Confession

The title for the film immediately makes one want to see it, and anybody that reads the plot summary are likely to find themselves intrigued. There were a couple of other reasons for wanting to see 'Confession'. One was the cast, have liked Kay Francis in a good deal of other things (though some are cases where she is better than the other) and am a fan of Basil Rathbone. Joe May was an important figure in his day but has been over-shadowed over-time by Fritz Lang by FW Murnau.

Which is a shame because May proved with the likes of 1929's 'Asphalt' that he could do great work. 'Confession' is another example of May greatness, one of his best. It has often been compared to 'Mazurka' with Pola Negri, namely because it has pretty much the same plot with similarities with that film's score, costumes and camera angles. This doesn't matter though, because 'Confession' is a great film in its own way and doesn't feel too derivative even with the similarities.

'Confession' is a little bit of a slow starter and the structure takes a little getting used to.

Once it gets going though, 'Confession' is excellent pretty much all round. It looks fantastic, not quite as visually innovative as 'Asphalt' but the visual style seen in that film is here too. The photography in particular is dazzling, with some truly inspired and atmospheric use of camera angles. The elaborate and very meticulously detailed settings and eeriness of the lighting can also be seen. The music score is haunting, the use of pre-existing music cleverly used.

May's direction is very accomplished, the best of it actually is so superb (especially on a technical level) that it really is a shame that he is not better known now. The script is intelligently written yet doesn't ramble or be too over-literate. The story is a slow starter, but from the twenty minute mark to the end it kept me on the edge of my seat. The final moments are very moving.

Francis is truly fabulous here, not just elegant but also at her most intense and the tragic aspects of her character are movingly conveyed. It is a strong contender for her best performance. Rathbone is great as usual, in a role with characteristics that he was always very good at doing to a high standard in everything he did. Jane Bryan, Laura Hope Crews and the ever reliable Donald Crisp are strong support.

Summing up, excellent. 9/10

Looking older than her years, pretty Polish teenager Jane Bryan (as Lisa) finds herself seduced into kissing suave concert pianist Basil Rathbone (as Michael Michailow). On a date, they see beautiful lounge singer Kay Francis (as Vera) synching "One Hour of Romance" in a sexy costume. When Ms. Francis sees Mr. Rathbone, she faints. As it turns out, Francis has a past connection to Rathbone. Next, one of the film's two startling plot developments occurs, and we move to a murder trial. Francis takes her star position with a flashback to 1912 - and years thereafter, to 1930 - revealing a dark, melodramatic mystery...

Francis proves herself a dynamic tragedienne, especially during the ending trial; darkly costumed, with blonde hair, she emotes fiercely and looks glorious. Ian Hunter (as Leonide Kirow) is credited as the leading man, but he is a supporting player, with relatively little to do. The real leading man is Rathbone, who takes full advantage of a delicious role. "Confession" is a shot-by-shot re-make of Willi Forst's "Mazurka" (1935), which starred Pola Negri (a very influential "silent" actress who lost favor when off-screen affairs preempted on-screen performances). The direction, Joe May swiping Mr. Forst, is excellent.

******* Confession (8/19/37) Joe May ~ Kay Francis, Basil Rathbone, Jane Bryan, Dorothy Peterson

This Kay Francis film is a textbook on how to act in a natural manner, even for the minor characters. The dialogue, expressions of the actors, direction and camera work make this little film a true gem. Note that there is no obscene language, nudity or violence for its own sake, and yet the message is very powerful and memorable. Perhaps someday a farsighted film company will come along and make films like this once again so that serious subjects can be viewed and absorbed by the whole family.

Kay Francis turns in a splendid performance by pulling out all the stops in this 1937 film.

Basil Rathbone is the cad done in by Ms.Francis. He is his usual sinister self in an engaging performance.

Ian Hunter plays the husband who didn't understand what had happened that night and comes to a bad conclusion.

Francis is a great singer literally done in by the vicious Rathbone. One night of exciting living would result in a lifetime of torment, misery and ultimately murder.

Jane Bryan is convincing as the vulnerable young lady who Francis kills for. Refusing to tell why she killed Rathbone, Francis finally talks when the court is cleared. Donald Crisp, as the sympathetic judge, is at his usual best.

What makes this film so good is the appropriate ending.

1937's Confession was a huge hit for Kay Francis, who would soon find Warner Brothers trying to drive her and her big money contract out of the studio with bad scripts. I love when these studios have amnesia about the money a star has made for them.

Confession is a Madame X-type of film, with Francis as a tired, blond cabaret performer a la Dietrich on trial for killing a composer/conductor (Basil Rathbone). She refuses to say anything in her defense, but eventually, she tells her story. In flashback, we see the character of Vera as a young opera singer who gives up her career for love.

The studio treatment of "Confession" was similar to the treatment given "Algiers" - Warners bought up all the prints of "Mazurka," the European version of this film, and kept it from being seen outside of Germany.

Walter Wanger tried to buy up all the prints of "Pepe le Moko" when he made Algiers - fortunately, in that case, the ploy didn't work.

The cast is good, with Francis doing a great job as Vera. Rathbone is appropriately dashing and slimy as Michael.

Jane Bryan (who married Rexall Drugs and retired) gives an odd performance. Her character, Lisa, keeps saying that she doesn't want to see Michael, yet does.

That is understandable, but when she's with him, she acts miserable and like she doesn't want to be there. Not that I blame her, but why go out with him in the first place? She doesn't exhibit, for me anyway, the sexual desire and excitement that would make her nervousness and discomfort believable.

Very good film, recommended, especially for a stunning Kay Francis performance.