Mandalay

"Mandalay" starts off as if it's going to be a real pre-code classic along the lines of "Safe in Hell" or "Red Dust". Kay Francis is abandoned by her gunrunning lover in Rangoon, and is doomed to become a courtesan (with the great moniker "Spot White") in Warner Oland's high class cabaret/brothel. Unfortunately, once our heroine escapes these confines and hits the river for Mandalay, the film becomes a turgid melodrama.

Michael Curtiz's baroque direction keeps matters visually interesting, but he can't breathe any life into the dismal characters. Ms Francis's lisp is more prominent than usual and Lyle Talbot shows why he deserved a future in Ed Wood extravaganzas. Plus, they both should have impaled the studio hairdresser. Although Oland plays an Oriental as usual, he's not saddled with the Charlie Chan accent this time, and shows plenty of mettle. Ricardo Cortez comes off the best with much spontaneity as an opportunistic rogue.

Pre-code buffs will definitely want to hang around for the conclusion, wherein the perpetrator of an insidious criminal deed blatantly walks off into the sunset scot-free! The short running time and jumps in the narrative make one wonder how much of the back-story was left on the cutting-room floor.

Kay Francis stars with Ricardo Cortez and Lyle Talbot in the 1934 potboiler "Mandalay" directed by Michael Curtiz.

Francis plays Tanya Borodoff, who is madly in love with gunrunner/worm Tony Evans (Cortez) in Rangoon. While at a club owned by Nick (Warner Oland), Tony is ordered by Nick to get a boat and pick up some guns for the black market. And he wants Tanya to stay behind and work for him in his club. Tony agrees, dumps poor Tanya, and takes off.

Tanya doesn't want to work for Nick, but she's advised by a coworker to use the men in the club to her own advantage. Tanya does so, gets in trouble, and is about to be deported when she blackmails the police captain.

She gets 10,000 rupees from him, changes her name, and takes off for Mandalay by boat. On the boat, she meets a drunken doctor (Lyle Talbot)...and Tony!

Well, as usual, Kay's got the spectacular outfits. She also sings "When Tomorrow Comes" -- several times. She looks great. Francis always projected class and sophistication, making her an odd choice for a gunrunner's girlfriend who has to work as a prostitute.

Nevertheless, her dignified performance carries the film. Cortez is appropriately slimy, and Talbot is quite young here and charming. I remember him from The Adventures of Ozzie and Harriet. What a career he had.

Evidently Shirley Temple was supposed to be in this film, but her scenes were deleted.

Precode film, melodramatic - for Kay Francis fans, and, thanks to Turner Classic Movies, there are many again.

A lot appealed to me when 'Mandalay' was recommended here to me, in the more like this section. That it was directed by a great director in Michael Curtiz got my interest and seeing the names in the cast interested me further. Do like Kay Francis a lot, though she was often better than her material, Ricardo Cortez always makes for a good villain and Lyle Talbot is good when the role is interesting. The story did sound interesting but was worried about how the melodrama would fare.

'Mandalay' is by no means one of Curtiz's best films, consider it more a little above average minor work. All have done better, but nobody actually is disgraced. It is a great looking film and the performances are good. What is less successful is the story, which starts off good and ends surprisingly but too much of the second half is silly melodramatic soap that lacks surprises and is not as interesting. So 'Mandalay' is a slight mixed bag, with a little more good than bad.

Visually, 'Mandalay' looks wonderful. There is a lot of beautiful photography throughout, there is nothing cheap about the locations and Francis' wardrobe has the wow factor. The music fits the atmosphere well, and the song is a lovely one (the number of times it was used was not necessary though). The script in the first half has snap, bite and fun with a daring edge, while the story was absorbing in the first half. The ending is as has been said very surprising and not what one expects.

Curtiz directs with good skill visually and dramatically, though he didn't seem as engaged once the second half started before the spark came back towards the end. Francis is alluring and sensual, her role is perfect for playing to her strengths and she has no trouble commanding the screen. Talbot is good as a character not near as interesting, he is hardly bland. Cortez is typecast, but it was a character he played very well indeed, which he acts with a sinister touch, and it was clear the studio knew that. Warner Oland also does well and doesn't overdo his part, grate or feels out of place.

On the other hand, the second half isn't as strong. It loses momentum, from a little too much padding, and the dialogue loses its snap, becomes stilted and gets at its worst pretty stupid. The story also gets very soap-operatic and in pure over-heated melodrama fashion and creaks badly, it was like watching another film.

The supporting cast has some interesting names, but only Oland and Ruth Donnelly rise above their material. Everybody else struggles to register as characters that are never really fleshed out and feel like plot devices instead. As said, as lovely as the song is it is too repetitively used.

Concluding, starts well and ends surprisingly but loses its way generally in the second half. Worth seeing for the production values and the three leads. 6/10

Poor Ricardo Cortez. While undoubtedly a fine fellow in real life, in his reel life of the early '30s, he was almost always a cad, and, more often than not, he paid big time for it. He was very good at being a cad, as demonstrated in "Mandalay." The movie, set in a back lot Rangoon, is snappily directed by Michael Curtiz, who always brought his Hungarian verve to a film (Mildred Pierce, Casablanca, The Sea Hawk, among many). Some of the night club scenes are reminiscent of Josef von Sternberg's exoticisms.

Kay Francis can do no wrong, as far as I'm concerned (and I look forward to reading the new bio "I Can't Wait to be Forgotten"). Those big dark eyes and that velvety voice! And as a character in the film comments, she "certainly can wear clothes."

Enjoyable 30's potboiler if you are a Kay Francis fan (as I am) Just saw this on TCM after years of wanting to see it. It starts out as a Dietrich/Sternberg foreign locale kind of pic, but switches gears midway and becomes a standard soap opera tale. Like many Warners 30's films its barely over an hr and parts of the story seem left on the cutting room floor or are not fleshed out properly. For example, its never explained why Francis is hiding out with Cortez on his boat in the beginning. Francis is not particularly believable as a Russian on the lam in the Orient, but she is effective playing the part, as long as you don't dwell on her background for too long. The first part of the film is very entertaining and risqué, its a shame it switches gears once Kay takes off for Mandalay. Kay wears some fab gowns and is always watcheable. She gets to sing too(probably dubbed), but 3 times for the same song is a little much. This role was originally intended for Ruth Chatterton, whom I cant picture playing it. Its campy fun and Kay is Kay. Watching her can be addicting........