Chanteuse de cabaret

The soap suds reach almost to the ceiling in "Torch Singer" but that's part of the fun. Claudette Colbert and the rest of the excellent cast have a grand old time as they work their way through the somewhat rusty plot. Colbert sings a couple of songs and wears some smashing gowns as she portrays a chorus girl with a heart of gold who's forced to give up her baby daughter and become a torch singer to earn a living in Depression-era New York. In no time at all she's the toast of the town, with a fancy apartment, a maid, and a boy friend who's a big radio executive. She covers up her need for her daughter by drinking, dancing and carrying on, and does it ever look like fun. But it all works out in the end, and with only minutes to spare.

Look for Lyda Roberti, the Polish bombshell in the first part of the movie as Colbert's friend and roommate. Roberti died tragically young, with only a few films to her credit, notably "The Kid From Spain " and "Million Dollar Legs," in which she played Mata Machree, The Woman No Man Can Resist. "Torch Singer" is kind of tame for a pre-Code feature but it's fun and well worth watching.

This 1933 Paramount film, is a sophisticated and greatly acted drama, with the Depression as background and a powerful performance by the great comedienne and actress, Claudette Colbert, as a chic "fallen" woman. I'd even dare to say that this one pleased me even more than that other favorite 1934 tearjerker, "Imitation Of Life".

Awesome Miss Colbert's costumes, designed by the best Hollywood costume designer of all time, Travis Banton, to "showcase" her "conversion", when she turns into the successful "Torch" Singer-Mimi Benton-of the Title.

Great performance by latin-named, but European born, Ricardo Cortez, as Miss Colbert's lover and mentor and a good one too by David Manners, as the rich guy, who "unwantedly" & "unknowingly" disgraced Miss Colbert's life.

Nice acting by beautiful Mildred Washington, who plays Miss Colbert's maid, and "punchy" Lyda Roberti, who plays an earthy woman who befriends Colbert in the beginning of the film. Ethel Griffies, gives a good "nasty" performance, as Manners' stiff-upper-lip, aristocratic, embittered aunt.

Mention apart deserves Charley Grapewin as the mischievous sponsor of Miss Colbert's Radio Show. He delivers some great lines!

I won't add anything more about the plot of the movie, 'cos you oughta watch it for yourselves! A must see for Pre-Code and 1930's film lovers!

"I get a lot of proposals too, but marriage isn't one of them."

This is such a great vehicle for the adorable and talented Claudette Colbert, so despite this film's flaws, if you're a fan of hers, it's one to see. She plays a woman who has a child out of wedlock, making a highly sympathetic protagonist, something that clearly puts us in pre-Code territory at the beginning of the film (and speaking of adorable, the babies we see early are on are mighty cute too). Her roommate (Lyda Roberti) has to fend off workplace harassment before disappearing, leaving Colbert's character unable to pay the rent and begging for help from the wealthy family of the baby's father. She's turned away, so in her desperation, decides to give up her baby to the church who helped her with her pregnancy. She leaves her baby with this advice: "Don't ever let any man make a sucker out of you. Make them know what you're worth. Anything they get for nothing is always cheap."

The film then settles into its next act, which has her becoming a nightclub, er torch singer, starting from the bottom. The scene of her listlessly singing in front of a couple shoveling spaghetti into their mouths is priceless, but soon she's performing in much finer venues. Of course she is, she's Claudette Colbert, and for me it was a treat to hear her sing in this film. Her sleek hairstyles and the gowns from Travis Banton are stunning, and soon she draws the attention of an admirer (Ricardo Cortez). The film was firing on all cylinders at this point, as Colbert seems to toughened and flirtatious, for example, this interaction with a middle-aged businessman:

Him: "I don't stay up that late on account of my lumbago." Her: "Oh, lumbago? (sweeping her eyes over him, then looking him in the eye) I have something grand for lumbago. ... I'll fix you up."

The film then shifts when after rising to the top, she fills in as the radio voice for a children's bedtime show on a lark, and becomes a hit there too. You can see what's coming a mile away, her desire to reunite with her now 5-year-old daughter, something I had resigned myself to, but then on top of it the film piles on the child's father (David Manners), having returned from China and who says he had wired for her before leaving. I loved how Colbert's character was never punished for having premarital sex, but the film ends with the nuclear family restored in a rather nauseating and predictable climax, complete with Cortez's character bowing out gracefully (not to mention the adoptive parents).

Colbert is radiant though, and shows a lot of range, including desperation, comedy, caring for babies and children, flirtation, singing, and depressed to the point of intoxication. There were several cute kids here too, including a little black girl (Carlena Beard) who is treated with heartwarming love. There's a supporting role for a black maid as well (Mildred Washington) and the scene where she's caught dancing is amusing; it was sad to find out she died at just 28, the year this film came out.

It's fun to see Colbert warbling the blues (several times) and kiddies lullabies in this well made and directed soap. Unwed and unable to manage she gives up her baby and becomes a disreputable torch singer and the hottest attraction around. Colbert goes from forlorn unwed mother to Mae-Westian blues singer in a captivating role. "Realization" puts her "back on track" to find her daughter. All this in 72 minutes! Good support from Lyda Roberti, Ricardo Cortez and David Manners. It's a shame this isn't available on video.

Torch Singer (1933)

A hobbled movie if you expect something naturalistic and moving, but Claudette Colbert is so convincing and terrific she almost compensates. A Depression-era tale of an affair that produced a baby, and then the mother having to struggle alone trying and failing to raise it. It takes off from there, as Colbert as the mother makes good with her life in other ways. The baby of course is still in the back of her mind, and causes a couple of dramatic twists later on.

The plot is a huge contrivance, and so you have to jump in and see it as a kind of morality tale, packaged a little too neatly and with some comic and tragic episodes almost too forcefully inserted. It's all interesting and fun, though, and Colbert really is a versatile and heartfelt actress here.

The one thing she may not do so well for modern audiences is sing so well, and as the title suggests, this is a key part of the middle of the movie. The orchestras are great, and the parade of side characters rather convincing as we go along, however. The sudden reappearance of the father, and the rather neat coincidences that follow, were way too much for me to swallow, however, especially the patched-on ten second last scene, which could have at least had some honest drama to it. You'll see.

It's probably the ending most people wanted to see, however, and a justification of what had happened earlier (all of which is a kind of taboo just a year later when the Hays Code would have made an out-of-wedlock birth a more serious offense). I think it's handled here in a believable way, however, at first, so thank goodness it was finished before the artifice of the later 1930s took over these kinds of themes.

The movie also has some nice (if neatly packaged) insights to the crude beginnings of commercial radio, which was always live, and which amounted to some people standing in front of a microphone. This was much like television was in its first years after WWII, with live broadcasts the necessity. And Colbert sings her own songs in this movie, for better or for worse. A total period effort, in tone and in content.