Unholy Love

The static direction of Albert Ray reduces this aloof adaptation of "Madame Bovary" to a chore to watch. Unsuspecting Depression Era audiences were expected to sit through a listless drama of uppercrust folks in Rye, New York, supposedly an escape from the problems of their own working class existence, but the characters and story are remote.

Lyle Talbot is poor as the hapless hero whose wife Joyce Compton cheats on him with the creepy European played by Ivan Lebedeff. Lila Lee plays the girl who was set to marry Lyle in the first place, and H. B. Warner is stuffy as his father. It's extremely difficult to care about any of them, and if this was meant to be titillating at the time, based on the infidelity theme, it fails miserably.

I loved how the opening credits for "Unholy Love" said 'suggested by MADAME BOVARY'. That's an old fashioned way of saying the stories have similarities but that the screenplay takes HUGE liberties--which is pretty funny since BOVARY is considered a classic.

The film is very much like dbborroughs says in their review. While watchable, the film is too mannered and dull--making it very tough going. However, I might even go further and say that some of the acting is downright terrible. While H.B. Warner is a fine actor, many of the others in the cast weren't so fine. Heck, a few stumbled over their lines and the film SHOULD have had these scenes re-shot. That they weren't and that the overall effort was so dull is an indication that either the director wasn't especially competent or the film was as cheap-o production and the low budget wouldn't all re-shots---or perhaps both. Not enjoyable and not worth the bother.

If you want to watch an excellent movie adaptation of "Madame Bovary", I suggest you check out the Jennifer Jones/Louis Jourdan film, which also included Van Heflin, three excellent, multi-talented actors.

As far as this movie is concerned, it's one of those you check out when channel surfing, and since it's short, you watch it, kill some time, and later decide it was okay, but not one you'll watch again.

That's how it was for me. Joyce Compton was no Jennifer Jones, Ivan Lebedeff was hardly Louis Jourdan, and Lyle Talbot had no chance at competing with Van Heflin. In fact, his little time on screen weakened his character and made it more understandable why his wife strayed.

The best acting in this film was from Lila Lee, who Lyle Talbot should have stuck with in the first place. But then, there wouldn't have been any reason for the movie.

Exactly!

I was not familiar with actress Joyce Compton, who plays Sheila in this modern adaptation of 'Madame Bovary.'

I am not all that familiar with 'Madame Bovary,' to be honest, so I won't attempt to judge the adaptation.

Sheila, the voluptuous ditsy diva, and Stockmar, the aristocratic European writer: what a pair! The little love nest in the country that is their hideaway. The squeaky-clean athletic husband who is being cuckolded. Really, are we watching 'Madame Bovary' or Telemundo?

The main characters in this drama are well cast. The script is tight; if you don't know the story, you'll appreciate that. If you do expect Flaubert-level dialogue, you are out of luck!

I enjoyed watching this film, so short and simple compared to the grander production it could be. I consider this a gem.

Doctor Lyle Talbot reveals to the surprise of his father, Doctor H.B. Warner, that he is married to Joyce Compton. He's surprised and dismayed. They're a prominent family in Rye, New York, and Lyle long has had an understanding with Lila Lee, the daughter of Kathlyn Williams. He makes an effort, but the women all snub Joyce, except for Miss Lee, and the men think Joyce is easy pickings.

It's a modern dress version of MADAME BOVARY with a little ANNA KARENINA thrown in. It's a great idea for Pre-Code 1932. Unfortunately, director Albert Ray directs the actors in such a slow and portentous style that even Mr. Warner seems wooden. Also, the script has been cut for running as a second feature, so Miss Lee is never seen doing anything wrong until after she's ignored by all the right people. Instead, it isn't until just before the end that we learn about her Dark Past from Beryl Mercer. At that point, it sounds more like slander than reportage to me.

Screenwriter Frances Hyland was about to go on a rampage of some very good movies, mostly Bs for the major studios. It looks to me like this one might have been something worthwhile, but the men in charge of the production simply were not up to the challenge.