Mannequin

JOAN CRAWFORD plays a tenement girl with a Park Avenue accent no matter how much she has to sweat in a factory for a living. She hates her tenement environment so much that she's willing to run off with boyfriend ALAN CURTIS at the drop of a hat. Of course, what seemed like a good idea changes drastically once she meets wealthy SPENCER TRACY and realizes what her life could be as "a lady". LEO GORCEY is a howl as her nasty kid brother.

That's the main thrust of MANNEQUIN--a sort of "money can't buy happiness" theme that is played out in typical '30s style with Joan Crawford giving her fans a rags to riches story tailored to please depression weary audiences. Despite the fact that Crawford seems too cultured to be playing a girl from the city flats, she's convincing enough as the newly married woman who croons a song to Curtis on the dance floor, a little something called "Always and Always". Curtis has the role of a thankless heel and plays it to the hilt.

Tracy is so enamored with "the awfully sweet kid" that you know the Curtis/Crawford marriage is headed for the rocks. Thanks to the natural performances of Tracy and Crawford, it all works better than it sounds on paper--due also to Frank Borzage's fine direction and ELIZABETH RISDON's performance as Crawford's hard-working mother who doesn't want her daughter to give up her dream.

Whether slumming or enjoying the posh life among the idle rich, Crawford never loses her poise and gets to toss off some smart lines. No matter how poor she's supposed to be, her clothes never look like they came off thrift shop racks. She photographs attractively with a softer look than her later image would have, so this is a real treat for Crawford fans. Especially when she becomes a "mannequin" at a posh fashion show, attired in some of Adrian's most outrageous gowns.

The good chemistry with SPENCER TRACY helps a lot. "It all started when you slugged me," says Tracy, proposing marriage to her. Will she or won't she find true happiness with a rich man? Hint: It ends with another slug.

Summing up: Fun for true Crawford fans, but others may find it's all a little too artificial for comfort.

As I'm finding is usual with Frank Borzage films I've watched recently, there's more here than first meets the eye. At its heart is a love triangle of sorts initially involving Joan Crawford and Alan Curtis but later adding in Spencer Tracy.

Crawford is the beating heart of the movie. A hard-working dancer, she faithfully takes her unopened pay-packet home to her mum in the family apartment on the poor side of town. Her dad is unemployed and basically sits about the flat reading his paper expecting to be waited on hand and foot by his wife. Alongside him, fulfilling a similar function, is Crawford's feckless and cynical younger brother but worse yet is the guy with whom she's loved-up and engaged.

This is Curtis's unsteady Eddie, selfish and grasping, well-balanced as the saying goes, with a chip on both shoulders. He's going to take the quickest way to easy money and doesn't mind using Joanie any way he can to get there. Joan can't see this of course and despite her mother's "Don't do as I did" warnings, duly marries Eddie, but at their reception, Tracy's wealthy shipping magnate John L Hennessy also happens to be there, where he's immediately smitten by Crawford.

We see Tracy in place as a benevolent boss, playing fair with his employees but in a sign of the times, there are hints of discontent especially as the labour is unionised. Thoughts of Joan distract him from his work and of course she's unattainable, given that she's married and apparently in love with Curtis, but it's not long before hubby starts to show his true colours and concocts a seedy plan to use her to entrap Tracy in a get-Eddie-rich ruse.

Things don't go according to plan however, as he doesn't count either on the scales finally falling from Crawford's eyes where he himself is concerned or her developing feelings for the blindly adoring Tracy. At the same time though, things aren't going so well for Tracy's business leading to a multi-faceted ending where the true price of love is learned by the principals.

The love story aspect isn't without cliché, reflective as it is of the Depression-era backdrop. It's interesting and diverting enough but certainly somewhat fantastical. There are some nicely humorous touches, one scene in particular when Crawford, by now working as a clothes-store mannequin, models a number of day-wear outfits at a fashion show as an ever-more interested Tracy looks on, especially keen to see what she wears to bed. However I was probably more interested in the back story of Tracy and his relationship with his workers. At the climactic scene where he confronts them at a mass meeting after they've come out on a sympathy strike, he doesn't threaten or bully them but instead respects their position no matter the personal consequences to him.

I am finding Borzage to be an interesting Hollywood Golden Age director. Sure, there's a love story at the heart of all the movies of his that I've seen, but it's the serious stuff in the background which really gets my attention. Tracy and Crawford are both excellent in their parts, while Curtis too registers strongly as Eddie the Heel.

All in all, an entertaining and in its own modest way, educational movie with its depictions of working class life and industrial relations of the time.

