L'obsession de Madame Craig

Although it brought Columbia Pictures no awards or even nominations, Harry Cohn nevertheless produced a winner with Craig's Wife that gave Rosalind Russell her first starring role when she was loaned to Columbia from MGM. The property was already a winner having brought home a Pulitzer Prize for drama to its author George Kelly, uncle of Princess Grace.

The play was a big hit in the materialistic Twenties running 360 performances in 1925-26. Author Kelly was making one stinging indictment of living for material things, ironic when you consider he was from uppermost crust in his native Philadelphia.

Rosalind Russell stars as the hard-bitten Harriet Craig who grew up in a home that got lost because dad started straying and began mortgaging the house and the family security to pay for his pleasures. That was not about to happen to her, but the capacity to love and connect with other human beings was driven from her though she masks it very well. The whole course of the play is the unmasking of all her pretenses.

She marries John Boles strictly for her security, she needs his income to pay for the house and the furnishings inside which is her whole world. It's like she's putting it on exhibit as opposed to people living there. She's impossible to work for as servants Jane Darwell and Nydia Westman will attest.

Boles gives one of his best screen performances as well as the beleaguered Walter Craig who comes to the horrific realization that his wife not only doesn't love him, but is completely incapable of the emotion. Another two good performances come from Alma Kruger and Billie Burke. Kruger is a maiden aunt of Boles who lives with them and is the first to finally tell off Russell.

The second is a slight departure in casting for Billie Burke who usually played good, but flighty characters on screen. Here Burke plays a neighbor who prides herself in her garden and her roses the way that Russell does her house. But living things require love which Burke gives her plants. The point author Kelly was trying to make between the objects of attention that both Russell and Burke have is a stark one.

There are three versions of Craig's Wife, a silent screen version from Pathe Films that starred Irene Rich and Warner Baxter and a later one with Joan Crawford and Wendell Corey also for Columbia. I've not seen the other two in total, but I'm sure they have their merits.

Craig's Wife is smartly directed by Dorothy Arzner and it gives a fine cast a chance to show case some considerable talents.

I am an old movie buff and had never seen this movie. The movie itself was great but it was like I had just lived this movie. I worked for a man that had a wife like this and quit my job (I used to work out of their house) because I couldn't take her anymore. Almost every part in the movie had a real-life counter part in my life. I was the aunt. I'm tempted to buy a copy of the movie and send it to my old boss so he could get a glimpse of what we all had to put up with. These women do exist, thank God I'm not one of them!!!

By the way, men are not that dumb. The truth is they'd rather ignore that kind of wife so they don't have to deal with the headache. I would like to have seen the part written more true-to-life rather than as a husband that was completely oblivious to a wife that was a manipulater until the very end.

I enjoyed the movie and have told several of my friends to watch it if they get the chance. Not just because of the way I identified with it personally, but overall the movie was very good. Rosalind Russell was a real pro in her role.

Rosalind Russell gives an excellent, haunting portrayal of "Craig's Wife" in this 1936 version of a play by George Kelly. Later on, it was remade as "Harriet Craig" and starred Joan Crawford and Wendell Corey.

Harriet Craig is a manipulative, cold woman married to a man (John Boles) who adores her and therefore can't see her for what she is - a controlling woman obsessed with possessions and status.

This is a difficult role because in order to pull it off, Harriet would have to be a lot more subtle than she is in this movie. Even with an accomplished actress like Russell, that's hard to do because Harriet's actions are so obvious.

In the film, Walter is clueless while she drives everyone else away. I happen to know a Harriet Craig in real life, and in that case, her husband knows but doesn't do anything about it to keep peace. That would have been a more believable choice here.

The film "Harriet Craig" is more drawn out and it takes people a little longer to catch on to what Harriet is really about. This version, probably truer to the play, is directed by Dorothy Arzner and moves quickly. The ending is very striking, and there Russell is most effective.

This was a breakout role for the attractive Russell, and it also proved an excellent part for Joan Crawford. Russell is able to show the tiniest bit of vulnerability in Harriet's nature. I think the Russell version is the stronger film, though both are well worth seeing.

Before television, this kind of short melodrama was standard cinema fare. It's still fun to watch. The interior studio sets don't quite match the exterior studio sets and the people depicted always seem well-to-do. This false elegance is to movies of the 1930s what CGI is to movies of our era. Well, people go to the cinema in part to be dazzled.

This is a women's picture. The director was a woman, the screenplay was written by a woman and the main characters are women. And what a character Russell plays! The movie is a morality play structured around the faults of one character, Mr. Craig's wife. She obsessively wants to control everything to satisfy her need for security, or so goes the the pop psychology implied by the story.

Well-written television serials now deal with these kinds of characters. But I somehow prefer the slower pace of the 1930s version. I also like the little surprises. Watch for Billie Burke, the Good Witch of the North. You'll recognize the voice immediately.

Rosiland Russell wasn't a star for so long for nothing. The lady had talent, and her lengthy career in a variety of roles from screwball comedy to heart wrenching drama proves it.

Hard working, completely dedicated and always dependable, Russell hit the bull's eye in the role of Harriet Craig in 1936's "Craig's Wife." What a roll it was! The kind most actresses would die to play, even though the character's less than completely savory.

It's Roz's performance that holds our rapt attention throughout this George Kelly play adaptation, and it's Roz's subtlety that provides the fascination of a fastidious personality. The rest of the cast, headed by John Boles, is excellent, as is Dorothy Arzner's directing. The set design is perfect for the production, and the entire enactment becomes hypnotic.

Kelly's play has an interesting history: it was filmed eight years earlier by William deMille (with Irene Rich as Harriet) though there's scant info on this. The fourteen years later Vincent Sherman directed a remake with Joan Crawford in the part. Crawford was indomitable in the role, aided by Wendell Corey as her husband; still it's Russell's performance that--to my mind--reigns supreme.

The 1936 murder subplot was eliminated in the '50 version. Even so, "Craig's Wife" retains its integrity, and represents a milestone from one of the most notable female actors and the most prolific female director of the "Hollywood Golden Era."