First Lady

"First Lady" released in 1937, is a somewhat silly tale of Washington wives. The story has flaws, but Kay Francis and Veree Teasdale give solid performances as two arch enemies. Teasdale wants to divorce her stuffy older husband (Walter Connolly) who is a Supreme Court Justice. Then some high minded folks want to put Connolly up for President. Just why they want to do this is never fully explained - Connolly looks about as presidential as a toad. But, Teasdale relishes the thought of being first lady, so naturally divorce is now out of the question. Well, the sparks fly as a horrified Kay Francis loathes the thought of her enemy (Teasdale) potentially being first lady. The catty dialogue flies between the two women, and this is where they both shine as actresses. Francis herself wants to be first lady too, and wants her husband (Preston Foster in a thankless role) who is the current Secretary of State, to run also. Some of this is unrealistic - since when do Supreme Court Justices and Secretaries of State run for President anyway? Anyway, the film is certainly dated by today's standard of political movies, but see it for Kay Francis alone - Francis was one of Warner Brothers finest actresses from the Golden age of Hollywood.

It must have sounded like a cute idea--a cabal of Washington wives turns out to be the real power brokers who decide the Presidential nominee. But in practice it is very tame and dull. One keeps waiting for the zingers but in fact the wisecracks are mild and, for the most part, not very funny. Louise Fazenda, as the leader of 5 million obviously Republican clubwomen, is less a caricature of a dim, prissy, provincial battleaxe than simply a depressing reproduction of the real thing. And though the film ridicules her to the audience, she is never embarrassed, much less humiliated, to the other characters.

This tameness pervades the movie, which never even mentions the two main parties, and which reduces the horse-trading and viciousness of arriving at a candidate to one stuffy after-dinner chat, as unbelievable as it is boring. Walter Connolly, whom no one would take seriously, is miscast as the awful candidate--the part needed someone with a resonant voice and an authoritative, if pompous, manner. It's nice to see Verree Teasdale (Mrs. Adolphe Menjou) in a part of some size, but she is called upon only to be exasperated or icily condescending, and is not very funny in either mood.

Kay Francis, the movie's greatest clothes horse and a sparkling comic actress, is the only reason to see this, but she, too, has to fight the sluggish dialogue to keep her character merry and afloat.

Wow...the reviews for this film and mine are going to be a lot different. I guess that's okay, as there are movies for all tastes and I just didn't happen to like this one very much.

Kay Francis plays the lead as a very manipulative woman who is married to the Secretary of State. She and all the women seem to think their very successful husbands are actually idiots who can be easily manipulated by them into greater and greater political success. In other words, the women are all conniving and the men, generally, are quite dim.

While all this apparently went over very well in the 1930s on stage, I wonder how many other people might dislike the film because of its rather old fashioned and sexist ideas. My concern was actually less because of sexism but more because it all seemed so incredibly contrived and fake--and almost like the relationship between the women and men from "The Flintstones"! Plus none of the characters seemed particularly nice or likable. Instead of the conniving, I would love to have seen a more gentle film where a wife DOES help her husband become a success because they are a team--less because she's the reincarnation of Macchiavelli! Overall, this film does not seem to have aged well. I think had the men and women not been such obvious stereotypes OR if they had made the characters a bit more evil and manipulative, it would have been a better film (though in the latter case, it certainly wouldn't have been a comedy).

If you can tell yourself that you are seated in a Broadway theatre enjoying the first night of a George S Kaufman play, you will be delighted. The dialogue is wonderful especially if you like it a little bitchy and the actors put it over beautifully. Kay Francis is marvelous as usual but much credit goes to Verree Teasdale as Irene, Ms Francis' more than capable foil. By the way there are a couple of delightful scenes sans Ms. Francis especially one in which Ms Teasdale and Walter Connolly are "enjoying" an evening at home. Of course the political plot is rather ridiculous and should be ignored except as it moves the story along setting up the witty verbal contretemps. If you just like to "watch" movies, avoid this one. But if you love language and wit you won't be disappointed. And if I were trying to find a play for a community theatre, this sleeper would suit me fine.

Before the Web, before TV, before mass media, evidently Presidents were chosen at Washington cocktail parties and in smoke-filled rooms, judging from this talky but amusing filming of a hit George S. Kaufman stage comedy. The behind-the-scenes machinations are, as noted elsewhere, dated, but the Washington types--ambitious wives, stuffy old coots, self-important self-proclaimed representatives of the "women of America," newspaper barons--are still around, and you may be reminded of Cindy McCain or Rupert Murdoch when you view Verree Teasdale and Grant Mitchell. Teasdale really makes the movie, as the dissatisfied spouse of a preternaturally stupid Supreme Court justice (Walter Connolly, wonderful); her bitch-dialog scenes with Kay Francis have the tang of Norma Shearer and Joan Crawford in "The Women." Credit what must have been some original Kaufman stage dialog lovingly preserved by the filmmakers, who add little cinematically. Francis hasn't quite the natural bitchiness her character requires, and Preston Foster is a dullard of a Secretary of State, but the supporting cast is a pip--there's one exchange between Victor Jory and Anita Louise about corn stalks, of all things, that justifies the whole movie. It starts a bit slowly, and it's stagy, but it's very entertaining.