The main interest points in seeing 'Mannequin' were that it was directed by Frank Borzage, a director who deserved and still does deserve more credit, and the great cast, with Joan Crawford and Spencer Tracy in their only collaboration together. That is perhaps the film's biggest draw, that they were great on their own is reason enough to see anything of theirs but seeing them together in a rare pairing is even more so.

With those things taken into account, 'Mannequin' had all the makings to be a charming film. Which it on the most part is. Not perfect or great, and Crawford, Tracy and Borzage have all done better, but 'Mannequin' is a nice undemanding film that doesn't feel too simplistic or too challenging and doesn't try to do or be more than necessary. While not a must see 'Mannequin' does have more than enough to warrant more exposure.

'Mannequin' may have corny and melodramatic parts and moments that don't quite ring true, do not expect reality here and that is including the ending (which admittedly does also strike a chord emotionally). A few of the early scenes are a bit static.

Alan Curtis does his best bringing smarmy charm to his role, but the character is too one-dimensional unpleasant for the charm to properly convince.

However, 'Mannequin' is beautifully filmed, clearly loving Crawford (looking radiantly photogenic) and those costumes are to die for. While not one that will stay long in the memory, the score fits and complements the film well and doesn't feel like it should have belonged somewhere else. The script has wit and emotion, much of the film is far from dull once it gets going and the story has a lovely poignancy and intimacy (the dance floor scene is a lovely moment and interesting from an interaction stand-point, pointed out already) on the most part,

Borzage directs with his usual sensitivity and he definitely seems at home here. What makes 'Mannequin' especially worth watching is the cast. Whether Crawford is believable as a young working class girl is debatable, but that doesn't matter when she gives a performance so charming and deeply felt. Tracy underplays sympathetically and more than appealingly, they make a lovely pairing. Shrewd Leo Gorcey and movingly sincere Elizabeth Risdon are particularly good in support.

On the whole, nice pretty good film. 7/10 Bethany Cox

The Joan Crawford Experience 23 / 59

Joan Does The Rags-To-Riches Thing Again

Jessie Cassidy (Joan Crawford) is a hard-working girl from the raggedy tenements on Hester Street in NYC. She slaves away in a textile factory to support her harried mother, her lazy out-of-work father, and her shiftless, smart-ass, out-of-work little brother. She dreams of getting out of that dump with her boyfriend, the boxer Eddie Miller (Alan Curtis). Eddie is obviously the lazy con-man type; he talks a big talk and makes lots of promises he can't keep ... but Jessie is in love!

Jessie convinces Eddie to marry her and while they celebrate with their wedding party at a Chinese restaurant, they run into John L. Hennessey (Spencer Tracy). He's originally from the tenements on Hester street but has made a fortune by becoming a shipping magnate. Hennessey is smitten with Jessie.

Jessie and Hennessey cross paths again when Jessie has a job in the chorus line as a Gebhart Girl at the "Gebhart Frolics", and the entire gang is invited to a cocktail party at Hennessey's penthouse suite. Hennessey makes a play for her but she is a married woman, so she slaps him!

The rest of the film involves Hennessey's pursuit of Jessie, Jessie's realization that Eddie is small time two bit hood looking for easy money, and Eddie's nasty little plan to get some of that money from Hennessey by using Jessie as bait.

This is a pretty darn good film. The story is engaging, the cast is great, and Adrian really went all out on some of the fashions at the fashion show (where Jessie is a model / mannequin). I wonder how many animals died for Joan's fabulous fur coats and wraps? Oh well. Doesn't matter. She looked fierce!

Recommended!

This is a modest film, beautifully proportioned and modulated, that manages to draw the viewer into its romantic world. It easily could have become maudlin, or stridently melodramatic, or overblown. Joan Crawford could have overacted, or Spencer Tracy could have turned smug. But the film is amazingly free of false notes. This is not a film to be seen for camp , but for its very real charm. Director Frank Borzage succeeds in creating a world that is feels completely consistent and free of cliche. Take for example, the scene in which the heroine is on the dance floor with her new husband, singing "their song"--easily a cliched moment. But while she croons, the husband is tense, alert, observant, distant. Or look at the scene where Tracy meets with his striking workers, and faces the loss of his business and fortune. The scene unfolds with a quiet dignity and depth of feeling on both sides of the conflict. Again and again, Borzage balances romance with realism, pathos with stillness, emotion with dignity. As a result, Mannequin is a deftly made film that moves along lyrically, making what could have been preposterous, touching.