John Halliday's attentions (he even buys her a swank apartment and there is a suggestion that he seduces clients as well!) and Ayres' low income (he is still a student); of course, the two eventually get together in melodramatic fashion – when he has to operate on Clarke due to her suffering from acute appendicitis! Incidentally, despite the title, along the way it is Ayres who does most of the pursuing – in one scene, he phones her up twice in the middle of the night (from an uncredited Walter Brennan's bar!) after having just been with her and then presents himself at her doorstep yet again!

Unfortunately, the copy I acquired is of very poor quality – being generally hazy and missing frames, as well as featuring picture loss and extremely dark night-time sequences; that said, it ran some 7 minutes longer than the official 72-minute length given on IMDb: go figure!

Although I have always thought Lew Ayres was a fine actor, here he's one of his worst films...mostly because the script is rather second- rate. I also found Una Merkel (again, someone I usually like in films) played a rather annoying character. As a result, I think it's a movie you could easily just skip.

When the film begins, Ruth (Mae Clark) and her dopey friend (Merkel) meet a dopey ambulance driver (Andy Devine) and a young doctor working on his internship at the hospital (Ayres). The Doc and Ruth fall for each other...but their relationship later sours. Towards the end of the film, Ruth is dying and apparently there's no one else in the entire hospital who can operate on her other than her ex-boyfriend, the Doc (it was JUST an inflamed appendix)!! Will she pull through...and will we care?

Una is clearly there as comic relief and her character just comes on way too strong with the stupid act. Fortunately, she's mostly in the first half of the film. As for Devine, he's actually pretty restrained and much better in the same sort of role. But the plot is so soapy and silly that I never found myself caring much about what happened to Ruth or any of them. A misfire.

Mae Clarke works as a secretary to divorce lawyer John Halliday. When her apartment mate Una Merkel smells gas, Miss Clarke finds that the pregnant woman in the next apartment, who has been abandoned by her husband has tried to kill herself. Miss Clarke smashes the window and summons an ambulance. Doctor Lew Ayres shows up and they soon fall in love, but he's years from being able to marry, and she's seen too much of failed marriage, so they part.

It's a depressing soap opera for the Depression, and everyone hits the right notes. Director James Whale seems to have been trying for a British stiff-upper-lip attitude among the characters, but it offers an air of anomie and helplessness, as does the decision to have DP Arthur Edeson run a lot of traveling shots right through walls in a god-like and uncaring fashion. Perhaps it's that dispassionate attitude that made this movie less than compelling; if the characters viewed their own lives as machines to be run for optimal living, regardless of how they felt, how can the audience invest anything more than a vague pity in these poor fools?

What an odd film for James Whale to follow up "Frankenstein" with!

This is a strange little romantic drama, about a woman in love with a young doctor. Because he can't support her financially he leaves her,and she becomes a "kept" woman when she takes up with her wealthy lawyer boss.

At once cynical and romantic, it's hard to work out what the point of the whole thing is. Una Merkel is lots of fun though, and Ethel Griffies nearly steals the picture. And the young and beautiful Lew Ayres is lovingly filmed by Whale. The film also demonstrates what a fine actress Mae Clarke was, and how she deserved better material as she grew older.

In all an unusual and entertaining film from a great director, but also a baffling one.

Clara Bow, the famous sexy flapper, was on her way down as a movie star. Universal was able to arrange with Paramount to get her on loan. Universal had bought the rights to a novel, 'The Impatient Virgin", which, back then, was very juicy, practically pornographic. (It wouldn't be now). Universal expected to make a fortune with that combination.

When she saw the script, La Bow bowed out. Too sexy. The script was made especially for her. Bow was a oner. Exeunt Bow, exeunt the story.

When the script, which followed the book closely, was submitted to the MPPDA, the self-censoring body of the major studios, the organization immediately banned the word 'virgin'. They suggested 'maiden' instead.

They advised against nearly the entire script. The film was assigned to two other directors before James Whale was forced to direct it. He didn't want to, he wasn't interested in it.

The Hays office, which is the MPPDA, advised them to take the heat out of the script. They did. It became a different story, and there was not a single scene in it which was actually hot. (There is a seduction. I won't say if it came off or not).

Whale didn't get along with the star, Lew Ayres. Ayres had made a bunch of movies in the last two years, but he still didn't know his craft. Whale never gave him any advice. He hardly spoke to Ayres.

Still the film garnered some friction. A censor board cut out the main part of the appendectomy scene. It said the seduction was all right.

The film died a quick death, did not get much business in the big city venues, was not re-released, and never made it into Europe.

The review from the New York Times, titled 'A Naive Melodrama', by A. D. S., March 4, 1932 says in part:

Everything it has to say is in the title.

On the whole there seems nothing James Whale, the talented director of "Frankenstein" and "Journey's End," could have done about this one.