The Purchase Price

This peculiar but interesting drama has Barbara Stanwyck as a weary nightclub torch singer with a "who cares?" attitude. To escape her underworld boyfriend, she decides to hide out in the bleak plains of North Dakota as a mail-order bride. As her shy farmer husband, the normally debonair George Brent is almost unrecognizable in a pair of overalls, but gives a sensitive characterization. The bulk of the plot follows the growing feeling between the reserved ‘country mouse' and the tough ‘city mouse', complicated by several villains. Tough guy director William Wellman keeps things moving at a clip, and uses his low budget wisely to stage several good set-pieces, including a drunken shivaree for the happy couple. In the supporting cast, Leila Bennett stands out as a plain-talking maid.

Of course this delicious tour-de-force is totally incredible... but WOW! You can't take your eyes off the screen in case Wellman gives his heroine whiplash as she moves from plushly-kept woman in Manhattan to mail-order farmer's bride in North Dakota. From take-out at Tiffany's to hauling coal nuggets 20 miles through a blizzard. From igniting the lust in men with her daring chanteusing to putting out the fire villains set to her and hubby George Brent's last-hope crop of wheat. All in just over 60 minutes!

THE PURCHASE PRICE is one of ten films Barbara Stanwyck for Warner Bros. in the early 1930's when she was under non-exclusive contracts to the studio and Columbia Pictures. The Columbia films are often quite good, several of them directed by Frank Capra, but most of the Warner Bros. she made in this period are little more than potboilers, films rarely running over 70 minutes with few ambitions. This title is among Stanwyck's weakest films although it is raised immensely by a typically fine Stanwyck performance making it much more interesting and appealing than it should be.

Stanwyck stars as Joan Gordon, a sexy nightclub torch singer who is the mistress of married bootlegger Lyle Talbot. This duo apparently have quite an open relationship as Talbot isn't too bothered by the fact that Stanwyck is also seeing society boy Hardie Albright who wants to marry her. When Albright finds out about Stanwyck's relationship with Talbot he dumps her, crushing Barbara's dream of a quiet life as somebody's wife. Wanting to get away from Talbot's lair, she skittles to Montreal and begins performing under a new name. While in Canada, she befriends hotel maid Leia Bennett whom she later learns is about to become a "mail order bride" - and has used Stanwyck's picture to net her fiancée! When Stanwyck sees some of Talbot's associates she knows it's only a matter of time before he comes up to Canada to get her so she offers Bennett $100 in exchange for letting her take her place as the wife-to-be ("Wow, a $100" Leia exclaims, "I can get a city husband for that!") Stanwyck then travels to North Dakota to meet "her" groom, poor farmer George Brent. They are married but the wedding night proves to be a disaster with Barbara brushing off George's crude attempt at love making. Infuriated, Brent refuses to have anything to do with after this on a personal level, Stanwyck simply becomes a wife on all levels except romantically.

This little film moves quickly and is entertaining but incredibility is all over the film. One little forgotten tidbit is that while Leia Bennett passed off Stanwyck's photo as her own she apparently used her own name but Barbara uses her real name of Joan while in North Dakota! And just why Stanwyck would so harshly reject Brent after no doubt having been pawed by scores of men far more rougher and less attractive? It makes about as much sense as Brent's willful refusal to forgive her for this one night of rejection (wouldn't many a man in this era have found a new bride less than at ease their first night together?) when it's clear she soon wants to make amends. There's also the little fact that Stanwyck is portrayed as a straight shooter, early in the film she insists to Albright she would have told him about Talbot - yet she doesn't give Brent a clue about the relationship or her past until Talbot shows up unannounced sometime into their marriage!

Barbara Stanwyck fully earns her reputation as an outstanding actress, she always seems sincere and real even in this silly little story. She's also stunningly beautiful in scenes where she is presented "naturally" without city artifice and heavy makeup. The big surprise for me was George Brent's excellent performance. Not known for being one of the more expressive of actors, Brent seems perfectly cast as the inexpressive, reserved farmer and was seldom more attractive (although being cast as about the only non-coarse hick caricature among the North Dakotans perhaps helps). He is terrific here and I can't remember him giving a better film performance. Lyle Talbot is also very good looking and so good-natured one has to wonder just why Stanwyck keeps running away from him unless she really DOES want to be just a typical housewife. Most of the supporting roles are fairly small and in bits one can see silent favorites Snub Pollard (as one of the locals) and Mae Busch (as an earthy blonde on the train with Stanwyck also in route to her mail-order man).

She may be dressed down for the farm wife's part, but this is Stanwyck at her youthful loveliest. So, can Joan (Stanwyck) adjust to the rigors of rural life after the glamor of big city nightclubs. If you can buy her becoming a mail-order bride as an alternative, you might buy the rest. Seeing her city girl alone on the vast Canadian prairie, suitcase in hand, waiting for her intended, does present a stretch. Nonetheless, now she's got purpose in life, no longer just a meaningless rich man's ornament. I do wish Brent as her mail-order hubby showed a little charm, something that would help us believe she would stick with her new life. Instead, he's overly dour and insensitive, wanting to manhandle her on their wedding night. Getting the two in step with each other makes up the movie's main part.

The movie's quite good at showing the rigors of farm life—the primitive farm house, the constant grubby toil, the relative isolation. I expect Dust Bowl audiences could identify with these demanding aspects, especially when the bank threatens to repossess Jim's (Brent) farm. That Joan manages to stick it out and thrive suggests that behind city decadence lies a common humanity and hidden grit-- a good message for that time and maybe any.

Anyway, pre-Code doesn't disappoint as Stanwyck gets to show off fancy and not-so-fancy underwear. Then too, sleeping arrangements leave little in doubt. Note too, how little is done to prettify either the rough-hewn people or their lives, even though most are stereotypes. Also, I could have done without the barking idiot as comedy relief. All in all, this Warner Bros. antique (1933) remains a fairly interesting little programmer, with a humane underlying message.

BARBARA STANWYCK is a city gal fed up with the sophisticated life of a nightclub singer and her lecherous boyfriend (LYLE TALBOT) and who sees an "escape" by fleeing to the country for a more bucolic existence and more wholesome environment. She gets more than she bargains for when her mail order husband turns out to be shy farmer (GEORGE BRENT), whom she at first repulses when he comes on too strong with his lovemaking and then spends the rest of the film trying to make it up to him.

The unusual domestic drama gives both Stanwyck and Brent offbeat roles which they handle beautifully. Brent is a surprising revelation as the shy, bumbling country guy with no understanding of Stanwyck's softer feelings and holding off loving her until the final reel, after the two of them have to save their crop of wheat from burning to the ground.

Only weak point in the story is the overdone nature of the wild party scene shortly after their wedding and Stanwyck's reaction to the crudeness of the country bumpkins. It seems a bit of a stretch to believe the way this scene unfolds.

But otherwise, an interesting look at Stanwyck who excels in showing both sides of her character--tough and tender--and Brent, who is usually the more debonair, sophisticated man showing us another side of his personality (and with some nice touches of humor too) as the shy groom. They both get excellent support from LYLE TALBOT as "the other man" in a rather thankless role that he makes believable.

Well worth watching and nicely directed by William Wellman.