Disgraced

Unlikely to make anyone's top ten list, but a fine example of fast-paced pre-coder with adult content and unexpected twists.

It's a tale of two couples. Helen Twelvetrees and Ken Murray play working-class types who've been friends since childhood. He wants to marry her, she's lukewarm. Adrianne Ames and Bruce Cabot are two spoiled rich kids without responsibilities and not much in the way of morals. They're engaged but don't take it too seriously. Twelvetrees is a model and Cabot is smitten when he sees her modeling outfits for Ames.

He claims he's serious, but is he? A big question in many such films. To complicate things her father is a fiercely protective cop.

As in any good story, the characters are not one-dimensional. Their actions are unpredictable and there motives unclear. For instance, is Twelvetrees a naive innocent or a gold digger? Is her father protective of women in general, or only his daughter? And of course, who, if anyone, will end up with whom?

The film is very pre-code in its attitude that there's one set of rules for the very rich and another for everyone else.

Well, that's enough without spoiling it. A definite watch for pre-code fans that, like many of its genre, makes you reflect on things afterwards.

Gay (Helen Twelvetrees) is a model. When showing off some clothing, Kirk Underwood (Bruce Cabot) sees her and is instantly smitten. While he is supposedly in love with another woman, he begins dating Gay and convinces her he's only interested in her. However, he's a dog and has only one thing on his mind...and it's not marriage! Eventually, she realizes what he's been doing to her...and she's intent on killing him for stealing her virtue. But someone else beats her to it. What exactly occurs? See it for yourself.

A lot is implied in this movie and in this sense, it's very clearly a Pre-Code film. What also is Pre-Code in sensibilities is that his murder in the end isn't clearly punished...something the newer Production Code would definitely require. Rather interesting and with a highly unusual ending. It's worth seeing.

This is definitely not the usual predictable society cad seducing the innocent girl from the wrong side of the tracks story. Well it is but it's also a hard hitting, exciting and intriguing drama that will have you on the edge of your seat - I know it's ancient but honestly it's fabulous and not just for 30s aficionados.

The beginning of this superb picture gives the impression that it's going to be that same old story, so common in pre-code movies of the over-privileged rich boy worming his way into the affections of the sweet naive young thing and ruining her life. To start with that's exactly what this is but it actually tells that story so extremely well that if that's all this was it would be one of the very best of that genre. You can see what Mr Wealthy is up to, you want to shout 'no' to Miss Innocent but you yourself can also understand - no, feel exactly what she's feeling too. Perfect storytelling.

Half way through, just when you think you know how this is going to end we are thrown some jaw-dropping plot twists which you'd never guess yet it all seems so believable.

Earle Kenton is certainly not one of those directors with a fan base. I doubt anyone makes a list of his pictures then works through them! The direction of this film however is outstanding - it's up there with the best of them. That this also has Paramount's top cinematographer Karl Struss on board, giving us some gorgeous fluid camerawork which also helps of course but this is Kenton's film.

His actors don't just act, they become real people, people you care about. There's none of that residue from the silent days of over gesturing or acting like they're on stage. Everyone looks natural, acts natural and talks natural. Helen Twelvetrees is remarkable and even Bruce Cabot - whom I thought was quite wooden in KING KONG comes across as authentic and genuine - in a sneaky sort of way.

We're also treated to the impossibility beautiful epitome of sophistication, Adrienne Ames as Cabot's other woman (and in real life, soon to be wife). She doesn't have to act too hard because she basically plays herself - the society glamour model turned fashion icon and celebrity of the age. She's perfect for this role.

If you watch this on that free Russian website you'll find that the sound quality is atrocious - don't let that put you off. Stick with it - you'll be so glad you did.

Bruce Cabot actually came across better than he has in some films...he's not a great actor, overall, IMO. In this one, he was believable enought that the crisis situation seemed...appropriate, somehow.

Helen Twelvetrees made a nice lead. A little gullible, perhaps, but then, it would have been a whole different movie if she'd been jaded.

The end was interesting, and I'm not sure I liked it very well. Didn't seem to come to an ending, exactly, but more of a "you, the jury, decide"--with the viewer as the jury. Me, I couldn't have convicted anyone, and can't swear I wouldn't have done the deed myself in equal circumstances, and the stresses of the moment.

If you like old movies, this one isn't bad. OTOH, it isn't great either, but better, IMO, than average.

Helen Twelvetwees is a fashion model. Her father, William Harrigan, has just been promoted to police captain. She's modeling some clothes for Afrienne Ames, when Ames' friend, Bruce Cabot, shows up. He takes a liking to Miss Twelvetrees, and sets her up in a nice house -- although she comes home -- promising to marry her. Cabot's engagement to Miss Ames is announced. He says he's going to marry Miss Twelvetrees. Then the announcement is made that Cabot and Miss Ames will be announced the next day.

There's nothing shown that could offend the censors, but the plot and characters' behaviors make it pretty raw. Erle Kenton does a pretty good job of directing, but cinematographer Karl Strauss pulls out the stops with a gracefully moving camera that does its job without calling attention to itself. The result is a solid, sordid movie that keeps the audience's attention all the way through to the end.