Pecadores sin careta

Sinners in the Sun (1932)

*** (out of 4)

Jimmie (Chester Morris) and Doris (Carole Lombard) are in love with each other but Doris wants riches and she's not sure Jimmie will ever be able to give them to her. They end up breaking up and before long she's in the arms of a married man (Walter Byron) while he finds himself married to a rich woman (Adrienne Ames). Before long Doris begins to think that money might not be everything.

If you're looking for a great or hard-hitting plot then you're not going to find it here. SINNERS IN THE SUN is pretty much a standard story of a couple poor people who think money is the answer and they have to learn that it isn't more important than love. This type of rags to riches story was quite popular during the early sound days and this one here remains watchable thanks in large part to a great cast of characters.

Morris has always been one of my favorite actors. He might not have ever became a huge star but I've enjoyed going through his career and this is certainly one of his better performances. At first he's style of speech and his delivery reminded me of Jimmy Stewart, although that actor hadn't yet even appeared in Hollywood. Morris gets a couple very good scenes including one where he lets loose on his former love and the actor did a terrific job here.

The rest of the cast is extremely good as well with Lombard doing a very good job in her role of the woman who wants gold, gets it and lives to regret it. She's very good in the role and quite believable whether she's playing that small town girl or the spoiled rich one. The supporting players are nice as well and this includes a young Cary Grant in his second screen appearance. He doesn't have much to do but his few scenes are quite good. Alison Skipworth also gets a couple very funny scenes playing Lombard's mother.

As I said, storywise SINNERS IN THE SUN is pretty silly and predictable but the actors make it worth sitting through.

This 1932 pre-code Paramount Picture, based on a magazine story by Mildred Cram and directed by Alexander Hall, is best remembered today because it contains a bit of Cary Grant in one of the many stiff playboy roles he did before stardom. All in all, it's not much a story, entirely predictable, but as staged expertly by Hall the film does recreate visually the atmosphere of New York and Long Island society that Fitzgerald wrote about in The Great Gatsby a few years before. The actors are all particularly well-cast, down to the smallest part. (Look especially for a few moments with Anderson Lawler as a self-confessing gigolo.) Chester Morris (Boston Blackie) is for once throughly believable in a tough guy up from the streets role, but as usual it's Carole Lombard--she who could do no wrong--who steals the show and carries the picture. She's both lovely and touching and wears many a superb Travis Banton costume. A true star.

A beautifully written and sometimes magnificently played serious movie. Chester Morris and Carole Lombard love each other, but she is terrified of the corrosive effects of the life of poverty that she foresees with Morris. So they break up and drift into lives as a kept woman and a gigolo.

The two are almost perfect in their roles; Chester Morris plays a character who is almost unable to phrase a clear thought and pulls it off beautifully, for a wonderful payoff scene. Miss Lombard only fails in one scene, towards the end, when she is contemplating suicide: I blame the heavy-handed direction of it rather than her performance. But the movie is riddled with wonderful performances: the always excellent Alison Skipworth as Lombard's supportive mother; Reginald Barlow as the father who gives her no chance; Adrienne Ames and Walter Byron as their likable seducers. Particularly good is Rita La Roy, an actress whom I have never noticed before, as a kept woman who kills herself -- alas, this was her best part in the movies, After her career faded out she sold yachts. Cary Grant is also present in a small role, in his second movie, but if you're not paying attention to the soundtrack you could easily miss him: his voice was far more distinctive than his good looks at this stage of his career.

There is a happy ending, but it feels forced. That is the one flaw in this movie. Otherwise it is well worth your time.

A young couple's relationship is threatened by his lack of success. An enjoyable romantic drama featuring a young Carole Lombard as a fashion model - which, as this is a pre-Code movie, means lots of shots of women in lingerie - and Chester Morris as a garage mechanic who eventually marries a socialite after becoming her chauffeur. It's the kind of story that's usually treated lightly by Hollywood studios, but Sinners in the Sun has a welcome dark edge, although everyone - even a wealthy philanderer - is a little too likeable. A pre-fame Cary Grant gives notice of his star potential in a couple of scenes.

Remember all those Jean Harlow movies about poor girls wanting to marry rich fellows? If you liked them, check out Carole Lombard and Chester Morris in Sinners in the Sun. Ironically, the same year, Chester played the rich fellow in Jean Harlow's Red-Headed Woman. In this movie, he's a poor garage mechanic in love with Carole. He wants to get married, but she's afraid of a life of poverty. Given her background and growing up in the Great Depression, it's understandable.

Carole and Chester part ways in search of wealthy partners. Carole finds a married man who wants fun on the side, and Chester finds a wealthy woman who likes how he looks in a tuxedo. This pre-Code drama is a bit naughty, with see-through negligees and references to gigolos. Mostly, though, it's a tragedy about two people who think they'll be happier with money than with love. It's always a treat to see Carole in a drama, and Chester gives a great performance as he struggles with his pride. "Did you think I'd cry?" he asks, his voice breaking, when reunited with Carole after they've settled into other lives. If you like this one, check out Swing High, Swing Low.

DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. About 45 minutes in, and at 52 minutes in, the camera spins for about thirty seconds, and that will make you sick. In other words, "Don't Look, Mom!"